File:Roman sculpture from Augustus to Constantine (1907) (14801118653).jpg

Identifier: romansculpturefr00stro (find matches)
Title: Roman sculpture from Augustus to Constantine
Year: 1907 (1900s)
Authors: Strong, Eugénie Sellers
Subjects: Sculpture, Roman Sculpture, Greco-Roman
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons

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ermighty rule. The magnificent sarcophagi in the Museo Cristiano ofthe Lateran, the early Christian ivories—and the laterPagan ivories which subsisted by their side—the seriesof consular diptychs, such a masterpiece of pictorialnarrative as the ivory throne of Saint Maximian atRavenna *—all prove the strenuous vitality of the art * I make this statement with full knowledge of Strzygowskistheories as to the Syrian, probably Antiochene, origin of this epis-copal throne. But in whatever part of the Roman Empire it wasproduced, it cannot have been from the Grseco-Orient that itborrowed the beautiful figures of its front panels, or the figure-sub-jects which decorate it on all sides. If Strzygowski adheres to hisfamous apothegm, Greece and Rome are smothered in the Orientsembrace, and if this process is represented by the victory of orna-ment over figure representations, then he must tell us whence thegreat figure-art of medievalism comes, if not from Rome, or throughRoman influence.
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COXSTAXTIXE AS DEKEXDKI! OF TTHE BARBEItlXI IVOIiV To face J). 344 I^oNrre AITII .M,ms. Iiot PRINCIPATE OF CONSTANTINE 345 forms that Christianity received from Rome. In the Renaissance proper, some fourteen centuries afterthe sculptured panels with the Triumph of Iitus hadshown the Anticiue apprehending, for one moment, themodern feeling forspace-values,artistsattackedonce morethe problem of spatial distribution. Then it was that,with the final mastery of the secrets of perspective, thosenew and enlarged vistas opened out which distinguishmodern from ancient art. But the Christian sculptureof the Middle Ages is essentially one with the sculpturewe have been studying ; only the great change in subject-matter relegates it to separate treatment. One last example may serve to illustrate the ten-dencies of the Antique in the period in which we mustperforce take leave of it. It is the ivory plaque in theLouvre from the famous Barberini Library. Even inthe magnificent collection of ivories

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