Dietrich Boschung

(25.) Crawford (as in n. 24), 499-500, no. 490.

(26.) Ibid., 502, no. 494/3a, 506, no. 494/ 25.

(27.) Cf. both numismatic images: ibid., nos. 494/3a, 494/25.

(28.) This recut portrait may have been fashioned out of a head of Hercules wearing a lion-skin cap. Cf. Boschung, 107, cat, no. 2.

(29.) See Suetonius, Divus Augustus, 86. For Caesar and Augustus and their association with the neo-Attic movement, see George A. Kennedy, The Art of Rhetoric in the Roman World: 300 B.C-AD. 300 (Princeton: Princeton University Press, 1972), asp. 378-84. For the neo-Attic style in general, sea also 69-70, 241-46, passim.

(30.) Kennedy (as in n. 29), 297-99.

(31.) This style is exemplified by the Prima Porta statue of Augustus; see John Pollini, "The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic Ideal," in Polyskleitos, the Doryphoros, and Tradition, ad. Warren G. Moon (Madison, Wis.: University of Wisconsin Press, 1995), asp. 262 and n. 3, for further bibliography on the subject of the polemics of style in the late Republic and the beginnings of Augustan Classicism.

(32.) Hans Jucker, in Gesichter: Griechische und romischse Bildnisse aus Schweizer Besitz, ad. Hans Jucker and Dietrich Willers, 3d ad. (Bern: Archaologisches Seminar der Universitat Bern, 1983), 53, fig. 4.

(33.) Simon (as in n. 4), 66, attributes the creation of this type only to Augustus's becoming Pontifex Maximus in 12 B.C.E. Moreover, she believes that the Capitoline head of Augustus from the Via Merulana on the Caclian Hill in Rome (fig. 79; Boschung, cat. no. 45, p1. 38) may possibly be one of the rare examples of an actual prototype ("Archetypus") surviving-a hypothesis I find unlikely.

(34.) Jucker (as inn. 32).

(35.) First proposed by Ulrich Hausmann in a lecture in Bochum in 1971, as noted in Hausmann, "Zur Typologie und Ideologie des Augustportrats," in Aufstieg und Niedergang der romischen Welt: Geschichte und Kultur Roms im Spiegel der neuren Fonschung, Principat, Kunst, ed. Hildegard Tamporini, vol. 2, pt. 12, no. 2 (Berlin: De Gruyter, 1981), 567-75, esp. 569-70 and n. 216, pl. 20, fig. 39. Cf. also Paul Zanker, Studien zu den Augustus-Portrats: I, Der Actium-Typus, 2d ad. (Gottingen: Vanderhoeck und Ruprecht, 1978), 44 n. 120.

(36.) Pollini (as in n. 31), 266.

(37.) For the mistaken notion of official works being made for the "average" viewer, see ibid., 263-64.

(38.) Most of these extant portraits were set up by private individuals or groups of people. There may also have been cases in which only a particular model was available or a certain earlier type was preferred. This situation is somewhat analogous to anniversary coin issues. See in general Michael Grant, Roman Anniversary Issues (Cambridge: Cambridge University Press, 1950).

(39.) Cf. Dietrich Boschung, Die Bildnisse des Caligula, Das romische Herrscherbild, pt. 4, vol. 1 (Berlin: Gebruder Mann, 1989), pls. 2-4.

(40.) See Pollini (as in n. 20), 3-5, 16-17, passim.