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Greek Statuary, Roman Portraits

to Rome and the emergence of a taste for these works of art, gave rise to a process of copying that would snowball. The Urbild2 of a Roman imperial effigy was never to remain unique. Quite the contrary, it was, by its very nature, destined to be multiplied from the moment of its completion, for the sake of propaganda and thorough distribution of the emperor’s image. At first, we cannot imagine a situation more different. However, today, the historical value of these copies is the same, the original having disappeared in one case as in the other. This is not the only paradox. As we know, with all-too-rare exceptions at hand (the Delphi Charioteer, the Zeus from Cape Artemision, the Antikythera and Marathon ephebes, the Riace warriors), classical Greek statuary is only known by means of these often late replicas3 of originals that have disappeared forever. Pillaged during the plunder of cities such as Corinth (146 Bc) or Athens (86 Bc), these masterpieces, more often large bronzes, were brought to Rome to adorn the temples and public squares of the conquerors. Part of the plunder was lost at sea; these are precisely the statues that several unexpected discoveries have revealed, because they never reached Rome. Those that did arrive and were esteemed, cited, and copied at will were