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Miniature Sculptural Copies

Bartman's study, a revised Ph.D. dissertation, deals with a category of sculptural Roman copy, the miniature, and expends considerable effort in justifying that such a category actually exists. Miniature copies do, of course, exist (they are like large copies, but smaller), but how do they differ from the large versions? How were they viewed by those who commissioned them? Are they cheap versions of larger sculpture, fine works made for a special function, or works even more highly valued than the large scale examples? The introduction (with occasional reiteration throughout the book) is full of rhetoric against Kopienkritik in general and Adolf Furtwangler in particular. Furtwangler's attempts to reconstruct original works of art from later copies and assign them to famous artists are described as 'theoretically misguided, and ultimately, futile'; throughout there are references to 'the masterpiece/replica paradigm', and there is similar material in the brief conclusion (pp. 187-90). Such rhetoric is unpleasant and rather misleading. Concern about the abuses of Kopienkritik are not only passe, since there is no shortage of such warnings in the scholarship of the last fifteen or twenty years, but largely irrelevant to the topic of the book, which allegedly deals with Roman copies and not their Greek prototypes. The attempted identification of Greek originals from Roman copies, however difficult the process, is a concern separate from the study of Roman copies themselves. Studies of Roman copies such as those by P. Zanker and the recent discussion of the Ares Borghese by K. J. Hartswick {Revue Archeologique 1990, pp. 227-83) are exemplary and jargon free.