More surviving statues and busts exist from the Roman Empire depicting Hadrian's lover Antinous than of almost anyone else from antiquity except Hadrian himself.
"We have like more statues and busts of Antinous from all of these temples all over the empire than I think of anyone else except Hadrian." (said at 1:32:36)
The speaker's assertion highlights the extraordinary abundance of surviving portraits of Antinous across the Roman Empire, but omits the emperor Augustus. In classical archaeology and Roman sculpture scholarship (e.g., standard corpora by Clairmont and Meyer), Antinous is recognized as having one of the highest numbers of surviving sculptured portraits from antiquity (over 100 extant statues, busts, and reliefs), ranking third overall behind Augustus and Hadrian. While the claim correctly conveys that Antinous outnumbers almost every Roman emperor and historical figure in surviving sculpted portraits, Augustus also surpasses Antinous.
- context: The Image of Antinous in Imperial Ideology (uO Research (University of Ottawa) 2019)
"By quantifying extant statues of Antinous based on provenance and iconography, summarizing Hadrian’s ideology, examining Hadrian’s own image, and considering the cult of Antinous, we can see that Antinous played an important role in Hadrian’s ideology. His cult was a social and religious unifier and helped bridge the gaps between communities and foster shared pride and community amongst adherents; the statues, often cultic objects, visually conveyed this purpose through various iconographic connections to other cults." (abstract, passage verified)
openalexfull study (doi) - context: The Image of Antinoös: Sexy Boy or Elder God? (UKnowledge (University of Kentucky) 2014)
"Building upon the discourse of Hadrian’s “Greekness” and sexuality in connection to the amount of images of Antinoös he had commissioned, this paper instead argues that the images of Antinoös were created in order to further a public and religious programme by Hadrian... The Delphi Antinoös is a well-documented example of numerous portraits of the youth, and it is this paper’s intention to depict the Pheidian inspiration sought after in the second century CE, at the time of Hadrian’s reign and Antinoös’s death, which illustrate the purpose of the images of Antinoös as religious and not as sexy." (abstract, passage verified)
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