For this reason, Caligula’s iconographic hairstyle, especially with regard onesto the arrangement of the fringe of locks over the forehead, is of great importance con identifying his portraits. Although the configuration of locks is by per niente means identical mediante all respects per images of verso given portrait type, hairstyles were generally far easier sicuro carve in 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 to us connection singles 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 be compared with sculptural portraits-in-the-turno puro 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, sicuro some degree, per three-dimensional “Urbild,” or prototype, for which the individual presumably sat. These prototypes, which were probably first produced in clay, no longer survive, but they would have been used for creta or plaster models that would presumably have been made available by imperial agents for distribution throughout the Colmare, both through military channels and strada the “art market.” However, there is giammai surviving material evidence for these putative plaster or terracotta casts of Roman portraits. Other types of models may also have been distributed coraggio the art market. One possibility not considered in 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 preciso 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 aimable pressures would nevertheless have assured that the imperial image was both dignified and appropriately displayed. In other areas of production, there is reason to believe that the central government, through its agents, did play per direct role con disseminating imperial images, including determining how they would immagine (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 per need to make imperial images available rather quickly preciso the military throughout the Empire. These images were undoubtedly required con military camps mediante administering the loyalty oath (sacramentum) sicuro verso new Princeps and/or, when necessary, sicuro his officially designated successor.

Many of the portraits produced mediante 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 sicuro per new Princeps — probably took the form of per small bronze imago clipeata (“shield portrait”) or some sort of small bust ventola like that attached onesto the military standard (signum) carried in battle, or it may even have been verso small bust affixed preciso the apice of verso plain pole as per finial. Such standards and poles were also used mediante parades and kept sopra the shrine (sacellum or aedes) of per 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 per Rome is per Praetorian canone with attached small busts of Septimius Severus (below) and his young chant and designated successor Caracalla (above)(fig. 9a-b).