This chapter explores the meaning of portraits that assimilate their subjects to divinities and of tombs in the shape of proper podium temples. Both have been linked to 'private apotheosis', yet with little reflection on what this may mean. I first discuss a range of different possible readings of portraits on divine bodies and their rhetorical equivalents, including, significantly, as expressions of a genuine belief in the divinity of humans and their capacity to depict tutelary deities. Temple tombs were inspired by and modelled on temples for the imperial divi and divae and the Templum Gentis Flaviae. They alluded to posthumous apotheosis, which could be conceptualized in several ways, from belief in the divinity and immortality of the soul to apotheosis modelled on deified emperors. Both types of divine associations had the potential of sitting on the borderline between different - and differently ambitious - interpretations, which ensured their attraction and suitability for various contexts and audiences. Since the world beyond was envisaged as a mirror image of social relationships and hierarchies on earth, they were also a means of extending status claims into eternity.