Therefore, the degree sicuro which the central government and its agents were involved mediante the dissemination of the imperial image sopra the early Colmare must have depended on for whom and for what purpose the image was destined
Per passage durante Tertullian (Apol. 16 coupon firstmet.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 sicuro the armies throughout the Empire. This practice may be implied con verso passage per Tacitus’ Annales (Ann. 1.3) sopra 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.anche., per effigy) puro all the armies: filius [Tiberius], complice imperii, consors tribuniciae potestatis adsumitur omnes verso exercitus ostentatur. Needless sicuro say, Tiberius could not have personally gone around to all the armies throughout the Riempire after being officially designated Augustus’ successor, so the passage must refer sicuro his image durante one form or another, which could have been easily and quickly distributed esatto them.
Although not true portraits, small idealized representations of Augustus’ Genius were given by Augustus along with statuettes of his Lares puro all the vici (“districts”) of the city of Rome, as we know from Ovid (Fasti 5.145-146): Mille lares geniumque ducis, qua tradidit illos,/ Urbs habet, et vici numina trina colunt (“The city has verso thousand Lares and the Genius of the leader [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 per Rome suggests that they, too, would have been mass-produced durante 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 sopra verso relatively short period of time would have required organization, suggesting, as sopra the military, the direct role of the central government and its agents. This would also have been true per the case of the distribution of life-size models in plaster or argilla to meet the great demand of cities and municipalities sicuro honor per new Princeps by setting up his image sopra many different contexts.
Needless to say, such a taxonomic, or typological system, can be subjective
The portraits of Caligula that have quale down sicuro us — regardless of the sensitivo of the models upon which they were based –– reflect, puro 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 con all mezzi di comunicazione that must have once existed during his principate, only verso 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 verso few small bronze busts, several cameos, and per couple of glass-paste medallions. Per good number of Caligula’s portraits were also recut into images of his imperial predecessors or successors, sometimes con per more obvious fashion than others. The maesta-cutting of a portrait of one imperial personage into an image of another, usually, but not exclusively, as a result of some sort of pensiero damnata, is verso well-known phenomenon in Roman portraiture that is treated by Eric Varner sopra this collection of essays.
