capable civil and military leadership, the office of emperor was increasingly interpreted as an earthly viceregency of the divine order. He would prove an enduring model for Roman imperial virtues. The emperor Hadrian's Hispano-Roman origins and marked pro-Hellenism changed the focus of imperial cult. His standard coinage still identifies with the genius populi Romani, but other issues stress his identification with Hercules Gaditanus (Hercules of Gades), and Rome's imperial protection of Greek civilisation. Commemorative coinage shows him "raising up" provincial deities (thus elevating and "restoring" the provinces); he promoted Sagalassos in Greek Pisidia as the Empire's leading imperial cult centre and in 131–2 AD he sponsored the exclusively Greek Panhellenion. He was said to have "wept like a woman" at the death of his young lover Antinous, and arranged his apotheosis. Dio claims that Hadrian was held to ridicule for this emotional indulgence, particularly as he had delayed the apotheosis of his own sister Paulina after her death. The cult of Antinous would prove one of remarkable longevity and devotion, particularly in the Eastern provinces. Bithynia, as his birthplace, featured his image on coinage as late as the reign of Caracalla (r. 211–217). His popular cult appears to have thrived well into the 4th century, when he became the "whipping boy of pagan worship" in Christian polemic. Vout (2007) remarks his humble origins, untimely death and "resurrection" as theos, and his identification – and sometimes misidentification by later scholarship – with the images and religious functions of Apollo, Dionysius/Bacchus, and later, Osiris. In Rome itself he was also theos on two of three surviving inscriptions but was more closely associated with hero-cult, which allowed direct appeals for his intercession with "higher gods". Hadrian imposed the imperial cult to himself and Jupiter on Judaea following the Bar Kokhba revolt. He was predeceased by his wife Vibia Sabina. Both were deified but Hadrian's case had to be pleaded by his successor Antoninus Pius. Marcus Aurelius' tutor Fronto offers the best evidence of imperial portraiture as a near-ubiquitous feature of private and public life. Though evidence for private emperor worship is as sparse in this era as in all others, Fronto's letters imply the genius cult of the living emperor as an official, domestic and personal practice, probably more common than cult to the divi in this and other periods. Marcus' son Commodus succumbed to the lures of self-indulgence, easy populism and rule