imāgō

1. Imago and simulacrum denote, as the most general terms, any representation, whether a work of statuary or of painting; imago (μηχανή) is allied to the original, as to a pattern, by a striking likeness of form, like εἰκών; simulacrum is opposed to the original, as a real being, by a deceptive imitation of its form, like εἴδωλον; whereas statua, signum, and effigies, are merely plastic works; tabula and pictura, merely pictures. 2. Simulacrum and statua denote the copying of the whole figure, consequently, in the plastic art, standing figures; effigies and imago, principally the copying of the characteristic parts, namely, the features; effigies, in statuary, as busts; imago, in painting, as half-length portraits. Tac. Ann. i. 74. Alia in statua amputato capite Augusti effigiem Tiberii inditam. Hist. ii. 3. Simulacrum deæ effigie humana. Cic. Tusc. iii. 2, 3. Optimus quisque consectatur nullam eminentem effigiem (virtutis) sed adumbratam imaginem gloriæ. Signum (from sequo, to proclaim,) means any plastic work, in opp. to tabulæ and picturæ. Sal. Cat. 11. Cic. Orat. i. 35. Man. 14. Suet. Cæs. 47. Quintil. ix. 2. Cic. Verr. iv. 1; simulacrum means the sacred statue of a god, like ἄγαλμα; statua, the profane statue of a man, like ἀνδριάς. Cic. Cat. iii. 8. Simulacra deorum immortalium depulsa sunt et statuæ veterum hominum dejectæ. Tac. Ann. i. 73. Suet. Tib. 26. Cic. Verr. i. 22. Legati deorum simulacra venerabantur, itemque cætera signa et ornamenta lacrimantes intuebantur. (v. 237.)