Roman sculpture from Augustus to Constantine . on the present. Modern portraiture hassuffered from doctrines of illusionism and impressionismpushed beyond the limits of reasonableness. But thefeeling for mass—the rc-assertion of the materialapparent in the works of certain great modern sculptorsand advocated by eminent art critics *—induces thehope that the art of sculpture may recapture the mostprecious of its characteristics without passing againthrough the ordeal of a Dark Age. In the light ofscience, and with knowledge as a guide, art may learnto hold its intermediate conquests, while maki
Roman sculpture from Augustus to Constantine . on the present. Modern portraiture hassuffered from doctrines of illusionism and impressionismpushed beyond the limits of reasonableness. But thefeeling for mass—the rc-assertion of the materialapparent in the works of certain great modern sculptorsand advocated by eminent art critics *—induces thehope that the art of sculpture may recapture the mostprecious of its characteristics without passing againthrough the ordeal of a Dark Age. In the light ofscience, and with knowledge as a guide, art may learnto hold its intermediate conquests, while makingdeliberate return to principles and doctrines which lieat thevery root of sculpturesque expression. • See, in a slightly different connection, the illuminatingremarks of Strzygowski in the article Denkmalbau (Oesterr,Rundschau, x. 4, 1906.) The Caracallus (p. 377), which evi-dently influenced so mighty a conception as Michelangelos Brutus, illustrates what portraiture gains by retaining thesense of mass and of frontality. I PLATK CXXX.
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