Monumenta Graeca et Romana: Mutilation and transformation : damnatio memoriae and Roman imperial portraiture

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BRILL, Jan 1, 2004 - History - 340 pages
The condemnation of memory inexorably altered the visual landscape of imperial Rome. Representations of 'bad' emperors, such as Caligula, Nero, Domitian, Commodus, or Elagabalus were routinely reconfigured into likenesses of victorious successors or revered predecessors. Alternatively, portraits could be physically attacked and mutilated or even executed in effigy. From the late first century B.C. until the fourth century A.D., the recycling and destruction of images of emperors, empresses, and other members of the imperial family occurred on a vast scale and often marked periods of violent political transition. This volume catalogues and interprets the sculptural, glyptic, numismatic and epigraphic evidence for "damnatio memoriae" and ultimately reveals its praxis to be at the core of Roman cultural identity.
 

Contents

Chapter One Developments Implications and Precedents
1
Chapter Two Caligula Milonia Caesonia and Julia Drusilla
21
Sejanus
92
Julia Livilla Julia Drusilla Lollia Paulina and Domitia Lepida
102
Chapter
111
Chapter Seven Commodus Lucilla Crispina and Annia Fundania Faustina
136
Chapter Eight The Severans A D 193235
156
Severus Alexander and Julia Mammaea
200
Chapter Ten The Early Fourth Century
214
Catalogue of Mutilated and Altered Portraits
226
Commodus Livilla Crispina and Annia Fundania Faustina 7 The Severans Plautilla Geta Macrinus Diadumenianus Elagabalus Severus Alexander
275
Third Century
283
Bibliography
289
Index of Museums
307
List of Illustrations and Photo Credits Illustrations
335
289
372

Trajan Decius Herrenius Etruscus and Hostilian
207

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About the author (2004)

Eric R. Varner, Ph.D. (1993) in Classics, Yale University is Assistant Professor of Art History and Classics, Emory University. He has published on Roman portraits, including the catalogue From Caligula to Constantine: Tyranny and Transformation in Roman Imperial Portraiture (Atlanta, 2000).

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