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Religious art was also a major form of Roman sculpture. A central feature of a Roman temple was the cult statue of the deity, who was regarded as "housed" there (see aedes). Although images of deities were also displayed in private gardens and parks, the most magnificent of the surviving statues appear to have been cult images.
Development of the Roman portrait was associated with increased interest in the individual, with the expansion of the social circle portrayed. At the heart of the artistic structure of many Roman portraits is the clear and rigorous transfer of unique features of the model, while still keeping the general style very similar.
Leochares: Apollo Belvedere.Roman copy of 130–140 AD after a Greek bronze original of 330–320 BC. Vatican Museums. Classical sculpture (usually with a lower case "c") refers generally to sculpture from Ancient Greece and Ancient Rome, as well as the Hellenized and Romanized civilizations under their rule or influence, from about 500 BC to around 200 AD.
The Gennadios medallion in the Metropolitan Museum of Art in New York, is a fine example of an Alexandrian portrait on blue glass, using a rather more complex technique and naturalistic style than most Late Roman examples, including painting onto the gold to create shading, and with the Greek inscription showing local dialect features.
The research of adlocutio focuses on the art of statuary and coinage aspects. It is often portrayed in sculpture, either simply as a single, life-size contrapposto figure of the general with his arm outstretched, or a relief scene of the general on a podium addressing the army. Such relief scenes also frequently appear on imperial coinage.
Bacchus being a god means that the statue's features can be those of an idealization. However, since the features and expression are undoubtedly those of a young man, certain authors speculate that it is a portrait of a person with the attributes of divinity, a relatively common occurrence within the Greco-Roman statuary tradition. [1]
The statues date from the second century B.C. and and the first century A.D., a time when Etruscans were being assimilated into Roman society, following centuries of prolonged territorial warfare.
The paired statues stand on plinths supported by a console of the same stone, and their backs are engaged in the remains of large porphyry columns to which the statues were once attached, carved all of a piece. [1] The columns no longer exist, and one emperor pair is missing part of the plinth and an emperor's foot, which has been found in ...