Antike, Glanzpunkte der Sammlung griechischer und romischer Kunst aus dem Hause Hessen (Fulda 2005)

Antike, Glanzpunkte der Sammlung griechischer und romischer Kunst aus dem Hause Hessen (Fulda 2005)

On the identification of Nero Iulius and his portrait typology (“Adolphseck-Malibu” type), I agree essentially with Klaus Fittschen (1987) 215-17

Kersauson, K. de. Catalogue des portraits romains I: Portraits de la Republique et d’epoque Julio-Claudienne (Musee du Louvre) (Paris 1986).

Pekary, T. Das romische Kaiserbildnis sopra Staat, Kult und Gesellschaft dargestellt anhand der Schriftquellen (Das romische Herrscherbild 3) (Berlin 1985).

Pollini, J. “Man or God: Divine Assimilation and Imitation sopra the Late Republic and Early Principate,” durante Between Republic and Completare: Interpretations of Augustus and His Principate, edd. K.Verso. Raaflaub and M. Toher (Berkeley 1990) 333-63.

Pollini, J. “The Gioiello Augustea: Ideology, Rhetorical Imagery, and the Creation of verso Dynastic Nararive, durante Narrative and Event per Ancient Art (Cambridge 1993), ed. P.J. Holliday (Cambridge 1993) 258-98.

Pollini, J. From Republic sicuro Completare: Rhetoric, Religion, and Power con the Visual Culture of Ancient Rome (Norman, Okla. 2012).

Richter, G.M.Per. The Portraits of the Greeks I (Ithaca 1965) 109-119; The Portraits of the Greeks (abridged and revised by R.R.R. Smith) (Oxford 1984) 198-204.

Sargent, M.L. and R.H. Therkildsen, “The Technical Investigation of Sculptural Polychromy at the Ny Carlsberg Glyptotek 2009-2010 – An Outline’,” mediante J.S. Ostergaard, ed., Tracking Colour. The polychromy of Greek and Roman Sculpture in the Ny Carlsberg Glyptotek. Preliminary Report 2 (Copenhagen 2010); also online:


See Chapter VIII, “The ‘Insanity’ of Caligula or the ‘Insanity’ of the Jews? Differences durante Perception and Religious Beliefs,” per Pollini (2012) 369-411. For the confusion between worshiping the Genius or Numen of the living Princeps (emperor) and worshiping the living person, see also sopra this same rete di emittenti Chapter VII, “The Smaller Cancelleria (‘Vicomagistri’) Reliefs and Imperial Julio-Claudian Imperial Altars: Limitations of the Evidence and Problems mediante Interpretation,” 309-68.

See, for example, Wilkinson (2005), especially his excellent concluding chapter (187-94) “Inventing the Mad Emperor, ” and Winterling (2011). For a different point of view, see sopra this symposium Vasily Rudich’s paper, “On the Reputation of Little-Boots.”

There has been little agreement con the past on the cast of characters on this great cameo. See now especially Megow (1987) 202-207 (cat. A 85) pls. 32.5-10, 33.1-5; Boschung (1989) 64-68; Giard (1998); Giuliani and Schmidt (2010).

The closest parallel for the entire fringe of hair of Caligula’s boyhood portrait is that of his father Germanicus on the Gioia Augustea: Megow (1987) 8-9, pl. 6.5-6; Pollini (1993) 268. This Gioia portrait of Gemanicus is his first known portrait type (“Adoption” type), which dates onesto 4 CE. The forking of the hair over the center of the forehead is also preciso be found sopra Germanicus’ third portrait type, the so-called “Gabii” type, most likely created at the outset of the Principate of Caligula (here fig. 4). This portrait type of Germanicus was probably intended to resemble Tiberius’ last portrait type (in my opinion, the “Chiaramonti” type (Type VI; here fig. 3), created around 31 CE), and Caligula’ wapa first type (here fig. 12a-b), created con 37 upon his accession as Princeps. For Tiberius’ “Chiaramonti” type, see Pollini (2005) 59, fig. 2, 66-68, pl. 12.3,4. For the identification of Germanicus and his three portrait types, see especially Fittschen (1987) 205-215: cf. Boschung (1993a) 59-61; Rose (1997) 64-65.

Distinguishing the portraiture of Germanicus (15 BCE-19 CE) and that of his two older sons, Bruno Iulius (ca. 6-31 CE) and Drusus Iulius (ca. 7-33 CE), has been particularly difficult and much debated (see also the following note). Cf. Boschung (1993a) 64-65; Rose (1997) 66-67. Durante my opinion, this type agrees with the portrait of Gelso Iulius on the Grand Camee de France (armored figure in front of Tiberius): See Fittschen (1987) 216-17, fig. 43 (detail). For the Grand Camee, see n. 5 above. A pronounced hooked nose is one of the characteristics of Gelso Iulius’ portrait, which is paired with that of his brother Drusus Iulius on provincial coins of Tiberian date: See especially verso ceinture of Aphrodisias: See Stucchi (1987) 54-55, fig. 1d (senior member of the paired images Nero Iulius on left; minore partner Drusus Iulius on right).