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In this learn, initially released in Norway as Fra Principat Til Dominat, Professor L'Orange units down the essence of his suggestion at the the most important interval of transition from decentralization to standardization in civic and cultural life-a interval no longer not like our own.
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Betvveen this reliable and the recipient appears to be like nonetheless one other excessive reputable, back within the toga. the entire advanced scene with roll name and accounting, distribution and receipt of the financial reward, is repeated therefore in each one loggia in keeping with the exact same development, and on either side of the enthroned emperor on the middle of the comfort the self-same development is reversed, in accordance with the legislation of symmetry. 18 The acclaiming electorate who fill the reduce sector in either wings of the image either in Oratio and in Liheralitas, as famous above, don't stand in average groupings in unfastened and open house, yet are positioned aspect by means of part opposed to the company airplane of the ground-in Oratio in parallel rows (Fig. 44), in Liberalitas in a single unmarried row (Fig. 36). as the figures are hence positioned aspect by way of aspect, no longer gliding at the back of each other extensive and disappearing into the historical past, all of them seem with an identical tremendous weight and fullness, with a similar measure of quantity. hence you possibly can say that they seem as equivalent devices. This effect is additional reinforced by way of the avoidance, so far as attainable, of rhythmic contractions or dispersions of the figures. No melodic undulating circulate is going thirteen L'Orange-von Gerkan, op. cit. , pp. 89 ff. Pis. five b, sixteen, 17, 22. ninety five 42. element of Liberalitas in Fig. 36: loggia farthest left via those rows of figures, basically the monotonous cadence of equivalent devices. 14 The uniformity of tl1e figures is accentuated additionally through the association of the participants within the row based on an analogous horizontal axes: their heads, ft, and so on. , are at the comparable line. quite within the parallel rows in Oratio (Fig. forty four) do the figures unite, among unique horizontal strains, to shape a compact mass, they usually upward push like parallel partitions one above an-other. Such sturdy plenty of figures have been to the natural figure-groups of classical instances because the collective businesses of the Dominate are to the unfastened companies of the sooner Empire. The emphasizing of horizontal dividing dominants of tl1is variety derives from a wholly new order of shape which-as we observed it above-subordinates the entire pictorial surroundings to the coordinate method of the body. The horizontal and vertical strains of the body workout a 14 Cf. G. Rodenwaldt, "Reihung identischer Glieder," SBBerl, 1933, pp. 1036 f. forty three. aspect of Liberalitas in Fig. 36: loggia farthest correct new compulsion upon the composition of either the architectural and figurative scenes. therefore, for instance, in Liberalitas, the framing fillets of the comfort make sure the divisions into the loggia-formed enclosures. And with comparable impact the architectural components within the Oratio are made parallel witl1 the rectangle of the frame-indeed, the accentuated horizontal line of the higher fringe of the heritage structure coincides partially with the fillet of the relief's body. but in addition the total scene of figures is made to comply with the vertical and horizontal traces of the body. it's, for instance, amazing how within the double row of figures in either wings of Oratio, every one row is enclosed in a rectangle conforming to the framework; rather marked is the horizontal line shaped via the crowns of the heads in every one rectangle.