Roman sculpture from Augustus to Constantine . gs. Then in the thirdor upper tier of the picture (in accordance with thenow familiar method of superposition) are the astonishedshepherds with their long crooks, shrinking, as it were,from the portent—their flocks indicated by one each of the lateral faces are subjects touchedwith Boucher-like gi-ace. Mars has, of course, left hischariot outside, and divested himself at the sametime of his heavier armour. The love-gods have allthis martial paraphernalia in their charge. Here onelittle rogue plays the charioteer and whips up thehorses ; an
Roman sculpture from Augustus to Constantine . gs. Then in the thirdor upper tier of the picture (in accordance with thenow familiar method of superposition) are the astonishedshepherds with their long crooks, shrinking, as it were,from the portent—their flocks indicated by one each of the lateral faces are subjects touchedwith Boucher-like gi-ace. Mars has, of course, left hischariot outside, and divested himself at the sametime of his heavier armour. The love-gods have allthis martial paraphernalia in their charge. Here onelittle rogue plays the charioteer and whips up thehorses ; another acts the groom and raises himself ontiptoe to try to reach the horses heads ; a third sitsbelow watching the fun ; while yet a fourth, hoveringin the space above the rearing horses, seems to tell us heis innocent of any mischief which his playfellows maycause. On the other side, two more love-gods proudlyhold between them the shield of Mars; a third bears offthe spear, which is about twice his own height; others PLATE LXXIV rsr^^^^-^-. -\AT1\II1 uF AM) f„ce ,,. 212 Altar from Ostia delU Tennc THE PRINCIPATE OF HADRIAN 243 below are busy with the corslet and other pieces of thearmour. The fresh fantasy displayed in this monumentis indescribable, and shows how great a vitality animatedRoman art even in periods which were content tofollow established methods or to revive forgottenstyles. (Plates LXXII., LXXIV.) The Provinces from the Basilica of Neptune.—Theeleven Corinthian columns in the Piazza di Pietra, nowbuilt into the Exchange of modern Rome (formerlythe Dogana), belonged to the north side of anextensive Temple of Neptune, built by Hadrian, orrather restored by him on the site of a former templededicated to Neptune by Agrippa after the battle ofActium.* It had once before been restored by theenergetic Domitian after the fire of 80 In theform given to this temple by Hadrian, the columns—except on the east or entrance side—were
Size: 1523px × 1640px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookp, booksubjectsculptureroman
