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In the eyes of posterity, ancient Rome is deeply flawed; yet its faults have not only provoked censure but also inspired wayward and novel forms of thought and representation. This volume is the first to examine this phenomenon in depth, demonstrating that the reception of Roman "errors" has been far more complex than sweeping denunciation.

An influential view of ecphrasis--the literary description of art objects--chiefly treats it as a way for authors to write about their own texts without appearing to do so, and even insist upon the aesthetic dominance of the literary text over the visual image. However, when considering its use in ancient Roman literature, this interpretation proves insufficient. The Captor's Image argues for the need to see Roman ecphrasis, with its prevalent focus on Hellenic images, as a site of subtle, ongoing competition between Greek and Roman cultures. Through close readings of ecphrases in a...