Abstract
AbstractChapter 3 offers a complete reassessment of the prevailing typology of the sculptured portraits of Faustina the Younger, based on the adjusted typology of coin portraits established in Chapter 2. Most importantly, four out of ten portrait types of Faustina identified on the numismatic material are not represented in sculpture, as can be shown. To put the portrait types into context, the relation of the imperial image to aristocratic female ‘private’ portraiture is also investigated.
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