Actors, 174 and Orators, 41

Cambridge University Press 978-0-521-84273-0 — Gender and Body Language in Roman Art Glenys Davies Index More Information 343

INDEX

actors, 174 body language of, 99 , 110 and orators, 41 – 42 , 53 Colonna version in Vatican Museums use of body language, 2 (i g. 9), 83 , 87 – 8 Adamantius, 52 , 58 compared with Doryphoros, address, gesture of, 124 –30 89 –93 , 94 – 5 af ection, 234 , 242, 243 , 255 , 268 facial expression, 98 Afrania (or Carfania), 77 hand gesture, 84, 85 , 89 , 100 aggression, 96 , 97 , 98 , 100 , 200 smile, 98 Agrippina, 76 , 78 Aphrodite statue by Menophantos (i g. 20), (so- called) seated statue in Naples 112 , 113 (i g. 76), 230 – 31 Aphrodite, other statue types, 114 Agrippina the Elder, 78 , 169, 234 Aphrodite-Olympias statue type, statue from Velleia (i g. 47), 168 , 170 , 239 228 , 229 – 32 Agrippina the Younger, 78, 169 , 247 appeasement display, 98 , 174 statue from Velleia, 169 , 239 appropriate behaviour, 47 , 61 , 64 – 5 , 81 , 183 , Aischines statue (i g. 6), 10 – 11 , 142 , 192, 260 , 267 143 – 4 , 263 appropriate body language, 14 , 26 , 32 , Alexander the Great, statues, 101 79 , 237 Alexandridis, Annetta, 154 , 185 Apt, two statues from, in Chatsworth alimenta relief on Trajan’s Arch at House, 237 Beneventum, 234 nude statue of a man (i g. 18), Allia Potestas, 63 – 4 110 , 264 alpha males, 10 , 101 , 120 , 205 , 261 , 263 , 267 seated statue of a woman (i g. 72), Altar of Domitius Ahenobarbus relief, 139 221 , 224 – 5 Ammianus Marcellinus, 50 Apuleius, 114 Anaglypha Traiani relief, 129 Ara Pacis Augustae processional seated togate statue, 205 reliefs, 233 – 4 androgyni , 51 arch of Septimius Severus animals in Leptis Magna, 234 – 5 , 247 and human body language, 17 , 24 , 97 – 8 in Roman forum, 148 , 150 , 235 Antoninus Pius, 175 Arco di Portogallo relief (i g. 29), 129 –30 nude statue in National Museum of Ares Borghese, 252 Rome (i g. 17), 108, 110 arm Aphrodisias across body, 138 , 163 , 175 , 225 Sebasteion relief, 247 extended in front, 169 , 204 uncle and niece statues, 239 positions, 120 , 155 , 200 Aphrodite in the Gardens, 230 positions (Aphrodite of Knidos), 87 Aphrodite of Knidos, 82 – 9 , 118 arm round shoulders of another, 252

343

344 INDEX

arm sling, 138 – 9 Aurelius Hermia, L. and Philematio (relief pallium drapery (i gs. 6 and 37), 142 – 4 , i g. 82), 139 , 255 – 6 145 – 7 , 262 – 3 toga form, 138 , 142, 144 – 5 , 184, back view 266 , 267 Aphrodite and Doryphoros, 93 togate i gures (i gs. 35 and 36), 138 – 45 of Aphrodite of Knidos, 87 , 88 used by Greeks, 143 , 241 – 2 of Capitoline Venus (i g. 11), 91 , 111 worn by girls, 234 bad girls, 61 , 79 worn by men, 241 – 42, 262 –3 , 267 Baebia and Saufeia statues (i g. 41), 155 , 157 worn by women (i g. 42), 157 – 8 , 169, barbarians 192 , 225 captives on biographical sarcophagus in worn by young men, 142 Mantua (i g. 80b), 250 – 1 armour, statues wearing (i gs. 23, 24, 25 and prisoners on arch of Septimius Severus 61), 118 – 23 , 176 in Rome (i g. 40), 148 , 150 – 1 arms statue in Naples Archaeological Museum as barrier, 96 , 110 , 112 (i g. 39), 148 – 9 crossed/folded, 23 , 95 , 112 , 166 Barberini faun (i g. 3), 4 , 6 held across body, 114 , 201 barrier held away from body, 44 , 95 , 100 , 104 , arms/ legs as, 95 , 96 , 179, 185 , 202, 211 , 118 , 138 , 186 – 8 , 204 , 265 – 6 260 , 264 held close to body, 139 , 167 , 176 , drapery as, 112 , 166, 169 , 175 , 179 , 183 , 179 , 202 185 , 239 , 259 kept inside drapery, 142 gestures, 96 , 112 , 166 , 241 missing, 120 , 127 , 134 , 188 , 204 , 209, 213 benefactors Arringatore statue of the Orator (i g. 27), women as, 78 124 , 126 – 7 bent neck, 44 , 52 arrogance, 43 , 46 , 94 , 97 , 98 , 99 , 110 , 197 , Bernoulli, Johann, 86 , 111 200 , 230 bisellium , 198 Artemidorus, 75 blushing, 66 artists, 153 Blussus and Menimane, tombstone from use of body language, 2 –5 , 13 , 19 , 28 , 50 , Mainz- Weisenau, 268 99 , 100 body language ash chests and grave altars continuity/change over time, 18 , 19 , 139 with handclasp motif, 248 dei nition, 2 Athenais, 176 of Aphrodite of Knidos, 87 –88 Attic grave reliefs, 225 , 230 , 243 – 4 universal vs culture-specii c, 17 – 20 Augustus, 195 , 205 , see also Octavian body posture and control of wives/daughters, 73 represented in art, 3 – 10 on marriage and adultery, 68 , 73 , 168 Bol, Renate, 175 , 189 policies on toga-wearing, 131 book roll, 205 , 213 , 215 , 232 Augustus, statues, 104 , 127 Boscoreale cups, 195 , 198 , 221 , 234 nude statue from Tivoli, 204 Bourdieu, Pierre, 25 – 7 , 267 possible seated togate statue in Masculine Domination , 26 – 7 Rome, 205 boys and pudicitia , 66 Prima Porta statue (i g. 23), 120 –1 , 124 bride, 249 , 251 seated nude in Leptis Magna (i g. 62), in marriage scenes on sarcophagi 204 , 206 (i g. 80c), 248 – 50 Via Labicana statue (i g. 26), 124 – 5 Brilliant, Richard, 14 , 124 , 127 , 247 Aulus Gellius, 48 , 53 , 74 , 75 , 197 Bryson, 47 , 63 , 227

INDEX 345

Caius Caesar statue in Corinth (i g. 15), Clodia, 61 , 79 106 closed poses, 266 Caligula, 49 , 127 , 131 and men, 146 , 211 Cancelleria relief (i g. 8), 14 – 17 , 255 and Venus, 112 Capitoline Triad, 204 , 205 and women, 21 , 78 , 81 , 97 , 118 , 175 , 179, Capitoline Venus (i gs. 10 and 11), 88 , 90 – 1 , 183 , 184 , 232 , 259 110 , 114 clothing captives (female), 234 ef eminate, 52 care of the body, 61 importance of for women, 70 – 2 male, 34 , 52 length, 192 Cartoceto statue group, 161 , 236 luxurious/opulent, 182 , 241 statue of a woman (i g. 44), 161 , 162 clutching at drapery, 175 , 184 , 262 – 3 Cato and Portia (so-called) portrait coin images, 127 , 198 busts, 251 handclasp, 246 – 7 Cato, M. Porcius male nudes, 104 and Voconian Law, 75 – 6 of Pudicitia, 163 Oppian Law debate, 70– 1 Collett, Peter, 17 , 20 , 35 , 96 , 97 , 98 , 174 , Ceres statue type, 154 , 185 – 7 , 192, 266 201, 246 statue in Copenhagen (i g. 55), 185 – 7 Colonna statue of Aphrodite of Knidos, in statue of Sabina in Ostia (i g. 54), 185 – 7 Vatican Museums (i g. 9), 83 , 87 chairs, 195 , 213 , 215 , 217 , 229 columns of Trajan and Marcus for domestic use, 199 Aurelius, 234 high and low status, 197 – 9 competition, competitiveness, 47 , 131 , 197 , changing attitudes, 163 , 187 , 191 , 249 , 268 198 , 202 , 235 chastity, 63 , 65 , 75 , 79 , 180 , 184 , 255 among women, 70 –71 Chatsworth House, statues, see Apt, two and the Doryphoros, 93 statues from Constantine the Great, seated statue, 204 children, 14 , 22 , 229 , 233 – 4 Constantius II, 50 training of, 46 – 7 contrapposto, 95 , 104 , 143 , 155 , 161 , 167 chin on hand, 166 , 229 control Chiusi, togate statue from (i g. 36), 141 , 144 of drapery, 64 , 182 , 263 , 267 Chrysippus, statue, 211 , 215 of toga, 131 , 260 Cicero, 13 , 54 , 211 of wives by husbands, 72 – 5 , 235 on acting, 42 of women by men, 28 , 60 , 62 , 71 , 268 on body language, 33 copies, 10 , 106 , 210 on good behaviour, 34 – 5 , 54 , 142 of Aphrodite of Knidos, 87 – 8 on oratorical practice, 35 , 37 , 43 , 134 Cornelia, mother of the Gracchi, 77 , 232 on orator’s training, 46 statue, 194 , 231 on women, 59 , 61 , 79 courtship, 20 , 97 , 98 , 100 , 201 cinaedi , 51 , 101 critical evaluation gesture, 166 Classical literary sources on body cross-dressing, 50 , 67 language, 31 – 4 cult statues Claudia (epitaph), 61 Aphrodite of Knidos, 84 Claudia Quinta, 65 , 79 seated statues, 203 – 4 Claudius, 49 , 78 , 131 , 204 , 246 – 247 Cyrene, two statues from (i g. 84), 146 , Cleanthes statuette (i g. 65), 211 – 2 , 261 , 262 227 , 264 Clement of Alexandria, 47 , 66 , 79 , 227 D’Ambra, Eve, 60 , 75 , 76 , 114 , 116 Clementia sarcophagus (i g. 61), 195 – 6 dancing, 79

346 INDEX

daughters of Balbus (so-called) statues drapery (i gs. 52 and 57), 182, 188 , 266 copious, 155 , 161 , 167 , 175 , 179, de Jorio, Andrea, 19 209, 234 defensive body language, 78 , 81 , 88 , 89 , i ne texture, 157 , 169 , 241 95 – 99 , 202, 225 , 259 , 264 , 267 hampering movement, 64 , 157 , 187 deference, 23 , 34 , 63 , 75 , 78 , 195 , 197 inhibiting gestures, 185 Delos, statues from manipulation, 81 , 259 Diadora, 157 on nude statues, 104 , 110 , 116 , 204 Kleopatra and Dioskourides (i g. 78), on statues of women, 179 , 186 , 239 155 , 239 – 41 over feet, 64 , 155 , 157 , 174 , 179, nude portrait of C. Ofellius Ferus, 104 187 , 263 pseudo athlete nude portrait over shoulder, 104 , 110 , 217 (i g. 14), 104 slipping of shoulder, 252 , 263 Demosthenes, 37 , 53 dress statue (i gs. 5a and 5b), 5 , 8 – 10 , 20 , 142 inappropriate, 50 dextrarum iunctio , 243, 247 , 248, 251 , 252, of Demosthenes, Hortensius, Julius 254 , 258 Caesar and Maecenas, 53 – 4 Dillon, Sheila, 161 , 163 , 180 , 182 , 189 , 241 of the matron, 64 – 5 , 68 dining posture and statues, 28 , 48 , 72 of the orator, 44 – 5 Dio Cassius, 15 , 73 drinking Diomedes (statue), 94 , 101 women and wine, 66 , 73 , 79 Dion in Macedonia, seated statues Drusilla, 169, 171 , 239 from, 211 Drusus, 120 , 234 Dioskourides portrait statue (i g. 78), 143 , 239 – 41 edict of Constantine, 64 distance between i gures, 16 , 251 , 254 ef eminacy, 14 , 19 , 44 , 51 – 2, 99 , 101 Dixon, Suzanne, 58 , 59 , 73 , 76 elderly i gures domestic domain, 58 , 63 , 64 , 229 female, 157 , 174 , 191 dominance, 47 , 110 male, 10 , 116 , 142 , 158 , 210 , 211 , 213 and men, 110 , 118 elite culture, 153 , 179 , 192, 260 , 267 and prestige, 268 elite male views of women, 58 – 60 and size, 97 elite men, 28 , 32 , 48 and submissiveness, 24 – 5 , 95 – 7 and body language, 13 , 14 , 21 , 30 , 47 and subordination, 23 , 28 , 270 and oratory, 31 and touch, 254 – 5 elite women, 28 , 70 , 71 , 78 , 80 , 153 , 183 – 5 , dominant behaviour (male), 21 – 2 190 , 260 dominant body language, 17 , 97 , 101 , 246 Elpinike, daughter of Herodes Atticus, used by men, 20 , 23 , 97 – 9 , 124 , 138, 176 , 190 267 , 269 statue from Olympia (i g. 59), used by women, 23 , 239 , 266 , 268 176 , 188 – 9 dominant position (right/left), 246 – 7 embrace, 3 , 252 domination, 93 emotion of men by women, 75 , 77 emotionalism of women, 62 of wives by husbands, 61 , 73 expression of, 4, 16 , 254 of women by men, 59 , 60 in oratory, 42 Domitian, 14 – 17 , 50 emperors Doryphoros, 89 –95 , 99 , 114 , 118 addressing a crowd, 129 , 130 Roman copy in Naples Archaeological and body language, 49 – 50 , 268 Museum (i g. 12), 89 , 92 and sitting, 195 , 198

INDEX 347

nude statues of (i gs. 16 and 17), 107 , 108, statue at Perge, 178 110 statues of Ceres type, 185 seated nude statues (i gs. 62 and 63), Favorinus, 55 204 , 263 feminine body language, 61 statues in armour (i gs. 23, 24 and used by men, 146 –51 , 211 , 227 25), 119 – 23 femininity, 23 , 99 , 100 , 180 , 184 statues of, at Perge, 178 feminised Other, 28 , 146 – 51 statues on Nymphaeum of Herodes and pudicitia pose, 168 Atticus, 175 feminist approaches, 20 , 21 – 5 , 87, 100 , empresses 112 , 269 absence from state art, 234 fertility, 86, 114 – 6 , 179, 185 , 187 , 192 and dominant body language, 268 Fittschen, Klaus, 213 , 215 , 217 , 218 in goddess pose, 205 , 264 l irtatious appearance, 163 , 167 , 187 , 192 statue types used for, 168 , 179, 185 , 221 , l irting, 79 , 166 264 , 266 Foucault, Michel, 73 statues of, 153 , see also Livia , Sabina freedmen, 28 , 134 , 145 , 174 , 176, 235 , 244 , Faustina I and II 255 , 267 statues of on Nymphaeum of Herodes and arm-sling toga, 144 , 267 Atticus, 176 and handclasp, 243 , 268 Epicurus, statue, 210 body language of, 48 epitaphs, 63– 4 , 80 , 255 representations of, 145 , see also equality Fundilius of women and men, 99 , 248 – 9 , 254 –5 , freedwomen, 63 , 80 , 168 , 258 , 268 257 , 268 Fulvia, 76 , 77 equestrian statues, 129 Fundilia Rufa Erbach, seated male statue, 217 – 8 statue from Nemi (i g. 49), 174 – 5 , 191 – 2 , Este, seated togate statue, 218 236 , 239 Etruscan art Fundilius Doctus, C. handclasp gesture, 244 togate statue from Nemi (i g. 32), 134 – 5 , Villanovan i gures, 3 174 , 236 , 239 Eumachia, 190 , 191 funerary statue from Pompeii (i g. 48), 171 – 172 art, 72 , 235 , 243 , 248 eunuch priest of Cybele, relief contexts, 80 , 144 , 152 , 157 , 160 , 179 , 197 , (i g. 38), 148 221 , 225 , 236 , 264 everyday gestures vs oratorical inscriptions, 61 , 63 , 180 language, 39 – 41 portraits, 143 eye contact, 96 , 98 , 227 relief of L. Aurelius Hermia and eyes, see gaze Philematio (i g. 82), 255 – 6 relief of the Furii in the Vatican facial expression, 2 , 17 , 44 , 98 Museums, 243 family connections, 78 , 154 , 174 , 178, 183 , relief of Ti. Claudius Dionysius and 190 , 193 Claudia Prepontis (i g.83), 257 – 8 family groups of statues, 80 , 154, 157 , relief with chariot race scene, Vatican 175 , 190 Museums, 255 – 7 family relationships, 233 reliefs, 198 , 221 , 230 , see also sarcophagi Faustina the Elder, 175 reliefs with portrait busts, 145 , 160 , statue at Olympia, 176 242 –3 , 248 statues of Ceres type, 185 statues, 10 , 29 , 80 , 131 , 154, 168 , 190 , 194, Faustina the Younger, 175 , 230 218 , 221 , 227, 230 , 266

348 INDEX

gait, 52 scratching head with one i nger, 18 , Galen, 59 , 62 32 , 52 , 54 gallus , see eunuch priest sparing/condemning gladiators, 19 games thigh- slapping, 43 special seats at, 198 gesturing freely denied to women at the, 67 , 73 women, 64 , 180 gaze Gleason, Maud, 38 , 55 averted, 88 , 94 , 97 , 98 , 218 , 259 , 260 goddesses, 84 , 99 , 261 directed at partner, 247 , 251 – 2 , 269 seated statues, 205 , 264 direction of, 44 , 87 , 127 , 186 Goette, Hans, 142 , 144 , 218 i xed, direct, 94 , 97 , 103 , 261 Grand Camée de France, 205 lowered, 10 , 66 , 78 , 81 , 227, 230 , 252 grave altars, 244 male (and Aphrodite), 95 , 100 altar of Ti. Claudius Dionysius and raised, 66 , 79 Claudia Prepontis (i g. 79), 244, Gemma Augustea, 198, 199 , 205 , 221 , 248 , 249 , 258 230 , 234 Greek citizen body language, 10 , 99 , 143 gender Greek citizen dress, 263 and status, 184 Greek customs adopted by Romans, 142 boundaries, 60 , 183 Greek dress as cultural signii er, 146, construction of, 14 , 81 , 184 263 , 267 – 8 deviancy, 55 Greek dress worn by Romans, 144 , dif erence, 20 – 1 , 22 , 27 – 8 , 60 , 118 , 175 , 215 , 217 184, 237 , 259 , 270 Greek use of handclasp, 243– 4 ways of sitting, 200 – 3 greeting, 15 , 18 , 66 , 244 equality, 22 hierarchy, 21 , 28 , 74 , 259, 269 habitus , 25 , 26 , 27 , 183 ideology, 118 , 191 Hadrian, 127 , 129 –30 , 175 , 261 polarity, 51 , 55 armoured statue from Perge politics, 20 , 27 (i g. 25), 120 relations, 270 statue in Vaison-la- Romaine (i g. 16), signals, 98 110 , 236 gendered hairdressing, 64 , 195 body language, 27 – 8 , 95 – 100 , 118 , 269 Hall, Judith, 24 clothing, 175 Hallett, Christopher, 104 , 205 gaze, 84 , 88 Hallett, Judith, 80 , 192 viewing, 93 , 118 hand genital display, 95 , 101 , 110 , 205 behind back, 10 , 101 , 103 , 110 gesticulation, 53 – 4 , 232 , 260 held close to neck, 155 , 162 –3 , 166 – 7 hampered by drapery, 142, 179 , 183 held palm up, 52, 101 , 211 gesture held to chin, 167 , 210 , 211 , 217 , 218 , 229 as universal language, 37 on back of chair, 215 , 225 , 230 , 264 oratorical, 38 – 41 resting on chair seat, 200, 213 , 217 , gestures 218 , 221 head toss, 18 hand gestures made by statues of men, 261 of Aphrodite of Knidos, 110 made by statues of women, 167 of Arringatore , 126 – 7 patting on the shoulder, 16 of teachers and thinkers, 213 ring gesture, 18 of togate statues, 134 Roman salute, 19 oratorical, 38 – 9

INDEX 349

hand on hip, 96 , 101 , 104 , 110 , 116 , Small, ‘daughter of Balbus’, 179 , 182 143 , 263 Small, statue from Cyrene (i g. 84), handclasp in Roman art, 243 – 9, 254, 256 146 , 262 – 3 hands Small, statue in Palazzo Braschi (i g. 53), behind back, 103 , 151 160 , 179 , 182 clasped in front, 151 Hermarchus, statue, 210 clearly visible, 261 , 264 Hermes, statues of, 101 covered with drapery, 167 , 176 , 179, 183 statue in Palatine Museum (i g. held in front of body, 10 13), 101 – 2 in lap, 201 , 230 , 264 Herodes Atticus, 173 , 176, 188 , 190 , 236 kept inside drapery, 66 , 143 heroic nudity, 204 , 237 , 247 , 263 kept still and invisible, 78 , 81 hieratic pose, 204 , 205 missing, 9 , 20 , 124, 161 , 171 , 186 high and low V, 24 , 29 , 95 , 268 occupied with drapery, 179 himation , 10 , 142 , 215 , 217 handshake (modern), 243 , 244 – 6 himation/pallium , 183 , 192 , 263 haptics , 254 Greek identii er, 176 harassment, 67 ways of draping, 142 harmony, 239 hip mantle, 104 , 110 in imperial family, 234 , 236 hip sway, 61 , 87, 100 , 169 , 241 marital, 73 , 75 , 185 , 235 , 236 , 244 , 268 Hip-Swathe statue type, 154 , 193 , 266 Hartland, Dilys and Caroline Tosh, 96 , 200 statue from Pompeii (i g. 58), 187 – 9 Havelock, Christine Mitchell, 82 , 89 , 93 , 112 homosexuality, 51 head honorii c statues, 10 , 29 , 194 bowed, 151 , 251 , 255 of men, 110 , 129 , 144 carriage of, 43 , 134 of women, 80 , 153 , 168 , 171 , 179 , inclined, 10 , 52 , 87 , 100 , 114 , 249 , 264 264 , 266 lowered, 95 , 96 , 98 , 195 Hortensia, 77 raised, 97 Hortensius (the orator), 53 turned to side, 94 , 95 , 100 , 103 , 104 , 110 , Huckleberry Finn, 203 114 , 174 , 205 , 215 , 243 hunched posture, 111 , 114 turned towards partner, 248 , 251 husbands and wives represented together, head canting, 24 , 97 , 98 , 112 , 174 , 187 30 , 160 , 185 , 190 , 233 , 236 – 242, height, 50, 97 , 103 , 169, 195 , 239 , 248 , 255 255 , 268 Helena, mother of Constantine on sarcophagi, 232 seated statue in Capitoline Museum (i g. 74), 228 , 230 ideal body language, 131 Hellenistic statues, 4 , 101 imperial cult, 178 , 190 of women, 155 – 7 , 161 , 189 imperial family, 234 seated, 194 , 199 , 210 , 213 role of women, 78 Helvia and ideal female behaviour, 60 statue groups, 175 , 236 , 239 Henley, Nancy, 23 , 24 –5 , 26 , 254 , 269 incense box, 169 , 188 Herculaneum Woman statue types, 153 , 154 , inscriptions, 80 , 153 , 194, 255 , 257 , 258 , 260 178, 179 –85 , 192, 193 , 260 , 266 intellectuals, body language of, 217 Large, 160 , 176, 177 , 184 interaction between i gures, 237 , 242 –58 Large, statue from Gardens of Maecenas intimacy, 254 , 258 (i g. 51), 179, 181 inviolability, 64 Large, statue of Plancia Magna Italian body language (i g. 50), 176 – 8 compared to British, 18 Small, 81 , 176 , 177 , 184 Italy, regional dif erences in body language, 18

350 INDEX

Jaskolka, Anna, 20 , 95 , 96 , 98 , 201 , 202 leg positions joking, 79 Aphrodite of Knidos, 87 – 8 , 95 Julia Domna, 234 – 5 closed/knees together, 23 , 97 , 200 statues of, 185 crossed, 97 , 198, 200 – 2 , 264 Julia, Augustus’ daughter, 79 crossed at ankle, 95 , 201 , 202, 211 , 222, Julio- Claudian emperors, 204 227 , 229 Julio-Claudian imperial family crossed at knee, 201 , 211 , 222, 227 , 229 statues, 168 – 71 i gure 4 leg cross, 198, 201 , 202 Julius Caesar, 49 , 54 , 198 open/knees apart, 22, 97 , 201 – 2, 204 , Juno Viriplaca, 75 209, 221 , 225 , 264 Jupiter pose, 204, 205 , 221 , 263 when seated, 200 – 1 Juvenal, 77 , 131 while standing, 114 , 252 leisure, 144 , 199 , 217 , 221 , 230 , 263 , 266 Kabyle, 25 – 6 , 27 Leptis Magna Kampen, Natalie Boymel, 14 , 252 Arch of Septimius Severus, 235 kissing, 15 , 18 , 255 Lex Oppia, see Oppian Law Kleiner, Diana, 145 , 252, 260 limp hands/wrist, 52 , 166 Kleopatra and Dioskourides statues in Livia, 73 , 78 , 169, 171 , 188 Delos (i g. 78), 239 – 41 Livia, seated statues, 205 , 209 , 221 Knidia, see Aphrodite of Knidos from Paestum in Madrid (i g. 64), 205 , Koch, Luise, 199 , 225 , 227 208 – 9 , 264 Kore statue type from Rusellae, 209 statue of Elpinike (i g. 59), 188 – 9 in Leptis Magna, 209 Kuttner, Ann, 48 , 197 , 198, 205 Livia, statues, 153 , 168 , 187 from Otricoli, 171 ladylike body language, 23 , 200 , 202, from Velleia, 169 , 239 203 , 221 hip-swathe with cornucopia, 171 Langlands, Rebecca, 65 , 69 in Eumachia building, laughter, 66 , 79 Pompeii, 174 law, see also Oppian Law Livy, 70 , 76 on dress, 68 Llewellyn-Jones, Lloyd, 69 on injury/ insult, 67 Loggia dei Lanzi statues of women law courts (i g. 56), 187 – 8 , 266 and women, 64 loose belt, 52 , 54 women practising in, 76 lost originals, 154 leaning back, 249 , 264 Lucian, 52, 85 , 86 , 87 , 89 , 98 leaning forwards, 103 Lusius Storax, tomb at Chieti, 195 learned vs innate body language, 22 , 23 Lysippus, 101 left arm across body, 227 macho display, 96 , 101 , 103 , 146 covered in drapery, 134 , 138 , 143 , 157 , 211 macho pose, 116 , 118 , 200 , 204 , 205 , 221 , extended in front, 157 , 169 232 , 261 resting on back of chair, 215 , 229 Maecenas, 53 use of by orator, 44 Maesia of Sentinum, 77 left hand magistracies covered in drapery, 211 , 263 held by women, 176 , 190 on partner’s shoulder, 243, 248 , 251 women excluded from, 76 , 78 , 153 role in oratory, 134 magistrates, representations of, 126 , 197 , left side advantage, 241 , 246 – 8 , 254 234 , 241 , 263

INDEX 351

Mammius Maximus, L. togate statue movement, 218 (i g. 30), 131 – 2 hampered by drapery, 263 mannerisms to avoid, 43 – 5 slow vs rapid, 48 , 96 , 99 manners and etiquette, 26 , 45 – 7 , 182 , 197 mutual gaze, 234 , 248, 251 , 252 marital relationship, 65 , 73 – 6 , 257 marriage, 235 , 243 , 244 Naples, body language in, 18 , 19 marriage scenes on sarcophagi, 249 narrow postures, 21 , 22 , 260 married couples, 237 , 243 nature vs art, 38 , 40 Mars and Venus statue group (i g. 81), nature vs nurture, 20 – 1 , 22 237 , 252 – 3 negative body language, 96 , 166 , 202 Martial, 64 , 76 , 131 Nero, 50 , 78 , 127 , 169 masculinity, 14 , 23 , 47 , 51 new conjugality, 73 masculinity and femininity, 55 , 118 nonverbal behaviour research, sliding scale, 56 268 , 269 – 70 matrons, 76 Nossis, 89 and morality, 75 nude statues, 82 , 259 , see also Aphrodite of behaviour in public, 57 , 67 Knidos and Doryphoros compared with prostitutes, 57 , 79 female, 110 – 17 , 252 ideal behaviour, 63 male, 89 , 100 – 10 medical writers, 58 of Hellenistic rulers, 103 Medici Venus statue (i g. 19), 110 , 112 portrait of Valerianus from Meleager, 101 , 103 Rusellae, 205 men nudity using ‘feminine’ body language, 22 , as a costume, 119 24 , 167 in Classical art, 84 men and women represented together, Nymphaeum 30 , 235 – 58 Northern at Perge, 178 Menander (so-called) seated statue of Herodes Atticus at Olympia, 175 – 6, (i g. 67), 215 – 6 179, 188 , 191 , 236 , 260 Menander statue in Athens, 213 Metrodorus, statue, 210 Octavia (so-called) statue in Naples mirroring, 239 , 241 , 242 (i g. 85), 264 – 6 modest behaviour, 78 , 80 Octavian, see also Augustus modesty, 65 , 69 , 71 , 86 , 112 , 114 , 163 , possible seated togate statue, 198 241 , 266 represented nude, 104 for men, 34 , 46 , 55 , 94 , 99 , 143 , 183 , 263 Omphale and Hercules relief in for women, 64 , 69 , 180 , 184, Naples, 251 192 , 255 Omphalos Apollo (statue), 94 for young men, 142 open poses, 95 , 112 , 118 , 124, 171 , 185 , 187 , modesty gesture, 86 , 89 , 114 , 167 189 , 192, 205 , 215 , 221 , 232 , 239 , 261 , mollitia, mollis , 44 , 52 – 3 264 – 6 , 267 Morris, Desmond, 1 , 197 open/closed postures, 95 , 96 , 187 mos maiorum , 28 , 68 Oppian Law and its repeal, 62, 70 –1 , 76 Moschion statuette in Naples, 217 Orans pose, 171 motherhood, 58 , 187 , 233 oratorical mourning, 69 , 166 , 229 gestures, 38 – 41 , 267 and women, 62 , 227 performance, 37 – 41 , 47 gestures, 161 , 225 , 257 posture, 43 – 4 mourning i gures, 3 training in body language, 41 – 3 , 267

352 INDEX

oratory philosophers, 199 , 218 , 230 , 232 , 268 and body language, 13 , 31 , 35 – 8 statues of, 210 – 13 , 221 , 263 , see also women practising, 76 – 7 Cleanthes orientation of body, 97 , 243, 248 , 254 physiognomic writings, 13 , 21 , 32 , 51 Osborne, Robin, 88 , 89 Plancia Magna, 176 –77 , 191 Otherness/Sameness, 48 , 80 , 146 , 192 second statue of, 176 Ovid, 61 , 62 , 64 , 67 statue of large Herculaneum woman type from Perge (i g. 50), 176 , 191 paired i gures, 30 , 197 , 236 – 8 , 237 , 239 , 251 Plautus, 48 Palazzo Braschi, statue of Small Pliny the Elder, 85 Herculaneum Woman type (i g. 53), Pliny the Younger, 49 , 50 160 , 182 Plutarch, 74 Palazzo dei Conservatori funerary relief on Fulvia, 77 with six i gures, 242 on Julius Caesar, 54 Palazzo Doria, seated statuette, 211 on marriage, 73, 74 – 5 , 235 , 269 Palazzo Falconieri, seated togate statue, on mourning, 62 197 , 205 on teaching manners, 46 Palazzo Spada, statue of philosopher, 213 on Theano’s arm, 68 Palazzo Valentini, portrait relief of a on veiling, 69 couple, 251 on women, 62 , 64 , 71 , 75 palla , 64 , 70 , 175 , 176, 192, 225 , 263 poets and playwrights, 199 , 205 worn as veil, 68 – 70, 155 , 163 , 169 , statues of (i gs. 66 and 67), 213 – 16 174 , 186 pointing gestures, 39 , 101 , 103 , 104 palliati , 142 – 6 , 157 , 184, 192 , 239 , 241 , 263 , Polemon, 21 , 32 , 52 , 55 266 , 268 political invective, 31 , 33 , 53 pallium , 142 – 6 , 184 Pollini, John, 120 , 161 Pallium-typus , 142 , 144 Polybius, 71 patera, 101 , 124 , 189 Polykleitos, 89 patriarchal attitudes, 21 , 28 , 192 , 269 Pompeii Pease, Allan, 20 , 35 , 201 , 244 , 246 , 247 Eumachia building, 171 , 174 Pease, Allan and Barbara, 20– 21 , 96 – 7 , Nocera Gate cemetery, statues from, 197 , 202 157 , 205 Peeping Tom, 85 , 94 statue of a priestess from (i g. 58), Penelope, statue type, 227 188 – 9 , 264 Perge statue of Eumachia (i g. 48), 171 , 172 city gate, 176, 178 Street of the Tombs, statues from statue of a man wearing himation/ (i g. 43), 157 – 60 , 161 , 237 pallium (i g. 37), 143 , 145 – 7 Poppaea (Nero’s wife), 69 statue of a priest in himation , 176 poppy and wheat as attributes, 179 , statue of Hadrian in armour (i g. 25), 185 , 187 120, 123 portrait statues, 29 , 175 , 178 statues of Plancia Magna, 176 – 77 Hellenistic, 80 , 204 statue of Trajan in armour (i g. 24), male nudes, 101 , 103 120 , 122 of emperors, 204 statues at, 178 of women, 69 , 81 , 152, 154, 155 , 185 , personal space, 19 , 23 , 254 189 , 191 Petronius, 32 of women as Venus (i gs. 21 and 22), 84 , phallic display, 97 , 201 110 , 114 – 17 Pheidias, 203 , 230 , 231 seated, 194 Philematio, see Aurelius Hermia portraits, 76 , 80, 191

INDEX 353

poses statue from Cartoceto (i g. 44), 161 – 2 adopted when seated, 199 – 203 statue from Pompeii, street of the tombs of Aphrodite and Doryphoros (i g. 43), 157 – 60 compared, 94 – 5 statue in Capitoline Museum, Salone 15 of Kleopatra and Dioskourides, 241 (i g. 45), 163 – 4 , 167 of male nudes, 100 statues of Baebia and Saufeia (i g. 41), of Prima Porta and Via Labicana statues 155 – 157 of Augustus compared, 124 statue of Kleopatra (i g. 78), 157, of seated statues, 204 – 5 , 209– 11 , 213 , 215 , 239 – 241 217 – 8 , 222 , 225 statue of Sabina from Vaison-la- of standing statues of women, 187 Romaine (i g. 46), 163 , 165 , 168 of togate statues, 131 , 239 Via Statilia relief (i g. 77), 160 , 162 Posidippus, seated statue in Vatican (i g. 66), 213 – 15 Quintilian positive body language, 96 and oratorical body language, 35 – 46 Postumia, a Vestal Virgin, 79 and the pose of togate statues, 134 Praxiteles, 82, 85 , 86 , 112 on carriage of the head, 134 precedence, 48 , 197 on toga styles, 139 , 142 priestesses, 71 , 76 , 78 , 80 , 153 , 174 , 175 , 178 , on training the orator, 41 , 46 189, 190 , 193 , 260 priests, 124 , 176, 234 , 268 raised arm, 10 , 19 , 44 , 101 , 103 , 104 , 110 , Prima Porta Augustus statue (i g. 23), 118 , 120 , 124 – 9 , 204 , 261 120 –1 , 124 and orators, 127 prostitutes, 68 , 75 , 79 , 84 , 89 , 99 , 168 Ravenna relief, 120 provinces reclining, 28 , 48 , 72 , 197 eastern, 144 , 146 , 153 Regilla, 175 , 190 North Africa, 146 , 185 , 153 statue at Olympia, 176 northern, 268 relationships proxemics , 254 Aurelius Hermia and Philematio, 255 ps.- Aristotle, 51 , 58 Claudia Prepontis and Ti. Claudius Pseudo- Athlete statue (i g. 14), 104 – 5 Dionysius, 257 – 8 Pseudo- Menander, see Menander (so- expressed by body language, 252 , 257 called) seated statue father and son, 14 – 17 , 215 public honours Fundilius and Fundilia, 174 for women, 66 indicated by body orientation, 243 public life and role indicated by touching, 243 for men, 28 , 153 relaxation, 195 , 213 , 215 , 227, 229 , 230 , 267 for women, 29 , 153 reticence, 63 , 180 , 184 , 266 public statues, see honorii c statues Rhetorica ad Herennium, 36 pudicitia , 65 – 8 , 163 Riace A (bronze statue), 94, 110 dei nition, 65 right arm Pudicitia across body, 145 , 157 , 175 , 184, 218 , the deity and cult, 65 , 163 239 , 261 pudicitia arm gesture, 161 , 163 , 225 , 227 , covered in drapery, 138 , 143 , 145 , 157 , 242 , 264 227 , 239 seated statues of women, 225 extended in front, 175 , 187 – 8 , 195 pudicitia pose, 155 , 160 , 167 , 241 , 260 gesture implying speaking, 211 pudicitia statue type, 70, 146 , 154, 160 – 8 , gesture of Arringatore , 126 192, 241 , 260 , 261 , 266 , 268 of Ceres statue type, 185 – 6 preferred for funerary use, 268 use of by orator, 44 , 45

354 INDEX

right hand statue in Capitoline Museum, Galleria gesture of Prima Porta Augustus, 120 58 (i g. 68), 218 – 9 on togate statues, 134 women, 221 – 32 use of by women, 58 Aphrodite-Olympias type, 229 – 32 right side advantage, 247 , 248 statue from Apt in Chatsworth (i g. role model, 89 , 153 , 261 72), 224 – 5 Roller, Matthew, 28 , 48 , 64 , 72 statue from Via Appia in Capitoline Roman citizen Museum (i g. 71), 223 , 227 dress of, 45 statue from Via Casilina in National emperor as, 49 – 50 Museum of Rome (i g. 73), 226 – 7 Roman law and women’s weakness, 59 –60 statue in Torlonia Museum (i g. 75), 229 –30 Sabina, statues, 175 , 176, 178 statue in Vatican Museums, Octagonal statue of Ceres type in Ostia (i g. 54), Court (i g.70), 221 – 2 , 225 185 , 187 statue of Helena (i g. 74), 228 , 230 statue of pudicitia type in Vaison-la- seated young girl, statue in Capitoline Romaine (i g. 46), 163 , 165 , 168 , collection (i g. 4), 4 , 7 , 227 236 , 266 seduction, 67 , 72 Sallust, 79 self-control, 34 , 81 , 99 , 143 Salomon, Nanette, 87 , 88 , 89 women’s lack of, 59 sanctuaries, 175 , 189 , 236 self-touching, 98 , 259 as location for statues, 171 , 191 sella curulis , 197 , 198 – 9 , 205 , 217 , 218 sarcophagi, 72 , 229 , 232 Sempronia, 79 biographical sarcophagus in Mantua Seneca the Elder, 32 , 65 – 6, 67 , 79 , 142 (i g. 80), 234 , 244 , 249 – 50 Seneca the Younger, 32 , 46 , 53 , 60 , 62 , Clementia sarcophagus in Vatican 63 , 65 , 78 Museums (i g. 61), 195 sexual relations (marital), 75 handclasp gesture, 244 sexuality, 89, 112 , 261 scroll, 44 , 129, 134 , 138 , 148, 157 , 171 , 210 , female, 84, 87 , 192 218 , 221 , 225 , 260 , 263 male, 51 seated statues, 194 , 263 of Doryphoros, 93 deities, 194 , 204 shame, 86, 89 , 112 emperors, 204, see also Jupiter pose Shoulder-Swathe statue type, 154 , 193 , 266 statue of Augustus (i g. 62), 204 , 206 statue of ‘daughter of Balbus’ (i g. statue of Tiberius (i g. 63), 204 , 207 57), 187 empresses, 205 , 208 – 9 side by side, 237 , 239 , 241 , 242 , 268 Livia from Paestum (i g. 64), similar poses/gestures 205 , 208 used for husband and wife, 239 , 242 , 268 in armour, 205 used for men and women, 30 , 169 , 175 , male nude (not emperors), 205 188 – 9, 192 , 227, 242 , 264 male, in Greek dress, 217 statues from Cyrene (i g. 84), 261 philosophers, 210 – 13 sitting Cleanthes statuette (i g. 65), 211 – 2 and status, 28 , 48 , 49 , 72 , 195 – 7 poets and playwrights, 213 – 16 as sign of domestic sphere, 197 Menander (i g. 67), 215 – 6 in long skirts, 203 , 221 Posidippus (i g. 66), 213 – 5 on the ground, 199 togate, 197 , 217 – 21 with legs apart (for women), 203 statue from Via Casilina (i g. 69), sitting vs standing, 195 218 , 220 size, relative, 16 , 17 , 96 , 97 , 230 , 255

INDEX 355

slaves, 28 , 48 , 68 , 255 submissive body language, 17 , 89 , 96 – 8 , 100 , body language of, 43 , 48 , 52 145 , 174 slumped posture, 87 , 88 , 95 , 96 , 211 , submissiveness, 81 , 96 , 185 , 241 , 257 , 269 218 , 257 subordinate position of women, 80 , 118 , smiling, 17 , 24 , 27 , 98 – 9 168 , 183 , 192 , 247, 251 , 255 , 259 , 261 Smith, R.R.R., 10 , 101 , 103 , 146 subordination, 195 social hierarchy and body language, 28 of wives to husbands, 73, 74 , 235 social hierarchy and women, 193 of women to men, 97 , 185 , 192 social mobility, 48 subordination theory, 24 sophists, 37 , 55 subservience Sophocles (statue), 142 , 143 of wife to husband, 63 , 72 , 254 , 255 sophrosyne , 143 , 180 of women to men, 81 space subservient body language, 17 , 98 , 257 and status, 254 Suetonius, 15 , 49 , 50 , 54 , 131 , 197 between i gures, 16 , 239 , 241 personal, 19 , 23 , 254 Tacitus, 15 , 69 , 78 , 79 taking up, 23 , 96 , 97 , 98 , 200 , 202 talking too much, too loud, 79 speaking gestures, 188 , 211 , 232 Taranto, seated goddess statue, 203 spear/ sceptre, 10 , 101 , 103 , 118 , 120 , 204 , teaching body language/etiquette, 27 , 205 , 261 41 – 2 , 46 stance of orator, 44 teaching gesture, 211 , 213 standardised bodies, 10 , 29 , 81 , 104 , 129, 152, Terence manuscript illustrations, 167 – 8 154 , 191 Terme Ruler statue (i g. 7), 10 , 12 , 103 standing, 49 , 61 theatre and status, 28 , 48 as location for statues, 191 , 236 statue types, 93 , 101 , 152 , 176, 185 , 191 , as place for picking up women, 67 221 , 237 thinking gesture, 211 based on famous originals, 154 – 5 thinking pose, 210 , 213 , 217 , 218 female, 80 , 154 –5 , 264 – 6 , see also thrones, 195 , 199 , 204 Pudicitia, Herculaneum Woman Tiberius, 77 , 205 types , Ceres , Hip-Swathe and seated nude statue from Privernum Shoulder-Swathe (i g.63), 204, 207 for empresses, 168 – 9 toga statues as Roman identii er, 144 , 176 in Roman society, 80 – 1 associated with forum and politics, of women, 80 – 1 , 171 144 , 217 status and body language, 96 – 7 badge of Roman citizen, 129 , 174 , status, relative, 72 , 76 , 183 , 185 267 stereotypes, 24 , 60 , 71 , 114 , 270 changes in style, 144 Stewart, Andrew, 85 , 89 , 93 , 94 control of, 49 , 81 , 131 Stewart, Peter, 81 imperial, 131 , 157 , 169 , 187 , 192 , 263 stola , 64 , 70 , 174 , 175 late Republican forms of draping, 124 , straddle- stance, 97 139 , 218 stress width, 21 , 22 , 45 , 101 , 103 , 120 , of orator, 44 – 5 131 , 138 , 171 , 195 , 200 , 201 , 205 , worn by seated i gures, 218 , 221 260 , 263 togate statues, 154 , 263 submission signal, 97 , 98 and orators, 134 submissive behaviour and women, 20, 21 , Augustus from the Via Labicana 22 , 23 , 99 (i g. 26), 124 – 5

356 INDEX

togate statues (cont.) Ulpius Crotonensis, M. togate statues imperial date, 129 –38 , 176, 184 , 188 , (i gs. 33 and 34), 134 260 , 264 unconventional lifestyle, 53 – 5 statue from Velleia (i g. 31), 133 – 4 , universal gestures, 98 169 , 239 universal vs culture-specii c body statue of Fundilius (i g. 32), language, 203 134 – 5 , 174 US Embassy in Rome, seated statue in statue of L.Mammius Maximus garden, 215 (i g. 30), 131 statues of M. Ulpius Crotonensis Vaison- la-Romaine, statues from, see (i gs. 33 and 34), 136 – 8 Hadrian and Sabina late Republican, 138 – 45 Valerius Maximus, 62 , 64 , 65 , 66 , 67 , 68 , 70 , Arringatore (i g. 27), 124 , 126 – 7 72 , 73, 74 , 75 , 76 , 163 seated, 197 , 198 , 217 – 21 Var ro, 72 , 74 statue from Via Casilina (i g. 69), vase painting, 19 , 243 218 , 220 Attic Geometric, 3 statue in Capitoline Museum red i gure chous (i g. 2), 4 – 5 (i g. 68), 218 – 9 representation of chairs, 199 with arm sling, 138 – 45 , 158 , 192 S. Italian, 225 statue in Chiusi (i g. 36), veil 138 – 9 , 141 i ngering, 161 , 163 , 167 statue in National Museum of Rome wearing, 66 , 68 – 70, 73, 78 , 81 , 124, (i g. 35), 138 – 9 , 140 179, 249 with raised arm, 124 – 9 veil manipulation, 69 statue in Vatican Museums veiled statues, 157 , 161 , 209 , 259 (i g. 28), 127 – 8 veiling gesture, 69 , 81 , 227 togati and palliati , 144 Velleia, statue group from the basilica, Torlonia Museum 168 – 70 , 236 seated statue of a woman (i g. female statues (i g. 47), 187 75), 229 –30 togate statue (i g. 31), 133 – 4 touch Venus Obsequens, 75 and dominance, 254 – 5 Venus Verticordia, 75 and status/power, 16 Venus, gendered pose of, 112 , 261 when greeting, 246 Venus, portrait statues of women as touching (i gs. 21 and 22), 114 – 16 another person, 14 , 234 , 237 , 243 , 251 – 2 , in Capitoline Museum (i g. 22), 116 – 17 254 , 256 , 269 in Copenhagen (i g. 21), 114 – 5 the neck, 166 Venus, statues of, 231 , see also Aphrodite Trajan, 49 , 50 , 129 , 187 of Knidos , Capitoline Venus , on coins, 127 Medici Venus ) statues at Perge (i g. 24), 122 , 178 statue by Menophantos in National Trier relief of a woman with her maids Museum of Rome (i g. 20), 112 – 3 (i g. 60), 195 – 6 , 254 Venus of Capua/Brescia, 116 , 252 Trimble, Jennifer, 153 , 154, 178 , 180 , 184, Vespasian, 14 – 17 185 , 189 , 192 , 193 Via Appia, pair of seated statues from, tunic, 45 , 54 , 64 , 70 , 174 , 176, 179 , 187 , 192 , (i gs. 68 and 71), 219 , 223 , 237 215 , 217 , 221 Via Casilina, pair of seated statues from tutela mulierum , 59 – 60 (i gs. 69 and 73), 218 , 220 , 237

INDEX 357

Via Labicana, togate statue of Augustus behaving like men, 22 , 59 , 61 , 76 from (i g. 26), 124 – 5 how not to behave, 65 , 66 , 79 – 80 Via Statilia relief (i g. 77), 160 , 162 , in public, 64 , 67 , 69 , 70 , 78 , 153 , 167 , 185 , 237 – 8 , 241 – 2 191 , 192 , 260 Viciria Archais, statue (i g. 42), 157 – 8 in state art, 234 – 5 viewer orators, 76 – 7 as observer of Aphrodite, 84 praised for manly behaviour, 235 engagement with art, 13 , 88 , 94 using ‘masculine’ body language, 22 , 24 , engagement with statue, 103 , 112 , 30 , 99 , 201 127 , 197 women’s response to statues, 81 , 84 , 118 adornment of the body, 61 – 2 viewer response to Aphrodite of Knidos dress, 64 – 5 , 68 , 169 ancient, 85 i nery as badge of honour, 71 female, 88 – 9 frivolity, 60 , 62 male, 89 greed and cunning, 59 modern, 85 – 7 inferiority, 48, 55 , 58 – 60 , 62 , 73, Villa Albani relief with couple, 252 81 , 185 Vipsania Agrippina statue, 184 lightmindedness, 59 visibility love of luxury, 59 , 62 of statues, 184 , 191 public roles, 153 , 185 , 190 , 260 of wives, 74 vanity, 59 of women, 69 , 71 , 182 visibility, 64 , 153 , 261 Volusii, grave altar from tomb of, 221 vulnerability, 64 , 67 , 86 , 89 , 166 Volusius Saturninus, L (inscription), 194 weakness, 59 , 62 voyeur, viewer as, 13 , 93 , 252 wealth, 70, 76 , 171 , 193 , 235 wool working, 63 , 77 walking, 52 , 53 , 61 , 79 , 93 , 99 wrist, 166 – 7 Wallace- Hadrill, Andrew, 50 , 144 writing tablets, 218 , 221 Wex, Marianne, 22, 27 , 100 , 166 , 200 , Wyke, Maria, 57 , 60 , 61 201 , 269 women young men and politics, 77 – 8 and arm- sling toga, 142 , 145 and power, 75 , 185 and pudicitia , 66 and public af airs, 76 – 8 body language of, 34 , 142 and Roman law, 59 –60 , 64 , 68 Youth from Eretria statue, 143 and touching, 254 as benefactors, 78 , 153 , 171 , 176 , 190 , Zanker, Paul, 143 , 174 , 210 , 211 , 213 , 260 , 268 215 , 230 as patrons, 153 , 171 , 174 , 190 , 193 , Zeus, statue at Olympia by 260 , 268 Pheidias, 203