By Peter Stewart
Statues have been all around the Roman international. They served as items of cult, honors to emperors and noblemen, and memorials to the useless. Combining shut recognition to person Roman texts and pictures with an exceptional large viewpoint in this awesome phenomenon, Statues in Roman Society explains the influence that every one sorts of statuary had at the historical population.
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Additional resources for Statues in Roman society : representation and response
There is no reason why the words should be taken to refer to two quite diVerent kinds of art rather than statues alone. 12 This apparent diVraction of the very concept of the statue is not as problematic as it first seems. It is certainly the case that diVerent kinds of statuary could be viewed as fundamentally the same sort of thing. For a start, the general terms for artistic representations which I have not examined here—words like imago, eYgies, species—are continually used in reference to statues of all kinds (not to mention images in other media), and this implies that the spectrum of sculpture can be embraced within a single, broad category.
Signum de busto meretricis ablatum isti dedit, quod esset signum magis istorum quam publicae libertatis. Hanc deam quisquam violare audeat, imaginem meretricis? (Apparently she was a certain Tanagran courtesan. A marble statue of her was placed on her tomb not far from Tanagra . . 79 (Alexander). Note Philo’s approval of Augustus for not accepting an agalma: De Legatione ad Gaium 148. 52 K. Scott, ‘The Significance of Statues in Precious Metals in Emperor Worship’, TAPhA 62 (1931) 101–23. 3.
37 n. 22. Of course, the sort of ideal-sculpture admired as art or cultivated decoration by sophisticated Romans consisted, as a rule, of divine representations. There is a neat ambivalence in the use of signum, for the same word denotes the signatures of artists. 6 Daut, Imago 32–8. S. Nodelman ‘How to Read a Roman Portrait’, in D’Ambra, Context, 10–26, at 11; cf. J. Onians, Classical Art and the Cultures of Greece and Rome (New Haven and London 1999) 157–8, arguing that use of signa betrays the superficiality of Roman responses to Hellenic sculpture.