Statues of the same period belong the graceful statue of Agrippina in the Capitol (fig. to) and the skilfully-draped Pudicitia of the Vatican (fig. 7). The Agrippina here represented is doubt less Agrippina the elder, wife of Germanicus, and not Agrippina the younger, the ambitious mother of the cruel Nero. It is the finest female statue preserved to us from Roman times. The gentle features of Pudi citia remind us of the Ludovisi Juno (p1. 8, fig. 2), but it is the drapery rather than the head of this statue that attracts our interest and attention.
Castor and more remote reflection of Greek art is seen in the vigorous colossal figures of the horse-tamers, called Castor and Pollux, on the Quirinal (p1. 1r, fig. 7). Although the general motive may have been suggested by figures on the Parthenon frieze, yet the Roman breast plate introduced as a support, as well as the technical execution, indicates a later hand than the inscriptions Opus Phth'ice and Opus Pra_ritelis would lead us to suppose. These figures appear to have stood, originally, not as a free standing group, but as relief-decoration to the entrance of the baths of Constantine.
Types of Imperial demand for imperial statues being very great, wholesale reproductions were made after a few fixed types. one of these, the statatz Montt-tad, in which the emperor is represented clad in his breastplate and as if haranguing his troops, has already been illustrated in the standing figure of Augustus to, Jig. 9). Sometimes the Linp(ror is portrayed in his civil costume as chief of the Senate or as t m r rimus. This t\ pe, the sham: togata, is well exemplified by the to.za-clad st•tue of Augustus in the Louvre. In a third type, shana Achill, a, the emperor is represented either as a nude standing figure or as partially clad and seated upon a throne. Jupiter became a favorite pro totype for the statues of emperors, while their wives and daughters ap peared in the forms of Juno, Ceres, Diana, and, later, in the form of Venus. .1 fourth type, the statua rquestris, is preserved to us in the bronze equestrian statue of Marcus Aurelius (fig. 6) which was set up in the Capitol square under the superintendence of Michelangelo. The horse of heavy Frisian build stepping quietly along appears to be a portrait no less than its rider, the kindly philosophic emperor, whose sedate bear • ing is more that of a scholar than of a warrior. His hand is raised as if in blessing; the peaceful and kindly countenance and the simple riding mantle convey to us the amiable personality which meets its in the Medi tations bequeathed to its by Marcus Aurelius. Although a fine specimen
of late Roman work, this statue lacks the ideality as well as the vigor of the best works of earlier days.
Shane' Catalan extent to which artistic excellence had declined by the time of Constantine is well illustrated by the statue of the emperor himself (fir. t 1, fig. 1). Incapable of imparting spiritual power to his work, in prosaic fashion the sculptor combines the garb of peace with that of war and throws into prominence the symbols of the cross and of the world.
M:%/oric Pas-rdi,fs.—The same spirit which led the Romans to find such satisfaction in portraiture led them also to celebrate their victories by the erection of triumphal arches and commemorative columns adorned with historic bas-reliefs. In the Arch of Titus sculptural decoration is used sparingly, but the later Arch of Constantine is overcharged with sculpture. There is nut here, as in Creek relief, a proper understanding of the limi tations of this form of sculpture or of its adaptation to architecture. The Roman reliefs are mere pictures in stone, exhibiting, usually, a mass of detail and a striving after pictorial effect. They do not spring from the architectural character of the triumphal arches, but are like foreigners which here have found a temporary lodging-place.
(y" Arch of TIM s. —In the compositions which thus adorn the interior of the Arch of Titus (pl. 10, i r, we see on the one side the emperor in his triumphal car; the goddess Roma leads the horses. Around hint are Roman citizens and the twelve lictors, and behind a winged Victory places upon his head the wreath of laurel. On the other side is seen the procession of laurel-wreathed Romans entering the city, bearing spoils from Jerusalem, among which may be recognized the table of shew-bread and the seven-branched golden candlestick.
Bas-reWs of Trajan's Colama.—A similar pictorial sense is evident in the decoration of Trajan's Column, about which the bas-reliefs wind spirally like painted canvas. These reliefs form a series of one hundred and fourteen compositions, embracing twenty-five hundred human figures, and represent the campaigns of Trajan against the Dacians. Our illustra tion (p1. 10. fig. 13) represents the crossing of a ford and the attack made upon a fortress. In general, these historic bas-reliefs are of a prosaic character and seldom rise above the level of mere chronicles.