The text discusses how tombs were replaced by statues as monuments of remembrance, evolving into public displays in galleries and homes. It explains the transition of sculptural practices from Greek to Roman, focusing on clothing styles and the addition of armor to statues. Equestrian statues originated from the Greeks, and the tradition expanded to include chariots for victors with multiple horses.
THEORY
It was arranged so that tombs were no longer the only monuments of remembrance. Soon, the homes of individuals and galleries became public spaces. This is how the clients’ respect for their patrons led them to honor them. Liv. XXXIV, chap. IV, sect. IX.
The statues thus dedicated were originally clothed in togas: they also enjoyed making nude figures, holding a spear: they represented young people exercising in the gymnasia, called Achilleans. The Greek custom is to hide nothing, whereas the Roman is to add armor on the chest of military statues. Caesar, when he was Dictator, allowed a cuirassed statue to be erected in his name; for those dressed in the manner of the Lupercales are also new, as are those appearing recently dressed in a cloak. Mancinus had himself represented as he was when delivered to the Numantines: he was naked, his hands tied behind his back. Our writers noted that the poet L. Accius had his statue placed in the Temple of the Muses, of very great size although he was very small. As for equestrian statues, so commendable among the Romans, their origin certainly comes from the Greeks; but the Greeks began with single-horse statues for victors in the sacred games: those who had two or four horses maintained them with the same number: hence came our custom of even adding a chariot to statues of triumphators. The one with six-horse chariots, or