Roman sculpture from Augustus to Constantine . Helbig, 653),! or, as in astatue at Eleusis, he appears as Apollo on the Omphalos—the god of healing and of light—and in Egypt, theland where he died, he was honoured both as Osirisand Serapis. In fact, the whole of the latter-dayOlympus reawakens in him to a new life. t If,in order to create the statuary type of Antinous,artists borrowed the austere features of Athenaor the lithe, virile outline of Hermes, they alsoinvested these with a new meaning. Satiety and • S. Reinach, Apollo, Fig. 137; see also the magnificenthead, known, unfortunately, on
Roman sculpture from Augustus to Constantine . Helbig, 653),! or, as in astatue at Eleusis, he appears as Apollo on the Omphalos—the god of healing and of light—and in Egypt, theland where he died, he was honoured both as Osirisand Serapis. In fact, the whole of the latter-dayOlympus reawakens in him to a new life. t If,in order to create the statuary type of Antinous,artists borrowed the austere features of Athenaor the lithe, virile outline of Hermes, they alsoinvested these with a new meaning. Satiety and • S. Reinach, Apollo, Fig. 137; see also the magnificenthead, known, unfortunately, only from the cast at Strassburg,ib. Fig. 136, and the head in the Brit. Mus. Cat. 1899. t On the important question of the restorations consultHelbig. The head is restored, but the body, with the prominentchest and high placed breasts, is certainly that of Antinous, andjust enough remains of the fold of drapery within which thegod held his gifts to make certain the identification as Vertumnus. X Dietrichson, Antinous, p. 92. PLATE LXXVII. THE PRINCIPATE OF HADRIAN 251 sensuous melancholy are the dominating traits. Inspite of his powerful frame, the new god bends hisshapely head as if weary alike of Imperial favour andof divine honours. A modern critic has admirablyanalyzed the sadness that pervades the youth ofAntinous ; pain and enjoyment of life, darkness andlight, death and youth mingle in these features, andimpart to them that infinitely pathetic expression whichwe best define when we say that, with the head ofAntinous, melancholy made her entry into antiqueart. ... * It was the pathos that attaches to earlydeath—a pathos made doubly poignant by the fact thatAntinous died voluntarily on behalf of the master whomhe loved—which powerfully attracted the Hadrianicsculptors, and made them expend on the creation ofthis type much evident care and thought in additionto a technical skill scarcely as yet on the Thisdeath of Antinous seems to have presented itself toth
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