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Reading how God and at last Christ are portrayed in early Christian paintings, Jensen explores questions of the connection among artwork and theology, conflicts over idolatry and iconography, and the way the Christological controversies affected the portrayals of Christ. on account that a lot of this paintings comes from old Rome, she locations her research within the context of the heritage of Roman portraiture. 100 pictures increase the dialogue.

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Ular du,ing Ih. l\<-p-ublian period. parhcul .. lr . around '''' mid_fi'" , .. _ 'UIY • . c... ' artwork hi>toria ... ha.. came across ,bal ,hi, prt .. i. ~ ""'''1' of thom . :opKd in .. ,Iy ,ha, 38 r" 15. Bust of L. uOu$ Ctcli", ~ p"" . ,. ; ~ - . l it , ..... C,L""" fI:" ope;;" Musru>: AIiNrililrt Rooource, NY). r.. I6. Augustu, from Primoporta. 1+-29 CL. V-. n "'""" """ "'"'" ~-) nose to nose imperial limes. even if this period used to be identified for its emphasis on actual ism, there has been additionally a persevered culture of idealized heroic represen tations in response to earl ier Hellenistk types. students have noled that overdue Republican -era life like photos targeted extra at the expression of ind ividual character lily via definite detailed facial expression , depict ing their matters Uwarts and aiL" in all likelihood bas... :! at the perform of constructing demise mask for funerary reasons (se .. dialogue below), this shift additionally appeared to catch the Republican values of practicalily, frankness, and unsentimentality. One relatively vibrant instance of this. now within the nationwide Museum of Naples yet initially from Pompeii, is the bust of the Augustan-era banker and businessman Lu<;ius Cedl iu. locundus (fig. \5). ' lbe literalism of this portrayal, wi th its wart and sticking out ears, means that the purpose used to be to create a particu larly distinct and recogn izable (and no longer extensively beautified ) likeness of its version. through the early imperial period, the classical heroic or idealized portrayal turned extra well known, even supposing a little infl uenced through the sooner tendency towards realism. ' The tendency to vacillate among the classicist or idealizing mode and the real looking one occasionally produced strange mixtures of realistically done heads on heroically posed our bodies (see fig. 18). solid enmpIes of idealized pics are the representations of Augustus, who's often proven as a younger and heroic determine (fig. 16). the following generations of the Julio -Claudian fam ily in general saved up the suitable izing culture, specially 111 posthumous graphics of the deified ruler, al t hough occasional reappearances of older Roman realism occasionally reappear in convinced cases, akin to the virtually com ical portrait of Claudius within the guise of Jupiter, now within the Vatican Museum (fig. 17). on the finish of the 1st century, the graphics of Vespasian (69- seventy nine c. ~. ) also are particularly real looking, possibly intended to affiliate this middle-class emperor with outdated Republican values. yet even Vespasian might be represented as having a rea listic visage on an idealized physique (fig. (8). even supposing we IMAGE AND PORTRAIT IN ROMAN eu:n. I\omo (f'Wo; ","thoc) Fig. 18 (right~ \lespa>ian. rrod 111. cen G. from tho SIlnne clthe ""'S",toIes, ~ -, Castelo (! ; s... (Photo Fig. 19 (beb. wP'C/t of . """""" Impenol IWmon Penod, T,,,! ,,-,,: ~ ~noe. 100-125 c. r. Pla. :e zero( """", fa. :tu"" Gr=<: (J:~ "Ny). r-Meum zero( nice ~ 8octogr,,*, ClOO4 MJ",um O(F ine ~ 8o

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