From Face to Face : Recarving of Roman Portraits and the Late-Antique Portrait Arts. Second, Revised Edition.
- 2nd ed.
- 1 online resource (381 pages)
- Monumenta Graeca et Romana Series ; v.18 .
- Monumenta Graeca et Romana Series .
Intro -- Contents -- Preface -- Editorial note -- Acknowledgments -- List of diagrams and sketches -- List of figures and photo credits -- Introduction -- The history of sculpture reuse and related problems -- The Stand der Forschung of sculpture reuse -- The identification of recarved sculpture -- Organisation of the material -- Terminology -- Definitions of "style" -- The function of recarved portraits -- Chapter One -- The reuse of sculpture and recarving portraits -- Criteria for identification -- Spolia and the recarving of portraiture -- The reuse of private sculpture -- Relocated and discarded sculpture -- Portrait heads in secondary contexts -- Pagan sculptures in the early Christian period -- The reuse of statuary in late-antique Constantinople -- Marmora et ornamenta -- The archetype of portraits -- Chapter Two -- Statistical analyses -- The relationship between new and recarved portraits -- Test case within a defined geographical area -- Chapter Three -- The 1st-2nd centuries CE and the damnatio memoriae portraits -- The significance of imperial portraiture -- The damnatio memoriae portraits -- Female portraits -- Chapter Four -- The 3rd century CE -- Economy and reuse -- The styles of the recarved portraits from the 3rd century ce -- Gallienus and a break with tradition -- The soldier emperor portraits -- The philosopher portraits -- A change in portrait function -- Chapter Five -- Late Antiquity and the emergence of new visual expressions -- The Tetrarchic period -- The Constantinian period -- Visual expression in the Constantinian period -- From Valentinian I to Justinian I -- Private recarved portraits in Late Antiquity -- Chapter Six -- Recarving methods -- Marble and quarries -- Workshops -- Tools -- From face to face -- Hairstyles -- Facial features -- Ears -- Eyes -- The lower facial features and the mouth -- Techniques. Chapter Seven -- Classifications -- The Bandit group -- The Helmet group -- The Ephesos-Tetrarch group -- The Athens group -- The Plotinus group -- The Eutropius group -- The Iamblichus group -- From the Bandit group to the Eutropius group: a development of technique? -- Chapter Eight -- Social aspects -- Imperial vs. private portraits -- Gods and humans -- Recarvings across gender lines -- Recarved female portraits -- Recarved portraits on sarcophagi -- Norms -- Conclusions -- Oblivion and reinvention -- Summary -- Map with portrait provenances -- The Roman imperial succession until Justinian I -- Catalogue of recarved portraits -- Introduction to the catalogue -- Period 1 -- Male p ortraits -- Imperial -- Private -- Female portraits -- Imperial -- Private -- Period 2 -- Male portraits -- Imperial -- Private -- Female portraits -- Imperial -- Private -- Period 3 -- Male portraits -- Imperial -- Private -- Female portraits -- Imperial -- Private -- Bibliography -- Ancient sources -- Modern sources -- Index of museums and collections -- Concordances -- General index -- Plates 1-155.