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.