| Preface |
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v | |
| Introduction |
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1 | (15) |
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Part One: Public Honours and Private Expectations |
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The so-called Roman Private Portrait |
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16 | (57) |
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What is a private Roman portrait? |
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16 | (1) |
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17 | (3) |
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The origin of the honorific statue habit in the West |
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20 | (5) |
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The honorific inscription |
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25 | (1) |
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25 | (4) |
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29 | (4) |
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Honorific statues and social status: Who was represented? |
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33 | (12) |
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Dedicators: who set up the portraits? |
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45 | (3) |
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How to earn a portrait statue: personal expectations, public affirmation and audience responses |
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48 | (3) |
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Location: Where were the portraits set up? |
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51 | (12) |
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63 | (10) |
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Corporate Spaces, Houses, Villas and Tombs |
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73 | (79) |
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73 | (16) |
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89 | (16) |
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105 | (47) |
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Part Two: Modes of Representation |
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The Material of Roman Portraits |
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152 | (29) |
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153 | (4) |
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157 | (6) |
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Travertine, limestone and other local stones |
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163 | (3) |
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Gold, gilding, silver and ivory |
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166 | (2) |
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168 | (3) |
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171 | (3) |
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174 | (1) |
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175 | (6) |
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Statuary Body Types of Roman Men: All About Status? |
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181 | (47) |
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The full-figure statuary body types of Roman men. All about status? |
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181 | (2) |
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183 | (17) |
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Continuity and change in drapery |
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188 | (8) |
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196 | (2) |
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198 | (2) |
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200 | (7) |
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The earliest nude statues of Romans |
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201 | (2) |
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Nude body and `realistic' head: a source of conflict? |
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203 | (2) |
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The identity of the honorand |
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205 | (2) |
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207 | (21) |
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The earliest Romans represented in cuirass |
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211 | (1) |
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The identity of the honorand |
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212 | (1) |
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The toga statue once again |
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213 | (15) |
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228 | (34) |
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228 | (5) |
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233 | (2) |
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235 | (1) |
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236 | (26) |
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236 | (3) |
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Distribution and display of the freestanding bust |
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239 | (5) |
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Development and iconography of the bust |
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244 | (18) |
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Selves and Others: Ways of Expressing Identity in the Roman Male Portrait |
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262 | (69) |
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Greek or Roman? The origin of Roman Republican portrait styles |
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262 | (8) |
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The `period-face' and its impact |
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270 | (9) |
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The limitations and the possibilities of the period-face: variation in portrait styles |
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279 | (6) |
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The portraits of actors from the Sanctuary of Diana Nemorensis: a case study in diversity |
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285 | (46) |
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Identifying workshops in Roman private portraits? |
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308 | (23) |
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Part Three: The Empress and her Fellow Elite Women |
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331 | (42) |
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Dressing up a Roman Woman: statuary body types |
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331 | (20) |
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351 | (22) |
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Representing the Roman Emperor |
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373 | (74) |
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The Emperor in Rome: setting the scene |
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375 | (5) |
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The Emperor in Rome: close encounter |
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380 | (4) |
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Where were the free-standing statues of the emperor set up in Rome? |
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384 | (5) |
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Who set up the statues of the emperor in Rome? |
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389 | (1) |
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390 | (3) |
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Statuary formats and statuary body types |
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393 | (11) |
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Defining the emperor's head |
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404 | (3) |
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Commissioning of prototypes |
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407 | (12) |
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Market, replication and dissemination |
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419 | (7) |
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426 | (7) |
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Power, Honour, and Memory |
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433 | (6) |
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Addendum: Statuary Formats and Statuary Habits in Literary |
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Sources: the Inscription Honouring Lucius Volusius Saturninus |
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439 | (8) |
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The different habits of Saturninus' statues |
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440 | (7) |
| Notes |
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447 | (64) |
| Works and Abbreviations Cited |
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511 | (44) |
| List of Illustrations |
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555 | (12) |
| Museum Index |
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567 | (10) |
| General Index |
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577 | |