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Today, one of the first notions that a student of archaeology learns is that quotations of Greek sculptural styles, masters, and masterpieces played a central role within Roman culture and provided the visual translation for a tight semantics of “new Roman” values and qualities.Such issues, however, are far from being so schematic.

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View “When I’m trying to explain our program to someone who doesn’t know it, I stammer a bunch of words like ‘entertaining,’ ‘funny,’ ‘surprising plot twists,’ ‘true stories but not boring I swear’ …

The label “Roman copy after a Greek original” can be found in museums throughout the world on most Roman sculptures that portray deities, heroes, or athletes.

For full treatments of the theme, from a variety of perspectives, and positive assessments of a wide range of sources (both written and archaeological), readers may rely on Ridgway 1984 and Marvin 2008, both excellent achievements and in many ways complementary in their perspectives on Greek and Roman art.

Marvin 2008, in particular, will appeal to any readership, from undergraduates to advanced researchers.

How did the markets for “antiques,” copies, and “archaizing/classicizing modern creations” coexist?

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