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 ancient marbles 
 
 IN THE 
 
 BRITISH MUSEUM. 
 
 Published at the British Museum; by G. and YV. Nico! 
 Pall-mall; \V. Miller, Aibemarle-stroet; and Messrs! j 
 Longma... Rees, and Co. Paternoster-row. 
 
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A 
 
 DESCRIPTION 
 
 OF THE COLLECTION OF 
 
 ANCIENT MARBLES 
 
 IN 
 
 THE BRITISH MUSEUM; 
 
 WITH ENGRAVINGS. 
 
 PART I. 
 
 LONDON: 
 
 PRINTED BY W. BULMER AND CO. CLEVELAND-ROW ; 
 
 AND SOLD AT THE BRITISH MUSEUM ’, BY G. AND W. NICOL, BOOKSELLERS 
 TO HIS MAJESTY, PALL-MALL J W. MILLER, ALBEMARLE-STllEET; 
 
 AND LONGMAN, HURST, REES, ORME, AND CO. PATERNOSTER-ROW. 
 
 1812 . 
 
INTRODUCT ION. 
 
 Th e present work comprises the Marbles which are 
 contained in the Second Room of the Gallery of An¬ 
 tiquities. A description of the contents of the First 
 Room, namely the Terracottas, is already before the 
 Public. 
 
 The greater part of the Marbles in this Collection, 
 belonged to tbe late Charles Townley, Esq. but where 
 any article has been derived from another source, it 
 will be invariably mentioned. 
 
 It may be proper to remark, that the dimensions of 
 the Marbles are carefully given; that the names of the 
 places, in which the different articles were discovered, 
 are stated in every instance where they could be as¬ 
 certained; and that in the engravings, as well as in the 
 written descriptions, particular attention has been paid 
 to distinguish and point out those parts which are not 
 antique. It is to be regretted, that this practice has 
 
[ H ] 
 
 not been more generally adopted, particularly in the 
 earlier publications on ancient sculpture, as it is in 
 consequence of this omission, that the antiquary, re¬ 
 lying too much on the accuracy of an engraving, has 
 been frequently led into error. 
 
 TAYLOR COMBE. 
 
 British Museum, January 27th, 1812. 
 
CONTENTS. 
 
 Plate I. 
 
 III. 
 
 IV. 
 
 V. 
 
 VII. 
 
 VIII. 
 
 X. 
 
 XI. 
 
 XII. 
 
 XIII. 
 
 XIV. 
 
 XV. 
 
 XVI. 
 
 In the title-page is a plate representing a part of the capital 
 of a votive cippus. 
 
 After the introduction is a plate representing the Gallery of 
 Antiquities, as viewed from Room II. 
 
 A colossal head of Minerva, 
 r 1. A Cinerary urn. 
 
 I 2. A general view of the figures surrounding the urn. 
 
 The foot of a tripod-table. 
 
 An architectural statue of a female, with a modius on her head. 
 r 1. A candelabrum. 
 
 I 2. and 3. The figures represented on the two sides of the candelabrum, 
 r 1. The triangular base of a candelabrum. 
 
 I 2. and 3. The figures represented on the two other sides of the base, 
 r 1. A Bacchanalian vase. 
 
 I 2. A general view of the figures surrounding the vase. 
 
 A statue of Venus, 
 r 1. A Bacchanalian vase. 
 
 I 2. The figures represented on the front of the vase. 
 
 A fountain. 
 
 A colossal bust of the Farnese Hercules. 
 
 A colossal bust of Hercules, of very ancient sculpture. 
 
 A fragment of one of the supports of a tripod. 
 r 1. The capital of a votive cippus. 
 
 1 2. 3. and 4. Views of the back, and the two sides of the votive cippus. 
 One of the feet or supports of a table. 
 
 A colossal head of Minerva, of very early sculpture. 
 
The bas relief, in the Title-page, has formed part of the capital of a votive cippus, 
 which was probably sacred both to Bacchus and Hercules. The subject represents a head 
 of Hercules between two terminal statues, namely, one of the god Pan, who is playing upon 
 the syrinx, or pipe of reeds, and the other of the god of Lampsacus, who is loaded with 
 fruit. In the intervals are placed a quiver and an altar. There is very little relief in these 
 figures, but the head of Hercules is executed in a very exquisite style, and possesses great 
 force and character. The lion’s skin is tied round the neck, and the head is crowned 
 with a wreath of ivy. The crown of Hercules is usually composed of the poplar, which 
 in the form of its leaves bears so much resembance to the ivy, that the one has frequently 
 been mistaken for the other; but when the berries of the ivy are apparent, this error 
 cannot be committed. The head of Hercules is distinguished by a greater variety of 
 chaplets, than that of any other divinity. He is crowned not only with the poplar(') and 
 the ivy,( a ) but with the laurel,( 3 ) the olive,( 4 ) and the pine,( 5 ) and sometimes with a 
 wreath, composed of flowers and ribbands interwoven together. ( 6 ) 
 
 It measures Ilf inches in length, and 5| inches in height. 
 
 * Aptior Hercules populus alba corns. Ovid. Epist. ix. 64. 
 
 See Mus. Flor. Gem. vol. i.tab. xxxiv. fig. 11. 
 
 ■ See Mus. Flor. Gem. vol. i. tab. xxxiv. fig. 8. 
 
 * See the gold coins of Philip, the father of Alexander. 
 
 4 -Primus Pissa per arva 
 
 Hunc pius Alcides Pelopi certavit honorem, 
 
 Pulvereumque fera crinera detorsitoliva. Stat. Theb. lib. vi. 7. 
 
 See Stosch, Pierres Gravees, tab. xlvi. 
 
 » It occurs on a bronze figure of Hercules in the collection of R. P. Knight, Esq. 
 
 r ' See Museo Pio-Cleraentino, tom. ii. tab. 9. and Museum Worsleyiauum, vol. i. p. 85. 
 
PLATE I. 
 
 A colo • . • >f Minerva: it has a stein expression f « ;■» 
 
 termice i ■■■■': hair, which is drawn hack from the temples V >'.« 
 hit ' . .1 the head, is dispt ed in a spiral twist, frmn*which 
 
 fnimu.tl mode of livif .. M ■vu-n . • quired the title of 
 
 IlofiwnrX*, -- •*) Tl. on of vigilance ra* 
 
 * » 
 
 ■ it frequently occurs as an ornament on I -t. ihjrt 
 
 mat lie sutlicient to mention..one instance only of fie kind, 
 which is in the fine bust, formerly in the Villa Albani,(s) and 
 now at Paris. In the . ■' Minna, which stood iu the Par¬ 
 thenon, she .i — ; ' , r: her 
 
 feet,(4) and it i; in this . tl* I- ;n tit. .' of 
 
 tt in rtf'- ' 1 ' «!.. ■■■'•» i x and' 
 
 .. . ' ,...| know tb.: i . -erpeut was 
 
 n . ■ • . ipioyec !> • hot r inflicted punishment, as in the 
 
 case of f..tocoon(«l ami his iwo som 
 
 Another instance of the serpent accompanying Minerva is on the 
 base of a magnificent candelabrum in the Clementine Museum,!?) 
 
 * Pallas, et asperii'.r Phqebi sofor, utraque tells, 
 
 Uftaque torva genis. Stat. Tfieb. lib. ii. 237- 
 
 rat T f*X a ‘> to xv&rhtnu*. K*\ o rrxMy^ifr Ac?".-., #' 
 fvl! lib. ii* ip. 3. segm. 'Mi .—Wiackchn n, Hist, de l' Alt cbm 
 
 u. • . pi. xxiv. 
 
 v - - < -v tt *'•>■ - - 'tlmafff, 
 
 Tiit -X !’ . • 40 >. 6 Tt* 
 
 1 Virg. i£n. I 
 MuttO Pio-ClfTU r. 
 
PLATE I. 
 
 A colossal head of Minerva : it has a stern expression of coun¬ 
 tenanced!) The hair, which is drawn back from the temples to the 
 hinder part of the head, is disposed in a spiral twist, from which 
 habitual mode of twisting her locks, Minerva acquired the title of 
 I lapx7r‘7T>uy^.^r].{ c 2) The serpent being the emblem of vigilance was 
 on that account consecrated to Minerva, and is here placed on the 
 top of her helmet; it is one of the most usual attributes of this god¬ 
 dess, and so frequently occurs as an ornament on her helmet, that 
 it may be sufficient to mention one instance only of the kind, 
 which is in the fine bust, formerly in the Villa Albani,(3) and 
 now at Paris. In the statue of Minerva, which stood in the Par¬ 
 thenon, she was represented by Phidias with a serpent at her 
 feet, (4) and it is in this manner that she is represented in some of 
 the copper medals of Athens.(5) On these coins we may remark 
 that the serpent is erect, and exhibits an appearance of anger and 
 menace, as if ready to execute vengeance on those against whom the 
 wrath of the goddess is directed, and we know that the serpent was 
 an agent employed by her when she inflicted punishment, as in the 
 case of Laocoon(s) and his two sons. 
 
 Another instance of the serpent accompanying Minerva is on the 
 base of a magnificent candelabrum in the Clementine Museum, ( 7 ) 
 
 1 Pallas, et asperior Phcebi soror, utraque telis, 
 
 Utraque torva genis. Stat. Theb. lib. ii. 237- 
 1 Ka» 7rotgX7r\tx£iv ra? Tg'iyotg, to xvxttXixuv. Kan irct()cnrtTc\ty(Atvv\ tf 
 
 MotTrtTrXtypwri. Jul. Poll. lib. ii. cap. 3. segm. 35.—Winckelmann, Hist, de 1’ Art chez 
 les Aneiens, tom. i. p. 402. 
 
 3 Millin, Monumens Antiques Inedits, tom. ii. pi. xxiv. 
 
 4 ’Ei/ <Je rii yi ip) Jopv cyfi, xa» o» 7rpof ro~g 7ro<rli/ dv7rig te xutoci, xxi 7r\v<nov ra SogxTog, 
 
 A gxxuv lf(v. Pausan. Att. c. 24. 
 
 Tu Je Trig ’A^Yivxg roV ApccxovTx rrccptQnxe. Plutarch, de Is. et Os. c. J6. 
 
 5 Combe, Num. Vet. Pop. et Urb. Tab. x. fig. 28, 29, and Tab. xi. fig. 10. 
 
 6 Virg. JEn. lib. ii. v. 212. 
 
 7 Museo Pio-Clementino, tom. iv. pi. 5. 6. 
 

 PLATE I. 
 
 where Minerva, like Hygeia, holds a patera, out of which she is 
 feeding a large serpent coiled round her body. This is perhaps 
 the only genuine instance in which Minerva is represented as the 
 protectress of Medicine, under which title she had an altar(8) 
 dedicated to her at Acharnee in Attica, and a statue(9) erected at 
 Athens. 
 
 The head is of fine work, but has been much restored. The chin, 
 the nose, and the upper part of the helmet, including a great por¬ 
 tion of the serpent, are modern. It measures 2 feet 4 inches in 
 height. 
 
 8 ’En <tl 'Ayxpvx't Snpof. Oursi 'AttqMuvo. nputm ’AyvtU xai 'HpaxAsV Kai 
 
 8 AOxvxt eVix 'Tyfifltr. Pausan. Att. c. 31. 
 
 9 ©£wy xyuXpzt iriv Tyiaj te, r. A ostAxTriou ttxiSx itvou xiyo uon, xal ’A0w«r ETOxAium 
 xa» raurTif 'TyjEia?, Pausan. Att. c. 23. 
 
A . ' t 'i jJ. a circular f<»ru>, ornamented with figures in very 
 
 1 • >f these figur .- <> exceedingly c .• e, 
 
 *.!J. ' I If--.; i. The .sub.i-'t represents a battle, 
 
 Ui a awu> «t»nitv*; r * hie party, of 
 
 ,, ,r. . iu tb< centre of < acb : the oi • . • > "bed 
 
 ... A,o .tiK.id»p.they are b. ail. 
 
 <«j their bodies, and sue represented ft* tlu n«i* iy ! 
 
 rtivsid, a. if completely vanquebed. 1c the c« hectrou ' 1 ■ ■ 
 
 Henry Blundell, Esq.fl! i« a Imp- bas-relief ('» h.t by 3) which re- 
 
 presep.ts tl 1 ; ;une Mibji• ■ >i . t . uune <• t». -'••pec- 
 
 ■ 
 
 *||. , .. 1 ; .-..■• •oitunme oliuuus, an<i thon bo 
 
 w ,„ie juicjeiit mooume •• * represent the Germ- os cloatlu-d. yet the 
 sttite its which thev art here cxi ibited, accords '•■oh the description 
 given of this people by Tacitus (*) and Dion Cusmus,{ 3J who both 
 speak of them as being accustomed to fight either perfectly naked, 
 or very lightly clad. The Romans were so frequently engaged in 
 warfare, with the Germans, that it is impo ilde to say with ccr- 
 ,ijii p.'.idcnlar period the present subject alludes; but 
 
 tin: »j. .... ... hit-red over the Germans by Trajan were so popular 
 i:, k... qrated with so much splendour, and oommemb- 
 
 rated •<••-. numouts ofari h o ' . most probable the 
 
 l,}.- • « r, • t< ro- ' • • i < Emperor. 
 
 • S» B». .* •••« W 01 ... -t!. ! ^q. wri. ii. pi- 122 . . 
 
 .'rpiS*, 
 
 $ yvuetl xv »*c.. f - 
 
PLATE II. 
 
 A funeral urn of a circular form, ornamented with figures in very 
 high relief. The sculpture of these figures is exceedingly coarse, 
 but their general effect is good. The subject represents a battle, 
 in which a number of combatants are engaged. One party, of 
 whom a few are on horseback, is armed with helmets, cuirasses, and 
 shields, which last are of an oblong square form, and have a large 
 umbo or boss in the centre of each: the other party is distinguished 
 by their oval shields; they are bearded, entirely without covering 
 on their bodies, and are represented for the most part lying on the 
 ground, as if completely vanquished. In the collection of the late 
 Henry Blundell, Esq.(i) is a large bas-relief (8 feet by 3) which re¬ 
 presents the same subject, and in which the costume of the respec¬ 
 tive combatants is precisely the same as on the urn we are now 
 describing. It is evident that the subject here recorded is a battle 
 between the Romans and Germans, in which the former are tri¬ 
 umphant. The costume of the Romans exactly agrees with that 
 which we see on the Trajan and Antonine columns, and though the 
 same ancient monuments represent the Germans cloathed, yet the 
 state in which they are here exhibited, accords with the description 
 given of this people by Tacitus ( 2 ) and Dion Cassius, (3) who both 
 speak of them as being accustomed to fight either perfectly naked, 
 or very lightly clad. The Romans were so frequently engaged in 
 warfare with the Germans, that it is impossible to say with cer¬ 
 tainty to what particular period the present subject alludes; but 
 the victories achieved over the Germans by Trajan were so popular 
 in Rome, were celebrated with so much splendour, and commemo¬ 
 rated in so many monuments of art, that it is most probable the 
 subject of the figures on this urn refer to the time of that Emperor. 
 
 ' Statues, Busts, &c. at Ince, in the collection of Henry Blundell, Esq. vol. 11. pi. 122. 
 
 1 Nudi, aut sagulo leves. Taciti Germ. c. 6‘. 
 
 3 ’Ex£H/0 yi TIf 0 UX Oldtv, OTI f?jU£lV [MV XXTX TTOevS O/AOICO? TO <TU[AX U7r\l<T[M$X, UUIVQ I 
 
 jJj; •yujW.yoi to 7rA£KTToo tun. Dion. Cass. lib. XXXV1U. c. 45. 
 
PLATE II. 
 
 Mi 
 
 With respect to the connection which this subject may have had 
 with the history of the person whose ashes the urn enclosed, the 
 deceased might perhaps have fallen or distinguished himself in the 
 war alluded to : this, however, is exceedingly doubtful, as the 
 subjects represented on sepulchral monuments, had frequently no 
 allusion to the parties for whom they were designed. It is not, 
 indeed, improbable that the subject may have been chosen by the 
 artist as being that which was most popular at the time when the 
 urn was executed. The urn, however, is without any inscription. 
 Both above and underneath the figures is a border composed of ivy- 
 leaves. The lid, the handle of which is restored, is gracefully or¬ 
 namented with the leaves of the acanthus.(4) The urn, in its ori¬ 
 ginal state, terminated just beneath the lower border of ivy-leaves ; 
 the rest is a modern addition. 
 
 This urn was formerly in the collection of Victor Amadei at 
 Rome, and was purchased from thence by Mr. Townley in the year 
 1768. Piranesi has engraved it in his Raccolta di Vasi JLntichi.{s) 
 
 The urn, in its present state, measures 1 foot 11£ inches in 
 height; but, exclusive of the modern addition, its height is only 
 1 foot 3 inches. 
 
 4 Acanthus mollis. Linn. 
 s Tom. i. Tav. 45. 
 

 
 
 
 
 . 
 
 OnB of ft ■ supports, € . n ■ ■ • r j nt 
 
 ■ if alio! rising it of' foliage; ami the It n ■ 
 
 . ■.»!> :i from tlie calcuneuat, represents tin leg • 
 ihat utinnal. 1 lie .feet of the ancient tables were executed in a gre.-.i 
 ‘ variety of forms ; sometimes they represented the human figure, and 
 sometimes that of the eagle, tin sphinx, the griffin, and other ani¬ 
 mals. The • nipture of them was often very highly finished • they 
 were disting tished ’ y t'- n one of Jit' Ml) and it is under this 
 title ft- t ■ V-«f a’.fr support* in n int written 
 
 f 
 
 ■ "i i i tin ags of omtaU, to when the beads 
 
 . , .. • . tl . i i-c, ,ilt effect »rising from the close union 
 
 of these incongruous parts, the artist, in many instances, had re¬ 
 course to the intervention of foliage, by which means a more 
 graceful connection was produced. 
 
 Height 2 feet 7£ inches. The pedestal, in which it is inserted, is 
 
 • <,"■ ».■> s ain auten Knuaiiam 
 
 
 
 
 
 
 

PLATE III. 
 
 One of the feet, or supports, of a tripod table. The upper part of 
 it exhibits the head of a lion rising out of foliage; and the lower 
 part, which is restored from the calcaneum, represents the leg of 
 that animal. The feet of the ancient tables were executed in a great 
 variety of forms ; sometimes they represented the human figure, and 
 sometimes that of the eagle, the sphinx, the griffin, and other ani¬ 
 mals. The sculpture of them was often very highly finished ; they 
 were distinguished by the name of rpa7T£^oipapx t (l) and it is under this 
 title that Cicero speaks of one of these supports in a letter written 
 to his friend, Fabius Gallus.(2) The legs of tables, however, were 
 more generally imitations of the legs of animals, to which the heads 
 of the animals were occasionally added; hut in order to obviate, in 
 some measure, the disagreeable effect arising from the close union 
 of these incongruous parts, the artist, in many instances, had re¬ 
 course to the intervention of foliage, by which means a more 
 graceful connection was produced. 
 
 Height 2 feet 7-y inches. The pedestal, in which it is inserted, is 
 modern. 
 
 1 Jul. Poll. lib. x. c. 20. 
 
 1 Quod tibi destinaras trapezophoron, si te delectat, habebis : sin autem sententiam 
 mutasti, ego habebo scilicet. Cic. Epist. Fam. lib. vii. 23. 
 

 - 
 
 
 
 
 PLATE IV. 
 
 \ i r «•«i . ;t>. larger than life, with a modius on the brad. ft 
 
 ^ ririi ntly an architectural statue, atwl was one of the jUMyatule* 
 hi imiii . ' mililii chai‘:i( 
 
 of this ftcoire in highly dignified and impressive. It is clothed with 
 a ji'.-.g tunic descending to the feet, over which is worn a short robe 
 is..thing hi low (lie ips; to these is added a chstk which ^fastened 
 by ftlit 'uittot to each shoulder, and falls > eh ini! to the 
 
 Tin re is great simplicity-in the drapery, the folds which 
 at > ot inr ceased hy any-gone or girdle round the waist Tin .inns 
 ..re ornamented with bracelets, but ueotlienvise naked Tl • ur 
 is curled, and worn very full round'the forehead; it is drawn 
 
 in live spiral lock- On each side of the head, just below (he ie. 
 is a mall hole t which some metallic ornament has been originally 
 Inn. rot hlv a narrow diadem. Tit® modius is deconued with 
 in k anmment resembling • the flowers of the honeysuckle, 
 ,» i itb a if flowers, which are detached from each other, 
 
 and iu a perfectly expanded state : below these is a row of heads. 
 The ear-rings ate in the form oi flowers, similar to those which we 
 see on the border of the modiuSi The neck i' adorned with two 
 neck-laces, on, of wlii-ii is composed of a ample rtnv of strung 
 pearls or beads, and the other consists of a pendent row of drop 
 ornaments. 
 
 ilia , with another nearly similar to it, was found during 
 Sixtu- *hc Vth.. anion; st some ancient ruin- . ■ 
 turned on the Vppian i-oad, about a mile and a 
 b ■ i ub of Ctecilia Mctella, coni" icily it 
 
 id with its companion ie the ' !-■ 
 
 f M: i iwtdry’mi 
 
 mean -. who in the year lj’ k *t>. » 
 
 mai'iii - - - , i inag-.itiieii' V !i, 
 
 three «.:»%•> i ■ • .->• ururo ..* t.-e •/-. • - • • 
 
 present, were i urn ur n- n! r 
 
 
 
 
PLATE IY. 
 
 A female statue, larger than life, with a modius on the head. It 
 is evidently an architectural statue, and was one of the caryatides 
 which supported the portico of an ancient building. The character 
 of this figure is highly dignified and impressive. It is clothed with 
 a long tunic descending to the feet, over which is worn a short robe 
 reaching below the hips ; to these is added a cloak which is fastened 
 by fibulae or buttons to each shoulder, and falls behind to the 
 ground. There is great simplicity in the drapery, the folds of which 
 are not increased by any zone or girdle round the waist. The arms 
 are ornamented with bracelets, but are otherwise naked. The hair 
 is curled, and worn very full round the forehead; it is drawn 
 together with a ribband at the back of the neck, and then descends 
 in five spiral locks. On each side of the head, just below the modius, 
 is a small hole to which some metallic ornament has been originally 
 attached, probably a narrow diadem. The modius is decorated with 
 the Greek ornament resembling the flowers ot the honeysuckle, 
 and with a border of flowers, which are detached from each other, 
 and in a perfectly expanded state : below these is a row of beads. 
 The ear-rings are in the form of flowers, similar to those which we 
 see on the border of the modius. The neck is adorned with two 
 neck-laces, one of which is composed of a simple row of strung 
 pearls or beads, and the other consists of a pendent row of drop 
 ornaments. 
 
 This statue, with another nearly similar to it, was found during 
 the reign of Pope Sixtus the Vth., amongst some ancient ruins in 
 the Villa Strozzi, situated on the Appian road, about a mile and a 
 half beyond the tomb of Crecilia Metella, commonly called Capo 
 di Bove. It was placed with its companion in the Villa Montalto, 
 from whence it came into Mr. Townley’s possession through the 
 means of Mr. Jenkins, who in the year 1786, purchased all the 
 marbles which enriched that magnificent Villa. In the year 1766, 
 three other female figures, of the same size and subject as the 
 present, were found nearly in the same place, together with a 
 
PLATE IV. 
 
 statue, somewhat larger, representing the bearded, or Indian 
 Bacchus. Piranesi, who was at that time on the spot, was of opi¬ 
 nion that these caryatides had supported the portico of a small 
 temple, of which he observed several fragments belonging to the 
 pediment, the frieze, the cornice, and architrave of the door, toge¬ 
 ther with a piece of a large bas-relief, which he supposed had occu¬ 
 pied the centre of the pediment. He has published in his works a 
 representation of this portico, according to the idea which he 
 formed of it. (lj The statue of Bacchus having been found in 
 the same spot with the caryatides, renders it probable that the 
 temple was dedicated to that Deity. Winckelmann, however, is of 
 opinion, that, as the Appian way was on both sides ornamented with 
 tombs, these architectural statues might have been made use of to 
 decorate the sepulchre of some opulent Roman.( 2 ) 
 
 The statue of Bacchus formerly stood in the Vatican, but it is 
 now in the French Collection. On the drapery across the breast is 
 the Greek word £ APAANAnAAAO£. The three female statues found 
 with it were purchased by Cardinal Albani, and are now in his 
 collection. On one of them is the following inscription : KPITUN 
 KAI NIKOAAOS EIIOIOYN, signifying that it was the work of two 
 Athenian statuaries, Criton and Nicolaus, from whence it may rea¬ 
 sonably be inferred that all the caryatides which were found in this 
 spot, were executed by the same artists. 
 
 This statue is nearly perfect, the nose is cjuite entire; the lower 
 right arm, the left foot, and a small portion of the upper part of 
 the modius, are all the restorations of any importance which it has 
 received. 
 
 It measures with the modius 7 feet 3^ inches in height; the 
 pedestal is 6-j inches high, which makes the whole height 7 feet 9^ 
 inches. 
 
 1 Raccolta di Vasi Antichi, tom. ii. tav. 68. 
 
 a Winckelmann, Hist, de 1’ Art chez les Anciens, tom. ii. p. 378. 
 


 
 
 
 
 A ca Ah restored. Tho-: par whi 
 
 uot- i ' 1 >f tbe stem, the three figures insert.-; 
 
 trianj •' •'■ -.tal, anti one of the rams' heads, 
 
 ' . *rtion m ■ ".'’ mi tn il. The ripper 
 
 • onion- r> ■ . 
 
 h*. to. i •- ■> h represented 1 
 
 ' ;i i». Apollo Mu. uretes, .r subject which hi ihuncd 
 
 lit n description of the Teriaeottas.(i) Oi ,he-remaining figure . 
 one represents an old Fatal) ear: '•>. or •_ oat's in. Idled 
 
 with wine. - hi i i . -1 . I'a pod . a walk- 
 
 ' • : t|.rese..L- 
 
 T. us harm, ale Uts subjects (o crlebi e the fesm 
 ’ Xo. xviii. o. I 2 . 
 
 ‘ •l/ipiwn{ SJut i» fntrftt, ! urip. Bncch. v. 9S8. 
 
 ---- »« t * r 
 
 ’Chnp AaCarx tv/^ow, n fiitrilf JjpfW 
 I - ' I 1 .- 
 
 -■ • • • -triat Apnvr 
 
 , * : ' -Vtur. H(fr Sr • %. 
 
 - 
 
 
PLATE V. 
 
 A candelabrum, considerably restored. Those parts which are 
 antique, are the upper half of the stem, the three figures inserted 
 in the sides of the triangular pedestal, and one of the rams’ heads, 
 together with a portion of the pedestal attached to it. The upper 
 part of the candelabrum was found in the ruins of the villa of An¬ 
 toninus Pius ; the three figures in the pedestal have belonged to a 
 candelabrum of a similar kind. One of these figures appears to 
 have been part of a group, which represented Victory pouring out 
 a libation to Apollo Musagetes, a subject which has been explained 
 in the description of the Terracottas.( 1 ) Of the remaining figures, 
 one represents an old Faun carrying an uler or goat’s skin, filled 
 with wine, on his shoulder, and making use of a pedum, as a walk¬ 
 ing stick, in his right hand; the other represents a female Bacchante, 
 who is distinguished by the wildness of her gesture : her head is 
 thrown hack, her hair is dishevelled, and she holds a human head 
 in one hand, and brandishes a sword in the other hand There can 
 he little doubt but that this figure represents Agave, the priestess of 
 Bacchus, with the head of her son, Pentheus,( 2 ) king of Thebes. 
 Pentheus having forbade his subjects to celebrate the festivals of 
 
 1 No. xviii. p. 12. 
 
 1 tv %6p<n ^nrpof. Eurip. Bacch. v. 968. 
 
 - xpxrx S' xQXiov 
 
 ^Oinp Xa&ua’x ru/p^ai/EJ jUjfnjp ytpoiv 
 Tlrifcxir' t7T xxpsv Qvptrov. lb. v. 1139. 
 
 Quid, caput abscissum demens cum portat Agave 
 
 Gnati infelicis, sibi turn furiosa videtur. Horat. Serm. lib. ii. 3, 303. 
 
 -visis ululavit Agave, 
 
 Collaque jactavit, movitque per aera crinem, 
 
 Avulsumque caput digitis complexa cruentis 
 
 Clamat, Io, &c. Ovid. Met. lib. iii. 725. 
 
 Felix Agave faciuus horrendum manu, 
 
 Qua fecerat, gestavit: et spolium tulit 
 
 Cruenta nati Meenas in partes dati. Senecas Phceniss. v. 363. 
 
PLATE V. 
 
 Bacchus, was, for this act of impiety, torn in pieces by Lis mother 
 and her two sisters, when, with other Theban women, they were 
 assembled to perform the orgies of the god on Mount Cithseron. 
 Agave, whose sense of vision was deluded by the influence of 
 Bacchus, mistook her son for a lion,(3) and it was not till her return 
 to the palace that she perceived her unhappy mistake, and that the 
 head which she held by the hair was not that of a wild beast, but 
 of her own son. ( 4 ) Agave is represented in a similar manner on a 
 funeral urn published by Spoil. (5) The story of Pentheus suffering 
 for his crime in not acknowledging the divinity of Bacchus, is en¬ 
 graved in a bas-relief in the Giustiniani palace,(6) and the same sub¬ 
 ject, according to Pausanias, was painted on the walls of the Temple 
 of Bacchus, which stood near the theatre at Athens.ft) 
 
 Height 4 feet If inch. 
 
 3 Tile form in’which Pentheus appeared to his mother was that of a wild boar, according 
 to Ovid, (Met. lib. iii. 714,) and ot a bull, according to Oppian, (Cyneg. lib, iv. 307.) 
 
 4 K xS. T»Vof TTpoiruTroi/ tv xyxxXxig £^£»f J 
 
 AtovTog t tog y i'pxmtov xi 3’ripufxtvxi. 
 
 Zxiipxi viv oftug, Q^x^yg o iitriJciv. 
 
 "Ex, T l Aeuchtw ; t» (ptpofxx j toS tv p^tpoiv J 
 rf A 9pro-ov xvto , x.xi <rxq>s<TTtpov (xxQe. 
 
 ’Opco fxtyurrov xXyog txXxiv iyco. 
 
 Mwk <roi Xtovn tpxivtrxi upoutoixtvxi J 
 
 Oux, xXXx ThvMug »? rxXxtv' tyu xxgx. Eurip. Bacch. v. 1278. 
 
 5 Miscellanea Eruditae Antiquitatis, p. 29. 
 
 6 Galleria Giustiniana, part. ii. tav. 104. 
 
 7 Txvtx 3v yiy^xpxpxtvx hiVi, xxi n£v§£vf xat Auxoi^yo? uv ej AioWo* vfyurxv tMoVrif 
 
 ’Ay. 
 
 KxS. 
 
 ’Ay. 
 
 KxS. 
 
 ’Ay. 
 
 KxS. 
 
 ’Ay. 
 
 Jixaf. Pausan. Att. c. 20, 
 


 'll U If •* ' 
 
 h vl < n u,<l t-.e i.i - ' Its wit '■ the fill • I 
 
 . - The rum’s head; on tf. ! 
 
 u armour of Mars, to whom,.as weH • 
 minial was consecrated. The Latin word aiic.-\ 
 
 & ram, has been supposed to lie deduced from the Greek num. ■ 
 Mars, 'Af-tf.itl On consular cor. of to. II ly, tin 
 
 .verse represents a head . 1 Mats, am! the ret.'“ ft ti^ne 
 
 ‘ft 
 
 Pi. i,„ V ... .. K . I 1 ' 1 the J * 1 't Par 
 
 which last was removed from the Library.of St. Mark at V. 1 
 
 This triangular base is executed in a g>• *1 «; !>- and tin 
 restorations it has received, are two of tin heads bchnyuv ••• 
 th<- sphinx. and the owe p irt o . ■■ h of the r.n I. > l lie 
 ,-tace in - hit li the stem of’! or- >»b m n inserted, is visible, 
 no the tup of the bast 
 
 1 feet H .... 
 
 ■H' 
 
PLATE VI. 
 
 The triangular base of a candelabrum, on the sides of which are 
 three Genii, each holding a part of the armour of Mars, namely 
 his helmet, his sword, and his shield. The upper angles terminate 
 with the head of a ram, and the lower angles with the fore part of 
 a sphinx; underneath the Genii is a broad border of arabescpie 
 ornaments. The ram’s head, on the helmet, is appropriate to 
 the armour of Mars, to whom, as well as to Mercury, that 
 animal was consecrated. The Latin word aries, which signifies 
 a ram, has been supposed to be deduced from the Greek name of 
 Mars, ’'Apijf.(i) On a consular coin of the Rustia family, the 
 obverse represents a head of Mars, and the reverse a figure 
 of a ram;( 2 ) the month of March, which derived its name from 
 Mars, was distinguished by a ram among the signs of the zodiac. 
 Three other pedestals, similar to the present, with the exception of 
 a slight variation in the arabescpie ornaments, are extant in dif¬ 
 ferent collections, one in the Gallery at Florence, another in the 
 Picchini Palace at Rome, and the third in the Louvre at Paris, (3) 
 which last was removed from the Library of St. Mark at Venice.(4) 
 This triangular base is executed in a good style, and the only 
 restorations it has received, are two of the heads belonging to 
 the sphinxes, anil the lower part of each of the rams’ heads. The 
 place in which the stem of the candelabrum was inserted, is visible 
 on the top of the base. 
 
 Its height is 2 feet 8 inches. 
 
 1 Aries vel sbro Tov w Apios, i. e. a Marte vocatus. Isidori Orig. lib. xii. c. i. 
 
 z Morellii Comment, in Familiarum Romanarum Numismata, p. 368. 
 
 3 Mon. Ant. du Mus6e Nap. tom. iv. pi. 15. 
 
 * Antiche Statue della Libreria di San Marco di Venezia, Part II. tav. 33. 
 

 
 
 
 
 
 
 
 
 * ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 PLATE VII. 
 
 A vase, of at * <»»? oval form, with two upright massive hand 
 a < ornai . .i*i i : -nd with Bacchanalian figutc* ^ 
 
 >ti< ! ; i of ’i unparable * <* :«•. The "•ibjccf 
 
 
 persons • : 
 
 
 - 
 
 ■iiitr i: ; jr which floats in the air; one ■ x 
 
 her hair di >.eveUcd,u) and her head bent forward, ft) is in the a<> 
 of brandishing a knife, while another is holding the hind limbs of v. 
 kid. (s) The male Bare! r ** E*p< ( d of different ; 
 
 one, in tlie lower 
 
 h y -fi», Tf- »' s *> 
 
 JU: KPA7A SE12AI m,. Eunp. flrn 
 
 -vends dam aAla, i»quc. 
 
 Qui turn * Inc res |>ns«:i:i lymphsttu mente furebdnt, 
 
 Evoc bacchantes, evoe capita inflectcutes. Catull. Carm. Ixv. 254. 
 
 Tt prie;iof Bacchus, during the celebration of the Diony«u<, dev tired the 
 
 rvH- IL -h of different mhn.il 
 
 *A.- *• a ■ V •:-> Eurtp.B v.7 i9. 
 
 
 
 <*di « . < 
 
 • Biicehanar. 
 quibu furr.u! ,r« 
 u.l vo* p)eno» d« 
 
 
PLATE VII. 
 
 A vase, of an elegant oval form, with two upright massive handles; 
 it is ornamented all round with Bacchanalian figures, which are 
 executed in a style of incomparable excellence. The subject repre¬ 
 sents the celebration of the orgies of Bacchus by a number of 
 persons who imitate the dresses and characters of a Faun, a Satyr, 
 and male and female Bacchantes. The Faun has a thyrsus in his 
 right hand, and is covered with the skin of a panther; the Satyr is 
 bearing an amphora of wine; the female Bacchantes are dressed in 
 thin transparent drapery which floats in the air; one of them, with 
 her hair dishevelled, (1) and her head bent forward, (2) is in the act 
 of brandishing a knife, while another is holding the hind limbs of a 
 kid.(3) The male Bacchantes are represented of different ages; 
 one, in the flower of youth, and of a beautiful form, is leaning on 
 the shoulders of a young female; he has a torch in his right hand, 
 
 * Mentis inops rapitur, quales audire solemus 
 Threicias passis Msenadas ire comis. Ovid. Fast. lib. iv. 457* 
 
 Seepe vagus Liber Parnassi in vertice summo 
 
 Thyadas effusis evantes crinibus egit. Catull. Carui. lxv. 390. 
 
 1 riot* Je 7 %0piVElU, TT01 XX^HTTXVXl 7 ToStX, 
 
 K«j KPATA 2EI2AI ttoXiov ; Eurip. Bacch. v. 185. 
 
 --ventis dant colla, comasque. Virg. iEn. vii. 394. 
 
 Qui turn alacres passim lymphata mente furebant, 
 
 Evoe bacchantes, evoe capita injlectentes. Catull. Carm. lxv. 254. 
 
 3 The priestesses of Bacchus, during the celebration of the Dionysia, devoured the 
 raw flesh of different animals: 
 
 ’'AS\ Sxpa'xxg Sittpopovv <rnrotpxypoi(n. Eurip. Bacch. v. 739. 
 
 Pars e divulso raptabant membra juvenco. Catull. Carm. lxv. 257- 
 And the festival itself, on this account, was called u/xoipxyU : Aiovutroi/ pouvoXw opyix^outri 
 SccK^oij u[xo(pxy!oc rriv lcpo[xx]/ia.v uyov Ttg, xa» TEAKrxouin to ? xpiuvopuatf tuv tpovuv, 
 di/t<rTipi[xtiioi to»$ oq>t<rw } ck oAoXu^ovrEj Evxv. Clemen. Alex. Cohort, ad Gent. p. 11. 
 edit. Potter. 
 
 Bacchanalia etiam prastermittamus immania, quibus nomen Omophagiis Grsecuin est: in 
 quibus furore mentito, et sequestrata pectoris sanitate, circumplicatis vos anguibus, aique 
 ut vos plenos dei numine ac majestate doceatis, caprorum reclamantium viscera cruentatis 
 oribus dissipatis. Arnob, lib. v. 
 

 
 w 
 
 PLATE VII. 
 
 and a light cloak hanging over his arm. Near the Satyr are two 
 other male Bacchantes, one of whom, of an aged appearance, and 
 with a pedum in his hand, seems to be in a state of intoxication, 
 and is supported by his more youthful companion. The strong- 
 muscular figure, near the centre, with a panther at his feet, and 
 with his right arm uplifted, is in the act of stimulating^) the votaries 
 of Bacchus to a continuation of the rites, in which endeavour he is 
 seconded by the Satyr, who holds up his right hand in the same 
 action of exhortation. Nearly the whole ot these figures, ao-ree- 
 ably to the rites of the Bacchanalian games, are in the act of 
 dancing. 
 
 The Dionysia, or orgies of Bacchus, were instituted in com¬ 
 memoration of his conquest of India, and were celebrated in dif¬ 
 ferent parts of Greece, but were observed with greater splendour at 
 Athens, perhaps, than at any other place. At these festivals it was 
 customary for the people to imitate the followers of Bacchus, and 
 to run about the mountains, feigning phrenzy, and repeatedly shout¬ 
 ing the name of Bacchus. 
 
 At the lower part of the body of the vase are eight female figures, 
 holding a patera in each hand; they have wings, and terminate in 
 the form of Tritons. An architectural fragment, which represents 
 a figure precisely similar to these, and which has probably belonged 
 to a temple dedicated to Bacchus, is in the collection of Lord 
 Elgin, and similar representations of male Fauns have occurred in 
 the Terracottas. (5) In the ancient sculptures we sometimes see 
 the Bacchic and marine characters united : an instance of this 
 kind occurs in a terminal head, formerly in the Vatican, (6) in 
 which the attributes of Bacchus are blended with those of a 
 
 4 A poy.u xa't ^opoK EPE0IZX1N ttXxvxtxs, 
 
 Iaj^aiV t ANAEIAAAilN. Eurip. Bacch. v. 148. 
 
 1 No. LXVI. p. 33. 
 
 6 D’Hancarville, Recherches sur 1’origine des Arts de la Grece, tom. 1. pi. xvii. 
 —Mus. Nap. tom. 2. pi. xlv. 
 
 1 
 
 m. 
 
PLATE VII. 
 
 Triton. This beautiful vase was found by Mr. Gavin Hamilton 
 in a spot called Monte Cagnolo, in the Villa of Antoninus Pius at 
 Lanuvium. When discovered, it was lying in several detached 
 pieces, which have been carefully joined together. The female 
 Bacchante on the left, and the Faun which is next to her are 
 modern, with the exception of the feet of the former, and of the 
 lower legs and left arm of the latter. The face of the figure which 
 holds the torch is modern, and the left arm of the Satyr as well as 
 a large portion of the head and a part of the amphora have been 
 restored. The rest of the vase, with the exception of the pedestal, 
 is ancient, and in excellent preservation. It measures in height 
 3 feet §• inch. 
 

 
 
 
 PLATE \ . 
 
 A n ‘<1 to the " ’ uid cover r, «*v •* •• 
 
 TV* dnqw .though h>»i' 
 
 ■ • 
 
 ; ■ . l-i KgO .M. i 
 
 •tatucs which have been yct.dUcovei 
 It consists of two pieces of iiiiirhl 
 lower part of the body, within the di 
 
 t —-• ’ . ' 1 
 
 tii,- h- •' i • "hit : nr, th»n tha 
 
 allowed to l>e exported from Italy, 
 
 . 
 
 maritime hath of the Euiperoi Clan at Ostia, by Mr. ( iavin 
 
 It: 'ilff.o, in yen'. hi:. of Venus ' t- 
 
 • ,, ' . ... * '■ W itll ■' 
 
 . -billion, in bronze, 
 
 
 
 •pery. The mart,:. 
 
 ' ■- -I by this 
 
 tsition of tlie arms reversed, 
 it LociUu, t ■ be- the god- 
 
 edge ot -t th 
 
 I « othtr in 
 diffi:-' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PLATE VIII. 
 
 A statue of Venus, naked to the waist, and covered with drapery 
 from thence downwards. The drapery, though bold, is light and 
 finished, and is supported by being thrown over the right arm. 
 The attitude of the statue is easy and graceful, and the inclination 
 of the head perfectly corresponds with the character and expression 
 of the whole figure. The sculpture is of the highest order, and 
 the original polish of the marble is admirably preserved, but the 
 left arm, the right hand, and the tip of the nose have been restored : 
 upon the whole this figure may rank as one of the finest female 
 statues which have been yet discovered. 
 
 It consists of two pieces of marble, imperceptibly joined at the 
 lower part of the body, within the drapery. The marble of which 
 the body is composed, is of a lighter colour, than that of which 
 the drapery is formed, and the beautiful effect produced by this 
 contrast proves that it was not an accidental circumstance, but 
 was the result of previous knowledge and skill in the artist. It 
 was in consequence of the two parts being detached, that they were 
 allowed to be exported from Italy, as fragments of two different 
 statues. 
 
 This exquisite piece of sculpture was found in the ruins of the 
 maritime baths of the Emperor Claudius,(1) at Ostia, by Mr. Gavin 
 Hamilton, in the year 1 JJ(>. A figure of Venus very nearly re¬ 
 sembling the present, but with the position of the arms reversed, 
 occurs on a medallion, in bronze, of Lucilla,(2) where the god¬ 
 dess is represented standing at the edge of the sea, or at the 
 head of a bath, surrounded by Cupids, one of which is leaping 
 
 * It is known that maritime baths were built at Ostia, by the Emperor Claudius, from 
 the fragment of an inscription, which was found there with this statue. From other in¬ 
 scriptions, discovered at the same time, we learn that these baths were repaired by diffe¬ 
 rent Emperors, down to the time of Constantine. 
 
 a Numismata aerea selectiora Maximi Moduli e Museo Pisano, Tab. xxv. fig. 3. 
 
PLATE VIII. 
 
 into the water ;(s) and it is not improbable that the present statue 
 might have been placed, as an appropriate ornament, in the baths 
 which were constructed on the spot where the statue was discovered. 
 
 It is 6 feet 11| inches high, including the plinth; the latter 
 measures 4f inches. 
 
 An ancient painting, representing a similar subject, was found in tiie excavations of 
 tbe \ ilia Negroni. Winckelmann Hist, de l’Art ciiez les Anciens, tom. ii. part ii. p. 336 
 

 a ! tight double handles, which spring-from):><•• . ■ 
 
 ,.t ns. There are four figur. on the body of tb> Wm' nil at 
 whom are joining the wild and irregular danc of 
 
 The first represents » fi' Si- : «>h 
 
 right hand; * fc A 
 
 playing on the cymbals; the third is an aged Faint bearing a vase 
 
 'ancient V. . • >... "■ -t an the »• 
 
 exception of the ■■ n playing «,>•• > ynduiN, ot which figu-e 
 
 only the legs and part of the left arm are of ancient -eulpture. The 
 bead of one ot tb • and a ; ‘ portion of the neck of the 
 
 .use, namely, that «iite! ' ! ' ■ 
 
 !» H inches’b -'h. 
 
PLATE IX. 
 
 A vase, the front of which is ornamented with a group of Baccha¬ 
 nalians, and the neck with branches of ivy. It is of an oval form, 
 and has two upright double handles, which spring from the necks 
 of swans. There are four figures on the body of the vase, all of 
 whom are joining the wild and irregular dance of Bacchus: 
 The first represents a female Bacchante holding a thyrsus in her 
 right hand; her hair is dishevelled, her head thrown back, and her 
 whole action bespeaks the excess of enthusiasm by which the vota¬ 
 ries of Bacchus were distinguished : the second is a young Faun 
 playing on the cymbals; the third is an aged Faun bearing a vase 
 upon his shoulder; and the fourth is another young Faun playing 
 upon the tibia or double pipe. This vase has been so much restored, 
 that, it may perhaps be best to particularize those parts which are 
 ancient. Among these are the four Bacchanalian figures, with the 
 exception of the Faun playing upon the cymbals, of which figure 
 only the legs and part of the left arm are of ancient sculpture. The 
 head of one of the swans, and a great portion of the neck of the 
 vase, namely, that which is over the two last described figures, are 
 likewise antique ; all the rest of the vase is modern. 
 
 It is 2 feet 8 inches high. 
 
■— 
 
PLATE X. 
 
 liti ' r • : v ib been used for sarred put - 
 .»»*»•« •'* >-i I piece of marble, 
 
 nr - * three parts, 
 
 each part nauw:<og » ■ >ui, in 
 
 a land ol ealyx. • The t>i*t' or lower div. ioj. t* '. with 
 
 >«,. of ihe «>ti tie*', th second with hr .mein ! 
 
 i , third or upper division with’the leaves and flowers .1 -..me 
 unknown plant. In addition to the other ornaments, the middle 
 division has a terpei.i twined round it Tlie water appears to 
 
 . 
 
 ■ 
 
 ami u halt, at ;hi jji. 
 
 This curious . : very eh : • ti ran snt was t uml by Nicok) la 
 
 Picola, in the year 1776, near the road,between Ti oli and Prteneste. 
 
 It-measure' in height, including the pedestal, 5 feet 10J incites. 
 M ■ d Deter, in the thickest part, is. 6* inches. 
 
 .it, e . wncemint » ore. When different plant. 
 
 t, rpr . - ulpture, it m»y lie «! .-c i d 
 
 t.-. . • stt*d 
 
 .. • I. 1 snow '. t.« naturally 
 
 • • • •« f~t t- ■ *1 ••• = measure 
 
PLATE X. 
 
 A domestic fountain, which has probably been used for sacred pur¬ 
 poses. It consists of an upright, cylindrical piece of marble, 
 enriched with different sorts of foliage. It is divided into three parts, 
 each part emanating from a number of broad leaves, (l) which form 
 a kind of calyx. The first or lower division is ornamented with 
 branches of the olive tree, the second with branches of ivy, and 
 the third or upper division with the leaves and flowers of some 
 unknown plant. In addition to the other ornaments, the middle 
 division has a serpent twined round it. The water appears to 
 have been conveyed through a perforation on the back part of 
 the column, and to have issued from the mouth of the serpent, in 
 which a leaden pipe was introduced, part of which still remains. 
 This fountain, in its original state, probably stood in the centre of 
 a small basin or reservoir for water, of which kind two are pre¬ 
 served in this collection. The pedestal in which it is at present 
 inserted is modern, as is likewise a small portion, about three inches 
 and a half, at the top. 
 
 This curious and very elegant monument was found by Nicolo la 
 Picola, in the year 1776, near the road, between Tivoli and Praeneste. 
 
 It measures in height, including the pedestal, 5 feet lOf inches. 
 The diameter, in the thickest part, is inches, 
 
 1 These leaves mark the commencement of a new nature. When different plants 
 appear growing from the same stem, in specimens of ancient sculpture, it may be observed 
 that care has been taken that each plant shall issue from a separate germ, to indicate the 
 termination of one genus, and the beginning of another. These leaves, however, have 
 no connection with the plant which rises out of them, but their form is entirely regulated 
 by the taste and fancy of the artist. In like manner, when any two things, not naturally 
 connected, are placed together, the incongruity arising from thence is in some measure 
 obviated by the intervention of foliage, an instance of which we have just seen in the leg 
 of a tripod table, formed of the head and leg of a lion. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 » 
 
 
 
 
 
 
 
 
 
 
 
PLATE XX 
 
 . . ' , 1 Slcrcules, of th<- finest Greek scolptur. 
 
 I Vloi- ■*■>! erideiitlj represented H« 
 
 ,; of tUe cbt- id forehead have v cu. f, > »* hoc 
 
 of the head and beard is more ini distinct ma-< * lade head 
 
 indeed is executed in a bolder style of art, and is, if p* abb-, eliarac- 
 
 , . "■ very si kit it* 
 
 ! t . was in order 
 
 of Mount- Vesuvius, h< - .v tbe lays mt 
 
 Yolcann; it * I:t >•! 
 
 The nose, the i : jht ear, *.*f a spl.atef<w t»* ^bt cheek, are 
 
 , 
 
 Muu. Am i. 
 
PLATE XI. 
 
 A colossal head of Hercules, of the finest Greek sculpture. The 
 statue to which this head belonged evidently represented Hercules 
 in a state of repose, and was probably a copy of the famous statue 
 of Glycon,(i) found in the baths of Caracalla, and now in the court 
 of the Farnese Palace; it was after this model that the bust 
 was restored at Rome. The head, however, differs in several points 
 from that of the Farnese Hercules : the face is broader, the mus¬ 
 cles of the cheeks and forehead have more convexity, and the hair 
 of the head and beard is more in distinct masses; the whole head 
 indeed is executed in a bolder style of art, and is, if possible, charac¬ 
 terised by a higher degree of grandeur and sublimity. The ears of 
 Hercules are generally represented of a remarkable form, having a 
 swoln and lacerated appearance. This peculiarity is very striking in 
 the instance before us. The motive which induced the ancient sculp¬ 
 tors to represent Hercules with this particular mark, was in order to 
 denote the injuries he received in the numerous combats in which 
 he had been engaged.( 2 ) This superb head was dug up at the foot 
 of Mount Vesuvius, where it had been buried by the lava of that 
 Volcano; it was presented to the Museum by the late Sir William 
 Hamilton. 
 
 The nose, the right ear, and a splinter on the right cheek, are 
 the only restorations it has received. It measures, including the 
 bust, 2 feet 5 l inches in height. 
 
 ' The Farnese Hercules is represented on several ancient coins; among others on a 
 cooper coin of Athens, Haym. Thesaur. Britan, vol. i. tab. xvii. fig. 9, and on a medal¬ 
 lion of Gordianus Pius, struck at Hypaspa in Lydia, Vaillant Sel. Num. in are Max. 
 Mod. pag. 89. fig. 3. 
 
 . Eudemus, the wrestler, is called by Lucian <Jrc*«Ta£ic, that is, one with torn ears: 
 
 'ElAfwt, Lexiph. c. 9. ’XItmA- 0 #;. t* Zrx nhxrylm h 
 Suidas in voce. The following line is applied to Amycus, a famous boxer, who was 
 conquered by Pollux; 
 
 Aim< MsSr, o-xXap«i«n Ti9x«(rfuw ixra n uyfWt. Theoc. Idyl. xxn. 45. 
 
 The reader is referred, for a more copious illustration of this subject, to Winckelmann. 
 Mon. Ant. Ined. part i. pag. 75. 
 

 
 cl 11< ™, in this gallery, cxecuteU'io <)• early flat styl . p- 
 
 ture.(*) It is worth of c : • l< j- th* ..rv ti iy 
 
 formed from th. . ;! if later 
 
 work, m* i 
 
 ' ■ ■ a. small portion 
 
 the truth and txa if* o atu < 
 
 liic primus uervofi ct v rxprev.it diligent •$. Plin. Hist. lib. 
 
 - kli ; author a-mii; or Myra, th • e nding l improvements in art 
 
 -> . ^ ' by huti, he rt,;. -cr ; ' hair with i- idhcrcnc- .» nature, , 
 
 1 *h : ud ei of sculptures # 
 
 i- 1 a- n&riet*( m ridetui, • i *rie, quant PoJycletus, et 
 
 •- •’ ... • ' . snimf Knsuf non expre*- 
 
 • m rudbantiqaitM iartituisseu 
 
 
 
 , ' 
 
PLATE XII. 
 
 A colossal head of Hercules. The hardness of character, the sharp¬ 
 ness of the work, as well as the formal manner in which the hair(i) 
 is represented, all concur to denote that it must have been the work 
 of a very early period of art. The same stiff and uniform curls which 
 decorate this head may be also remarked in a very ancient figure 
 of Hercules, in this gallery, executed in the early flat style of sculp- 
 ture.( 2 ) It is worthy of observation, that the ears are differently 
 formed from those which distinguish the heads of Hercules of later 
 work, in not having the swoln and lacerated appearance, which we 
 pointed out in our description of the preceding article. 
 
 This head was found by Mr. Gavin Hamilton, in the year 1769, 
 at the Pantanella in Hadrian’s Villa. The chest, a small portion 
 of the nose, and the outer edges of the ears are modern. 
 
 It is 2 feet inches in height. 
 
 * Pythagoras of Rhegium, according to Pliny, was the first who represented hair with 
 the truth and exactness of nature : 
 
 Hie primus nervos et venas expressit, capillumque diligentius. Plin. Hist. lib. 
 xxxiv. c. 8. 
 
 The same author remarks of Myro, that notwithstanding all the improvements in art 
 which were effected by him, he represented the hair with no more adherence to nature, 
 than was observed in the rudest ages of sculpture: 
 
 Primus hie multiplicasse varietatem videtur, numerosior in arte, quam Polycletus, et 
 symmetria diligentior; et ipse tamen corporum tenus curiosus, animi sensus non expres- 
 sisse, capillum quoque et pubem non emendatius fecisse, quam rudis antiquitas instituisset. 
 Plin. Hist. loc. cit. 
 
 * See Room III. No. 7- 
 

 PLATE XII! 
 
 A f.aspnent of one of the supports of a table, or at. ably ol 
 
 it reprtaeota the head of • Hon with the boeu« < 
 
 • comp - A of lea' >. tj.-lov wlm • , 
 
 n if. have already seen in an article lately 
 
 d,'vfa. : % though it bears the <hancter of a Won, 
 
 i , . t of a griffin, which Was a fabulous animal sacree 
 
 •o 1 anil j.i-erented partly under the !• rtn ot on eagle, 
 
 i d partly under that of a Hon It Svas usually represent* <1 having 
 the body, legs, and tail <.t the latter, with the head and wings of 
 the former. Bur this mode of representation, {!, mgt most * 
 icabe • ’ 
 
 sometimes sec the grillin'without any portion of the ■ agle exccp 
 the wings, in which cases we have remarked that thfe horn* of 
 ih mjat. have bee; generally affixed to the head.’ ' Jo th, 
 
 die pushed, in like juame-r, wim tlie bet 
 horns of a goat. Two of th< animals are . i 
 the same characteristics on a marble. ' . > 1 
 
 M. Van-Hoprn, an ngravingof wh ?h ha- published by the 
 
 ■ ■ ..... <>■ .., . , 
 
 „ : ill ■ sane kir.d - yen. ’ ’ 
 
 Tin- fragment is executed with gf-.tt spin.; it was • 
 
 ,(. . , : ,v Mi Gavin Hamiltc . in • , .nc wit. sii 
 
 ■ the - ..it's Villa, near l ivoli. 
 
 Th« ;• ■' -a lib the head, the a!, of the nose, and both 
 
 , ho . .... .i . . * toward ' 
 
 been i ■. • • ur. ■ i 
 
 • e goat w.- ■; ; ot improbable 
 
 ; !.r ...mi- if that me • 'e:.e •" V* ' ■» 0 r the sun. 
 
 intiqvitieS) •’ * , • >■ ■■ - 
 
 Hob. Ant. loed. tow. I. fd. xxtl xxxii. p. $03. 
 
PLATE XIII. 
 
 A fragment of one of the supports of a table, or more probably of 
 a tripod ; it represents the head of a lion with the horns of a goat. 
 Underneath the head is a circle composed of leaves, below which, 
 when perfect, this piece of sculpture terminated in the legot a lion, 
 in the same manner as we have already seen in an article lately 
 described.(i) This head, though it bears the character of a lion, 
 is in reality that of a griffin, which was a fabulous animal sacred 
 to Apollo, and was represented partly under the form of an eagle, 
 and partly under that of a lion. It was usually represented having 
 the body, legs, and tail of the latter, with the head and wings of 
 the former. But this mode of representation, though most fre¬ 
 quently adopted by the ancients, was not always observed, for we 
 sometimes see the griffin without any portion of the eagle except 
 the wings, in which cases we have remarked that the horns of 
 the goat have been generally affixed to the head.(a) On the 
 frieze of the temple of Apollo Didymmus,(s) at Miletus, two of 
 these animals are guarding the lyre of Apollo, and they are each 
 distinguished, in like manner, with the head of a lion and the 
 horns of a goat. Two of these animals are also represented with 
 the same characteristics on a marble vase,(4) in the collection of 
 M. Van-Hoorn, an engraving of which has been published by the 
 learned author of the Mommens Antiques Inedits. Many other in¬ 
 stances of the same kind might, if it were necessary, be enumerated. 
 
 This fragment is executed with great spirit; it was found m 
 the year 1769, by Mr. Gavin Hamilton, in the Pantanella, within 
 the grounds of Hadrian s Villa, near Tivoli. 
 
 The foliage underneath the head, the alee of the nose, and both 
 the horns, with the exception of a small portion towards the base, 
 have been restored. It measures 1 foot 3 * inches. 
 
 1 See Plate. III. 
 
 * As the goat was an emblem of fecundity among the ancients, it is not improbable 
 that the horns of that animal indicate in these instances the prolific qualities of the sun. 
 
 3 Ionian Antiquities, Part I. pi. x. fig. 1. 
 
 4 Millin, Mon. Ant. Ined. tom. 1. pi. xxxi. xxxii. p. 303. 
 

 . 
 
 PLATE XIV. 
 
 The r. lital of avn.ivi -ippu*. the tour side- of v. tjich are oma* 
 
 , i,. :Ue front is il «l*. ", «'• >‘U •> - ' " 
 
 .. h.ch is a .lore drinking out of it; hehiad the va - i, .» tmr.’m. 
 of the bearded Bacchus. At th. Iiaek part of this capita! at. •«'<* 
 geese peeking at a f< oon of fruit intended between rla-m; 
 
 ' 
 
 Sfttv., each of Wb' ;• - pi red upon the aritker bask- #Hth ’ ,as 
 tern! -i for a Faim T - nriumutlt* an t! oth i onsist 
 
 ■ 
 
 of young Fauns, with a drinking horn and a pair of cymbals 
 
 suspends between then: • 
 
 The laaly ' thecipp s, frt ■ which this capita! w.rtcu Hi 
 was decorated with foliage of the toe-, and ■ - i . 
 
 The upper aud tower division* 'o^Tnis capit 
 
 man ship. 
 
 •air« ‘ rii t:i : ; ' ' ■ " 
 
 - I foot I; inches il. depth. 
 
 * octiat etmscia ciltn sacra. . r.. ... ' ‘ **’* *’ 
 
- 
 
PLATE XIV. 
 
 The capital of a votive cippus, the tour sides of which are orna¬ 
 mented with subjects principally relating to the mythology of Bac¬ 
 chus. In the front is a vase with two handles, on each side of 
 which is a dove drinking out of it; behind the vase is a terminus 
 of the bearded Bacchus. At the back part of this capital are two 
 geese pecking at a festoon of fruit suspended between them; over 
 the festoon is a patera. The ornaments on one of the sides of this 
 capital consist of two masks, namely, those of a young Faun, and a 
 Satyr, each of which is placed upon the wicker basket(l) which was 
 sacred to Bacchus ; between the masks is a terminus probably in¬ 
 tended for a Faun. The ornaments on the other side also consist 
 of two masks, placed upon similar baskets; the masks are those 
 of young Fauns, with a drinking horn and a pair of cymbals 
 suspended between them. 
 
 The body of the cippus, from which this capital was cut at Rome, 
 was decorated with foliage of the ivy, the vine, and the olive. 
 
 The upper and lower divisions of this capital, which project be¬ 
 yond the border that surrounds the figures, are of modern work¬ 
 manship. 
 
 It measures 7J- inches in height, 1 foot 4| inches in length, and 
 1 foot If inches in depth. 
 
 1 Et levis occultis conscia cista sacris. Tibul. lib. I. El. vii. 48. 
 
plate: XV. 
 
 A part of one of the support' of an ancient table ; it cous of a 
 ibh volute, of *, very ei< mt form. The ciiv nvoUitions of the 
 epper and lower parts turn in < ontraiy direction'.. Ik er vo¬ 
 lute serves as a 1 sit c pedestal to i figure Cf Victor, which fills 
 
 marble has bee- so la •u.-teh ' .allowed ou’ He end ; s-figure, 
 tlt.it with the exception of. the feer and wings it is p. v! . ..letarhed. 
 
 T ' suppor ■ s tound, withniapy'.tiier i e * 
 
 >nrae extent, e rui-.ts in tjte neioM-nur 1 • ■. 
 
 arm of the figure of Victory aft air e*r 
 
 
 
 
 
 
PLATE XV. 
 
 A part of one of the supports of an ancient table ; it consists of a 
 double volute, of a very elegant form. The circumvolutions of the 
 upper and lower parts turn in contrary directions. The lower vo¬ 
 lute serves as a basis or pedestal to a figure of Victory, which fills 
 up the intervening space in a light and beautiful manner. The 
 marble has been so elaborately hollowed out behind this figure, 
 that with the exception of the feet and wings it is perfectly detached. 
 This support was found, with many other similar fragments, among 
 some extensive ruins in the neighbourhood of Frascati. 
 
 It measures 3 feet f inch in height. The head and the left fore 
 arm of the figure of Victory are modern. 
 

 
 I preservation, and -eta 
 
 < original polish. Die rl rt *'the« • 
 
 ■«' <’r*> 
 
 ■ ■ t |j ' 1 • 
 
 helmet, to have, imitated a silver tom <>’ f of v -'»h t> , »Si»t 
 
 uei' I - hie t- 
 
 St ire. . t t in a i i height 
 
■r-iws 
 
 M 
 
 
 
 , . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PLATE XVI. 
 
 A colossal head of Minerva, a specimen of very early Greek work. 
 The face, with the exception of the tip of the nose, which is restored, 
 is in the highest preservation, and retains, in some degree, the 
 lustre of its original polish. The sockets of the eyes, which are now 
 hollow, were originally filled with compositions intended to repre¬ 
 sent the natural appearance of the eye. The ears have been orna¬ 
 mented with pendents. The upper part of the helmet is modern, 
 hut the lower part proves that it must have fitted close to the head, 
 like those which we see on the most ancient silver coins of Athens. 
 The artist who restored this head, seems, in the ornaments of the 
 helmet, to have imitated a silver coin of the city of Nola, on which 
 Minerva is in like manner represented with an owl on each side of 
 her helmet. 
 
 It measures 2 feet 1 \ inch in height.