For this reason, Caligula’s iconographic hairstyle, especially with regard sicuro the arrangement of the fringe of locks over the forehead, is of great importance mediante identifying his portraits. Although the configuration of locks is by no means identical con all respects mediante images of a given portrait type, hairstyles were generally far easier onesto carve durante marble than facial features (even by less talented sculptors), and they therefore provide an important index for identifying portraits.

Consequently, the only reliable images for determining his physical appearance are those on labeled coins, which provide us with either his right or left profile

My focus here is on the “image” of Caligula as transmitted preciso us by not only the ancient visual evidence, consisting largely of sculpture and coinage, but also the literary sources representing the views of his detractors. These numismatic profile views can quiz alt be compared with sculptural portraits-in-the-turno to establish the identity of the imperial personage represented. Though representations of Caligula durante the form of portraits must also certainly have existed, none has survived from antiquity.

Whether numismatic or sculptural, the extant portraits of Caligula and other members of the imperial family ultimately reflect, onesto some degree, a three-dimensional “Urbild,” or prototype, for which the individual presumably sat. These prototypes, which were probably first produced in clay, giammai longer survive, but they would have been used for argilla or plaster models that would presumably have been made available by imperial agents for distribution throughout the Completare, both through military channels and modo the “art market.” However, there is mai surviving material evidence for these putative plaster or terracotta casts of Roman portraits. Other types of models may also have been distributed modo the art market. One possibility not considered durante the past is the dissemination of painted wax face-mask models, though we have mai direct evidence for this either.

Instead, provincial imperial portraits often conformed to local, traditional concepts of leadership, suggesting that the central government of Rome only made models available for distribution but did not control how closely they were followed. Local agreable pressures would nevertheless have assured that the imperial image was both dignified and appropriately displayed. Mediante other areas of production, there is reason sicuro believe that the central government, through its agents, did play per direct role mediante disseminating imperial images, including determining how they would look (as per the case of state coinage, which was under the direct control of the Princeps). The involvement of imperial agents would likely have also been necessary, for example, when there was a need puro make imperial images available rather quickly puro the military throughout the Riempire. These images were undoubtedly required sopra military camps sopra administering the loyalty oath (sacramentum) sicuro a new Princeps and/or, when necessary, to his officially designated successor.

Many of the portraits produced in the provinces for civic contexts and municipal or colonial worship did not closely follow the imagery of Roman state models, which reflected the official ideology of the principate

The imperial image before which soldiers usually swore their oath — at least initially onesto per new Princeps — probably took the form of a small bronze imago clipeata (“shield portrait”) or some sort of small bust ventola like that attached preciso the military standard (signum) carried sopra battle, or it may even have been verso small bust affixed preciso the primo posto of per plain pole as a finial. Such standards and poles were also used sopra parades and kept per the shrine (sacellum or aedes) of verso military camp along with portrait statues of the Princeps (and his designated successor), images of the gods, and other military insignia. Thus, represented on the Severan Arch of the Argentarii durante Rome is per Praetorian standard with attached small busts of Septimius Severus (below) and his young bourdonnement and designated successor Caracalla (above)(fig. 9a-b).