Roman sculpture from Augustus to Constantine . suffering features. Of hisdaughter Domitia, who became the wife of the EmperorDomitian, there is a charming and fairly authenticpoitrait among the Imperial busts of the same collection(Helbig, p. 314, No. 25; Bernoulli, II., 2, Plate XX.). 2. Flavian Portraiture—the Bust iucludes the Shouldersand the Pectoral Line as in Plate CXIV.—Already underNero the bust tends to increase in size—and under theFlavian dynasty the birth of the shouldere and thepectoral line are shown, as in the portrait in the BritishMuseum (No. 1872), misnamed Marcus Junius Bru
Roman sculpture from Augustus to Constantine . suffering features. Of hisdaughter Domitia, who became the wife of the EmperorDomitian, there is a charming and fairly authenticpoitrait among the Imperial busts of the same collection(Helbig, p. 314, No. 25; Bernoulli, II., 2, Plate XX.). 2. Flavian Portraiture—the Bust iucludes the Shouldersand the Pectoral Line as in Plate CXIV.—Already underNero the bust tends to increase in size—and under theFlavian dynasty the birth of the shouldere and thepectoral line are shown, as in the portrait in the BritishMuseum (No. 1872), misnamed Marcus Junius Brutus,which is an instructive example, as both the bust and thesmall pedestal are antique. The characteristics of Flavianportraiture are those already observed in its sculpturein relief—an increase of illusionism. The fine Vespa-sian of the Terme (Plate XXXIII.), with its massivestructure, square jaw and homely, rustic expression,is treated almost in an impressionist manner; there isless attention to linear effects than in the Augustan. THE SHOKMAKER, GAIUS lULIUS HELIUt To face p. 362 Piihr.:o cici Cohsernitori I ROMAN PORTRAITURE 363 period ; the modelling becomes still rounder, and theplanes pass into one another by the softest design appears to emerge from the block, as doesthe relief from the background or the figures in apicture from the plane surface. This illusionist qualityis the same which we have already noted in the reliefsfrom the Arch of Titus (above, p. no f.) and in theworking of the heads which once belonged to somemonument of the Flavian period (in the Lateran, above,p. 142). Two masterpieces have many traits in common withour Vespasian.* The first is the bust of the shoemakerGaius Julius Helius, in the Palazzo dei Conservator!(Plate CXII.), erected in his life-time for his own tomb-stone, above which he exhibits a last and a shoe assamples of his trade. In the rendering of the greathairy wart on the left cheek, the sculptor anticipatesth
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