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THE 
 
 GREEK COURT 
 
 ERECTED IN THE 
 
 CRYSTAL PALACE, 
 
 By OWEN JONES. 
 
 DESCRIBED BY GEORGE SC HARE, Jun. 
 
 F;S.A. F.R.S.L. &c. 
 
 CRYSTAL PALACE LIBRARY; 
 
 AND 
 
 BRADBURY & EVANS, 11, BOUVERIE STREET, LONDON. 
 1854 
 
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 PRISIB- S To TUK CRYSTAL PALACU COMPANY, 
 
 WUITKPRIARS. 
 
PREFACE TO GREEK COURT. 
 
 JN"o adequate idea can be formed of the vast Collection of 
 Sculpture brought together in the Greek and Homan Courts 
 of the Crystal Palace, until it is remembered that at one glance 
 we behold objects which under ordinary circumstances, -would 
 require years to have seen. I am not aware of any other 
 collection in Europe of this nature equally extensive, and 
 equally accessible to the public. 
 
 Great praise is due to the judgment and exertions of Messrs. 
 Owen Jones and Digby Wyatt for the high character and 
 importance of the collection, which even in its present state, 
 is to be regarded as one in comparative infancy. 
 
 By the aid of these gentlemen we already see much that has 
 hitherto been unattainable, except by laborious foreign travel. 
 Much that is deficient in the Crystal Palace collection may be 
 remedied, without difficulty, at home. It is well known that 
 many works of tlie highest order of merit, some of them 
 actually superior to renowned and extensively seen specimens 
 in foreign museums, are in English private residences, where 
 the public in order to see them must necessarily become 
 intruders. 
 
 It is to be hoped that means will be afforded us by the 
 fortunate possessors of such treasures to examine them in 
 this building side by side with rival works from the Vatican 
 and elsewhere. I feel persuaded that in most cases the 
 advantage would be greatly in favour of the English examples, 
 
VI 
 
 PREFACE TO GREEK COURT. 
 
 and, now that the art—science I was about to say—of moulding 
 has attained such perfection, the most delicate objects may be 
 cast without the slightest injury. The plates in the magnificent 
 publications of the Dilettanti Society sufficiently show the 
 importance of the specimens alluded to, and the deposit of 
 such casts in this great educational assembly would materially 
 extend the sphere of public instruction, and in no small degree 
 relieve private individuals from the frequency of applications 
 for admission to their private dwellings. 
 
 The Greek and Eoman Courts contain only a few specimens 
 from the British Museum. That institution is liberally 
 open to the public, and the principal aim here is to afford a 
 sight of those objects which are more difficult of access. Some 
 statues from the Elgin Collection have been introduced for the 
 sake of affording an immediate comparison with some of the 
 principal continental celebrities. 
 
 The same motive has influenced the selection of subjects for 
 the illustrations in these pages; it has been thought preferable 
 to give objects not to be seen at Sydenham, as a means of 
 affording additional information. 
 
 When Mr. Samuel Phillips offered me the duty of pre¬ 
 paring these descriptions, I accepted it without being rightly 
 aware of the number of subjects to be particularised; he 
 expressed great confidence in the manner in which I should 
 execute my task, and I have laboured strenuously accordingly. 
 I gladly take this opportunity of thanking him for several 
 important suggestions, and for his great encouragement and 
 interest during the progress of my three books. I feel particu¬ 
 larly grateful to Mr. Owen Jones for much information, and for 
 the kind manner in which he has followed my suggestions as to 
 the arrangement of some of the Sculptures. It is extremely 
 difficult to unite an archaeological system with due attention to 
 
PREFACE TO GREEK COURT. 
 
 vi 
 
 architectural effect'; but he has contrived, without the slightest 
 detriment to the latter, to place those statues, which seem to 
 be copies, within sight of one another, so that important differ¬ 
 ences are made perceptible, which would not otherwise be 
 apparent. I beg to acknowledge much friendly advice and 
 assistance from'Mrs. Jameson; and am deeply indebted to 
 my friends of the department of Antiquities in the British 
 Museum, not only for valuable assistance during the progress 
 of my work, but for the greater part of the information 
 brought to bear upon its commencement. I therefore 
 offer sincere thanks to Mr. Hawkins, Mr. Birch, Mr. Yaux, 
 Mr. Burgon, and Mr. Oldfield. To Mr. Charles Newton, from 
 whose Essays I have often quoted verbatim; to Mr. Penrose 
 and Mr. Watkiss Lloyd; to the Chevalier E. Gerhard, 
 Hr. Panofka, and Hr. Waagen, of Berlin; to Hr. Emil Braun, 
 of Borne, and Professor Thiersch, of Munich, I beg to express 
 my grateful thanks and acknowledgments. The same are also 
 due to M. Le Normand, the Keeper of the Cabinet of Medals, 
 at Paris, for important information respecting the Coins of 
 Cnidos and other cities, accompanied by beautiful impressions 
 from the originals. 
 
 Crystal Palacf, 
 
 June , 1854. 
 
CONTENTS. 
 
 PAGE 
 
 ARCHITECTURAL ARRANGEMENT OF THE GREEK COURT ... 3 
 
 PAINTINGS IN THE GREEK COURT . . . . . . . 5 
 
 TnE MODEL OF THE PARTHENON.6 
 
 HISTORY OF THE PROGRESS OF GREEK SCULPTURE . . . . 13 
 
 AGE OF FEISISTRATUS.19 
 
 A3GINETAN AGE. 23 
 
 ATHENIAN AGE. 25 
 
 AGE OF TnE PELOPONNESIAN WAR.36 
 
 MACEDONIAN AGE.40 
 
 GREEK COURT CATALOGUE.50 
 
 THE ELGIN MARBLES 
 
 92 
 
The Tgrtlienon in its present state, viewed from the N.W. angle. 
 
 THE GREEK COURT. 
 
 DESCRIBED BY GEORGE SCHARF, JUN. 
 
 ARCHITECTURAL ARRANGEMENT OF THE GREEK 
 COURT. 
 
 The principal Greek statues and basreliefs are contained within 
 the Greek courts. These courts present an external facade with 
 three entrances on the western side of the nave. The courts are 
 placed, according to the chronological position of Greece in history, 
 between those of Egypt and Rome. The order is Grecian Doric ; 
 the proportions have been copied from the temple of Jupiter at 
 Nemea, which are less massive than Doric buildings usually are. 
 The centre and larger entrance leads into the principal Greek 
 court, and the two smaller into the side courts. On the archi¬ 
 trave over the principal entrance is a Greek passage from Hero¬ 
 dotus. Above the side courts are passages from the celebrated 
 oration of Pericles. 
 
 Instead of triglyphs and metopes, as seen upon the model of the 
 Parthenon, and, indeed, with hardly any exception, upon all 
 Grecian Doric architecture, the frieze of this facade is decorated 
 
4 
 
 THE GREEK COURT. 
 
 with wreaths, alternating with names of the ancient Grecian cities 
 renowned for their connection with the fine arts. The entablature 
 and wreaths are adapted from the choragic monument of Tlirasyllus 
 at Athens. In that building the frieze is, with the exception 
 of laurel wreaths, at regular intervals, perfectly smooth. The 
 architrave of that monument also bears an inscription (Stuart, 
 vol. ii. pi. 38), and the fillet below the frieze is ornamented with 
 a series of small round dentils. 
 
 Inscription over middle entrance—"E Wrjo-iv ov ncpi xP r U l ^ T(OV 
 aXka 7repl aperrjs ayoiu (Among the Greeks the contest was not 
 about riches but about excellence). 
 
 Inscription over right hand entrance— QiXoicciXe'ii/ per evrekiias 
 (To pursue the beautiful together with simplicity). Implies— 
 Without extravagance either in style or cost. 
 
 Inscription over left hand entrance— ^>tKoao<p(7v avcv pakatUas 
 (To pursue science without enervation). Implies—To cultivate specu¬ 
 lation and theory without prejudice to habits of practical activity. 
 
 The monogram within the wreaths contains the initial letters of 
 the Muses, Graces, the Good and the Wise—Movo-atr, Xapiaiv , 
 AyaOois, Soc^ois. 
 
 The names of towns upon the external fa§ade beginning from 
 the extreme left next to Egypt, are Alexandria, Rhodes, Ephesus, 
 Mitylene, ^Egina, Delphi, Eleusis, Athens, Corinth, Argos, Mycenae, 
 Sicyon, Olympia, Agrigentum, Psestum, and Byzantium next the 
 Roman Court. 
 
 On passing through the main entrance we come into the central 
 Greek court. It is square, and being surrounded by porticoes, 
 resembles a Greek agora , or place of public assembly, the forum or 
 market-place of the Romans. The same order of architecture is 
 continued, and the names between the wreaths on the frieze are 
 those of poets, philosophers, artists, and a few of the chief patrons. 
 The list begins over the door by which we have entered, where the 
 name of Homer, in archaic characters (See Introduction, p. 22), 
 appears supported by two Greek artists, the first and last of cele¬ 
 brity— Daedalus, the Homeric personification of the formative 
 arts, and Anthemius, the architect of Santa Sophia at Constan¬ 
 tinople. The names thus continue to the right:—Homer, Daedalus, 
 Eucheir, Eugrammus, Hesiod, Archilochus, Terpander, Solon, 
 Alcaeus, Hermogenes, Peisistratus, Sappho, Stesichorus, Pytha¬ 
 goras, Bathycles, Polycrates, Thespis, Ctesiphon, Metagenes, 
 Pindar, Hiero, Onatas, HSschylus, Hippocrates, Cimon, Herodotus, 
 Phidias, Pericles—with Pericles begins a more recent character 
 
DESCRIPTION OF THE PAINTINGS. 
 
 5 
 
 (See Introduction, p. 28) — Ictinus, Thucydides, Sophocles, 
 Polycleitus, Euripides, Polygnotus, Socrates, Myron, Callimachus, 
 Plato, Scopas, Parrhasius, Zeuxis, Demosthenes, Deinocrates, 
 Ptolemy Soter, Artemisia, Lysippus, Apelles, Archimedes, Ptolemy 
 Philadelphus, Theocritus, Eratosthenes, Hipparchus, Apollodorus, 
 and Anthemius. 
 
 PAINTINGS IN THE GREEK COURT.* 
 
 Three of the paintings on the wall of this court are intended to 
 illustrate the Grecian mythology, comprising a few of those incidents 
 of fable which led to a more extended development; and the fourth 
 refers to the construction of the Parthenon, affording a combina¬ 
 tion of portraits of the leading personages of that period. These 
 paintings are prepared and executed under the superintendence of 
 Mr. George Scharf, jun. 
 
 The first subject, to the left on entering, is Olympus. The 
 gods are assembled to celebrate the marriage of Peleus and Thetis, 
 whilst Discord (Eris) is retreating with malice in her countenance, 
 having cast the golden apple, inscribed 44 to the fairest,” on 
 the board. The central portion of the painting exhibits the 
 Judgment of Paris, who is awarding the apple of Eris to Venus 
 (Aphrodite). That goddess in return promised him the fairest 
 woman in the world ; and accordingly the right extremity of the 
 painting is occupied by the elopement of Helen with Paris. 
 
 The painting to the right, above the statue of Laocoon, relates 
 to the fall of Troy. On the left hand Thetis is seen presenting 
 the divine armour to her son Achilles, and in the centre Priam is 
 supplicating him for the body of his son Hector, who remains 
 partly attached to the chariot wheel. Ajax approaches Cassandra, 
 and the treacherous horse appears within the walls of the city. 
 Menelaus leads his wife home to Sparta ; and, on the extreme 
 right, towards the Homan Court, iEneas, the son of Venus, is seen 
 escaping with his father Anchises and the young Ascanius to Italy, 
 where he became the founder of the Homan nation. 
 
 The painting opposite to Olympus is devoted to the infernal 
 regions. In the centre, Orpheus is playing to Pluto (Hades), who 
 is enthroned with his queen, Proserpine (Persephone). Their 
 attendants and some of the tormented surround them, entranced by 
 the melodious strains of the poet. Eurydice and Mercury, ready 
 to transfer her to the regions of light, with Charon in his boat, 
 
 * These paintings are still in progress. The description has been taken 
 from the cartoons in Mr. Scharf s studio. 
 
6 
 
 THE GREEK COURT. 
 
 form the right hand group ; on the opposite side Hercules appears 
 carrying away Cerberus by main force. 
 
 The fourth painting, towards the Roman Court, relates to the 
 government of Pericles, and the operations of Phidias. The great 
 sculptor is represented in the act of exhibiting his model for the 
 statue of Minerva (Athene) to adorn the interior of the Parthenon, 
 which appears in the distance almost completed. These figures, 
 supposed to be stationed at the entrance of the workshop of 
 Phidias, which is said to have been at the north-east extremity of 
 the Acropolis, contains portraits of the most leading characters of 
 the time. Among them Pericles, Aspasia, Socrates, Sophocles, 
 Phrynicus, Herodotus, Thucydides, Pindar, Aristophanes, and 
 Xenophon, a child, may be distinguished. 
 
 Proceeding onwards we enter the atrium under the gallery. 
 The square Piers or Antrn from Eleusis, Priene, and other 
 examples. The richly decorated ceiling is copied from the existing 
 remains in the temple of Bassse in Arcadia, and the Propylaea 
 at Athens. The diagonal paneling or coffers adapted from the 
 former. Upon the walls of this atrium have been arranged some 
 of the finest specimens of Grecian bassi-rilievi ; the originals of the 
 greater part of them are still to be seen at Athens. 
 
 The chief architectural feature of the Long Gallery is a model of 
 the west front or posticum of the Parthenon. 
 
 The Model of the Parthenon. 
 
 This is intended to represent, as accurately as possible, the west 
 front of the Parthenon, or Temple of Minerva, at Athens. The 
 resemblance has been preserved, as far as a projection, necessarily 
 limited by the large scale of the model, and placed against the side 
 wall of the corridor, would admit ; in order to give an idea of the 
 manner in which the resemblance has been sustained, we would 
 remark, that the one column in relief represents the seventeen in 
 the flank of the actual temple. 
 
 The scale of the model is two-ninths, or about 22J per cent, of 
 the original size. 
 
 The Parthenon, sometimes called the Hecatompedon, was built 
 under the administration of Pericles, b.c. 444. Ictinus and 
 Callicrates were the architects, and Phidias had the general super¬ 
 intendence of the works. The cost of the building is supposed 
 by Leake to have been 1000 talents, equivalent in value to about 
 700,000?. at the present day. The -whole edifice was constructed 
 
MODEL OF THE PARTHENON. 
 
 r 
 
 of Pentelic marble, with the exception only of the tiles, which 
 were Parian, and it was completed b.c. 438. 
 
 The Parthenon was dedicated to Minerva (Pallas Athene), the 
 tutelary goddess of the Athenian state. The temple of a deity 
 was considered as a residence, and the statue within the cella, or 
 principal chamber, the symbol, or more than symbol of a bodily 
 presence. The name of the Parthenon means literally the house 
 of the virgin goddess. Within the cella stood the matchless 
 statue of Pallas Athene, in gold and ivory (p. 29), one of the 
 two greatest works of Phidias. The whole of the decorations 
 of the building formed one great design, or sculptured poem 
 in her honour, tracing out her connection with the soil of 
 Attica, celebrating her chief exploits, and indirectly blending her 
 glory with that of the people of whom she was the tutelary deity. 
 The sculptures generally had reference either to the deity to whom 
 the temple was dedicated, or to the state by whom it was erected. 
 They may be divided into three classes. 1. The statues of the 
 Pediments , the triangular spaces surmounting each end of the 
 temple, which consisted of statues much beyond the size of life. 
 
 2. The metopes, or alto-reliefs, filling the square spaces between 
 the pediment and the capitals of the columns. They alternate 
 with other rectangular divisions on the same line, called triglyphs, 
 because they are divided into three parts by grooves or channels. 
 
 3. The frieze, a band of bas-relief figures, representing a procession, 
 which runs entirely round the top of the external wall of the cella. 
 It may be seen in the model, high up behind the capitals of the 
 columns, and a large portion of the frieze, the size of the original, 
 extends along the west and north walls of this long gallery. 
 
 The extreme height of the Parthenon, including the base, was 
 64 feet; its dimensions 228 feet by 101 ; the columns, 8 at each 
 end and 17 at the sides, were 34^ feet high, and 6|- feet in 
 diameter. The temple had a portico at either end. 
 
 The order of the architecture is Grecian Doric. Mr. Penrose’s 
 own words, in Murray’s “ Handbook to Greece,” will best convey 
 the thoughts of an artist and scholar :— 
 
 t( In this temple an architecture which had gone on through 
 centuries of refinement, until it culminated there, was combined 
 with the work of the greatest sculptor Greece and the world ever 
 produced ; and unless we take into consideration this perfect union 
 of these two arts, we cannot do justice to Greek architecture, much 
 less the Parthenon. Painting also was there ; and although 
 we cannot thoroughly realise the part it played in the magni- 
 
8 
 
 THE GREEK COURT. 
 
 ficent diapason of the three sister arts, we dare not question its 
 propriety. ” 
 
 The sculptures in the pediment represent, as Pausanias informs 
 us, the contest between Neptune and Minerva for the soil of 
 Attica. Unfortunately for us, Pausanias was scanty in his details 
 of the Parthenon, because so many works then existed on that 
 subject. Ictinus the architect had left an elaborate treatise on its 
 construction ; Polemo wrote four, and Heliodorus fifteen books 
 upon the Acropolis of Athens. All these works have unfortunately 
 perished. 
 
 A great deal has been written in modem times respecting the 
 identification of particular figures in the western pediment. 
 Unfortunately the greater part of the originals has been destroyed. 
 There can be no question as to the main action upon the authority 
 just cited. This represents the rival deities in the middle of the 
 pediment, Neptune on the south and Minerva on the north ; true 
 to the relative positions of sea and land—the former with his 
 weight thrown a little back towards the south, as though commen¬ 
 cing to yield ground ; the latter leaning slightly forward towards 
 the north, and about to advance across his path; and thus, 
 while the expression of actual collision is avoided, that of an 
 advantage obtained is clearly rendered. The figure of Neptune is 
 nude and more than eleven feet high in the original, and that of 
 Minerva is, as usual, draped, and not much less in height. In 
 their action they cross each other, and contrast with astonishing 
 vigour with the regular lines of the architecture. On the extreme 
 left is the beautiful recumbent figure of the river god Cephissus, 
 more commonly but incorrectly called Uissus. 
 
 Then Cecrops and Aglauros (the original group still remaining 
 at Athens). Next a group consisting of attendants on Minerva, 
 Pandrosos, Herse, and others, with a female figure driving a chariot. 
 Behind the chariot was Erechtheus. The horses’ heads were close to 
 the raised right hand of Minerva. On Neptune’s left, i.e. south¬ 
 wards, was Amphitrite seated in a chariot drawn by sea horses, 
 with a dolphin at her feet: Thetis stood behind the chariot. A group 
 of four goddesses attendant on Neptune followed, the first having 
 a child on either side of her. Then Venus on the lap of Dione, and 
 Tethys, and lastly Ilissus and Callirrhoe—the corners being thus 
 occupied by the local rivers, so that the whole pediment repre¬ 
 sented Attica. 
 
 The eastern pediment had reference, as Pausanias informs us, to 
 the birth of Minerva. The entire centre, to the extent of thirty- 
 
SCULPTURES IN THE PARTHENON. 
 
 five feet, had unfortunately been destroyed before any delineation 
 that has reached us was made. We can only describe them by the 
 statues now in the British Museum. Hyperion or Day rises in the 
 south—the left-hand corner. Next came the figure commonly 
 called Theseus, but by Bronsted, Cephalus. Then the Seasons. 
 The opposite angle was filled with the horses belonging to the 
 chariot of Night going down. The figures next to these were the 
 Three Fates. 
 
 The earliest drawings that we possess of the sculptures of the Par¬ 
 thenon are of the date 1074. When the Marquis de Nointel was in 
 Athens, he employed a French artist, Jacques Carrey, a pupil of Le 
 Brun, to make sketches of all the sculpture at that time visible upon 
 the building. These drawings are still preserved in Paris, and they 
 not only show the original arrangement of the figures, but include 
 many statues that were afterwards destroyed. Sir George Wheeler 
 and Dr. Spon visited Athens in 1676, and gave in their journals 
 the first minute accounts of the ancient city. The buildings of the 
 Acropolis were then almost in a perfect state, but in the year 1687, 
 when Athens was besieged by the Venetians under Morosini, the 
 Parthenon was shattered by the explosion of a magazine of gun¬ 
 powder, caused by a shell, which dislodged many of the statues and 
 destroyed the central part of the building. When the Venetians 
 became masters of the city, Morosini endeavoured to remove the 
 central statues in the western pediment, but, from want of sufficient 
 means, and owing to the unskilfulness of those employed in the 
 work, many of the finest fell as they were being lowered, and were 
 dashed to pieces. 
 
 It has been supposed that there were originally no less than 
 forty-four statues on these pediments ; of these, thirteen fragments 
 are now in the British Museum, and two occupy their ancient 
 position on the temple. No more remain. Of the metopes, 
 originally ninety-two in number, fifteen have been removed to 
 London and one to Paris. One on the south side, west end, still 
 remains at Athens ; it is seen in the right hand-side of the model. 
 The remainder, especially at the east and west ends, have been so 
 extensively damaged or mutilated, as to render them unintelligible 
 without careful study and minute examination. The original length 
 of the frieze was five hundred and twenty-five feet; of this 
 three hundred and thirty-five feet still remain, which, together 
 with the drawings by Carrey, afford us a tolerably complete idea 
 of the whole. 
 
 The extraordinary richness of decoration, of which the Doric 
 
10 
 
 THE GREEK COURT. 
 
 architecture is susceptible, cannot fail to be noticed. In fact, the 
 architecture may be considered as a glorious frame for the sculp¬ 
 ture contained within it. This specimen is very different from the 
 many dry and hard copies of the architecture which were executed 
 in the beginning of the century in London and other parts of the 
 country, where either poverty of design, the want of funds, or the 
 difficulty of introducing sculpture into ecclesiastical buildings, had 
 limited the Doric, then so much in fashion, to a blank well-squared 
 and plumbed frame-work of cold gray stone, in w r hich no designer 
 had ever dreamt of the many subtle refinements of curved lines, 
 and surfaces of various inclination, with which the latest investi¬ 
 gations have shown that the creative taste of the Greeks modified 
 its otherwise too severe and rigorous forms. 
 
 The forms of the architecture have been copied with great pains 
 from the most unquestionable data, derived from the building 
 itself. For the sculptures, though these have demanded rather 
 more from the hand of restoration, there is better authority than 
 could have been found for any other ancient compositions. Indeed, 
 the authority for these, derived from Carrey’s drawings, and existing 
 remains, is most complete and satisfactory. 
 
 It is impossible to arrive at equal certainty respecting the 
 painting, or polychromatic decoration, as it is called. Thus much 
 only is well established, that the whole, including the sculpture, 
 was painted, to a greater or less extent. 
 
 EAST. 
 
 Ground plan of the Parthenon. 
 
 WEST. 
 
 The Parthenon stood on the summit of the Acropolis, at an 
 elevation of about forty feet, or a little more, above the point 
 where the spectator entered the inclosure of the citadel; namely, 
 at the Propylsea. 
 
 Dr. Wordsworth calls it “the finest edifice on the finest site 
 in the world, hallowed by the noblest recollections that can 
 stimulate the human heart.” 
 
 In the model, the eye is placed a little below the stylobate, or 
 upper step on which the columns stand. 
 
ARCHITECTURAL CHARACTERISTICS OF THE PARTHENON. 11 
 
 The west front, which first met the eye on entering, as we have 
 observed, at the Propyl?ea, was not the principal entrance to the 
 temple, but was called the Posticum. The Pronaos which gave 
 access to the shrine was towards the east. The western door, 
 which in the model is represented upon the wall behind the 
 columns, opened to the opisthodomus, where was the public 
 treasury (See Plan). 
 
 The group of sculpture in the pediment is the grand object in 
 the front. 
 
 It will be observed that there are scarcely any but oblique 
 lines in this composition ; so that the contrast with the generally 
 straight lines of the architecture is most effective. The smaller 
 groups, called metopes, which fill the square compartments of the 
 frieze, are composed in diagonal lines. They are much nruti 
 lated in the original, but their general disposition is clear, and they 
 represent alternately combatants on horseback and on foot. They 
 have been restored from authentic data kindly furnished by 
 Mr. Cockerell. 
 
 The chief architectural refinements to which allusion has been 
 made are the very delicate entasis, or curved outline of the 
 columns. 
 
 In the model the shafts of the columns incline inwards, away 
 from the perpendicular, about half an inch. There is a slight curva¬ 
 ture in all the horizontal lines, both in the steps and entablature, 
 also in the vertical surfaces of the architrave, frieze, <fcc. The 
 steps also rise in the middle (speaking as before of the model) 
 about the same quantity, viz., half an inch. 
 
 By these refinements great optical advantages are obtained, for 
 the vertical lines would otherwise have appeared leaning outwards, 
 and the horizontal lines bending downwards in the middle ; or, to 
 use the technical phrase, sagging. The theory of these adaptations 
 is not very difficult to follow ; but it would exceed our limits. 
 We may refer to the work by Mr. Penrose (under whose direction 
 the model has been constructed), published by the Society of 
 Dilettanti in 1851, in which the whole subject is fully treated. 
 
 The frieze running along the entire east wall of this gallery, on 
 both sides, and at the end of the Parthenon model, is of the same 
 dimensions as the original Panathenaic frieze. The subjects are 
 taken from the east and west ends of that building. They have 
 been admirably restored by Signor Monti, and are finished in 
 different degrees of colour, to suit the various theories 
 entertained respecting the extent to which the ancients applied 
 
 c 
 
12 
 
 THE GREEK COURT. 
 
 colour to sculpture. The upper part of a Doric column from the 
 Parthenon enables the spectator at a glance to perceive the 
 difference of scale between the model and the original. 
 
 The side courts correspond to the stose of the Greek agora. In 
 the side toward Egypt the half next the nave contains the names 
 of statesmen and generals of northern Greece and the colonies in 
 chronological order, beginning as before over the entrance into the 
 nave. 
 
 The small court on the Roman side has the names of the 
 worthies of Peloponnesus in the first division ; and those of Attica 
 in the second. 
 
 
PROGRESS OF GREEK SCULPTURE. 
 
 13 
 
 INTRODUCTORY OUTLINE OF THE PROGRESS OF GREEK SCULP¬ 
 TURE, TAKEN FROM ANCIENT AUTHORS, AND ILLUSTRATED 
 BY EXAMPLES IN THE VARIOUS MUSEUMS OF EUROPE. 
 
 Olympian Jupiter. 
 
 At the fall of Nineveh, b.c. 606, Greek art was in its infancy. 
 Egypt, on the other hand, conld point to a long series of monu¬ 
 ments and works of art retaining all their freshness and beauty, 
 whilst the Athenians had scarcely attained the power of expressing 
 the human form, even in its most ordinary variations. In Asiatic 
 Greece, especially among the Ionians, the arts were far in advance, 
 owing, perhaps, to their proximity to Assyria and Persia—countries 
 whence so many of the refinements of life derived their origin, 
 and with the inhabitants of which the Ionians maintained a constant 
 intercourse and traffic. Egyptian art, ancient as it was at that period, 
 had not improved beyond a certain point. The ruling principle 
 amongst the Egyptians was to go on as they were, and the priests for¬ 
 bade any change in the representation of the human figure. Plato, 
 when in Egypt, observed no difference in works executed 1000 years 
 before and those actually in progress. The Egyptians possessed won¬ 
 derful scientific knowledge, and were remarkable for their skill in 
 geometry and astronomy. From them the Greeks acquired almost 
 
 c 2 
 
14 
 
 THE GREEK COURT. 
 
 all their practical experience in these matters, that is, after the com¬ 
 mencement of sea voyages ; and it is well known that in the early 
 stages of civilisation intercourse is often carried on between distant 
 nations beyond sea, whilst the inhabitants of an adjacent country are 
 comparatively unknown. Such was the position of the Greeks with 
 respect to Egypt and Asia Elinor. All their earliest acquirements 
 came from Egypt, and it was not till after their colonies had been 
 settled in Ionia that direct Persian influence upon them can be 
 traced. Nevertheless, at Sardis, and along the western coasts 
 of Asia Minor, monuments of Assyrian origin existed long 
 before the origin of Greek art. Assyria had thrown a strong 
 influence over some parts of Lydia, in 
 Asia Minor, which was carried far west by 
 the Etruscans, who quitted that district and 
 settled in the north-west part of Italy. 
 
 Assyiian figure, found by Mr. Layard at Kalah-Sbergit. 
 
 The Etruscans were celebrated workers in 
 clay and bronze; and the ornaments and 
 figures wrought by them on these materials 
 are identical with the figures upon the bronze 
 bowls and plates recently discovered by 
 Mr. Layard at Nineveh. This has been 
 Kiucveh of a rriest found at singularly proved by a series of bronze 
 embossed ornaments which belonged to a 
 chariot found in Etruria (No. 422, a, b, <fc c), and confirmed also 
 by many of the engraved mirrors and bronzes of Italy, when 
 
PRIMITIVE GREEK SCULPTURE. 
 
 15 
 
 compared with the metal works and engraved alabaster slabs of 
 Assyria. 
 
 The beginning of art seems to have been the same in all ages, 
 and amongst all nations. We have not now to consider theories— 
 we must confine ourselves to facts, and begin at the period that is 
 marked by actual records. By them we are convinced that the 
 early progress of art was very gradual. The first attempts at 
 statuary were made in the material most easy to be wrought, 
 such as wood and clay. The statues were little better than 
 mere blocks, surmounted with a rude imitation of the human 
 head. These were regarded as symbols of the Deity, and on 
 particular occasions were decorated with fillets, and dressed in real 
 clothes ; for it was long before the sculptors attempted to imitate 
 the folds of drapery in the material of their statues. These 
 early figures remained for a long time destitute of any repre¬ 
 sentation of action in the limbs. The arms hung down by the 
 side of the body, and the legs were close together. The first 
 attempts at suggesting free action began with the arms ; and 
 many examples still exist in which the arms are lifted from the 
 body in bold action, whilst the legs remain scarcely separated. 
 
 opposite 
 
 Two statues brought by Mr. Layard from Nineveh 
 page) show how the early artists represented drapery, 
 which consists of tight fitting dresses with neither 
 crease nor fold, as appears by the unruffled edge of the 
 borders. Primitive Greek statues of wood similar to 
 these have been found having their limbs covered 
 with variegated patterns as if woven, to suggest 
 clothing. A female figure from one of the early 
 Grecian vases is introduced here to show that the 
 same style prevailed in the early stages of painting. 
 
 The patterns of her dress are all marked with the 
 most complete straightness and regularity of line. 
 
 The very origin of painting was connected with 
 portraiture, and the legend which preserves it, 
 although commonly known, is so full of meaning that 
 it may be cited in illustration. The daughter of a Draped female figure 
 potter at Corinth named Dibytades was in love with from Painted ' ase - 
 a young man who was sometimes absent on long journeys. She, one 
 evening when he was on the point of departure, observed the shadow of 
 his profile cast on the wall by the lamp, and traced it with an outline. 
 Her father afterwards filled the space within it with clay, and 
 made a mould of it : and this lover’s expedient thus became the 
 
16 
 
 THE GREEK COURT. 
 
 beginning of bas-relief also, but the art of exj>ressing form and 
 substance by a single line is a most difficult one, and the story 
 invented by the ancients shows that they recognised the importance 
 of this process as developing a distinct faculty, although Cleanthes 
 seems to have been the first who allowed his work to remain in 
 pure outline. 
 
 The first mention of the use of marble in statuary is in Pliny’s 
 account of Dipoenus and Scyllis. They were bom in Crete during 
 the Median empire, b.c. 580. They worked at Sicyon, and made 
 statues of Xpollo, Diana, Minerva, and Hercules. They used the 
 white marble of Paros. 
 
 When Sardis fell into the hands of the Persians, b.c. 546, a still 
 more direct influence of Persian taste was opened upon the western 
 nations. About the same time the taking of portrait statues of the 
 victors in the Olympic games was established as customary, and this 
 series of honorary records contributed in no small degree to the 
 perfection the Greeks afterwards obtained in the truthfulness 
 of imitation. In these statues attention was devoted more 
 especially to the body and limbs ; the face was comparatively 
 disregarded, for the man was to be recognised by his build, and the 
 capacity of his limbs for action, in fact—answering—if one may 
 speak of the different animals—to the jockey knowledge of the day. 
 When in historical subjects the early statuaries tried to throw a 
 feeling of animation into their faces, they could only do so at the 
 mouth : the comers were accordingly turned up, which produced a 
 foolish grin, perceptible in all the attempts of a primitive age. In 
 the HCgina marbles, for instance, the wounded warriors have their 
 smile manifestly subdued. Minerva again, whose presence in later art 
 would have been characterised by a serious dignity, exhibits in that 
 pediment a broader smile than perhaps any of the other figures. 
 
 In the early period of art the various gods were only distin¬ 
 guished from one another by their difference of dress, and par¬ 
 ticularly by emblems appropriated to them—as the thunderbolt, 
 trident, caduceus, &c. Subsequently, both in sculpture and 
 painting, their names were written upon them. But when the 
 differences of personal appearance had obtained sufficient attention, 
 and the hand of the artist had acquired power adequate to the 
 imitation of these with accuracy, the written adjuncts were no 
 longer necessary. Then Jupiter became distinguished by his full 
 majestic person, Apollo and Bacchus by graceful and slender forms, 
 Hercules by his robust frame, and Diana by her agile limbs ; in 
 short, every divinity acquired a peculiar personal appearance so 
 
BAS-RELIEF AND ALTO-RELIEF. 
 
 17 
 
 entirely distinct that attributes at last came to be comparatively of 
 little importance, and in the best period of Greek art were 
 very sparingly introduced. 
 
 Bas-relief is the term applied to those sculptures in which the 
 figures or objects project only partially from the flat surface ; it is 
 a style of sculpture which, unlike statuary, partakes of the princi¬ 
 ples of painting. Bas-reliefs of the earliest times almost inva¬ 
 riably display their figures and animals in side view, whatever the 
 action of these may be. The same is the case in the earliest 
 vase paintings, where everything is profile, and painted an equal 
 tint like the silhouette, which the Greeks called skiagraphs or 
 shadow-paintings. This has close affinity to the effects described 
 in the story of the potter’s daughter, already narrated. The 
 ancient Egyptian sculptures, from which the Greeks learnt so 
 much, display the same peculiarity ; it is perceptible also in the 
 Assyrian basreliefs in the Assyrian Court, as well as in those in the 
 British Museum. In many instances the workman has made great 
 sacrifices in order to present each particular part in complete profile. 
 
 Alto-relief is similar to bas-relief in the figures being also 
 arranged upon a flat ground, but they project more, and are in some 
 parts entirely detached from the ground, as in the metopes of the 
 Parthenon, seen in the model and frieze of the Theseum (Nos. 32 
 and 56). 
 
 Some of the earliest specimens of Asiatic Greek art are now in 
 the British Museum. They are bas-reliefs, which decorated a square 
 monument at Xanthus in Lycia, commonly called the Harpy tomb. 
 The accompanying woodcut shows a few of the figures selected from 
 two different sides. 
 
 The Harpy monument of Xanthus probably belongs to the 6th 
 century before our era, and dates from 
 about the period when Nineveh was de¬ 
 stroyed. A smile may be discovered on 
 every face, but the minuteness of the features, 
 the exact details of the hands, creases of skin, 
 and delicate folds of dress are carefully at¬ 
 tended to in the original. The male figure 
 sitting on a seat displays one peculiarity 
 observable in all early profile representa¬ 
 tions. Although the face is presented side- prlsented M in f^n," although the 
 ways, the eye remains in full view. The rest 13 profile * 
 same is the case in Egyptian and Assyrian sculpture. A coin 
 with the head of Minerva in the accompanying woodcut evinces a 
 
18 
 
 THE GREEK COURT. 
 
 like peculiarity. Although of a somewhat later date, chrono¬ 
 logically speaking, it is of exactly the same stage in the progress 
 
 Portion of Bas-relief from the Ilarpy Monument, representing the Three Graces advancing to Venus. 
 
 of the art. The mouth is represented smiling, and the eye 
 full and strongly projecting. 
 
COINS. 
 
 19 
 
 Coins first consisted of rude lumps of metal, and were after¬ 
 wards stamped on one side only with simple devices, such 
 as a pomegranate or bird, helmet or flower. The device was 
 afterwards improved into a head, generally of the patron 
 divinity of the country or town where the money was coined, 
 and at a subsequent period the clumsy mark of the hammer, 
 visible on the earliest specimens, was exchanged for some 
 emblem, or device, thus giving to each side of the coin a similar 
 decoration. Portraiture of rulers was not introduced on coins 
 before the reign of Alexander the Great, and he was at first 
 represented as the god Jupiter Ammon, in which character he 
 appears on a coin struck by Lysimachus. During the age of 
 Phidias and Praxiteles, the most flourishing period of Greek art, 
 some of the most beautiful statues of divinities were copied 
 on coins, and occasionally groups of figures were added, so that by 
 this means we can behold transcripts of many celebrated works 
 which perished ages ago. This custom also prevailed in the 
 time of the Roman emperors, but their workmen were too clumsy 
 or careless to give an idea of more than the general appearance of 
 the figures. Coins may fairly be called sculpture in miniature, and 
 it is by their means that the famous Venus of Cnidos, the Palatine 
 Apollo, and the Colossus of Rhodes are still preserved, although 
 history too clearly narrates the exact circumstances of their 
 destruction. 
 
 AGE OF PEISISTRATUS. 
 
 Peisistratus Ruler at Athens, Croesus at Sardis, Tarquin at Rome, Amasis in 
 Egypt, Cyrus in Persia, b.c. 500—490. 
 
 A very interesting specimen of bas-relief is to be seen in No. 59 ; 
 representing a female figure mounting a chariot, it was found at Athens 
 among the remains of one of the buildings that had been destroyed 
 by the Persians, before the more celebrated edifices were raised. The 
 peculiar texture of the sleeve and arrangement of the hair, together 
 with the zig-zag folds of the drapery, are similar to many parts of 
 the Xanthian monument. This bas-relief is probably of the time 
 of Peisistratus. He was tyrant of Athens, and under his rule 
 great advances seem to have been made in the fine arts ; he 
 encouraged art and literature in particular, founded many useful 
 institutions, and erected several public buildings. The most 
 celebrated among the latter was a temple dedicated to Minerva 
 upon the Acropolis, which was called the Hecatompedon , that is, 
 measuring 100 feet, because it measured exactly 100 feet one 
 
20 
 
 THE GREEK COURT. 
 
 way. Hipparchus, the son of Peisistratus, inherited his father’s 
 tastes, and was, according to some authorities, the first to collect the 
 
 poems of Homer, and to arrange them in their 
 present form ; he was the founder of a public 
 library, and exercised strong influence over the 
 minds of his people. 
 
 The art of the age of Peisistratus may be 
 described as elaborate and hard, with a strong 
 inclination to the pourtrayal of individual 
 character. The features are sharp and rigid, 
 and the hair minutely detailed. A peculiar 
 Wiry undulation is observable upon the tresses, 
 and the braiding of the hair is very carefully 
 imitated. The drapery hangs in long strait 
 
 plaits, with zigzag edges, but a few of the 
 folds are made to curve, as seen in the bas-reliefs 
 last described. 
 
 Another sculpture of great interest, and in 
 
 r 1 /Anr t«a1 i a-P ici twaciawta/i 
 
 lempie at ^gma. Agamemnon, larniyoms, ana 
 Epeus. The figures have a very Egyptian JL v 
 character, and the names are written on the flat 
 ground near them. 
 
 Writing occurs so frequently upon ancient 
 monuments that the principal variations observable in the form of 
 the letters may be noticed with advantage. 
 
 The form and value of the Greek letters underwent many 
 changes, and dates at which these occurred have been accurately 
 recorded in connection with historical events ; thus the peculiar 
 shape of a letter upon a monument may often be regarded as an 
 indication of the age at which it was executed. 
 
 The earliest letters were very rude, being thin when scratched 
 into clay or plates of metal ; but when done with the brush, as we 
 see on the painted vases, they were very coarse and blotchy. 
 It would be foreign to our purpose to go into the history of writing 
 in various countries, and it will suffice to mention, that in Assyria 
 writing was traced in two different directions. All characters 
 upon public monuments, inscribed in stone or metal, were written 
 from right to left, as the Hebrews and some other oriental nations 
 now write; but when the Assyrians wrote in the cursive style with 
 a pen or brush, in a free and flowing manner, their lines passed from 
 
THE GREEK LETTERS. 
 
 21 
 
 left to right as with ourselves. The Greeks in very early times 
 used both these styles together. They wrote in what is called the 
 Boustrophedon , Bov-arpcxfirj-dov, or ox-turning fashion ; that is to 
 say, that the lines ran in alternate directions, passing first from 
 right to left, then from left to right, and next from right 
 to left, and so on, moving, in fact, as the name implies, 
 like an ox at the plough. The accompanying portion 
 of an inscription written in this fashion will best explain the effect. 
 
 }|0/VlOTlA\^ 
 pArfcO ITO 
 
 r/if 
 
 A. 
 
 It is the commencement of the celebrated Sigean inscription, which 
 in ordinary Greek characters and the later order appears thus :— 
 
 (pavobiKO 
 
 e/JU TOpjXOK. 
 
 pareos to 
 T vpoKovvq 
 (no Kpr}TT]p 
 a be Kai vttok 
 
 I am the gift of Phanodicus, 
 the son of Hermocrates, of 
 Proconnessus, he gave a vase 
 (crater) and a stand for it— 
 and— 
 
 prjrgptov : K 
 
 A glance at the letters E and K will always indicate the course of 
 the line by the direction of their branches. Many boustrophedon 
 inscriptions are found on coins, and very frequently some of the 
 names on earliest coins are written retrograde , that is, from right 
 to left, although it must be borne in mind that the earliest die- 
 sinkers rarely considered the reversal of their subject by the process 
 of striking. The accompanying inscription is taken from a very 
 early coin of Agrigentum, AKPATANTOS, where the last five 
 letters of the name are written backwards. 
 
 %A 
 
 A curious example of the union of the two directions may be 
 seen in the bas-relief of a fine period of art, representing Orpheus, 
 Eurydice, and Hermes. It is in the long gallery (Ho. 171). The 
 name of Orpheus is written backwards, and all the letters are in 
 very thin lines. 
 
22 
 
 THE GREEK COURT. 
 
 Two letters, equivalent to our K and F, the koppa and the 
 
 digamma F, fell into disuse before the finest period of Greek art, 
 but they are found on inscribed tablets, and occur upon several 
 coins. Koppa appears as the initial letter of Corinth and Croton, and 
 the digamma commences the name Elis upon early coins in the 
 British Museum. The famous chest of Cypselus, at Elis, which 
 Pausanias saw and described, had boustrophedon inscriptions on it, 
 besides others which he says were in winding characters difficult to 
 be understood. The following are the early forms of the letters, 
 T, A, A, N, and ©, 
 
 ^ ^ A A © 
 
 In the early ages of Greek writing, there was no separate 
 form for the long vowels, that is, there was no omega nor eta. 
 The letter H is very ancient, but in earlier times it had a different 
 value ; it served as an aspirate only, and was precisely the same as 
 our letter h. 
 
 A very important inscription, an epitaph on the warriors who 
 fell at Potidea, b.c. 432, is preserved in the British Museum. Its 
 chief interest to us is that it affords a proof that the peculiarities just 
 mentioned were, at that time, adhered to, viz., the H is used as a mark 
 of aspiration, omega does not appear, and £ is represented by X2 and ^ 
 by <1>2, the genitive term'nation OY is written simply O, and the dative 
 cases are marked by the I adscript. As regards the mere shape 
 of some of the letters, it may be mentioned that the Y is very 
 shallow at the top, M is wide spread, N has generally the first limb 
 longest. The legs of the A are remarkably short, the circle of the 
 d> is very low down on the stem, and the letter O is always small. 
 The same peculiarity applies to the 0, which is merely distinguished 
 from the O by a small dot in the centre. The letters are placed 
 exactly over one another, so as to prevent the possibility of any 
 interpolation. The letter omega 12 was not introduced into public 
 documents until 403 b.c., when Euclid was archon of Athens. At 
 the same time the H was converted into a long E or eta. 
 
 During the Alexandrian period, leading changes again occurred. 
 The 2 was altered into C, the angular form of the E abandoned for 
 the circular e, and omega 12 changed to a reversed M thus |A! • * These 
 innovations first appeared on the coins of Antony and Cleopatra ; 
 they are not to be seen in the famous Rosetta inscription of 
 
 See bas-relief at the end of this introduction, page 46. 
 
TEMPLE OF MINERVA AT JEGINA. 
 
 23 
 
 Ptolemy IV., there the alpha is made like a reversed Y, thus a. 
 During the times of Hadrian, and the Antonines, purely retrospec¬ 
 tive ages, the better style of Greek characters was revived. 
 
 A very interesting monument of this period is an upright slab or 
 stele, surmounted by an ornament called Jleuron, sculptured with a 
 full-length figure of a man, leaning on a stick, having a flask hanging 
 at his side. A dog stands at his feet, and looks attentively up to 
 him. It is supposed to represent Ulysses and his dog. The 
 execution is hard, but very careful, and exceedingly interesting, as 
 an Homeric subject (See No. 172). 
 
 Selinus, in Sicily, had also its distinct school of art. The 
 metopes that were recently found at Selinus, and which are now at 
 Palermo, are in very high relief, wrought in a rough material, 
 coated over with plaster, and coloured so as to soften the appear¬ 
 ance of the surface. The faces are presented in full, whilst the 
 lower limbs are turned sideways. They closely resemble the 
 large Assyrian figures that stand between the bulls on the outer 
 walls of the Nineveh Palace. As the city of Selinus was destroyed 
 by the Carthaginians, 409 b.c., these monuments must belong to 
 a much earlier date ; besides, the coinage after the restoration of 
 the city displays a very different style. 
 
 JEGrINETAN AGE. 
 
 From tlie Battle of Marathon, to the Battle at the Eurymedon, b.c. 490—466. 
 
 -dSgina was remarkable for its elaborate style of art. It pro¬ 
 duced many workers in metal, a circumstance which probably 
 influenced the character of its other manufactures, and caused that 
 peculiar rigidity and formality of arrangement of figure which was 
 known by the name of HCginetan. Two sculptors of ^Egina, 
 Callon and Hegesias, were especially celebrated, and Quintilian 
 designates their style as Tuscan—a term which is also adopted by 
 Pliny. There seems every probability that the terms -ZEginetan 
 and Tuscan were applied to the same style. 
 
 The series of statues that formerly adorned the Temple of Minerva, 
 at iEgina, mark an important step in the progress of the ^gina Tem- 
 art. They consist of entire statues, smaller than life, which P le - B - c - 4S0 - 
 occupied the two pediments of the temple, and for their discovery 
 we are chiefly indebted to Mr. Cockerell. Being extensive series 
 of figures, intended to fill a space, the limits of which still remain, 
 we have also an idea of their pictorial arrangement. These and 
 the figures from the Parthenon pediments are the only instances of 
 
24 
 
 THE GREEK COURT. 
 
 an extensive range of Greek composition that we can refer to, as 
 stiU existing. The arrangement of the statues in the western end 
 closely resembles the paintings on vases of a contemporary period, 
 which represent the same subject; the figures on the western side 
 are also better preserved and more numerous than those on the 
 eastern ; yet the latter are larger in scale, and have, unfortunately 
 been much destroyed. Their number has, in fact, been reduced to 
 five. The figure of Minerva occupied the centre of the western 
 pediment. She is taller than any other figure, as deities are 
 when placed in comparison with mortals. Minerva is the only 
 figure facing the beholder in an erect attitude, her feet are 
 turned sideways ; the rest exhibit all the variety of action during a 
 conflict. Patroclus lies in the centre at the feet of the goddess. 
 A most careful attention to nature is everywhere observable in 
 these figures, and the anatomical accuracy of the muscles and joints, 
 considering the period, is perfectly wonderful. 
 
 The figures of the east pediment are executed in a very superior 
 manner to the rest. There is more largeness of style, and in some 
 instances the veins are very delicately marked. The eyes and wounds 
 were heightened by colour, and curls of wire attached to some of 
 the beards. 
 
 A very important bas-relief, representing a warrior in full armour, 
 was found at Marathon ; the sculpture is in very low relief, highly 
 finished, and richly coloured. The shape of the marble is upright, 
 like No. 172, and it is additionally interesting from bearing an 
 inscription with the names both of the artist and the person repre¬ 
 sented. 
 
 EPrON API2TOKAE02 
 
 API2TIONOS 
 
 It has been transported to Athens, and is now preserved in the 
 Museum of the Temple of Theseus. 
 
 The invasion of the Persians, involving the total destruction of 
 the buildings on the Acropolis of Athens, was a most important 
 event for the promotion of the arts in Greece. After the expulsion 
 of the enemy the national glory had to be recorded, but the instant 
 restoration of the temples was considered as due to the gods, both 
 of necessity for the continuance of religious rites, and in gratitude 
 for the assistance vouchsafed. It was resolved at once to repair 
 those buildings which seemed the especial habitation of the pro¬ 
 tecting deities, and afterwards to erect new temples with every 
 possible splendour and magnificence. 
 
 In 476 b.c., Cimon took possession of Scyros, an island in the 
 
TEMPLE OF THESEUS. 
 
 25 
 
 iEgean Sea, and here he found the bones of Theseus. In accordance 
 with the direction of the oracle, they were con - Theseum completed, 
 veyed to Athens, and received into the city with the B - u - 467 - 
 
 same rejoicing and ceremonies as if the hero had returned alive. A 
 grand temple-monument, called the Theseum, was erected to receive 
 them ; and this was probably the first great architectural work com¬ 
 pleted after the Persian devastation. The Theseum is built of 
 Pentelic marble, and is raised on a gentle inclination. The 
 size of the temple is small, but the beauty of its symmetry 
 strikes the eye at once. The pediment formerly contained sculp¬ 
 tures, of which now only the metal cramps and tenons remain. It 
 has six columns at each end, and thirteen at the sides. The 
 metopes of the west end remain unadorned with sculpture, but the 
 cella or inner wall of the temple has a frieze of figures in high 
 relief at the east and west ends. The former relates to the battle 
 of the gods and giants, and the latter to the combat with the 
 centaurs. 
 
 All these sculptures still remain in their original position at 
 Athens. Their transcripts in the British Museum are casts in 
 plaster, which were procured by Lord Elgin. 
 
 This temple very probably formed the model for the Parthenon ; 
 it affords abundant proof of the original application of colour in 
 decoration, both on frieze and metopes, but especially in the 
 ornaments in the panelling of the ceiling. Some of these have been 
 copied in the vestibule (p. 6) adjoining the Greek Court. 
 
 It is not known who were the sculptors employed upon the 
 Theseum. The most celebrated names of this period were Ageladas, 
 the master of Phidias, Onatas of iEgina, and Calamis. 
 
 ATHENIAN AGE. 
 
 From the Expulsion of the Persians to the death of Pericles, b.c, 466—429. 
 
 The sculptures of the Theseum display a wonderful advance 
 beyond all previous attempts. NTo period during the whole course 
 of Greek art, affords so striking an instance of sudden progress. 
 Before this time every production was characterised by elaborate¬ 
 ness and detail; here everything is at once displayed in the broadest 
 manner. Instead of the minutely crisped hair, divided into little 
 plaits, or separate locks, it forms a compact smooth mass, fitting 
 almost close to the head, like a felt cap. The same peculiarity 
 applies to the beard—a contrast indeed to the wedge-shaped beard 
 of the Marathon warrior and some of the ^Eginetan figures. The 
 
26 
 
 THE GREEK COURT. 
 
 figures of the Theseum are remarkable for the horizontal divisions 
 of the body, so disposed as to form three parts, whilst the upright 
 lines are comparatively neglected. Some parts of the frieze are 
 especially excellent. The anatomical display of the muscles of the 
 back for breadth of treatment combined with accuracy of parts, 
 deserve particular attention. The figures are all fleshy, but well- 
 proportioned, and exhibit a totally different race of men from those 
 we have previously looked at. The silence of writers, with the 
 exception of Dodwell, upon their merits, is surprising, especially 
 when we compare them with previous efforts, and bear in mind also 
 that these works were produced thirty years before the Parthenon. 
 The elegant combination, in one, of the human and the equine 
 forms is seen in full perfection, again anticipating the Parthenon. 
 Originally the centaur was represented as a complete human figure, 
 joined to the body and hind-legs of a horse. Thus the 
 centaur Chiron is described by Pausanias, on the chest of Cypselus. 
 He also appears in this way on the more ancient painted vases. 
 Another innovation in the Theseum deserves especial mention ; it 
 consists in the arrangement and execution of the drapery. Instead 
 of the folds encircling motionless limbs, or hanging straight down, as 
 
 before, they are made to flow 
 and assume every variety of 
 direction in accordance with 
 the subject, and by their 
 arrangement to set off the 
 figure to the greatest advan¬ 
 tage. 
 
 A long dragging mantle be¬ 
 hind one of the figures affords in 
 its straight folds a fine contrast 
 to the bold action of the limbs. 
 
 The formalities of the old 
 style could not at once be 
 thrown aside by all artists : 
 indeed we shall have occasion 
 to observe that with many the 
 
 Centaur of the refined period of Greek art, from the • • i v 1__ 
 
 celebrated statue in the Louvre, known as the Burmese rigid elaborate peculiarities OI 
 
 Centaur ‘ iEgina maintained the prefer¬ 
 
 ence. Several statues in European museums, with lingering 
 archaisms, may be assigned to this period. The Minerva of 
 Dresden (No. 20) shows great formality in the drapery, whilst 
 the small groups wrought down the front of her dress are executed 
 
POLYGNOTUS. 
 
 27 
 
 with a freedom and spirit betokening a more advanced stage 
 of the art. The celebrated Minerva also from Herculaneum 
 
 Centaur. Earliest mode of representation, from a painted vase. The name Chiron is 
 inscribed near his head, in Greek letters. 
 
 (No. 60), exhibits the same arrangement of drapery and ornament, 
 whilst the head and limbs are executed with a roundness and 
 freedom evincing great power of workmanship, in spite of a deter¬ 
 mined adherence to the old style. The small Diana also from 
 Naples (No. 75), exhibits the lingering influence of'the archaic 
 period. This little figure merits especial attention. The folds of 
 her mantle and of the dress between the legs, are arranged like 
 the Herculaneum Minerva, but on account of the stronger action of 
 the figure these are violently swung on one side. This feeling is 
 first perceptible in the Athenian bas-relief (No. 59), of a female 
 mounting her chariot. 
 
 Although sculpture is the immediate object of our inquiry, it 
 may be serviceable to consider the works of a very eminent painter, 
 Polygnotus, who flourished at this period. He was also a sculptor, 
 and assisted Micon in the decoration of the Theseum. In the 
 description given of his paintings by Lucian we recognise many 
 peculiarities already noticed in the sculptures of the Theseum, and 
 perceive also that his pictures anticipated many of the excellencies 
 which are now only to be seen in the Parthenon. Lucian particu¬ 
 larly mentions the drapery wrought with the utmost thinness and 
 delicacy ; the parts, where necessary for the display of the limbs* 
 
 D 
 
23 
 
 THE GREEK COURT. 
 
 fitting close, while the rest remain loose and fluttering in the wind. 
 Polygnotus seems to have been the first who threw expression into 
 
 Group from tlic western frieze of the Parthenon, showing a perfect example of drapery fluttering in 
 the wind, technically called “flying drapery.” 
 
 the countenance ; he opened the mouth and displayed the teeth; for 
 hitherto, whether smiling or not, the lips were closely compressed. 
 The beautiful blush which suffused the skin of Cassandra in his 
 picture at Delphi, obtained numerous admirers. He appears from 
 all testimonies to have been a great ideal painter, and his figures 
 were always invested with a peculiar stateliness or propriety of 
 bearing. 
 
 We now enter upon the Periclean age, during which the fine 
 arts attained an excellence never at any other time equalled. All 
 circumstances combined to produce this wonderful result. 
 
 Pericles first appeared in public life 469 b.c., in the same year 
 that Socrates was bom, and his primary object seems to have 
 been to render Athens the most brilliant city in the world, not 
 only for power, but for the display of the arts and cultivation 
 of literature. 
 
 Of all buildings on the Acropolis the Parthenon was the 
 most important and the most beautiful ; it was commenced by 
 Pericles in 444 b.c., and. was adorned with the master- 
 
PHIDIAS. 
 
 29 
 
 pieces of sculpture and reliefs executed under the entire super¬ 
 intendence of Phidias. A new theatre called the Odeon was 
 also built for musical performances during great festivals, and this, 
 together with the Parthenon, was completed between 445 and 
 437 b.c. The Propylsea, or entrance gates to the Acropolis, were 
 finished somewhat later—between 437 and 431 b.c. TheErechtheum, 
 which had been destroyed during the invasion of Xerxes, was to 
 have been splendidly rebuilt, but the outbreak of the Peloponnessian 
 war impeded its progress. Besides the display of architecture 
 upon the Acropolis, extensive series of sculpture were employed 
 in the decoration. Xo fewer than three statues of Minerva, by the 
 hand of Phidias, were visible upon the Acropolis : one of ivory and 
 gold, forty-seven feet high, within the Parthenon ; a second of 
 bronze, called the Lemnian (so called because it was dedicated by 
 the people of Lemnos), which Pausanias considered superior to all 
 other works of Phidias. Lucian awards the same praise ; he espe¬ 
 cially admired the beauty of the face. This statue was remarkable 
 for being inscribed with the name of the artist. It was also called 
 the Callimorphos , expressing beauty of form. The third, a bronze 
 colossus, called Minerva Promachos , which stood between the 
 Propylsea and the Parthenon. It was so conspicuous that the 
 crest of the helmet and point of the spear were visible from the 
 sea, beyond Peirseus, but it was not finished when Phidias died. 
 This Minerva Promachos was between 50 and 60 feet high. It 
 represented the goddess holding up both spear and shield in 
 the attitude of a combatant, and was made of the spoils of Mara¬ 
 thon. A more particular account of the architecture of the 
 Parthenon and its external sculptures belongs to pp. 6 —11. 
 We may here refer to the description of an eye-witness living 
 more than 1600 years before our time, for an account of the 
 first-mentioned statue of Minerva wrought in ivory and gold. 
 Pausanias beheld this famous work as it stood within the Par¬ 
 thenon, raised on a richly sculptured base, and protected from 
 injury by a railing of bronze. He gives the following particulars :— 
 
 “ The statue of Minerva is of ivory and gold, and upon the cone 
 of the helmet there is a sphinx, and upon the sides there are griffons ; 
 the figure is erect, and in a tunic, which falls down to the feet. 
 
 “ It has a Medusa’s head in ivory upon the breast, and a Victory 
 four cubits high : she holds a spear in her hand, and has a shield 
 at her feet, and at the bottom of the spear there is a serpent, which 
 is supposed to be Ericthonius ; the history of Pandora’s birth is 
 represented on the pedestal.” 
 
 d 2 
 
30 
 
 THE GREEK COURT. 
 
 The same sculptor, Phidias, left the most renowned proof of his 
 great excellence in the colossal Jupiter at Elis, also formed of ivory 
 and gold. Pausanias, in his travels, preserves a minute account of 
 this statue with all the sculptures connected with it. The description 
 is so illustrative of the extent to which various subjects were 
 formerly combined and arranged, as to render it impossible for us 
 to omit it altogether. 
 
 “ The god is sitting upon a throne, and is made of ivory and 
 gold ; he has a crown of olive upon his head, and an image of 
 Victory in his right hand, which is also made of ivory and gold, 
 being adorned with a wreath and a crown : he has a polished 
 sceptre in his left hand, inlaid with a great variety of metals ; 
 bearing an eagle at the top of it : his sandals and his robes are 
 of gold, adorned with various animals and flowers, particularly 
 with lilies. The throne is of ivory and ebony, enriched with 
 precious stones ; it is embellished with the figures of animals, 
 intermixed with paintings. There are also many statues; 
 amongst which are four Victories, in a dancing posture, at each 
 foot of the throne : there are two others also affixed near the 
 sandals of the god : and near to the foremost feet of the 
 throne are represented Theban infants torn away by sphinxes ; 
 under which are Apollo and Diana shooting the children of Niobe. 
 The feet of the throne are connected by four fillets; in that 
 which is in front there are seven statues, the eighth being lost, 
 nobody knows how. They represent the ancient gymnastic exer¬ 
 cises ; and the figure having the head encircled with a wreath, from 
 the beauty of his person, is thought to be Pantarces the favourite 
 of Phidias, who gained the victory among the youths in the 
 Olympic games. The rest of the fillets are adorned with the 
 images of the heroes that accompanied Hercules in his expedition 
 against the Amazons ; the number of his companions is twenty-nine ; 
 among which Theseus is especially distinguishable. The throne 
 is not only supported by the feet before described, but by pillars 
 of the same dimension with the feet and placed between them. 
 The entrance between those pillars is defended by a surbase, one 
 side of which is coloured with azure ; but the other three are 
 adorned with paintings by Panseus the brother of Phidias ; among 
 which is Atlas supporting the heavens and the earth, and 
 Hercules ready to assist him ; there are likewise Theseus and 
 Pirithous, with the images also of Ancient Greece, and of Salamine 
 holding an ornament of the upper part of a ship in her hand ; 
 a representation of the combat of Hercules with the Nemean 
 
DESCRIPTION OF THE JUPITER AT ELIS. 
 
 31 
 
 Lion ; and the insult of Ajax upon Cassandra; and Hippodamia 
 the daughter of (Enomaus, with her mother ; Hercules looking 
 upon Prometheus in chains, and Achilles supporting Penthe- 
 silea, whilst she is breathing her last : and two of the Hesperides 
 carrying the apples committed to their charge. Upon the 
 top of the throne, over the head of the statue, Phidias has 
 introduced three Graces on one side, and three Horse on the other. 
 Upon the base, which is under his feet, are golden lions, and a 
 representation of the battle of Theseus against the Amazons : and 
 upon the plinth, which supports the whole mass, is repre¬ 
 sented in gold the Sun mounting his car. There are also Jupiter 
 and Juno, and Mercury embracing one of the Graces, with Yesta 
 embracing Mercury : Cupid receiving Venus as she is rising out 
 of the sea ; and the Goddess Persuasion putting a crown upon 
 her head. There is also Apollo with Diana, Minerva and 
 Hercules. In the farther part of the plinth are Amphitrite 
 and Neptune, and the Moon driving a horse : not far from the 
 statue a brass vase of oil, with which they anoint the statue, in 
 order to preserve the ivory, which unless this precaution were 
 taken might suffer in that damp situation. ” * Though Pausanias 
 is dissatisfied with the dimensions of the statue as described by 
 others, he declines giving any himself. 
 
 Plutarch also bears an important testimony to the excellence 
 and estimation of these Athenian sculptures ; he says, to quote 
 the words of an old translator, “the works of Pericles are the 
 more wonderful because they were perfectly made in a short time, 
 and have continued so long a season. For every one of those 
 which were finished up to that time seemed to be very ancient, 
 touching the beauty thereof: and yet, for the grace and continu¬ 
 ance of the same, it looketh at this day as if it were but newly 
 done and finished; there is such a certain kind of flourishing fresh¬ 
 ness in it so that the injury of time cannot impair the sight thereof. 
 As if every of those foresaid works had some living spirit in it, to 
 make it seem young and fresh : and a soul that lived ever, which 
 kept them in their good continuing state.” 
 
 Besides these great and authentic productions of Phidias at 
 Athens, which have escaped the ravages of time, we may point 
 to some excellent fragments in the collections of Italy. We 
 recognise fine examples of his school, if not exactly of his time, in 
 the large bas-relief of two combatants and horse, No. 34, and The 
 Orpheus and Eurydice (No. 171). 
 
 * Sir Uvedale Price’s translation. 
 
32 
 
 THE GREEK COURT. 
 
 Alcamenes, a pupil of Phidias, was celebrated for liis groups in 
 the pediment of the temple at Olympia and his statue of Venus in 
 the gardens.* Some portions of the Olympian sculptures were 
 discovered in 1820, and are now in Paris. 
 
 Calamis has been already mentioned in connection with Onatas 
 of iEgina before Phidias. He made a statue of Apollo Alexicacus 
 (the warder-off of evil), dedicated by the Athenians to commemo¬ 
 rate the cessation of the plague in which Pericles died. Many 
 persons suppose the now celebrated statue—the Belvedere Apollo 
 (No. 252)—to be a copy of this work of Calamis. According 
 to Quintilian there was somewhat of hardness in his execution, 
 but much less, it appears, than was to be seen in that of Callon 
 and Hegesias, which was almost Tuscan in manner. Calamis 
 produced only one statue of ivory and gold ; his most celebrated 
 work was a bronze figure of Sosandra. This was one of the 
 masterpieces of antiquity. He was especially celebrated in repre¬ 
 senting the horse, and it is not improbable that we see much 
 of his work on the Parthenon. His group in memory of Hiero, 
 which he produced in conjunction with Onatas, had obtained 
 him much celebrity even before the commencement of the 
 Parthenon. 
 
 Polycletus, of Argos or Sicyon, stands pre-eminent as a sculptor. 
 He executed many fine works in bronze, and is remembered as 
 having on one occasion overcome Phidias. Several artists, Phidias 
 among them, competed to produce a statue in bronze of an 
 Amazon, for the temple of Diana at Ephesus. That of Polycletus 
 was preferred before them all. The beautiful statue from the 
 Vatican (No. 302), is probably a copy of it. His chryselephantine 
 (that is, gold and ivory) statue of Juno at Argos was the admira¬ 
 tion of all antiquity. It seems to have called forth his peculiar 
 power of exhibiting the female form in its full maturity. The 
 head of this statue is recognised upon the coins of Argos. Pausanias 
 gives the following account of it :— 
 
 “ The goddess is represented sitting upon a throne : the figure is 
 of ivory and gold, and was made by Polycletus, and is of a very 
 extraordinary magnitude : she has a crown upon her head, upon 
 which are most elegantly represented the Graces and the Hours : 
 
 * Probably this Venus was draped as the Dione (No. 3), or in the gem by 
 Glycon, where Venus sits on a marine horse. The older form of the goddess 
 appears on the reverse of a coin of Bruttium, in which she is represented, 
 attended by Cupid, riding on a hippocamp, (or horse with body terminating in a 
 long curved fishy form) and on a coin of Pyrrhus, King of Epirus. 
 
STATUES IN BRONZE. 
 
 33 
 
 she holds a pomegranate in one hand, and a sceptre in the 
 other, upon the top of the latter is the image of a cuckoo.”— 
 (Pausanias, b. ii., ch. 17). 
 
 “ But the statue of iEsculapius is not above half as big as that of 
 Jupiter Olympius at Athens ; yet this also is made of ivory and 
 gold, and was executed by Thrasymedes, a Parian. He sits 
 upon a throne, holding a staff in one hand, with the other upon 
 the head of a dragon ; a dog is reclining at his feet : and 
 upon the throne itself are represented, in relievo, some of 
 the heroic actions of the Argives, as of Bellerophon’s killing the 
 Chimsera, and of Perseus cutting off the head of Medusa.” 
 
 Polycletus made a statue of a manly youth holding a spear. This 
 was so much admired for its symmetry that it became the standard 
 of proportion, and was called the canon. Another figure of his was 
 quite in contrast. It represented an effeminate youth tying a fillet 
 round his hair. Polycletus is said to have been the first to throw 
 the weight of the body on one side, resting on one leg ; but 
 this peculiarity is clearly visible in the frieze of the Parthenon. 
 He also made a figure of a man in the act of using the strigil—an 
 instrument used in the baths and represented hanging on the tree 
 of No. 4. This statue, called Apoxuomenos, obtained much 
 celebrity in later times from the interest taken in it by the people 
 of Rome when it was brought into their city. Polycletus was 
 also an architect, and his theatre, one of the largest of ancient 
 times, still exists at Epidaurus. Pausanias thus alludes to it :— 
 
 “But among the Epidaurians there is a theatre in a temple, which, 
 in my opinion, deserves more than anything to be inspected. For 
 the theatres of the Romans, as they surpass others, which are to 
 be found in any part of the world, in their ornaments, so likewise 
 they surpass in magnitude that which is to be seen at Megalopolis 
 in Arcadia. But, for harmony or beauty, what artist will take 
 upon him to contend with Polycletus ? For Polycletus was the 
 artificer of this theatre, and of the round edifice. ” 
 
 Myron, a native of Eleutherse, worked chiefly in bronze. He 
 delighted in minute and elaborate imitations of natural objects. 
 His animals were much sought after, and he is famous for a statue 
 of a Discobolus, or man hurling a quoit or discus, which has been 
 mentioned by Quintilian. (See No. 4.) He appears to have very 
 much adhered to the old style, especially in elaborating the hair, a 
 peculiarity again alluded to by Quintilian. He made statues of 
 Pentatldi and Pancratiastce , which were no doubt accurate represen¬ 
 tations of nature. Callimachus, the inventor of the beautiful foliage 
 
34 
 
 THE GREEK COURT. 
 
 peculiar to the Corinthian order, was also remarkable for minute 
 study and extraordinary finish. He is said to have spoiled his 
 works by over-elaboration. He was therefore called Catatexi- 
 technos (K araTrj^irexvos), and Cakizotechnos (K aKi^orex^OQ), because 
 his work was frittered away in the minute finish of unimportant 
 details. Myron was called Operosus by Ovid, an epithet perfectly 
 
 From tlie Frieze of the Temple of Apollo at Phigaleia. 
 
 applicable to one chiefly accustomed to work in brass. Quintilian 
 also described him as producing a greater degree of softness and 
 
 delicacy than Calamis. Callimachus made a beautiful lamp-stand of 
 Corinthian style, which was seen by Pausanias, in the temple of 
 Minerva-Polias on the Athenian Acropolis. 
 
 The sculptures of a provincial temple in Arcadia are, on account 
 of their reference to this time, worthy of attention, but as far as 
 art is concerned, it is scarcely possible to perceive any con- 
 
THE NIK& APTEROS. 
 
 35 
 
 nexion with this period. We are expressly told by Pausanias that 
 the temple of Apollo Epicurius at Bassse was constructed by 
 Ictinus, one of the architects employed upon the Parthenon. The 
 site corresponds exactly with the present remains of the temple at 
 Phigaleia, the frieze, which is now removed to the British Museum, 
 was made to decorate the interior of the temple, and the figures are 
 in almost as strong relief as those on the frieze of the Theseum 
 at Athens. The execution is very unequal : in a few parts it 
 is excellent, but generally inadequate to the composition ; it 
 is sometimes even clumsy, and deficient in feeling. The original 
 composition is very unlike any works that have reached us of the 
 Periclean age. There is a fatness in the forms, the attitudes of 
 some of the figures seem ignorantly copied from the temple 
 of Theseus ; and there is a remarkable degree of flourish, in 
 drapery upon the background, introduced merely by way of 
 ornament and to fill up the wide spaces left between some of 
 the figures. Such waving draperies are only to be seen with 
 the same effect upon some of the Etruscan engravings on bronze 
 mirrors and cistse. These curved lines of drapery on the Phigaleian 
 marbles are the more strangely contrasted with the straight lines 
 observable in the tunic of some figures, on account of the wide- 
 stretched limbs. (See accompanying woodcuts.) The display here 
 of flying drapery, as it is technically called, is rather one of mere 
 curved lines than of modelled folds, such as may be seen in the 
 Parthenon (page 28). A small series of figures belonging to 
 this epoch next claims notice. It formed the frieze of the little 
 temple of wingless Victory (Nike apteros ) attributed generally to the 
 time of Cimon. Many separate portions were transported to 
 England before the temple itself was discovered, as it lay hidden 
 among the masses of blocks at the entrance to the Acropolis. The 
 costume and equipments of many of the figures show the combatants 
 to be Greeks and Persians, the latter characterised by the Asiatic 
 cap, the braccse, a peculiarly formed shield,* and a large bow-case. 
 They are very spirited in design and full of action. The drapery 
 is thrown across the limbs with great effect, and when floating 
 away from the figures is disposed in large finely curved lines much 
 simpler than those in the sculptures of Phigaleia. Several portions 
 of the frieze have been lately discovered at Athens, and are here 
 in casts No. 57, but the Persian costumes are better to be seen in 
 the British Museum. 
 
 * See also a very interesting little terra-cotta in the Bas-relief Gallery 
 (No. 124.) 
 
36 
 
 THE GREEK COURT. 
 
 The coinage of Athens underwent considerable change at this 
 period. The profile head of Minerva, 
 with the full eye and sharp features, was 
 supplanted by the more mature type sug¬ 
 gested by the great statue of Phidias. We 
 now find the helmet surmounted by a 
 more lofty crest, a griffin on either side, 
 and four horses issuing forward above the 
 vizor. The cheek pieces are turned up, 
 in order to display more fully the beauty 
 
 Coin of Athens, showing the of her hair and face, clearly the identical 
 Phidias. Minevva alterthe tlme of peculiarity of the Farnese Minerva ( No . 
 17) ; and, as similar statues exist elsewhere, we may assume them 
 all to be taken from the renowned chryselephantine production. 
 
 AGE OF THE PELOPONNESIAN WAR. 
 
 From tlie Death of Pericles to the Accession of Alexander the Great, B.c. 429—336. 
 
 An important change in the tendency of the plastic art mani¬ 
 fested itself in the age succeeding Phidias. The beauty of the 
 human form as developed in the gods and heroes of the Parthenon, 
 the well-trained youths contrasted with the heavier centaurs, and all 
 
 the richness and loveliness 
 of female grace and pro¬ 
 portion, displayed with 
 propriety by Alcamenes 
 and Polyeletus in the 
 Venus, Juno, and Amazons, 
 —gave way to productions 
 of a more sensual tendency. 
 Socrates, the philosopher— 
 a statuary also — was the 
 
 The Graces, draped, from the famous triangular altar in l as ^ w ^ 10 executed a group 
 
 the Louvre. 0 f the three Graces covered 
 
 with drapery. A few instances of the clothed Graces of early art 
 may still be seen in bas-reliefs and upon coins of Germa, in Galatia, 
 and Athens—perhaps copied from the very group of Socrates ; but it 
 was Praxiteles, the great Athenian sculptor, who first ventured 
 to unveil the charms of the goddesses, not even sparing the 
 mother of love herself. Praxiteles, it is said, being commissioned 
 by the Coans to make a statue of Venus, displayed two, one draped 
 according to the usual custom, and the other perfectly nude. 
 
THE VENUS OF PRAXITELES. 
 
 37 
 
 He gave liis employers the choice, and they preferred the draped 
 one. The people of Cnidos purchased the novelty, and placed it 
 in a separate temple, where it was the 
 wonder of all beholders. So great was 
 its attraction, that people undertook 
 long voyages for the sole object of 
 seeing it, and Eumenes, king of Perga- 
 mus, offered to forgive the Cnidians 
 an enormous debt if they would only 
 transfer the statue to him. Numerous 
 are the stories told of persons falling 
 in love with it, and elaborate descriptions 
 of the figure, and of the mode in which 
 it was displayed, may be found in the 
 Dialogues of Lucian, who lived in 
 the age of Marcus Aurelius. The general appearance of the statue 
 may be traced on an imperial medal of Cnidos, although it has 
 unfortunately been very much obliterated. The position of the 
 left hand was the same as that of the Medici Venus ; the right 
 hand held some drapery, which fell over a vase standing by her ; 
 the face wore a gentle smile ; and the whole expression was sup¬ 
 posed to indicate the appearance of the goddess when she stood 
 before Paris. The temple was provided with a second door for the 
 purpose of admitting visitors 
 to a back view of the figure. 
 
 (Lucian. Imagines et Amoves.) 
 
 This beautiful work of art was 
 carried at a late period to Pome, 
 and eventually to Constanti¬ 
 nople, where it is recorded to 
 have perished in one of the fires 
 which consumed the Lausium. 
 
 Venus and the Graces were 
 not the only divinities repre¬ 
 sented with greater freedom. 
 
 Bacchus, hitherto a grave and 
 full-bearded personage, clothed 
 
 in long robe and mantle, was Praxiteles. .. . 
 
 converted into a joyous youthful figure, in all the bloom of adoles¬ 
 cence. Cupid, also, assumed a fuller and more mature shape. The 
 beautiful fragment in the Elgin room of the British Museum, and 
 the torso here (No. 203), are illustrations of the changes alluded to. 
 
 Reverse of a coin of Faustina, with 
 the statue of Venus, draped, piobably 
 the Venus of Cos. 
 
MA2NADES, OR BACCHANTES, BY SCOPAS, FROM A RELIEF IN THE VILLA ALBANI AT ROME. 
 
SCOPAS. 
 
 30 
 
 Scopas, a native of Paros, whence the finest marble was obtained, 
 a material chiefly employed by him, obtained great celebrity for 
 
 his figures of Nymphs, both of the sea and of Bacchic circles. He 
 seems to have delighted in subjects which admitted the combi¬ 
 nation of lovely female form with enthusiastic expression and 
 wild-tossing drapery. Some of his Msenades are frequently repeated 
 in ancient art. He is also looked upon as the author of the 
 famous statues representing Niobe and her children, (Nos. 187). 
 
 A famous Apollo, by Scopas, in long drapery, playing the lyre, 
 was placed by Augustus in a temple at Rome, in gratitude for his 
 victory at Actium. The statue appears on coins of Augustus 
 and Nero, inscribed : “ Ap. Act.” and “ Palcitinus.” 
 
 The Mausoleum constructed by Artemisia, at Halicarnassus, about 
 
40 
 
 THE GREEK COURT. 
 
 350 b.c., was regarded as one of the seven wonders of the world. 
 A square base, adorned with columns, supported a pyramid of twenty- 
 four steps. On the summit stood a chariot and four horses. The 
 entire height of the monument was 104 feet. The friezes were en¬ 
 riched with sculptures by Bryaxis, Leochares, Scopas, and Timotheus. 
 The bas-reliefs in the British Museum, brought recently from 
 Halicarnassus, are supposed to have formed a part of this monument. 
 If so, the sculpture (No. 129), from Genoa, must be likewise a portion, 
 as it seems identical in every respect. Artemisia erected this tomb 
 to the memory of her husband, Mausolus. She displayed extreme 
 grief at his death, and is said to have mingled his ashes with the 
 wine she drank. From this edifice every monument of funereal 
 splendour is called a mausoleum. 
 
 The works of a painter, Aristides, exercised great influence upon 
 the art of sculpture at this period. He was celebrated for his 
 power of conveying expression ; and seems to have excelled in 
 those subjects which display the passions of human life. Anguish, 
 longing, pity, and bodily suffering were all represented by him with 
 a reality never seen before, and works of sculpture from his period 
 seem to have been selected with a reference to the capability of such 
 exhibition. The pictures of Aristides were sold at enormous prices, 
 but his colouring is described by Pliny as harsh and crude. 
 
 Silanion, the bronze statuary, seems to have imbibed the taste 
 of Aristides. Portraiture and expression were his chief points of 
 excellence. A Jocasta by him, represented dying, was very popular 
 on account of the expression of the features being heightened by 
 an infusion of white into the metal of the face, producing a 
 deathlike paleness. His portrait of the statuary Apollodorus, 
 was so complete, that one might see in it the hesitation and dis¬ 
 satisfaction of a man who frequently destroyed his own works. 
 
 MACEDONIAN AGE. 
 
 From the Accession of Alexander the Great to the Destruction of Corinth by 
 
 Mummius, b.c. 336—146. 
 
 The only direct influence that Alexander exercised upon art, 
 seems connected with his decree that three artists alone should 
 represent him ; or, in other words, that he would sit but to three 
 of them. These were Lysippus, the sculptor, Apelles, the painter, 
 and Pyrgoteles, the gem-engraver. Lysippus introduced a new 
 school of art. He is said to have made his figures taller than 
 his predecessors ; for, after the time of Polycletus and Myron, the 
 head appears to have been made large in proportion to the body, 
 
ALEXANDER AND HIS INFLUENCE UPON ART. 
 
 41 
 
 perhaps from the same motive that influenced Raphael, namely, to 
 display the expression more powerfully. Hence a certain statue 
 of Hephoestion, by Lysippus, was attributed by many to Poly- 
 cletus. Lysippus was very rapid in the execution of his works ; 
 he gave his figures a more slender and compact form, and said 
 that, hitherto, men were represented as they were, but he would 
 make them as they should be. The personal appearance of Alex¬ 
 ander seems to have had great influence upon the art of his 
 period. It is traceable in almost every heroic figure ; a refer¬ 
 ence to his busts, Nos. 22 in red,* will show that the hair sprung 
 from above the forehead in two large locks, divided in the 
 middle, and that the rest of the hair fell full and snaky 
 around the face ; the eye also, was full and round, a peculiarity 
 also to his relations Ptolemy and Lysimachus. The same is 
 .to be seen on his coins and those of his successors, where his 
 portrait was actually introduced. From this time the portraits 
 of rulers appear upon their coins, with 
 their names inscribed around them ; the re¬ 
 verse of a coin was still occupied with the 
 insignia of the town in which it was struck, 
 and the names of the magistrates. Lysippus 
 bestowed great pains upon the hair of his 
 figures. He made a large statue of Hercules 
 reposing on his club, which was copied in 
 marble by Glycon, and placed in the baths 
 of Caracalla (No. 317). A colossal Hercules, 
 at Tarentum, in which the hero was seen ,, , ^ „ 
 
 7 Alexander the Great, on a jcold 
 
 reposing after his labours, was another of from the original ttt 
 
 his works ; this was afterwards represented 
 
 in a gem. A fine bronze equestrian figure of Alexander the 
 Great, found at Herculaneum, is now at Naples, and another 
 statue of the same hero, with all the characteristics of Lysippus, 
 which was discovered at Gabii, may be seen in the Louvre. 
 He also made an extensive series of large equestrian statues 
 representing Alexander, surrounded by all his generals. Perhaps 
 the most satisfactory evidences of the sculpture of this period, may 
 be seen in the frieze which adorns the monument of Lysicrates 
 (No. 320). It was erected at Athens, about this period, and 
 inscribed with the name of the archon, whose date is well known, 
 B.c. 335. The composition is very spirited, but the execution, 
 
 * See Portrait Gallery, No. 22. 
 
42 
 
 THE GREEK COURT. 
 
 judging from what remains, slight in the extreme. The two grand 
 colossal figures (Nos. 318 and 319), which now stand on the Monte 
 Cavallo, at Rome, were evidently copied in the Augustan age, from 
 similar statues of bronze. The elaborate curls and horn-like 
 projection of the hair, indicate the Alexandrian period. This is 
 further borne out by the small head, projecting brow, large 
 eye, full neck, and violent expression of countenance. The 
 limbs tapering down to the extremities, are very different in 
 treatment from the known works of Phidias ; there is, however, a 
 noble breadth about the chest, and in the division of various parts 
 of the body. As copies from bronze they show some affinity to the 
 famous Belvedere Apollo (No. 252), which exhibits a strength of ex¬ 
 pression in the countenance unusual, as we have seen, before the time 
 of Aristides ; the snaky separation of the curls, also, will be distin¬ 
 guished from the elaborations of Myron, which were more in fine 
 wavy lines, like the Bearded Bacchus (No. 382). The snaky elabo¬ 
 rations of Lysippus are visible, not only on the Monte Cavallo 
 figures, and the Apollo, but on coins of Pyrrhus and Mithridates. 
 
 At Rhodes, Chares of Lindus, who was a scholar of Lysippus, 
 executed the famous Colossus of the Sun. It was the largest of a 
 hundred colossi of the sun in the same island, and known as one of the 
 seven wonders of the world. The height of this statue was 105 feet; 
 it was made of bronze, and occupied twelve years in the construction. 
 It cost 300 talents, and was completed, b.c. 280. Fifty-six 
 years after its erection, it was overthrown and broken. The 
 fragments lay on the ground, 923 years, when 
 they were sold to a Jew of Emessa, who car¬ 
 ried them away on 900 camels. An oracle had 
 forbidden the Rhodians to r restore it. Pliny 
 says that few men could embrace its thumb ; 
 the fingers were larger than most statues, and 
 the hollows within the broken limbs resembled 
 caves, within which might be seen huge stones 
 head of the Sum,^probably that inserted for the purpose of giving additional 
 of the celebrated Colossus. fi rmness# There is no authority for the belief 
 
 that its legs extended over the mouth of the harbour. The 
 head of this statue, surrounded by rays, is still to be seen on the 
 ancient coins of Rhodes. 
 
 The imposing group, or scene (No. 350), of Dirce and the Bull 
 is also a Rhodian work, executed by artists born at Tralles. The 
 head of the boy, sitting on the base in front, belongs to the style 
 of art displayed on the coins of Rhodes. The subject was popular, 
 
THE LAOCOON. 
 
 43 
 
 because it was allusive to filial piety, and seems to have been often 
 treated. 
 
 The Laocoon (No. 16), perhaps the most celebrated of all 
 works of art, was made by three Rhodian artists, and is described by 
 Pliny, who saw it in the palace of the emperor, Titus ; it was most 
 probably wrought in his time, for Pliny’s narrative implies that 
 it was a novelty. Another artist, Pyromachus, of Pergamus, 
 obtained great renown for his statue of JEsculapius, which was 
 placed in the splendid temple of the deity in that place. No, 
 90 is possibly a repetition of this statue. He also executed a 
 series of bronze statues to celebrate the victories of Attalus over 
 the Celts. The famous Dying Gladiator (No. 309), and the so- 
 called Paetus and Arria, of the Villa Ludovisi, may be copies in 
 marble from the bronze statues of Pyromachus. Attalus dedicated 
 them at Athens, where they were seen by Pausanias on the 
 Acropolis. 
 
 A peculiar innovation or affectation of antiquity remains to be 
 mentioned. Its existence cannot be clearly traced before the 
 Macedonian age, and first occurs on coins of Antigonus and his 
 son Demetrius Poliorcetes, Alexander II., 
 and Pyrrhus, King of Epirus. These 
 peculiarities in sculpture only appear in 
 bas-relief. The hair of the figures is gen¬ 
 erally arranged in some very old-fashioned 
 manner, the beards are pointed, and the 
 faces devoid of expression ; the costume 
 likewise is imitated from the oldest ex¬ 
 amples, but the difference is chiefly apparent 
 in the drapery. 
 
 > In early art, when the powers of imita- EpS, fLSXeBritiShSelm 
 tion were struggling into existence, the 
 
 artists observed nature minutely, and carefully treasured her 
 most essential principles ; the laws of gravitation and simplicity 
 of action in particular. Their figures were clumsy, the feet 
 kept cautiously together ; and even in sitting figures the knees 
 were not separated, before the time of the frieze of the Theseum, 
 The hands in the same way performed their functions naturally 
 and without affectation, a peculiarity belonging also to Giotto and 
 the early Florentine school of painting : but in this Macedonian 
 time, the hands are twisted and strained in a manner that seems 
 almost impossible, and the figures holding drapery, cups, or 
 sceptres, exhibit the utmost affectation in action. 
 
 n 
 
44 
 
 THE GREEK COURT. 
 
 In drapery, when hanging down, the actual weight keeps it 
 straight; and when plaited, as was frequently the case, a zig-zag 
 edge would be produced, but the Macedonian artists bestowed 
 upon their pretended antique figures a remarkable kind of twirl, 
 such as no drapery in fact could possibly assume. (See the 
 accompanying woodcuts.) 
 
 Flying drapery, in the same way, was thrown out in a direction 
 contrasting with the figure, but retaining upon it all the regular and 
 formal zig-zag lines peculiar to the most tranquil hanging examples. 
 This pseudo or false style will be recognised in the puteal of the 
 Capitol (No. 61), and the bas-relief of Victory and figures in 
 front of a temple (No. 134). 
 
 The figures on the Sosibius Vase (No. 213), are remarkable, as 
 affording an instance of the two styles combined, two of these 
 figures being the pseudo-archaic treatment, whilst the rest display 
 the rich and free style of the Msenades of Scopas. A similar 
 combination may be observed on a Roman coin of Claudius, where 
 the goddess Spes is bestowing a flower upon a group of soldiers ; 
 
 Juno and Neptune, from the celebrated Puteal of the Capitol, showing the false treatment 
 of drapery. 
 
 Spes is represented with all the formality of dress and attitude 
 peculiar to an old statue, whilst the soldiers are in the free bold 
 style, with good composition according to the advanced state of the 
 art. Greek sculpture, from the time of Lysippus, underwent little 
 
MIXTURE OF GRECIAN AND ROMAN ART. 
 
 45 
 
 change as long as the country remained free. Political events soon 
 engrossed attention, and the increasing power of the Romans pre¬ 
 vented the Greeks from undertaking any great works for the sake 
 of art alone. In the year 146 b.c. Mummius completed the con¬ 
 quest of Greece ; he destroyed the Achaean league ; and, on the 
 capture of Corinth, dispersed all the works of art there, selling some, 
 and sending the rest to Rome. From this period the history of 
 Greece must be sought in that of Rome. Greece became a mere 
 province, and her inhabitants willingly exercised their talents and 
 industry for their new masters. Few sculptures can be pointed 
 out in Rome which neither have a Grecian origin nor were 
 executed by a Greek chisel. Many Roman sarcophagi, adorned 
 with rough transcripts of some Hellenic glory, still bear Greek 
 inscriptions in a very late form of character, but all originality had 
 passed away. The feeling with which they wrought could only be 
 that which is experienced under compulsion of working for others ; 
 in which case, whatever the excellence or success may be, it would 
 only contribute to a glory not their own. When Hadrian erected 
 a chryselephantine statue of Jupiter at Athens, he employed an 
 Athenian artist, but the celebrity remains with the monarch alone 
 who devised it ; the name of the sculptor was not recorded, or has 
 been long since forgotten. 
 
 So degraded did the Grecian chisel become, that sarcophagi of 
 Pentelic marble, covered with figures and ornaments, were shipped 
 in vast quantities to the metropolis of the world, having all but 
 the heads of such figures as were destined to be portraits completely 
 finished. These were touched off and the inscriptions added by 
 some resident mason. Hundreds of such sarcophagi are still to be 
 seen ; and among them, instances do occur in which the tablets and 
 faces of the principal persons remain blank. It is probable, 
 therefore, that these specimens remained unsold. 
 
GineiNTICAYNATAT 
 
 CKfiNOCAinocXPKojV 
 
 A9?IKh&me?rAhz 
 
 Grecian Bas-relief of very late times, from the British Museum, showing the debased forms of the 
 Greek characters, especially f for E, C for 2>and (j) for Q, (see page 22). The remains of mortality 
 exhibited beneath the inscription afford a striking contrast to the graceful personifications of death 
 of purer Greek times, as seen in statue No. 24 in the Greek Coulrt. 
 
 Eiireiy tis duyarat 
 S/ojyos AiirocrapKov 
 Adpricras, eiirep 'vAas 
 'H 6epcretrr]S 7 ]V u 
 Uapo^eira] 
 
 Oh passer-hy ! what discernment will enable one to tell whether these 
 fleshless hones belonged to a handsome youth like Hylas, or to an ugly 
 man like Thersites ? 
 
NOTE. 
 
 The names of mythic personages, generally met with in trans¬ 
 lations of the classics, are not the same as the Greeks themselves 
 used. We are mostly accustomed to follow the Roman nomen¬ 
 clature, but, as the Greek seems coming into fashion, it has 
 been added to each statue, whenever different from the Roman. 
 
 The long vowels are marked with a circumflex. 
 
 ROMAN. 
 
 GREEK. 
 
 ROMAN. 
 
 GREEK. 
 
 iEsculapius 
 
 . Asklepios. 
 
 | Minerva 
 
 . Athene. 
 
 Aurora . 
 
 . Eos. 
 
 Mors . 
 
 . Thanatos. 
 
 Bacchus . 
 
 . Dionysos. 
 
 Neptune 
 
 . Poseidon. 
 
 Ceres . 
 
 . Demeter. 
 
 Pax 
 
 . Eirene. 
 
 Cupid 
 
 . Eros. 
 
 Pluto . 
 
 . Hades. 
 
 Diana . 
 
 . Artemis. 
 
 Pollux . 
 
 . Polydeukes. 
 
 Discordia . 
 
 . Eris. 
 
 Proserpine 
 
 . Persephone. 
 
 Fates . 
 
 . Moirai. 
 
 Saturn 
 
 . Kronos. 
 
 Faunus 
 
 . Satyros. 
 
 Seasons . 
 
 . Horae. 
 
 Flora . 
 
 . Chloris. 
 
 Somnus 
 
 . Hypnos. 
 
 Furies, Erinnys or 
 
 Erinnyes. 
 
 Sol . 
 
 . Helios. 
 
 Graces 
 
 . Charites. 
 
 Tellus . 
 
 . Grd. 
 
 Hercules 
 
 . Herakles. 
 
 Venus 
 
 . Aphrodite. 
 
 Juno 
 
 . Here. 
 
 Vesta . 
 
 . Hestia. 
 
 Jupiter . 
 
 . Zeus. 
 
 Victory . 
 
 . Nikd. 
 
 Luna 
 
 . Selene. 
 
 Vulcan. 
 
 . Hephaistos. 
 
 Mars . 
 
 Mercury . 
 
 . Ares. 
 
 . Hermes. 
 
 Ulysses . 
 
 . Odysseus. 
 
 Where a statue or bas-relief is inscribed with the artist’s name, 
 I have in almost every instance given a copy in facsimile of the 
 shape and comparative size of the letters, as much of the genuine¬ 
 ness of an inscription depends on these particulars. 
 
 The exact dimensions of the sculptures are given in English feet 
 and inches, and tenths of inches. The restorations are noted, as 
 far as possible, from my own inspection and the best published 
 authorities. 
 
 Each description in the catalogue contains a reference to the chief 
 works in which the sculpture has been engraved. A more complete 
 list of these works, with observations on their relative value, will 
 be found at the end of the Roman catalogue, together with a 
 series of notes on the various collections of sculpture throughout 
 Europe. 
 
 a s. 
 
Terminal Bust of Homer, in the British Museum. 
 
 GREEK COURT CATALOGUE. 
 
 1. VENUS VICTRIX (Aphrodite). 
 
 Heroic statue of Parian marble. From the Louvre. Discovered in the 
 island of Milo, the ancient Melos, in 1820. 
 
 Called Venus op Milo. One of the finest statues that has ever been 
 discovered. It may be regarded as the utmost extent to which grandeur 
 of form can be united with feminine beauty. The latter characteristic 
 fully pervades every portion of this majestic figure; and if the mag¬ 
 nificent Juno, whom the Grecian artists never presumed to denude, had 
 chosen to unrobe herself, we may imagine that such would have been 
 the appearance of her person. Fully developed, it is notwithstanding 
 graceful. On turning to other branches of art for illustration, we find 
 amongst ancient gems and coins numerous figures in a similar attitude. Some 
 are explained by the writing upon them. A similar statue found at Capua 
 stands immediately at hand (No. 2). It will be seen that the general style of 
 the figure and drapery is the same. The left foot rests upon a helmet, which 
 is broken away in the statue No. 1. On the reverse of coins of Vespasian we 
 often see the figure of a Victory with the lower limbs only draped ; her left 
 foot raised on a helmet, and writing in a large shield, which she rests on her 
 left knee. The coins inscribed VICTORIA AVGrVSTA. A bas-relief cf a 
 
50 
 
 GREEK COURT CATALOGUE. 
 
 similar subject may be seen on the Bas-relief Gallery (No. 22), which, 
 although of very late Roman times, sufficiently illustrates the attitude. A brass 
 coin of Corinth, struck in the reign of Septimius Severus, exhibits on the reverse 
 a half-draped female figure exactly like the one before us. She holds a large 
 shield in her extended arms, and seems to be in the act of looking at the 
 reflection of herself in the polished surface. The same figure, on a smaller 
 scale, evidently a statue, to be seen on coins of the same 
 city, mounted on a rock between two marine deities, 
 personify the two harbours of Corinth, Lechaeum and 
 Cenchraea. Strabo says that the temple of Venus 
 stood upon the summit of the Acrocorinthus, and 
 that, immediately below, was the small fountain of 
 Peirene, which appears to be issuing from the rock 
 in the coin. This figure of Venus is probably the 
 goddess of the temple erected at the time of 
 _ . . the colony founded by Julius Caesar. The Romans 
 in the S British Museum’, always boasted their descent from Venus, through 
 showing the Statue of her son iEneas; and Julius Caesar regarded her as 
 Venus Victrix. his tutelary divinity. Under these circumstances, it 
 
 is easy to perceive how the original figure of Victory without wings became in 
 later times associated with the beloved of Anchises and the captivator of Mars, 
 under the denomination of Venus Victrix. Venus triumphant with the 
 apple, after the decision of Paris, forms a very different subject, and is generally 
 treated with much less dignity. 
 
 M. Clarac (Louvre Cat.) conjectures from a fragment discovered at the same 
 time, that her hand originally held an apple. Some incline to groupe the 
 figure with a second as the Venus of Capua, (No. 2). Others regard it as a 
 Victory alone, inscribing with the right hand upon a shield resting upon the knee, 
 so frequently represented on Roman coins, and seen in a fragment of very late 
 art (No. 22). The statue is formed of two blocks of the finest Parian 
 marble, and no attempt has been made at restoration. The arm was originally 
 distinct from the rest of the figure. See a coin of Faustina the younger, 
 inscribed VENERI VICTRICI, published by Visconti, vol. viii. (Mus. Chiar.), 
 tav. b, No. 3. 
 
 Engraved in Bouillon, pi. 11 ; Clarac sur la Statue (showing an inscription 
 with name Mjsandros on the base) ; Clarac. Cat. pi. 107, No. 232, bis ; Clarac, 
 jMusee, pi. 340 ; No. 1308. Musee Fran 9 ais, vol. 2. 
 
 Dimensions: Height, 6'*8"*1. 
 
 2. VENUS VICTRIX OF CAPUA. 
 
 Heroic statue of Greek marble. From Naples, and found in the Amphi¬ 
 theatre at Capua. 
 
 In the Naples collection a Cupid has been added in plaster from traces of feet 
 remaining on the base in the original marble. The arms of Venus are modern 
 restorations in wood. This is a noble half-draped figure with a frontlet, either 
 an original Greek work or at least from such a model. Compare No. 1, and 
 the coin of Faustina there referred to. 
 
 Engraved in Mus. Bor. iii. tav. 54 ; Millingen, ii. 4, 5 ; Comp. Clarac, 
 Venus Victrix de Milo ; Clarac. Musee, pi. 598, No. 1310 j Neapels, p. 33, 
 No. 98 ; Gerhard, Ant. Bildw. pi. 10. 
 
 Dimensions: Height, 6 /, 7"*0. 
 
GREEK COURT CATALOGUE. 
 
 51 
 
 3. DIONE. 
 
 Statue, life size, from the British Museum. Found at Ostia, among the 
 ruins of the baths of the Emperor Claudius, in 1776. 
 
 The original statue is in two pieces of marble imperceptibly joined at the 
 lower part of the body within the drapery. The polish is admirably preserved. 
 It is one of the finest female statues known. It closely resembles a figure of 
 Yenus on a bronze medallion of Lucilla standing at the edge of the sea, 
 surrounded by Cupids, one of which is leaping into the water. A similar 
 subject in painting is described by Winckelmann. 
 
 Restorations : Left arm, right hand, and tip of the nose. 
 
 Engraved in Ancient Marbles, Brit. Mus., Part 1, pi. 8; Vaux’s Hand¬ 
 book, p. 166 ; Specimens Dilettanti Soc., vol. i. pi. 41 ; Clarac. Musee, pi. 
 595, No. 1302. 
 
 Dimensions: Height, 6 / *6 , '‘S. 
 
 4. QUOIT-THROWER (Discobolos) in action. 
 
 Statue, life size, of Pentelic marble from the Vatican. Found at Tivoli, in 
 Hadrian’s Villa ; Gerhard says, on the Via Appia. 
 
 This statue accords exactly with Pliny’s and Lucian’s description of a statue by 
 Myron. There is an inscription on the trunk of the statue— 
 
 MTpGN epoIe 
 
 It seems to be a later addition. Many repetitions of this figure have 
 been found : one is in the British Museum; but it has been entirely 
 gone over with a modem tool, so that nothing of the original surface 
 remains. A strigil hangs on the trunk 
 above the inscription, and indicates the 
 locality as devoted to the public games.— 
 
 (See Visconti, M. P. C. Note, p. 130, of vol. i.) 
 
 The repetition in the Palazzo Massimi is the 
 most perfectly preserved, and was found in 
 Villa Palombaro on the Esquiline. The few 
 restorations in the figure were judiciously 
 made by Angelini. Guattani, Febrajo, 1784. 
 
 Mon. Ined. Described also by Visconti, Mus. 
 
 Pio Clem, in note, vol. i. p. 130. The body 
 is bent violently forward, and the right arm 
 holding a quoit or discus ; the young athlete 
 seems in the very act of hurling the discus, 
 difficult for the artist to seize, but here ren¬ 
 dered with consummate art. The strigil was 
 an instrument used by the ancients to 
 remove the sweat from their limbs after the 
 bath. The athletes exercised naked, and 
 employed perfumes and bathing to great 
 excess. 
 
 Quintilian says, Book II. ch. 13, “What 
 so distorted, and yet so finished, and nicely 
 wrought as Myron’s quoit-player ( Discobolos ) ? 
 
 The Discobolos, represented on a 
 gem (Cornaline), formerly in the 
 possession of Mr. Jas. Byres, at 
 Rome. See Visconti, vol. i, p. 130. 
 See also a gem formerly belong¬ 
 ing to Mr. Cracherode. Tassie’s 
 Gems, No. 7967. 
 
52 
 
 GREEK COURT CATALOGUE. 
 
 Should one find fault with this posture, as not natural, would he not 
 betray his ignorance, because it is the novelty and difficulty of framing such 
 an attitude of body, that makes it so much admired and valued ? ” 
 
 Lucian, also, in his dialogue called Philopseudes, or, The Liar, describes the 
 figure in the following manner: “The discus-player (SarKevovros) bending 
 down, as if about to throw, and looking towards the hand that holds the 
 discus, with one knee bent, as if prepared to rise after the cast. That is the 
 Discobolus, .the work of Myron.” 
 
 Lucian lived in the time of Marcus Aurelius, and was originally educated as 
 a sculptor. He possessed, together with his practical knowledge, an excellent 
 taste, and the few scattered allusions to art that are to be found in his writings 
 deserve especial attention. Fea observes, justly, that without a sight of this 
 figure it would be impossible to comprehend the words of Lucian. 
 
 Restorations : The arms, right leg, and head, which latter should have 
 been turned backwards, as in the example in the Palazzo Massimi. 
 
 Engraved in Mus. Pio Clem. ; Bouillon, vol. ii. pi. 18 ; Pistolesi, vol. vii. 
 tav. 9 ; Mus. Nap. No. 121. Compare Vaux’s Handbook, p. 168 ; Dilettant. 
 Specimens, vol. i. pi. 29 ; Bunsen, vol. ii. pt. ii. p. 242 ; Guattani, Mon. 
 Ined. 1784. Musee Fransais. 
 
 Dimensions : Height, to top of head, 4 / *4”*2, to top of quoit, 5'*2" 8. 
 
 THE WARRIOR OF AGASIAS. 
 
 5. 
 
 Life size statue of Greek marble. From the Louvre. Formerly in the 
 Borghese Collection at Rome. 
 
 On the pedestal which supports the figure is inscribed, 
 
 This hero, vulgarly called the Fighting Gladiator , was found at Antium, on the 
 sea-shore, during the pontificate of Paul V., where, a century previously 
 the Belvedere Apollo had been discovered (No. 252). It was commonly called 
 the Borghese Gladiator, but no known statue of a gladiator is represented 
 perfectly nude, as we see in this heroic figure. It is most probably an 
 imitation of a bronze of the Macedonian period. The parts of the body are 
 long-drawn, and much divided. None of the compact fulness or results of 
 bodily training observable in the age of Phidias can be recognised here. It 
 is very similar to some of the outstretched figures in the sculptui'es from 
 IIalicarnass\is (No. 129), but, more particularly, in those now in the British 
 Museum. The Duke Blacas has, in France, a beautiful little bronze found in 
 Dauphine, representing a hero naked, with a helmet on his head, in a 
 
GREEK COURT CATALOGUE. 
 
 53 
 
 similar attitude to this statue, and is supposed to "be Deiphobus defending 
 himself against Ulysses on the night of the taking of Troy. The hair is short 
 and curly as in the Discobolus and other gymnasts. 
 
 Restorations : The entire right arm, and the right ear, are the only modern 
 portions of this valuable work of art. 
 
 Engraved in Bouillon, vol. ii. pi. 16; Maffei, tav. 75; Clarac. Cat. pi. 117, 
 No. 262; Villa Borghese, st. 7, No. 10; Clarac. Musee, pi. 304, No. 2145. 
 Musee Royal, vol. 2. 
 
 Dimensions: Height, from left foot to head, 5 /, 0" , 0. 
 
 6. JUNO —Farnese. 
 
 Statue heroic of Grechetto marble. From Naples. Previously in the Faraese 
 Collection at Rome. 
 
 Finati (Mus. Bor.) attributes this statue to the finest period of Greek art. 
 Engraved in Mus. Bor. vol. ii. tav. 61. 
 
 Dimensions: Height, 6'’11"*]. 
 
 7. NAID. 
 
 Statue, life size, of Greek marble, from the Louvre. Formerly in the 
 collection of Cardinal Fesch. 
 
 Half reclining, resting her left arm upon the urn, where the water was 
 intended to flow, and thus to supply and decorate a fountain at the same time. 
 The head is antique, but did not originally belong to the statue. It has nothing 
 of the character of a water-nymph about it. The body is full and large, but 
 deficient in suppleness. The drapery thrown over the left knee is very artificial, 
 and not like the antique treatment. 
 
 Restorations : The feet, part of the drapery near them, the urn, and, most 
 probably, both hands. 
 
 Engraved in Clarac. Musee, pi. 348, No. 1838 ; Clarac. Cat. p. 336, No. 901. 
 
 8. APOLLO. 
 
 Of Bronze. From Naples. Found in Pompeii. 
 
 Engraved in Mus. Bor. vol. viii. tav. 60; Clarac. Musee, pi. 484, No. 935. 
 
 9. MERCURY (Hermes). 
 
 Sitting figure, life size, of bronze from Naples, found at Herculaneum in 1758, 
 August 3rd. 
 
 The forms, according to the critic : sm of John Bell, are all beautiful, soft, 
 and flowing. The figure inclines gently forward, represented as in a moment 
 of deep meditation ; the countenance fine, pensive, with infinite sweetness of 
 expression ; the hair admirably disposed, the limbs round, full, yet most 
 delicate. The right leg is partly extended, the palm of the hand rests on the 
 block of marble sustaining the person, while the other lies carelessly on the 
 left limb, which, bending from the knee, recedes backwards. The feet and 
 ankles are firmly modelled, and the wings are exquisitely delicate. A fragment 
 of the caduceus remained in the right hand. The wings upon his ankles, 
 peculiar to Mercury, were called talaria and pcdila. The rose beneath the 
 
GREEK COURT CATALOGUE. 
 
 54 
 
 sandal is a beautiful emblem of the light and rapid action of this divinity: it 
 indicates that he, as the messenger of the gods, is borne through space without 
 touching the ground. 
 
 Engraved in Mus. Bor. vol. iii. tav. 42 ; Ant. Ercolano, vol. vi. tav. 29 ; 
 Bronzi, vol. ii. tav. 29 ; Clarac. Musee, pi. 665, No. 1522 ; H. B. 176. 
 Dimensions: Height, 3''6’'*3. 
 
 10. FAUN (Satyr) reposing. 
 
 Statue. From the Vatican. In the Braccio Nuovo. Formerly in the 
 Palazzo Ruspoli. 
 
 The repetitions of this statue are so numerous, that Winckelmann counted no 
 less than thirty existing in Rome alone. A second statue of this subject was 
 seen in the Palazzo Ruspoli, it was discovered in the Villa Cassia and con¬ 
 sidered very fine ; the head was crowned with a pine branch. 
 
 Engraved in Mus. Pio Clem. vol. ii. tav. 30 ; Pistolesi, vol. iv. tav. 30 ; 
 Bunsen, vol. ii. part 2, p. 91; H. B. p. 410.’ 
 
 11. COLOSSAL FEMALE FIGURE— Sitting with right 
 
 ELBOW ON KNEE. 
 
 Ariadne, from Dresden, formerly in the Chigi Collection. 
 
 The nose, right arm, and breast modern; the head has certainly been turned 
 from the original position. A similar statue engraved in the Giustiniani Gallery, 
 vol. i. tab. 142. Le Plat calls it Agrippina. Ranked as a Niobid by Clarac. 
 
 Engraved in Becker’s Augusteum, vol. i. No. 17 ; Le Plat, No. 35 ; Clarac. 
 pi. 584, No. 1263. 
 
 12. FAUN (Satyr) reposing. 
 
 Statue, life size, of Pentelic marble; from the Capitol, at Rome. Found 
 in 1701, near Lanuvium, the modem Civita Lavinia, a villa of Marcus 
 Aurelius. Placed by Benedict XIV. 1753 in the Capitol. It was formerly 
 in the Villa d’Este. 
 
 Standing, and with no other vestment than the nebris or goat-skin, which 
 envelopes his body, this young Faun, with his legs crossed and his left hand on 
 his hip, is leaning upon a tree, and seems to be resting after his exertions on 
 the flute, still in his right hand. The grace pervading the whole figure, and 
 the style of the nebris , indicate its original composition for bronze. The many 
 repetitions also lead to the opinion, that it is taken from some favourite work of 
 ancient popularity, perhaps the famous bronze Satyr of Praxiteles, which 
 obtained the name periboetos, irepifioriTos, the far-famed or much-talked-of. 
 
 Restorations : The left arm, and a portion of the right. The nose has been 
 clumsily restored, and mars the expression of the countenance. 
 
 Engraved in Mus. Cap. vol. iii. tav. 32 ; Bouillon, vol. i. pi. 55 ; Mori, 
 vol. ii. Sala Grande, tav. 16 ; Mus. Nap. No. 50 ; compare a similar statue 
 in Vatican ; another known in the Palazzo Ruspoli. Musee Frangais. Bunsen, 
 vol. iii. part 1. p. 251. 
 
 Dimensions: Height, 5'7''*6. 
 
GREEK COURT CATALOGUE. 
 
 55 
 
 13. SCYTHIAN (Grinper). Sharpening his Knife to flay 
 
 Marsyas. 
 
 Known in Italy as the Arrotino. Statue, from Florence. 
 
 The figure is entirely naked, with the exception of some drapery thrown over 
 his left shoulder. He kneels on the right knee, and sits at the same time 
 on a small rock. He has both moustache and tuft under lip. The coun¬ 
 tenance is barbarian. (See a remark of Zannoni, vol. iii. p. 266, “that in 
 the finest antique works the most egregious errors may also be detected.”) The 
 meaning of this statue has been ascertained from various groups on sarcophagi and 
 coins, where a similar figure appears, as the slave about to execute the commands 
 of Apollo after he had vanquished Marsyas in a musical contest. Apollo played 
 upon the citharci and Marsyas upon the flute. The Muses, who were the 
 umpires, decided in favour of Apollo. The figure of Marsyas bound, and 
 hanging to a tree, is a frequent subject in ancient sculpture. Two specimens of 
 life size are in the Florence Gallery. See fragment from Berlin, No. 73. 
 
 . Restorations: Some fingers of both hands, and that portion of the knife 
 between his right hand and the stone for sharpening. 
 
 Engraved in Gall, di Firenze, vol. i. pi. 37; Maffei, tav. 41; Clarac, 
 Musee, pi, 543, No. 1141. 
 
 Dimensions; Height, 3 /# 0 H, 9, by 3**3" *9. 
 
 14. DAN AID. 
 
 Half-naked female raising a vase, which is supported by a pedestal en¬ 
 circled with ivy. Statue from the Vatican. Found among the ruins of 
 the forum of Prseneste, modern" Palestrina, which seems to have been 
 richly adorned with sculpture, for numerous statues of a Roman epoch 
 were found in the same place. Mus. Pio Clem. vol. i. p. 76. 
 
 The half closed eyes express weeping. The face is turned towards the 
 vase, (Text, Mus. Pio Clem. p. 32.) The hair is gathered up in a peculiar 
 manner very unusual in the antique. Compare a draped female figure 
 holding a similar vase. The Danaides were the fifty daughters of 
 Danaus, brother of the king of .Egypt, who had fifty sons. iEgyptus 
 requested the daughters of Danaus in marriage for his sons, which was agreed 
 upon ; but on the wedding night the brides murdered their husbands. The 
 Danaides were punished in Hades by being compelled everlastingly to pour 
 water into a sieve. This subject has much engaged the artists of antiquity, 
 Compare Pistolesi, vol. vi. tav. 25. 
 
 Engraved in Mus. Pio Clem. vol. ii. tav. 2 ; Pistolesi, vol. v. tav. 56 j 
 Clarac. Musee, pi. 760, No. 1856 ; Bunsen, 
 
 Dimensions: Height, 4'‘8"‘7. 
 
 15. Vacant. 
 
 1G. LAOCOON AND HIS SONS. 
 
 Group, heroic size, in Grechetto marble, composed of six blocks ; from the 
 Vatican. Found in the ruins of the Palace of Titus, contiguous to his 
 baths at Rome in 1506, during the pontificate of Julius II. Many frag¬ 
 ments of a similar group were also found in the same baths. 
 
 The man who discovered this group was buried in the Araceli church and 
 honoured with an inscription recording the event on his tomb. This 
 
56 
 
 GREEK COURT CATALOGUE. 
 
 group is the most powerful in expression amongst all the antique works 
 of art; they are generally characterised by placidity and the selection of 
 those moments in an event which admit of calmness and repose. A re¬ 
 petition of the head of Laocoon, now at Brussels, is seen in No. 391. 
 “It has been said that the head of the Laocoon in the Vatican did not 
 belong to the statue, but there is not the slightest trace of any separation 
 between the • head and the body. The arm in terra cotta is excellent, 
 blit over the right ear is a flat projection, which had evidently some connection 
 with another part of the group.”—MS. Journal, Rome, April 25th, 1844. 
 Laocoon,the son of Priam and priest of Apollo, devoted to his country, used his 
 utmost endeavours to prevent the wooden horse which contained the Greeks 
 destined to ruin the Trojans, being brought within the walls of Troy. To 
 convince his countrymen of the hollow treachery of the machine, he struck it 
 with his lance. Whilst about to sacrifice, he was attacked by two serpents sent 
 against him by the gods who had destined the fall of Troy. The serpents first 
 surrounded his two sons, and then enfolding themselves round the limbs of the 
 unhappy father, destroyed them in one knot upon the altar of the god he is 
 supposed to have disobeyed. Mengs, in criticising the antique statues, pro¬ 
 nounces this and the Belvedere Torso as the only existing examples of the 
 sublime. The next merit he awards to the Apollo and the Warrior of Agasias. 
 Flaxman says (p. 134) that in the faces of the dying Achilles and Laocoon, pain 
 and death produce nothing like distortion ; the elevation of noble minds is seen 
 in their sufferings (p. 230). Laocoon and his sons is a work composed in a 
 noble concatenation of lines, in three principal views. The children’s appeal 
 to the father, and the father’s to the gods, is highly pathetic. The convulsed 
 rise of the youngest from the ground is the most electric circumstance in the 
 whole sentiment. 
 
 “ It is not with the agonies of a man, writhing in the pangs of death, that 
 we sympathise, on beholding the celebrated group of Laocoon and his sons, for 
 such sympathies can only be painful and disgusting ; but it is with the energy 
 and fortitude of mind which those agonies call into action and display. For 
 though every feature and every muscle is convulsed, and everywhere contracted, 
 yet the breast is expanded and the throat compressed, to show that he suffers 
 in silence.”— Payne Knight on Taste, quoted by Sir Charles Bell , p. 191. 
 
 Restorations : The restorations to the figure of the elder son are the right hand, 
 the extremities of some of the toes, and the back of the head. To the younger son, 
 the right arm and the base of the right foot. The right arm of the Laocoon and 
 part of the chest (right pectoral muscle and omoplat) and shoulder were wanting, 
 so that the actual motion of the arm could not be inferred; a projection on the head 
 shows that the hand must have touched it, and the general opinion seems to be 
 that the arm was thrown more back and contracted. The arm was restored 
 from a model by Girardon. Fra Gioan Angelo restored it in terra cotta, very 
 similar to the attitude of Girardon. Baccio Bandinelli’s design may be seen in 
 his marble copy in the Florence Gallery. 
 
 Engraved in Mus. Pio. Clem. vol. ii. tav. 39 ; Bouillon, vol. ii. pi. 15 ; Maffei, 
 tav. 1 ; Pistolesi, vol. iv. tav. 101 ; Musee Fran^ais ; engraved by Marco da 
 Ravenna, inscribed MRCVS RAVEN AS, the only work on which his name is 
 written at length.—Bartsch, vol. xiv. page 269, No. 353 ; Clarac. Musee, pi. 
 834, No. 2092; Bunsen, vol. ii. part 2, page 147. 
 
 Dimensions: Height, to head of Laocoon, 5'*9"*8. To top of hand, 
 C' , 10 ,/, 7. Younger son, 3 /- 7"'9' Elder son, S^IO'^S. 
 
GREEK COURT CATALOGUE. 
 
 57 
 
 17. 
 
 FARNESE MINERVA (Athene). 
 
 Greek marble statue, heroic size, from Naples, formerly in the Farnese 
 Palace at Rome. Said to have been found at Yelletri, and sold for 36,000 
 piastres. Commonly called the Farnese Minerva. 
 
 The arms are modern, and the flaps of the helmet have also from certain 
 indications been restored. John Bell admired this 
 statue greatly : very similar to Mr. Hope’s statue 
 (Dilett. vol. ii. pi. 9). The right hand probably 
 held a Victory, and corresponds with the Pausanias 
 description of Phidias’s statue. From the want 
 of finish upon the serpents behind, it must have 
 stood in a niche. Cavaceppi, vol. i. tav. 1, gives 
 an exactly similar statue, which he calls Pallas, 
 
 Albani. Compare also the ancient head of Minerva 
 on coins of Athens, page 17, Introduction. 
 
 Engraved in Dilettanti specimens, vol. i. pi. 25, 
 and vol. ii. pi. 9 ; Clarac. Musee, pi. 458, No. 
 
 851 a. Mus. Bor. iv. tav. 7 ; Neapels, p. 41. Coin of Athens, showing the 
 
 No. 118; H. B. 161. ^ ^ head ofMinerva, with the liel- 
 
 Dimensions: Height, 6 'll 7 ’2. met introduced by Phidias. 
 
 18. MINERVA (ATHENE.) 
 
 From Rome. 
 
 Commonly called Minerva Medica, and supposed to have been found in the 
 temple ofMinerva Medica, but Bartoli states that it was discovered near the church 
 of S. Maria sopra Minerva. Formerly in the Palazzo Giustiniani at Rome, and 
 afterwards belonging to Lucien Bonaparte, from 
 whom it was purchased by Pius VII. for the Vatican. 
 
 The beauty and dignity of this work seem to have 
 been derived from the celebrated statue in the Par¬ 
 thenon by Phidias ; but it. exhibits several impor¬ 
 tant differences. The form of the helmet is not that 
 of Phidias always seen upon the coins of Athens, but 
 theshapepeculiarto those of Corinth ; hence the form 
 shown in the accompanying illustration, was called 
 Corinthian. The serpent at her feet shows a close 
 connection with the description left us by Pausanias. 
 
 Gerhard supposes it to have been the principal 
 statue of the temple in which it was discovered. 
 
 Restorations: The right arm and hand, with spear, fingers of the left hand ; 
 the drapery has suffered much by some modem chiselling over it. 
 
 Engraved in Pistolesi, vol. iv. tav. 28 ; Clarac. Musee, pi. 465, No. 875 ; 
 Galleria Giustiniani, vol. i. No. 1 ; Bunsen, vol. ii. part 2, p. 91, No. 23. 
 
 Dimensions: Height, 6 /- 10"‘3. 
 
 Coin of Corinth, with head 
 of Minerva (Athene). 
 
 19. SLEEPING FAUN (Satyr). 
 
 Statue, heroic size, of Parian marble, from Munich. Formerly in the 
 Barberini Palace at Rome. Commonly known as the Barberini Faun. 
 
53 
 
 GREEK COURT CATALOGUE. 
 
 A work of tlie best period of Greek art, and well deserving the careful 
 attention of all sculptors; it may be attributed to the age of Scopas and 
 Praxiteles, and probably adorned the Mausoleum of Hadrian, for it was found 
 in the immediate neighbourhood of Castell Sant’ Angelo, at Rome, where it 
 may have lain since the year 537, when statues were hurled down upon the 
 Goths by order of Belisarius. This statue was sold about 1814 to the prince 
 royal of Bavaria for 3000J. It was restored in stucco by Pacchetti. (Elgin 
 Marbles report, p. 55). A bronze statue from Herculaneum is very similar 
 to this, in respect to attitude. Ant. di Ercolano, vol. vi. tav. 40. 
 
 Restorations : marked in Maffei. 
 
 Engraved in Glyptothek Catalogue, No. 96 ; Maffei, tav. 94 ; Bunsen ; 
 Clarac. Musee, pi. 710a, No. 1723 ; Meyer. 
 
 Dimensions: Height, 6''l' /- 7. From knee to back, 4 ,, 8"*8. 
 
 YOUTH. 
 
 Bronze statue at Florence. Found at Pesaro in 1530. 
 
 20 , 
 
 Presented by Alessandro Barignani to Francesco Maria, Duke of Urbino. A 
 young athlete. Called by Clarac, Bacchus. Compare with the bronze youths 
 of Rome and Berlin. The common name given to this figure at Florence, is 
 L’Idole. 
 
 Engraved in Galleria di Firenze, vol. ii. pi. 93; Clarac. Musee, pi. 680, 
 No. 1591. ( 
 
 Dimensions: Height, 
 
 JASON. 
 
 21 . 
 
 Of Parian and Pentelic marble, the chief part of the statue of the latter 
 material. From Munich. Formerly in the Braschi Collection at Rome. 
 It was discovered in the villa of Hadrian, at Tivoli. 
 
 A similar statue to the one now in the Louvre, No. 164. The head, which 
 is antique, is not a portion of the original figure; it is of a different 
 marble, and another style. This statue may be a repetition of one of the Argo¬ 
 naut figures, sculptured by Lycius, the son of Myron. Head younger and 
 hair more flowing than in No. 25. The shoe is attached upright against the 
 rock, under his right foot. Marble much corroded. 
 
 Restorations: Part of cheeks, the lower lip and chin, both arms, the right 
 leg, and front of right foot. 
 
 Engraved in Glyptothek Catalogue, No. 150; Clarac. Musee, pi. 814, 
 No. 2048. 
 
 Dimensions: Height, 
 
 22. DIANA (Artemis) of Gabii. 
 
 Statue, life size, of Parian or Grechetto marble. From the Louvre. 
 Formerly in the Villa Borghese, and discovered among the ruins of the 
 ancient city of Gabii. 
 
 The goddess is in the act of adjusting her mantle, and closely resembles 
 the character and appearance of Artemis in a relief of the Villa Albani at 
 Rome (Zoega, tav. 104), where she is drawing the bow of vengeance against 
 the children of Niobe. A similar figure at Rome in the Pamphili collection 
 (Clarac. Musee, pi. 573, No. 1227). 
 
GREEK COURT CATALOGUE. 
 
 59 
 
 Restorations: The nose, the right hand, the left sleeve, and a small por¬ 
 tion of the elbow, the right foot to the ankle, and half the left leg. 
 
 Engraved in Bouillon, pi. 21 ; Villa Borgliese, Mon. Gab. No. 32 ; Clarac. 
 Cat. pi. 112, No. 246; Clarac. Musee, pi. 285, No. 1208. Musee Royal, vol. i. 
 Dimensions: Height, 5 /, 4 // *7. 
 
 23. LUDOVISI MARS (ApJs). 
 
 Statue, heroic size; from the Villa Ludovisi, at Rome. 
 
 More remarkable for the general impression produced at a distance than for 
 excellence of execution upon closer inspection. It is most probably a repe¬ 
 tition of some superior work, the composition of which we still see unim¬ 
 paired. The god is sitting upon a rock, with his sword in hand, his left foot 
 resting on a helmet; at his feet sits a Cupid (Amor), and at his right side a 
 shield. Raoul Rochette explains this figure as Achilles, but the introduction 
 of the Cupid at his feet is quite sufficient to prove the contrary. 
 
 Restorations: Both arms and hands, the handle of sword, head, and both 
 arms of Cupid. 
 
 Engraved in Maffei, tav. 66 ; Bunsen, vol. iii. part 2, p. 583; R. Rochette 
 Mon. Ined. pi. 11 ; Clarac, pi. 635, No. 1432. 
 
 Dimensions: Height, 4 / '10 /, *l. 
 
 24. GENIUS OF DEATH. 
 
 Life size statue of Pentelic marble. From the Louvre. Previously in the 
 Chateau d’Ecouen. 
 
 Standing, the legs crossed, and arms bent over the head ; the back leaning 
 against a pine-tree. The repose of the figure is allusive to the tranquillity 
 after death. The fir was sacred both to Bacchus and Cybele. This figure 
 occurs on a sarcophagus in the Museo Lapidario of the Vatican, but in this 
 specimen the legs are not crossed. It is also seen in other sculptures in con¬ 
 nection with Bacchus. The figures of Death in ancient sculpture are generally 
 accompanied with an inverted torch. 
 
 Engraved in Bouillon, vol. i. pi. 59 ; Clarac. Cat. pi. 12, No. 22 ; Clarac. 
 Musee, pi. 300, No. 1859 ; Mus. Pio Clem. vol. vii. tav. 13; Mus. Nap, 
 No. 62. Musee Frangais. 
 
 Dimensions: Height, 5' TO"*7. 
 
 25. JASON. 
 
 Statue, life size, of Pentelic marble. The head is Greclietto marble. From 
 the Louvre. Transferred by Louis XIV. from the Villa Montalto or 
 Negroni to Versailles. 
 
 Many repetitions exist of this statue. A small and indifferent one in the 
 Vatican, one at Munich, and another at Lansdowne House, discovered in 1778 
 (Vis. Mus. Pio Clem. vol. iii. tav. 48). The name of Cincinnatus, formerly 
 bestowed on this statue, is contradicted by the youthful appearance and nudity 
 of the figure, which would not accord with Roman portraiture. Winckelmann’s 
 suggestion that it represented Jason, and its clear accordance with the fable, 
 obtained an immediate recognition. Jason is in the act of fastening the sandal 
 on his right foot; he seems to look suddenly round; the other sandal 
 remains on the ground, and a ploughshare beside it, which alludes to his 
 occupation as a husbandman in the plains of Iolchus, upon the bank of the 
 
60 
 
 GREEK COURT CATALOGUE. 
 
 river Anaurus. The fable relates that having crossed the river, he tied on his 
 right sandal, and forgetful of the other, hurried into the presence of Pelias to 
 assist at a sacrifice. An oracle had forewarned Pelias to beware of a man 
 with one shoe, and eventually Jason slew him. Apollonius asserts that the 
 shoe was lost whilst crossing the river. The story of Phei’ecides, that he left 
 the plough abruptly on receiving the invitation of his uncle Pelias, accords 
 much better with our sculpture. (Compare No. 21.) 
 
 Restorations : The entire left arm, the right hand, and part of the arm; also 
 the ploughshare. The head, although of a different marble, is antique. 
 
 Engraved in Bouillon, vol. ii. pi. 6 ; Maffei,* tav. 70 ; Clarac. Cat. pi. 258, 
 No. 710 ; Clarac. Musee, pi. 309, No. 2046. Musee Fran^ais. 
 
 Dimensions; Height, 4 /, 8" , 8. 
 
 26. APOLLO LYCIUS. 
 
 Called at Florence the Apollino. 
 
 Recognised from a passage in Lucian’s Dialogues (Anarcliarsis), to be the 
 Lycian Apollo, a statue which stood in the Lyceum, and was copied from that 
 of Apollo worshipped at Patara, in Lycia, resting on a column with the left 
 hand having a bow, and the right arm bent over the head. The same attitude 
 of Apollo is found on coins. No restorations marked in Clarac. 
 
 Restorations: Both hands and wrists, the nose, part of the quiver, and of 
 the stem adjacent. 
 
 Engraved in Gall, di Firenze, vol. ii., pi. 154 ; Maffei. Tav. 39. ; Millin, 
 Gall. Myth. No. 96, pi. 14 ; Clarac. Musee, pi, 477, No. 912, c. 
 
 Dimensions; Height, 4 /, 8" , 5. 
 
 27. ARIADNE (sleeping). 
 
 Statue, heroic size, of Parian marble, from the Vatican, where, three 
 centuries ago, it formed the ornament of a fountain at the end of a 
 grand corridor ; it was purchased by Julius II. 
 
 It was formerly called a Cleopatra. Evidently copied from a superior 
 model; the richness and beauty of the composition do not accord with the 
 execution, which is altogether sketchy, and in many parts of the flesh swollen, 
 and the drapery betrays harshness in the folds. Gerhard calls this one of 
 the finest works in the Vatican Museum, and claims it for the best period of 
 art. He admits that the face is distorted. (Bunsen, p. 177.) 
 
 The daughter of Minos is sleeping on the rocks of Naxos at the moment when 
 the perfidious Theseus has abandoned her. So she appeared when the god of wine 
 approached and became enamoured of her, a subject frequently represented in 
 ancient art. Her tunic falls loosely, and the veil is negligently thrown over her 
 head, —the whole figure is characterised by disorder. A bracelet on the upper 
 part of the right arm in the shape of a serpent, led to the idea of the statue 
 being intended for Cleopatra and the Asp ; but Visconti has shown its frequent 
 occurrence on other monuments of a totally different nature. The celebrated 
 and most careful engraving of the Dying Cleopatra, by Marc Antonio, after 
 a drawing by Raphael, was suggested by this statue (Bartsch, vol. xiv. p. 162, 
 No. 199). 
 
 Restorations: The nose, the entire mouth, the right hand, part of the left, 
 several toes, and many parts of the drapery. 
 
 Engraved in Mus. Pio Clem. vol. ii. tav. 44; Pistolesi, vol. v. tav. 25; 
 
GREEK COURT CATALOGUE. 
 
 61 
 
 Maffei, tav. 8; Bunsen, vol. ii. part 2, p. 175; Bouillon, vol. ii. pi. 9. 
 Mus. Nap. No. 60; Clarac. Musee, pi. 689, No. 1622; Millin. Gall. Myth. 
 The statue is engraved as it stood in the Belvedere, in Insigniores Statuarum 
 Urbis Romse leones, 1619, No. 53; Musee Frangais. 
 
 Dimensions: Height, 5''2"‘2. Length, 6'.10".3. 
 
 28. MINERVA (Ath^n^). 
 
 Of the Villa Albani. Heroic sized statue, Parian marble, from Rome. 
 Found in Hadrian’s Villa at Tivoli. 
 
 The goddess is clothed in the long tunic, over which the iEgis is disposed. 
 Her helmet is formed of the skin of a dog’s (?) head. The Medusa’s head on 
 the iEgis is exactly like that on the Hope statue (Dilettanti Specimens, vol. i. 
 pi. 25, and vol. ii. pi. 9.) The head is original. 
 
 Restorations: The drapery down the entire right side. The left foot, nose, 
 and back of the head ; head and arms were found disjointed. 
 
 Engraved in Bunsen, vol. iii. 2, p. 529 ; Handbook to Rome, p. 237; 
 Clarac. Musee, pi. 472, No. 898 b. 
 
 Dimensions: Height, 6 ,, 4 // . 
 
 29. MINERVA (Athene). 
 
 From Dresden. 
 
 Restored plaster, by Rauch. See No. 54, for the actual condition of the 
 original. 
 
 Engraved in Clarac. Musee, pi. 460, No. 855 ; Leplat, pi. 23; August, 
 
 pi. 9. 
 
 30. SOMNUS (Hypnos)—the God of Sleep. 
 
 From Vienna, Imperial Museum. Called by Clarac, Cupid Asleep. 
 
 He lies sleeping on a lion’s skin spread over a rock ; the hair is gathered up 
 in a peculiar knot on the top of his head. See statues of Harpocrates, and 
 various genii, Clarac. Musee, pi. 761 c. The right hand rests on the left 
 shoulder. Statues of this kind are to be seen both in the Vatican and British 
 Museum. A similar figure at Dresden (Comp. Becker’s Augusteum, vol. iii. 
 No. 152). 
 
 The god of sleep is generally represented as a winged boy, reclining on a 
 lion’s skin, holding poppies. No divinity has been so variously represented 
 among the ancients. He appears as a lad, a boy, a grown-up man, aged to 
 decrepitude, sometimes naked, or with the chlamys, at other times laden with 
 garments. He is frequently wingless, and often with wings of a butterfly, at 
 other times with those of an eagle, wings at his temples as well as at his 
 shoulders; but in every case he is either asleep or with a decidedly drowsy 
 expression. He is not to be confounded with Morpheus, who especially 
 presides over dreams, although Somnus is said to be the general father 
 of sleep. A lizard is often represented near him. 
 
 Restorations: The right foot below the instep. 
 
 Engraved in Clarac. Musee, pi. 644, No. 1475. 
 
 31. CLIO. 
 
 A small standing figure holding tablets in left hand. From Berlin. 
 
82 
 
 GREEK COURT CATALOGUE. 
 
 32. FRIEZE IN ALTO-RELIEVO. 
 
 From the east portico of the Temple op Tiieseus at Athens. See page 25. 
 It comprises one- half of the entire length, and begins at the left-hand side. 
 The rim of the shield borne by the figure at the extreme right is directly 
 over the centre of the doorway of the temple, and the rest of the frieze to be seen 
 in cast No. 56. The three seated figures represent Minerva, Juno, and 
 Jupiter, who seem to be spectators of a combat. The figures, however, are 
 all so mutilated that it is impossible to determine what particular battle the 
 artist intended to record. 
 
 Dimensions: Height, 
 
 33. ENDYMION. 
 
 Alto-relief, from the Capitol, at Rome. 
 
 The Sleeping Endymion. This fine relief was discovered, according to 
 Ficorini, upon the Aventine, during the Pontificate of Clement XI. The son 
 of Jupiter, sitting on a rock, is sunk in deep sleep ; his head has fallen on 
 his breast. The hunting spear rests on his left shoulder. The approach 
 of the Moon is indicated by the dog which has started up, and seems in the 
 act of barking. The right side of Endymion is turned towards the spectator. 
 His head has been only sketched in ; it has been peculiarly adapted by the 
 sculptor to be viewed from below, and must have been originally intended to be 
 in shadow. Endymion was renowned for his beauty and perpetual sleep. His 
 beauty as he slept on Mount Latinos attracted the notice of the Moon (Selene), 
 and she came down from heaven, kissed him, and lay by his side. She is said 
 to have sent him to sleep, that she might kiss him without his knowledge. 
 
 Engraved in Mus. Cap. vol. iv. tav. 53. E. Braun. Zwolf Bas-reliefs, No. 9. 
 Mori. Stanza dell’ Imperatori. Bunsen, vol. iii. page 197. 
 
 34. BAS-RELIEF —two Greek Combatants and a Horse. 
 
 Very large bas-relief of Pentelic marble. From the Villa Albani at Rome. 
 
 Found in 1764, at Rome, near the Arch of Gallienus. 
 
 One of the finest fragments in Rome, and bearing close affinity to the works 
 of Phidias. 
 
 Engraved in Bunsen, Rome, III. 2, p. 562; Leitch, p. 79; Zoega, tav. 51; 
 Winckelmann, Mon. Ined. No. 62. 
 
 35. PERSEUS AND ANDROMEDA— Alto-relief. 
 
 From the Capitol at Rome. Discovered among the foundations of the Palazzo 
 Muti, near the church of SS. Apostoli. 
 
 Perseus, with wings on head and feet, appears naked, excepting the chlamgs 
 which lies over left shoulder, and passes over lower part of arm, falling down 
 the left side of the leg. He is liberating Andromeda, who is clothed in a 
 long tunic and peplos. The head of the monster which Perseus has just 
 overcome, lies at her feet. The position of his left hand is characteristic ; 
 it is supposed to hold the head of Medusa, which, in all works of art, he 
 appears carefully to conceal from sight. Andromeda, daughter of Cepheus, 
 King of Ethiopia, was said by her mother Cassiopceia, to surpass the Nereids 
 
GREEK COURT CATALOGUE. 
 
 63 
 
 in beauty. To punish this boast Neptune sent a sea-monster to lay waste the 
 country. An oracle declared that the evil would be averted if Cepheus gave 
 up his daughter to the monster. Andromeda was chained to a rock upon the 
 seashore. Perseus, son of Jupiter and Danae, slew the monster by means of 
 the Gorgon’s head, and became the husband of Andromeda. The same sub¬ 
 ject as this bas-relief is seen in painting upon one of the walls of the alee 
 in the Pompeian Court. 
 
 Engraved in Mus. Capit. vol. iv. tav. 52; Admiranda, No. 34; Bunsen, 
 vol. iii. p. 197; E. Braun, Zwolf Bas-reliefs, No. 10; Mori, Stanza dell Imp. 
 tav. 33. 
 
 36. POLYHYMNIA. 
 
 From the Royal Museum at Dresden. 
 
 The face has been harshly chiselled by a modem hand. Found at Hercu¬ 
 laneum, and presented by Prince Elbceuf to Prince Eugene of Savoy. (See 
 Pompeian Catalogue, p. 17.) This statue is in reality a portrait of one of the 
 daughters of Balbus. The mother’s statue is No. 129 in this Gallery. 
 
 Engraved in Becker’s Augusteum, pis. 23 & 24; Comp. Mus. Bor. vol. ii., 
 tav. 41. 
 
 37. MINERVA (Ath£n£), with Spear, the Owl at her Feet. 
 
 Statue, small life, from Florence. 
 
 Engraved in Gerhard, Ant. Bildw. pi. 8, No. 3. 
 
 38 & 39. CANEPHORJE. 
 
 Colossal Statues of Females, with high baskets on their heads. From the 
 Villa Albani at Rome. 
 
 These figures,—and theTownely Caryatides in the British Museum—belong 
 to the same series. They were found, in 1766, on the Via Appia, near the 
 tomb of Cascilia Metella, together with a still larger statue of the bearded 
 Bacchus, inscribed CAPAANAI7AAAOS. One of the figures (No. 38) is 
 inscribed with the names of the Athenian artists, Criton and Nicolaus :— 
 KPITflN KAI 
 NIKOAAOC 
 A0HNAIOI EnOI 
 OYN. 
 
 The basket, or modius, upon each figure is modern, and the veil seems to be 
 a fanciful addition of the restorer. The arms also are new. The architectural 
 position of these figures may be understood by a reference to the alto-relievo 
 where female figures are seen in the act of supporting an architec- 
 . tural framework. The general arrangement of dress resembles that of the 
 figure in the Townely Gallery. 
 
 Engraved in Guattani Mon. ined. vol. v. Agosto, 1788, et Settembre, 1788 ; 
 Bunsen, vol. iii. part 2. Compare Vaux, p. 206 ; Clarac. Musee, pi. 444, 
 Nos. 814 b. 814. 
 
 Dimensions: Height, 
 
 40. MINERVA. 
 
 Small Statue. From Dresden. Holding a globe in right hand. 
 
 The face is evidently modern, and left hand also. 
 
 Dimensions: Height, 
 
64 
 
 GREEK COURT CATALOGUE. 
 
 41. FLORA (Chloris). 
 
 Statue, life size, of Luni marble. From the Capitol at Rome. It was found 
 1744, in the ruins of Hadrian’s Villa at Tivoli. Benedict XIV. placed it 
 in the Capitol. 
 
 Flora was peculiarly a Roman goddess. The execution of the head is elaborate 
 to hardness. It had been detached from the figure, but is assuredly original. The 
 folds of the mantle are remarkably expressive of silk. Her under garment is a 
 long tunic. 
 
 Restorations: The left hand and flowers are modern, and restored on the 
 authority of Ficorini, who states that when first discovered the statue had the 
 hand holding flowers. 
 
 Engraved in Mus. Cap. vol. iii, tav. 45 ; Bouillon, pi. 51 ; Bunsen, 3, 1, 
 p. 252 Clarac. Musee, pi. 439, No. 795 a.; Mus. Nap. No. 61. Musee Fransais. 
 
 42. HYGIEIA. 
 
 Statue of small life size, of Parian marble. From the Vatican. 
 
 Engraved in Clarac. Cat. p. 44 ; refer to Mon. du Mus. tom. i. pi. 50; 
 Clarac. Musee, pi. 305, No. 1170. 
 
 Dimensions: Height, 
 
 43. SMALL STATUE OF FEMALE. 
 
 “With lower part of figure draped. 
 
 The head evidently does not belong to the rest. The action of the right 
 hand supporting drapery suggests the statue to have originally resembled No. 
 1318, of pi. 601, and No. 1329, pi. 603 of Clarac. Musee. The head has a 
 decidedly vulgar male expression. 
 
 Dimensions: Height, 
 
 44. EUTERPfi. 
 
 Statue from Berlin. 
 
 Very similar to the Louvre Euterpe, No. 46. In this figure the pipes are 
 held nearer together. 
 
 Dimensions: Height, 
 
 45. VESTA (Hestia). 
 
 Formerly in the Giustiniani Palace. From Rome. 
 
 The only statue known of Vesta. The hardness of style betokens the age of 
 Callon and Hegesias. The goddess frequently appears on Roman coins, and 
 always with a veil upon her head. Hirt restores a sceptre in her left hand, 
 which accords with the figure on the Borghese triangular altar. The fluted 
 arrangement of the drapery to the lower part of the figure is very remarkable. 
 It has a very primitive character, and but for the round outline of the lips 
 and eyelids (which may have been restored), would seem to belong to a very 
 early time. 
 
 Engraved in Maffei, tav. 87 ; Clarac. Musee, pi. 766, No. 1887 ; Galleria 
 Giustiniani, vol. i. No. 17; Hirt, tab. 8, No. 10. 
 
GREEK COURT CATALOGUE. 
 
 6 $ 
 
 46. EUTERPE. 
 
 Small life-size statue of Pentelic marble, from the Louvre, previously in 
 the Borghese Collection at Rome. 
 
 Probably a portrait; the pipes are a restoration. The two fore-arms and 
 left foot are modern. The pipes are modern; the statue might have been a 
 Felicitas, which appears on medals of Julia Mammsea. 
 
 Engraved in Bouillon, vol. i. pi. 8 ; Villa Borghese, St. 6, No. 1 ; Clarac. 
 Cat. No. 498 ; Clarac. Musee, pi. 295, No. 1016. 
 
 Dimensions: Height, 
 
 47. BORGHESE FLORA (Chloris). 
 
 Statue of Parian marble from the Louvre. Head antique re-adjusted. 
 Restorations : Arms, nose, right foot, the entire left leg, and corresponding 
 portions of drapery, attributes in hands. 
 
 Engraved in Bouillon, vol. i. pi. 52 ; Clarac. Cat. No. 238 ; Clarac. Musee, 
 pi. 300, No. 793 ; Villa Borghese, St. vi. No. 5, vol. ii. 
 
 Dimensions: Height, 4'T0 //- 6. 
 
 48. MINERVA (Ath£n£), with the Sloping HDgis. 
 
 Statue, colossal, from Dresden. 
 
 A similar but smaller figure in the Vatican (Mus. Chiar. Visconti, vol. viii. 
 tav. 14). 
 
 Engraved in Bouillon, vol. i. pi. 24; Leplat, Nos. 41 and 75. 
 
 Dimensions: Height, 
 
 49. A MUSE ; or, One of the family of Niobe changed by 
 
 a modern caprice into a daughter of Lycomedes. 
 
 Statue of small dimensions. From Berlin. 
 
 She holds a mirror in her right hand. See p. 26 of Roman Court. 
 Engraved in Clarac. Mus6e, pi. 537, No. 1129. 
 
 Dimensions: Height, 
 
 60. POLYMNIA. 
 
 From Berlin. Statue of Greek Marble. From Cardinal Polignac’s 
 Collection. . No. Ill, of Berlin Catalogue. 
 
 Small life size statue ; left hand bent in an affected manner, the folds of the 
 under garment very cleverly shown through the outer. All the accidents of 
 folding—to speak technically—most wonderfully observed. This statue has, 
 fortunately, at the suggestion of Levezow, been restored back again into a Muse. 
 Dimensions: Height, 4 /, 6 // . 
 
 51. THALIA. 
 
 A small statue, From Berlin. 
 
 The muse of Comedy holds a roll in her right hand, and a large comic mask 
 in the other. Her hair is gathered up or bound in the same way that is 
 often seen in statues of Apollo and Diana; a broad shawl or pallium is 
 
66 
 
 GREEK COURT CATALOGUE. 
 
 wound round her figure, and the fringed border may be observed hanging 
 by the side of the mask. 
 
 Dimensions: Height, 
 
 52. A BRONZE FIGURE. 
 
 From .ZEgina. 
 
 A curious example of the rude appearance of early art. 
 attempt on the part of the artist to exhibit movement, 
 duction.) This figure somewhat resembles a bronze 
 “ Athene dekatan” upon one of the feet. 
 
 53. TORSO OF AN AMAZON. 
 
 The figure seems to have been clothed in a double tunic, girded by 
 a broad belt or zone studded with circular plates. The left leg appears 
 to have been bare in front; and the general character of the figure probably 
 resembled that of the Amazon (No. 302). 
 
 54. MINERVA (ath£n£) from DRESDEN. 
 
 Engraved in Becker’s Augusteum, No. 9 ; Meyer, Geschichte der Kunst, taf. 
 6 a. (Compare this with the restored figure, No. 29.) 
 
 55. SMALL FEMALE FIGURE holding a globe. 
 
 56. THE EAST FRIEZE OF THE THESEUM. 
 
 RIGHT HAND PORTION. 
 
 The sitting figures are supposed to be divinities, Neptune, Ceres, and 
 Vulcan, and the contending figures to represent a gigantomachia, that is, 
 a battle between the gods and giants. They seem to be hurling immense 
 masses of rock, the most frequent mode of engagement in the descriptions of 
 the poets. The end figure of the frieze, to the extreme right, was in the act 
 of erecting a trophy, but the slab is now too seriously mutilated for the 
 meaning to be still discernible. 
 
 57. PORTION OF FRIEZE. 
 
 From the little Temple of the Wingless Victory {Niki Apteros ), which stood 
 on the right-hand of the road leading up to the Acropolis of Athens. 
 
 The subject of these sculptures is a combat in which both horse and 
 foot are engaged. The second figure from the left wears a helmet and dress 
 similar to the equipment of some of the figures in the Lycian Marbles. The 
 warriors have all large round shields, the argolic buckler, and display great 
 energy of attitude. A prostrate warrior lies beneath a spirited horse, 
 whose rider appears to possess entire control over the animal, whilst a little 
 further on we see a warrior dismounted- by the fall of his horse ; an inci¬ 
 dent frequently repeated both in the Phigaleian and Lycian sculptures. A 
 fallen figure appears by the folds upon his limbs to be clothed in the Persian 
 fashion. At the extreme right of the slab are the remains of three female 
 figures, the end one, having her left foot raised on a piece of rock, closely 
 resembles the beautiful figure of Victory tying her sandal (No. 178 b). 
 
 There is no apparent 
 (See p. 15 of Intro- 
 at Paris, inscribed 
 
GREEK COURT CATALOGUE. 67 
 
 58. BATTLE OF THE AMAZONS. 
 
 A bas-relief of Cipolla, a Greek marble. From Vienna. 
 
 These bas-reliefs formed the four sides of a sarcophagus. When 
 the Romans buried their dead, they made use of stone coffins, called 
 sarcophagi. The name was derived from a peculiar stone brought from Assos, 
 Lycia, and the eastern countries, which had the property of consuming all 
 fleshy matter enclosed within it. Sarcophagus signifies “flesh-eating or carni¬ 
 vorous.” The word was soon applied to any kind of coffin, without regard to 
 the nature of the material. They were generally square, with a cover upon 
 them, adorned with a representation of the deceased. The sides were decorated 
 with sculpture, sometimes displaying the actions of the departed, at other 
 times, between fabulous subjects bearing some allusion to the connexion of the 
 body and soul, such as the history of Cupid and Psyche, or the state of death 
 where the Bacchanal is carried away drunk from the banquet. Frequently the 
 Pagan cosmogony covers the entire sarcophagus, and Prometheus, Minerva, and 
 the Fates are then the prominent figures. (See woodcut on page 17, of Roman 
 Court). During the best times of the Roman empire, heroic and mythic com¬ 
 positions, by the hands of Greek artists, are to be seen on sarcophagi. They 
 were probably from some of the most celebrated models in Greece, and 
 generally of bacchanalian or marine subjects. By their means we are 
 probably acquainted with some of the finest compositions of Scopas and 
 Praxiteles. Many of the later sarcophagi were of enormous bulk, and 
 cut in the hardest material. The tombs of the Fmpresses Constantia and 
 Helena are both of red Egyptian porphyry, and the largest probably ever 
 wrought in this material. Pagan sarcophagi, with most unholy devices and 
 symbols upon them, were used for interment in the middle ages; and to this 
 circumstance we may be indebted for the perfect preservation of so many 
 bas-reliefs. 
 
 Only the front legs of the horses were wanting in the original marble. This 
 is the celebrated sarcophagus of the Fugger family, said to have been brought 
 from Lacedaemon by Don Juan, the natural son of Charles V., after the battle 
 of Lepanto. It is remarkable that one side and end of the sarcophagus is a 
 repetition of the other two, and that every face is elaborately covered with 
 bas-relief. 
 
 Engraved in Bouillon, vol. ii. pi. 94 ; H. B. South Germany, p. 215. 
 
 59. BAS-RELIEF of Female Figure mounting a Chariot. 
 
 Discovered at Athens. 
 
 One of the most important examples of early Athenian art belonging to the 
 times of Peisistratus. (See Introduction, p. 19.) 
 
 60. MINERVA (Athene Promachos) in the act of hurling 
 
 a Lance. 
 
 A marble statue the size of life. Found at Herculaneum. 
 
 It is executed in the dry antiquated style termed hieratic , although the 
 artist had evidently attained a considerable proficiency,, and was only limited 
 by choice in the formal treatment of the drapery. The form of the aegis Is 
 peculiar; it is covered with scales, and the Medusa’s head on it is broad, 
 as we see in the Albani and Farnese Minervas. (Nos. 17 and 28.) The helmet 
 is round and full-crested, as it appears on Athenian coins after the time of 
 
68 
 
 GREEK COURT CATALOGUE. 
 
 Phidias ; an additional reason for considering this work to be of a later time 
 than might at first sight seem probable. 
 
 Engraved in Millingen, Ancient uned. Mon. 5, series 2, Statues, pi. 7 ; 
 Clarac. Musee, pi. 459, No. 848 ; H. B. p. 11. 
 
 Dimensions: Height, 6'*2 /,, 6. 
 
 61 . 
 
 PUTEAL. 
 
 From the Capitol, at Rome. 
 
 This monument is known by its form and hollowing, to be a puteal , or 
 the mouth of a well. Moreover, Winckelmann observed the wearing at the 
 sides, caused by the friction of the bucket-ropes. This is no longer to be 
 seen, as the top has been covered over with a stand to support another 
 object. Said to have been found at Nettuno. It stood formerly in the 
 Yigna de’ Medici, near the Porta del Popolo. The Grand Duke of Tuscany, 
 Cosmo III., presented it to Cardinal Albani, who gave it to Pope Clement 
 XII., for the Capitol Museum. The twelve gods of Olympus are represented 
 in an elaborate style of art, called the temple style, all advancing to 
 the right, except four, who face Jupiter. Jupiter is known by the sceptre 
 in the left hand, and the thunderbolt in the right. Juno, by her tiara or 
 frontlet. Minerva, clad in the aegis, holds her helmet in the right hand 
 and her spear in the left. Hercules follows, with club and bow, wearing 
 the lion’s hide as a head-covering. Apollo is playing the lyre. Diana next, 
 holds the bow in her left hand, and with right raises her dress. Mars, in 
 full armour, with breastplate and greaves, has his shield on left arm, and 
 carries the helmet in his right hand. Venus holds a flower in each hand, 
 and wears a long robe, like Diana. Vesta is turned in the opposite direc¬ 
 tion, with a spear in right hand, and raising garment with left. Mercury, 
 with petasus and no talaria, holds the caduceus in right hand, and drags 
 a goat by the horns with the left. Neptune, with dolphin on arm and trident 
 in his right hand, precedes him ; and Vulcan, holding the axe with both 
 hands, faces Jupiter, in a somewhat threatening attitude. 
 
 Restorations: Heads of Vesta and Venus, the lower part of the face of 
 Diana, and several portions of the feet of the figures. 
 
 Engraved in Mus. Capit. vol. iv. tav. 21; Mori, vol. ii. Stanza del 
 Vaso, tav. 3 ; Hope’s Costumes, vol. i. pi. 47 ; Bunsen, vol. iii, p. 174. 
 
 TOHSO OF A FAUN. 
 
 Life size. From Florence. 
 
 62. 
 
 Formerly in the Gaddi Collection, of first-rate work, and attributable to the 
 best period of art. The small tail peculiar to Fauns determines its character, 
 but viewed in front it might belong to a Laocoon or heroic figure. 
 
 This is a very fine fragment; the forms are fleshy, and all the creases 
 in the skin caused by the motions of the spine, are carefully attended to. 
 Were it not for a somewhat-protruding belly, and the appearance of a faun’s 
 tail behind, it might well be considered as belonging to a figure of a superior 
 order. 
 
 Descnbed in Florence Guide, p. 151. 
 
GREEK COURT CATALOGUE. 
 
 69 
 
 G3. AESCULAPIUS and TELESPHORUS. 
 
 Small statues, of Parian marble ; from the Louvre . 
 
 Well and carefully wrought, but not a chef-d'oeuvre. Telesphorus wears a 
 great hooded cloak, called the bardocucullus. Behind the smaller figure are 
 two rolls, or more probably an atramentarium or inkstand, and a tablet, such as 
 prescriptions might have been written upon. 
 
 Restorations: The head and right hand of JEsculapius, both feet and head of 
 Telesphorus, and head of serpent. 
 
 Engraved in Bouillon, vol. iii. pi. 11 ; Annales du Musee, vol. vii. pi. 26 ; 
 Clarac. Cat. No. 475, p. 188; Clarac. Musee, pi. 294, No. 1164; Musee 
 Fran^ais, 
 
 Dimensions: Height, 2' , 2 //, 4. 
 
 64. POMONA. 
 
 Statue, life size ; from Florence. 
 
 Head modem, and ill-placed. The drapery in many parts fine, but altogether 
 badly made up. 
 
 Engraved in Gori, Mus. Flor. Statue, tav. 63 ; Cavaceppi, vol. ii. No. 45 ; 
 Clarac. Musee, pi. 441, No. 804 ; a similar but simpler figure, pi. 442, 
 No. 806. 
 
 Dimensions: Height, 
 
 65. PHILOSOPHER. 
 
 A small sitting figure of Luni marble. From Munich. 
 
 The broad mantle called a tribon, and sandals, indicate the person of a 
 philosopher or orator. The seat, when complete, most probably resembled 
 that of Menander and Posidippus (Nos. 290 & 291). The head does not belong 
 to the figure; it is in fact that of a barbarian king. The execution is of Roman 
 times. 
 
 Engraved in Glyptothek, Cat. No. 121; Clarac. Musee, pi. 845; No. 2133. 
 
 66. TORSO OF A YOUTHFUL MALE FIGURE. 
 
 The right arm has been raised. The workmanship is very excellent, and 
 the shoulder, in particular, has been carefully modelled. 
 
 67”. A SEATED HERCULES. Commonly known as the 
 Belvedere Torso. 
 
 Fragment of a Statue of Pentelic Marble, from the Vatican, inscribed 
 
 A noAA<k)NIO£ 
 
 N EUTOPOl 
 
 AQHNAIOl: 
 
 enoiEi 
 
70 
 
 GREEK COURT CATALOGUE. 
 
 It was found at the end of the 15th century in the Campo di Fiore, near the 
 Theatre of Pompey, and had most probably formed part of the decoration of 
 that building. No ancient account of this figure is known. Julius II. placed it in 
 the garden of the Belvedere of the Vatican, together with the Apollo and Laocoon. 
 It was the chief source of study to the great artists of that epoch, especially Ra¬ 
 phael, Michael Angelo, and the Carracci. Until the discovery of the Elgin 
 marbles, it was always regarded as the finest existing work of the chisel, executed 
 in the grandest style. Next to this in Rome, critics admired the fragment of a 
 group of Menelaus carrying off the body of Patroclus, which is commonly known 
 by the name of the Pasquino. The Hercules here represented with the lion-skin 
 was the reposing hero either at the banquet of the Gods, or among the Satyrs. 
 Hercules here rested on the right arm with a cup in that hand, and the left bent 
 over his head, or reposing on the upper part of his club. Mengs inferred from the 
 iron at the lower part of the back, that this statue had been restored in former 
 times. A projection on the outside of the left knee marks some former attach¬ 
 ment, of a club or of another figure—either Iole or Hebe, according to the 
 restoration of M. Visconti. Flaxman’s idea for the completion of the 
 group may be seen in University College, London. Winckelmann supposes 
 the date of the sculptor, Apollonius, the son of Nestor, to be later than Alexander 
 the Great, because the peculiar form of the u is not known to have been used 
 earlier than on coins of the Kings of Syria. It appears on the coins of Antony 
 and Cleopatra, and in very late art. (See end of Introduction to this Court, p. 46. 
 Meng’s, in comparing various antique statues (vol. i. p. 77), asserts the Laocoon 
 and this Torso to be the only sublime statues in existence. Even the Apollo he 
 ranks in a secondary position. He had not seen the Elgin marbles. Mengs’ 
 inference that Hercules is here deified, because he has no veins, is an absurd 
 one, and has been thoroughly refuted by B. R. Haydon. 
 
 Engraved in Mus. Pio Clem. vol. ii. tav. 10 ; Bouillon, vol. ii. pi. 4 ; Maffei, 
 tav. 9 ; Pistolesi, vol. iv. tav. 82; Clarac. Musee, pi. 803, No. 2017 ; Bunsen, 
 vol. ii. part 2, p. 119. 
 
 Dimensions: Height, 5' m l"5. 
 
 68. TORSO OF A FEMALE FIGURE. 
 
 From the collection of Baron Humboldt at Tegel, near Berlin. 
 
 Somewhat larger than life. This mutilated fragment is very fine. A rough 
 square projection is noticeable on the side of right thigh. Purchased at Rome 
 by Rauch. The material is Parian Marble of the finest quality. 
 
 69. HORSE’S HEAD. 
 
 Of Bronze. From Florence. 
 
 A very fine fragment of a bronze statue, comparable with the Marcus 
 Aurelius at Rome. It was formerly used as a fountain in the Palazzo Ricardi, 
 at Florence. It came from Rome in 1585. A record is preserved in the 
 archives of the family. The mane gathered into a tuft between the ears is 
 similar to the arrangement observable on the lid of the Chimaera tomb in the 
 British Museum. 
 
 Engraved in Gall, di Firenze, Statue, vol. ii. pi. 84, p. 149. 
 
 70. POLYHYMNIA. 
 
 Statue, life size, of Pentelic Marble. From Naples. 
 
 Portrait of a noble Roman lady. The head is handsomely crowned with 
 
GREEK COURT CATALOGUE. 
 
 71 
 
 roses, and the drapery elaborately folded, but very pleasing. The figure is 
 similar to No. 36, from Dresden, which was found at Herculaneum. 
 
 Engraved in Mus. Bor. vol. vi. tav. 59. 
 
 Dimensions: Height, 
 
 71. HORSE’S HEAD. 
 
 The eyes are not marked. 
 
 72. TORSO AND LEGS OF A DELICATELY FORMED 
 
 FEMALE. 
 
 Broken below the knees. The usual repetition of the Medici Venus. 
 
 73. MARSYAS. 
 
 A Torso from Berlin. A fragment, life-size, of Pentelic marble. 
 
 The execution of this figure is extremely fine, a chef-d’oeuvre. 
 
 Compare .engravings in Bouillon, pi. 56; Villa Borghese; Clarac. Cat. 
 No. 230, p. 101; Maffei, 31 ; Galleria di Fir. vol. i. pi. 35. 
 
 74. HORSE’S HEAD, of M. Nonius Balbus. 
 
 Of Grechetto marble from Naples. Found at Herculaneum in 1739, 
 between the Basilica and Theatre. (See p. 19, of Pompeian Catalogue.) 
 
 Engraved in Mus. Bor. vol. ii. tav. 38; Neapels, p. 20. 
 
 75. DIANA (Artemis). 
 
 Small statue of Luni marble from Naples. Found between Torre del Greco 
 . and Torre del! Annunziata, in 1760. 
 
 Perfectly preserved. The style of art is antiquated and Etruscan. The 
 traces of former painting upon this figure are highly important. This 
 figure much resembles a statue of Diana in the collection at Venice. (Zanetti, 
 tom. ii. tav. 9.) # 
 
 Engraved in Mus. Bor., vol. 2, tav. 8 ; Clarac. Musee, pi. 565. No. 200. 
 Dimensions: Height, 3 /, 7' /, 0. 
 
 76. ANTINOUS and his GENIUS with small Statue of 
 
 ELPIS (Hope.) 
 
 From the Museum at Madrid. 
 
 These were in the Villa Ludovisi, and afterwards belonged to Christina of 
 Sweden, from whom they passed to the Duke Odescalchi. Muller (Leitch) speaks 
 of them as the celebrated Ildefonso group (p. 168). This group is called by 
 Gerhard “ Sleep and Death.” “ I examined this group very carefully, by the 
 light of a single taper, and feel convinced of an intentional resemblance in 
 the sacrificing figure to Antinous. The sad-looking countenance is highly 
 
72 
 
 GREEK COURT CATALOGUE. 
 
 wrought, the eyeballs are not marked, but there is a very careful finish about 
 the lids. The action of the right hand of the other figure suggests the taking 
 a light from, the altar. Without certain information upon the extent of resto¬ 
 rations that may have been made to the group, it is impossible to arrive at the 
 true meaning.” The small figure at the side, called by some Spes (Elpis), or 
 Hope, is considered by Gerhard to be a statue of Veuus Libitina. (Gerhard 
 fiber Yenusidole, Taf. ii, No. 5, and taf. vi, No. 1.) The little figure 
 certainly represents a statue, and most probably the deity to whom the altar is 
 dedicated. Clarac calls them Castor and Pollux; he does not mark any restora¬ 
 tions. Rumohr published a very important essay upon these statues, in which 
 he observes that the entire group is made up. This is in a great degree 
 confirmed by the difference in the workmanship between the two figures, that 
 of Antinous, to the left, being so far superior. The head did not belong to the 
 figure, which seems originally to have been an Apollo Sauroctonos. (See 
 Nos. 298 & 301.) The altar is entirely modern, and so also the little figure at 
 the side. 
 
 Engraved in Mongez. Icon. Rom. pi. 39, p. 55 ; Maffei, tav. 121 ; Clarac. 
 Musee, pi. 812 c, No. 2040 ; Winckelmann, Mon. Ined. vol. i. vignette to 
 prefazione. 
 
 Dimensions ; Height— Torchbearer, 5 '' 0 "’£ ; Antinous, 4'Tl ,/ *8. 
 
 77. GANYMEDES and EAGLE. 
 
 Small life statue in Greek marble, from the Vatican, found at Rome, 
 outside the gate of St. John Lateran. 
 
 Visconti regards it as a Greek work. Ganymedes was the son of Laomedon, 
 King of Troy : he was so beautiful that Jupiter sent his eagle to bear him off, 
 that he might become his cupbearer. By the will of Jupiter, Ganymedes became 
 immortal, and was exempt from old age. 
 
 Engraved in Visconti; Mus. Pio Clem. vol. ii. tav. 35; Pistolesi, vol. v. 
 tav. 74. 
 
 Dimensions: Height, 4'. 4". 
 
 78. CUPID (Eros) and PSYCHE. 
 
 Small group of Parian marble. From the Capitol at Rome. Was 
 previously in the Albani Collection, and discovered on the Aventine. 
 
 This group is emblematic of the union of the body and the soul. It is often 
 seen upon the decorations of sarcophagi; but this is the only instance where 
 the figures are without wings. (Compare a similar group, No. 246.) 
 
 Restorations : The nose and chin, right hand and left foot of Cupid. 
 
 Engraved in Bouillon, vol. i. pi. 32 ; Mus. Cap., vol. iii. pi. 22 ; Bunsen, 
 vol. iii. part 1, p. 251 ; Mori, vol. ii. Stanza dell’ Ercole, tav. 15 ; Clarac. 
 Musee, pi. 653. No. 1501 ; Mus. Nap. No. 124. Musee Fransais. 
 
 Dimensions: Height of both, 4'*1"‘2. 
 
 79. THALIA. 
 
 A statue, life size, of Parian Marble. From the Louvre. Formerly at 
 Versailles. 
 
 The Muse is crowned with laurel, and habited in a tunic and peplus, 
 
GREEK COURT CATALOGUE. 
 
 73 
 
 beneatli a large drapery, through which many of the folds of the tunic or 
 chiton may be distinctly traced. She holds a mask in the right hand and a 
 roll in the other. Her feet are covered with the cothurnus, a thick boot 
 reaching sometimes half-way up to the knee ; it was much worn by hunters ; 
 it became a sign of dignity, and sometimes the soles were made thicker than 
 usual, to increase the stature of the wearer, hence it was much used upon 
 the stage. The head has been much worn by the action of the atmosphere. 
 
 Engraved in Clarac. Musee, p. 74, No. 158. 
 
 80. AUGUSTUS. Clothed in the Toga. 
 
 From the Louvre. Statue life size. Formerly in the Vatican, and previously 
 in the Giustiniani Palace at Venice. 
 
 This figure must have been designed to stand against a wall, as the back of 
 it is quite plain. The surface is much worn, and in many parts much injured ; 
 there is a remarkable silkiness in the character of the larger folds of this 
 drapery. The flesh projects very much over the mouth, so as almost to give 
 the appearance of a moustache. (See Portrait, Gallery , No. 35.) 
 
 Engraved in Clarac. Musee, pi. 275, No. 2332 j Clarac. Cat. p. 57, No. 113. 
 Dimensions; Height, 6'’9"'0. 
 
 81. APOLLO. 
 
 Half-draped statue, with the lower part of a lyre, or some keyed instrument, 
 which looks like a shell under his left hand. 
 
 Very feeble and modern production. 
 
 Engraved in Cavaceppi, vol. i. No, 31; Clarac. Musee, pi. 489, No. 946, 
 (See Portrait Gallery , No. 35.) 
 
 82. CERES. Portrait of a Roman Girl. 
 
 Small statue of Parian marble from the Vatican, and previously in the 
 Villa Mattei. 
 
 The fine stuff of the outer dress is excellently managed, and the folds of the 
 tunic beneath are very well wrought. The head, much worn by time, has been 
 detached, but belongs to the figure. The tie of the girdle upon the tunic is 
 clearly visible through the folds of the palla. A similar excellence of drapery 
 may be seen in No. 50. 
 
 Restorations: The hand and corn. The figure stands on a round pedestal. 
 Engraved in Maffei, tav. 108 ; Bouillon, pi. 7 ; Mus. Pio. Clem. vol. i. tav* 
 40; Pistolesi, vol. vi, tav. 57; Clarac. Musee, pi. 430, No. 775, Musee Fran^ais, 
 Dimensions: Height, 3'T0 y/ . 
 
 83. BACCHUS CROWNED WITH IVY. 
 
 Small figure. The nebris or fawn-skin tied on right shoulder, he wears 
 sandals. A very poor figure. 
 
74 
 
 GREEK COURT CATALOGUE, 
 
 • 84. VICTORY, 
 
 A bronze figure from Berlin. 
 
 With bands crossing over tbe breast, bolding a wreath in right hand, Another 
 similar figure in the Berlin Collection. Two strange knobs converted into 
 drapery upon shoulders. Traces of wings are perceptible behind. 
 Restorations ; The head and wreath. 
 
 Engraved in Cavaceppi, vol. iii. No. 3; Clarac, Mus6e, pi. 036, No. 1444*6. 
 
 85. PENELOPE AND TELEMACHUS. 
 
 Roman Portraits. 
 
 From the Villa Ludovisi at Rome. 
 
 These names were suggested by Flaxman in his Lectures (p. 27). Commonly 
 called Orestes and Electra. Both countenances express joy, which accords with 
 the opinion of Winckelmann, that this group repre¬ 
 sents the recognition of Electra and Orestes. The hair 
 of the female figure accords with the shorn locks 
 peculiar to Electra. It is precisely the same on both 
 figures. The tendency to costume inclines me to 
 regard them as Roman portraits in character, as 
 Venus and Mars are chosen for others. On the 
 plinth by the side of the leg of the male figure is 
 inscribed in Greek letters the name of the artist, 
 “Menelaus, the scholar of Stephanus.” * Judging 
 from the unfinished state of the back of drapery, the 
 group was originally placed in a niche. Flax- 
 man says of these figures (p. 95): “Examples of 
 fine form, heroic character and sentiment. There 
 seems to be only one reason for their being omitted 
 by Pliny, that they were, at that time, too recent 
 to have obtained an equal rank in public estimation 
 with the fine works of Phidias, Praxiteles, and their 
 immediate descendants.” 
 
 Engraved in Maffei, tav. 62 ; Bunsen, vol. iii. 
 part 2, p. 584; Clarac. Musee, pi. 836, No. 2094. 
 
 Dimensions : Height — Female, 6 /- 3 //- 2 ; Male, 
 5'-5"-7. 
 
 * The inscription on the plinth is not visible in the cast at Sydenham. I have 
 copied it from the beautiful cast in the collection of the Royal Academy, Trafalgar 
 Square, and take this opportunity of offering my thanks to the keeper, Mr. Charles 
 Landseer, R. A., for the means he allowed me of inspecting these valuable treasures at 
 leisure (see Roman Court Catalogue, p. 25). I examined each one by the light of a 
 single taper, which is the only way in which particular details and minuteness of finish 
 can be perfectly ascertained. It is curious to observe in the inscription given above, 
 how much larger the letters become towards the lower parts. They are cut in \ovy 
 fine and sharp lines with only a few parts widened. 
 
 8G. HALF-DRAPED FEMALE STATUE. 
 
 Below life size. 
 
 She holds a serpent twisting round her left arm. A miserably poor work. 
 Dimensions: Height, 
 
 MfNt: 
 
 A 02 
 ITE<bA 
 NO'y 
 /MA0H 
 
 thi 
 H^O) 
 E I 
 
GREEK COURT CATALOGUE. 
 
 75 
 
 87. THETIS. 
 
 Small statue, from Dresden. 
 
 Half draped, with, a portion covering the head ; right arm bent; an 
 alabastron in left hand, dolphin and shell as a support. Most inelegant and 
 made-up figure. The mouth drawn down in an extraordinary manner. 
 The twist of dolphin’s tail very artificial. 
 
 Engraved in Clarac. Musee, pi. 601, No. 1319 ; Le Plat ; Becker. August, 
 pi. 104. 
 
 88. GANYMEDES. 
 
 A small figure from Berlin, with the Phrygian bonnet on his head ; a chlamys 
 is fastened on the right shoulder, and in his right hand he is holding the 
 pcduviy or shepherd’s crook. His attitude is that of looking up, as 
 though he saw the Bird of Jove descending; the left hand is raised, 
 as if in wonder. 
 
 Restorations : Head, arms, and feet. 
 
 89. BACCHUS (Modern?). 
 
 Life-size statue. 
 
 The lower part of figure draped. The head having long tresses bound with 
 vine-wreaths gracefully turned over left shoulder. He holds a pitcher in his 
 right hand, and leans with the other arm on the trunk of a tree. Boots on feet. 
 Bacchus, among the Greeks, instead of the rolling fat boy—never sober—that 
 we see painted upon our sign-posts, and figuring in pictures of the late Italian 
 masters, was represented in a graceful and youthful form, with the same share 
 of personal beauty as Apollo or Narcissus. The fat boy seems to have been 
 derived from the. Silenus of Roman and Pompeian paintings, where he always 
 appears in need of support. But among the ancient Greeks Bacchus was regarded 
 as the personification of wine as a general and necessary beverage to mortals, 
 without any association of inebriety. 
 
 Dimensions: Height, 
 
 90. AESCULAPIUS (AsklSpios). 
 
 Statue life-size, with rod and serpent in right hand. The Cortina under 
 drapery beside left foot. A turban on his head. From Berlin. Grand 
 style and large folds. Supposed to be a copy from the celebrated statue of 
 Aesculapius, at Pergamus, executed in Alexandrian times, by Pyromachus. 
 It is seen represented on coins of Pergamus. 
 
 Restorations: The extremity of the serpent sculptured on the plinth. The 
 head and greater part of the serpent and rod ; the entire right arm and front 
 of right foot. 
 
 Compare Gall, di Fir. vol. i. tav. 27; Clarac. Musee, pi. 547, No. 
 1154 ; compare a statue at Naples ; Mus. Bor. ix. tav. 47 ; found in thelsola 
 Tiberina, where the cortina is more elaborately shown. 
 
 Dimensions: Height, 
 
 91. HUNTER. 
 
 Statue, small life size, of Grechetto marble. From Naples. Formerly in 
 the Farnese Collection at Rome. 
 
 a 
 
76 
 
 GREEK COURT CATALOGUE. 
 
 With a pointed beard and sportsman’s hat. Clothed in two rough skins, 
 carrying a hare over his left shoulder, having two pigeons hanging on the same 
 side. The general execution is very rough and careless. The back of the 
 figure completely unfinished. 
 
 Restorations : The head and both arms. 
 
 Engraved, in Mus. Bor. vol. vii. tav. 10 ; Clarac. Musee, pi. 736, No. 1788; 
 Neapels, p. 22. 
 
 Dimensions: Height, 
 
 92. JULIAN THE APOSTATE. 
 
 Full length marble statue, life size. From Paris. In the possession of the 
 Count Lariboisiere. 
 
 It is a very curious specimen of the condition of art during its decline. 
 Julian was proclaimed emperor by his soldiers in Paris, in the year 360, 
 about twenty-four years after the death of Constantine the Great. The 
 costume of this statue is indicative of the character of this prince. He 
 wore the simple pallium of the philosophers, and cultivated a beard after 
 the manner of the sophists, which was at the same time directly opposed 
 to the manners of the age, and at variance with his predecessors. The 
 imperial diadem is represented encircling his hair, which is trimmed after the 
 fashion of his remote prototype, Marcus Aurelius, who was both emperor 
 and philosopher, and we perceive, in the general attitude, as well as throw 
 of the garment, a direct imitation of that monarch. There is great simi¬ 
 larity between this and the statue of iEschines (No. 326), and the famous 
 Marcus Aurelius at Venice. See Portrait Gallery, No. 71. 
 
 Engraved in Clarac. Musee, pi. 900 F, No. 2528 a, and pi. 978, No. 2528. 
 Dimensions: Height, 
 
 93. ARCHITECTURAL SCROLLWORK. 
 
 From the Villa Medici, at Rome. 
 
 94. ARCHITECTURAL SCROLLWORK. 
 
 From the Villa Medici, at Rome; 
 
 95. ARCHITECTURAL ORNAMENT. 
 
 96 <fc 98. TWO PORTIONS OF A FRIEZE. 
 
 Supposed to have ornamented a building in the Forum of Trajan, from the 
 Vatican. They were formerly in the Villa Aldobrandini, and now 
 deposited in the Sala Borgia. 
 
 On one a winged Cupid, with the lower part of the figure lost in arabesque 
 foliage, is pouring liquor from a small vessel into a patera for a winged monster, 
 which stands before him. The other fragment contains two winged Cupids, also 
 in the act of pouring out, with their backs turned to a large handsome vase or 
 crater with two handles. The crater between them is adorned with the figures 
 of a Satyr carrying a thyrsus and two Maenades in bas-relief. A similar com¬ 
 position of winged boys in foliage may be seen in the enormous fragments of the 
 Temple of the Sun on the Quirinal hill at Rome (Desgodetz, p. 151). 
 
 Engraved in Pistolesi, vol. iii. tav. 19 ; Bunsen, vol ii. part 2, p. 4. 
 
GREEK COURT CATALOGUE. 
 
 77 
 
 or. spain. 
 
 A colossal head in cavo-relievo, of Pentelic marble, from the Louvre. 
 Previously in the Borghese Collection at Rome. 
 
 Crowned with vine and olive branches, indicative of the fertility of the 
 country. A rabbit hidden below to the left is peculiar to Spain. It appears 
 as the emblem of a female figure inscribed Hispania on a coin of Hadrian. 
 (Millin. Gal. Myth. No. 380, pi. 89.) The same figure also holds an olive 
 branch. Some, however, think that this head represents autumn and the 
 pleasures of the chase. It was the custom of the ancient Romans to give a 
 distinct emblem to each province : thus a rabbit to Spain, lion and elephant 
 trunk to Africa, ibis and sistrum to Egypt, and camel to Arabia. The eye* 
 balls are indicated. 
 
 Restorations : The nose and chin, the upper part of the headdress. 
 Engraved in Bouillon, vol. i. pi. 78 ; Villa Borghese, St. 6, No. 14 : Clarac. 
 Cat. No. 40 Clarac. Musee, pi. 255, No. 311 bis. 
 
 99. ARCHITECTURAL ORNAMENT OF A GRIFFIN. 
 
 Placing one paw on a vase, part of another paw remaining on the opposite 
 side of the vase. Behind the griffin is a candelabrum on a handsome 
 vase adorned with fillets. 
 
 Engraved in Musee du Louvre; Clarac, pi. 193, No. 54. 
 
 100. BOLD ARCHITECTURAL ORNAMENTS. 
 
 Composed of Palmettes Candelabra, and gracefully falling foliage to correspond 
 with the Palmettes. 
 
 101. ARCHITECTURAL SCROLL-WORK. 
 
 Companion to No. 93. From the Villa Medici, at Rome; 
 
 102. ARCHITECTURAL SCROLL-WORK. 
 
 Companion to No. 93. From the Villa Medici at Rome. 
 
 103. ARCHITECTURAL FRAGMENT. 
 
 104. ARCHITECTURAL FRET. 
 
 105. ARCHITECTURAL PORTIONS OF A CORNICE. 
 106—110. ARCHITECTURAL FRAGMENTS. 
 
 111. LARGE LION’S HEAD Projecting through 
 
 Honeysuckle Ornaments. 
 
 112. CAPITAL. 
 
 113—116. 
 
 ARCHITECTURAL FRAGMENTS. 
 
*8 
 
 117. 
 
 Greek court Catalogue. 
 
 LUCILLA. 
 
 Colossal Statue. From Berlin. 
 
 Daughter of Marcus Aurelius and Faustina, and wife of Lucius Yerus, with 
 the attributes of the goddess Felicitas. The Empress is so represented on 
 her coins. Her brow is adorned by a broad plain sphendone or tiara, 
 with rows of beads at the side, like the colossal Juno bust, No. 349. The 
 drapery of her stola or full long tunic, resembles that of the Famese Flora, 
 but without the zona or girdle; some of the folds are made to fall over the 
 pallium with excellent effect. The drapery of the pallium itself is large 
 and poor. She holds a richly ornamented cornucopia in the left hand, the 
 right held a sceptre. 
 
 Engraved in Clarac. Musee, pi. 438, H. No. 2464, Gr.; No. 349 of Berlin 
 Catalogue. 
 
 Dimensions: Height, 
 
 118. THE FRONT OF A LARGE SARCOPHAGUS. 
 
 Of Cipollato Marble. From the Campo Santo, at Pisa. It formerly belonged 
 to the Casa Roncioni, and was moved to the Campo Santo by the Cavalier 
 Francesco, of the Roncioni family. 
 
 Upon the lid of the original sarcophagus two figures recline. At either 
 side below is a niche occupied by the statue of a Muse. Urania to the right, 
 and Polyhymnia to the left. The small figures above, at the angles of the 
 sarcophagus are Tritons holding rudders and blowing conch-shells. 
 
 Engraved in Lasinio, Raccolta di Sarcofagi, Urni, e Scultura del Campo 
 Santo de Pisa, tav. 143* and 144*. 
 
 119. a. b. BAS-RELIEF —Three Portions of Trajan’s 
 
 Column. 
 
 The bas-reliefs represent the distress of the Dacians and neighbouring tribes 
 during the invasion of the Romans ; some are seen dying from the effects of 
 poison, which they preferred to take rather than submit to the enemy ; others 
 are seen supplicating and offering submission to the conquerors. The Trajan 
 column is a celebrated historical column at Rome, dedicated a.d. 114 by the 
 Senate and Roman people to that emperor. It is the work of the famous 
 architect Apollodorus, and composed of thirty-four pieces of white marble ; the 
 total height is 132 feet. The column is of excellent proportion, but of mixed 
 architecture. The base and capital however are Tuscan. The pedestal is 
 covered with bas-reliefs of warlike instruments, and the entire shaft of the 
 column is occupied by a series of bas-reliefs wound spirally round, which 
 presents the whole series of the emperor’s military achievements. They are 
 admirably preserved, and form a wonderful record of those times, displaying in 
 the most minute manner every variety of dress, armour, and military con¬ 
 structions. The sculptures contain 2500 human figures, besides an immense 
 number of horses and other animals ; bridges, houses, and plantations, all 
 appear in turn, giving animation and identity to the scene. It begins with the 
 Roman army crossing the Danube by a bridge of boats, and continues through 
 the entire course of Trajan’s expedition against the Dacians. At the lower 
 part of the column where they begin, the bas-reliefs are two feet high, but as 
 they recede from the eye they are increased in size, so that the upper range 
 
GREEK COURT CATALOGUE. 
 
 79 
 
 measures exactly double the height. The whole was surmounted by a colossal 
 statue of Trajan holding a globe, which is supposed to have contained his 
 ashes. 
 
 Engraved in tavole 67, 92, and 93, of Bartolj’s work on the Trajan column, 
 
 120. Vacant, 
 
 121. Vacant. 
 
 122. VICTORY Inscribing on a Shield which she holds 
 
 WITH HER LEFT-HAND, RESTING IT UPON A PlLASTER. 
 
 The shield is decorated with an olive wreath, and the pilaster appears to 
 be covered with a minute Greek inscriplion. This bas-relief is a specimen of 
 very late Roman art, and affords a curious parallel with other representa¬ 
 tions of the same subject. The drapery is elaborated with straight lines, and 
 the feathers of the wings are much spread out, and painfully distinct. 
 The left foot of Victory is planted on a helmet in a similar manner to the 
 action of the Venus of Capua (No. 2), and to the figures of Victory upon 
 the reverse of coins of Vespasian and Trajan. The coin of Corinth, on 
 page 50, shows that all these figures were intended for the same emblem, 
 namely, Victory recording conquests on a shield, 
 
 123. Vacant. 
 
 124. FROM A TERRA-COTTA. 
 
 A Griffin attacking one of the Arimaspi. 
 
 The Arimaspi were a people who inhabited the northern part of Scythia. They 
 dressed like other barbarian nations, in short tunics and braccae or pantaloons. 
 Their caps were of the shape generally termed Phrygian, clearly shown in this 
 composition. A broad spreading beard gives an almost Persian appearance to 
 the figure, and the shape of the shield, the pelta lunata , is perhaps better seen 
 here than anywhere else. The little standing figure of an Amazon (No. 194), 
 and the celebrated statue from the Vatican (No. 302), both display it. In the 
 Pompeian Court are some figures with similar shields. They occupy the left 
 side of a frieze over the tablinum. ( See description of the Greek Court, page 47.) 
 Other representations in terra-cotta of the Arimaspi are preserved in the British 
 Museum. (Compare ancient terra-cottas of the British Museum, plate 4, No. 4 ; 
 and plate 6, Nos. 7 and 8). The Arimaspi lived in constant warfare with the 
 Griffins, who guarded the gold with which their country abounded. The subject 
 is often repeated on the painted vases of the British Museum, and Mr. Hope’s 
 Collection. 
 
 125. BAS-RELIEF— Battle between Romans and Barbarians. 
 Of Greek marble. From the Capitol. A sarcophagus discovered in 1829, by 
 
 Signor Ammendola, in his vineyard at Rome, beyond the modern gate S. 
 Sebastiano, near the Via Appia. 
 
 Of singular spirit and variety in composition, united with superior execu¬ 
 tion. The style resembles that of the best period of Trajan’s epoch. It is a 
 strictly historical monument, without the slightest introduction of mythology. 
 The upper row of figures presents a series of captives sitting among various 
 pieces of armour—the male figures with their hands tied behind their backs ; 
 
80 
 
 GREEK COURT CATALOGUE. 
 
 the women, two of them with their heads veiled, in various attitudes of grief. 
 Two children seem to be caressing them. At the ends forming the comers of 
 the sarcophagus are two large masks of barbarians. Below is an animated 
 scene of Romans on horseback, in full armour, attacking barbarians on foot. 
 One Roman has dismounted, and is in the act of seizing an enemy by the hair, 
 whilst another barbarian, who has placed himself between the Roman and 
 his horse, seems about to avenge his countryman. The barbarians are most 
 of them entirely naked, with a metal torque round their necks. This ornament, 
 peculiar to so many Celtic nations, is frequently found both in our country and 
 in Ireland ; it is for the most part pure gold. The statue of the Dying 
 Gladiator (No. 143), is distinguished by a similar ornament: it appears to 
 have been a sign of rank. One of the figures sitting at the comer wears the 
 braccse, or drawers, so much worn by barbarian nations ; a central figure 
 appears falling by his own hand. At the corners of the sarcophagus are 
 trophies formed of various arms. Unfortunately no inscription has been found 
 to determine what conflict or what barbarian nation is here represented. 
 
 Engraved in Annali del Instituto, anno 1831; Atlas, vol. i. tav. 30, p. 
 287; H. B. Rome, p. 198. 
 
 126. BAS-RELIEF— Giants and Titans. 
 
 A large sarcophagus. From the Vatican. Of marble from Mount Hymettus. 
 
 Very coarsely wrought, but valuable from the rare occurrence of the subject 
 of its bas-reliefs. It represents the Giants struggling against the Gods. The 
 latter do not appear. There is a great variety of action and spirited compo¬ 
 sition, which leads one to suppose that the sculpture was taken from a better 
 model. The giants sprang from Uranus and Gaea. They made an attack upon 
 heaven, armed with huge rocks and trunks of trees ; but the Gods, by the help 
 of Hercules, subdued them, and buried them under the volcanoes of the earth. 
 Flaxman says (p. 135), “The giants are towers of human strength to the 
 waist; but, instead of legs, their figures terminate in the huge folds of ser¬ 
 pents’ tails ; their heads resemble the Saturnian family, but lowering with 
 brural ferocity.” 
 
 Engraved in Visconti, Mus. Pio Clem, vol. iv. tav. 10; Pistolesi, vol. v, 
 tav. 26 ; Cavaceppi, vol. iii. No. 55 ; Bunsen, vol. ii. part 2, p. 178. 
 
 127. ROMAN SACRIFICE. 
 
 Portion of a bas-relief; from Florence ; formerly in the Medici Gardens, 
 at Rome. 
 
 The entire composition is to be seen in Santi Bartoli’s engraving; it 
 suggested the sacrificial figures to Raphael in his famous cartoon of Paul 
 and Barnabas at Lystra. 
 
 Engraved in Admiranda, No. 10. 
 
 128. TERRA-COTTAS. 
 
 Three from Berlin. Feats of Hercules. 
 
 A. Hercules and Lion ; B. Hercules and Bull; C. Hercules and Hydra. 
 
GREEK COURT CATALOGUE. 
 
 81 
 
 129. PUDICITIA. 
 
 Portrait of a Roman matron. Statue, life-size, from Dresden. Found at 
 Herculaneum. 
 
 One of the family of Balbus, discovered by Prince Elbceuf towards the 
 beginning of the 18th century (See description of Pompeian Court, p. 17). He 
 sent three statues as a present to Prince Eugene, who placed them in his garden 
 at Vienna. At his death they were sold to the King of Poland for 6000 dollars, 
 since which time they have remained at Dresden. The statue of one of the 
 daughters is No. 36 in this Gallery. 
 
 Engraved in Becker’s Augusteum, pi. 20; Clarac. Musee, pi. 766, No. 1889 ; 
 Winckelmann Werke, vol. ii, p. 135. 
 
 This statue is almost identical with one of Greek marble in the Louvre, No. 
 118, called Julia, wife of Septimius Severus, found at Ben Gasi, near Tripoli; 
 Africa was the native country of Severus, but the style of art seems superior 
 to that which predominated during his reign. Red colour of an encaustic 
 nature was observed upon this figure when at Versailles. It is said to be the 
 most perfectly preserved of all antique statues. The goddess Pudicitia appears 
 on coins of Hadrian, enveloped like this in a pallium concealing the hands, as 
 in statues of Polyhymnia and Mnemosyne. 
 
 Engraved in Bouillon, vol. ii, pi. 61 ; Clarac. Musee, pi. 311, No. 2482 ; 
 Clarac. Cat. p. 58, No. 118. 
 
 Dimensions; Height, 
 
 129. a. BAS-RELIEF. 
 
 BATTLE OP GREEKS AND AMAZONS. 
 
 From Genoa. Very similar to the marbles of Halicarnassus. 
 
 They were noticed by Mad. Sibilla Mertens Schafhausen in the Palace of the 
 Marquis di Negro at Genoa, apd confirmed at the same time by Mr. Birch as 
 pertaining to the sculptures from Halicarnassus in the British Museum, 
 known as the Boudroum Marbles. The subject of the frieze is the battle of the 
 Greeks and Amazons. In 1522 these sculptures were found amidst a heap of 
 ruins, and employed by the Knights of Rhodes in the construction of the 
 present fortress at Boudroum. They remained in the walls until 1846, when 
 the Sultan presented them to Sir Stratford Canning, ambassador at Constanti¬ 
 nople, by whom they were transferred to the British Museum. The style of 
 these sculptures, and of the figure (No. 5), bears evident traces of the 
 Alexandrian period. The limbs are long, and the figures very tall. They 
 display great tendency to the diagonal line in composition, but the treatment 
 of drapery closely resembles that on the figures of the frieze of the Temple of 
 Wingless Victory, No. 57. 
 
 Engraved in Mon. del Inst. 1849, vol. xxi. pp. 74—94. 
 
 130. CERES. 
 
 From Berlin. Colossal. 
 
 Fine broad drapery ; may have originally been a Caryatis. 
 Dimensions: Height, 
 
82 GREEK COURT CATALOGUE. 
 
 130a. BAS-RELIEF of late workmanship. 
 
 From Athens. Representing a youth, with no other dress than the chlamys, 
 holding a horse with his left hand, and feeding a serpent that seems 
 uncoiling itself from a tree on the right. 
 
 On this tree hang his sword and a round shield, the aspis, with the 
 Gorgon head in centre ; the branches spread, and bear oak-leaves ; a large 
 bird is perched on the branches. His cuirass or lorica is placed against 
 the trunk. On the other side oi the central figure a boy stands offering a 
 helmet, and behind the boy a two-handled vase raised on a very high 
 pedestal. The whole composition is flanked by very strongly projecting 
 pilasters and clumsily moulded cornice. 
 
 3 31. BAS-RELIEF— the Three Fates. 
 
 From Berlin. In marble, in possession of the Baron Alexander Yon Hum¬ 
 boldt, formerly in the Villa Palombara at Rome, and previously in the 
 Palazzo Massimi. 
 
 First recognised by Visconti as the Three Fates. The left figure above the 
 lap is entirely modem; her right hand and spindle, and rock, and drapery near 
 them antique. The fingers of both hands and scroll of the figure to extreme 
 right are restorations ; also the column and globe with zodiac. Dr. Emil 
 Braun has most ably shown that the middle figure does not hold the scissors 
 as is usual, but three lots, and is in the act of drawing one of them, an 
 allusion to the meaning of her name, Lachesis. 
 
 Engraved in F. G. Welcker, Zeitschrift der alten Kunst, taf. 3, No. 10. 
 
 132. MUSICIANS. 
 
 Two girls playing the same instrument, like a guitar. Figures similar in style 
 to the Agrigentum sarcophagus. 
 
 Engraved in Bouillon, vol. iii. bas-reliefs, pi. 24 ; Clarac. Musee, pi. 202, 
 No. 261 ; Cl. Cat. 179. 
 
 133. THE MUSES —Bas-relief. 
 
 Front of a sarcophagus of Pentelic marble, from the Louvre. Formerly 
 in the collection of the Capitol at Rome. Found about three miles from 
 Rome, towards Ostia, in a monument belonging to the family of Atius. 
 Decorated with bas-reliefs of the nine Muses, each characterised by her 
 distinctive attribute. 
 
 At each end a poet is seated with a Muse beside him. Above the Muses is 
 a drinking party. Large masks adorn the angles. 
 
 Engraved in Bouillon, vol. i. pi. 82, 83; Mus. Cap. vol. iii. tav. 26, 27, 
 23 ; Bunsen, vol. iii. p. 196 ; Clarac. Musee, pi. 205, No. 45. 
 
 134. BAS-RELIEF. 
 
 VICTORY (NIKE), APOLLO, DIANA (ARTEMIS), and LATONA (l&TO). 
 Bas-relief. From the Louvre. 
 
 Similar to the relief in the Villa Albani at Rome. This sculpture has a 
 statne on pedestal behind the Victory, and a tree over it, beyond the wall. 
 The scene represents the temple erected by the Athenians to the Pythian Apollo, 
 
GREEK COURT CATALOGUE. 
 
 83 
 
 in which the musical contests were celebrated. A chorus appears advancing to 
 the right, in the characters of Apollo Musagetes with lyre, Diana bearing the 
 torch, and Latona, Victory standing before them, near a cylindrical altar 
 (adorned with dancing figures), pours out a libation. The frieze of the temple 
 represents a chariot race : at the extreme left is a tripod, the prize of the victor, 
 raised upon a column. The little figure on a pedestal at the opposite end is 
 much mutilated, but probably that of Apollo himself. This bas-relief, although 
 slightly executed, is full of feeling and delicacy. (Clarac. Musee, pi. 120, 
 No. 39). 
 
 The Louvre one engraved in Bouillon, vol. iii. pi. 26, No. 1. Villa Albani 
 in Bunsen, Rom. III. 2, p. 529; Zoega, tav. 99; Millin. Gal. Myth. pi. 17, 
 No. 58; Smith’s Gr. and R. Diet. Geography, Art. Athena?. 
 
 135. BAS-RELIEF— Chorus of Five Females. 
 
 Five females dancing before a colonnade. Bas-relief of Pentelic marble 
 from the Louvre, formerly in the Borghese Collection at Rome. 
 
 Engraved in Clarac. Cat. p. 11; Admiranda, tav. 63 ; Villa Borghese, 
 Lamberti, St. 1, No. 14 ; Bouillon, vol. ii. pi. 97 ; Clarac. Musee, pi. 163, 
 No. 259. 
 
 136. BAS-RELIEF— Three Dancing Females. 
 
 In hard style. From Florence. Formerly at Rome, in the Villa Medici. 
 
 Was much broken when described by Winckelmann. It has since been 
 restored, but the upper part of the left hand figure and right arm of opposite 
 figure were totally gone. Interpreted as Clytemnestra, with Electra and 
 Chrysothemis. 
 
 Engraved in Winckelmann, Mon. Ined. No. 147 ; Wicar, Galerie de Flo¬ 
 rence, vol. i. 
 
 137. BAS-RELIEF. 
 
 Two females decorating a candelabrum with garlands, in front of a temple ; 
 a third female advances with flowers. A marble bas-relief; from the 
 Louvre ; formerly in the Borghese Collection, at Rome. Similar in style 
 to Chorus of Five Females. 
 
 Engraved in Admiranda, tav. 64 ; Villa Borghese, St. 1, No. 10 ; Bouillon, 
 vol. Iii. pi. 97 ; Clarac. Musee Royal du Louvre, pi. 163, No. 21. 
 
 138. ALTO-RELIEF OF WHITE MARBLE. 
 
 Representing a female figure advancing to right with a long garland towards 
 a circular temple, with steps and lattice-work, and roofed over as we 
 see in restorations of the Temple of the Sun and Vesta. 
 
 This bas-relief is uniform with that of No. 137, where two females are 
 decorating a candelabrum. It was formerly in the Villa Negroni. A similar 
 fragment is in the collection of antiques at Ince Blundell, near Liverpool. 
 
 Engraved in Winckelmann, Mon. Ined., No. 15; Winckelmann, Storia 
 dell’Arti, Roma, 1784, vol, iii. tav, 18, 
 
84 GREEK COURT CATALOGUE. 
 
 139. BAS-RELIEF— The Seasons and Marriage of Peleus 
 and Thetis. 
 
 From a sarcophagus of white alabaster, in the Villa Albani at Rome. 
 
 At the extreme right of the composition, Peleus and Thetis are seated on a 
 nuptial throne. All the figures except two at the opposite end are advancing 
 to them with bridal presents. Peleus is in the act of receiving a sword at 
 the hands of Vulcan ; Minerva follows with helmet and spear. Thetis as a 
 bride is closely veiled. After Minerva come the four seasons, or Horae , Winter, 
 Autumn, Summer, Spring, each with characteristic offerings. These figures 
 are very often seen repeated in ancient art, especially in terra-cotta. In 
 earlier times only three seasons were represented. A boy follows, clothed in 
 a full mantle, with an inverted torch in his right hand. Next to him a 
 young man in a short tunic and garland, holding a pitcher in his right hand, 
 and a torch over his left shoulder; his legs are covered with buskins. He 
 is called Hymen, and the boy with the inverted torch, Hesperus, or Evening. 
 The female figure to the extreme left, with diadem on her bead, holding a 
 crown in her right hand, is Eris, the goddess of discord— 
 
 “ abominable, tliat uninvited came 
 Into the fair Pelei'an banquet-ball, 
 
 And cast the golden fruit upon the board”— 
 
 Tennyson. 
 
 who is being driven out by Cupid, the naked boy with wings, next to Hymen. The 
 right side of the sarcophagus beyond the sitting Peleus contains the sculpture of 
 a standing figure, probably Neptune, holding a sceptre; a sea-monster approaches 
 him, a sea-paddle is among the rocks behind. At the opposite end a Cupid riding 
 on a dolphin, with an umbrella in his left hand. A paddle is fixed 
 upright in the rocks, and a column or candelabrum behind the dolphin, is 
 supposed by some to be a lighthouse. A mask and marine monsters decorate 
 the upper part, which is separated from the larger row of figures by a very 
 slight row of square dentils. Thetis was a marine divinity, and dwelt with 
 her father Nereus, and her sisters the Nereids, in the depths of the sea; but 
 she was destined to become the wife of a mortal, and Jupiter gave her in 
 marriage to Peleus. Neptune had even sued for her hand. Chiron informed 
 Peleus how he might obtain possession of her, for, like Proteus, she had 
 the power of assuming any form she pleased. All the gods were present 
 at the wedding, except Eris, or Strife, who, not being invited, threw a 
 golden apple among the guests, with the inscription, “To the fairest.” 
 Three goddesses claimed the apple, and Jupiter sent Mercury with them 
 to Paris, who was keeping sheep on Mount Ida, for him to decide. Juno 
 offered him sovereignty, Minerva wisdom, and Venus, the most beautiful 
 woman in the world. Venus prevailed, and Paris gave her the golden apple. 
 Thetis became the mother of Achilles, who acquired, according to the oracle, 
 greater fame than his father. Venus conveyed Paris to Greece, and by her 
 influence he carried off Helen, the lovely wife of Menelaus. This outrage 
 was immediately resented by the Grecian chiefs who, united with Achilles, 
 Agamemnon, and Ulysses, carried on the Trojan war, which lasted ten years, 
 and terminated in the return of Helen to Sparta. 
 
 Engraved in Winckelmann, Mon. ined, No. Ill; Zoega, Bassi-rilievi, vol. i. 
 tav. 52, 53; Millin, Gall, Myth.; Bunsen, vol. iii. part 2, p. 487. 
 
GREEK COURT CATALOGUE. 
 
 85 
 
 140. 
 
 BAS-RELIEF —Nereids and Tritons. 
 
 In Parian Marble. From the Louvre ; formerly in the Capitol at Rome. 
 
 Remarkable for grace of composition and elegance of line. This bas-relief 
 formed the front of a sarcophagus, and represents a Chorus of four Nereids 
 crowned with ivy, and borne upon Tritons and marine monsters, accompanied by 
 Genii, who symbolising the human soul, make their way across the waves to the 
 Fortunate Isles. The ivy-crowns, the peculiar emblem of Bacchus, may at first 
 seem inappropriate to sea-nymphs, but it must be remembered that he was 
 educated by them, and that his worship was brought to the Greeks across the 
 sea. He was often worshipped as the God of Humidity, and therefore associated 
 with the fabled inhabitants of the waters. Well preserved. 
 
 Engraved in Mus. Cap. vol. iv. tav. 62 ; Bouillon, vol. i. pi. 84 ; Clarac. Cat, 
 pi. 36, No. 75 ; Mori Galleria, tav. 23 ; Bunsen, vol. iii. p. 240; Admiranda, 
 Nos. 31, 32; Mus. Nap. No. 38; Clarac. Mus6e, pi. 206, No. 192; Musee 
 Fran?ais. 
 
 THREE CITIES PERSONIFIED. 
 
 141. 
 
 Bas-relief of Pentelic marble from the Louvre, previously in the Villa 
 Borghese at Rome. Was found among ruins of a sepulchre on the Via 
 Appia at the beginning of the last century. 
 
 The costume indicates them to be Oriental cities, and the sacrificial vase, 
 branch of olive and crowns, lead to the supposition that they were advancing to 
 greet some conqueror. The Greeks personified not only the sun, moon, and 
 rivers, but even cities, provinces, nations, and mountains. Frequently we 
 find a female figure upon coins, with an inscription proving it to be a country 
 or city, and ancient writers mention them as subjects upon which the 
 best artists were employed. A pedestal at Naples which supported a 
 colossal statue of the Emperor Tiberius, is surrounded by fourteen 
 figures, personifying the different cities of Asia, which he had restored after 
 the calamitous earthquake of the year 17 a.d. (H. B. p. 170.) Cities often 
 appear upon coins as females holding temples, the prows of ships, and even 
 celebrated statues belonging to them in their hands. They generally have 
 mural crowns on their heads. Ancient roads were personified as female 
 figures holding a wheel : thus they appear upon the Arch of Constantine and a 
 coin of Trajan. The coins of Hadrian to commemorate his extensive voyages 
 display almost every variety of mode of personifying localities. (See p. 14 of 
 Introduction to Roman Court.) Rome herself was represented as an Amazon 
 with helmet and shield, sometimes sitting on her seven hills. In later art she 
 was more draped, and hardly to be distinguished from Minerva. 
 
 Restorations: The nose and right fore-arm of the first figure ; the nose of 
 the second ; and the right fore-arm, nose, mouth, and chin of the third, also 
 her left hand from wrist, and a portion of drapery connected with it. 
 
 Engraved in Bouillon, vol. i. pi. 86; Villa Borghese, St. 2, No. 17; 
 Bartoli, Ant. Sepolcr. tav. 108 ; Clarac. Musee, pi. 222, No. 301 ; Clarac. Cat., 
 No. 179. 
 
 VESTAL, Colossal, of Dresden. 
 
 142. 
 
 An architectural figure, with fluted drapery. Probably the antique portion 
 belonged to a Caryatid. 
 
86 
 
 GREEK COURT CATALOGUE. 
 BAS-RELIEF —Antinous. 
 
 143. 
 
 Bas-relief of Luni Marble. From the Villa Albani, at Rome. Found in the 
 ruins of Hadrian’s Villa. 
 
 The fingers of the left hand, the thumb and two fingers of the right, and the 
 lotus crown, are modern restorations and additions. The favourite of Hadrian 
 is represented crowned with lotus-flowers, in reference to his death and 
 apotheosis, which took place in Egypt. This figure, the upper portion only, is 
 one of the finest bas-reliefs existing of this style. The figure is somewhat 
 larger than nature, and in a pure style, which unites extreme elegance 
 with elaborate finish. 
 
 Engraved in Zoega, Bassi Rilievi, vol. ii. tav. 116 ; Bouillon, vol. ii. pi. 98.; 
 Bunsen, vol. iii. part 2, page 526 ; Winckelmann, Mon. Ined, No. 180 ; Mus. 
 Nap. No. 211. 
 
 144. RETROGRADE SEPULCHRAL INSCRIPTION. 
 
 From a terra-cotta Stele, defective above where was the name of a woman, who 
 was the daughter of Enialus. 
 
 The form of the letters, the O for OT, the E for H, and the double sigma, 
 indicate an age not later than the early part of the 5th century b.c. 
 
 The direction of the letters from right to left is a strong reason for attri¬ 
 buting an early date to this inscription. 
 
 In letters of the 4th century b.c. the inscription would be as follows : — 
 
 .ENIAAOT 0TrATP(O2) 
 
 KEPAM02THAH 
 
 “ The earthen pillar of.daughter of Enialus.” * 
 
 145. SMALL BAS-RELIEF. 
 
 From Athens. Three standing divinities by two altars. They seem to be 
 Mercury, Jupiter, and Diana. 
 
 146. ATHENIAN BAS-RELIEF. 
 
 A veiled female, youth with horse, giving palm branch to a boy on the right. 
 
 147. THE DIOSCURI, with their horses face to face. 
 
 A bas-relief from Athens, merely blocked in, and never finished ; very curious. 
 
 148. PORTION OF A FUNEREAL VASE. 
 
 A cliarming family group. The female is seated, and an old man takes her 
 by the hand. 
 
 * I am indebted to the kindness of Colonel Leake, for the interpretation of this 
 inscription, and beg to thank him for the liberal manner in which he has favoured 
 me with information upon this and other subjects. 
 
GREEK COURT CATALOGUE. 
 
 8? 
 
 149. CIPPUS. 
 
 Beautifully designed, and executed with wonderful spirit. The depth to 
 which it is hollowed is very remarkable. The 
 foliage is of the richest and most luxuriant 
 kind. Inscribed :— 
 
 EriKPATHS 
 KH$I2lOT 
 IHNIAH2 
 
 Two rosettes are carved beneath the inscription. 
 
 A cippus is a low column, generally square, like 
 an altar, upon which decrees, or memorial 
 tablets, were inscribed. They were sometimes 
 used as mile-stones, but they most frequently 
 served as sepulchral monuments. The Greek 
 term Stele is the most extensively applied term 
 to sepulchral monuments of Grecian times. The 
 st61e was a square pillar, or upright stone ; 
 these were usually terminated by an oval head¬ 
 ing called Epithemata. Sometimes the stele 
 was surmounted’ by a pediment or fastigium, 
 which was then called by the pure Greek name 
 — aetos. The accompanying illustrations will 
 show the general form and arrangement of these 
 monuments, and it will be seen that when these 
 stelae were very tall, such bas-reliefs as the 
 Ulysses (No. 172) could easily be introduced. 
 
 The heading, when especially rich and divided 
 into leaves, was called afleuron. 
 
 Greek Stdle: or Cippus, from 
 •the Louvre. 
 
 150. UPPER PART OF DORIC COLUMN OF THE PAR¬ 
 
 THENON. 
 
 Original size. 
 
 151. BAS-RELIEF- —Faun and Nymph. 
 
 In Greclietto marble ; from Naples ; found at Herculaneum. 
 Engraved in Mus. Bor. vol. v. tav. 53. 
 
 152. ATHENIAN BAS-RELIEF. 
 
 A fragment displaying a female seated in a chair, with a winged lion in front. 
 
 153. A VERY FINE FRAGMENT. 
 
 Also from Athens. A reclining female, the drapery beautiful. A Spartan 
 hound is in front of her couch. 
 
GREEK COURT CATALOGUE. 
 
 88 
 
 154. ALTO-RILIEVO FROM ATHENS. 
 
 A Pan, sitting on a rock, playing a pipe, before a closely muffled female. 
 
 155. PLUTO, with Modius on his Head, reclining on a 
 
 Couch. 
 
 He is raising a rhyton, or horn-shaped drinking vessel, in his right hand. 
 The left hand is holding a patera. In front of couch is a table set out 
 with viands, and by the side of it a large vase, or outer, in which the 
 wine was mixed before it was served out at feasts. The ancients never 
 drank their wine pure, as we do, but devoted much attention to the pro¬ 
 portion of water that was to be introduced. By the side of this crater 
 stands a boy with his right hand raised. A graceful female is sitting at 
 the foot of the couch, as women were never permitted to recline at meals 
 with the other sex ; she seems to be holding a square box, or drinking 
 vessel, in her left hand. A group of relations is introduced, four taller and 
 three shorter in stature. 
 
 156. FRAGMENT OF FRIEZE OF THE PARTHENON. 
 Two Male Heads, and part of the Horns of an Ox. 
 
 They belong to the south side. 
 
 Engraved in Yaux, p. 84. 
 
 157. FRAGMENT OF A HORSE’S HEAD, in a hard 
 
 STYLE OF ART. 
 
 The arrangement of the mane quite in the Persian fashion ; to be seen also in 
 the Chariot frieze of the Lycian Collection, 
 
 158. SMALL BAS-RELIEF. 
 
 To the left a Faun and Panther, the same as appear in sculptures of the 
 Museo Borbonico (Mus. Bor., vol. vii., tav. 24), and British Museum (Yaux, 
 p. 183), and also on the Salpion Yase, now at Naples. This faun is pre¬ 
 ceded by Bacchus holding a thyrsus supported by a young Faun. Before 
 him is a Silenus holding a crater on his left shoulder, and a lighted 
 torch in the right, which he directs towards the ground. The same action 
 notay be perceived in the little draped figure in the bas-relief (No. 139), repre¬ 
 senting the marriage of Peleus and Thetis. 
 
 159. BAS-RELIEF. 
 
 From Athens. A seated female, holding a patera on her knees, a 
 Sphinx is in front of her seat. She faces a little statue on a pedestal, 
 with the inscription ET0H. A tree rises behind the statue, and a small 
 NIA. 
 
 figure appears imediately above the trunk. The background is inscribed 
 TEAETH, and upon the base, which supports the female’s arm the letters :— 
 
 Em 
 
 KTH 
 
 me 
 
GREEK COURT CATALOGUE. 
 
 89 
 
 160. A very fine Sculpture in very low relief. 
 REPRESENTING JUNO AND MINERVA HAND IN HAND. 
 
 The Queen of the Gods grasps a sceptre in her left hand, whilst the pre¬ 
 siding deity of Athens holds the pointed end of her spear downwards. The 
 Gorgon’s head is traceable on the breast of Minerva, but the surface is too 
 much worn to ascertain further details. The form of the helmet and crest is 
 the same as appears after the time of Phidias. Juno wears a plain band round 
 her head, but in the dignified action of the figure we may imagine we trace 
 something of the majesty Polycletus imparted to his statue at Argos. 
 
 161. A CAVALCADE. —One Horseman followed by Four 
 
 RIDING ABREAST. 
 
 162. AN INSCRIBED STELfi, surmounted by an Aetos or 
 
 Fastigium. 
 
 A farewell scene. The seated figure is a female. The letters are small 
 and close. 
 
 163. BAS-RELIEF. A seated male divinity, perhaps Jupiter, 
 
 to the left. 
 
 A youth, with no clothing but the usual mantle, or chlamys, stands before 
 him, holding a draped female by the right hand, she has a pitcher in her left, 
 a small bearded figure in pallium stands on the right side. 
 
 164. THE LOWER PORTION OF A STEL& 
 
 A female appears seated on a square seat, like Penelope. Behind her is a 
 dignified old man in full pallium. Facing her is a male figure also in a 
 pallium, taking her hand. This figure is much destroyed. The attitudes of 
 both male figures require support, but no sticks are introduced, as in the 
 frieze of the Parthenon. They were most probably supplied, in this instance, 
 by colour when the monument was in its pristine beauty. Two lines of Greek 
 inscription below. 
 
 165. JUNO. 
 
 A colossal statue from Berlin. The arms and head were restored by Emil 
 
 Wolf. 
 
 Compare Clarac. Musee. pi. 415, No. 721 ; Cavaceppi, No. 55, vol. i. 
 
 166. BAS-RELIEF. 
 
 Two females, one with a bull, the other with a lamp, or small can¬ 
 delabrum, surmounted by a pine-apple. More probably an incense- 
 burner, as seen on vases, and the frieze of the Parthenon. From Florence. 
 The Vatican Collection possesses a similar bas-relief, in which the left-hand 
 figure and the hind-part of the bull, being nearly destroyed, were restored 
 from the Florentine original. 
 
 Restorations : The female figure with the lamp, Wicar (Galerie de Florence, 
 vol. iv.) Compare the recent fragments from Athens 178 and 178a, of a similar 
 subject. The feeble and elaborate style of this, as an imitation from a superior 
 work, will at once be perceptible. 
 
 Engraved in Visconti, Mus. Pio Clem. vol. v. tav. 9 ; Pistolesi, vol. if. 
 tav. 99. 
 
so 
 
 GREEK COURT CATALOGUE. 
 
 167. A SMALL ATHENIAN BAS-RELIEF, Representing 
 
 a Parting Scene. 
 
 A female figure is sitting on athin legged chair, like the Penelope (No. 266). 
 A female holds her hand. An old man is standing behind. 
 
 168. BAS-RELIEF of a male figure reclining on a couch, 
 
 LEANING WITH HIS LEFT ELBOW ON A DOUBLE CUSHION. 
 
 He holds a patera in his right hand. A female figure is sitting on a square 
 four-legged seat, at the foot of the couch ; she appears to be in the act of con¬ 
 versing with him. A female, closely draped, is standing to the right behind 
 him. A dog crouches on the ground, seemingly gnawing something ; at the left 
 side is a crater, and a naked youth, standing beside it with a jug in his right 
 hand. 
 
 169. A LOW RELIEF. 
 
 The genuineness of which may well be doubted. It appears to be a Floren¬ 
 tine work, executed at the period when antique compositions were so much 
 practised in that school. A female seated on a rock with raised arms, in front 
 of a tripod, elevated on a column, divided by various bands of foliage; on 
 the right hand side, a female figure with streaming hair, faints in the arms of 
 a youth. Bacchus faces the female with raised arms, he is leaning against a 
 plane tree, having the thyrsus in his hand. A panther sits at his feet, and, 
 behind him, a Maenas holds part of a tom kid, with extravagant gesture, wild 
 hair, and drapery. 
 
 170. CARYATIDS. 
 
 Alto-rilievo of Grechetto marble. From Pozzuoli. 
 
 The Greek inscription is not considered by Gius Maria Parascandalo to be 
 genuine. A female clad in Doric costume sits at the foot of an ornamental 
 tree ; on each side stands a female, similarly attired in a double tunic without 
 sleeves ; each of these has a broad modius on her head, which serves as a 
 support to the architecture. At the first glance one is inclined to set it down 
 as a good work of Roman times. 
 
 Engraved in Mus. Bor. vol. x. tav. 59 ; Neapels, p. 132 ; No. 497. 
 
 171. BASSO-RILIEVO —Orpheus, EurydicS, and Mercury 
 (Hermes). 
 
 Bas-relief of Grechetto marble, from Naples, formerly in the Caraffa Noja 
 Collection, and before that belonged to Gaspar Torelli. 
 
 HPMI-K £YP'rA i k"H sTY^TO 
 
 The Greek inscription in clear sharp characters determines the subject. The 
 name Orpheus is written backAvards, as on many of the painted vases where 
 the words supposed to be uttered by a personage are turned in the direction of 
 
GREEK COURT CATALOGUE. 
 
 91 
 
 the speaker’s mouth. Two other well-known repetitions of this group exist; 
 one in the Louvre, the other in the Villa Albani. The former inscribed 
 with different names, viz., Amphion , Antiope, and Zethus; the latter des¬ 
 titute of any writing at all, is explained by Zoega as Orpheus, Eurydice, and 
 Hermes. The Roman letters on the Borghese sculpture are large and coarse, 
 with much less appearance of originality than the Greek. (Bunsen, vol. iii. 
 part 2, p. 531.) 
 
 Engraved in Mus. Bor. vol. 10, tav. 62 ; Zoega, B. R. vol. i. tav. 42 ; 
 Winckelmann, Mon. ined, No. 85 ; Millin, Gall. Myth. 512*, pi. 177 bis; 
 Bouillon, vol. ii. pi. 93 ; Neapels, p. 67, No. 206. 
 
 172. ULYSSES AND HIS DOG— a Sepulchral Stel£ sculp¬ 
 
 tured m the Archaic Style. 
 
 Basso-rilievo in Greek marble. From Naples. Formerly in the Borgia 
 Museum at Velletri. 
 
 A sepulchral stele of Greek workmanship, erected on a base inscribed with 
 Oscan characters. It is adorned with a bas-relief, representing a bearded man 
 dressed in a simple chlcma; he stands with his legs crossed, leaning on a 
 long knotted stick planted under his left arm. A band passes round his left 
 wrist, and the guttus or oil vase is hanging from it. The band on his head, and 
 the general appearance of the figure, are indications of the subject being 
 heroic. The dog looking up with so much attention accords perfectly with 
 the faithful Argus recognising his master. A similar group appears on the 
 coins of the family Mamilia, and also upon an engraved gem. Raoul Rochette 
 gives a vase-painting with the name of Ulysses inscribed, and with much 
 the same attitude, in his Mon. ined. pi. 76, No. 7. 
 
 Engraved in Mus. Bor. vol. xiv. tav. 10 ; Raoul Rochette, Mon. ined. 
 pi. 63, No. 1. 
 
 173. AN INSCRIBED FAREWELL SCENE. 
 
 From Athens, consisting of two females, fully draped, and a little girl. One 
 is seated and holds the other by the hand. These figures are enclosed in 
 a niche. 
 
 174. AN INTERESTING LITTLE ALTO-RILIEVO. 
 
 From Athens. 
 
 It is set deep in a square frame, and presents a naked man anointing himself; 
 his left hand held the guttus , or oil bottle (see No. 172); it is now broken away. 
 A little boy, standing cross-legged, holds a strigil in his right hand, 
 bending an arm across the body, by placing his left hand upon his right 
 shoulder. A large terminal figure, crowned with fillets, such as adorned 
 places of public exercise, rises on the right hand side of the alto-relief, and on 
 the ground below it, stands a large jar, or louter , for the purpose of washing. 
 
 175. BAS-RELIEF.— Farewell Group op Two Figures. 
 
 A female seated, and a male fully draped in the pallium takes her by the 
 hand. Among the words of the inscription may be perceived the graceful 
 parting expression of the Greeks, XAIPE. These figures are surmounted by 
 an arch, which shows that, although the Greeks did not require the arch as a 
 
 H 
 
92 
 
 GREEK COURT CATALOGUE. 
 
 means of construction, they were perfectly aware of it, and occasionally 
 introduced it, solely as a matter of form in monuments of this nature. Late 
 style of art. 
 
 176. FRAGMENT OF SEATED FEMALE. 
 
 177. FRAGMENT. Two Draped Females side by side. 
 
 178 & 178a. ALTO-RILIEVO. 
 
 Figures of Victory, from the Acropolis of Athens. 
 
 The originals of this and the two following marked a and b are still at 
 Athens. We have casts in the British Museum which are more complete, 
 exhibiting the figures in the act of leading a bull to sacrifice. The 
 central portion, containing the rearing animal, is deficient here. There is a 
 wonderful richness in the arrangement of the drapery, and play of lines 
 throughout the whole composition. When seen complete, this bas-relief is an 
 interesting contrast with the sculpture from Florence (No. 166), of two 
 females leading a bull. Both the Victories in this slab have broad wings, and 
 by their peculiar flatness relieve agreeably the deep cuttings of the close 
 folded drapery. 
 
 178b. 
 
 The lovely figure of a Winged Victory adjusting her sandal, belongs to the 
 same series as the two preceding. They all formed part of a series of 
 sculptures which adorned a parapet between the little temple of Wingless 
 Victory and the general ascent to the Propylsean entrance to the Acropolis. 
 They were consequently seen by every one during the most trifling, as well as 
 the most important occasions. The beautiful arrangement of the folds upon 
 this figure, so skilfully managed as to display all the prominences of the 
 naked figure, merits the attention of every artist. A similarity may be 
 traced between this figure and that of the female at the right extremity of the 
 frieze of the temple of the Wingless Victory, Nike Apteros (No. 57). Its 
 style of art, perhaps somewhat earlier, seems a little more severe, for there is 
 an almost Asiatic luxuriance about the forms, both of the flesh and texture of 
 the drapery, in the Victory tying her sandal, 178b ; and these forms may not 
 improbably have induced Praxiteles to adopt and afterwards to purify them 
 with all the delicacies and refinements for which he seems to have been so 
 remarkable. Some coins of South Italy, especially the beautiful ones of 
 Terina, a city of the Bruttii, a colony from Croton, exhibit many of these 
 excellencies in miniature. The figure of Victory was a very favourite device 
 among these people, and she appears with her caduceus or staff of peace in a 
 great variety of attitudes, some of them almost identical with the alto-rilievo 
 before us. These coins are preserved in the British Museum. 
 
 Dimensions: Height, 
 
 THE ELGIN MARBLES. 
 
 Sculptures in Pentelic marble from Athens, which formerly adorned the 
 Parthenon. Under this denomination we must include the continuous 
 line of figures extending the whole length of the Bas-relief Gallery, and 
 along the North end also. The position and various characters of the 
 sculptures from the Parthenon have been already explained in the descrip¬ 
 tion of the model which faces the Greek Court. (See Introduction, p. 6.) 
 
GREEK COURT CATALOGUE. 
 
 93 
 
 The frieze consists of various portions which have been selected partly from 
 those now in the British Museum, and partly from the originals remaining at 
 Athens. The greater portion of the figures of the frieze have been skilfully 
 restored by Signor R. Monti. The frieze has been coloured in different ways 
 to show the various opinions that are entertained respecting the Polychromy 
 of the ancients. The statues below from the pediments are not all that remain, 
 but they have been selected to afford a more ready means of comparing their 
 style with that of the sculptures from other collections. We are mainly 
 indebted to the energy and perseverance of B. R. Haydon for the acquisition 
 of these precious treasures of art. At a time when public opinion had not 
 risen to such subjects, and when few leading spirits were disposed to receive 
 new principles, Haydon wrote and talked with sound judgment. He resolved 
 in his own person to show what impression they were capable of making ; and 
 happily his wishes were at last realised, but not without violent opposition from 
 those whose pursuits should have been prompted by very different feelings. 
 Flaxman, Canova, and Mr. W. R. Hamilton, were among the most powerful 
 supporters of the course by which the Elgin Marbles were acquired. Flaxman 
 himself drew assiduously from them when they came over. In 1674, the 
 Marquis de Nointel employed a French artist, named Jacques Carrey, to draw 
 all the sculptures as they then stood upon the Parthenon. His drawings are 
 the earliest record that we have of the appearance of the sculptures ; they are 
 copied in black and red chalk, exactly as they appeared in their elevated 
 position, and the drawings are still preserved in the French national collection. 
 Two years later, in 1676, Sir George Wheeler and Dr. Spon visited Athens, 
 and each published a distinct account. The Parthenon at that time was used 
 as a Christian church ; the central figures of the east end having been removed 
 for the construction of a window. This caused the gap visible in Carrey’s draw¬ 
 ing. The building was seriously injured by the explosion of a powder-magazine 
 in 1687, which threw down most of the columns and displaced many figures. 
 This derangement was made worse by the attempts of the Venetians to remove 
 some of the groups. In these, unfortunately, some of the finest central figures 
 were destroyed. The drawings of Carrey have been of great value in restoring 
 the various parts, and for arranging the marbles that have been brought to this 
 country. The Elgin marbles were purchased July 1st, 1816, by the British 
 nation for the sum of 35,000£. They consist of sculptures by the hand of 
 Phidias from the Parthenon and Erectheum, bronzes, inscriptions, and other 
 fragments, together with casts from the Temple of Theseus and Monument of 
 Lysicrates. All, with very few exceptions, came from the Acropolis at Athens. 
 The most perfect age of art may be considered to range from the time of Pericles 
 to that of Alexander the Great, which, beginning with Phidias, terminates with 
 that of Praxiteles. The Elgin marbles are the great examples of the art of this 
 period ; they are the productions, not only of the best age, but of that school 
 of art which the ancients themselves most esteemed. They are works neither 
 executed to gratify individual caprice, nor on so small a scale as to be inade¬ 
 quate representations of a style, nor are they of uncertain date and quality : they 
 are pre-eminently national monuments and historical documents, and are there¬ 
 fore of inestimable value in fixing the standard by which all specimens of 
 ancient art which have been preserved to us may be measured and classified. 
 The new standard of criticism furnished by the Elgin marbles has shown that 
 among the countless statues and bas-reliefs in the museums of Europe, very few 
 can be pointed out worthy to take their place by the side of the undoubted 
 works of Phidias. The works in the Vatican and other collections of Italy, 
 
 h 2 
 
94 
 
 GREEK COURT CATALOGUE. 
 
 which the antiquaries of that country still continue to assign to the school of 
 this great artist, are, in the majority of instances, evidently copies, recollections 
 and translations of earlier designs. 
 
 Engraved in Ancient Marbles of the British Museum, parts 6, 7, 8, and 9. 
 1830—42 ; Vaux’s Handbook to the British Museum, pages 36 to 142 ; 
 Bronsted, Voyages in Greece, vol. ii.; Clarac. Musee, pi. 822, No. 2070 to 
 pi. 824, No. 2071 ; Wheeler’s Travels in Greece, fol. 
 
 FRIEZE. 
 
 The original position of these sculptures upon the temple may be ascertained 
 by a reference to the model, and it seems wonderful that so great an extent 
 of sculpture, replete with such beauties as to maintain the admiration of 
 artists of all times, should have been destined to occupy so dark and hidden a 
 situation. 
 
 Being placed behind the columns, it was impossible for the spectator to 
 recognise any of the subjects at a greater distance from the wall than the 
 lowest step of the temple ; hence the sculptor very judiciously adopted an 
 extremely low relief for his figures, because one boldly projecting part would 
 have interfered with another. lie probably profited by the observation of such 
 an error in the frieze of the Theseum, where although placed in an equally 
 limited space, the figures were in very high relief (see Nos. 32 and 56). 
 The frieze of Phigaleia, which adorned the inside of the temple, is in very 
 high relief. The opinion of Flaxman upon bas-relief, a style in which he so 
 pre-eminently excelled, merits our attention at this point. He says, ‘ ‘ The 
 basso-relievo may be considered in effect as a picture whose background is 
 light a little subdued, the figures thereon being chiefly of the middle tint, 
 with touches of strong dark in the depths, and bright lights on the higher 
 projections. This species of sculpture is not intended to be seen in many 
 views, like the entire group, but it has this advantage, that more groups than 
 one may be on the same background, and sometimes a succession of events in 
 the same story ; a greater force is given to harmony, or contrast of lines, by 
 the number of groups and figures, as well as the projection of their shadows. 
 
 ‘ ‘ The ancients, who considered simplicity as a characteristic of perfection, 
 represented stories by a single row of figures in the bas-relief, by which the 
 whole outline of the figure or group, the energy of action, the concatenation of 
 limbs, the flight or flow of drapery, were seen with little interruption ; but 
 there are instances of the best times in low relievo, where many horsemen are 
 advancing before each other, the nearer horse hiding the hinder parts of the 
 preceding, and sometimes part of the rider, without causing the least confusion 
 of effect, as in the frieze from the Temple of Minerva in Lord Elgin’s Col¬ 
 lection. 
 
 ‘ ‘ There are noble examples, also, of groups and figures rushing in the same 
 reiterated line through the composition ; but, even in basso-relievo, it must 
 be remembered the work is sculpture, which allows no picturesque addition or 
 effect of background ; the story must be told, and the field occupied by the 
 figure and acts of man.” 
 
 The only light that could reach the Parthenon was from below, either from 
 between the columns or by reflection from the pavement. 
 
 The frieze, which was carried along the upper part of the outside of the 
 cella, offered a continuation of sculptures in basso-relievo of the most interest¬ 
 ing kind. This frieze being unbroken by triglyphs, had presented much mox'e 
 
GREEK COURT CATALOGUE. 
 
 95 
 
 unity of subject than the detached and insulated groups of the ninety-two 
 metopes. It represented the whole of the solemn procession to the Temple of 
 Minerva during the Panathenaic festival. 
 
 The great Panathenaic festival, celebrated in honour of Minerva, was held 
 once in four years, in the third year of each Olympiad. It was so called 
 because every freeborn inhabitant of Attica was entitled to assist at it. Many 
 of the figures are on horseback, others are about to mount; some are in 
 chariots, others on foot; oxen and other victims are being led to sacrifice. 
 Young men are seen carrying pitchers, thence called hydriaphoroi, others 
 bearing trays are called scaphephoroi. Females are seen carrying sacrificial 
 utensils and incense-burners ; some of them bear parasols, and are called 
 skiaphorce ; but the chief point and object of the entire procession is the 
 delivery of the embroidered veil and mysterious baskets into the hands of the 
 reigning Archon and a priestess. These important functions will be more 
 closely considered when we examine the eastern portion of the frieze. 
 
 The highly painted portion of the frieze, extending from the model of the 
 Parthenon to the Egyptian termination of the gallery, belongs to the northern 
 side of the temple. It presents the most crowded part of the Athenian caval¬ 
 cade. Young knights equipped, some with boots, some with helmet or cap 
 and chlamys, are riding at full speed. "With the assistance of colour the eye 
 more readily perceives that, instead of the confusion which the broken slabs 
 in the British Museum lead one to imagine, they are advancing in regular 
 order, being marshalled in files of nine deep. They are all galloping to 
 the left. 
 
 The portion beginning from the other side of the Parthenon model, including 
 thirty figures and twenty-three horses, forms the complete frieze of the western 
 end; that is, of the portico which faces the spectator on entering the Acropolis. 
 With the exception of the first slab to the left, now in the British Museum, 
 all the originals of the west end still occupy their original position. Lord Elgin, 
 who only removed to save, left these sculptures in their protected situation, 
 and furnished the British Museum with accurate casts in plaster. 
 
 The Panathenaic procession assembled in the Ceramicus, in the outskirts of 
 the town, and ascended the broad slope leading to the Acropolis, through the 
 magnificent portals of the Propylsea. When the procession reached the open 
 space between the Propylgea and the Parthenon, it divided into two branches, 
 one passing by the south side and the other by the north side of the temple ; 
 both met again before the east portico, where the most important solemnities 
 were performed in the presence of the famous statue of the goddess, whose 
 looks would seem fully directed from her position within the cell of the temple. 
 These ceremonies were represented upon the eastern frieze, and upon the 
 western, before which we now stand, the beginning of the procession was 
 pourtrayed. 
 
 The first two horsemen to the left are remarkably excellent, both for elegance 
 of action and power of execution ; the third horse is ready for a youth to 
 spring upon him, who seems detained by listening to some advice from his 
 father, or one of the magistrates or marshals of the procession. 
 
 The costume of the seventh horseman is remarkable for its completeness. 
 The helmet, with its full crest, is adorned on the sides with the relief of a 
 flying eagle. The cuirass, or lorica , has ornamented shoulder-straps, a 
 Medusa head is sculptured on the abdomen, and its sides beneath the arms are 
 filled with scale armour. The cuirass is terminated below by large metal 
 plates peculiar to this kind of armour, and often seen on the painted Greek 
 
96 
 
 GREEK COURT CATALOGUE. 
 
 vases. It also appears in the equipment of the warrior Aristion, described at 
 p. 24 of Introduction. A short tunic appears beneath these plates, but the 
 legs and feet are left entirely bare. The next figure standing has a similar 
 kind of helmet, but no other kind of garment than the chlamys or large cloak. 
 He seems in the act of arranging his sandal, and the attitude is very similar 
 to that of the Jason (No. 26). 
 
 The second.horseman from this is clothed in a tiger or lion’s skin, over the 
 usual chiton or tunic. The next, a horse rearing, is remarkably excellent; it 
 groups admirably with the man who seems trying to curb it. They form as 
 nearly as possible the centre figure of the western frieze. The flying drapery , 
 as it is technically called, of this man, has been adverted to in the Intro¬ 
 ductory history of Art (p. 28). It formed one of the innovations of the age 
 of Phidias. The costume of this figure, similar to the fourth horseman 
 after him, has somewhat of an Asiatic character ; the second horseman wears 
 the chlamys , or cloak, and the broad-brimmed Thessalian hat, called petasus, 
 which occurs several times on the frieze. It is still worn at Athens, and 
 affords a delightful protection against the heat of the sun. The petasus and 
 chlamys were generally used by travellers ; hence Mercury often appears on 
 vases so equipped. The horses continue at full speed, verifying Flaxmam’s 
 observation in one of his lectures (p. 102):—“They appear to live and move, 
 to roll their eyes, to gallop, prance, and curvet; the veins of their faces and 
 legs seem distended with circulation ; in them are distinguished the hardness 
 and decision of bony forms, from the elasticity of tendon and the softness of 
 flesh. The beholder is charmed with the deer-like lightness and elegance of 
 their make ; and although the relief is not above an inch from the back¬ 
 ground, and they are so much smaller than nature, we can scarcely suffer 
 reason to persuade us they are not alive.” The horse with bent neck, rubbing 
 the side of his head against the inside of his near fore-leg, is a deviation from 
 any attitude hitherto represented. The figures at this end of the frieze are 
 more in confusion ; the riders have not yet mounted, and the horses seem to 
 have been recently led out of the stables ; some are still in the grooms’ 
 hands. The riders seem to be equipping themselves ; one with a petasus at 
 his back, and chlamys round his neck, is fastening his shoe, whilst the end 
 figure of this side of the frieze seems in the act of putting on the chlamys. 
 On no other side do we see figures in the act of preparation, no occurrences of 
 accident, beyond the variety caused by some unruly animals, especially oxen, 
 all engaged in the earnest performance of this great religious ceremony. 
 
 EAST FRIEZE 
 
 begins to the right of the figure putting on his garment. It opens with a 
 crowd of female figures, representing the virgins of Attica. They advance to 
 the right towards the centre of the frieze, and are a continuation of the pro¬ 
 cession on the south side. The first part of these maidens carry elegant water 
 vessels, oenochoce; others hold parasols, and were called sciaphorce. These 
 are succeeded by a group of four male figures, partly clothed ; the first is the 
 only one not leaning on a staff. They are supposed to be the chief dignitaries 
 of the state. Beyond these are four seated figures ; the first holds a petasus 
 in his lap, the second leans his right arm playfully upon the other one’s 
 shoulder, and raises his other hand as if holding a spear. They are the 
 Dioscuri, Castor and Pollux. The seated female holding a torch is Ceres ; and 
 the last of the four, whose attitude somewhat resembles that of the Ludovisi 
 
GREEK COURT CATALOGUE. 
 
 97 
 
 Mars (No. 23), is Triptolemus. Beyond this group, and partly separated 
 by a standing female, are two figures on thrones of a more stately description. 
 They represent Jupiter and Juno, the latter seems to be unveiling herself. 
 The female at her side is Hebe. She has wings, as on the celebrated Sosias 
 cup at Berlin. Jupiter holds a sceptre in his right hand. The arm of his 
 throne is supported by a sitting Sphinx. To the right of Jupiter stand two 
 maidens bearing mysterious objects on their heads ; one seems to be a basket, 
 the other a stool. A priestess is receiving a burden from the foremost girl. Next 
 to the priestess is the reigning Archon, clad in a long garment, who is receiving 
 from the hands of a youth the sacred peplus, or embroidered veil, which has 
 been woven and folded in a square form. This was the solemn object of the 
 Panathenaic pomp. The peplus, which had been previously worked in the 
 Acropolis by young virgins selected from the best families in Athens, was 
 borne to the temple of Ath6n6 Polias, a temple by the side of the magnificent 
 structure which the procession actually surrounded, and there it was laid on 
 the knees of an ancient wooden statue of the goddess. On this peplus was 
 embroidered the battle of the gods and the giants. This group of the frieze 
 last described occupied the exact centre over the eastern doorway. It will be 
 remarked that Minerva herself does not appear in this frieze, but the large 
 sculptures in the pediment above represented her birth in the presence of the 
 Olympian gods ; and when the portal beneath was thrown open, the ivory and 
 gold statue of the goddess would be seen in all its glory. The two seated 
 divinities beyond the youth with the peplus are Hygeia and iEsculapius. The 
 group of four seated figures which follows has been partly restored from 
 Carrey’s drawing ; the left-hand figure represents Neptune, the next his son 
 Theseus ; the two females are the daughters of Cecrops, Aglauros and Pan- 
 drosos ; the boy leaning upon the knee of the foremost is Erectheus. A party 
 of male dignitaries occupy the next space. They are more numerous than on 
 the opposite side. The original slab of the five females and two priests fol¬ 
 lowing is at Paris. After these are two females carrying an incense-burner, 
 followed by two females with oinochoce, or ewers, and two with paterae. Part 
 of a sacrificial group, and three figures bearing trays, called scaphephoroi , 
 complete the sculptures forming the eastern frieze. All these concluding 
 figures are advancing to the left, and seem to head the procession on the north 
 side, which consisted of sacrificial oxen, water-carriers, flute-players, and per¬ 
 formers on the lyre. This portion of the northern frieze contained also a great 
 variety of chariots, some drawn by two horses and others by four. The crowd 
 of horsemen has been already described. 
 
 179. A PORTION OF THE WEST FRIEZE OF THE 
 
 PARTHENON. 
 
 May be easily recognised by a reference to the complete line running along 
 the upper part of the same wall. It is almost at the end of the western 
 portion. 
 
 180. FRAGMENT OF THE FRIEZE OF THE PARTHENON 
 
 IN THE VATICAN. 
 
 This interesting sculpture, although no more than part of a horse and a 
 bearded rider, is the only piece of the Parthenon supposed to be in Italy. It 
 was brought away from Athens in 1687. It belonged formerly to the Cavalier 
 Camuccini. Even this fragment could not escape the hands of scrapers and 
 restorers; the mane of the horse, it will be seen at a glance, has been 
 
GREEK COURT CATALOGUE. 
 
 9*8 
 
 scratched into a multitude of small lines, such as no part of the original frieze 
 will be found to exhibit. 
 
 Engraved in Pistolesi vol. iv. tav. 59 ; Bunsen, vol. ii. pi. 2, p. 112. 
 
 181. PORTION OF AN INTERESTING LITTLE FEMALE 
 
 FIGURE. 
 
 Shows the Gostume of an early period. It is a genuine specimen of careful 
 execution, whilst the artist was struggling and endeavouring to improve 
 himself. The formal plaits of the hair may be seen falling down on each side 
 of the neck, and the peculiar wavy texture of the under garment may be 
 seen on many works of a more archaic period. It is traceable on the sleeve of 
 the female figure mounting her chariot in bas-relief (No. 59). 
 
 182. FRAGMENT OF ONE OF THE SOUTH METOPES 
 OF THE PARTHENON. —The Hind Part of a Centaur. 
 
 183. Vacant. 
 
 184. Vacant. 
 
 STATUES FROM THE EASTERN PEDIMENT OF THE 
 PARTHENON. 
 
 Six of the eleven statues belonging to this end of the temple are now in the 
 British Museum. 
 
 185. THESEUS. 
 
 Theseus is partly reclining upon a rock, covered with the skin of a lion. 
 Theseus, it is well known, imitated the character of Hercules, and the attitude 
 of this figure is very similar to that of Hercules on some of the coins of 
 Crotona, in which he is seated on a lion’s skin, holding a cup in his right 
 hand. From the position of this statue next to the rising horses of Morning, 
 Bronsted gave it the name of Cephalus, but his theory has received few 
 supporters. 
 
 This figure is the most perfect of all the Athenian marbles, and has always 
 been the favourite object of study with artists. 
 
 In physiognomy, the Theseus has the general character of the Greek figures 
 in the metopes. Knox, in his supplement to Fau’s Anatomy for Artists, calls 
 attention to the back of the figure, notwithstanding its unfavourable position 
 (page 221). The neck, perhaps, is longer than we should look for in the 
 strong man ; but as the artist did not intend that he should be represented as 
 a particularly strong man, or athlete, and there are no such indications in the 
 figure, everywhere we find the same delicacy in pourtraying the surface that is 
 to be seen in the Ilissus. Sir Richard Westmacott, in his evidence before the 
 committee of the House of Commons (page 35), said, “I should say, the back 
 of the Theseus was the finest thing in the world, and that the anatomical 
 skill displayed in front of the Ilissus is not surpassed by any work of art.” 
 Flaxman, in his evidence before the same committee, bears similar testimony 
 (page 31) : “There is one statue also which is called a Hercules, or Theseus, 
 of the first order of merit; and I should, if you would permit me to compare 
 it with a fragment, estimate it before the Torso Belvidere” (page 33). Haydon 
 in his Lectures (vol. i. p. 200), remarked that, “The back of the Theseus was 
 never seen when once upon the pediment of the Parthenon j but it was 
 
GREEK COURT CATALOGUE. 
 
 99 
 
 finishedby Phidias, on a principle of religious enthusiasm for the honour of 
 Minerva, as if it had to be seen every day.” Canova, the greatest sculptor 
 of Italy at that period, declared that, “however greatly these statues had 
 suffered from time and barbarism, it was undeniable that they had never been 
 retouched ; that they were the work of the ablest artists the world had ever 
 seen, executed under the most enlightened patrons of the arts, at a period 
 when genius enjoyed the most liberal encouragement, and had attained the 
 highest degree of perfection ; and, moreover, that they had been found worthy 
 of forming the decoration of the most admired edifice ever created in Greece.” 
 From this judgment of Canova all idea of restoring the marble was abandoned. 
 
 Dimensions : Height, 
 
 185a. CERES AND PROSERPINE. 
 
 It will be seen by a reference to the woodcut copy of Carrey’s drawing of 
 the eastern pediment, that this colossal group of two female figures was 
 originally placed next to the Theseus. They are called Ceres and Proser¬ 
 pine. The heads and hands are gone, but the rest of the figures are well 
 preserved. Like the Theseus, they were as completely finished at the back 
 as in those parts immediately exposed to the view. The goddesses are 
 seated on low square seats, without backs, but covered with folded carpets or 
 cushions. 
 
 Dimensions: Height, 
 
 185c. HORSE’S HEAD. 
 
 One of the horses of the Chariot of Night which occupied the right-hand 
 angle of this pediment, corresponding to the rising horses of Day at the oppo¬ 
 site end. Dr. Waagen, the distinguished German critic, observes, ‘ ‘ I never, 
 perhaps, found so great a difference between a plaster cast and the actual 
 sculpture, as in these Elgin Marbles. The Pentelic marble of which they are 
 formed has a warm yellowish tone, and a very fine, and at the same time, a 
 clear grain, which has imparted to these sculptures a peculiar solidity and 
 animation. The block, for instance, of which the famous horse’s head con¬ 
 sists, has absolutely a bony appearance, and its sharp flat treatment has a 
 charm of which the plaster cast gives no notion. It gives the impression of 
 being the petrified original horse that issued from the hand of the god, from 
 which all real horses have more or less degenerated, and is a most splendid 
 justification of the reputation which Phidias enjoyed among the ancients as a 
 sculptor of this animal. This head, as well as all the statues from the two 
 pediments of the Parthenon—partly from the importance of the place 
 they occupied, partly from the beauty of the work—may be assumed with the 
 greatest probability to have proceeded from the hand of Phidias himself” 
 (vol. i., page 51). “ Their highest charm, however, like the poems of Homer, 
 
 is derived from their simplicity. As the authors of them, in the enthusiastic 
 endeavour to treat their subjects with the utmost possible perspicuity and 
 beauty, had attained the most complete knowledge of nature, as well as an 
 absolute command over all the means of representing their ideas, abandoning 
 all that was conventional in earlier art, it never occurred to them to use these 
 advantages, except for the purposes of perspicuity and beauty. Nothing was 
 more remote from their minds than, as in later times, to display and make 
 a show of them for their own sake.” (Ibid, page 53.) 
 
 Sir Charles Bell, in his Anatomy of Expression (page 127), says, “The Elgin 
 Sculptures are of great value to the arts of this country, as they obviously tend 
 
100 
 
 GREEK COURT CATALOGUE. 
 
 to turn the artist’s attention to nature, and exhibit to him the consistency of 
 natural form and beauty. The horses’ heads in that collection are perfectly 
 natural, and if there be any exaggeration, it is only in the stronger 
 marking of that which is the characteristic distinction of the animal.” 
 
 186b. THE FATES. 
 
 Two figures of the group have been selected here as affording the most cha¬ 
 racteristic example of the style of Phidias in representing the draped 
 female form. The neck and bosom of the reclining figure display much 
 loveliness and beauty ; the chiton , or tunic, that has slipped down so as to 
 display the bare shoulders, gives by the consummate arrangement of its folds 
 still greater effect to the adjacent parts. The lines of the drapery are boldly 
 marked without interfering with the general direction of the limbs ; indeed, 
 they seem, as in the accounts given of the draperies of Polygnotus (page 27), 
 to set them off to still greater advantage. The remarks of Quintilian upon the 
 style of Zeuxis might here be applied to the female forms of Phidias. 
 He says, ‘ ‘ Zeuxis painted bodies with greater than real proportions, thinking 
 such a form to be rather more august; and in this it is imagined he fol¬ 
 lowed Homer’s manner, who took pleasure in representing all his characters, 
 even his women, of large and strong size.” This grandeur of form accords 
 also with that of the beautiful statue of the Amazon in the Greek Court 
 (No. 302), where, although the drapery is boldly lined, it contributes to the 
 general richness of the figure without breaking it into too many parts. The 
 broad mantle spread beneath the recumbent figure of the Fate is broadly 
 treated, and affords a perfect contrast with the fineness and delicacy of the 
 folds of which her chiton or tunic is composed. The same difference may be 
 observed in the sitting figure which supports her, and yet more strongly in 
 the seated Fate, to be seen only in the British Museum. There the man¬ 
 tle which envelopes her knees falls in remarkably broad folds, and is evidently 
 of thicker stuff than the lower garment, seen beneath, reaching in 
 rich finely-plaited folds to the feet. This figure is called by Colonel 
 Leake, Vesta. 
 
 The Fates, according to the Greek legends, were present at the birth of 
 children, and sang the destiny of new-born infants. Hence the appropriateness 
 of their appearance in a subject recording the birth of Minerva. 
 
 Dimensions: Height, 
 
 18!-. NIOBE AND DAUGHTER. 
 
 The centre group of a series of statues, representing the family of Niobd afflicted 
 with the arrows of Apollo and Diana. Found previously to 1583 beyond 
 the gate of S. Giovanni at Rome, and placed in the Villa Medici upon the 
 Pincian Hill. They were removed to Florence in 1775. 
 
 Niobe, the daughter of Tantalus and wife of Amphion, King of Thebes, had 
 boasted of her greater number of children than Latona (Leto). Apollo and 
 Diana (Artemis), the only children of Latona, slew all the children of Niobe with 
 their arrows, and Jupiter (Zeus) changed Niobe herself into a stone on Mount 
 Sipylus, in Lydia, which is perpetually shedding tears. The artistic execution of 
 these figures is very unequal, and in many parts very inferior to the conception. 
 They seem like most of the antique statues found in. Italy to be merely repeti¬ 
 tions of popular originals. Many copies of the children are to be found in 
 various museums, but a head of Niob6, in the possession of Lord Yarborough, 
 engraved in Dilettanti Specimens, vol. i. pi. 35, is of a far superior style of art 
 
GREEK COURT CATALOGUE. 
 
 101 
 
 to the Florentine one, and gives a much nearer idea of the characteristics of the 
 prototype, whether, as Horace says, produced by Scopas or Praxiteles. The 
 fragment of Ilioneus (No. 197), again, is of an infinitely superior chisel, and may 
 be from the hand of Praxiteles or some great artist of his school. Pliny says, 
 (xxxvi. 5), “ There is the same difficulty to decide whether Scopas or Praxiteles 
 made the Dying Niobd with her children, that is in the Temple of Apollo 
 Sosianus in Rome.” And this passage seems to refer to the originals, from 
 which our group was taken. An ancient epigram upon this statue is pre¬ 
 served in the Greek Anthology, and worth inserting. 
 
 E k farjs /ue 6eo7 rev^ar XlQov’ £k Se \i6oio 
 Za>V Upa^LTeXrjs i/xiraXiv eipyaaaro. 
 
 The Gods to stone transformed me ; but again 
 I from Praxiteles new life obtain.— John Addison. 
 
 Mr. Cockerell has shown with great ingenuity of arrangement that the figures 
 might have been combined in a pediment, but the words of Pliny do not imply 
 such a circumstance, and we cannot feel certain that we possess all the figures, 
 or that they even belong to one another. Mr. Cockerell’s restoration is given 
 in Galleria di Firenze (Statue, vol. ii. tav. 76), and in Guattani (Mem. Encycl. 
 1817, tav. 12). The Temple of Apollo Sosianus was probably founded by 
 C. Sosius, who was under Antoninus in Syria. Mengs also perceives great 
 inequality in the figures, some being so excellent, others so inferior. 
 
 Restorations : The lower part of arm and right hand of the mother ; the 
 right arm and left hand, together with that part of the left foot projecting 
 beyond the drapery, in the figure of the daughter. 
 
 Engraved in Galleria di Firenze, Statue, vol. i. tav. 1 ; Maffei, tav. 32; 
 Guattani, Mem. Encyl. tom. i. tav. 12; Clarac. Musee, pi. 583, No. 1260 ; 
 Wicar. Galerie de Florence, vol. iii.; Hand-book for North Italy. 
 
 Dimensions: Height, 
 
 187a. NIOBID—Daughter. 
 
 Standing looking down with drapery raised in her left hand. 
 Restorations: The right arm, together with a portion of the breast and 
 shoulder, the left arm and drapery adjacent, more than half the right foot, and 
 several parts of mantle. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 3. 
 
 Dimensions: Height, 
 
 187b. NTOBID—Daughter. 
 
 Left arm raised and bent back ; right hand holding drapery, which passes 
 behind the figure, from one hand to the other. 
 
 Restorations : Entire right arm and fore-part of left. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 10. 
 
 187c. NIOBID AND PEDAGOGUE (Looking Up). 
 
 Greek marble, group. Found at Soissons in 1830, among the fortifications upon 
 ruins of a Roman building. 
 
 The sculpture is in a heavy and rough style of execution, such as is most 
 frequently met with during the later period of the Empire. The Florentine 
 figures are separate, but this group affords an important illustration of the 
 manner in which they were originally combined. The parts of these figures 
 
102 
 
 GREEK COURT CATALOGUE. 
 
 not to be seen immediately from the front are evidently neglected. The left 
 leg of Psedagogue, for instance, and many parts of drapery. 
 
 Restorations : Both hands, entire right arm and hand of Psedagogue ; left 
 fore-arm of boy, and the other hand. The left hand of Psedagogue and adjacent 
 portion of boy are antique. Much broken when found. 
 
 Engraved in Raoul Rochette, Mon. ined. pi. 79, No. 3, p. 427; Clarac. 
 Musee, pi. 589, No. 1281 ; Wicar, Galerie de Florence, vol. i.; Galleria di 
 Firenze, Statue, tavole 11 and 15. 
 
 Dimensions: Height, Psedagogue S^IO"^. Boy, 4 /, l" , 0. 
 
 187d. NIOBID —Daughter. 
 
 Looking up, left hand raised ; right hand lifting a part of her drapery. 
 
 This figure was most probably an Anchirroe originally. Compare statue, 
 No. 250. 
 
 Restorations: Both arms. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 8. 
 
 187e. NIOBID—Son. 
 
 With outstretched limbs, a rock attached to his left leg. A repetition of 
 this figure, but very inferior, is also in the Florence Gallery. 
 
 Restorations: The fingers of right hand, the nose, lips, part of ears, and 
 some portion of left foot. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 6 ; Wicar, Gal. de Florence, 
 vol. iii. 
 
 Dimensions: Height, 
 
 187f. ISTIOBID—Daughter. 
 
 Very like the Muse Urania, a majestic upright figure; waist remarkably 
 short. 
 
 Restorations: Both hands and the toes of both feet, and a few folds of 
 drapery completed. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 5. 
 
 187g. ISTIOBID— Daughter. 
 
 A graceful figure, with more flutter than in the preceding one, and more in 
 accordance with the general subject. 
 
 Restorations: Both hands. 
 
 Engraved in Galleria di Firenze, vol. i. pi. 13. 
 
 187h. NIOBID—Son. 
 
 Drapery over raised right arm, and covering the left thigh. 
 Restorations: Entire left arm, drapery upon right arm and the right leg 
 between knee and ancle. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 9. 
 
 387i. NTIOBID—Son. 
 
 Looking back, left arm draped, and left foot raised on a rock. 
 Restorations : Entire right arm from shoulder, and left arm and drapery. 
 Engraved in Galleria di Firenze vol. i. tav. 12. 
 
GREEK COURT CATALOGUE. 
 
 103 
 
 187k. NIOBID —Kneeling Son Looking up. 
 
 There is another figure similar to this in the Florence Gallery, and in the 
 Capitol. Mus. Capit. vol. iii. tav. 42. 
 
 Engraved in Gall, di Firenze, vol. i. tav. 4 ; Maffei, tav. 33 ; Clarac. Musee, 
 pi. 385, No. 1265 ; Wicar. Gal. de Florence, vol. iv. 
 
 187l. NTOBID —Son Lying on the Ground. 
 
 A similar figure in the Glyptothek at Munich, No. 124. 
 
 Restorations: The right arm, part of the left leg and foot, with some of 
 smaller toes. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 2; Wicar, Galerie de Florence, 
 vol. iii. 
 
 188. COLOSSAL TOESO. 
 
 From Naples. 
 
 May have been a Hercules ; the forms are bold, but round and puffy ; the 
 back is wanting ; the parts are very much separated, and deficient altogether 
 in truthfulness to nature ; the ends of fillets or vittae may be observed upon 
 the shoulders. 
 
 189. THE ILIONEUS RESTORED. 
 
 See No. 197. 
 
 190. VENUS (Aphrodit^). 
 
 Statue of marble, wanting extremities. From Dresden. 
 
 This is altogether a very exact copy of the Medici Yenus. The legs are 
 broken half way down the thighs. 
 
 191. CUPID (Eros) bending his bow. 
 
 From Venice. 
 
 A stem of a tree is at his side, and the quiver hangs upon it. Excellent work. 
 Many repetitions of this statue exist in various galleries, one in the Vatican, two 
 in the British Museum, another at Appuldercombe, and a very fine one at Wilton 
 House, near Salisbury. The numerous copies serve to indicate the high esti¬ 
 mation of the original. It is certainly a work of the school of Praxiteles, and 
 accords exactly with a description Callistratus gives of a bronze Cupid by 
 Praxiteles, which must have been of a small size. The original of Praxiteles, 
 at Thespiae, as Pausanias informs us, was of Pentelic marble. Praxiteles, who 
 was in love with Phryne, promised to give her the most beautiful work in his 
 studio. Phryne, uncertain which to choose, sent to inform him that his work¬ 
 shop was on fire, and by this stratagem obtained from him the confession that he 
 was most anxious to save his statues of Cupid and a Faun (Satyr). Upon 
 hearing this Phryne bid him be of good cheer, for no fire had really happened, 
 and that in consequence of this she made choice of his statue of Love. This 
 celebrated courtesan, afterwards dedicated her prize at Thespias, her native 
 place. The Roman emperor Caligula first removed the statue to Rome. 
 Claudius returned it, and it was finally carried back to Rome by Nero, where 
 
104 
 
 GREEK COURT CATALOGUE. 
 
 it was destroyed by fire. A copy of it by the Athenian Menodorus was deposited 
 in its place at Thespioe, and stood by a brazen Cupid, the work of Lysippus. 
 
 Cupid, the son of Venus, was represented by the Greeks as a beautiful stripling, 
 and not the precocious impudent child that he was made in later times. It was 
 not till the Alexandrian period that he was represented by poets and epigramma¬ 
 tists as a wanton boy, delighting in cruel tricks, which disturbed both gods and 
 men. An opposite spirit to love was also personified under the name of 
 Anterds , sometimes represented as contending with Eros. He is also con¬ 
 nected with the idea of love returned. Later poets multiply the number of 
 loves to an almost endless extent. They are represented as sons of Venus and 
 the Nymphs. They appear in the Nereid bas-relief (No. 140), and on the sup¬ 
 port of the Venus de’ Medici (No. 19S). 
 
 Restorations : Both arms. 
 
 Engraved in Mus. Capit., vol. iii. tav. 24 ; Mori, vol. ii. Stanza del Vaso, 
 tav. 12 ; Bunsen, vol. iii. p. 164. 
 
 192. THE SON OF NIOBE. 
 
 Usually seen together with the Pedagogue. A statue. From Florence. 
 
 As the group found at Soissons has been introduced into the series 
 marked 187, this figure remains apart. It is far more carefully executed 
 and much better preserved than the Soissons group. In which latter it may 
 be remarked that both figures are upon the same pedestal. 
 
 Restorations: Right arm, left hand, front of right leg and foot, and all 
 of left knee. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 11. 
 
 193. FARNESE TORSO OF A YOUTH; probably Narcissus 
 
 or Bacchus (Dionysos). 
 
 Life-size of Greek marble, from Naples, formerly in the Famese 
 Palace at Rome. 
 
 Some traces of the vittce remain among the hair, and indications also of a 
 staff (whether wand or thyrsus) against the belly and thigh. The celebrity of 
 this fragment has spread far, and served as a model for Poussin to form his 
 style upon. It is a sitting Bacchus, recognisable by the rich full form of the 
 body, and gracefully falling hair and fillets or vittse. It is turned to the 
 right, whilst the head was turned in the opposite direction. The right arm was 
 raised toward the shoulder. 
 
 Engraved in Mus. Bor. vol. xi. tav. 60 ; Clarac. Musee, pi. 683, No. 1599 ; 
 Mus. Bor. No. 201; Neapels, p. 64, No. 201; Gerhard, Ant. Bildw. pi. 105, 
 fig. 2. 
 
 194. AMAZON. 
 
 Small statue of Pentelic marble. From Dresden. 
 
 The form of the shield, the pelta lunata , may be seen in other monuments, 
 also the bipennis or double axe. 
 
 Engraved in Clarac. Musee, pi. 810 A, No. 2031 B. 
 
 195. PRIEST OF BACCHUS. 
 
 Statue, heroic size, of Parian marble; from Munich. 
 
 It was formerly in the Palazzo Braschi, at Rome. The head, arms, feet, 
 and part of the edge of the drapery are modern. Of the pseudo -archaic 
 period. 
 
GREEK COURT CATALOGUE. 105 
 
 Engraved in Clarac, Musee, pi. 696, No. 1641 ; Glyptolhek Catalogue, 
 No. 51. 
 
 196. MELPOMENE). 
 
 A small statue, of Parian marble. From the Louvre. 
 
 A remarkable instance of preservation, being intact in every part. The 
 ■work of a good artist; fine character in the head, and the folds well cast and 
 wrought with exactitude and delicacy. 
 
 Engraved in Bouillon, vol. iii. pi. 11 ; Clarac. Musee, pi. 317, No. 1054. 
 
 Dimensions: Height, 2''10"’7. 
 
 197. ILIONEUS—A kneeling Niobid. 
 
 Fragment of a statue in Parian marble. From Munich. 
 
 Although recognised as one of the group of Niobe’s children, it far exceeds 
 in merit any of the other figures remaining to us. It more closely approaches 
 the great original from which these often repeated statues seem to have been 
 taken. This fragment may be justly regarded as a wonder of art (Pliny, 
 xxxvi. 3, 8). It was formerly at Prague, and was brought from Italy by the 
 Emperor Rudolph II. ; transferred to Vienna by Dr. Barth, and finally sold for 
 a high price to the King of Bavaria. The head of this statue was used by a 
 blacksmith as an anvil. 
 
 Engraved in Glyptothek Catalogue, No. 125 ; Clarac. Musee, pi. 590, 
 No. 1280; Oesterley, taf. xxxiv. No. 142 E. 
 
 198. MEDICI VENUS (Aphrodite). 
 
 Statue, life-size, of very fine Parian marble. From Florence. 
 
 There is great uncertainty respecting the site of its discovery. In the 
 16th century it adorned the Villa Medici, and was transferred to Florence in 
 1680. An inscription on the base states that this divine image was produced 
 by Cleomenes, but the plinth is a reproduction, and the work of a Florentine 
 artist whilst the statue was in Rome. The hair was gilt, the ears were bored, 
 
 kaeoa\e mh^xtAtioa/voajypoy 
 Agh nA io? r rrn es E N 
 
 as in many other statues, to receive ear-rings, and the right arm bears the 
 impression of a bracelet. A Venus was found at Pompeii with gilt hair and 
 purple colour upon drapery, which may still be traced (H. B. p. 172). 
 When the Minerva statue (No. 60), was found at Herculaneum, the gold 
 on the hair was thick enough to be removed in flakes. 
 
 The Goddess of Love has just risen from the foam of the sea. Her beautiful form 
 has no other veil than that afforded by her hands, and as her hair does not flow 
 down her neck, we may imagine, with Homer, that the Hours have already 
 bound her tresses. A dolphin grouped with a shell is at her side, the 
 symbols of her marine origin. Two small figures are upon the dolphin—the 
 one called Eros, the primitive Love which set Chaos in order; and the other 
 Himeros, or Desire, who appeared among the first creatures endued with 
 feeling. Both witnessed the birth of the goddess, and became her inseparable 
 companions. Cleomenes, according to Pliny, was so excellent in rendering the 
 beauty of the female form, that a Roman knight fell in love with one of his 
 statues of the Thespiades, transported to Rome by L. Mummius. Flaxman 
 
106 
 
 GREEK COURT CATALOGUE. 
 
 says (p. 93), “The Venusde’ Medici was so much a favourite of the Greeks 
 and Romans, that a hundred ancient repetitions of this statue have been 
 noticed by travellers. The individual figure is said to have been found in the 
 Forum of Octavia. The style of sculpture seems to have been later than 
 Alexander the Great, and the idea of this statue appears to have its origin 
 from the Venus of Cnidos.” “ If I was disappointed on my first visit my im¬ 
 pressions are now equally different. The statue appears larger and less dark. 
 The neck, however, is ill-joined. There is no mark on the breast of her 
 fingers having touched, as in the Venus of Syracuse.” (MS. Journal, Florence, 
 May 3, 1844.) 
 
 If the Venus of Praxiteles, at Cnidos, were the most admired statue in the 
 ancient world, the Medici Venus is certainly her counterpart in the modern. 
 No statue has been so much written upon and praised by western travellers; it 
 has even been made the object of an especial pilgrimage. All critics acknow¬ 
 ledge the extreme loveliness of the figure, however widely they may differ in 
 opinion upon the propriety of form and sentiment. It is, as every one 
 must feel, the concentration of all that is essentially feminine. We may fairly 
 question how far the representation of a goddess, presiding over particular 
 passions or qualifications, should in herself become the impersonation of them. 
 Should we not rather look in Venus for the type of a ruling passion that over¬ 
 powers both gods and mortals, and consider her as the mother of Love, and of 
 the Graces, often attended by long trains of Tritons and sea-nymphs, in her 
 passage across the waters, forming with her numerous Cupids (Erotes) a gorgeous 
 and tumultuous procession ? Rarely was she unattended by one or more 
 Cupids, playing an attentive part, and generally ministering to her. He is 
 seldom indifferent to the wishes of his mother. In the sculpture before us two 
 very small Cupids sport, regardless of the principal figure, upon a dolphin, which, 
 according to the just interpretation of Visconti, implies her marine origin. 
 This is the only work of ancient art in which I remember to have seen the 
 Cupids appearing indifferent to the actions or wishes of Venus, or in any manner 
 so perfectly subordinate as this. Notwithstanding the loveliness of the forms, 
 there is a sentiment of affectation about the whole figure ; the smile on her 
 face does not accord with her attitude, which partly indicates her to have been 
 surprised, but the partial shrinking and turn of the head over the left shoulder 
 produce a singularly fascinating effect. Artistically speaking, nothing can 
 exceed the consummate skill with which the stone is made to resemble a fleshy 
 surface. In a plaster copy, this, of course, can be less understood ; it requires 
 the warm and half-transparent tint of the original marble to produce the com¬ 
 plete effect. 
 
 This statue seems to have been the source of numerous repetitions, most of 
 them exactly alike, but there is another type, also very frequently copied, 
 which may be recognised amongst the ancient representations of Venus, where 
 likewise we observe certain details carefully repeated. This statue is the 
 Venus of the Capitol (No. 226). The action is the same as that of the Medici 
 Venus, but the general impression of the figure is totally different. The forms 
 of the limbs are grander, and more severe in outline ; there is altogether more 
 dignity and less of sensuality. A vase at her side indicates that she has just 
 quitted the bath, and the look of her face better accords with the idea of intru¬ 
 sion. This statue has been frequently repeated, and among others, in a group 
 with Cupid on a dolphin (No. 233), known as the Marine Venus of the 
 Louvre. 
 
 A third type is traceable among the ancient statues of Venus, which forms 
 
GREEK COURT CATALOGUE. 
 
 107 
 
 only a very small class, but refers to a much more important original, 
 destroyed by fire in the reign of Justinian (Zonaras, xiv. 2). This 
 was the famous Yenus of Praxiteles, of which a general idea may be 
 formed by means of descriptions in ancient authors, and a representation on 
 the coins of Cnidos (See Introduction, p. 37). By their means, we perceive 
 that the Medici Yenus is an indirect copy from that celebrated work, notwith¬ 
 standing that much has been written to prove it to have been an exact imita¬ 
 tion. Lucian, who most probably was an eye-witness, has minutely described, 
 not only the statue itself, but the manner in which it was exhibited. 
 
 Restorations: The entire right arm, and the left fore-arm, are modem. 
 
 Engraved in Bouillon, vol. i. pi. 9 ; Gall, di Firenze, vol. ii. pi. 87; 
 Wicar, Gal. de Florence, vol. iv.; Clarac. Musee, pi. 612, No. 1357; Mus. 
 Nap. No. 123. Musee Frangais. Comp. Levezow ob die Medeische Yenus ein 
 Bild der Knidischen vom Praxiteles sey. Berlin, 4to. 1808. 
 
 Dimensions: Height, 5 /, 0 //, 9. 
 
 THE VENUS OF CNIDOS. 
 
 We will take this opportunity of collecting the accounts of ancient authors 
 pertaining to this parent statue, as it may be termed, of all naked Venuses, 
 and add an illustration of a statue taken from the Vatican, which has unfor¬ 
 tunately been reversed in the engraving, by Epis- 
 copius. Pliny states in his Natural History 
 (Lib. 36, cap. 5, sect. 4, page 300, ed. Sillig.), 
 that many persons sailed to Cnidos with no 
 other object than to gaze on the statue; he 
 calls it not only the finest work of Praxiteles, 
 but the finest of all statues in the world. It was 
 made of Parian marble (Tlapias de Aidov — 
 
 Lucian, Amores, 13, vol. v. p. 270), and stood 
 in the midst of a little temple (“JEdicula,”— 
 
 Pliny, ut supr.), open on all sides, so that it 
 might be seen in every point of view. Visitors 
 remarked that whichever way they approached 
 the goddess smiled benignantly on them. The 
 mouth, Lucian tells us (Amores, 13, vol. v. p. 
 
 270), was a little open and somewhat smiling. 
 
 The same author expatiates on the beauty of 
 the hair and forehead, and admires the well pen¬ 
 cilled eye-brows (Ibid. Imagines, 6, vol. v, p. 7), 
 together with the swimming softness and vivacity 
 of the eyes (oepdaXpuav to vypov kjxa rep (paidpep). 
 
 The statue was perfectly naked, and the position of 
 the left hand the same as in the Medici Venus 
 (Lucian, Amores, 13, vol. v. Bipont, p. 270). 
 
 A stain on the left thigh was said to be the 
 more remarkable on account of the extraordinary 
 brilliancy (\ainrp6rr\s) of the marble (Lucian, 
 ib. 15, p. 272). The temple-keeper, a female, 
 who conducted visitors round, usually led them Venus of Cnidos from theBelva- 
 by a private door to a spot where the statue dere Garden of the Vatican, 
 could be inspected from behind ; for, although the temple remained open on all 
 
 i 
 
108 
 
 GREEK COURT CATALOGUE. 
 
 sides, a railing probably hindered persons from walking too freely round it. 
 We know that a similar protection was used at Athens, as the marks of the railing 
 that surrounded the gold and ivory statue may still be traced in the Par¬ 
 thenon. The same may be observed at Pompeii, where the railing prevented 
 the crowd from approaching too near to the altar in front of the temple. 
 
 The court or peribolm surrounding the little temple, at Cnidos, was not 
 paved according to the usual custom, but converted into a rich garden filled 
 with shady myrtles, plane, and cypress trees, hung with vines and ivy, and 
 interspersed with other trees bearing the most delicious fruit. So great was the 
 admiration for this statue, that Nicomedes, King of Bythinia, sought to pur¬ 
 chase it, by offering to remit the whole public debt of the city, but the Cnidians 
 rejected his offer, finding the statue was too important a source of revenue to 
 them. A bronze copy of this figure, by the hand of Praxiteles, was destroyed 
 in a fire at Rome, during the reign of Claudius (Pliny, Hist. Nat. 34, cap. 8, 
 Sillig. ed. p. 175 ; Visconti, vol. 1, p. 115). The original itself perished in 
 the conflagration of the Lausium Palace, at Constantinople, a.d. 475 (Cedrenus, 
 p. 351 ; and Zonaras, lib. 14, p. 75). Two Greek imperial medals, struck at 
 Cnidos, exhibit on one side the busts of Caracalla and Plautilla, face to face ; 
 and on the reverse, a representation of this celebrated Venus ( See Introduction 
 p. 37). The action of the figure is reversed, a circumstance rarely considered 
 by the die-sinkers in their copies of ancient statues, and the left hand seems to 
 hold some drapery over a vase standing by her. Our knowledge of this accessory 
 and the action of the hand supporting the drapery, is supplied by the coins alone. 
 No mention of them is made by either Pliny or Lucian ; but they appear on all the 
 marble copies of this type. The best example is in the Glyptothek, at Munich, 
 numbered 135 ; it is life size and of Parian marble. Many judges have remarked 
 in that statue, a peculiar character about the eyes; it perfectly expresses, although 
 only stone, the swimmingness or moisture (vypou) described by Lucian. Flax- 
 man made a drawing of this statue, whilst in the possession of the Duke 
 Braschi. It was found in a vineyard, at Rome, towards the end of the last 
 century (Flaxman, Lectures, pi. 22). The vase and drapery here seem placed 
 nearer to the body than in the coin. In all the statues the hair is bound by a 
 simple fillet, and is gracefully wavy, and confined closer to the head than in the 
 Medici statue. These peculiarities may be well seen in a bust now in the Louvre, 
 numbered 59, and formerly in the Borghese Collection. It is in Luni or Carrara 
 marble, and has been encased in drapery of the 16th century. Another bust, 
 highly esteemed by Mengs, is to be seen in the Royal Collection at Madrid 
 (Mengs, vol. ii., p. 7), which is undoubtedly a copy from the same original. A 
 second statue exists in the Vatican. It has remained in the cortile of statues 
 of the Belvedere since the time of Julius II.; and one of the later Popes had the 
 lower part of the figure covered with a stucco drapery, which is moveable at 
 pleasure. Thus it has been engraved in Mus. Pio Clem. vol. 1, pi. 11 
 (Bunsen, vol. ii. part 2, p. 232). Another statue is on an external balcony 
 (H.B. p. 416) of the Vatican ; it has been engraved by Episcopius and Perrier, 
 and is the one given in the woodcut illustration above (Bunsen, vol. ii. part 2, 
 p. 194). The surface has been much injured and spoiled by injudicious 
 restorations; nevertheless, the attitude and general appearance correspond 
 accurately with the other repetitions of this chef-d’oeuvre of Praxiteles, and we 
 still have to hope that a more perfect copy may yet be discovered. 
 
GREEK COURT CATALOGUE. 
 
 109 
 
 199. PSYCHE. 
 
 Fragment, life size, of Grechetto marble; from Naples ; found in the 
 Amphitheatre at Capua. 
 
 The upper part of a lovely female figure, with a great portion of the body 
 naked, but an edge of the drapery remains to show that the rest may have 
 been covered. The head droops, and the expression is earnest. A remark¬ 
 ably fine work. Probably part of a group. Traces of wings behind determine 
 the name of the figure. 
 
 Engraved in Millingen ; Mus. Bor. No. 203; Clarac. Musee, pi. 649; 
 No. 1493 ; Neapels, p. 65, No. 203 ; Gerhard, Ant. Bild. pi. 62, No. 1. 
 
 200. OWL UPON A SQUARE PLINTH. 
 
 With a Greek inscription. 
 
 201. IRIS, HECATE, or LUCIFERA, with torch. 
 
 Female in floating garment, with sphendone, or diadem. From Villa 
 
 Albani. Called by Clarac, Juno. 
 
 The goddess seems to be springing from a rock. The antique portions of 
 the drapery are excellently arranged and skilfully wrought. (See Gerhard’s 
 Lichtgotter, taf. iii. No. 5, same as Millin. Vases, i. 56, Gall. Myth. 93.) 
 Iris, with torch also, is seen on the Lycurgus Vase. 
 
 Restorations : The head, with modern diadem, is antique, but not originally 
 belonging to the figure. A few traces of hair from original head may be seen 
 falling on the shoulders. Both arms, including the torch, are new; also the 
 greatest part of right foot, the left leg, and some portions of the drapery. 
 
 Engraved in Clarac. Musee, pi. 415, No. 719 ; Bunsen, vol. iii. part 2, 
 p. 466; Raffei, Osserv. sopra alcuni Ant. Mon. p. 25; compare Flaxman, 
 pi. 46. 
 
 202. PAN. 
 
 A small statue attached to architecture. From Pittaki’s Collection 
 at Athens. 
 
 Engraved in Clarac. Musee, pi. 726 f, No. 1736 k; Pittakis, Eph. Arch. 
 d’Athenes, No. 383 ; Scholl. Arch. Mittheilungen, tal. 5, fig. 9. 
 
 Dimensions: Height 3'’l" *2. 
 
 203. CUPID (eroS.) 
 
 Portion of a statue, life size, of Parian marble, from the Vatican. It was 
 originally discovered at Centocelle, on the road between Rome and 
 Palestrina. 
 
 This beautiful fragment represents the son of Cythersea ; his appearance and 
 arrangement of the hair alone would decide the point, but there are the unequi¬ 
 vocal marks of his having had wings in the holes at the shoulders, where they 
 were attached. There is a great resemblance between this head and style of 
 figure and the so-called statues of Adonis of the Vatican (No. 282), found also 
 at Centocelle, and the so-called Adonis of Capua (No. 313). 
 
 Restorations: The tip of the nose. The legs and arms have never been 
 added. 
 
110 
 
 GREEK COURT CATALOGUE. 
 
 Engraved mMus. Pio. Clem. vol. i. pi. 12 ; Bouillon, vol. i, pi. 15 ; Pistolesi, 
 vol. v. tav. 34 ; Clarac. Musee, pi. 649, No. 1494 ; Bunsen, vol. ii, part 2., p. 
 165 ; Mus. Nap. No. 54. 
 
 Dimensions: Height, 
 
 204. MODEL OF THE TEMPLE OF NEPTUNE AT PAESTUM. 
 
 Made of the actual material of the columns. 
 
 205. SQUARE ALTAR of the CAPITOL. 
 
 THE BIRTH OF JUPITER. 
 
 From the Capitol at Rome. 
 
 This remarkable altar, dedicated to Jupiter, was formerly at Albano, 
 n the Villa Savelli, afterwards called Paolucci. It is not improbably the same 
 monument that was seen at Grotta Ferrata in the days of Pirro Ligorio, 
 and originally dedicated in the temple of Jupiter Latialis on Mount Albanus. 
 
 Engraved in Mus. Capit., vol. iv. tav. 5—8 ; Mori. Atrio., tav. 3—6 ; 
 Bunsen, vol. iii. p. 229 ; Millin. Gal. Myth., No. 19. 
 
 Dimensions: 3'‘7"'6 by 3' - 0 //- 3. 
 
 206. SOSIBIUS YASE. 
 
 Of Parian marble, from the Louvre, originally in the Borghese Collection. 
 Adorned with eight Bacchic figures approaching an altar. The females 
 exactly resemble bacchanals on a frieze in Villa Albani (Zoega, pi. 84). Upon 
 the base of the altar in the original is inscribed 
 202IBI02 
 A0ENAIO2 EnOI. 
 
 The name of the artist Sosibius, mentioned in this inscription, is not other¬ 
 wise known. The form of this vase exactly resembles those in painted clay, 
 commonly called Etruscan. The handles are ornamented with four heads of 
 geese and four masks, eight figures being sculptured round the body of the vase. 
 They are followers of Bacchus, one like Mercury, the other like Diana. The 
 formal style of art upon these two figures, contrasted with the rest, is very 
 remarkable. Among the other figures we recognise repetitions of the Scopas 
 females, already described in p. 38. 
 
 Engraved in Bouillon, vol. iii. vases, pi. 8 ; Cl. Cat. No. 332 ; Clarac. 
 Musee, pi. 126, No. 118 ; Mus. Nap. 223. 
 
 207. FUNEREAL YASE. 
 
 Of Pentelic marble ; solid; in the form of a Lecythus vase. From Munich. 
 Discovered by the late Baron Haller in Athens. 
 
 On the front is a family parting scene, with the names of each figure 
 inscribed above them. The deceased matron Eucoline (ETKOAINH) is en¬ 
 throned, and receives the last farewell of those belonging to her. Her 
 parent, Chsereas (XAIPEA2), supports her, whilst Onesimus (0NH2IM02), 
 probably the husband, is in the act of taking leave. A sorrowing nurse 
 introduces two children,—one an infant in arms, the other a little boy who 
 has already advanced to his mother’s knees. On the smooth surface traces 
 remain of black and red colouring. The sculpture is of a free and ornamental 
 period of Greek art. This may have served as a heading to a steld or funereal 
 monument. 
 
GREEK COURT CATALOGUE. 
 
 Ill 
 
 Engraved in Kinnaird’s Supplement to Stuart’s Athens, vol. iv. pi. 2, fig. 5 ; 
 Glyptothek Catalogue, No. 80. 
 
 208. SACRIFICIAL ALTAR. 
 
 Dedicated to Mercury. From Munich. Formerly in the collection of 
 Duke Braschi, at Rome. 
 
 Roman workmanship. The figure of Mercury is twice represented on 
 opposite sides ; the other spaces are filled with two female figures—one, a 
 Muse with a lyre; the other, a priestess with basket and pitcher ( prcefericulum ). 
 The upper part seems formed to receive a brazier for the sacrificial fire. The 
 four upper angles are adorned with winged Sphinxes with doubled bodies to suit 
 both sides. Winged monsters below are treated in the same manner. 
 Described in Glyptothek Catalogue, No. 177. 
 
 209. Triangular Base of a CANDELABRUM or TRIPOD. 
 
 Of Pentelic marble. From Dresden. Formerly in the Chigi Collection. 
 The cornice and two sphinxes have been injured. On one side the bas-relief 
 represents Hercules carrying off the tripod from Delphi, and Apollo, with his 
 bow, endeavouring to prevent him, by taking hold of one of the ears of the tripod. 
 Hercules threatens him with his club ; the omphalos on the ground between 
 them. The second side : the tripod restored to Delphi, and placed on a 
 column, being decorated with fillets by a priestess, and a priest holding a 
 burning torch. On the third, a priest and priestess feeding a lamp raised on a 
 columnar pedestal. 
 
 Engraved in Becker, Augusteum, vol. i. No. 5; Le Plat, No. 3; Millin. 
 Gal. Myth. Nos. 55, 56, 57, pi. 16: Meyer, Geschichte der Kunst, taf. 4, 
 figs, b, c, D. 
 
 210. ALTAR (circular). 
 
 From the Louvre. 
 
 Modern, and ornamented with figures in bas-relief from pictures at Pompeii. 
 In the Louvre it supports the famous circular table of twelve gods found at 
 Gabii, seen in pi. 258, No. 18 of Clarac. Musee. 
 
 Engraved in Clarac. Musee, pi. 140, No. 381 ; Clarac. Cat., No. 381. 
 
 211. A TRIPOD. 
 
 From the Glyptothek at Munich. 
 
 212. VICTORY, STANDING ON A BALL. 
 
 Bronze gilt. From Berlin. 
 
 213. CINERARIUM, OF LUCILIUS. 
 
 An octagonal sarcophagus or ash-chest, dedicated according to the inscrip¬ 
 tion to a Saturnina. From the Capitol. It here supports a vase inscribed 
 with the name of Sosibius. 
 
112 
 
 GREEK COURT CATALOGUE. 
 
 The upper portion is decorated with branches of vine and myrtle, between 
 
 Silenus masks; vittse or fillets hang 
 from them. One side is occupied 
 with the inscriptions, and the re¬ 
 maining seven have a Cupid in 
 each. These figures are charmingly 
 executed. All have wings. The 
 first Cupid to the right of the in¬ 
 scription plays the double pipe ; 
 the second clothed in a garment of 
 very thin texture enveloping the 
 right arm entirely, carries a lan¬ 
 tern in his left hand ; he wears a 
 garland round his neck, and on 
 the head also, an apt illustration 
 of Horace; “Dicitur ex collo 
 furtim carpsisse coronas.” Horat. 
 lib. ii. Sat. 3, page 352, Milman. 
 The third holds a large torch, at 
 which he is lighting a smaller 
 one ; the fourth, with crown on 
 head, holds a very small inverted 
 torch (the original action was that 
 of playing on the crotals); the fifth 
 crowned around the head, seems 
 to be dancing ; the sixth, crowned with a fillet or bandage, plays the lyre, and 
 the seventh plays the flute : his chlamys is wound round his left shoulder. 
 His attitude, leaning against a column, recals that of the satyr statue, No. 253. 
 There is no crown upon his head, but one round his neck. 
 
 Neck chaplets were not uncommonly worn on festive occasions. They are often 
 seen in ancient art. A bust of Cupid is so adorned on gems in the British 
 Museum and at Florence. (Tassie, Nos. 6557 and 6558, plate 43.) Hercules 
 also, returning from a carousal, has his neck adorned with roses. (Zoega, 
 Bassi Rilievi, tav. 67, vol. ii.) A garland was worn on the neck, that one 
 might enjoy the sweetness of the flowers. It was called by the Greeks, 
 hypothumis, virodvpis. Garlands were sometimes worn across the body, as in 
 vase paintings. (Tischbein, vol. ii. p. 45 ; Winckelmann, Mon. Ined., No. 200.) 
 
 The lantern in ancient times was an important assistance to revellers on 
 their way home through the dark streets of an ill-paved town. It is seen in 
 the hand of a Cupid conducting a party, after a symposium, on a gem. (Tassie, 
 No. 7235, plate 43.) The Greek for lantern was phanos, <pav6s. 
 
 Engraved in Mus. Capit. vol. iv., tav. 57 ; Bunsen, vol. iii., p. 167. 
 
 214. Vacant. 
 
 215. EURIPIDES. 
 
 Small sitting figure of compact Greek marble, from the Louvre. Was 
 discovered at Rome, on the Esquiline Hill, in 1704, formerly in the 
 Villa Albani. 
 
 The titles of thirty-six of his plays are inscribed in Greek upon the flat 
 surface at his back. See Portrait Gallery, No. 9. 
 
 f DIIS-MA NIB 
 P-lVClDOfELlCI 
 D-LVCjUVSvSoTERl 
 
 Patron o-b • aa* 
 
 f 
 
 d KN V LEI fT-JAT V 
 
 aN/NETCANVlFil/ 
 ATIMETV5-1IE.ER.RSV 
 4RAM'POSViTL|BES 
 AN )AA O 'SlBpET-SVLS 
 
GREEK COURT CATALOGUE. 
 
 113 
 
 Restorations: The right arm from shoulder, and left fore-arm, mask, &c. 
 The figure is restored both in Bouillon and Winckelmann. 
 
 Engraved in Winckelmann, Mon. ined. No. 168. Bouillon, vol. iii. pi. 18. 
 Clarac. Cat. p. 32. No. 65. Clarac. Musee, pi. 294. No. 2098, c. 
 
 CANDELABRUM. 
 
 Large, with Masks. From the Louvre. 
 
 216 . 
 
 A composition, tastefully arranged by Piranesi, of various fragments of 
 altars, candelabra, and tripods. One cannot recognise in the entire construc¬ 
 tion the severe simplicity of the ancients; it is impossible to withhold 
 admiration from the bold and spirited distribution of the parts and effect of the 
 ensemble. Piranesi, who was a famous architect, and is now better known by his 
 numerous engravings, always bestowed a certain effect of magnificence, or rather 
 gorgeousness, upon every subject he chose to represent. It is through him, 
 therefore, that we have derived peculiar ideas of the glories of Imperial Rome, 
 and the present pile may be justly regarded as one of his trophies. 
 
 Engraved in Bouillon, vol. iii. Candelabres, pi. 1 ; Clarac. Musee, pi. 141, 
 No. 120 ; Clarac. Cat. No. 208. 
 
 2ir. 
 
 HEAD OF MAGNUS DECENTIUS. 
 
 See Portrait Gallery, No. 76. 
 
 BKAJiPt'HV A Ml I.VA.NS riilMLRS, IVIlUhlKiA' S 
 
NOTICE. 
 
 I am indebted to Mr. F. C. Penrose for many valuable 
 suggestions in the arrangement of the Greek Court, and more 
 especially for the details of the curves and mouldings; a subject 
 which, by his recent studies of the Greek monuments, Mr. 
 Penrose has made entirely his own. 
 
 The architectural features of this court have been repro¬ 
 duced from accurate measurements furnished by Mr. Penrose, 
 having been taken by him during his residence in Greece. 
 The model of the fa 9 ade of the Parthenon, also by Mr. Penrose, 
 has been placed in the Greek Court for the especial purpose of 
 exhibiting those peculiarities of Greek curves 'which he investi¬ 
 gated, and the description of which will be found at page 6. 
 
 In the absence of any ancient Greek monument capable of 
 being reproduced in fac-simile to serve the purposes of the 
 Greek Court, as erected in the Crystal Palace, we have been 
 constrained to depart from known Greek arrangements; but, 
 at the same time, it has been our earnest endeavour so to 
 apply the various features of Greek architecture, as we could 
 imagine the Greeks would have done had they had the same 
 purposes to serve, and the same binding lines to follow. 
 
 The order selected for reproduction is that of the Temple of 
 Jupiter, at Nemcea, in Argolis, the columns of which are 
 34 feet high and 5 feet 3£ inches in diameter, whilst those of 
 
NOTICE. 
 
 ii 
 
 our reproduction are 17 feet 6 inches high, and 2 feet 7i inches 
 in diameter; so that ours is about one-half the original scale. 
 
 In a colonnade necessarily partaking of the nature of a 
 screen, a frieze ornamented with triglyphs would have been 
 objectionable; for this reason a frieze copied from the Choragic 
 monument of Thrasyllus, at Athens, has been preferred. 
 
 Although in that example there are no incised names 
 between the wreaths, and although there is no authority for 
 placing the monogram within them, yet inscriptions upon the 
 architrave were common in Greek temples; and we felt it to 
 be most probable that, in the frieze from which our example is 
 taken, the usual enrichment of triglyphs and metopes was 
 supplied by coloured decorations. In the absence, however, of 
 sufficient authority for this, we were led to adopt a method of 
 adornment which, although it may not have been employed by 
 the Greeks, has at least the advantage of placing constantly 
 before the public the names of those who illustrated so 
 important an epoch in the civilisation of the world. 
 
 The square piers or antae are adapted from the Propy- 
 laeum at Priene, and other examples. 
 
 The ceiling under the gallery was arranged by Mr. Penrose; 
 its tw r o end bays are taken from the ceiling of the Propylsea at 
 Athens, and its three centre bays from the ceiling of the 
 temple of Apollo Epicurius, at Bassse, in Arcadia. Eor the 
 decorations of these ceilings, and for the colouring of the 
 Greek Court generally, I am alone responsible. 
 
 Crystal Palace, 
 June , 1854. 
 
 OWEN JONES. 
 
/f