Why did Roman portrait statues, famed for their individuality,
repeatedly employ the same body forms? The complex issue of the
Roman copying of Greek 'originals' has so far been studied
primarily from a formal and aesthetic viewpoint. Jennifer Trimble
takes a broader perspective, considering archaeological, social
historical and economic factors, and examines how these statues
were made, bought and seen. To understand how Roman visual
replication worked, Trimble focuses on the 'Large Herculaneum
Woman' statue type, a draped female body particularly common in the
second century CE and surviving in about two hundred examples, to
assess how sameness helped to communicate a woman's social
identity. She demonstrates how visual replication in the Roman
Empire thus emerged as a means of constructing social power and
articulating dynamic tensions between empire and individual
localities.
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