74 DETAIL OF THE ANTONINE COLUMN 264 From photographs by Anderson. The Antonine Column was constructed on the model of the Column of Trajan, seventy-five years later, and thus affords an insight into the progress of relief sculpture at Rome. The later work shows more attempt at individual expression, not always successful, and the scenes are less crowded. They depict episodes from the German and Sarmatian wars of A.D. 171-175, (_a_) represents the decapitation of the rebels and (_b_) the capture of a German village: the huts are being burned while M. Aurelius serenely superintends an execution 75 ANTINOUS 266 (Fig. 1) from a photograph by Giraudon of the Mondragore bust in the Louvre (Fig. 2) from a photograph by Mansell & Co. of the bust in the British Museum The significance of the artistic cult of Antinous in the age of Hadrian is discussed on p. 293. It is probably only the diffidence of our native archæologists which has allowed the colossal Mondragore bust its supremacy. The British Museum portrait represents him younger and in the guise of a youthful Dionysius, the expression far more human, and the treatment of the hair far less elaborate and effeminate 76 ANTINOUS: FROM THE BAS-RELIEF IN THE VILLA ALBANI, ROME 268 From a photograph by Anderson 77 RELIEFS OF MARCUS AURELIUS 270 (Fig. 1). Marcus Aurelius accompanied by Bassæus Rufus, prætorian prefect, is riding through a wood and receiving the submission of two barbarian chiefs. In my judgment this scene, and especially the figure of the foot soldier at the emperor’s side, is the _chef-d’œuvre_ of Roman historical relief-work (Fig. 2). Marcus and Bassæus are sacrificing in front of the temple of the Capitoline Jove. These panels probably belonged to a triumphal arch erected in honour of the German and Sarmatian wars of A.D. 171-175. From photographs by Anderson of the originals in the Conservatori Palace, Rome 78 TWO VIEWS OF THE ARCH OF TRAJAN, BENEVENTUM 274 From photographs by Alinari. This splendid monument at Beneventum on the Appian Way was erected in A.D. 114 in expectation of the emperor’s triumphant return from the East, where, however, he died. It is constructed of Greek marble and once carried a quadriga in bronze. The reliefs on the inside (Fig. 1) depict the triumph of Trajan after his Parthian campaign. Those on the outside (Fig. 2) represent the Dacian campaigns 79 ALTAR DISCOVERED AT OSTIAv 276 From a photograph by Anderson of the original in the National Museum, Rome. A fine example of decorative art. The motive of the garlanded skull is a favourite one. This altar was, as the inscription shows, a work of Hadrian’s time 80 TOMB OF THE HATERII 278