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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 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84273-0 — Gender and Body Language in Roman Art Glenys Davies Index More Information 344 344 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 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84273-0 — Gender and Body Language in Roman Art Glenys Davies Index More Information 345 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 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84273-0 — Gender and Body Language in Roman Art Glenys Davies Index More Information 346 346 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.
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  • The Statue of Venus Pudica from Skupi

    The Statue of Venus Pudica from Skupi

    Folia archaeologica Balkanica II, 2011 347 Marina Ončevska Todorovska The statue of Venus Pudica from Skupi UDK: 904:730.046.1(497.711)„652” The Museum of City of Skopje email: [email protected] During the archaeological excavations of the Roman city of Skupi performed in 2008, a marble statue of Venus was found in the central part of the urban area. The statue was found in the central room of a large thermal facility recently discovered on the site. The bathhouse is the largest public building to have been discovered in the city to date, extending north-south the full length of the city quarter in which it is located. Ongoing research indicates the building also ran the full length of the city quarter in a west-east direction. The architectural organization is characteristic of the Imperial Style.1 (Fig. 1) The room where the statue was placed is higher in relation to its surroundings and paved with marble slabs, mostly green in colour, but also yellow and red. The statue of Venus stood in a semi-circular niche of the room. (The niche was paved with the same marble slabs on the walls. In the course of the research, fragments of a wall mosaic with golden petals were found in the same room of this luxury facility.) The statue was exceptionally highly polished, even more so at the front, indicating the intention to place it in the niche with its front facing towards the visitors’ view. It was found outside the building on its back beside the niche, along with rubble from the collapsed structure (Fig.