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101Julia Livilla, Julia Drusilla, Lollia Paulina and Domitia Lepida. Caligula, Milonia Caesonia and Julia Drusilla. Developments, Implications, and Precedents. The appropriate fees are paid directly to The CopyrightClearance Center, 222 Rosewood Drive, Suite 910ĭanvers MA 01923, USA.Fees are subject to change.Īcknowledgments. No part of this publication may be reproduced, translated, stored ina retrieval system, or transmitted in any form or by any means, electronic,mechanical, photocopying, recording or otherwise, without prior writtenĪuthorization to photocopy items for internal or personaluse is granted by Brill provided that © Copyright 2004 by Koninklijke Brill NV, Leiden, The NetherlandsĪll rights reserved. record for this book is available from the Library of Congress. Library of Congress Cataloging-in-Publication DataĪ C.I.P. Portraits were also attacked and defaced, especially in the lateseond and third centuries (as evidenced by mutilated portraits of Plautilla, in Houston, and Macrinus,

Portraits were routinely reconfigured from the Julio Claudian period(as evidenced by the image of Nero transformed to Vespasian in Cleveland ) through the Constantinianperiod (as evidenced by the colossal portrait of Constantine in the Palazzo dei Conservatori, transformed from apre-existing image of Maxentius ). On the cover: the four illustrations represent the chronological and conceptual span of the mutilation and transformation of Roman imperial images. M o n u m e n ta g r a e c a e t ro m a n a. va r n e rThis book is volume 10 in the series Thisvolume catalogues and interprets the sculp-tural, glyptic, numismatic and epigraphicevidence for damnatio memoriae and ulti-mately reveals its praxis to be at the core ofĪ n d ro m a n i m p e r i a l p o rt r a i t u r eĮ r i c r. until thefourth century a.d., the recycling and de-struction of images of emperors, empresses,and other members of the imperial familyoccurred on a vast scale and often markedperiods of violent political transition. Alterna-tively, portraits could be physically attackedand mutilated or even executed in effigy.From the late first century b.c.

Representations of ‘bad’ em-perors, such as Caligula, Nero, Domitian,Commodus, or Elagabalus were routinelyreconfigured into likenesses of victorioussuccessors or revered predecessors. T h e c o n d e m n a t i o n o f m e m o r yinexorably altered the visual landscape ofimperial Rome.