Abstract
This chapter deals with the books on art in Antiquity would find 'The Flavian Age', or similar. The particular critical pulsation which inspired Mrs Arthur Strong to leave her Hellenocentric focus behind, moving beyond Pliny's retrospect on Greek production to commit herself confidently to Roman art and especially Roman sculpture. Oxbridge would have to fall into line and follow her lead, was a bizarre brew of heady theorising hot off the press from two scholars working in Vienna. Strong's colleagues knew from the outset that the Arch of Titus could hardly be held to typify Flavian style, let alone Roman Art. The archway reliefs obey a particular stylistic decorum official, ceremonial, traditional; but also improvisational, focused on occasion. The Cancelleria Reliefs may bring us near to zero referentiality within the political-religious-military theatres of the Roman empire, but they tell all on these failing Flavians. Keywords: Arch of Titus; Cancelleria Reliefs; Flavian Age; Greek production; Mrs Arthur Strong; Roman sculpture; Vienna
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