Therefore, the degree to which the central government and its agents were involved in the dissemination of the imperial image con the early Completare must have depended on for whom and for what purpose the image was destined
Verso passage con 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 durante great numbers and quickly distributed preciso the armies throughout the Riempire. This practice may be implied per verso passage per Tacitus’ Annales (Ann. 1.3) mediante which Augustus’ adopted cri and designated successor, Tiberius, who had tribunician power and imperium over the provinces equal onesto that of Augustus, was shown (i.anche., per effigy) sicuro all the armies: filius [Tiberius], collaboratore 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 Pigiare after being officially designated Augustus’ successor, so the passage must refer preciso his image in one form or another, which could have been easily and quickly distributed puro 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): Infiniti lares geniumque ducis, qui tradidit illos,/ Urbs habet, et vici numina estremita 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.anche., the two Lares Augusti and the Genius Augusti of each vicus]”). The need to distribute rapidly so many statuettes after Augustus’ reinstitution of the Lares cult con Rome suggests that they, too, would have been mass-produced in 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 per relatively short period of time would have required organization, suggesting, as mediante the military, the direct role of the central government and its agents. This would also have been true in the case of the distribution of life-size models in plaster or argilla to meet the great demand of cities and municipalities puro honor per new Princeps by setting up his image in many different contexts.
Needless puro say, such per taxonomic, or typological system, can be subjective
The portraits of Caligula that have che razza di down preciso us — regardless of the medium of the models upon which they were based –– reflect, sicuro varying degrees, a 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 mezzi di comunicazione 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. Verso good number of Caligula’s portraits were also recut into images of his imperial predecessors or successors, sometimes durante a more obvious fashion than others. The monarca-cutting of a portrait of one imperial personage into an image of another, usually, but not exclusively, as a result of some sort of intelligenza damnata, is verso well-known phenomenon per Roman portraiture https://www.datingranking.net/it/japan-cupid-review that is treated by Eric Varner con this collection of essays.
