Roman sculpture from Augustus to Constantine . 11K CAriTOMM: r, Arch of Buicviiilo TLATE LXIV*. THE PRINCIPATE OF TRAJAN 217 columns, and on the right panel by an arch. (For thesuggested identification of these buildings^ and comparisonwith those on the balustrades of Trajan, see von Domas-zewski, p. 179, and Petersen, p- 257.) To Petersen is duethe brilliant recognition of the contrast intended betweenthese lower panels and the sculptures of the attic. We next have to consider the intermediate pylon reliefswhich are significantly wedged in between the spiritualand earthly powers of the Roman
Roman sculpture from Augustus to Constantine . 11K CAriTOMM: r, Arch of Buicviiilo TLATE LXIV*. THE PRINCIPATE OF TRAJAN 217 columns, and on the right panel by an arch. (For thesuggested identification of these buildings^ and comparisonwith those on the balustrades of Trajan, see von Domas-zewski, p. 179, and Petersen, p- 257.) To Petersen is duethe brilliant recognition of the contrast intended betweenthese lower panels and the sculptures of the attic. We next have to consider the intermediate pylon reliefswhich are significantly wedged in between the spiritualand earthly powers of the Roman state. We shall admit with von Domaszewski that the eventsrepresented must be—not isolated episodes in the Em-perors career—but chosen for their general import inorder to emphasize the relation of the Princeps Optimusto the Roman people. On the left intermediate panelUie goddess, wearing a crown in the shape of thewall of a camp and holding a vejcillum or standard sur-mounted by five eagles, personifies the Virtus (valour) offive legions.* She lays her arms protectingly about asoldier a
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Keywords: ., bookcentury1900, bookdecade1900, bookp, booksubjectsculptureroman
