Roman sculpture from Augustus to Constantine . 1,2. Augustus, ( 1 Agrippiua Senior. Brass.•). Gallia. .Vilellius. face p. 360 7, 8. Domitian. Jlrass.!•. Trajan. Brass. 10. Hadriau. Brass. 11. Sabina, «-. of Hadrian. Go/d. 12. Nerva. Brass. PLATE CXI. HEAU OK A GIKL To fine p. 3G1 MusKO (telle i ROMAN PORTRAITURE 361 As a whole, the portraits on the processional reliefs ofthe Ara Pads are more life-like and animated than anysingle busts or statues of the time. The movementimparted to the glance in the Ara Pads has beencommented on by Riegl (above, p. 57). The pupil
Roman sculpture from Augustus to Constantine . 1,2. Augustus, ( 1 Agrippiua Senior. Brass.•). Gallia. .Vilellius. face p. 360 7, 8. Domitian. Jlrass.!•. Trajan. Brass. 10. Hadriau. Brass. 11. Sabina, «-. of Hadrian. Go/d. 12. Nerva. Brass. PLATE CXI. HEAU OK A GIKL To fine p. 3G1 MusKO (telle i ROMAN PORTRAITURE 361 As a whole, the portraits on the processional reliefs ofthe Ara Pads are more life-like and animated than anysingle busts or statues of the time. The movementimparted to the glance in the Ara Pads has beencommented on by Riegl (above, p. 57). The pupilthere is at times already plastically indicated, whereas,in sculpture in the round, this innovation does not makeits appearance till about the time of Hadrian. Caligula has not yet been satisfactorily heads which pass for his are generally portraits ofthe young Augustus. The fussy, pedantic Claudius—who has been so aptly compared to our own James I.—seems well portrayed in the colossal statue of theVatican Rotonda (Helbig, 312). There is an astonish-ing difference of treatment and conception betweenClaudius and the other princes of the Julian house;almost suddenly Roman art seems to have recovered itscharacteristics and become individual once mor
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Keywords: ., bookcentury1900, bookdecade1900, bookp, booksubjectsculptureroman
