Im Zeichen der Schönheit

By two examples, the author investigates the handling of traditional images of gods in Hellenism. It turns out that exact formal repetition did not matter as much as did the fact that the observer should recognise the original without having seen it him/herself. The content of the image was presented in different sizes and materials for all kinds of customers and purposes and was often subject to major changes for practical reasons. Apart from this, artists were anxious about varying their model according to prevailing Hellenistic taste, e. g. by adding jewellery. Such representations reflect an altered relationship with the Olympic gods that were now meant to be as lively and humane as Hellenistic divine kings. All in all, the reception attests high appreciation, and adaptation to the prevailing taste increased the understandability and attractiveness of statues. Reception, beginning in the mid-2nd century B. C., was most intense at places with a mixed and well-travelled public including Romans. Gradually, the reliability of copies grew parallel to the knowledge of originals. In Augustan times true-to-detail reproductions came up, which only reflected the prevailing taste in facial features, incarnate, and robe pleats.