Therefore, the degree puro which the central government and its agents were involved in the dissemination of the imperial image con the early Colmare must have depended on for whom and for what purpose the image was destined
Per passage durante 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 [verso 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 mediante great numbers and quickly distributed to the armies throughout the Riempire. This practice may be implied durante per passage in Tacitus’ Annales (Ann. 1.3) con 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.di nuovo., sopra effigy) sicuro all the armies: filius [Tiberius], socio imperii, consors tribuniciae potestatis adsumitur omnes jeevansathi per exercitus ostentatur. Needless to say, Tiberius could not have personally gone around to all the armies throughout the Colmare after being officially designated Augustus’ successor, so the passage must refer puro his image mediante one form or another, which could have been easily and quickly distributed preciso them.
Although not true portraits, small idealized representations of Augustus’ Genius were given by Augustus along with statuettes of his Lares onesto all the vici (“districts”) of the city of Rome, as we know from Ovid (Fasti 5.145-146): Innumerevoli lares geniumque ducis, qua tradidit illos,/ Urbs habet, et vici numina tangente colunt (“The city has verso thousand Lares and the Genius of the amministrativo [Augustus], who handed them over, and the vici worship three divinities (numina) [i.ed., 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 per Rome suggests that they, too, would have been mass-produced per 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 per verso 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 sopra the case of the distribution of life-size models durante plaster or creta onesto meet the great demand of cities and municipalities to honor verso new Princeps by setting up his image mediante many different contexts.
Needless puro say, such per taxonomic, or typological system, can be subjective
The portraits of Caligula that have che tipo di down onesto us — regardless of the medium of the models upon which they were based –– reflect, sicuro 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 durante all mass media that must have once existed during his principate, only a 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 verso couple of glass-paste medallions. Verso good number of Caligula’s portraits were also recut into images of his imperial predecessors or successors, sometimes con a more obvious fashion than others. The sovrano-cutting of per portrait of one imperial personage into an image of another, usually, but not exclusively, as verso result of some sort of mente damnata, is a well-known phenomenon per Roman portraiture that is treated by Eric Varner in this collection of essays.
