Roman sculpture from Augustus to Constantine . iln-ein iqi. ICO i) ICl 2. ArclnvayKAJAMC IUIKZK Between pp. IGU ij- IGl OX AIICU THE PRINCIPATE OF TRAJAN i6i WickhofF, who first hit upon the happy term con-tinuous for this style of composition, thus analysesthese reliefs: Extreme naturalness of movement is here combined withan ideal treatment of time. This makes it possible to crowdvictory and battle together into a narrow space. In themidst of the fray, which runs its course at one end of thedesign, the Emperor is thundering against his enemies,while the other end is occupied
Roman sculpture from Augustus to Constantine . iln-ein iqi. ICO i) ICl 2. ArclnvayKAJAMC IUIKZK Between pp. IGU ij- IGl OX AIICU THE PRINCIPATE OF TRAJAN i6i WickhofF, who first hit upon the happy term con-tinuous for this style of composition, thus analysesthese reliefs: Extreme naturalness of movement is here combined withan ideal treatment of time. This makes it possible to crowdvictory and battle together into a narrow space. In themidst of the fray, which runs its course at one end of thedesign, the Emperor is thundering against his enemies,while the other end is occupied by a peaceful scene inwhich Roma welcomes the hero and Victory crowns him_The spectator who has assimilated this work knows that anew sphere has been opened to art, and therefore will notbe surprised that a narrative style which could producesuch a masterpiece held its own for fifteen centuries, sur-vived the decline of artistic power, and accompanied therevival of art among foreign peoples, because no otherkind of narrative could approach it in force and vitality.— Roman Art, p. 113 f. Thus, this counte
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Keywords: ., bookcentury1900, bookdecade1900, bookp, booksubjectsculptureroman
