F. Johansen (1994). Catalogue Roman Portraits. Ny Carlsberg Glyptotek. p. 162, cat. no. 69. "The portrait survives in three other replicas. The one in the Louvre, МА 1220 portrays the same man about twenty years later... The identification of M. Licinius Crassus cannot be proven."
On the ius imaginum, or right of nobiles to display ancestral images, see the article "Nobiles" in Smith'sDictionary of Greek and Roman Antiquities, Bill Thayer's edition at LacusCurtiusonline; also P.A. Brunt, "Nobilitas and novitas," Journal of Roman Studies 72 (1982), pp. 12–13, and R.T. Ridley, "The Genesis of a Turning-Point: Gelzer's Nobilität," Historia 35 (1986), pp. 499–502. The term ius imaginum is a modern coinage, and the notion that this display was constituted by a legal right was reexamined and refined by Harriet I. Flowers, Ancestor Masks and Aristocratic Power in Roman Culture (Oxford: Clarendon Press, 1996), especially pp. 53–59 online.
Plutarch, Life of Crassus, 2 (trans. Long, George, 1892). "when Sulla took the city, and sold the property of those whom he put to death, considering it and calling it spoil, and wishing to attach the infamy of the deed to as many of the most powerful men as he could, Crassus was never tired of receiving or buying." accessed from https://www.gutenberg.org/files/14140/14140-h/14140-h.htm#LIFE_OF_CRASSUS on 2023-10-31
On the ius imaginum, or right of nobiles to display ancestral images, see the article "Nobiles" in Smith'sDictionary of Greek and Roman Antiquities, Bill Thayer's edition at LacusCurtiusonline; also P.A. Brunt, "Nobilitas and novitas," Journal of Roman Studies 72 (1982), pp. 12–13, and R.T. Ridley, "The Genesis of a Turning-Point: Gelzer's Nobilität," Historia 35 (1986), pp. 499–502. The term ius imaginum is a modern coinage, and the notion that this display was constituted by a legal right was reexamined and refined by Harriet I. Flowers, Ancestor Masks and Aristocratic Power in Roman Culture (Oxford: Clarendon Press, 1996), especially pp. 53–59 online.
