▁a ▁round el ▁of ▁Had rian ▁l ion - h un ting , ▁which ▁is ▁" st ill ▁root ed ▁firm ly ▁in ▁the ▁tradition ▁of ▁late ▁H ellen istic ▁art ", ▁and ▁there ▁is ▁" an ▁ill usion ▁of ▁open , ▁air y ▁space ▁in ▁which ▁figures ▁move ▁freely ▁and ▁with ▁relax ed ▁self - ass urance " ▁with ▁the ▁later ▁fr ie ze ▁where ▁the ▁figures ▁are ▁" pressed , ▁tra pped , ▁as ▁it ▁were , ▁between ▁two ▁imag inary ▁plan es ▁and ▁so ▁tight ly ▁pack ed ▁within ▁the ▁frame ▁as ▁to ▁lack ▁all ▁freedom ▁of ▁movement ▁in ▁any ▁direction ", ▁with ▁" gest ures ▁that ▁are ▁" jer ky , ▁over emph atic ▁and ▁un co ordin ated ▁with ▁the ▁rest ▁of ▁the ▁body ". ▁In ▁the ▁ 4 th ▁century ▁relief s , ▁the ▁figures ▁are ▁dis posed ▁geomet r ically ▁in ▁a ▁pattern ▁that ▁" m akes ▁sense ▁only ▁in ▁relation ▁to ▁the ▁spect ator ", ▁in ▁the ▁larg esse ▁scene ▁( below ) ▁cent red ▁on ▁the ▁em peror ▁who ▁looks ▁directly ▁out ▁to ▁the ▁vie wer . ▁ ▁K itz inger ▁continues : ▁" G one ▁too ▁is ▁the ▁classical ▁canon ▁of ▁proport ions . ▁He ads ▁are ▁dis pro port ion ately ▁large , ▁tr unks ▁square , ▁legs ▁stub by ▁... ▁" D iffer ences ▁in ▁the ▁physical ▁size ▁of ▁figures ▁dr ast ically ▁under line ▁differences ▁of ▁rank ▁and ▁importance ▁which ▁the ▁second - century ▁artist ▁had ▁indicated ▁by ▁subt le