Roman sculpture from Augustus to Constantine . ?I. Mi: cwviii. rOHTRAIT VV A MAX, TUU;i) CKNTIIIYTojaci: J), 383 Vhdtswurth ROMAN PORTRAITURE 383 is slightly raised—but the tendency is towards a more crystalline effect, towards the re-assertion, in a word,of the mass in space. The drapery is kept as much aspossible in one plane. We are nearing the period whenthe harmonious transitions of the planes, and calculatedgradations of relief are abandoned. Instead, every partis kept as much as possible in one front plane, whilethe result of the colouristic contrast of light and darkis that hence
Roman sculpture from Augustus to Constantine . ?I. Mi: cwviii. rOHTRAIT VV A MAX, TUU;i) CKNTIIIYTojaci: J), 383 Vhdtswurth ROMAN PORTRAITURE 383 is slightly raised—but the tendency is towards a more crystalline effect, towards the re-assertion, in a word,of the mass in space. The drapery is kept as much aspossible in one plane. We are nearing the period whenthe harmonious transitions of the planes, and calculatedgradations of relief are abandoned. Instead, every partis kept as much as possible in one front plane, whilethe result of the colouristic contrast of light and darkis that henceforth the statue or bust-portrait tends tocrystallize in space and becomes rigid, like the figures ofarchaic art. By the time we get to Diocletian and toConstantine, sculpture seems to have lost once more thesecret of organic structure and of harmonious fusion ofthe parts. The characteristics of the period are wellsummed up by Riegl: The contours are clear and hard with the minimum ofmodulation in the whole or in the parts (in the rendering,, of the co
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Keywords: ., bookcentury1900, bookdecade1900, bookp, booksubjectsculptureroman
