Roman sculpture from Augustus to Constantine . sworth fragment possibly also adorned abalustrade. Moreover, it is highly probable that thealimentary benefaction in fovour of poor boys and girls,attributed by Spartian to Hadrian as well as to Trajan,was also represented. A relief of this scene or somefragments of it might well turn up some day. Therelief has a singularly fresh surface. Comparison withthe Trajanic reliefs reveals a n)ore loosely co-ordinatedcomposition—more space is allowed between the figures,the first sign of a cljissicizing tendency which may havealready set in before Hadrian
Roman sculpture from Augustus to Constantine . sworth fragment possibly also adorned abalustrade. Moreover, it is highly probable that thealimentary benefaction in fovour of poor boys and girls,attributed by Spartian to Hadrian as well as to Trajan,was also represented. A relief of this scene or somefragments of it might well turn up some day. Therelief has a singularly fresh surface. Comparison withthe Trajanic reliefs reveals a n)ore loosely co-ordinatedcomposition—more space is allowed between the figures,the first sign of a cljissicizing tendency which may havealready set in before Hadrian, but which would doubt-less be favoured by this Emperors personal leaningstowards Greek art and literature. (Plate LXX.) Two Hadrkinic Reliefs from an Arch.—A similarclassic strain pervades the composition of two otherHadrianic reliefs in the Palace of the Conservatori(Helbig, 564, 565).* They are composed as pendantsand once decorated the arch—known in the Renaissance • Amelung-Holtzinger, i. pp. 201, 228. Brunn-Bruckmann,Plate THE PRINCIPATE OF HADRIAN 237 as the Arco di Portogallo from its vicinity to thePortuguese Embassy—which spanned the Via Lata(modern Corso) immediately south of the Jra the Corso was widened in 1662, the arch waspulled down and its reliefs were brought to the Palaceof the Conservatori. They have been separated in thelatest re-arrangement of the collection ; the one (Helbig,265) being placed on the right wall of the secondlanding, while its companion (Helbig, 264) is on the thirdlanding, Plate LXII., Figs. 2, 3. The first of the pair,then, represents the Apotheosis of an Empress. Herbust, rising from the flames, is seen carried up to heavenby a winged female figure personifying Aeternitas,while the Emperor sits enthroned near the pyre, lookingup at the new goddess. The youth reclining on theground personifies the Campus Martius, where theImperial cremations usually took place. The head ofthe Empress is modern, so her identity i
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