Roman Sculpture from Augustus to Constantine, Part 1 |
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adorned æsthetic already altar Altmann Amelung Amelung-Holtzinger Antinous antique Antonine appears Ara Pacis Arch of Constantine Arch of Titus artistic attic Augustan art Augustus Aurelian Aurelian column background Barracco battle bearded beautiful British Museum bull bust Cæsar camp Capitol Caracallus centre chariot Cichorius Claudius Claudius Gothicus Commodus composition Conservatori continuous style Dacian Decebalus decoration Domitian effect Emperor episode face figures Flavian Forum fragments frieze front Furtwängler garlands Greek art Hadrian hair hand head Helbig Hellenic Imperial inscription Julia Lateran Louvre magnificent Marcus Aurelius medallions monuments Museo delle Terme Palazzo panel period personages Petersen Plate portrait portraiture Reinach relief represented Riegl Roma Roman art Roman Forum Roman soldiers Rome sacrifice sarcophagi scene sculpture seen Severus shows side slabs space spectator spirals splendid stands statues Strzygowski Stuart Jones Temple third century Tiberius Trajan column triumph Uffizi Vatican Victory Wace walls Wickhoff wreath
Popular passages
Page 72 - EVEN such is time, that takes in trust Our youth, our joys, our all we have, And pays us but with earth and dust; Who, in the dark and silent grave, When we have wandered all our ways, Shuts up the story of our days; But from this earth, this grave, this dust, My God shall raise me up, I trust!
Page 347 - But when Greek art had run its course ; when beauty of form had well-nigh been exhausted or begun to pall, certain artists, presumably Greeks, but working for Romans, began to produce portrait work of quite a new and wonderful sort ; the beautiful portraits of ugly old men, of snub little boys ; work which was clearly before its right time, and was swamped by idealized...
Page 40 - Ti. Nerone P. Quintilio consulibus, aram Pacis Augustae senatus pro reditu meo consacrari censuit ad campum Martium, in qua magistratus et sacerdotes et virgines Vestales anniversarium sacrificium facere iussit.
Page 347 - ... portraits, insipid, nay, inane, from the elegant revivalist busts of Hadrian and Marcus Aurelius down to the bonnet blocks of the lower empire. Of this Roman portrait art, of certain heads of half-idiotic little Caesar brats, of sly and wrinkled old men, things which ought to be so ugly and yet are so beautiful, we say, at least, perhaps unformulated, we think,
Page 347 - ... empire. Of this Roman portrait art, of certain heads of half-idiotic little Caesar brats, of sly and wrinkled old men, things which ought to be so ugly and yet are so beautiful, we say, at least (perhaps unformulated), we think, " How Renaissance !" And the secret of the beauty of these few...
Page 187 - Sic te diva potens Cypri, Sic fratres Helenae, lucida sidera, Ventorumque regat pater...
Page 278 - Aquilonem claudit in antris et quaecumque fugant inducías flamina nubes, emittitque Notum. Madidis Notus evolat alis, terribilem picea tectus caligine vultum ; barba gravis nimbis, canis fluit unda capillis, ~--, fronte sedent nebulae, rorant pennaeque sinusque. Utque manu late pendentia nubila pressit, fit fragor; hinc densi funduntur ab aethere nimbi.
Page 353 - CHAP. there is more individuality, but it is tempered with an idealism •which raised him above mortality, and gives to his face the character of one whose career was too astonishing to be due to mere human aims or means. But in Caesar the sculptor has portrayed the conqueror who owed his success to his own consummate genius, which was too strong for the human frame Fio. 129.— Portralt of Julins Caesar (British Museum). that it wasted and consumed in its service.
Page 74 - It has been well remarked by Mrs. Strong that while ' plants appear in Greek art only to be conventionalised into architectural forms, in Roman art the love of natural form conquers the stylistic tendency. To those who are familiar with the conventional forms of the lotus in Egyptian art, or of the acanthus in Greek art, it is almost a surprise that even the political Imperial plants, the symbolic laurel, the oak, and the olive, were never conventionalised, but showered their shapely leaves and fruit...
Page 111 - ... a frame is simply thrown open, and through it we look at the march past of the triumphal procession.