Dietrich Boschung

(41.) The modern technical term damnatio memoriae is unattested in the ancient written record but has often been used to characterize the idea of damning one's memory. On the other hand, memoria damnata was a phrase used in antiquity. On the subject of damnatio memoriae, see Pollini (as in n. 20), 13 and n. 46, for further bibliography. For a more recent comprehensive treatment, see Pekary (as in n. 6), 134-42; and Eric Varner, "Damnatio Memoriae and Roman Imperial Portraiture," Ph.D. diss., Yale University, 1993, which is currently being revised for publication.

(42.) See Robert Amy and Pierre Gros, La Maison Carree de Nimes, 2 vols., "Gallia" Supplement, 38 (Paris: Centre National de la Recherche Scientifique, 1979).

(43.) Augustus, for example, ordered that silver statues set up to him in Rome be melted down (Monumentum Ancyranum 24).

(44.) See, for example, Paul Zanker, Provinzielle Kaiserportrats, Bayerische Akademie der Wissenschaften, Munchen, Philosophisch-histotischa Klasse, Abbandlungen, vol. 90 (Munich: Verlag der Bayarischen Akademie der Wissenschaften, 1983), who deals with this issue in a general way, especially for the second century A.D.

(45.) For the Prima Porta statue and its postulated bronze prototype, see recently Pollini (as in n. 31), with further bibliography.

(46.) For variability in the degree of the pathos formula in portraiture, see in general Fittschen (as in n. 19).

(47.) Already after his victory over Sextus Pompey in 36 B.C.E., Octavian had wanted to put to rest memories of the Civil Wars (Appian, Belle Civilia 5.132).

(48.) See John Pollini, "The Gamma Augustea: Ideology, Rhetorical Imagery, and the Construction of a Dynastic Narrative," in Narrative and Event in Ancient Art, ed. Peter J. Holliday (Cambridge: Cambridge University Press, 1993), 263, 266-67.

(49.) See Pollini (as in n. 31).

(50.) Cf. Boschung, 34-37, 63.

(51.) Ibid., 33-34, 37, 63.

(52.) It has generally been assumed on the basis of Strabo's use of the word eikon (5.3.8) that this image was a statue pedestris. For the proposed quadrigate image, sea Pollini (as in n. 48), 285, fig. 86.1 discuss in detail my reasoning for this quadrigate imagery in a forthcoming book entitled The Rhetoric and Poetry of Visual Imagery and the Creation of Dynastic Narratives in Augustan Art and Thought.

(53.) Boschung (125) takes this image of Augustus as only a Paris Louvre MA 1280 type (Type IV) portrait. Although the hair is damaged in part, the bulge in the hair locks over the right eye (unlike the prototype of Type IV) and their down-turned tips, which are abraded, are more suggestive of Type IV.A (cf. a head from Terracina [cat. no. 59, pl. 58]).

(54.) For a detailed treatment of this event, see Pollini (as in n. 20), 32--35, pl. 14.1. For more recent bibliography, see Boschung, 125--26 (cat. no. 36). Gaius's departure was probably to coincide with the dedication of the Forum Augustum and his being the first military commander to set out from here. See Frank E. Romer, "A Numismatic Date for the Departure of C. Caesar?" Transactions of the American Philological Association 108 (1978): 187--202.