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
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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which agree in size andstyle, were part of a long composition (of which other portionsare lost) seen against an architectural background of Augustanand Flavian buildin^-s. In the Uffizi slab Stuart Jones inclinesto recognise, on the left, the domus August ana, on the right, thetemple of the Palatine Apollo. Claudius Gothicus changed thefeatures of the figure standing by the temple of Magna Mater,in one of the Villa Medici reUefs, into a p rtrait of himself,because he was proclaimed Emperor ipso in sacrario Matris.(Trebellius Pollio, Claudius 4). All tlie e reliefs and theeight medallions Stuart Jones .urther believes to have decoratedthe gens Flavia, or House of the Flavii, on the Quirinal, built byDomitian on the site of the paternal mansion. In tl;e case ofthe circular reliefs, I incline to believe that they did adorn anarch—as has hitherto been supposed—and this arch, moreover,was the one at the entrance of the Forum of Trajan (see p. 148note II). X Hulsen, Roman Forum, p. 89.
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FLAVIAN RELIEF 145 wall and projecting columns so familiar to visitorsto Rome as Le Colonacce (in the Via Alessandrina),This is part of the outside wall of the Forum,which, together with the Temple inside it, was plannedand begun by Domitian in honour of his patronMinerva. Both buildings were finished and dedicated byNerva (98 a.d.), after whom the Forum was then called.We can still admire the rich cornice, and the frieze alongwhich are depicted the toils and triumphs of the wiseGoddess. Here she appears victorious over the foolishArachne in the strife of weaving. There we see hersurrounded by the nine Muses in a landscape marked asHelicon by the presence of the local god. The relief isrubbed and mutilated and difficult to appreciate techni-cally, but in spite of all that has been said of its directdependence upon Greek models, the flow of the com-position, the introduction of landscape, the number ofaccessories mark it as distinctly Roman. In the atticabove is an imposing figure of M

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