Identifier: grandeurthatwasr00stobrich (find matches)
Title: The grandeur that was Rome; a survey of Roman culture and civilisation:
Year: 1920 (1920s)
Authors: Stobart, J. C. (John Clarke), 1878-1933
Subjects:
Publisher: London, Sidgwick & Jackson Ltd
Contributing Library: Internet Archive
Digitizing Sponsor: Internet Archive

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ing the limits of Greek art. To suchpioneers we owe a deep debt of gratitude. They have undoubtedlydrawn our attention to real merits and real steps of progress inthe art of the Romans. But on the whole they have failed,as it seems to an onlooker, to prove their case. Partly it is inthe long run a question of taste. A convinced Romanist likeMrs. Strong displays for our admiration many works of artwhich trained eyes, accustomed to Greek and modern art,often refuse to admire. I would take as an instance the well-known Tellus Group, a slab from the Augustan Altar ofPeace,* preserved in the Uffizi Gallery at Florence. To me itseems a laborious composition, executed with care and skill,but wholly without inspiration or imagination. It is purelyconventional allegory. How would the designer of an illu-minated ticket for an agricultural exhibition depict MotherEarth? He would design a group (would he not ?) with a talland richly bosomed lady for his central figure, he would put * Plate 36.244
Text Appearing After Image:
AbeitiacarPlate 66. POMPEII : MURAL PAINTING, STREET OF ABUNDANCE (Seep. 2S5) If-^^i AUGUSTAN ROMEtwo naked babes upon her lap, at her feet would be a cowand a sheep, while the background would be filled with flowersand trees. The cornucopia would occupy a prominent position.If he were asked to fill his space with additional figures,he would throw in Air and Water, one on each side, designedon the same plan. There would be little motive in the group,little connection between the figures. The designers aimwould be that the spectator in a casual glance might observethe fitness of it all—Earth sitting between Air and Water—note it, and pass on. This is just what the Roman artist hasdone. He has earned his money. He has carved most skil-fully and diligently, he has introduced all the conventionalemblems. He has drawn his metaphor from stock. I cannotsee that he has put any love or religion or indeed faith of anykind into his work. The only thing my eye cares to dwellupon is the absurd

Note About Images