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ANCIENT MARBLES 
 
 IN GREAT BRITAIN. 
 
JLonfcon: c. J. CLAY, M.A. & SON, 
 CAMBRIDGE UNIVERSITY PRESS WAREHOUS1 
 17, PATERNOSTER ROW. 
 
 ffiambritjge : DEIGHTON, BELL, AND CO. 
 JUtpjt's; F. A. BROCKHAUS. 
 
ANCIENT MARBLES 
 
 IN GREAT BRITAIN 
 
 DESCRIBED BY 
 
 ADOLF MICHAELIS, 
 
 PH. D., PROFESSOR OF CLASSICAL ARCHAEOLOGY IN THE UNIVERSITY 
 OF STRASSBURG. 
 
 TRANSLATED FROM THE GERMAN 
 
 BY 
 
 C. A. M. FENNELL, M.A., 
 
 LATE FELLOW OF JESUS COLLEGE, CAMBRIDGE. 
 
 EDITED FOR THE SYNDICS OF THE UNIVERSIT\ PRESS. 
 
 Cambrftge: 
 
 AT TI-IE UNIVERSITY PRESS 
 
 1 882 
 
©ambrfage : 
 
 PRINTED BY C. J. CLAY, M.A. & SON, 
 AT THE UNIVERSITY PRESS. 
 
 WE PETTY CFWTFP 
 
 f fW'ryy 
 
TO MY BELOVED FRIEND 
 
 GEORGE SCHARF, Esq., F.R.S.L., F.S.A. 
 
 MEMBER OF THE GERMAN ARCHAEOLOGICAL INSTITUTE, 
 DIRECTOR OF THE NATIONAL PORTRAIT GALLERY 
 
 THIS WORK IS INSCRIBED 
 
 IN GRATEFUL REMEMBRANCE OF MANY HAPPY DAYS 
 SPENT UNDER HIS HOSPITABLE ROOF 
 1861, 1873, 1877. 
 
 M. C. 
 
 b 
 
THE AUTHOR’S PREFACE. 
 
 The object of the present work is to supply 
 archaeologists and those interested in archaeology with 
 more complete and accurate information than has 
 hitherto been provided concerning the treasures of 
 ancient sculpture, stored up in the galleries of Great 
 Britain, the abundance and excellence of which appear 
 to be but little known in detail, notwithstanding that 
 they are admitted in general terms. 
 
 In order to guard against erroneous expectations, 
 it should be borne in mind that the title “ Ancient 
 Marbles ” does not imply antique sculptures of every 
 description, but only the relics of Greek and Roman 
 origin which have been imported into Great Britain 
 from classical soil. I have accordingly excluded 
 Egyptian and Oriental art as well as the Anglo- Roman 
 remains found in Great Britain. Whatever the book 
 may contain not included within the limits of the above 
 definition, must be looked at as an accessory which, I 
 venture to hope, will at least not be troublesome to the 
 reader. 
 
 For obvious reasons no catalogue is given of the 
 Sculptures preserved in the British Museum. With 
 the exception of the few Museums of a public character, 
 such as those in Cambridge and Oxford, private 
 galleries therefore have supplied the main part of 
 
Vlll 
 
 THE AUTHOR S PREFACE. 
 
 this catalogue. Everybody knows, how widely spread 
 they are over the country, though perhaps few are 
 aware how difficult it is to get information about 
 them, much more to obtain such access to them as 
 shall enable a visitor thoroughly to examine the works 
 of art, without being at every moment disturbed by the 
 impatient noise of the housekeeper’s keys. But the 
 greatest of all hindrances is the want of good cata- 
 logues or other literary means of general, as well as 
 special, preparation and instruction. Up to the present 
 day the Student had to depend chiefly on James 
 Dallaway’s Anecdotes of the Arts in England (1800), 
 however superficial and antiquated the book may be. 
 The French translation published under A. L. Millin’ s 
 authority, Les Beaux-arts en Angleterre (1807), added 
 nothing of consequence, the editor not having himself 
 visited the collections. Nor did Dallaway’s own re- 
 vised edition, which appeared in 1816 with the title 
 Of Statuary and Sculpture among the Ancients, though 
 it was enriched by useful additions, materially alter the 
 unsatisfactory character of the book. A selection only of 
 particularly remarkable monuments is contained in the 
 splendid volumes published by the Society of Dilet- 
 tanti, the Specimens of Antient Sculpture, selected from 
 several collections in Great Britain (1809 and 1835). 
 If we add a few special publications, some of them 
 scarcely accessible to persons most interested in their 
 contents, such as the works on the Oxford Marbles 
 (1763), on the Museum Worsleyanum (1794), on the 
 I nee collection (1809), on the Marbles of Woburn 
 Abbey (1822), on the Museum Disneianum (1849), and, 
 last not least, Prof. Newton’s valuable Notes on the 
 Sculptures at Wilton House (1849), we should exhaust 
 nearly all that has been done in England itself to- 
 
THE AUTHORS TREFACE. 
 
 IX 
 
 wards our special knowledge of those treasures. The 
 greater are the thanks due to the late Count Clarac, 
 who, after a personal inspection in 1833, employed Mr 
 Brotherton to make drawings of the Statues in the 
 most important private galleries, which he incorpo- 
 rated in his copious Musde de Sculpture (vols. in. — v., 
 1832 — 1841). Unsatisfactory as these sketches in 
 outline may be with regard to style, they still suffice 
 to give an approximate idea of the subjects repre- 
 sented. Hence Clarac’s work is still one ol the most 
 important books to be consulted on English private 
 collections, as far as Statues are concerned ; Busts 
 and Reliefs not being included within its scope. 
 
 Of more modest pretensions, though scarcely less 
 meritorious, are the observations scattered through 
 the writings of various travellers in Great Britain. 
 Older works, like those by Volkmann 1 , Goede 2 , 
 Spiker 3 , may be left out of consideration, as they afford 
 very little valuable information. The notes published 
 from C. O. Muller’s journals of 1822, in Bottiger’s 
 Amalthea , Vol. 111. (1825), deal only with the collec- 
 tions in Lansdowne House and at Petworth. Richer 
 in observations and notices is the well-known book of 
 Dr Waagen, which was first published in German with 
 the title Kunstwerke und Kiinstler in England (1837, 
 1838), and afterwards, in English, with the results of 
 several subsequent visits incorporated, as Treasures of 
 Art in Great Britain (3 vols., 1854), supplementary to 
 
 1 Neueste Reisen durch England. A us den besten Nachrichten und 
 neueren Schriften zusammengetragen von J. J. Volkmann. 4 vols. Leipzig, 
 1781-1782. (Compiled chiefly from English sources.) 
 
 2 England. , Wales, Inland und Schottland. Erinnerungen von einer 
 Reise in den Jahre 7 i 1802 und 1803. 2nd edition. 5 vols. Dresden, 1806. 
 
 3 Reise durch England, Wales, und Schottland im Jahre 1816. 2 vols. 
 Leipzig, 1818. 
 
X 
 
 THE AUTHOR S PREFACE. 
 
 which is the volume styled Galleries and Cabinets of 
 Art in Great Britain (1857). Waagen, however, was 
 chiefly attracted by works of modern art, especially of 
 painting ; as to antique sculpture his eye was less 
 sure, his studies less extensive and thorough. The 
 chief value of his book, therefore, to classical archaeolo- 
 gists, consists in pointing out a great number of 
 dispersed marbles, which he had the opportunity of 
 observing in the course of his various journeys. Still, 
 it may easily be understood that his notes should have 
 appeared sufficiently new and interesting to be ex- 
 tracted, for the use of the French public, by G. 
 Brunet in the Revue archbologique, vol. x. (1853). The 
 first archaeologist, however, after Count Clarac, who, with 
 a full mastery of the different parts of archaeological 
 science, made private galleries of ancient art in England 
 the object of a special examination, was Alexander 
 Conze, then Professor of Archaeology in the University 
 of Flalle. In the Archdologischer Anzeiger of 1864, a 
 supplement of the A rchaologische Zeitung of Berlin, he 
 communicated, in the most concise form, many valuable 
 notices extracted from his journals. More recently a 
 supplement to them was contributed by the late Pro- 
 fessor F. Matz, to the Archdologische Zeitung of 1873, 
 in which also some collections, hitherto unknown, were 
 first presented to the notice of the learned public. 
 
 The author of this work first visited England in 
 1861. But the immense riches of the British Museum 
 then left me little leisure to go in quest of private col- 
 lections, with the exception of the gallery of Lansdowne 
 H ouse, a few notices of which I published in the Archcio- 
 logischer Anzeiger of 1862. In the autumn of 1873, 
 accompanied by my friend Professor Matz, I under- 
 took a tour through different parts of England. My 
 
THE AUTHORS PREFACE. 
 
 XI 
 
 attention was at that time mainly directed to Greek 
 Sepulchral Reliefs, that of my companion to Roman 
 Sarcophagi, the collection and publication of these 
 classes of monuments having been undertaken by 
 the Academy of Vienna, and by the German Archaeo- 
 logical Institute, respectively; but whatever time 
 could be spared was devoted to the examination 
 of antique monuments of other descriptions. The 
 results of these inquiries, together with such notices 
 as were supplied by the books of reference then ac- 
 cessible to me, were published in an article “On the 
 private collections of ancient art in England,” in the 
 Archdologische Zeitung of 1874, pp. 1 — 70. This rather 
 detailed sketch forms the foundation of the present 
 work, to undertake which I have been led, partly 
 by my own interest in the subject, partly by the re- 
 quests of friends and colleagues, especially in England. 
 Favourable circumstances having enabled me to be- 
 come acquainted with those galleries to a greater extent 
 than perhaps any other living archaeologist, I thought 
 it my duty, putting aside for some years other tasks of 
 a more inviting nature, to undertake the irksome, 
 mosaic-like work of drawing up a descriptive cata- 
 logue of the marbles they contain. In doing this, 
 I hoped also to pay a small tribute of affection and 
 gratitude to a country in which I have seen and learnt 
 much, and have formed many valuable and pleasant 
 personal connexions, and experienced much kindness 
 and hospitality. Another visit to England in 1877 
 helped me to complete my former inquiries. 
 
 With the exception of Castle Howard, which I 
 was accidentally prevented from visiting, I have 
 personally inspected nearly all the principal galleries. 
 As to the minor collections, of which often scarcely 
 
xii the author’s preface. 
 
 more than the name is known, it would not be reasonable 
 to expect that a foreigner, without any other assistance 
 than that afforded by his limited private means, should 
 be able to discover and examine them. I must hope 
 that the publication of this necessarily incomplete work 
 will stimulate others to supply its deficiencies, and I 
 shall be very thankful for any information which may 
 be communicated to me. But even of the larger col- 
 lections, it would have been impossible to give a full 
 and satisfactory account from my individual unaided re- 
 sources. To my friend Dr Conze I am indebted for 
 the free use of all his original notes. The papers left 
 by the late Professor Matz, now the property of the 
 German Archaeological Institute, supplied a consider- 
 able number of drawings and descriptions, particularly 
 of Sarcophagi. Prof. Bernoulli of Basel, liberally 
 complying with my request, placed also at my command 
 all the notes he had made during' a visit to England 
 in 1875, which, as they chiefly concerned busts and 
 other portrait sculptures, formed a most valuable sup- 
 plement to Conze’s, Matz’s and my own notes. In the 
 case of articles which are not founded upon notices 
 made by myself or by my friends (indicated by B, C, M \ 
 see p. 210), the notice is borrowed from the special 
 catalogue or from one of the other books quoted at the 
 top of each collection ; in these instances, of course, 
 I should not be made responsible for blunders which 
 may occur. The measures are throughout given in 
 metres and centimetres. Full accuracy, however, can 
 be warranted only where either I or one of my friends 
 have taken them, experience having more than once 
 shewn that measures taken by others in English feet 
 and afterwards converted into metres (a foot being 
 equal to 0'305 m.) prove to be not quite exact. 
 
THE AUTHORS PREFACE. 
 
 xiii 
 
 The catalogue itself is naturally an unconnected 
 series of articles, which can hardly be what is called 
 “ pleasant reading.” General readers, however, will I 
 hope be interested by the Introduction, in which I have 
 attempted to give a synopsis of the whole subject, and 
 to shew, from original sources and in connexion with 
 other historical incidents, in what manner and to what 
 extent Peacham’s saying about the transplanting of 
 old Greece into England has been realized. 
 
 It should be added that the manuscript of my book 
 was finished in October 1878, and the delays incident 
 to the processes of translation, printing, and revision 
 will explain why in the later portions of the work books 
 have been consulted and other additions made, which 
 refer to the last year or two, and which could not find 
 place in the former parts. 
 
 There remains the agreeable task of acknowledging 
 the assistance I have experienced in the course of this 
 work. My thanks are due, in the first place, to the 
 possessors of many of the collections here described. 
 Though nearly unprovided with introductions, and 
 generally obliged to risk a bare personal application, 
 I ' feel bound to state that with a very few exceptions 
 my applications to visit galleries met with a courteous 
 permission. I must deprive myself of the satisfaction 
 of naming individuals who have shewn me special 
 kindness, lest I might seem ungrateful towards others. 
 For much aid and many hints I have to thank the 
 officers of the British Museum; Prof. Newton, Mr 
 Franks, Mr Poole, and Mr Murray; and also Mr 
 Doyne C. Bell, in Fondon, Mr Holmes, at Windsor 
 Castle, and Dr Acland, of Oxford. To the Rev. 
 Alexander Napier, of Holkham, I am indebted for 
 his effective advocacy of the publication of this work 
 
 m. c. c 
 
XIV 
 
 THE AUTHOR S PREFACE. 
 
 by the Syndics of the Cambridge University Press; 
 to Mr C. A. M. Fennell for undertaking the heavy 
 and irksome task of translating a volume of such a size 
 and nature ; to Prof. Sidney Colvin for the pains he 
 has bestowed on the revision of the translated text and 
 on the superintendence of the illustrations. In the 
 revision of the text I have had the further advantage of 
 the skilled assistance of Prof. Newton and Mr Murray. 
 To all these gentlemen I gladly proffer my sincere 
 thanks. Lastly I desire to express my cordial gratitude 
 to my dear friend Mr George Sciiarf, whose richly 
 furnished library, extensive knowledge, unremitting 
 goodness, and kind interest in my plans and pursuits, 
 have been to me of invaluable assistance. It is 
 my earnest desire that my friend may accept the 
 dedication of this dry, but, I hope, not useless work, 
 as a token of my true and sincere affection and a 
 memorial of some of my most precious associations 
 with England. 
 
 Strassburg, June , 1882. 
 
TABLE OF CONTENTS. 
 
 1'AGE 
 
 The Author’s Preface vii 
 
 Table of Contents xv 
 
 List of Plates and Woodcuts xix 
 
 Geographical Directory xx 
 
 Errata and Addenda xxi 
 
 Introduction, on the Influx of Antique Sculptures into 
 Great Britain. 
 
 Preliminary r 
 
 I. The Arundel Marbles and other early Collections. 
 
 i. No antiques in England in the iCth century. — 2. Henry, Prince of 
 Wales. — 3. Lord Arundel’s tours in Italy. — 4. His Italian mar- 
 bles. — 5. The country of Greece. — 6. Sir Thomas Roe in Con- 
 stantinople. — 7. William Petty. — 8. The Duke of Buckingham. — 
 
 9. Roe’s and Petty’s joint plans. — 10. Arundel and Buckingham. 
 
 — 11. Petty’s activity. — 12. Roe’s efforts. — 13. Buckingham’s mar- 
 bles. Other collectors at Court. — 14. Peacham’s Compleat Gen- 
 
 tleman. — 15. Lord Arundel’s Greek sculptures. — 16. Increase of 
 the collection. Its rising fame. — 17. General view of the Arundel 
 collection. — 18. King Charles I.’s collection of antiquities. — 
 
 19. Vicissitudes of the royal collection after 1649. — 20. The Arundel 
 collection during the Revolution. — 21. The neglect thereof. The 
 inscriptions presented to Oxford. — 22. Dispersion of the whole 
 collection. — 23. The coins and gems. — 24. The Pomfret marbles. 
 
 — 25. Thomas, Lord Pembroke. — 26. The Mazarin collection. — 
 
 27. The antiques in Wilton House. — 28. Sir P. Lely, Lord Win- 
 chelsea, Lord Carteret, J. Kemp. — 29. Dr Mead. — 30. Conyers 
 Middleton. Collectors of coins. W. Courten. Hans Sloane. — 31. The 
 Duke of Devonshire .......... 5 — 54 
 
 II. The Golden Age of Classic Dilettantism. Rome and England. 
 
 32. Travels to the South in the time of the Stuarts. — 33. The fashion of 
 the ‘grand tour.’ Sir A. Fountaine. Lord Burlington. — 34. Th. 
 
 Coke (Lord Leicester). — 35. Lord Carlisle, Lord Bessborough, 
 
 Duke of Beaufort. — 36. Other travelling collectors. The Richard- 
 sons.- — 37. Foundation of the Society of Dilettanti. — 38. Activity of 
 its members. — 39. State of things at Rome. Foundation of the Capi- 
 toline Museum.- — 40. Dealers and restorers. Cavaceppi. — 41. Perry, 
 the Walpoles, Hollis and Brand, and smaller collectors. — 42. Lord 
 Leicester. — 43. Lord Egremont. — 44. British artists in Rome. Gavin 
 Hamilton. — 45. Thomas Jenkins. — 46. His practices. — 47. His 
 
 C 2 
 
XVI 
 
 TABLE OF CONTENTS. 
 
 PAGE 
 
 purchases of antiques. — 48. Hamilton’s and Jenkins’ new excava- 
 tions. — 49. Results. Restorations. — 50. King George III. The 
 Duke of Marlborough. — 51. British travellers — 52. Lyde Browne. 
 
 — 53. Lord Palmerston, Weddell, Gen. Walmoden. — 54. Locke, 
 
 Duke of Richmond, Duncombe, Jennings, Lord Exeter, Lord 
 Yarborough, Lord Cawdor, &c. — 55. Founding of the Vatican 
 
 Museum. — 56. Competitors from other quarters. Charles Townley. 
 
 — 57. Townley in London.— 58. H. Blundell. — 59. Smith-Barry, 
 Mansel-Talbot, Sir Thomas Robinson, Duke of Dorset, Sir G. 
 Strickland, Lord Temple, Duke of St Albans, &c. — 60. Lord 
 Shelburne (Lansdowne). — 61. Thomas Hope. — 62. The Revolu- 
 tion in Rome and its consequences. Earl of Bristol. — 63. William 
 Llamilton and his first collection. — 64. Sir W. Hamilton’s second 
 collection. — 65. Relations with Greece. — 66. Sir Richard Worsley. 
 
 — 67. Morritt, Lord Aberdeen, Clarke, Rob. Walpole, Hawkins. 
 
 — 68. Payne Knight as a collector. Lord North wick. — 69. Payne 
 Knight as a litterateur. The Specimens of Anticnt Sculpture. 
 
 — 70. J. Dallaway. — 71. Sales. Increase of the British Museum 55 — 128 
 
 III. The British Museum and the Private Collections. Greece 
 and England. 
 
 72. Travellers in Greece : Dodwell, Gell, Leake. — 73. Cockerell and 
 other architects. Bassae. — 74. Lord Elgin’s undertakings. — 75. The 
 new Firman and its consequences. — 76. Transport of the marbles 
 to England. — 77. Opposition to the Elgin marbles. Payne Knight. 
 
 — 78. Champions of the Elgin marbles. West, Fuseli, Haydon. 
 
 — 79. Attempts to sell the collection. Lord Byron. — So. Foreign 
 aid. Visconti. Lord Elgin’s renewed proposals. — 81. The Phigalia 
 marbles. Canova’s visit. Select committee. — 82. Deliberations of 
 the committee. Literary warfare. — 83. The purchase of the Elgin 
 marbles for the British Museum. — 84. The activity of the Society of 
 Dilettanti. — 85. Minor collectors. Westmacott, Rogers. — 86. The 
 Duke of Bedford. — 87. Collectors at Rome. Duke of Bucking- 
 ham, Lord Kinnaird, Disney, &c. — 88. Sir William Temple. 
 Collectors at Athens : Lord Guilford, Burgon, Lady Ruthven. — 
 
 89. Other collectors in Greece : Lord Strangforcl, Borrell, Wood- 
 house. — 90. Collectors in London : Edwards, Burke, Chinnery, 
 
 Sir J. Coghill, Sir II. Englefield, Sir J. Soane, Slade, Gen. Fox. 
 
 — 91. Decline of classical dilettantism. — 92. Additions to the 
 British Museum. Fellows. Sir Stratford Canning. — 93. Discoveries 
 of Newton, Wood, Pullan. — 94. Salzmann and Biliotti, Cesnola, 
 
 Smith and Porcher, Dennis, Davis. — 95. Purchases of Farnese, 
 Pourtales, Blacas, Castellani collections, &c. — 96. Private collectors 
 of marbles : Lord Lonsdale, Cook, &c. — 97. Collectors of small 
 antiques : Plertz, Mayer, Forman, Auldjo, &c. — 98. Perils of private 
 collection. — 99. Evils of private collections.' — 100. Passing of 
 
 private collections into public museums ..... 129 — 184 
 
 Appendix (Letters of Sir Thomas Roe) . . . . , . 185 — 205 
 
TABLE OF CONTENTS. xvii 
 
 PAGE 
 
 Catalogue of Collections. 
 
 Explanation of some abbreviations ........ 209 
 
 St Ann’s Hill, Surrey (Lady Holland) . . . . . . . 211 
 
 Castle Ashby, Northamptonshire (Marquis of Northampton) . . . ib. 
 
 Battlesden, Bedfordshire (D. Bromilow, Esq.) 21 2 
 
 Bignor Park, Sussex (C. Ii. T. Hawkins, Esq.) ..... ib. 
 
 Birmingham, Warwickshire (J. A. Crane, Esq.) . . . . . 213 
 
 Blenheim Palace, Oxfordshire (Duke of Marlborough) .... ib. 
 
 Boynton, Yorkshire (Sir W. Strickland) . . ..... 216 
 
 Broadlands, Hampshire (Rt. Hon. W. Cowper Temple) . . . 217 
 
 Brocklesby .Park, Lincolnshire (Earl of Yarborough) . . . 226 
 
 Broom Hall, Scotland (Earl of Elgin) . . . . . . . 241 
 
 CAMBRIDGE— 
 
 Fitzwilliam Museum ib. 
 
 Trinity College Library . . ... . . . . . 268 
 
 Rev. C. W. King .......... 271 
 
 St John’s College ........ . 272 
 
 Canterbury, Kent (Museum) ......... ib. 
 
 Chatsworth, Derbyshire (Duke of Devonshire) ..... 276 
 
 Chichester, Sussex (Museum) ......... 277 
 
 Clumber Park, Nottinghamshire (Duke of Newcastle) ... . . 278 
 
 Colchester, Essex (Museum. Rev. J. H. Pollexfen) . . , . ib. 
 
 Dalkeith Palace, Scotland (Duke of Buccleuch) ..... ib. 
 
 Deepdene, Surrey (Mrs Idope) 279 
 
 Denton Hall, Northumberland (Lord Rokeby) ..... 294 
 
 Ditchley, Oxfordshire (Viscount Dillon) ....... ib. 
 
 Duncombe Park, Yorkshire (Earl of Feversham) ..... ib. 
 
 Dunrobin Castle, Scotland (Duke of Sutherland) 296 
 
 Easton Neston, Northamptonshire (Earl of Pomfret) .... ib. 
 
 Edinburgh — 
 
 Antiquarian Museum . . . . . . . . . 297 
 
 Architects’ Institution ......... 299 
 
 Royal Institution .......... ib. 
 
 Lord Murray ........... ib. 
 
 Hamilton Palace, Scotland (Duke of Llamilton) ..... 300 
 
 Hillingdon Court, Middlesex (Lady Mills) ...... 301 
 
 Holicham Hall, Norfolk (Earl of Leicester) . . . . . . 302 
 
 Houghton Hall, Norfolk (Marquis of Cholmondeley) .... 323 
 
 Hovingham, Yorkshire (Sir W. C. Worsley) ...... 324 
 
 Castle Howard, Yorkshire (Earl of Carlisle) ..... 325 
 
 The Hyde, Essex (J. Disney, Esq.) . 333 
 
 Ickworth, Suffolk (Earl of Bristol) . , . ib. 
 
 Ince Blundell Hall, Lancashire (Th. Weld Blundell, Esq.) . . ib. 
 
 Ivetteringham Hall, Norfolk (Sir J. Boileau) . . . . . . 475 
 
 Kingston Lacy, Dorsetshire (W. R. Bankes, Esq.) ..... ib. 
 Knole, Kent (Lord Sackville) . . . . . . . . . 416 
 
 Liverpool (Public Museum) . . . . . . . . . 423 
 
xviii TABLE OF CONTENTS. 
 
 PAGE 
 
 LONDON— 
 
 Apsley House (Duke of Wellington) 429 
 
 — Atkinson, Esq. ..........431 
 
 C. S. Bale, Esq ib. 
 
 Burlington House (Society of Antiquaries) ..... ib. 
 
 Col. Maitland Crichton ......... ib. 
 
 Devonshire House (Duke of Devonshire) ...... 432 
 
 Lord Elcho ........... ib. 
 
 R. Ford, Esq. ........... 433 
 
 A. W. Franks, Esq. ......... ib. 
 
 Guildhall ............. 434 
 
 W. R. Hamilton, Esq., The late ....... ib. 
 
 Holland House .......... 435 
 
 Lansdowne House (Marquis of Lansdowne) .... ib. 
 
 Lord Leicester ........... 472 
 
 Lord De Mauley ib. 
 
 Mr Mellhuish ib. 
 
 Soane Museum 473 
 
 South Kensington Museum . .... . . 481 
 
 Stafford House (Duke of Sutherland) ...... 485 
 
 Lord Wemyss ........... 486 
 
 Sir R. Westmacott, The late ........ ib. 
 
 Lord Yarborough .......... 487 
 
 Lowther Castle, Westmoreland (Earl of Lonsdale) .... ib. 
 
 Marbury Hall, Cheshire (A. H. Smith Barry, Esq.) .... 500 
 
 Margam, Glamorganshire (C. R. Mansel Talbot, Esq.) . . . . 516 
 
 Narford Hall, Norfolk (A. C. Fountaine, Esq.) ..... 522 
 
 Newby Hall, Yorkshire (Lady M. Vyner) ...... ib. 
 
 Osborne, Isle of Wight (Royal Palace) ....... 533 
 
 Osterley Park, Middlesex (Earl of Jersey) ...... 538 
 
 OXFORD— ib. 
 
 University Galleries 340 
 
 The Schools 572 
 
 Ashmolean Museum 580 
 
 All Souls’ College .......... 392 
 
 Christ Church College ......... 593 
 
 Radcliffe Library .......... ib. 
 
 l’enrice Castle, Glamorganshire (C. R. Mansel Talbot, Esq.) . . . 393 
 
 I’enshurst, Kent (Viscount De Lisle and Dudley) ..... ib. 
 
 Pet worth House, Sussex (Lord I.econfield) ..... 396 
 
 Pippbrook House, Surrey (Mrs Seymour Burt) ..... 618 
 
 Ramsgate, Kent (II. Curling, Esq.) ....... ib. 
 
 Richmond, Surrey (Francis Cook, Esq.) ...... 619 
 
 Rokeby Hall, Yorkshire (Col. Morrilt) ....... 643 
 
 Rossie Priory, Scotland (Lord Kinnaird) ...... 648 
 
 Salisbury, Wiltshire (Blackmore Museum) ...... 658 
 
 Shobden, Herefordshire (Lord Bateman) ...... ib. 
 
 Stanmore Hill, Middlesex (C. D. E. Fortnum, Esq.) .... 639 
 
TABLE OF CONTENTS. 
 
 XIX 
 
 PAGE 
 
 Stourhead House, Wiltshire (Sir R. Hoare) .... 
 
 Stratfield Saye, Hampshire (Duke of Wellington) 
 
 Trentham Hall, Staffordshire (Duke of Sutherland) . 
 
 Tunbridge Wells, Kent (Admiral Spratt) ..... 
 
 Warwick Castle, Warwickshire (Earl of Warwick) . 
 
 Wentworth Castle, Yorkshire (F. W. T. Vernon-Wentworlh, E^q.) 
 
 Wentworth House, Yorkshire (Earl Fitzwilliam) 
 
 Wilton House, Wiltshire (Earl of Pembroke) 
 
 Wimbledon, Surrey ( — Beaumont, Esq.) .... 
 
 Windsor Castle, Berkshire (Royal Palace) .... 
 
 Winton Castle, Scotland (Lady Ruthven) .... 
 
 Woburn Abbey, Bedfordshire (Duke of Bedford) . 
 
 Indexes — - 
 
 I. 
 
 Collectors, Collections, Sources, &c. 
 
 • • • 757 
 
 II. 
 
 Drawings and Engravings .... 
 
 773 
 
 III. 
 
 Subjects represented ..... 
 
 . . . 789 
 
 IV. 
 
 Epigraphical Tndex ...... 
 
 825 
 
 LIST OF PLATES AND WOODCUTS. 
 
 Plate I. Relief, girl with two doves (Brocklesby Park, no. 17) to face p. 22 9 
 Plate II. Fragment of a statue of a Ivistophoros (Cambridge, 
 
 no. 1) ....... to face p. 242 
 
 Fig. 1. Right shoulder of the same statue .... p.242 
 
 Fig. 2. Pattern decorating the cista of the same statue . . p. 245 
 
 Plate III. Head of Aphrodite (Holkham Hall, no. 37) . to face p. 314 
 
 Plate IV. Front of a sarcophagus, “the Winds” (Ince Blundell 
 
 Hall, no. 221) ...... to face p- 374 
 
 Fig. 3. Relief, Zeus (Ince Blundell Flail, no. 259) ... p. 385 
 
 Fig. 4. Relief, a Centaur (Ince Blundell Hall, no. 267) . . p. 389 
 
 Plate V. Statue of an Amazon (Lansdowne Plouse, no. 83) to face p. 462 
 
 Plate VI. Statue of Hermes (Lansdowne House, no. 85) . to face p. 464 
 
 Plate VII. Bust of a heroine (Petworth House, no. 27) . to face p. 610 
 
 Plate VIII. Terra cotta figure of a maiden at her toilette (Rich- 
 mond, no. 14) ...... to face p. 627 
 
 Fig. 5. Votive Relief to Zeus (Wilton House, no. 48) . p. 681 
 
 Plate IX. Relief, a Greek maiden (Woburn Abbey, no. 100) to face p. 731 
 
 Plate X. Sarcophagus, Patroklos, Acliilleusand Hektor(Woburn 
 
 Abbey, no. 219) . . . . . to face p. 749 
 
 . 662 
 
 ib. 
 ib. 
 
 663 
 
 664 
 66 5 
 
 . ib. 
 
 716 
 
 7‘7 
 
 721 
 
 ib. 
 
XX 
 
 GEOGRAPHICAL DIRECTORY. 
 
 GEOGRAPHICAL DIRECTORY. 
 
 Bedfordshire: Battlesden, Woburn Abbey. 
 
 Berkshire : Windsor Castle. 
 
 Cambridgeshire: Cambridge. 
 
 Cheshire : Marbury Hall. 
 
 Derbyshire : Chatsworth. 
 
 Dorsetshire : Kingston Lacy. 
 
 Essex : Colchester, The Hyde. 
 
 Glamorganshire : Margam,' Penrice Castle. 
 
 Hampshire: Broadlands, Stratfield Saye. 
 
 Herefordshire : Shobden. 
 
 Kent : Canterbury, Knole, Penshurst, Ramsgate, Tunbridge Wells. 
 Lancashire : Ince Blundell Llall, Liverpool. 
 
 Lincolnshire : Brocklesby Park. 
 
 Middlesex : Hillingdon Court, London, Osterley Park, Stanmore Hill. 
 Norfolk: Holkham Hall, Houghton Hall, Ketteringham Hall, Narford Hall. 
 Northamptonshire : Castle Ashby, Easton Neston. 
 
 Northumberland: Denton Hall. 
 
 Nottinghamshire: Clumber Park. 
 
 Oxfordshire : Blenheim Palace, Ditchley, Oxford. 
 
 Scotland : Broom Hall, Dalkeith Palace, Dunrobin Castle, Edinburgh, Hamil- 
 ton Palace, Rossie Priory, Winton Castle. 
 
 Staffordshire : Trentham Hall. 
 
 Suffolk : Ickworth. 
 
 Surrey: St Ann’s Hill, Deepdene, Pippbrook House, Richmond, Wimbledon. 
 Sussex : Bignor Park, Chichester, Petvvorth House. 
 
 Warwickshire: Birmingham, Warwick Castle. 
 
 Westmoreland : Lowther Castle. 
 
 Wight, Isle of : Osborne. 
 
 Wiltshire: Salisbury, Stourhead House, Wilton House. 
 
 Yorkshire: Boynton, Duncombe Park, Hovingham, Castle Howard, Newby 
 Hall, Rokeby Hall, Wentworth Castle, Wentworth House. 
 
ADDENDA AND CORRIGENDA. 
 
 xxi 
 
 ADDENDA AND CORRIGENDA. 
 
 P. 5. The earliest instance of an English collector of ancient sculpture at 
 Rome is afforded by Henry of Blois, Bishop of Winchester, brother 
 of King Stephen, who lived at Rome about a. d. 1150; see Monum. 
 Germ. Histor., Script ., vol. xx., p. 542. Cf. R. Pauli in the Academy 
 1880, Nov. 6, p. 330. 
 
 P. 34, 1 . 13 : discovered] read: copied 
 P. 45, 1 . 25 : fifty-two] read: eighty-three 
 P. 60, 1 . 8 dele : that 
 P. 70, n. 177, 1. 7 : 1783] read: 1753 
 P. 75, 1 . 5 dele: Hon. 
 
 P. 81, n. 205 add: Academy , 1878, p. 142, note];. 
 
 P. 89, n. 229 : nos. 38, 66] read: nos. 40, 46 
 P. 104, 1 . 1 : decade] read: decades 
 P. 105, 1 . 4 : 1778] read: 1777 
 
 P. 108, n. 275 add: Guattani, Mon. hied., 1805, p. LXXXVll. 
 
 P. n8,l. 15: Kistophors] read: Kistophoros 
 
 P. 126, 1 . 16: Mr Anson] read: Lord Anson 
 
 P. 157, 1 . 420 at the end, add: Arch. Zeit., 1880, pp. 83b 
 
 P. 160, n. 430 add: Edm. Oldfield, Trans. R. Soc. Lit., vol. VI., New Series, pp. 
 1 30 ff. 
 
 P. 161,1.3: 23] read: 24 
 
 P. 162, n. 436 add : Vaux, Trans. R. Soc. Lit., vol. vin., Nezo Scries, p. 590. 
 
 P. 1 66, I. 3 from end: found] read: founded 
 
 P. 1 7 1. For the matters treated in §§ 94 and 95 cf. Vaux, Trans. R. Soc. Lit., 
 vol. vni., New Series, pp. 559 ff. 
 
 P. 176, 1 . 17. The seats of Lady Charlotte Glamis, widow of Thomas George 
 Lord Glamis (ff. 1834), are Strathmore, Glamis-Castle, Forfarshire, and Paul’s 
 Warden, Hertfordshire. 
 
 P. 21 1. In Alnwick Castle (Northumberland), the seat of the Duke 
 of Northumberland, is preserved, besides some Roman cinerary 
 urns of great beauty (Waagen, Treas., IV., p. 473), the famous 
 Beverley collection of gems. 
 
 P. 21 1, St Ann’s Hill, no. 5, add: Clarac, IV. 755, 1844. — In Piranesi’s 
 Vast, I. PL 52 there is an engraving of a large marble vase {prater), 
 in the possession of Lord Holland, with reliefs said to represent the 
 suovetaurilia. It is evident from the engraving that at least the 
 upper part of the vase is entirely modern ; but also the reliefs which 
 show a scene of sacrifice ( Camillas , priest near tripod, flute player, 
 popa slaying a hog, servant bringing a bull, etc.) convey a rather 
 modern impression. 
 
 P. 21 1. The vases preserved at Castle Ashby have lately been examined 
 by Dr Furtwangler, see Arch. Zcit., 1881, pp. 301 ff. 
 
 P. 2i2, Battlesden, 1. 3. The right spelling of the owner’s name, as kindly com- 
 municated by him, is Bromilow. 
 
XXII 
 
 ADDENDA AND CORRIGENDA. 
 
 P. 213, Bignor no. 2 add: Clarac, IV. 666 B, 1508 A. 
 
 P. 215, no. 3, 1. 9: surrounded] read: flanked. 
 
 P. 216, Boynton, no. 2, add : Probably identical with Cavaceppi, Race., III. 52, 
 cf. Bernoulli, Rom. Ikonogr., I. p. 194. 
 
 P. 220, no. 11, 1 . 8 after “ v annus" add: on his head. — The altar seems to 
 have come from the Barberini collection, cf. Doctunenti ined. per 
 serv. alia storia dei Musei d’ Italia, IV. p. 39 “ Una piccola base trian- 
 golare di ara con tre bassi rilievi , into rappresentante una Sacerdo- 
 tessa in atto di sagrificare , I'altro mia Baccante, et il terzo tin Sileno 
 con canestro difrntti in testa e patera in manoP 
 
 P. 225, no. 32 add : Piranesi, Vasi, 1. PI. 49. 
 
 P. 226.no. 33 add: Piranesi, Vasi, 1. PI. 49. A third similar vase in the pos- 
 session of Lord Palmerston is given in Piranesi, PI. 28. 
 
 P. 229, 1 . 19 dele: even 
 
 P. 229, no. 17, 1 . 3 : charm of] read : charm nor of 
 
 P. 231, no. 26 add: Clarac, IV. 772, 1924. — In the verses, 1 . 5, read : N eiKr/- 
 (poptdos 
 
 P. 235, no. 62 add : Clarac, ill. 476, 904. 
 
 P. 236, no. 82 add: Clarac, V. 784, 1962. 
 
 P. 238, no. 91. Apparently identical with Piranesi, Vasi, II. PI. 105. 
 
 P. 242, no. 1, 1 . 8: II. 892] read: II. 8, 92. 
 
 P. 243, 1 . 27: nX-pp-oxorj] read: Tr\ijp.ox ° v 
 
 P. 246, no. 4, 1 . 1 : Pan ; Tpoircucxpopos figured] read : Tan ; figured as rpoiraio- 
 (popos 
 
 P. 248, no. 15 add: C. I. Gr. 3635. 
 
 P. 251, 1 . 9: 'AtroW oSupou] read: ’ AtroWoSijpov 
 
 P. 251, I. 1 1 : the style of] read : the style and 
 
 P. 253, 1 . 2 add : Lacroix, lies de la Grece, PI. 6. 
 
 P. 262, no. 76 add : Benndorf, Vorlegebldtter, C, PI. 9, 3. 4. 
 
 P. 265, no. 88 add : Muratori 1327, 11 (in Ficoroni’s possession). 
 
 P. 266, no. 89 add : Muratori 1316, 11 (in Ficoroni’s possession). 
 
 P. 266, no. 93 add : Bernoulli, Rom. Ikonogr., 1. p. 163, and the quotations given 
 there in note 4. 
 
 P. 268, 1 . 5 read : aufgestiitzen Fusses 
 
 T. 270, no. in, 1. 1 : column] read: stele 
 
 P. 274, no. 45. On the representation of Seirens with fish tails, which is 
 not antique, cf. the learned disquisition of J. Bolte, de monumentis ad 
 Odysscam pertinentibus , Berlin 18S2, pp. 33. 59 fif. 
 
 P. 27S dele : Corfe Castle. 
 
 P. 289, no. 35, 1 . 8 : as a vase] read : it is a vase. 
 
 P. 290, no. 39, 1 . 3: PI. 59] read: PI. 65. 
 
 P. 306, no. 19, 1 . 1 : PI. 7] read: PI. 27. — A replica of this fine statue is 
 at Tersatto Castle, near Fiume, cf. Schneider in Archaeologisch-epi- 
 grapliische Mittheilungen atis Oesterrcich , V., p. 159, no. 2. In this 
 statue Seilenos has a tail. 
 
 r. 307, 1 . 6, p. 308, 1 . 16, and p. 313, no. 34, 1 . 17 : Amadei] read : Amidei 
 
 P. 308, no. 24 add: Clarac iv. 574, 1231 A. 
 
ADDENDA AND CORRIGENDA. 
 
 XXll! 
 
 P. 310, no. 26. A short abstract of my memoir, accompanied by a poor 
 woodcut, is given in The Antiquary , 1882, January, pp- 6 — 8. I need 
 scarcely say that the attempt to ascribe the Holkham bust to Phidias 
 or to Kresilas (p. 8) is exclusively due to the author of that article. 
 
 P. 31 f, no. 29 add: Bernoulli, Rom, Ikonogr . , I. p. 92, where a slight sketch of 
 the fine head is given. 
 
 P. 313, no. 36 add : Montfaucon, Ant. Expl., in. PI. 6, 3. 
 
 P. 316, no. 46: Meade] read : Mead, and add: [*] 
 
 P. 317, no. 48. Perhaps identical with F. Ursinus, Imagines, PI. 75. C. I. Gr, 
 6079? 
 
 P. 317, no. 49 add : Gruter 988, 4. 
 
 P. 317, no. 50, 1 . 9: no. no] read: no. 66 
 
 P. 318, no. 52. The last passage refers not to no. 52, but to no. 51. 
 
 P. 318, no. 53. The identity of the Holkham bust and the bust found at 
 Tivoli has been doubted by Bernoulli, Rom. Ikonogr., I. p. 290 (cf. 
 pp. 70 ff.) on account of the latter being mentioned as still existing in 
 the Capitol in the Besclireibung der Stadt Rom, III. 1, p. 124. In 
 matter of fact, the Tivoli bust, in compliance with Ursinus’ will, came 
 into the Capitol, and is described as being there in Rossini’s Mcrcurio 
 errante, 1693 (p. 13 of the 6th edition, 1739), and in the Descrizione 
 dc’lle statue... ne Palazzi di Campidoglio (p. 139 of the 3rd edition, 
 1 77 5 )* On the other hand, neither Ridolfino Venuti in his rather 
 detailed account ( Roma moderna , 1741, p. 9) mentions the bust, nor 
 does E. Q. Visconti know that the bust ever was in the Capitol 
 (Iconogr. Rom., I. p. 130 Mil.), nor has it found a place in the careful 
 Vasi’s Itinerario istruttivo di Roma, I. p. 81 of the edition of 1804. 
 The bust reappears on its old place first in Platners Besclireibung , 
 l. cit. (1837) as a head placed on a modern bust of coloured stucco, 
 with a modern inscription “Lucius Cornelius Praetor”; short notices 
 of it are also to be found in Nibby, Roma nelP anno 1838, Parte 
 moderna, II. p. 627, and in Tofanelli, Indicazione dclle sculiure... 
 net Museo Capitolino, 1846, p. 139. Now, however, neither Dr 
 Dressel nor Dr Schwartz, requested by Prof. Bernoulli and by myself 
 respectively to make inquiry, is able to find any trace of that bust 
 in the Capitol. To me it appears more than probable, that the 
 Holkham bust, which is not a head but a complete bust, as is the 
 engraving in Gallaeus, and which by the grove on the nape of the 
 neck bears witness of its being the very bust found at Tivoli, was 
 abstracted from the Capitol in some way at the beginning of the 
 1 8th century and found its way into the hands of Kent; that for more 
 than a century its loss had been forgotten in Rome ; that in our 
 century the vacant place of the old inventories has been filled up by 
 some head put on a modern bust of stucco and christened with the 
 old name ; and that finally this head has disappeared in the recent 
 rearrangement of the Capitoline collections. 
 
XXIV 
 
 ADDENDA AND CORRIGENDA. 
 
 P. 321, 1 . 10. Cf. especially the statue of Zeus in the eastern pediment of 
 the temple of Zeus at Olympia (Overbeck, Plastik , 3. ed., 1. p. 420, 
 fig. 90, no. 1 H). 
 
 P. 327, no. 16. Bernoulli, Rom. Ikonogr I. p. 119, note 1 says that the 
 globe on the 1. hand is possibly antique. 
 
 P. 330, no. 50 add: Muratori 884, 8 (Mancini collection in Rome). The 
 inscription runs thus : D. M. \ P. Aelius Aug. lib. ) Taurus proc. 
 
 P. 331, no. 52 add : Muratori 1549, 8 (in Eicoroni’s possession). 
 
 P. 332, no. 66 add: Engelmann, Beilrdge zu Euripides , 1. Alkmene, Berlin 1882; 
 a sketch of the vase is given on p. 5. 
 
 P. 338, 1 . 1 dele: Cavaceppi, Race., 11. 36. 
 
 P. 338, no. 6, 1 . 3: no. 8] read : no. 9 
 
 P. 343, no. 24 add : Mon. Matth., 1. 70 “ Bacchans.” 
 
 P. 348, no. 34, 1 . 1 : 1696 B] read: 1646B. 
 
 P. 364, no. 128, 1 . 2 : PI. 22] read : PI. 2, 2. 
 
 P. 369, no. 176. Cf. Bernoulli, Rom. Ikonogr., 1. p. 122. 
 
 P. 373, no. 215, 1 . 4 : kitchen] read : Temple 
 
 P. 377, no. 226 add : Muratori 1539, 6 (in the Giustiniani Villa outside the Porta 
 del Popolo). 
 
 P. 378, no. 231 add: Muratori 1745, 15. 
 
 P. 379, no. 233, 1 . 8 : autumn] read : summer 
 
 P. 379, no. 236, 1 . i : Engr. 84, 3] read: Engr. 84, 4. 
 
 P. 380, no. 239 add : Muratori 1224, 3 (Marchese Capponi). 
 
 P. 380, no. 240 add : Muratori 996, 9; he gives Claudio and hie situs est. 
 
 P. 391, no. 274 : barrel] read : belly 
 
 P. 403, no. 312 add: Muratori 1695, 3. 
 
 P. 403, no. 313 add : Muratori 1476, 10. 
 
 P. 404, no. 316 add: Muratori 1198, 10 (Villa Montalto). 
 
 P. 404, no. 317 add: Muratori 1665, 4. 
 
 P. 404, no. 318 add: Muratori 1524, 1 gives the inscription, then in the 
 Cesarini Villa, as follows u e schedis Ptolomeis ” (a good authority) : 
 Dis Manibus sacrum \ M. Burrio Felici patron. | benemerenti fecer. 
 RI. Burrius Hermes | M. Burrius Pulpus \ et Burria Philumene | 
 M. Burrius Puncilus | M. Burrius Atticus | M. Burrius Abascantus. 
 
 P. 404, no. 319 add : Muratori 1545, 9. 
 
 P. 404, no. 320 add : Muratori 1698, 9. 
 
 P. 405, no. 322 add: Muratori 1273, ri. 
 
 P. 406, no. 330 add : Muratori 1252, 10. 
 
 P. 407, no. 341. The same inscription is to be found on a different cippus in 
 Piranesi, Vasi, I. PI. 52. 
 
 P. 408, no. 350 add: Cf. Muratori 1598, 11 = 1 738, 9. 
 
 P. 409, no. 354 add: Muratori 1634, 10. 
 
 P. 409, no. 356 add: Muratori 1 153, 5. 
 
 P. 409, no. 362 add: Muratori 1x64, 8 (Villa Montalto). 
 
 P. 410, iro. 364 add: Cf. Muratori 1705, 1 1 (Villa Giustiniani). 
 
 P. 4x0, no. 373. Identical with Piranesi, Vasi, 11. 112? 
 
 P. 413, no. 399, 1 . 3 : Engr. no, 3] read: Engr. 110, 1. 
 
ADDENDA AND CORRIGENDA. 
 
 XXV 
 
 P. 426, no. 11 add : Muratori 1206, 7 (in the vigna of Sell. Lazzarini, near Rome). 
 
 P. 428, no. 28. A vase of similar shape is engraved in Piranesi, Vasi, I. PI. 9, F. 
 
 P. 429, no. 1 add: Bernoulli, Rom. Ikonogr T. p. 136, and the authorities 
 quoted by him. Henzen (C. /. L., VI. 1, 1326) doubts the genuineness 
 of the inscription. 
 
 P. 430, no. 3 add: Bernoulli, Rom. Ikoitogr ., 1. pp. 280 ff. 
 
 P. 434, no. 2. Helbig’s interpretation has become uncertain since the 
 discovery of the monument of Manius Cordius Thalamus ( Bullet . 
 comun ., IX. PI. 19, 20), on which an indisputable head of Minerva is 
 covered with the mask of Medusa. 
 
 P. 441, no. 16 add : Gruter 613, 9 (in the church of SS. Cosma e Damiano, at 
 Rome), who gives Antoniniano. 
 
 r. 442, 1 .6: as it seems] read : as it were 
 
 P. 442, no. 24 add: Gruter 675, 1 (in the possession of the Mattei family, in Tras- 
 tevere, near the Ponte S. Bartolommeo). 
 
 P. 444, no. 29. Cf. Bernoulli, Rom. Ikonogr ., 1. p. 91. 
 
 P. 445, no. 33, 1 . 1 1 : in drapery carving] read : of drapery 
 
 P. 455, no. 67. As to the epoch of the original of this statue, cf. K. Lange, Arch. 
 Zeit., 1881, p. 197 note 2. 
 
 P. 457, no. 71 add : Gruter 676, 13 (Cardinal Cesi). 
 
 P. 462, no. 81, 1 . 1 : Terminal bust] read: Terminal figure 
 
 P. 464, 1 . 9. “ Mr Grenville” is no doubt a member of the family of the 
 Marquis of Buckingham, who was at that time in Italy collecting 
 marbles for Stowe, cf. Piranesi, Vasi, 1. PI. 15. 
 
 P. 473, no. i,l. 2: statues] read: statue 
 
 P. 499, no. 94. This is probably the fragment of marble discovered in 
 the Casali Villa, on the alleged site of the campus Marti alls (Ovid, 
 Fast. 3, 521. Paulus Festi epit. p. 131), which was thought to be a 
 meta , though its shape showed very little similarity to a real meta. It 
 was for some time preserved in the garden of the said villa, and 
 afterwards bought by an Englishman for a large sum. Cf. Beschr. d. 
 Stadt Rom, ill. 1, pp. 477. 502. 
 
 P. 502, no. 3 add: Clarac, in. 476 C, 906 E. 
 
 P. 504, no. 8, 1 . 24. In the Berlin group certain details are such as to 
 leave it uncertain whether Dionysos or Priapos is meant. 
 
 P. 517, no. 3, 1 . 19. It is probably the “statua alta pal. 6, rapprasentantc 
 un Fauno colla siringa e has to tie,” described in the inventory of the 
 Barberini collection made in 1738 ( JDocurn . ined. etc., IV. p. 50). 
 
 P. 544, no. 10, 1 . 17: freely] read: fully 
 
 P. 552, no. 42, 1 . 2 : 970] read : 970 D 
 
 P. 566, no. in add: Benndorf, Vorlegeblatter, C, PI. 11, 3. 
 
 P. 576, 1 . 2. The principal name may be Ni/ojcrios. 
 
 P. 600, no. 6 add: C. I. Gr. 6138. 
 
 P. 624, 1 . 6: statue identical] read: statue is identical 
 
 P. 635, 1 . 20: version] read: copy 
 
 P.642,1. 13: over] read: beyond 
 
XXVI 
 
 ADDENDA AND CORRIGENDA. 
 
 P. 642, no. 80. Cf. Muratori 1319, 8. 
 
 P. 655.no. 91 add: Muratori 999, 6 (Ang. Borioni). 
 
 P. 669, 1 . 30 dele: 46, this bust being not modern. 
 
 P. 684, no. 55, 1 . 4 add : [*] 
 
 P. 684, no. 60, 1 . 1 : Colli/>.'\ read: Monum. lib. 
 
 P. 712, no. 198 add: Muratori 1296, 10 (Montalto Villa). 
 
 P. 721. Two drawings by Miss Agnes C. Imlach communicated to Mr 
 Conze enable me to give a more detailed description of the two stelae 
 at Winton Castle. 
 
 1. Attic sepulchral stele, very tall, flanked by two pilasters, and 
 crowned with a rounded top, on which a graceful anthemion is developing 
 itself. In the field stands a maiden, facing 1 ., in slight movement. She 
 is draped with a chiton and a wide cloak which entirely envelops her 1. 
 arm. The hair which falls down on to the nape of the neck shews a 
 simple arrangement. The head is bent, looking at a small doll which she 
 holds in her raised r. hand. Beautiful Attic style of the 4th century. On 
 the architrave is the name ’Aptcrropdx'7, written in the characters of that 
 period. H. i - 63. L. o'4S. 
 
 2. Attic sepulchral stele. Between two pilasters is a female figure, 
 seated on a chair, facing 1 . She is draped and wears a high head-dress. 
 She shakes hands with another female, draped, who stands opposite to 
 her. Relief of good character, which would suggest a better time than 
 that of the inscription written in the pediment and on the architrave in 
 large characters of the somewhat ornamented style of Roman times : (in 
 the pediment) KXavdla, (on the architrave) "A <pcj)eiv ck MeXiriav. As to 
 the second name of the lady, cf. C. /. Gr., nos. 3167. 3278. H. o’gp. 
 L. 0 50. 
 
 P. 735, no. 1 17 add: Benndorf, Vorlegeblatter , C, PI. 10, 2. 
 
 P. 745, no. 18 6 , A add: Muratori 1144, 7 (Marchese Lovatelli at Rome). 
 
 P. 748, no. 219 add: Benndorf, Vorlegeblatter , C, PI. 10, 1. 
 
 P. 768. Rome, collections, add: 
 
 Borioni R. Rossie 91 
 
 Capponi R. Ince 239 
 
 Casali Lowther 94 
 
 Cesarini R. Ince 318 
 
 CeSi R. London, Lansdowne 71 
 
 SS. Cosma e Damiano R. London, Lansdowne 16 
 
 Ficoroni R. Cambridge 88. 89. C. Howard 52 
 
 Giustiniani R. Ince 226. 364? 
 
 Lazzarini R. Liverpool 1 1 
 
 Lovatelli R. Woburn 186, A 
 
 Mancini R. C. Howard 50 
 
 Mattei in Trastevere R. London, Lansdowne 24 
 
 Montalto R. Ince 316. 362. Wilton 198 
 
INTRODUCTION. 
 
 ON THE INFLUX OF ANTIQUE SCULPTURES 
 
 INTO GREAT BRITAIN. 
 
INTRODUCTION. 
 
 ON THE INFLUX OF ANTIQUE SCULPTURES INTO 
 GREAT BRITAIN. 
 
 Preliminary. 
 
 N O other country in Europe can at this day boast 
 of such a wealth of Private Collections of antique 
 works of art as England, which in this particular recalls 
 the Rome of the sixteenth and seventeenth centuries. Great 
 is the number of town-houses and palaces, still greater the 
 number of country-seats, in which the noble and the rich 
 treasure up, by the side of incomparable masterpieces of 
 modern painting, considerable collections of antique works 
 of art, especially of sculpture. So numerous are they, that 
 few have any notion of this abundance of treasures, and 
 perhaps no one individual enjoys a really comprehensive 
 knowledge of them. Whatever has once reached the 
 region of this Enchanted Island has remained there as 
 it were spell-bound. These collections have in frequent 
 instances experienced great vicissitudes. Many have more 
 than once changed owners, many have come to the hammer 
 in public auction ; they have been moved from one place 
 to another, and in consequence have often found their 
 way into remote and inaccessible hiding-places ; indeed a 
 certain number of specimens have been utterly lost sight 
 of, so that only a happy chance can bring them back to 
 light. Very few however, and those under quite peculiar 
 circumstances, have made their way back across the 
 Channel. “ England,” says a gifted writer on art, “ is to 
 works of art what the grave is to the dead ; her gates do 
 not open again to let them out 1 .” 
 
 1 Biirger, W., Lcs Tresors d' Art en Angleterre, Brussels and Ostend, 1862, p. 1. 
 
 M. C. 
 
 I 
 
ANCIENT MARBLES IN GREAT BRITAIN. 
 
 The works of ancient Greek and Roman art in England 
 alone constitute the subject of the present volume. The 
 student who attempts to trace the introduction of such 
 works into the country, will soon notice that there are 
 three clearly defined periods in the development of this 
 branch of dilettantism. In the first, which embraces the 
 time of the Stuarts and their immediate successors, it is 
 individual collectors who strike into the path indicated. 
 Only a few undertook to collect the larger works in 
 marble. There is consequently a preponderance over 
 these of the smaller objects of art, bronzes, coins, gems, 
 which, being more easily attainable and more easy to 
 transport, have at all times formed a favourite object of 
 the antiquarian collector’s enthusiasm. The destinies of 
 these old collections are for the most part, like the whole 
 circumstances of the time, variable and frequently violent. 
 At the end of the period only a few had entirely or even 
 partially preserved their old condition. At this day the 
 collection at Wilton House is the solitary unimpaired 
 representative of that epoch ; besides which, of the treasures 
 of the illustrious Earl of Arundel the greater part is still 
 to be found at Oxford, in the secure possession, not of 
 a private person, but of the University. 
 
 Then comes the heyday of dilettantism in England, the 
 last century, especially in its latter half. In an unintermit- 
 ting stream the ancient marbles of Rome poured into the 
 palaces of the aristocracy of Britain, whose wealth in some 
 cases afforded the means of gratifying a real artistic taste 
 by these rare possessions, and in others enabled them at 
 any rate to fall into the new fashion of dilettantism, the 
 furore for antique art. The older Roman collections were 
 bought up; fresh excavations were instituted. Englishmen 
 settled in Rome and dealt in the acquisitions without 
 which milord on his travels could not well return home 
 from the ‘ grand tour.’ Of course other countries tried to 
 secure their share, but England stood foremost. During 
 
PRELIMINARY. 
 
 3 
 
 this period of fifty or sixty years there came into being 
 most of the private collections of antiques in which the 
 island abounds, and those the largest and most valuable. 
 Their general character depends upon the fact that their 
 origin has been almost exclusively in the soil of Rome and 
 its immediate vicinity. 
 
 At the beginning of this century the possession of a 
 gallery of sculpture ceased to be indispensable to bon ton. 
 The importation of antiques came to a stop, owing to the 
 interruption of commercial intercourse entailed by the pro- 
 tracted war against Napoleon. Other fashionable tastes 
 sprang into existence or were revived. Once again the 
 interest, or at any rate the active enthusiasm, for collections 
 of antique works of art, became the privilege of a few real 
 lovers of such things. While however this abatement of 
 zeal took place in private circles, the State stepped into the 
 place of individual amateurs with abundant energy. Since 
 the opening of this century the British Museum has ad- 
 vanced with rapid strides to the supreme position of having 
 the finest collection of antiques in the world. It was no 
 longer Rome, or Italy generally, which filled the rooms of 
 this institution with late copies or imitations of Greek 
 originals ; but Greek art itself, represented by a stately 
 series of its most beautiful creations, entered the museum 
 in triumph, and asserted a might of simple grandeur be- 
 fore unknown. The British Museum must in this respect 
 remain altogether beyond the reach of rivalry. The 
 sum of its priceless treasures has been completed by 
 means of excavations specially undertaken, and successful 
 acquisitions made with unremittent zeal at the sites of 
 discoveries. They have often been increased by donations 
 or purchases of private collections. In fact, the British 
 Museum has gradually thrown all private collections far 
 into the background. It seems therefore only natural and 
 desirable that in the future also the several brooklets 
 should discharge themselves into this mighty stream. 
 
 1 — 2 
 
4 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 The object of the ensuing sketch is to follow this 
 development more closely into detail, and at the same 
 time to draw attention to such general considerations as 
 must necessarily escape notice during the study of the 
 collections taken severally. If in these preliminary re- 
 marks the older collections are found to be treated more 
 fully than the newer, and those which have been dispersed 
 than those still existing, no apology is needed. 
 
 I cannot help lamenting the general inadequacy of the 
 aids at my disposal. Only occasionally have I been enabled 
 to give more than a mere outline of my subject. However, 
 I have at any rate aimed at accuracy and certainty in its 
 delineation. Much will undoubtedly have escaped me, not- 
 withstanding the assistance of friends quite qualified to offer 
 criticism and advice, as I was able to devote but a short 
 time to the use of a mass of literary aids only available in 
 England. But in the case of the great majority of these 
 collections, there is an absolute dearth of accounts of their 
 origination and of the sources of their component elements. 
 There is undoubtedly much information on such matters, 
 either in the form of short memoranda or complete corre- 
 spondence, still preserved among the archives of those 
 families whose ancestors in bygone times acquired the col- 
 lections. I have had access to only a small proportion of 
 such unprinted papers. It is to be hoped that my book 
 will call forth communications of such records. Of previous 
 labourers in a more general style in the same field, it is only 
 necessary to mention the occasional paragraphs in Horace 
 Walpole’s Anecdotes of Painting , and Dallaway’s useful 
 though too superficial and uncritical books. Should these 
 drawbacks not seem sufficient to secure indulgence for the 
 shortcomings of the following sketch, the reader may earn 
 the gratitude of the public and of the author by pointing 
 out or laying open new sources of inquiry. 
 
I. 
 
 THE ARUNDEL MARBLES AND OTHER 
 EARLY COLLECTIONS. 
 
 i. It was late before England joined the competition 
 of the nations which desired to possess a share of the 
 abundance of antique sculptures which since the fifteenth 
 century have come to light in unheard-of numbers from 
 the soil of Italy. In the course of the sixteenth century 
 we see Francis I. of France, Philip II. of Spain* Rudolf II. 
 of Germany, taking pains to raise their residences in Paris, 
 Madrid, and Prague to equal rank with the palaces of the 
 Roman nobles by decorating them with works of antique 
 art. Princes of lesser rank, such as the Electors of Bavaria, 
 follow their example ; and even private persons of wealth 
 are loth to be left behind. I may instance the Welser 
 family of Augsburg, between which city and Italy there 
 were intimate connections. In England during the Tudor 
 period no trace yet showed itself of a similar interest ; 
 although the influence of Italy in other fields of culture 
 was scarcely so deeply impressed on England at any 
 other time as in the sixteenth century. The long dis- 
 tance from Italy, the insular position of the country, 
 the keenness of political and religious oppositions and 
 dissensions, a puritanical aversion from imaqes of heathen 
 deities, might constitute the main reasons why in this 
 particular England lagged behind the continental states 
 throughout the whole of the sixteenth century. 
 
 No an- 
 tiques iti 
 England 
 in the iGth 
 century. 
 
6 
 
 Henry, 
 Prince pf 
 Wales. 
 
 Lord 
 A rundePs 
 tours in 
 Italy. 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [2, 3 
 
 2. It was under the Kings of the house of Stuart that 
 a change first began. It appears that the first to aim at the 
 possession of antique works of art was the eldest son of 
 James I., Prince Henry, “that hopeful cherisher of great 
 and noble things,” who died young A.D. 1612. He laid 
 the foundation of a collection of coins which his brother 
 Charles subsequently enlarged, and acquired the collection 
 of gems made by Abraham Gorlaeus of the Netherlands 
 {d. A.D. 1609)“. He further left his brother eighteen small 
 statues, but as they are designated in the catalogue of 
 works of art in the possession of King Charles the First, 
 as “ Florentine brazen statues,” and as their description 
 contains several strange particulars 2 3 , it is doubtful whether 
 genuine antique statues are meant or whether they were 
 not rather modern imitations, like many specimens in the 
 possession of Charles I. Prince Henry had not yet reached 
 his eighteenth year when he died. Had he lived longer, to 
 his lot there would probably have fallen a share of the 
 glory, which now belongs to another, of being prover- 
 bially styled the “father of vcrtii" in this country. We 
 pass now to the individual thus designated, from whom 
 a distinguished Society of friends and promoters of genuine 
 art has been able with propriety to take its name. 
 
 3. Thomas Howard, PIarl of Arundel and 
 SURREY (b. A.D. 15S5), reinstated by A.D. 1621 in the 
 dignity hereditary in his family of Earl Marshal of 
 England, stands indisputably at the head of English art 
 collectors 4 . His delicate health had early taken him 
 to Italy for a comparatively long visit, from which he 
 
 2 Evelyn, Letter to Pcpys, 1689, 
 Aug. 12. Walpole, Anecdotes of Paint- 
 ing, ch. vm. (Sal. de Cans). IX. 
 (Charles I.). Chamberlain to Carleton 
 in Birch’s Court and Times of James I. 
 1. p. 207. 
 
 3 A Catalogue of King Charles the 
 First's Capital Collection , transcribed 
 
 by Vertue, London, 1777, p. 21, “the 
 
 eighteen little Statues which came to 
 his Majesty by the decease of l’rince 
 Henry.” Cf. Carleton to Chamber- 
 lain (Birch, James /. l. p. 212). 
 
 4 Walpole, Anecd. ch. ix. Dal- 
 laway, Anecdotes , p. 229. Ellis, H., 
 The Townley Gallery, 1. p. 57. Ed- 
 wards, Lives of the Founders of the 
 British Museum, 1. p. 183. Cf. 
 
EARLY COLLECTIONS. 
 
 7 
 
 3 , 4 ] 
 
 first returned home at the end of the year 1612. The 
 direction of his taste was finally determined by a renewed 
 sojourn of twelve months, A.D. 1613, 1614. By the King’s 
 order the young lord, accompanied by his wife Alathea 
 Talbot, daughter of the Earl of Shrewsbury, had conducted 
 the Princess Elizabeth as bride to her betrothed husband, 
 Frederick, the Elector Palatine. “Thence he went into 
 Italy, where he very much pleased himself, and either took 
 up or improved his natural disposition of being the great 
 master and favourer of arts, especially of sculpture, design, 
 painting and architecture, which rendered him famous and 
 acceptable to all ingenious spirits both at home and 
 abroad 5 .” Thus we are told by Sir Edward Walker, who had 
 stood in close relations to him and his house. Peacham’s 
 often-quoted words refer to the same juncture as the be- 
 ginning of the Earl’s activity as a collector. They will be 
 found in their proper place further on. It deserves notice 
 that Arundel had in his suite no less a person than Inigo 
 Jones, whose artistic taste developed itself for the first 
 time during this journey in the direction of that classical 
 style which characterized his later designs' 5 . We may fairly 
 conjecture that the Earl’s natural taste for art must have 
 been much stimulated by the influence of the practical 
 knowledge and mature judgment of his elder companion. 
 Relations were in various forms kept up between the two 
 men afterwards. 
 
 4. We cannot now prove in detail how much Lord His Italian 
 Arundel got together at that time in person, how much 
 gradually by his agents, several of whom he employed 
 in Italy and “generally in any part of Europe where 
 rarities were to be had 7 .” He is said to have himself 
 
 Michaelis in Im heuen Reich , 1878, 1. 5 Historical Discourses, London, 
 
 1313.921,964. I have taken pains to refer 1705,9.212. 
 
 on all occasions as far as possible to B Sir Dudley Carleton to John 
 
 the original authorities,, and 1 hope Chamberlain, 1613, July 9 (Birch, 
 
 that the account has consequently been James I. p. 255). 
 
 made both more complete and more 7 Walker, Hist. Disc. p. 222. 
 
 accurate. 
 
8 ' ANCIENT MARBLES IN GREAT BRITAIN. [4 
 
 obtained leave to institute excavations on the sites of 
 ruins about Rome, and it is also related that he discovered 
 in subterraneous chambers a whole number at a time of 
 splendid Roman portrait-statues. These were soon re- 
 stored in the usual manner, and furnished with the high- 
 sounding names of Cicero, Marius, and so forth. They 
 still at this day adorn the collection at Oxford 8 . Others 
 were obtained by purchase. “He made a wonderful 
 and costly purchase of excellent statues, whilst he was in 
 Italy and Rome, some whereof he could never obtain per- 
 mission to remove from Rome, though he had paid for 
 them 9 .” That Arundel’s aims were pitched high we learn 
 from two instances accidentally recorded 10 . In the Circus 
 of Maxentius (usually called of Caracalla) not far from the 
 Via Appia, there lay an obelisk of about sixteen metres in 
 length broken into four pieces. It was only the difficulty 
 of transport to the sea which deterred the Earl from pur- 
 chasing the fragments and putting them together in London; 
 which city might otherwise have been able to boast an 
 obelisk long before the bringing over of Cleopatra’s needle. 
 What happened instead was that Bernini ( A.D. 1651) crown- 
 ed his fantastic fountain in the Piazza Navona with the 
 obelisk in question. The purchase of the Meleager (then 
 called Adonis) of the Pighini palace, which now constitutes 
 one of the chief ornaments of the Belvedere, was likewise one 
 of Arundel’s schemes, but it miscarried upon the refusal 
 of the owner to part with his treasure even for a high price. 
 For the element of cost never came into consideration with 
 respect to the Earl’s passion for collecting. “His expenses,” 
 says his embittered opponent Lord Clarendon u , “ were 
 without any measure, and always exceeded very much his 
 revenue.” If we measure those aspirations by the results, 
 certainly most of the sculptures of Italian origin, which 
 
 8 Dallaway , A need. p. ■256. 10 Evelyn, Diary , 1645, Feb. 16. 
 
 a Clarendon, Hist, of the Rebellion, 1644, Nov. 6. 
 
 Oxf. 1849, 1. p. 78. 11 Hist, of the Rcb. 1 . ci t. 
 
EARLY COLLECTIONS. 
 
 9 
 
 4 , 5 ] 
 
 are still to be found among the remains of the Arundel 
 collection at Oxford, seem rather insignificant. For there 
 are only a few specimens which rise above the level of 
 mediocrity; the best portion of that collection being un- 
 doubtedly or probably derived not from Italy but from 
 Greece. 
 
 5. In the first period of the reawakening of classical The 
 culture, Poggio Bracciolini, the great pioneer of the Re- Greece. 
 naissance, had already made use of his connection with 
 some friends in Chios to get a few antiques from Greece 
 to grace his villa near Florence, the Valdarniana 12 . Again, 
 about the middle of the fifteenth century, the enthusiastic 
 traveller Ciriaco de’ Pizzicolli of Ancona, during his re- 
 peated wanderings through the islands of the Archipelago, 
 had turned his attention to the relics of Greek art 1S . 
 These districts were then under the rule of Italian princes. 
 
 But since the Turks had established themselves in absolute 
 dominion over them, it had become more and more diffi- 
 cult to pursue such interests. At best the nobles and mer- 
 chants of Venice could place themselves in possession of 
 one or two specimens, and there was a general impression 
 that “all above ground was gone to Venice 14 .” Or else 
 the ambassador of a Western power to the Sublime Porte 
 would use his residence as an opportunity for collecting 
 what presented itself to him. So it was with the French 
 ambassador, Des Hayes 15 . We hear too of similar efforts 
 of the Provencal scholar Claude Peiresc, who most zealously 
 turned to account his wide-spread connections for his 
 scientific works 16 . But the merit of having caused these 
 classic shores to be ransacked for the express purpose of 
 collecting antiques belongs to the Earl of Arundel, and 
 
 13 Shepherd, Life of Poggio Brac- 
 ciolini, Liverp. 180-2, p. 291. G. 
 Voigt, Die Wiederbelcbung des class. 
 Alterthums, Berlin, 1859, P' I 73 - 
 13 Jahn, O., A us dcr A Iterthums- 
 wissenschaft, Bonn, 1868, p. 333. 
 
 14 Roe, T., Negotiations, London, 
 1740, p. 647. 
 
 15 Roe, p. 154. Laborde, Athenes, 
 1. p. 62. 
 
 16 Gassendi, Fabr. de Peiresc vita, 
 Par. 1641, p. 227. 
 
IO 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [ 5,6 
 
 Sir 
 
 Thomas 
 Roc in 
 Constanti- 
 nople. 
 
 the energy with which he followed up this task in the 
 midst of so many others, quite answers to one of the 
 characteristic qualities of his nation. 
 
 6. The first opportunity was presented by the mission 
 of Sir Thomas Roe to Constantinople, as ambassador from 
 James I., in the year 1621 17 . The Earl Marshal, by birth and 
 position one of the foremost among the dignitaries of the 
 English nobility, might well count on meeting with no 
 refusal if he earnestly requested the ambassador at his 
 departure to pay regard in his interest to the treasures of 
 antiquity, works of art, and manuscripts, and to collect them 
 for him. In fact, Sir Thomas was quite willing to be of 
 service, and declared himself ready “ to look back upon 
 antiquity” besides pursuing his own vocation, which was 
 “ to attend new things,” all the more so as he was himself 
 “a lover of such vertues,” though no great connoisseur. 
 Had he had an idea to what troubles and unpleasantnesses 
 he was about to expose himself by undertaking this com- 
 mission, he would probably have been less ready and willing 
 to enter upon this “quarry and stone business.” For some 
 time indeed the affair went on tolerably smoothly. Imme- 
 diately upon his arrival at Constantinople Roe collected in- 
 formation about the localities which gave the best promise 
 of a return. In particular the Bishop of Andros pointed out 
 the places of sepulture in Rhcneia (great Delos) as a rich 
 mine of treasures. This spot has been ransacked again and 
 again up to the present day, and is not yet exhausted. He 
 set the British consul to work to institute inquiries within 
 his district. Here was the commencement of a system which 
 has since been employed with such important results. Sir 
 Thomas was indefatigable in asking the necessary permis- 
 
 17 The Negotiations of Sir Th. Roe arranged in order in the Appendix to 
 
 in his Embassy to the Ottoman Porte, this Introduction. I have looked 
 
 London, 1740. These letters have through some other correspondence 
 
 been often used since the time of of Sir Thomas’, which is preserved 
 
 Horace Walpole, but never thoroughly in the British Museum, for notices 
 
 used up. So far as they refer to our of this kind, but to no purpose, 
 
 present subject, they will be found 
 
6, 7] EARLY COLLECTIONS. I I 
 
 sion from the Turkish authorities, though not always with 
 the desired effect. The very first letters tell of a “maid of 
 Smyrna,” which Arundel seems to have mentioned to Roe, 
 and of a fragment of a lion holding a bull’s head in its claws 
 at Lampsacus. The two specimens were not however se- 
 cured. Yet Sir Thomas, though barely arrived at the Bos- 
 phorus, was already on the high road towards anticipating 
 the fame of Dr Schliemann, since he was able to offer the 
 Earl “a stone taken out of the old palace of Priam in Troy, 
 cut in horned shape.” It is a pity that this stone, as indeed 
 many other Trojan antiquities, had no recommendations 
 except the high-sounding name of its alleged place of 
 discovery. 
 
 7. Unfortunately there are only a few letters remaining 
 of the correspondence between Roe and Arundel. Conse- 
 quently we cannot say what induced the Earl, Roe’s efforts 
 notwithstanding, to send out a special agent to the Levant, 
 — whether, for instance, the practical fruit of the exertions 
 of the much-occupied diplomatist seemed too trifling, or 
 whether he perhaps had knowledge that a dangerous rival 
 would likewise lay claim to Sir Thomas’ services. However 
 this might be, in the last months of the year 1624 there first 
 appeared at Smyrna, and at the beginning of the ensuing 
 year actually at Constantinople, William Petty, charged with 
 commissions from Lord Arundel, and warmly recommended 
 to the ambassador. This gentleman had been educated at 
 Cambridge 18 , and had entered Lord Arundel’s service. In 
 all probability his value had already been proved by lucky 
 purchases in Italy before he was sent out to the East with 
 the new commission 19 . At all events he forthwith impressed 
 Sir Thomas Roe with his superior practical knowledge, 
 
 18 Dallaway, Of Statuary , p. 277, Petty, married to Thomas Fitzmaurice, 
 
 quoting Cole’s Athena Cantahri- Earl of Kerry, was the grandmother 
 gicnses (MS.). The often-repeated of the first Marquis of Lansdowne. 
 assertion that this Petty is an ancestor The two William Pettys were not, so 
 of the Marquis of Lansdowne rests on far as I know, related to one another, 
 a confusion with the famous Sir 19 Chandler, R., Alarmora Oxon'i- 
 
 William Petty, whose daughter, Anne ensia, Oxf. 1763, p. 1. 
 
 William 
 
 Petty. 
 
12 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [7.8 
 
 The Duke 
 of Buck- 
 ingham. 
 
 which the latter recognised without reservation. With this 
 Petty combined an unflinching energy, a power of endur- 
 ance proof against all exertions and privations, and lastly 
 a regardlessness in gaining every advantage which Roe was 
 destined soon to learn to his cost. The latter writes to 
 Lord Arundel, “ There was never man so fitted to an em- 
 ployment, that encounters all accident with so unwearied 
 patience, eates with Greeks on their worst days, lies with 
 fishermen on planks at the best, is all things to all men, 
 that he may obtain his ends, which are your lordship’s 
 service.” And on another occasion, not without bitterness, 
 “Your lordship had good experience in a man for such an 
 employment, that spares no pains nor arts to effect his 
 services.” 
 
 8. It was certainly high time for Lord Arundel to 
 transfer his interests to such active hands. Not long before 
 Petty arrived at Constantinople, George Villiers, Duke 
 OF BUCKINGHAM, had preferred to SirThomas Roe a similar 
 request to that which Lord Arundel had made earlier. The 
 uncontrolled favourite of King James and his son had en- 
 tered into competition with Arundel in more than one order 
 of connoisseurship. In Antwerp he had purchased the 
 collection of the great Peter Paul Rubens, which comprised, 
 besides pictures, antique vases, statues and medals 20 . “At 
 Yorke House 21 ,’’ says an eye-witness, “the Galleries and 
 Roomes are ennobled with the possession of these Romane 
 Heads and Statues, which lately belonged to Sir Peter Paul 
 Rubens.” In Venice Buckingham had purchases of pictures 
 effected through the ambassador Sir Henry Wotton,just 
 as he now laid claim to Sir Thomas Roe’s services for the 
 
 20 Walpole, A need. ch. X. (Rubens). 
 
 21 Peacham, H., The Compleat 
 Gentleman, 2nd Impression, London, 
 1634, p. 10S. York House in the 
 Strand is meant, not the Palace of 
 Whitehall, which at that time was 
 still often called York House in 
 addition to its other names. In the 
 Catalogue of the Curious Collection of 
 
 Pictures of George Villiers, Duke of 
 Buckingham, London, W. Bathoe, 
 1758, there are indeed no antiques, 
 only a few copies of antiques in bronze 
 (pp. 22, 23); but this catalogue com- 
 prises merely the portion of the old 
 collection which was rescued from the 
 storms of the revolution for the young 
 duke. 
 
EARLY COLLECTIONS. 
 
 13 
 
 8 , 9 ] 
 
 acquisition of antique sculptures. Not, to be sure, all 
 specimens whatsoever without discrimination. For in- 
 stance, he cautioned Sir Thomas against the purchase of 
 works in alabaster, as being seldom genuine. “Neither 
 am I so fond of antiquity as to court it in a deformed or 
 mishapen stone; but where you shall meet beauty with 
 antiquity together in a statue, I shall not stand upon any 
 cost your judgment shall value it at.” It is a matter of 
 course that the ambassador did not neglect the wishes of 
 the all-powerful minister, but willingly agreed to execute his 
 directions (Jan. A.D. 1625). At the same time he did not 
 forget his obligations to Lord Arundel, wdio had been 
 beforehand in enlisting his services. 
 
 9. Not long afterwards Petty presented himself to Sir Roc's and 
 Thomas, and soon found out how on the one hand to prove j 0 i n t plans. 
 himself serviceable to him by his practical knowledge, and 
 on the other hand to inform himself as to the ambassador's 
 plans, and to provide himself plentifully with permits and 
 letters of authorization such as could only be procured 
 through the intervention of the ambassador. At first all 
 went on in perfect harmony, and the two men launched out 
 together into high-flown and quite romantic plans. When 
 in our own generation Ponsonby first conceived the idea 
 of removing the reliefs from the Mausoleum out of the 
 walls of the Turkish fortress of Budrum, and acquiring 
 them for England, some regarded this as “an unreason- 
 able request” to the Porte 22 . Yet how modest this wish 
 was compared with the designs of Roe and Petty! They 
 proposed nothing less than to get into their power six out 
 of the twelve large reliefs which adorned the so-called 
 “Golden Gate,” the finest of the gates of Constantinople. 
 
 This gate was erected by Theodosios the Great. Through 
 it the Byzantine Emperors used to make their solemn 
 entry into the city. But since the conquest by the Turks 
 it had not been opened, but built up and enclosed with 
 
 22 Fellows, The Xanthian Marbles , p. 9. 
 
14 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [9 
 
 new strong works of defence, the so-called “Seven Towers.” 
 Though it had become consequently quite inaccessible, yet 
 it was still regarded as the principal gate. For about a 
 year this Quixotic plan cuts a grand figure in the corre- 
 spondence. To get the consent of the Sultan to the 
 demolition soon proved to be just as impracticable as the 
 idea of reaching their object by corrupting the highest 
 functionaries of State. A clandestine removal with the 
 help of the soldiers stationed on the spot was impossible 
 on account of the weight of the marble slabs and the height 
 at which they were built in. So they had recourse to 
 stratagem. It was agreed that a Turkish priest should 
 denounce the figure sculptures, as opposed to the religion 
 of Mohammed, and so bring about their removal from their 
 conspicuous position. If once they were transferred to 
 another place it would not be difficult to get them out of 
 the way. In fact a priest was engaged for this purpose, 
 and a sum of 600 crowns proffered in case of success ; a 
 temporary deposit of 500 dollars being actually made by 
 way of preliminary. But even this hope proved delusive. 
 At last the Grand Treasurer, whose coffers could in times 
 of war take advantage of every extra source of supply, 
 promised to take the matter in hand and to contrive a 
 clandestine removal. Now however the garrison began to 
 get uneasy. A superstitious feeling gained ground that in 
 connection with the removal of the enchanted sculptures a 
 great mischief threatened the city. There was nothing left, 
 unless they would expose themselves to serious danger, but 
 to give up the whole plan. We cannot but regret this, as 
 the reliefs soon afterwards disappeared altogether. Only a 
 few of the many visitors to Constantinople ever saw them 
 again 23 ; no one has drawn or described them more closely, 
 so that Roe’s tolerably full description consequently retains 
 some value. 
 
 2:! E. g. Wheler, Journey into Voyage d’ Italic See., Lyons, 1678, 1. 
 
 Grecrc, London, 1682, p. 194. Spon, p. 262. 
 
I O, 1 I ] 
 
 EARLY COLLECTIONS. 
 
 15 
 
 10. Sir Thomas, who had undertaken engagements in Arundel 
 
 , , - r • v and Buck 
 
 two quarters, considered that lie should be keeping iaith ingham. 
 with both parties if he were to divide the fruit of the joint 
 labours of Petty and himself between Lord Arundel and 
 the Duke of Buckingham (this indeed was his plan with 
 reference to the sculptures just mentioned) ; while he 
 reserved exclusively for Buckingham what he should ac- 
 quire by himself without Petty’s cooperation. To this effect 
 he entered into agreements with Petty, in which the latter 
 apparently acquiesced, and submitted like proposals to 
 Arundel. But the illustrious Earl Marshal, full of pride in 
 his noble ancestry, was not disposed to entertain the idea 
 of any such compromise with the detested upstart of whom 
 he had just begun to find himself the antagonist in the 
 field of politics. The notion of taking shares with the 
 new-created Duke was not at all to the taste of the twenty- 
 first representative of the long line of Earls of Arundel, 
 who according to the testimony of an adversary “lived 
 towards all favourites, and great officers, without any kind 
 of condescension 24 .” The impassioned collector could not 
 make up his mind thus to share the spoil for which he 
 had at first instituted the chase with the rival who had 
 come later upon the scene. He roundly refused the pro- 
 posal, to the great embarrassment of Sir Thomas, who 
 now found himself saddled with the difficult task of serving 
 two masters. 
 
 11. Petty meanwhile, after a stay of some months in Petty's 
 Constantinople, had set off on his travels. His nominal 
 purpose was energetic action for their common interests. 
 
 The needful firmans and permits had been got by means 
 
 of Roe. But as a matter of fact Petty evinced little 
 inclination for partnership with the ambassador, and was 
 probably confirmed in this disinclination by Lord Arundel. 
 
 It could not possibly escape him how much more favour- 
 able the prospects were for himself than for the diplomatist, 
 
 - 4 Clarendon, 1 list . of the Rebellion , 1. p. 78. 
 
ANCIENT MARBLES IN GREAT BRITAIN. 
 
 16 
 
 [.» 
 
 tied by his office to the Court and obliged to depend on the 
 zeal and acumen of his agents. For Petty the road to his 
 special undertakings lay open. His conduct with respect 
 to the Golden Gate was in the highest degree characteristic. 
 The reliefs had originally appeared to Roe too much 
 mutilated to be of value. Petty however formed a far 
 more favourable judgment of them, and persuaded Roe to 
 offer for them the sum above-mentioned. Now, while on 
 his travels, Petty suddenly advised the ambassador not to 
 apply more than two hundred dollars to that purpose. 
 The latter, who had in the meantime become suspicious 
 of Petty’s designs, got an inkling of his desire to place 
 himself in sole possession of the reliefs at a convenient 
 season. So he gave Petty free leave to withdraw from 
 their common transactions, but at the same time explained 
 that he would himself in any case pursue the undertaking 
 further and at his convenience divide the spoil between 
 Buckingham and Arundel. When Petty found the ambas- 
 sador so resolute, he without more ado gave up his objection 
 and actually went back to the original agreement. His 
 route took him at first to Pergamon and Samos. According 
 to his letters to Roe he found only a trifling spoil, frag- 
 ments of no considerable value. But the ambassador 
 learnt through other channels that the harvest had been 
 very rich and highly valuable, and so found himself over- 
 reached by the “close and subtle borderer.” He openly 
 expressed his chagrin to Lord Arundel (Oct. 20, A.D. 1625). 
 However he none the less bestirred himself, when Petty 
 on his voyage from Samos to Ephesos suffered shipwreck 
 in the narrow strait, and lost not merely his collections but 
 also his papers, to replace the latter by fresh ones, such 
 precarious work it was to apply so often for such orders 
 and permits. Petty himself was not discouraged by his 
 mischance, but at once resumed his activity. At first he 
 was put into prison by the Turks as a spy, but soon 
 managed to satisfy them as to his status and to get 
 
EARLY COLLECTIONS. 
 
 17 - 
 
 II] 
 
 free. He promptly set to work in Chios and made 
 preparations for fishing the submerged treasures up again 
 from the bottom of the sea. In this he seems to have 
 actually succeeded. Then he betook himself to Ephe- 
 sos and Smyrna. Here he was lucky enough to make 
 a valuable haul 25 . One Samson, commissioned by the 
 Provencal scholar Peiresc, had not long before acquired a 
 number of stones bearing inscriptions at the price of fifty 
 gold pieces. Among these was the extremely valuable 
 chronological table destined to be known to all the world 
 as the Marmor Parinm. Through some intrigues on the 
 part of the sellers Samson had been cast into prison and 
 the collection had been dispersed. Petty now arrived, and 
 had the good fortune to bring the specimens together again 
 and to secure them, though at a high price, for Lord 
 Arundel. Thence he went to Athens, where he spent the 
 summer of the year 1626. He there met with an emis- 
 sary of Roe’s. Through him Sir Thomas probably learnt 
 what Petty had achieved. He writes to Buckingham in 
 November of that year: “Mr Petty has raked together 
 two hundred pieces, all broken, or few entire; what they 
 will prove, I cannot judge.” Apparently Petty left the 
 Levant soon after this, but not before he had despatched 
 the result of his labours to England, where the marbles 
 arrived at Arundel House in the year 1627. Here they 
 forthwith excited the greatest interest, especially the in- 
 scriptions; and among these again principally the two 
 large fragments of the chronological table. The renowned 
 J ohn Selden, the magntis dictator doctrinae nationis A nglicac, 
 undertook the deciphering and interpretation, assisted by 
 Patrick Young and Richard James. By the following year, 
 A.D. 1628, appeared Selden’s Marmora Arundelliana , which 
 spread abroad the fame of the inscriptions and of their 
 collector over all the world 26 . (In the same year was born 
 
 25 Gassendi, N. Cl. Fabricii de Oxf. 1676, pnef. fol. 5. 
 
 Peiresc vita , Par. 1641, p. 227, ad 26 Selden’s book unfortunately in- 
 anmun 1629. Prideaux, Marm. Oxon. eludes only 29 Greek and 10 Latin 
 
 M. C. 
 
 o 
 
Roe's 
 
 efforts. 
 
 1 8 ANCIENT MARBLES IN GREAT BRITAIN, [il, 12 
 
 the Earl’s grandson, Henry Howard, through whom the 
 collection was subsequently scattered to the winds.) Peiresc 
 too now learnt what had become of his former property ; 
 but so far from being envious, he expressed delight that 
 both the stones themselves and the task of appreciating 
 them had fallen into such good hands. About the sculp- 
 tures there was at first less talk. 
 
 12. In the meantime Sir Thomas Roe most zealously 
 endeavoured, even independently of Petty, to minister fairly 
 to the desires of his noble employers. At first he even yet 
 purposed to let the Earl Marshal as well as the Duke of 
 Buckingham have his share. But the former, as we can 
 easily understand, fell gradually more and more into the 
 background. His and Petty’s conduct had after all annoyed 
 Roe not a little, and moreover Buckingham, as the con- 
 fidential adviser of the king and leading statesman of the 
 hour, could throw quite another weight into the scale : — 
 through his mediation, that is to say, Sir Thomas might well 
 hope to be recalled as soon as possible from his difficult 
 and unpleasant post. So we find no letter of Roe’s to 
 Arundel in the collection later than March A.D. 1626; 
 on the other hand there is an unbroken series of reports 
 to Buckingham as to the progress of the researches. For 
 a long time the result was extremely small, although no 
 pains were spared. These researches extended as far as 
 Alexandria and Sinope. Some of the chief towns of Asia 
 Minor, such as Ankyra and Brussa, again Troy and Per- 
 gamon, the south coast of Roumelia, and the principal 
 islands of the Archipelago, were searched thoroughly by 
 the British consuls, by native speculators, by agents specially 
 sent out. But yet little or no success presented itself ; 
 stones entirely defaced or modern works were purchased 
 for high prices, or the difficulty of transport frustrated the 
 
 inscriptions. This is all the more to tions were utterly lost before copies of 
 be regretted, because in the following them had been taken, 
 period a large portion of the inscrip- 
 
12 , 13] 
 
 EARLY COLLECTIONS. 
 
 19 
 
 hopes of bringing away the heavier specimens from the 
 interior to the sea. A few fragments of statues, some 
 heads and reliefs, composed the entire produce, until at 
 last, at the beginning of the year 1627, a more competent 
 agent travelled through the Morea. For almost a year 
 he collected in the different districts of the peninsula and 
 on the islands, and contrived to inflame the zeal of the 
 poorer inhabitants : — “Our search has begotten a diligence 
 and care in all the inhabitants of the Arches and Morea.” 
 
 Now at length there came to light whole statues, beautiful 
 and well-preserved specimens, and part at least of these were 
 successfully conveyed to accessible harbours, such as Patras. 
 
 Some, to be sure, had to wait for a better opportunity. 
 
 So the efforts of Sir Thomas then seemed after all to be 
 receiving their reward, but only just in time, as in the 
 meanwhile his hopes of a speedy recall were realised. He 
 reported with pride on the handsome acknowledgments 
 which competent judges paid to his collection; moreover, 
 liis excellent new agent expressed himself willing and 
 ready to go on collecting for Buckingham even after Roe’s 
 departure. Suddenly, at the beginning of the year 1628, 
 the news came that this agent had died at Patras. Fresh 
 difficulties as a matter of course presented themselves ; the 
 treasures, which were still scattered far and wide, had to be 
 secured and collected. Roe must have been glad to be able 
 to hand the business over for completion to his successor, 
 who had meanwhile arrived (April, A.D. 162S). On the 
 27th of June, A.D. 1628, being already in Smyrna, he an- 
 nounces to the Duke that he is now having the fruit of 
 the labours of many years put on board ship. 
 
 13. Buckingham was destined not to enjoy the ac- Burfting- 
 tual possession of these treasures. When they arrived in Irbies 
 London he had already fallen by the hand of an assassin other col - 
 (Aug. 23, A.D. 162S). What became of the antiques seems 
 to be indicated by an undated letter of Lord Arundel to his 
 Countess, which, it would seem, can only be assigned to the 
 
 2—2 
 
20 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [13 
 
 beginning of the year 1629 27 . Scarcely had the Earl, who was 
 engaged at Court at the royal palace of Theobald’s, heard 
 of Sir Thomas Roe’s return, when he instructed his Countess 
 to look well after whatever he might have brought with 
 him in the way of “ antiquities, goddes, vases, inscriptions, 
 medals, or such like,” and with this view to get the as- 
 sistance of the learned Sir Robert Cotton, or at any rate 
 of a fit and proper person, and that too with all speed, so 
 that the Lord Chamberlain might not anticipate her. This 
 dreaded rival was PHILIP HERBERT, Earl OF MONT- 
 GOMERY, later fourth Earl of Pembroke, destined afterwards 
 to secure himself a place in the history of art as Vandyck’s 
 principal patron. Vandyck’s portrait-group of the Earl and 
 his family at Wilton House, one of the most celebrated 
 works of the master, is an appropriate commemoration of 
 his fame. This Lord Pembroke is, however, otherwise 
 scarcely known as a collector of antiques. For the rest 
 we do not know whether Lord Arundel’s pains were 
 crowned with success. If they were. Sir Thomas’s exer- 
 tions turned out after all to be exclusively for his benefit. 
 We learn, at all events, from these lines that there were 
 already other connoisseurs of antiques at Court 28 . Two 
 
 27 See Appendix No. 19. The 
 careful Tierney (Hist, of Arundel , II. 
 p. 435) conjecturally places the un- 
 dated letter in the year 1619, after 
 Roe’s return from his ambassadorship 
 to the Great Mogul (Sept. 1619, see 
 Thomas Birch, Court and Times of 
 James I. 11. p. 190); yet the an- 
 tiquities are little in accordance with 
 such an occasion. The return from 
 Constantinople occurred after many 
 perils at the beginning of the year 
 1629 (Birch, Charles II. 1. pp. 409, 
 415, 11. pp. 5, 8); the ship Samson, 
 of London, in which he had embarked, 
 had in November A. D. 1628 already 
 arrived in London (Birch, 1. p. 434). 
 That the Court in those years fre- 
 quently resided at Theobald’s, is to 
 be inferred from several letters in 
 Birch (I. p. 452, 11. pp. 23, 24). 
 In July, a.d. 1628, Arundel had, 
 after a long period of disgrace, again 
 
 gained admission to Court and was 
 enjoying the royal favour (Birch, 1. 
 pp. 382, 419, 441, 449). Nothing 
 consequently stands in the way of 
 my proposed date. Thus the Lord 
 Chamberlain was not William, 3rd 
 Earl of Pembroke, as Tierney thinks, 
 but his younger brother Philip, Earl 
 of Montgomery, who succeeded his 
 brother in that office A.D. 1626 
 (Birch, 1. p. 123 and passim , 11. p. 
 74, Simonds d' Ewes' Autobiogr. Lon- 
 don, 1845, II. p. 189). 
 
 28 From a letter of Lord De 
 L’lsle and Dudley, the present owner 
 of Penshurst, to Mr G. Scharf, I extract 
 the note that there “of antique sculp- 
 ture a great collection once existed 
 belonging to the second Earl, but 
 with many other things has long since 
 passed away.” The Second Earl 
 of Leicester, Robert Sidney (a. d. 
 1595 — 1616), was the father of 
 
* 3 ] 
 
 EARLY COLLECTIONS. 
 
 21 
 
 other notices confirm this evidence. The accomplished 
 Lucy, Countess of Bedford, of whom Ben Jonson 
 sang, one of the most distinguished ladies of the Court 
 of the first Stuarts, had likewise laid claim to Roe’s 
 services, that he might enrich her collection of coins 
 during his stay at Constantinople; and in the year 1626 
 the sorely pestered diplomatist was able to send her tid- 
 ings that her wishes had been fulfilled 29 . Nay, so early 
 as the year 1617 mention is made of antique heads in 
 the possession of Sir Michael Dormer. These were 
 coveted after the owner’s death by other connoisseurs 30 , 
 and when in the autumn of A.D. 1616 Lord ROOS quitted 
 England for ever, “ he gave the Earl of Arundel all the 
 statues he brought out of Italy, at one clap 31 ” — so much 
 better than any one else did the Earl seem entitled to the 
 possession of such treasures. It is presumably also to be 
 attributed to the example of Lord Arundel that King 
 CHARLES I. likewise collected antiques, besides forming 
 his wonderful picture-gallery. Before his accession he had 
 added to the modest beginnings made by Prince Henry, by 
 purchases of his own, and as a matter of course he had no 
 lack of presents 32 . Now, however, in the year 1628, we see 
 the king likewise turning his eyes to Greece. He had let Roe 
 go unmolested, but now turned to account the presence in 
 the Archipelago of his admiral Sir Kenelm Digby, in order 
 to get antiques collected for himself in those regions. 
 
 Algernon Sidney and of Waller’s 
 Sacharissa. I find neither in Collin 
 and Blencowe, Sidney Papers, nor 
 in Ewald, Life of Algernon Sidney, 
 any mention of those antiques. 
 
 29 Appendix No. 12. The Count- 
 ess was already dead in the following 
 year. With respect to her cf. L. Aikin, 
 Memoirs of the Court of James /. 1. 
 p.211. Wiffen, Memoirs of the House 
 of Russell, London, 1833,11. p. 106, 
 n 7- 
 
 30 Chamberlain to Carleton, 16.17, 
 Apr. 19 (Birch, James /. 11. p. 6). 
 
 31 Chamberlain to Carleton, 1616, 
 Oct. 12 (Birch, 1. p. 428). 
 
 32 In the Catalogue of Charles I.'s 
 Collection, p. 17 No. 69, p. 181 No. 
 8, antiques are mentioned, which the 
 King had bought when prince. He 
 had brought with him from Spain a 
 statue of Faustina (p. 181 No. 9) which 
 he had obtained on the well-known 
 journey for a bride. Others he had 
 bought when King (p. 25 No. 25, p. 
 26 No. 27) or had received as presents 
 “of the young Heriott’s widow, at his 
 decease” (p. 12 No. 10, p. 23 No. 14) 
 or from Lord Cottington (p. 23 No. 12, 
 pp. 28, &c.), probably modern through- 
 out. 
 
22 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [14 
 
 Peacham's 
 ‘ ‘ Compleat 
 Gentle- 
 man .” 
 
 14. Very characteristic of the contrast between these 
 beginnings of English collections and those of the continent 
 is the distinction laid down by Henry Peacham, a scholar of 
 Trinity College, Cambridge, in the second edition of his 
 Compleat Gentleman (a.d. 1634), a survey of all that is 
 best worth knowing for a gentleman 33 . In Italy, he observes, 
 the antiques are certainly the most beautiful, but owing to 
 the strict ordinances against their exportation very difficult 
 to secure. “ But in Greece and other parts of the Grand 
 Signiors Dominions (where sometime there were more Sta- 
 tues standing than men living, so much had Art out-stripped 
 Nature in those dayes) they may be had for digging and car- 
 rying. For by reason of the barbarous religion of the Turks, 
 which alloweth not the likenesse or representation of any 
 living thing, they haue been for the most part buryed in 
 mines or broken to peeces ; so that it is a hard matter to light 
 upon any there, that are not headlesse and lame, yet most of 
 them venerable for antiquitye and elegancy. And here I 
 cannot but with much reverence, mention the every way 
 Right honourable Thomas Howard Lord high Marshall of 
 England, as great for his noble Patronage of Arts and 
 ancient learning, as for his birth and place. To whose libe- 
 rall charges and magnificence this angle of the world oweth 
 the first sight of Greeke and Romane Statues, with whose 
 admired presence he began to honour the Gardens and Gal- 
 leries of Arundel-House about twentie yeeres agoe, and 
 hath ever since continued to transplant old Greece into 
 England. King Charles also ever since his comming to the 
 Crowne, hath amply testified a Royall liking of ancient sta- 
 tues, by causing a whole army of old forraine Empcrours, 
 Captaines, and Senators all at once to land on his coasts, 
 to come and doe him homage, and attend him in his palaces 
 of Saint James, and Sommerset house. A great part of 
 
 33 The passage, which is in chapter of Arundel’s children, whom he at- 
 xil. Of Antiquities , pp. 107, 108, is tended into the Low Countries 
 wanting in the first edition of a.d. (Walpol e, Anccd., Catal. of Engravers 
 1622. reacham was tutor to the Earl imder the year 1637). 
 
H, i5] 
 
 EARLY COLLECTIONS. 
 
 23 
 
 these belonged to the late Duke of Mantua : and some 
 of the Old Greeke marble-bases, columnes, and altars were 
 brought from the mines of Apollo’s Temple at Delos, by 
 that noble and absolutely compleat Gentleman, Sir Iven- 
 helme Digby, Knight 34 .” 
 
 15. Peacham’s remark about the Greek statues in ques- Lord 
 tion, that they are generally headless and lame, is confirmed 1 s 
 by the condition of the remains of the Arundel collection Sculptures. 
 at Oxford. Perhaps not a single statue of undoubted Greek 
 origin among them is preserved with its original head, — 
 but neither, in truth, can so very many statues discovered 
 in Italy boast of this distinction. They include, however, 
 a number of very fair draped statues, which do not, it is 
 true, belong to the dazzling prime of Greek sculpture, yet 
 in comparison with Roman draped figures from Italy ex- 
 hibit the superiority of a fresher and more naif treatment, 
 and certainly deserve to be allowed the opportunity of 
 making the most of this superiority by being better placed 
 for exhibition. They remind the student strongly of sculp- 
 tures known to be derived from Asia Minor 35 , and are 
 therefore likely to belong to the collection of specimens 
 which Petty made there. In order that he might be the 
 better able to apply these statues to the decoration of his 
 house, Lord Arundel had them restored, by a fairly quali- 
 fied artist, to the completeness which they lacked 86 . At 
 this day manifest restorations are here and there to be 
 recognised, which are as different from Guelfi’s later abomi- 
 nable botchings as day is from night. All the full-length 
 statues, however, are far surpassed in value by one female 
 
 34 In the year 1639 the French 
 ambassador de la Haye saw in Delos 
 a statue of Apollo, “que les Anglais 
 out scire en deux , de haut en las, pour 
 en emporter une partie ” (Zrj Voyages 
 du Sicur Du Loir , Paris, 1654, p. 8). 
 Thus so early as that time the English 
 were made answerable for all the 
 injuries which befell antiques. 
 
 35 See below, Cat., art. London, 
 South Kensington Museum, Nos. 1, 2. 
 
 38 This is vouched for by Kennedy, 
 who is, to be sure, anything but trust- 
 worthy (Descr. of Wilton House, p. 14). 
 It is, however, also confirmed by the 
 statues themselves. Lord Arundel 
 employed, amongst others, the sculp- 
 tors Hubert le Soeur and Francesco 
 Fanelli (Dallaway, Anecd. p. 230), yet 
 they were both mainly, if not ex- 
 clusively, bronze-founders. 
 
24 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [15, 16 
 
 Increase 1 
 the collec- 
 tion. Its 
 rising 
 fame. 
 
 bust, though even this is not entirely uninjured. This was 
 the only one of the antiques belonging to Lord Arundel 
 which the engraver Wenzel Hollar, when brought by the 
 Earl to England and variously employed by him, found 
 worthy of his burin 37 . Besides this a few Greek reliefs, 
 especially of the sepulchral class, call for attention ; these, 
 though not of the very first rank, are nevertheless fine 
 examples of this attractive class of sculpture. 
 
 16. The formation of the Arundel collection was by 
 no means brought to a close on the arrival of Petty’s Greek 
 marbles in the above-named year 1628. We even learn 
 that immediately before the outbreak of the civil war a 
 fresh batch of antiquities arrived 38 . Petty continued to be 
 actively engaged on behalf of the Earl even after his return 
 from the Levant. Some years later he tried hard, though 
 in vain, to win over the mathematician John Greaves 
 to Lord Arundel’s service. This gentleman had travelled 
 with Petty in Italy, and was then contemplating travels in 
 the East. Petty offered him on behalf of the Earl a fixed 
 salary of £ 200 a year and “such fortunes as that Lord 
 could heap upon him,” if he would accompany him (Petty) 
 to Greece 89 . Notwithstanding Greaves’ refusal, the idea of 
 farther researches in Greece was not given up. The chief 
 augmentations to the collection came, however, still from 
 Italy, where in addition to Petty the younger Henry Van- 
 derborcht collected for Lord Arundel. By this artist, too, 
 the Earl caused many specimens in his collections to be 
 drawn or engraved 40 ; as indeed at that time access to these 
 treasures was to all appearance made easy for artists in 
 
 w Oxford, Univ. Gall. No. 59. G. 
 Parthey, Wenzel Hollar , Berlin, 1853, 
 p. 126 No. 590; the engraving is 
 dated a . d . 1645. 
 
 38 Chandler, Alarm. Oxon. p. 2. 
 
 39 Ward, John, The Lives of the 
 Professors of Gresham College, London, 
 1760, p. 337. Greaves was in Italy 
 probably from a.d. 1633 to 1636; in 
 
 the year after that he was Pococke’s 
 travelling companion. 
 
 40 Walpole, Anecd. ch. IX. 
 (Arundel). lie also states in the 
 Catalogue of Engravers to the year 
 1631 that there was in Paris a collec- 
 tion of 567 engravings from objects 
 in the Arundel collection, prepared 
 between a.d. 1631 and 1638. 
 
iG] 
 
 EARLY COLLECTIONS. 
 
 25 
 
 general 41 . Arundel House became in this way a sort of 
 gathering-place for scholars and friends of art. The 
 guests at Lord Arundel’s house made up for any deficiency 
 in learned culture on the part of their host 42 . Francis 
 Junius, who had stayed in his service from A.D. 1620 as 
 librarian and tutor, first to his youngest son (the ill-fated 
 Lord Stafford) and subsequently to his grandsons 43 , wrote 
 at Arundel’s instance his learned work dc Pictura Veterum 
 (1637), — in which, singularly enough, we find no allusion to 
 the antiques of the house. Other scholars, Cotton, Selden, 
 Young, James, have been already mentioned. There was 
 also no lack of distinguished visitors. In December A.D. 1628 
 King Charles and his Queen honoured Arundel House with 
 a visit, on which occasion all the rooms were inspected 44 . 
 Foreigners who came to London were welcome guests at 
 Arundel House, and in their presence the Earl, who had 
 himself lived a long time abroad, if he showed them his 
 treasures, laid aside some of that unbending punctilious 
 dignity which he never threw off in the presence of his 
 own countrymen 45 . The latter took their revenge in all 
 manner of sarcasms. One observed that “he was only 
 able to buy the antiquities, never to understand them 46 .” 
 Another thought it ridiculous in Lord Arundel “to give so 
 many hundred crowns for an urn a mason would not have 
 valued at a penny 47 .” “Sir Francis Bacon coming into the 
 Earl of Arundel’s garden, where there were a great number 
 of ancient statues of naked men and women, made a stand, 
 
 41 Jande Bisschop (Episcopius) has 
 engraved several Arundel statues in 
 Iris Signontm veterum leones, semi- 
 centuria altera (about A.D. 1670), after 
 drawings of the younger Jaques de 
 Geyti, who had travelled in England. 
 
 43 This at any rate is the view of 
 Clarendon, Hist, of the Rebellion , Oxf. 
 1849, P- 78- 
 
 4;! Tierney, Hist, of Arundel, II. 
 P- 507. 
 
 44 Porytojoseph Mead, 1628, Dec. 
 
 19 (Birch, Charles /. 1. p. 451). 
 
 46 Clarendon, Hist, of the Rel>., 
 1 . cit. R. Symondes in Walpole’s 
 Anecd. ch. IX. (Arundel). The fame 
 of the collection naturally extended 
 even in foreign countries. See J. 
 Sandrart, Teutsche Akademie, Niirn- 
 berg, 1675, 1. p. 41. 
 
 46 Clarendon, l. cit. 
 
 47 Osborn, F., Historical Memoirs, 
 in his Works, 7th ed., London, 1673, 
 P- 497- 
 
2 6 
 
 ANCIENT MARBLES IN GREAT BRITAIN, [i 6, 1 7 
 
 General 
 view of the 
 Arundel 
 collection. 
 
 and as astonished cried out: The resurrection 48 !” Strange 
 that on Easter Sunday A.D. 1626 it was the great philoso- 
 pher’s own fate to close his eyes in this very house 49 ! 
 
 17. The marbles, which are always brought forward as 
 the most popular division of the Arundelian antiques, are 
 said according to old catalogues to have amounted to 
 thirty-seven statues, one hundred and twenty-eight busts, 
 and two hundred and fifty inscribed stones, exclusive of 
 sarcophagi, altars and fragments 50 . A portrait painted by 
 Paul Vansomer in A.D. 1618 shows the Earl in the act of 
 pointing with a stick to various statues near him 51 . In a 
 much later picture by Vandyck, which represents the Earl 
 and his Countess, there is introduced as a subsidiary figure 
 the beautiful bronze head of the so-called Homer (more 
 correctly of the aged Sophokles). This was one of the 
 choicest pieces of the collection, and has since then found 
 the place which it merits in the British Museum 52 . The 
 statues were distributed over the house and garden. The 
 busts were chiefly used for the decoration of the gallery. 
 The inscriptions were for the most part let into the garden 
 walls. To the sculptures are to be added two other valuable 
 classes of objects, namely, the gems and the coins. Arundel 
 bought Daniel Nice’s cabinet, comprising examples in both 
 these classes, for ^io,ooo 53 . His collection of coins was 
 considered quite admirable 54 , but the fame of the Arundel 
 gems stood still higher. This collection comprised not less 
 than one hundred and thirty cameos and one hundred and 
 
 48 IVorhs of Bacon, ed. Spedding, 
 v it. p. 177, from Tenison’s Bacomana, 
 1679. 
 
 48 Spedding, Letters and Life of 
 Bacon, VII. p. 550. 
 
 60 Kennedy, Descr.of Wilton House, 
 pp. 13 — 15, drawn up from papers be- 
 longing to Thomas Earl of Pembroke ; 
 after whom Dallaway, Anecd. p. 333. 
 Sundry errors in their representations 
 are corrected according to superior 
 authorities in the following pages. 
 
 61 Dallaway [Anecd. p. 238 note) 
 
 was acquainted with the picture in 
 Worksop Manor. Another portrait of 
 the Earl and Countess by the same 
 master is in Arundel Castle (Waagen, 
 Treas. in. p. 30). 
 
 52 Walpole, Anecd. ch. ix. ad fin. 
 The picture is in Arundel Castle 
 (Waagen, Treas. ill. p. 30). 
 
 63 Evelyn to Pepys, 1689, Aug. 
 
 54 Clarendon, Hist, of the Rebellion, 
 I. p. 78, ed. Oxon. 
 
17, 1 8 ] 
 
 EARLY COLLECTIONS. 
 
 27 
 
 thirty-three intaglios. To be sure, far from all the contents 
 of the cabinet were really antique; yet of not less artistic 
 value, at least, than real antiques, were such master-pieces 
 of the glyptic art of the Cinquecento as the world-renowned 
 gem with the marriage of Cupid and Psyche, bearing the 
 supposititious signature of an engraver, Tryphon 55 . 
 
 18. With respect to the antiques of KING CHARLES, 
 which Peacham couples with Arundel’s, we possess only collection of 
 imperfect information from the catalogue which Abr. Van- 
 derdoort, keeper of the royal collection in Whitehall, made 
 about the year 1639A At Whitehall was kept the most 
 unimportant portion of the sculptures, chiefly statuettes 
 and busts. The catalogue never states whence they were 
 derived ; nor is it always clear whether they were antique 
 or modern. This document is supplemented by some 
 statistical statements in the inventories subsequently made 
 at the instance of Parliament with a view to the sale of 
 the collections 57 . According to these, there were in the 
 residences named by Peacham (a.D. 1634), St James’s and 
 Somerset House to wit, and in their gardens, one hundred 
 and sixty-nine statues altogether, and as many as two 
 hundred and thirty more in the Palace of Greenwich. 
 
 It is obvious that this large number of nearly four 
 hundred statues did not consist merely of antiques. Many 
 were undoubtedly modern works manufactured by Nicholas 
 Stone and others for the adornment of the gardens and 
 galleries. To some extent we can still realise the nature 
 of the collection to our mind’s eye by means of a resource 
 hitherto overlooked. In the Royal Library at Windsor there 
 
 95 Brunn, Gcschichte der griech. 
 Kiinstler , II. p. 635. 
 
 5(i A Catalogue and Description of 
 King Charles the First's Capital Col- 
 lection of pictures, linmings, statues , 
 bronzes, medals, and other curiosities ; 
 now first published from a n Original 
 Manuscript in the Ashmolean Museum 
 at Oxford. The whole transcribed and 
 prepared for the press, and a great 
 
 part of it printed, by the late ingenious 
 Mr Vcrtuc, and now finished from his 
 papers. London, printed for W. 
 Bathoe, 1757, 4- There are several 
 copies (Brit. Mus. Harl. 7352); a 
 portion of the original MS., with King 
 Charles’s notes in his own handwriting, 
 is in the Royal Library at Windsor. 
 
 57 Vertue has given extracts there- 
 from in his Catalogue. 
 
28 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [ 1 8 , IQ 
 
 Vicissi- 
 tudes of the 
 Royal Col- 
 lection 
 after 1649. 
 
 is a book with drawings in red chalk of statues and busts 
 which were lost in the burning of Whitehall A.D. 1698 63 . The 
 great majority of these are presumably derived from Charles 
 Ids collection. There are drawings of sixty-four statues, 
 of which the greater number appear to be antique, though 
 much restored. Others are certainly modern. None of them 
 are of the first class, but several specimens are not without 
 interest. The genuineness of the busts, nearly two hundred 
 in number, is far more open to suspicion. High-sounding 
 names have been arbitrarily given to them, considerable 
 ingenuity having been expended in their selection. All the 
 specimens in this book maintain throughout the character 
 of antiques or imitations of Italian origin. It may be 
 that, as Peacham intimates, part of them were derived from 
 the Gonzaga collection at Mantua, whence Charles, about 
 A.D. 1629, had obtained the most valuable portion of his 
 picture gallery 69 . Nothing in these drawings suggests Greek 
 extraction. Among all the vestiges of the royal collec- 
 tion, I can recognise the signs of Greek origin only in 
 a single modest monument, which is probably to be traced 
 to Sir Kenelm’s exertions on behalf of the King in the 
 Archipelago. This is a round pedestal with a Greek in- 
 scription, from Delos, which at first stood in St James’s 
 Park, later in the gardens of Whitehall 60 . 
 
 19. The zeal both of the King and his Earl Marshal 
 for the collection of antiquities was brought to an un- 
 welcome end by the outbreak of the civil war. As early 
 as A.D. 1645 Parliament attached the Buckingham collec- 
 
 58 Cf. Archaeol. Zeitung, 1874, 
 p. 68. The folio volume bears the 
 title : Drawings of Statues and Busts 
 that were in the Palace at Whitehall 
 before it was burnt. Preserved by Sir 
 John Stanley, Bart., who belonged to 
 the Lord Chamberlayne’s office at the 
 time the Palace was burnt down. (He 
 was deputy Chamberlain.) The letter- 
 press is Italian. Eighteen specimens 
 are mentioned specially by name on 
 a prefatory sheet. I shall give a 
 
 fuller account of the contents of this 
 volume in another place. 
 
 68 As to the determination of the 
 date see Waagen, Treasures of Art, 1. 
 p. 7. The acquisition thus occurred 
 during the confusion of the Mantuan 
 War of Succession. 
 
 6U C. I. G. 2286. Patrick Young 
 had seen the marble in the Garden 
 of St James’s (a. d. 1633), Prideaux 
 at Whitehall (a. d. 1676). 
 
EARLY COLLECTIONS. 
 
 2 9 
 
 T 9l 
 
 tion at York House. The paintings and statues were 
 dispersed 61 . A similar fate presently befell the royal col- 
 lection 62 . Only a few months after the monarch’s death 
 Parliament decreed the sale of his property, of which the 
 works of art constituted not the least valuable part (March, 
 A.D. 1649). Inventories were taken by a special commis- 
 sion. From these are taken the numerical estimates above 
 cited. A reserve price was fixed for each work of art, and 
 in many cases this reserve was tolerably high. A “Corn- 
 modus in the habit of Hercules,” a Muse, and a terminal 
 figure, were valued at £ 200 apiece; a “Tiberius Caesar 
 in the habit of a priest” at .£500, a Silenus even at £600 ; 
 and, as it seems, these pieces were actually sold. 63 The 
 valuation of the grand total of three hundred and ninety- 
 nine statues reached the sum of £\y,g8g. 10s. 6d Gi . A 
 large number were unfortunately dispersed. Cardinal 
 Mazarin is reported to have bought many statues. All 
 that is certain is that Queen Christina of Sweden purchased 
 the choice of all the medals and jewels 65 . The auctions 
 dragged on till the year 1653. It is certain however that 
 far from all the antique sculptures were sold. Parliament 
 itself had already from the very beginning of the sale 
 reserved such works “as should be thought fit to be re- 
 served for the use of the state,” and delegated their 
 
 61 Walpole, Anecd. ch. ix. (Charles 
 
 I. ) according to the Journal of the 
 Commons. Catalogue of the Collection 
 of the Duke of Buckingham , Lond. 
 1758, preface. 
 
 62 For the subject generally cf. 
 the account given in Walpole’s Anecd. 
 ch. IX. Cf. also Calendar of State 
 Papers (Domestic), 1649, pp. 10, 70, 
 170. 
 
 03 I borrow these values from a pre- 
 fatory sheet of the book of drawings at 
 Windsor, cited in note 58. Walpole, 
 too, mentions the Tiberius ; Dallaway, 
 Anecd. p. 232, mentions others. 
 
 04 Catalogue of King Charles J.'s 
 Collection , p. 7. Waagen, Treasures, 
 
 II. p. 4C7. 
 
 05 Lord Clarendon is the principal 
 
 authority, Hist, of the Rebellion , book 
 xi. § 251 (iv. p. 547, Oxf.). He 
 makes the above statement about 
 Queen Christina ; of Mazarin’s pur- 
 chases he only mentions “all the rich 
 beds and hangings and carpets,” of 
 those of Don Alonzo de Cardenas, the 
 Spanish Ambassador, “ many pictures 
 and other precious goods.” Dallaway 
 (Anecd. p. 232) reports that they both 
 bought statues also ; with reference to 
 Mazarin, he probably borrowed this 
 from the untrustworthy Kennedy, 
 Description of IVilton House, p. 18. 
 At that time no such antique sculptures 
 seem to have gone to Spain. Cf. 
 H iibner, Die ant. Bildwcrke in Madrid, 
 Berlin, 1S62, p. 8. 
 
30 ANCIENT MARBLES IN GREAT BRITAIN. [19 
 
 selection to the Council of State. Cromwell exerted himself 
 more than any one, though not always with success, to 
 restrain a barbarous squandering of art-treasures. Thus for 
 instance, on the 13th of February, A.D. 1651, the surveyor 
 of the works, Mr Carter, was directed “to take care to bring 
 twelve statues from James House to bee placed in the garden 
 of Whitehall, which are to bee such as hee shall find to bee 
 most proper for that use.” This direction was carried out, 
 and on the 16th of April the twelve statues “worthy to be 
 kept for their antiquity and rarity” were definitively ex- 
 cluded from the sale. The above-mentioned sculptures 
 from St James’s Palace also followed soon, when that 
 building was fitted up as barracks. They were to be 
 brought “to some other place more convenient”; “the 
 heads with the pedestalls belonging unto them may be sent 
 into the gallerie in Whitehall to stand there untill the 
 Trustees [for sale of the late King’s goods] shall make sale 
 of them 06 .” In fact they underwent such a sale in the same 
 year 1651; but Cromwell prevented their delivery to the 
 purchasers, who after his death laid a complaint before 
 the Council of State; we do not know with what result 07 . 
 At any rate an important part of the sculptures remained 
 in Whitehall, which was, as is well known, the usual 
 residence of the Protector in his last years. These sculp- 
 tures formed, we can tell, the nucleus of the royal col- 
 lection of antiques after the Restoration ; for some of the 
 statues included in the inventories for the sale of King 
 Charles’s property reappear among the drawings of the 
 above-mentioned book in the Library at Windsor 68 . It is 
 however evident from this latter that the collection also 
 
 66 The documents concerning the 
 transaction in the Record Office have 
 been published by W. Noel Sainsbury, 
 in The Fine Arts Quarterly Review, 
 1. 1863, p. 166; cf. now too Calendar 
 of State Papers (Domestic), 1651, pp. 45, 
 78, 151, 202, 218, 243, 252, 257. 
 w Walpole, /. cit. 
 
 68 The Catalogue of King Charles 
 
 I. 's Collection ,p. 7 (Waagen, Treasures, 
 
 II. p. 467), brings nine statues into 
 special prominence; three of which 
 (Nos. 3, 6, 8) recur amongst the draw- 
 ings, two (Nos. 1, 7) were modern 
 copies in bronze. 
 
iq] 
 
 EARLY COLLECTIONS. 
 
 31 
 
 received sundry additions under Charles II., through the 
 agency of the painter Sir Peter Lely 69 . On the other hand, 
 it is not clear how it comes about that those drawings 
 comprise almost twice as many specimens as the “list of 
 the Statues in Marble and Figures in Brass, in Whitehall,” 
 which Will. Chiffinch, of the King’s bedchamber, had 
 drawn up for James II. 70 This list is, at least apparently, 
 official. While it enumerates only twenty-eight groups 
 and statues, one hundred and six busts and one relief, the 
 book contains sixty-four groups and statues and one hun- 
 dred and ninety-six busts; moreover the numbers attached 
 to the several drawings seem to indicate that the collection 
 altogether contained more specimens than are shown in the 
 extant drawings. Since, as is well known, a very con- 
 siderable part of the picture gallery of Charles I. was also 
 brought together again after the Restoration, it is clear that 
 the halls and galleries of Whitehall will have contained a 
 very fine collection of art-treasures so long as it continued 
 to be the luxurious residence of the court of the two last 
 Stuarts. Yet it fell out as though this creation of the 
 dynasty of the Stuarts had been destined not to outlive 
 their fall. All that grandeur perished on the disastrous 
 night of the 4th of January, A.D. 1698, when a fearful fire 
 destroyed the whole palace except Inigo Jones’s Banquet- 
 ing Hall 71 . Sundry sculptures were rescued and stolen in 
 the general confusion. This was the case with a crouching 
 Venus which had been purchased by Lely; four years later 
 however it was found and recovered by the Crown 72 . But 
 
 69 On fol. 26 there is a lead-pencil 
 note to No. 88, a crouching Venus, 
 “bought by Lilly the Painter, with 
 several other his Ma ls rarities.” Note 
 72, HI. 
 
 70 A Catalogue of the Collection of 
 
 Pictures , &c . , belonging to King 
 
 James the Second. London, W. 
 Bathoe, 1758, p. 101. The print has 
 been made from a copy of Vertue’s; the 
 original manuscript is in the British 
 Museum, Cod. Harl. 1890. 
 
 71 Evelyn, Diary , 1698, Jan. 5. 
 Macaulay, History of England, ch. 
 xxill. The equanimity with which 
 King William took the loss is shown 
 by a letter to Heinsius of the 7/17 Jan. 
 (old and new style) 1698 in Ranke’s 
 Englische Geschichte, IX. p. 212, 2nded. 
 
 7 - Walpole, /. cit. She is to be 
 found in Chiffinch, p. 108 No. 1356; 
 among the drawings at Windsor on 
 fol. 26 No. 88 (see above, note 69) as 
 “Elena di Troia.” A very beautiful 
 
32 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [19, 20 
 
 The Arun- 
 del collec- 
 tion during 
 
 the Revolu- 
 tion. 
 
 the collection of Charles I. as a whole was utterly and 
 irretrievably lost. 
 
 20. The Arundel collection fared somewhat better. 
 The Earl Marshal had quitted England for ever A.D. 1641, 
 and died soon afterwards (A.D. 1646) at Padua. A valuable 
 portion of his collections, the gems and jewels, had pre- 
 viously been taken to Holland for safety 73 . By the Earl’s 
 will all his goods were left to his Countess Alathea to be 
 at her own disposal absolutely, the greatest part of them 
 having been purchased with her money 74 . Most uncom- 
 fortable relations subsisting between the mother and her 
 eldest son Henry Frederick, the new Earl, are said to have 
 brought about a partial breaking-up of the collections, yet 
 this is by no means certain 75 . Again, it is not clear whether 
 the antiques were divided at once or rather after the death 
 of the old Countess 7G . One share fell to the mother’s favour- 
 ite, her younger son, William Howard, Viscount Stafford, 
 and was removed to Tart Hall, a house situated in the 
 neighbourhood of Buckingham Gate, which the Countess 
 had had built for her A.D. 1638 by Nich. Stone 77 . This 
 part of the collection remained there until A.D. 1720, when 
 after the death of Henry, Earl of Stafford, eldest son of the 
 hapless Viscount, all the contents were sold by auction. 
 On this occasion Dr Mead purchased the above-mentioned 
 bronze head of “ Homer.” Works in marble appear by the 
 sale-catalogues not to have been included in this portion 
 of the property 78 . In any case the majority of the sculp- 
 
 relic of King Charles’s collection is the 
 magnihcent cameo with the portrait 
 of the Emperor Claudius in Windsor 
 (Fortnum in the Archacologia XLV. 
 pi. 1). 
 
 73 Evelyn, Letter to S. Pepys, 1689, 
 Aug. 12, mentions Amsterdam; Wal- 
 pole, Anecd. ch. ix. (Arundel), Ant- 
 werp. Pictures also were sent there. 
 See Causton, The Howard Papers, p. 
 5 6 . 
 
 74 Tierney, Hist, of Arundel , II. 
 p. 503. The will is published in 
 Howard, Ch., Historical Anecdotes, 
 London, 1769. 
 
 75 Evelyn, l. cit., but Tierney, l. 
 cit., contradicts him. 
 
 76 Walpole, l. cit. Dallaway, 
 
 Anecd. p. 234. 
 
 77 Walpole, Anecd. ch. vm. 
 
 (Stone). 
 
 78 Walpole, Anecd. ch. ix. 
 
 (Arundel), had seen a printed cata- 
 
 logue, which was miserably drawn up, 
 with the prices, in the possession of 
 Mr West; he states the amount of the 
 proceeds at ,£6,535 ; Dallaway, Anecd. 
 p.239, Of Statuary, p. 284, mentions, 
 after Howard’s Historical Anecdotes, 
 ,£8,852. r r j. , and gives the several 
 
20 , 2 i] 
 
 EARLY COLLECTIONS. 
 
 33 
 
 tures, as indeed of the antiques generally, remained in 
 Arundel House as the heritage of the eldest son. There 
 fresh dangers threatened them. For by order of Parliament 
 the entire property of the Arundel family was laid under 
 attachment, A.D. 1651, and, just as in the case of the king’s 
 collections, an inventory of the “severall goodes, picktures, 
 and statues at Arundell House in the Strand” was pre- 
 pared. Indeed, owing to “the recusancy of Alathea, late 
 Countesse Dowager of Arundell and Surrey,” the proposal 
 of sale was again raised two years after her death (A.D. 1656), 
 and to some extent at least was carried out 70 . However, 
 to all appearance only pictures were dealt with by this 
 measure; the antiques most likely suffered damage through 
 insufficient supervision on the part of the owner and negli- 
 gence on that of his personal attendants rather than by 
 direct measures of the government 80 . 
 
 21. By the time that the Restoration had put an end 
 to the insecurity of personal property, the Earl Henry 
 Frederick had died (A.D. 1652). His eldest son, Thomas 
 Howard, who was reinstated by Charles II. in the old family 
 dignity of the Duchy of Norfolk (A.D. 1662), resided as a 
 lunatic at Padua, where he died (A.D. 1677). The care of the 
 family property consequently devolved upon the second 
 son, Henry Howard, whom his father had already regarded 
 as his future heir and successor 81 . To his charge then 
 Arundel House with its costly collections was entrusted. 
 But he had nothing in common with the artistic interests 
 of his grandfather. The derangement of the property and 
 family circumstances explain his paying no heed to a pro- 
 posal b ", which came from a thoroughly friendly quarter, to 
 make the statues known to the world by an illustrated 
 
 classes; for example, Jewels and 
 Curiosities £2,467. 7s. 10 d., Medals 
 £$o. lor. 6d. 
 
 79 See Sainsbury, W. Noel, in The 
 Fine Arts Quarterly Review , I. 1S63, 
 p. 168, “ Extracts from the Documents 
 of the Record Office.” 
 
 80 Cf. Edw. Browne’s Journal, 
 
 [664, March 1, in Brit. Mus. Sloane 
 MS. 1906 (Causton, The Howard 
 Papers, p. 143). 
 
 81 Causton, The Howard Papers, 
 p. 63. 
 
 82 Evelyn, in letter to Henry 
 Howard, of Norfolk, 1667, Aug. 4. 
 
 The neglect 
 thereof. 
 
 The in- 
 scriptions 
 presented to 
 Oxford. 
 
 M. C. 
 
 J 
 
34 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [21 
 
 publication. The carelessness with which the venerable 
 relics were allowed to perish was inexcusable, nay abso- 
 lutely criminal. The inscriptions, which Selden’s book 
 had made especially famous, were “miserably neglected 
 and scattered up and down about the garden and other 
 parts of Arundel House, exceedingly impaired by the 
 corrosive air of London 83 ”. Many were destroyed, others 
 stolen ; indeed they were so little regarded that on the 
 repair of the house they were used as building material ! 
 In this way the upper half of the very valuable M armor 
 Parium disappeared in a chimney of the palace, and it 
 would have been utterly lost to the learned world had not 
 the diligence of Selden and his friends discovered it be- 
 times 84 . The heir behaved with equal carelessness with re- 
 spect to the famous library of his ancestors, “ suffering the 
 priests and everybody to carry away and dispose of what 
 they pleas’d, so that abundance of rare things were irre- 
 vocably gone 85 .” Under such circumstances it was a veri- 
 table deliverance that an old friend of the family, John 
 Evelyn, used his influence with the owner to such purpose 
 that he assigned his treasures to safe hands, more, it is 
 true, in indifference to their value than from high-minded 
 liberality. In the year 1667 the library was at Evelyn’s 
 instance presented to the Royal Society 8S , which had not 
 long before been founded. The presentation of the mar- 
 bles to the University of Oxford followed. They comprised 
 “ all those stones, coins, altars, &c., and whatever had in- 
 scriptions on them, that were not statues,” inclusive of the 
 slabs let into the garden walls 87 . This collection had once 
 consisted of two hundred and fifty inscribed stones. But of 
 these only one hundred and thirty-six arrived at Oxford 88 . 
 The remainder had been lost in those few decades ! The 
 
 83 Evelyn, Diary , 1667, Sept. 19, 86 Evelyn, Diary, 1667, Jan. 9, 
 
 and in the letter quoted. Mar. 4, 1678, Aug. 29. 
 
 8i Prideaux, Marmora Oxoniensia, 87 Evelyn, in letter to H. Howard, 
 
 Oxf. 1676, preface. 1667, Aug. 4. Diary, 1667, Sept. 19, 
 
 8,1 Evelyn, Diary, 1678, Aug. Oct. 8, 17, 25. 
 
 29. 88 Prideaux, /. cit. 
 
21 , 22 ] 
 
 EARLY COLLECTIONS. 
 
 35 
 
 University did not fail to bestow academic honours on the 
 giver of the donation as well as on Evelyn who had sug- 
 gested it. The marbles themselves retained the honourable 
 name of Marmora Arundeliana. Yet even there they 
 at first found only partial protection, “inserted in the walls 
 that compass the area of the [Sheldonian] theatre 89 .” It 
 was no sufficient amends for this treatment that the Uni- 
 versity had them edited afresh by one of her scholars in a 
 folio volume, which was dedicated to Lord Henry Howard 90 . 
 It was not until a much later period that the stones were 
 brought out of the open air into a room in the neighbouring 
 Schools, where they lay for a long time promiscuously in 
 utter disorder, until at last most of them were built into 
 the walls ; others, quite separated from their old compa- 
 nions, must to this day be sought in a damp basement room 
 of the Ashmolean Museum, which lies near the Schools. 
 The various collections which especially belong to this 
 Museum were presented to the University ten years later 
 than the Arundelian marbles. 
 
 22. The donation of the inscriptions was only the be- Dispersion 
 
 • ■ r , . • r i . i' . ofthewhoh 
 
 ginning of the dispersion of the collections of Arundel collection. 
 House 91 . In the year 1678 Lord Henry, now 6th Duke of 
 Norfolk and Earl Marshal, resolved to pull down the old 
 family seat with a view to the laying out of streets (Arun- 
 del Street, Norfolk Street, Surrey Street) and the erection 
 of dwelling-houses on the land. A part only of the garden 
 next the river was reserved for the site of the new ducal 
 
 palace (Norfolk House). The antiques were now got rid 
 
 89 Evelyn, Diary , 1669, July 7 — 
 15. H. Howard had already received 
 the degree of D. C.L. on June 5, A.D. 
 1668 (Wood, Fasti , n. p. 303). 
 
 90 Marmora Oxoniensia , ex 
 
 Arundellianis , Seldcnianis aliisqne 
 conjlata. Rcc. ct cxpl. Humphridns 
 Prideaux. Oxf. 1676, fol. The book 
 comprises besides 14 inscriptions be- 
 queathed by J. Selden or presented by 
 sundry benefactors. A gift also of the 
 well-known Oriental traveller George 
 Wheler was soon added (a.d. 1683). 
 
 91 Most of the details of the follow- 
 ing account are taken from a letter 
 from James Theobald to Lord 
 Willoughby de Parham, P.S.A., 1757, 
 May 10, which is copied in Howard, 
 Ch., Historical Anecdotes of some 
 of the Howard family, London, 1769, 
 pp.91 — 1 10. On this pointef. Walpole, 
 Anecd. ch. IX. (Arundel). Kennedy, 
 Description of Wilton House, p. xv. 
 Dallaway, Anecd. p. 236. Causton, 
 Howard Papers, pp. 176, 189. 
 
ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [22 
 
 36 
 
 of, probably all the more recklessly that by the following 
 year the Duke went to reside for a long time out of 
 England, in consequence of the measures taken by Par- 
 liament after the Popish Plot 92 . As no purchaser came 
 forward for the whole quantity, a partition began. The 
 majority of the busts, together with a number of statues 
 and bas-reliefs, which had adorned the gallery, were bought 
 by Thomas, Earl of Pembroke. We do not know accu- 
 rately when this purchase was made. A few of the statues 
 were appropriated after the Duke’s death (A.D. 1684) by his 
 widow, whose second husband, Col. Maxwell, wanted four 
 years later to have them sold by auction ; but the new 
 Duke protested against this 93 . The remainder were at 
 first brought over into the reserved part of the garden, 
 partly under a colonnade which was situated there. Yet 
 the emptying of the house was carried on with such remiss- 
 ness, that broken statues and sarcophagi, remnants of the 
 Arundel collection, were found ten years later in the cellars 
 of the newly-built houses in Norfolk Street. The statues 
 under the colonnade fared ill indeed. “When the workmen 
 began to build next the Strand, in order to prevent in- 
 croachments, a cross wall was built to separate the ground 
 let to building from that reserved for the family mansion ; 
 and many of the workmen, to save the expense of carrying 
 away the rubbish, threw it over this cross wall, where it fell 
 upon the colonnade, and at last by its weight broke it 
 down, and falling on the statues, &c. placed there broke 
 several of them.” In spite of this sad mishap a purchaser 
 was found for the greater part in the year 1691 94 , in the 
 person of Sir William Eermor, afterwards Lord Lempster. 
 He had them brought to his country seat, Easton Neston, 
 near Towcester, Northamptonshire. The purchase money 
 
 92 Causton, /. cit. p. 202, quotes 
 Pennant as follows : “ During the 
 madness of the popish plot, the statues 
 were buried : the mob would have 
 mistaken them for popish saints.” 
 May not there be some confusion 
 
 here with the facts to be next men- 
 tioned ? 
 
 93 Causton, /. cit. p. 269, quotes 
 to this effect the Journals of the 
 House of Lords, XIV. pp. 105, 106. 
 
 94 Evelyn, Diary, 1691, Mar. 21. 
 
22] EARLY COLLECTIONS. 37 
 
 was extremely small, being only £ 300 ; but the Duke’s 
 want of cash was so pressing, that he did not hesitate to 
 close the bargain 95 . Of the remainder a few broken statues 
 were given by the Duke to a servant of the family named 
 Boyder Cuper, who used them for the decoration of a 
 pleasure-ground which he kept, called Cuper ’s or Cupid’s 
 Gardens, in Lambeth, opposite Somerset House 98 . Here 
 they subsequently (A.D. 1717) attracted the attention of 
 two lovers of art, John Freeman Cook, of Fawley Court, 
 Henley on Thames, and Edmond Waller (of the poet’s 
 family), of Beaconsfield. These gentlemen bought the 
 specimens for £j 5, divided them between themselves, and 
 conveyed them to the two places mentioned. Lastly, 
 whatever statues and fragments remained in the gardens 
 of Arundel House after these repeated dispersals, the Duke 
 of Norfolk had removed across the Thames to a piece of 
 ground at Kennington which he held on lease. In this 
 situation the marbles were gradually buried under deep 
 layers of rubbish intended to protect the ground from the 
 inundations of the neighbouring river. After a conside- 
 rable lapse of time, when houses were being built on that 
 site, several of these specimens were again brought into 
 the light of day. This was their second disinterment, their 
 first having been from the soil of Greece. They then passed 
 into the possession of that famous lover of art, Lord 
 
 95 With respect to the Duke’s want 
 of cash, seeCauston, l. cit. pp. 238, 246. 
 Walpole, Horace, Anecd. ch. IX. 
 (Arundel), and Howard, Henry, 
 Family Memorials, 1836, p. 41, 
 ascribe the sale to the Duchess, who 
 was in need of money. She was, 
 according to their own testimony 
 (Causton, p. 238), not in England at 
 all till the autumn of A. D. 1691 ; still 
 the matter is not free from doubt (see 
 ibidem , p. 260). 
 
 96 Cunningham, Handbook of 
 London , 1850, p. 150. The garden 
 no longer exists ; see Horace Walpole’s 
 letter to Montague, 1746, June 24 
 [Letters, eel. Cunningham, 11. p. 32). 
 
 According to Dallaway, Of Statuary, 
 p. 282 note 11, “the marbles placed in 
 Cuper’s Garden were drawn and en- 
 graved for the last edition of Aubrey’s 
 A ubiquities of Surrey . ” I am only 
 acquainted with the edition of 1719, 
 which contains no such engravings. 
 Smith ( Nollekens , 11. p. 201) mentions 
 etchings of several of the Arundelian 
 fragments given in Nichols, History of 
 Lambeth. Cf. also Ince, No. 64. In 
 the year 1854 W. P. Williams Free- 
 man, Esq., presented to the British 
 Museum a statue (Graeco-Roman 
 Sculp. No. 9) said to have been 
 formerly in the Arundel collection 
 ( Synopsis , 63rd ed., 1856, p. 88). 
 
33 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [ 22 , 23 
 
 The coins 
 and gems. 
 
 Burlington, who had them brought to Chiswick. Indeed 
 at Lord Petre’s suggestion a regular excavation was made, 
 in the course of which there were “discovered six statues, 
 without heads or arms, lying close to each other, some of 
 colossal size, the drapery of which was thought to be 
 exceeding fine.” These torsi were removed to Worksop 
 Manor, the seat of the Duke of Norfolk, where they 
 probably perished in the great fire of A.D. 1761 97 . Other 
 specimens were dispersed at other times. One fragment 
 of a pillar actually came to be used as a roller for Mr 
 Theobald’s bowling-green at Waltham Place, Berkshire. 
 Sic transit gloria mundi. 
 
 23. Thus the marbles of the first collection of antiques 
 in England were scattered to the winds — an example and 
 a warning of the insecurity which attaches to such property 
 when in private hands. It fared no better with the other 
 departments of the collection. “The coins and medals 
 came into the possession of Thomas Earl of Winchelsea, 
 and in A.D. 1696 were sold by his executors to Mr Thomas 
 Plall 98 .” It is not known what became of them subsequently. 
 The fortunes of the celebrated collection of gems were„par- 
 ticularly strange. It had with the exception of a few pieces 
 remained in its original condition". When the Duke of 
 Norfolk, after scandalous litigation which extended over 
 many years, obtained in A.D. 1700 a divorce from his wife 
 Lady Mary Mordaunt, she kept as security for her claims 
 on the Duke, according to the terms agreed to between the 
 parties, “a box of jewels of great value which had belonged 
 to the old Duke 100 ,” that is to say about two hundred and 
 
 07 Causton, Howard Papers, p. collection of coins belonging in A.D. 
 424, where it is also said “ The statues 1719 to the Earl of Winchelsea, at 
 of the Arundel collection have been that time Heneage, the 5th Earl, is 
 preserved to memory by the etchings mentioned by Haym, Tesoro Britan- 
 of Dr Ducarel.” mco, 1719, X. p. xi. 
 
 98 Walpole, Anecd. ch. IX. 09 Walpole, /. cit., Story-Mas- 
 ( Arundel). Earl Thomas is not meant, kelyne, The Marlborough Gems , 1870, 
 for he was dead by A.D. 1639, but his pref. 
 
 son, John Heneage. 3rd Earl, who 100 Luttrell, Diary, IV. p. 622. 
 died A.D. 1689. Besides this another 
 
2 3> 24] 
 
 EARLY COLLECTIONS. 
 
 39 
 
 fifty cameos and intaglios of either antique or Renaissance 
 workmanship. As the Duke died in the following year 
 without having yet discharged his obligations, Lady Mary 
 treated the gems as her own property and bequeathed 
 them A.D. 1705 to her second husband Sir John Germain. 
 
 He in turn left them to his second wife Lady Elizabeth 
 Berkeley, who in A.D. 1762 presented them as a wedding 
 gift to her great-niece Lady Mary Beauclerk, on the oc- 
 casion of her marriage with Lord Charles Spencer. Lastly 
 this lady made over the costly collection to her brother-in- 
 law George Spencer, 3rd Duke of Marlborough, in accord- 
 ance with a family arrangement. Thus the old Arundel 
 collection, after having passed in the course of time through 
 so many hands, formed the nucleus of the famous Marl- 
 borough gems. These were transferred, so recently as 
 the year 1875, into the possession of Mr Broomielow, of 
 Manchester, and are now kept at his country seat of 
 Battlesden in the neighbourhood of Woburn. 
 
 24. We must however return to the marbles. The The 
 portion which Lord Lempster had bought and taken to viarl’les. 
 Easton Neston was here visited by a melancholy fate. The 
 purchaser’s son Lord Thomas, afterwards first Earl OF 
 POMFRET, having been in Rome, conceived the unhappy 
 idea of having the statues, which in truth had suffered 
 severely, restored in the Italian manner. He therefore 
 engaged a scholar of Camillo Rusconi, one Guelfi, whom 
 Lord Burlington had brought over to England about A.D. 
 
 1714, to do the work. It could not easily have been en- 
 trusted to more unfortunate hands. Great as has been the 
 blundering perpetrated in all quarters in the shape of 
 so-called “restorations,” yet hardly ever have any antiques 
 been so shamefully tampered with as in the tasteless addi- 
 tions made by this shallow botcher. Even subsequently 
 the protection afforded to the marbles was very insufficient, 
 as we learn from a description by George Vertue, who paid 
 the house a visit probably in A.D. 1734. The small statues 
 
40 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [ 2 4 
 
 and busts fared best. These, as for instance the so-called 
 “Marius,” were employed for the adornment of the hall 
 and staircase of the house. A large number of the sculp- 
 tures were set out along the garden front of the house, or 
 in the various parts of the garden itself, and so once more 
 exposed to all the decaying influence of the damp climate 101 . 
 No wonder if the traces of such gross negligence are but 
 too manifest at the present day. Special attention was here 
 aroused by the “Tomb of Germanicus,” that is to say, a 
 very ordinary Roman sarcophagus, on which had once 
 stood in Arundel House a genuine or supposed bust of 
 that Prince found in Ankyra 102 , and which now retained its 
 silly name though a small statue of Jupiter had succeeded 
 to the place of the bust in question. The majority, however, 
 were contained in a conservatory “full of statues, busts, 
 bassorilievos, urns, altars, crammed full, and lying con- 
 fusedly as if it was the shop of a statuary!” Here stood 
 in one corner the supposed Cicero “with his handkerchief 
 in his right hand,” in another the colossal Minerva, against 
 the walls a number of other statues, with fragments of bas- 
 reliefs scattered about over the floor, &c. &c. The impres- 
 sion conveyed is effectively described by the young Horace 
 Walpole: “in an old green-house is a wonderful fine statue 
 of Tully haranguing a numerous assembly of decayed em- 
 perors, vestal virgins with new noses, Colossus’s, Venus’s, 
 headless carcases and carcaseless heads, pieces of tombs, and 
 hieroglyphics 103 .” The gardener and housekeeper, the usual 
 
 101 A Description of Easton Neston 
 in Northamptonshire, the seat of the 
 Right Hon. the Earl of Pomfret, 
 printed as an appendix to the Cata- 
 logue of the Collection of the Duke 
 of Buckingham, London, Bathoe, 1758, 
 pp. 53 — 59. The time of the visit seems 
 to follow from the enumeration of 
 Vertue’s travels in Horace Walpole’s 
 Anecdotes (Vertue). 
 
 102 Chandler, R., Marmora Oxoni- 
 ensia, p. vii. No. CL. 
 
 ins Walpole to G. Montague, 1736, 
 May 10. Cf. the same to H. Mann, 
 1 7 53' July : “The Cicero is fine 
 and celebrated ; the Marius I think 
 still finer. The rest are Scipios, Cin- 
 cinnatuses, and the Lord knows who, 
 which have lost more of their little 
 value than of their false pretensions 
 by living out of doors; and there is 
 a green-house full of colossal frag- 
 ments.” 
 
24 ] 
 
 EARLY COLLECTIONS. 
 
 41 
 
 ciceroni for English art-collections, were able to tell Vertue 
 the high prices which would be asked for some of the figures. 
 No wonder, if such a curious kind of sculpture-gallery had 
 really been taken for a shop ! But at least the fate of dis- 
 persal was spared to this portion of the Arundel collection. 
 For when after the death of the Earl of Pomfret his son 
 and successor, being deeply in debt, was obliged to sell the 
 furniture of Easton Neston, the Countess dowager Hen- 
 rietta-Louisa bought the statues and presented them to the 
 University of Oxford (A.D. 1755). The chief portion of 
 the Arundel sculptures were thus once more brought to- 
 gether with the inscribed stones of the same collection 104 . 
 The University did honour to the donor in a solemn actus , 
 of which Horace Walpole has again given us an ironical 
 description 105 ; and made provision for a handsome publica- 
 tion by the learned Hellenist, Richard Chandler 106 , of its 
 collection of antiques as thus enriched. The sculptures 
 themselves, however, remained in the Schools for more than 
 a century in a confusion similar to that at Easton Neston. 
 Now at least they are disencumbered from Guelfi’s restora- 
 tions, and for the most part arranged. Only, however, by 
 far the smallest number of specimens are in the well-lighted 
 ground-floor rooms of the magnificent University galleries; 
 most can ohly be found after wearisome search in the 
 gloomy cellars of this palatial building, even into their 
 darkest recesses. We hope that this is the last stage of 
 ill-treatment which the famous Arundel marbles have had 
 to suffer, and that for them there may even yet be at 
 some time a day of final resurrection. 
 
 104 Walpole to H. Mann, 1755, 
 March 10. In Easton Neston there 
 remains a memorial of the sculptures 
 in the wall-paintings of the staircase 
 by Sir James Thornhill, who has in- 
 troduced a number of the antiques of 
 the Pomfret collection in his series of 
 pictures illustrating the history of 
 Diocletian. 
 
 i°s Walpole to II. Mann, 1756, July 
 
 24. Cf. 1762, Jan. 4, on the wish of 
 the Countess to be buried in Oxford: 
 — “I dare say she has treasured up 
 some idea of the Countess Matilda, 
 that gave St Peter his patrimony.” 
 
 106 Marmora Oxoniensia , Oxford, 
 1763, fol. Here Guelfi’s abominable 
 restorations have been immortalised. 
 It is only quite lately that they have 
 been done away with. 
 
42 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [25 
 
 Thomas , 
 
 Lord 
 
 Pembroke. 
 
 25. In this respect it fared best with that section of the 
 Arundel marbles which had come into the possession of 
 Lord Pembroke. To the love of art, by which more than 
 one member of the Herbert family has distinguished himself, 
 Wilton House bears conspicuous testimony. William, the 
 first Earl, had Holbein for his adviser with respect to the 
 building of his mansion in place of the ancient abbey. 
 Philip, the fourth Earl, likewise employed Inigo Jones as 
 architect, and was the most distinguished patron of Van- 
 dyck. He laid the foundation of the noble picture-gallery. 
 We have before observed (p. 20) from a casual remark of 
 Lord Arundel’s that he also turned his attention to antiques. 
 The Grand Duke of Tuscany, who had been his guest for 
 three weeks at Wilton Idouse, is said to have made him a 
 present of some statues 107 . But Thomas Herbert, eighth 
 Earl of Pembroke (succ. a.d. 1683), was the real founder 
 of the collection of sculptures, which equally with the pic- 
 ture-gallery constitutes at this day the fame of Wilton 
 House; he also spared no pains or expense to form a 
 very rich cabinet of medals 103 . He can in this respect be 
 designated as the most distinguished imitator of Lord 
 Arundel in this early period. He too, like Lord Arundel, 
 knew Italy from personal observation. He seems to have 
 acquired the basis of his collection of antiques by the pur- 
 chase of the sculptures in the gallery of Arundel House. 
 It consisted chiefly though not exclusively of busts. For 
 these Lord Pembroke, like many collectors of that time, 
 had a particular enthusiasm. He found a great satisfaction 
 in seeing himself surrounded by the great men of old in 
 effigy, in the same manner as his walls were crowded with 
 
 107 I find this notice in Volk- 
 mann, Neucste Rcisen durch England , 
 Leipzig, 17S1, 1. p. 482, without being 
 able to trace its origin. Of the two 
 works named therein one (Wilton No. 
 70) is certainly derived from the Ma- 
 zarin collection ; about the other, a 
 Flora, I cannot ascertain anything. 
 The whole account is very suspicious. 
 
 Evelyn, who was in 1654 at Wilton, 
 only mentions “the court and foun- 
 taine of the stables adorn’d with the 
 [antique?] Caesar’s heads” [Diary, 
 1654, July 20). 
 
 ios Pembrockiance, London, 
 
 1774, p. 93. Numismata Pembroki- 
 ana, 1746, 4. 
 
25, 26] 
 
 EARLY COLLECTIONS. 
 
 43 
 
 the portraits of illustrious members of the family and other 
 contemporaries. To satisfy that predilection, he was, it is 
 true, liberal in bestowing great names upon busts impos- 
 sible really to identify. This characteristic of the Earl is 
 found also in the most celebrated bust-collector of Rome, 
 Cardinal Alessandro Albani, who could not bear a bust 
 to be nameless, and on account of his eagerness in chris- 
 tening unknown heads was occasionally designated by 
 Winckelmann as “the audacious priest” (, keeker Pfarr- 
 herr ) 109 . “An ancient virtuoso,” remarks Horace Walpole 110 , 
 “indeed would be a little surprised to find so many 
 of his acquaintances new baptized. Earl Thomas did not, 
 like the Popes, convert Pagan chiefs into Christian ; but 
 many an emperor acts the part at Wilton of scarcer Cae- 
 sars.” And yet even this is not the worst. A. great part 
 of these high-sounding names are bestowed upon works 
 manifestly of the sixteenth or seventeenth centuries; for 
 perhaps no other collection in England is so well supplied 
 with false antiques as that in Wilton House. 
 
 26. The eighteenth century was destined to bring 
 important accessions to the collection, above all by the 
 purchase of a great part of the Mazarin cabinet. Strange 
 to say, Lord Arundel’s name was connected with these 
 sculptures too. He had once, that is to say, helped Car- 
 dinal Richelieu with advice and practical aid in the col- 
 lection, in Italy and especially in Rome, of his much- 
 admired gallery of sculptures. The Earl Marshal had, 
 it is said, given the Cardinal the opportunity of buying a 
 whole palace in Rome, the antiques from which the latter 
 forthwith had conveyed to Paris, and had moreover 
 given him information as to about eighty busts in dif- 
 ferent parts of Italy 111 . After Richelieu’s death (A.D. 
 1642) the sculptures out of the Palais Cardinal, which 
 was subsequently, as is well known, the Palais Royal, came 
 
 109 Winckelmann, letter to Muzel- 111 Kennedy, Description of Wilton 
 
 Stosch, 1760, Jan. 5. House , p. xvii. 
 
 110 Anecdotes (Verlue). 
 
 The 
 
 Mazarin 
 
 collection. 
 
44 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [26 
 
 into the possession of his successor Cardinal Mazarin. He 
 made additions to them by further important purchases in 
 Rome, and employed them all for the adornment of the 
 neighbouring Palais Mazarin newly built by him 112 . Nearly 
 four hundred sculptures were here altogether. Among 
 these were about one hundred and sixty statues and more 
 than two hundred busts, the latter mostly provided with 
 modern drapery of costly variegated kinds of marble, and 
 placed on correspondingly rich pedestals. Among the heads 
 themselves there were indeed very many modern works. 
 The lower gallery of the palace as well as the adjoining 
 rooms were filled exclusively with sculptures, while the 
 gallery on the first floor was furnished with statues only 
 in the niches, but for the rest was chiefly adorned with 
 pictures and other works of art. The whole was regarded 
 as one of the greatest sights of Paris, as the V nerveille de 
 la France. Yet the fortunes of the collection were hardly 
 less varied than those of the contemporary English collec- 
 tions. During the war of the Fronde, when Mazarin was 
 obliged to leave Paris and even France for a time, a part 
 of the sculptures was sold and dispersed (A.D. 1652) ; but 
 so great was the dread inspired by the all-powerful minister, 
 that after his return all his scattered property was delivered 
 up to him again. When the Cardinal died in A.D. 1661 the 
 antiques were valued at 1 50,000 livres. They fell in equal 
 shares, as did the whole palace, to the Due de Mazarin 
 with his wife, a niece of the Cardinal’s, and her brother the 
 Due de Nevers. The former, a rough and half-crazy man 
 who lived in a perpetual state of quarrel with his wife, took 
 advantage of the absence of the co-heiress to enter the 
 gallery one fine morning armed with a large hammer, and 
 to belabour the undressed statues in a fit of pretended 
 
 112 For the Mazarin collection cf. d’Aumale]. London 1861. H. Sau- 
 Inventaire de toils les meubles du Car - val, Histoirc ct Recherches des Anti- 
 dinal Mazarin. Dresse en 165s [by quites de la ville de Paris, Paris 
 J. Bapt. Colbert] et pnblie d’ apres 1724, II. pp. 175 — 177 (written about 
 1 ' original conserve dans les archives j 6 54) - Laborde, le Palais Mazarin, 
 de Conde [by Henri d’Orleans, due Paris 1846, p. 185, note 68. 
 
26] 
 
 EARLY COLLECTIONS. 
 
 45 
 
 prudery; not content with this, and regardless of all re- 
 monstrance, he returned in the evening with five or six 
 attendants all armed in like fashion, and carried on his 
 crack-brained work of destruction till midnight. Whatever 
 was naked, male or female, fell a victim to his mad fury, 
 and he only allowed the draped figures and busts to remain. 
 This happened in the year 1670 113 . The scandalous event 
 made the greatest sensation in Paris. However, the mis- 
 fortune had occurred and could not be undone. It was not 
 in the least lessened, but only relegated to the region of 
 the comic, by the nude statues being “ frocked” in a sort of 
 drapery of plaster of Paris, just as the Pope’s sense of 
 decency a hundred years later enveloped the Aphrodite of 
 Knidos in a cloak of tin. For a long time the antiques 
 in the Palais Mazarin continued to stand in that ridiculous 
 disguise. In this state the well-known naturalist, Dr Martin 
 Lister, saw them in A.D. 1698, and the sight elicited from 
 him some ironical remarks 114 . Subsequently, perhaps when 
 the palace was purchased by the Compagnie des Indcs and 
 became the show place of John Law’s bubble company, 
 Lord Pembroke secured a large portion of the sculptures, 
 while the rest remained in the palace up to the time of 
 the French Revolution 115 . The Earl had here too made 
 the busts his chief object, purchasing them to the number 
 of fifty-two with their costly variegated marble pedestals. 
 But his predilection furnished most of them with new 
 names. Even at the present day busts of this origin at 
 Wilton House can for the most part be recognised with 
 tolerable certainty, but still more unmistakeable evidence 
 of their source is borne by the statues derived from the 
 Mazarin collection, some of them still furnished with the 
 numbers they originally bore there, in the hammer-marks 
 
 113 Melange curieux des meilleures 115 Blonde], Architecture francaise , 
 
 pieces attributes a, Mr. dc Saint-Evre- Paris 1754, ill. p. 7r. It appears to 
 niond , 3rd edition, Amsterdam 1726, have given a catalogue raisonnt , cf. 
 n. pp. 272, 307. Kennedy , Description of Wilton House, 
 
 114 ^ Journey to Paris in the year p. xii. 
 
 1698, London 1699, p. 29. 
 
4 6 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [2 6, 27 
 
 The 
 
 A nti.ques 
 in 
 
 Wilton 
 
 House. 
 
 with which their nude parts are disfigured. Some reliefs 
 also were bought by Lord Pembroke at the same time. 
 
 27. Lastly the Earl completed his gallery by the pur- 
 chase of single pieces. When the Giustiniani family of 
 Rome began to sell the antiques of their superabundantly 
 rich collection, which was estimated at thirteen hundred 
 pieces, Pembroke was among the buyers, along with the 
 most distinguished of the antiquaries of Rome, Cardinal 
 Alessandro Albani. Some few busts were contributed by 
 the collection of sculptures belonging to the honourable 
 but then lately impoverished family of Valctta in Naples, 
 which was sold A.I). 1720, it is said, for 1100 ducats 116 . One 
 of these acquisitions was the very effective bust bearing the 
 arbitrary name of Apollonios of Tyana (Wilton No. 94), for 
 which was paid the high price of £ 270 . Sir Andrew 
 Fountaine, a friend of Lord Pembroke, brought with him 
 from Italy a rare specimen, a mosaic relief (No. 27), clearly 
 a modern counterfeit, but in any case a great curiosity, 
 worthy to shine amongst the other treasures of Wilton 
 House 117 . All these works were distributed over the halls, 
 galleries, saloons and rooms of the spacious mansion, and 
 provided the favourite amusement of the owner. Unfortu- 
 nately the Earl was not satisfied with christening and 
 re-christening the statues and busts on labels placed on the 
 pedestals, or in catalogues, but often the newly forged 
 names were chiselled into the monuments themselves, some- 
 times in Latin, sometimes in extremely questionable Greek. 
 This has even been done in the case of a cinerary urn, which 
 its inscription would authenticate as that of Horace ! It 
 was another ingenuous development of this taste to ascribe 
 pieces of middling decorative sculpture to artists of high re- 
 nown, as for instance Kleomenes U8 , or to assign to a work 
 
 116 There seems to have been a Museum , xxix. 18745 P* G 1 &c. 
 
 catalogue of the collection by Fa- In Wilton House there are two busts 
 bretti, v. Kennedy, /. cit: p. xviii., cf. of Sir Andrew, by Roubiliac and by 
 Justi, Winckelmann , II. 2 p. 392. TIoare. 
 
 117 Winckelmann, Werke, in. p. 118 Wilton Nos. 10. 124. 151. 170. 
 
 xxxiii., Dresden ed. Engelmann, Rhein. The popularity of this name was 
 
27, 28] 
 
 EARLY COLLECTIONS. ' 
 
 47 
 
 the most fabulous origin without having found any palpable 
 support for it 110 . Earl Thomas himself left notices of this 
 kind, and the year before he died at the age of seventy-eight 
 (a.D. 1732), there appeared the first printed catalogue, which 
 has been followed by a whole series of works of a similar 
 description 120 . Thus the fame won by the Pembroke col- 
 lection soon extended far beyond the boundaries of England, 
 and was maintained undiminished even when other collec- 
 tions had in truth outstripped it, not only in the artistic 
 value of their contents but in comparative freedom from the 
 intermixture of spurious antiques. Even at this day the 
 collection of Wilton Elouse exercises a peculiar charm. 
 Recently it has been arranged with great taste after the 
 design of the late Westmacott in the cloister-like galleries 
 round the square court of the mansion. Though this favour- 
 able impression fades a little on a closer examination of 
 the numerous antiques, yet there is amongst them a small 
 number of works which are of unusual interest and which 
 
 will always hold their own. 
 
 28. The Royal collection, the Arundel collection, and P. Lely , 
 the beginnings of the Pembroke collection were the chief chelsea,”' 
 evidences of English interest in antiques during the time °f 
 the Stuarts. The first was annihilated by fire before the 7 - L’cmp. 
 century came to its close. The second passed out of the 
 possession of the family into many strange hands. The 
 third alone has been preserved by a more propitious for- 
 tune uninjured to this day. Besides these, but meagre 
 records of similar efforts have been handed down from the 
 
 seventeenth century. SlR Peter Lely, for instance, in 
 
 addition to his celebrated collection of pictures, many of 
 
 due to the Venus de’ Medici. To il- 
 lustrate the naivete of such christen- 
 ings, Kennedy’s effusion (p. xxx.) is 
 peculiarly apposite: “Among the best 
 pieces of sculpture relating to the 
 Romans may be reckoned that by 
 Cleomenes, of Curtius leaping into 
 the fiery gulph” [No. 87, a modern 
 relief]. “This sculptor was one of 
 the most eminent of his time, and 
 
 was sent from Corinth to Rome by 
 Polybius, the celebrated Historian, to 
 execute this work”! Winckelmann 
 was quite right to ask why Polybius 
 might not rather have sent Kleome- 
 nes straight to Wilton ( IVerkc, m. 
 p. vi.). 
 
 mi Wilton No. 144. 
 
 120 p or a ijst, see below, Cat., art. 
 Wilton House (introduction). 
 
48 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [28 
 
 which came from the Buckingham and Arundel collections, 
 possessed a few antiques which were sold with the above- 
 mentioned objects of art in A.D. 1682 m . Another collector 
 was John Heneage, third Earl of Winchelsea, who, 
 as we saw above (p. 38), secured the coins and medals of the 
 Arundel collection. When ambassador to the Porte, he 
 took advantage of a stay at Athens (a.D. 1675) to purchase 
 a few sculptures 122 . Soon after his death (A.D. 1689), his 
 collections, either in whole or part, were sold (A.D. 1696) 123 . 
 Interest in art was also kept up in other members 
 of his family. His second son Heneage, later fifth Earl, 
 visited the cabinet of one Jean Gailhard, at Angers, A.D. 
 1676. This he saw again at Paris seven years afterwards, 
 then considerably increased. Indeed this collection came 
 to England, not however into the possession of the noble- 
 man just mentioned, but into that of GEORGE, FIRST Baron 
 CARTERET, who in consideration thereof settled an annuity 
 of ^200 on its collector, his former governor. Lord Carteret 
 died A.D. 1695, and during the minority of his son John, 
 afterwards Earl of Granville, JOHN IvEMP, F. R.S., bought 
 a considerable portion of the collection, and enlarged it by 
 other purchases 124 . Kemp’s cabinet, at that time one of the 
 curiosities of London, comprised a number of marbles, to wit 
 eleven statues, but almost all of them under two feet in 
 height, besides twenty busts, sixteen reliefs and a remarkable 
 number of inscriptions. These specimens were with few 
 exceptions derived from Italy. The principal portion of the 
 antiques, however, consisted of the small bronzes, among 
 which were sixty-three statuettes, which at that time gained 
 
 121 A Catalogue of Sir Peter Lely's 
 capital Collection of Pictures, Statues, 
 Bronzes, &c., as an appendix of the 
 Collection of the Duke of Bucking- 
 ham, London, Bathoe, 1758. Of an- 
 tiques only a statue of Apollo and two 
 heads are specified (p. 5a); a crouching 
 Venus of which Episcopius knew as 
 existing inhis house (Signorum Veteruvi 
 leones Plate 77) passed into the royal 
 collection, see above, note 69. The 
 
 auction took place 1682, see Walpole 
 Anecd. ch. xii. (Lely). 
 
 122 Spon, Voyage P Italic &c., 
 Lyons, 1678, II. p. 187. 
 
 123 See above, note 98. 
 
 124 MS. note of the learned Thomas 
 Birch (d. A.D. 1766) in his copy of the 
 Monumcnta Kempiana, now in the 
 Rritish Museum. In reference to Lord 
 Winchelsea, cf. Dallaway, Of Statuary , 
 p. 164, note m. 
 
28, 29] 
 
 EARLY COLLECTIONS. 
 
 49 
 
 for the collection considerable fame. A year after Lord 
 Stafford’s share of the Arundel collection at Tart Hall had 
 been sold, the Kemp collection too came under the ham- 
 mer (March, A. D. 1721). It was described by R. Ainsworth 
 in an extraordinary catalogue. The sum realised by it 
 was one thousand and ninety pounds eight shillings and 
 sixpence 125 . 
 
 29. Among the purchasers at these sales we come Dr Mead. 
 across Dr RICHARD Mead, the most celebrated physician 
 of his time, already at that period Vice-President of the 
 Royal Society, and afterwards physician in ordinary to 
 George II. He was born A.D. 1673, and received his early 
 training from the renowned Graevius of Utrecht. He made 
 a journey to Italy in the years 1695 and 1696, which took 
 him to Florence, Rome, and Naples. This tour was not 
 merely turned to account for the benefit of his medical 
 studies, but was also utilized for laying the foundation of a 
 collection of antiques 126 . Of this, the most extensive part 
 consisted of coins and gems. There were, however, nine 
 especially valuable fragments of antique mural paintings, 
 six of which most probably came from the Baths of Titus 127 . 
 Antique works of this class are, it need not be said, very 
 rare, and it is consequently only natural that Mead should 
 have set a high value on this acquisition ; for his credit’s 
 sake we will hope that it was not he who authorized the 
 wretched re-painting which so sorely disfigures the extant 
 
 125 Monumenta Vetustatis ICcm- 
 piana et vehtstis scriptoribus illustrata 
 cosque vicissim illustrantia. London, 
 1720. The sum is stated by Birch, 
 l. cit. 
 
 126 Museum Meadianum, London 
 (1754). The first part, the coins, was 
 sold by auction in February ; the 
 second, the antique and modern works 
 of art together with natural curiosities, 
 in March, 1755. There is a copy in 
 the British Museum with a list of the 
 buyers and the prices, from which I 
 have taken a portion of the above 
 account. Cf. also Walpole to R. 
 Bentley, 1755, March 27. 
 
 127 Mus.Mead.^. 241 — 243. Seven 
 of them can be traced, viz. in Bartoli, 
 Picturae antiquae cryptarum Roma- 
 nnricrn , &-V. delin. a Retro Sancti Bar- 
 t/wli , iliustr. a Bcllorio et Causseo, 
 Rome, 1750, pi. 3, 5, 6, and Turn- 
 bull, Curious Collection of Ancient 
 Paintings , London, 1744, pi. 3, 26, 
 20, 30. The two last are now in 
 the British Museum; of the others 
 two passed to Mr White (still in the 
 possession of Sir M. White Ridley in 
 London), two to Mr Stewart, one to 
 Mr Hollis, one to Mr Mussell, the ninth 
 (Turnbull 3) was in the first instance 
 excluded from the sale. 
 
 M. C. 
 
 4 
 
5o 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [29 
 
 remains. Especially numerous again in Mead’s collection 
 were the small bronzes, which are proportionally less costly 
 and more easily moveable than larger specimens, and at 
 the same time present the advantage of offering oppor- 
 tunity for the display of much erudition. Still there was 
 no lack of works in marble, to wit, three statues, various 
 reliefs, many of which were decidedly spurious, and a fair 
 quantity of busts. The crown of the collection was without 
 question the Arundel bronze head of ‘Homer’ (Sophokles), 
 which Mead had purchased at the auction in Tart Hall. 
 Lastly there were, as an excellent supplement of the high- 
 est value to the above-mentioned fragments of painting, 
 one hundred and sixty copies of antique pictures which 
 had been discovered at Rome, executed by the artistic 
 hand of Pietro Sante Bartoli. They had originally belonged 
 to Cardinal Massimi. Mead set such a peculiarly high 
 value on these drawings, that he bequeathed them in his 
 will, together with one of the original antique paintings, to 
 be preserved as heirlooms in the family. His intentions, 
 it is true, produced no lasting effect, for the drawings at 
 least appear to have been soon afterward purchased by 
 George III., and are to this day in the Royal Library at 
 Windsor 128 . 
 
 Soon after Mead’s death (A.D. 1753), the remainder of 
 his collection was sold by public auction (A.D. 1755). The 
 Earl of Exeter secured the bronze head for one hundred 
 and thirty guineas, and a few years afterwards bequeathed 
 it to the British Museum, thus at last placing it in safe 
 hands. Subsequently a few of the antique paintings found 
 their way to the same destination. Sir Philip Methuen 
 
 128 The volume at Windsor, fur- 
 nished with George I.’s stamp and 
 the arms of the Vittoria family (Arch. 
 Zeitung , 1874, p. 67, XXII.), belonged 
 originally to “ Don Vincenzo Vittoria, 
 Canonico di Xativa nel regno di Va- 
 lenza,” yet the painted title-page pro- 
 ceeds jointly from Cardinal Massimi, 
 who had been nuncio in Spain for 
 
 some time, and from P. Sante Bartoli. 
 The contents are in agreement with 
 the accounts in Mus. Mead. p. 1 12 
 and in Turnbull, Coll, of Anc. Paint- 
 ings, p. 5, note 3, p. 9. There are 
 now indeed only somewhere over one 
 hundred and forty drawings remaining, 
 but a few sheets are wanting. 
 
29, 30] 
 
 EARLY COLLECTIONS. 
 
 5' 
 
 purchased a bronze head of Silenus. By a singular chance, 
 two remarkable terminal busts with inscriptions, one the 
 portrait of Theophrastos, and one purporting to be that of 
 Xenokrates — were bought for Cardinal Albani, and after a 
 brief interval made the return journey to Rome, where they 
 had once adorned 129 the Palazzo Massimi alle colonne. The 
 majority of purchasers however were English. Their number 
 affords clear evidence how widely spread was the taste for 
 collecting antiques about the middle of the last century, 
 especially for collecting small works of art. We shall come 
 across many of the names again (Lord Leicester, Lord 
 Carlisle, Marquis of Rockingham, Lord Egremont, Lord 
 Cavendish, Horace Walpole, Hollis and Brand, Lyde 
 Browne); others I have not again met with in connection 
 with these researches. This may be said of some of the 
 most eager bidders, such as General Campbell, Captain 
 Bootle, Mr Mussell, Mr Stewart, &c. It is only the first- 
 named whom I find again; namely at the sale (a. D. 1742) 
 of the Earl of Oxford’s collection, which is of little import- 
 ance as to antiques. Here he figures as the purchaser of 
 a marble bust of Alexander the Great 130 . Might not this 
 possibly be the beautiful bust at Blenheim ? 
 
 30. Small bronzes also made up the principal portion Conyers 
 of the collection of Conyers Middleton, which this 
 scholar, who is especially known as the biographer of Cicero, of coins. 
 had formed during his residence in Italy about A. D. 1724. Lourtcn - 
 Besides statuettes, there were in particular all sorts of sioane. 
 utensils, lamps, sacrificial and culinary implements, to which 
 his attention was chiefly turned. He devoted to their ex- 
 planation a special volume furnished with illustrations (A. D. 
 
 I74S)- Shortly before, he had sold the whole collection to 
 Horace Walpole, who subsequently exhibited them at 
 
 129 Visconti, Iconogr. grecquc, I. pp. 
 1 59, 307, Mil. Cf. Spon, Voyage 
 d' llalie, I.p. 396. Winckelmann, Mon. 
 Ined. 1. p. 77. The “Xenokrates” 
 
 is now in Munich (Glypt. no. 153). 
 
 130 A Catalogue of the Collection of 
 the Rt. Hon. Edward , Earl oj Oxford. 
 Sold by auction, March, 1741-4-2. 4to. 
 
 4 
 
52 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [30 
 
 Strawberry Hill 131 . But the most widely-spread form of 
 the passion for antiques was that for ancient coins. Haym, 
 the meritorious editor of the Tesoro Britannico , enumerated 
 about A.D. 1720 seventeen considerable collections of coins 
 in England 132 . A larger or smaller collection of coins was 
 also rarely wanting in that very favourite kind of ‘museum’ 
 which mixed up in motley confusion all possible curiosities 
 from the realms of nature and art. The Ashmolean Mu- 
 seum in Oxford affords an example of this to the present 
 day. The germ of this institution was the oldest cabinet 
 of the kind, formed by the two Tradescants, father and 
 son. Of a similar character was William COURTEN’S 
 museum (Charleton’s) 133 , “perhaps the most noble collection 
 of natural and artificial curiosities, of ancient [especially 
 Roman] and modern coins and medals that any private 
 person in the world enjoys 134 .” “ It consisted of minatures, 
 drawings, shells, insects, medailes, natural things, animals, 
 minerals, precious stones, vessels, curiosities in amber, 
 christal, achat, &c. 13 '.” The bare enumeration of all ‘these 
 glories dazes one.’ And yet the collection has every claim 
 to our respect. For after it had been made over by the 
 founder (A.D. 1702) to Dr Hans SLOANE, the later physician 
 in ordinary to George I., and more and more materially 
 increased by him (so that the “antiquities of Egypt, Greece, 
 Etruria, Rome, Britain and even America” filled several 
 ground-floor rooms of his house in Chelsea), it passed 
 immediately after Sloane’s death (A.D. 1753) into the pos- 
 session of the State for the sum of twenty thousand pounds, 
 and constituted, with the Harleian Manuscripts and the 
 Cottonian Library, one of the foundation stones of the 
 
 131 Middleton, Conyers, Germana 
 quaedam antiquitatis eruditae vionu- 
 mcn/a, quibus Roinanorum vetcrum 
 varii ritus illustrantur. London, 
 1745, 4to. Walpole to Mann, 1744, 
 June 18. Cf. below, note 17 2. 
 
 132 Tesoro Brit. I. p. xi., II. p. v. 
 On coin-collectors of the 17th century, 
 see Evelyn, in letter to S. Pepys, 
 
 1689, Aug. 12. 
 
 133 Edwards, drives of the Founders 
 of the British Museum, 1. p. 264. 
 
 134 Thoresby, Diary, 1695, May 
 24. Cf. Evelyn, Diary, 1690, March 
 
 1 1. 
 
 135 Evelyn, Diary, 1686, Dec. 1 6. 
 Cf. also his letter to Pepys, quoted in 
 note 132. 
 
30 , 3 1 ] 
 
 EARLY COLLECTIONS. 
 
 53 
 
 British Museum 138 . At that time the number of medals 
 and coins amounted to thirty-two thousand, of “antiquities” 
 to one thousand one hundred and twenty-five, of cameos 
 and intaglios to about seven hundred. Two apartments 
 in Montagu House, the first home of the Museum, sufficed 
 for the accommodation of this portion of the newly-formed 
 national collection. Nowadays the Sloane antiques are 
 utterly overwhelmed by the immense riches of the depart- 
 ment of antiquities ; but it must never be forgotten that 
 the wish expressed by Sir Hans in his will, gave occasion 
 for the founding of the grandest museum in the world, and 
 that his example pointed out the right way of rescuing 
 costly collections, brought together with trouble and ex- 
 pense, from the vicissitudes of private possession. 
 
 31. The last-named collectors belonged principally to The Duke 
 the rank of commoners, and had for the most part them- % l ^'° n ' 
 selves formed their cabinets when travelling in foreign 
 countries. There was however in the first decades of the last 
 century no lack of nobles to follow, although in relatively 
 modest guise, the example of Arundel and Pembroke. 
 
 Horace Walpole 137 mentions by the side of the latter, as a 
 collector of coins and statues in the time of Queen Anne, the 
 Duke of Devonshire. Pie probably means William, the 
 first Duke, who died A. D. 1707. He was much engaged in 
 travel, and enjoyed the reputation of a connoisseur in art 
 and poet ; he too it was who raised the splendid mansion 
 of Chatsworth. Love for art indeed was at one time quite 
 domiciled in his family. A grandson of the said Duke, 
 
 Lord Charles Cavendish, was one of the original trustees 
 of the British Museum 138 , and his great-grandson William, 
 fourth Duke, a son-in-law of Lord Burlington, the oracle 
 on art in the time of George L, joined the Society of 
 Dilettanti soon after its foundation 139 . Meantime the 
 
 136 Edwards, l. cit., 1. p. 273. ad init. 
 
 Gent!. Mag. xvm. (1743) p. 302. 138 Edwards, l. cit. I. p. 321. 
 
 137 Anccd. of Painting , ch. XVI. 339 1740, Febr. 1. Historical 
 
54 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [31 
 
 passion for collecting seems to have turned in the main 
 more towards modern art, and in the sphere of antiques, 
 more towards engraved gems than sculptures 140 . It has 
 already been mentioned that EDWARD HARLEY, SECOND 
 Earl of Oxford, possessed several sculptures ; they 
 were however quite subordinate to the treasures of the 
 well-known Harleian library, which he zealously increased. 
 Of more importance for our study is another group of 
 noblemen who travelled and collected for themselves in 
 Italy. These find their more appropriate place in the 
 next section. 
 
 Notices of the Society of Dilettanti, 
 London, 1855, p. 1:7. Winckelmann, 
 Gesch ■ d. Knnst, VII. 2, 17, mentions 
 a bronze head of Plato which it seems 
 likely that the Duke of Devonshire 
 had got over from Greece about thirty 
 years before (that is to say about 
 1730); this would refer to the second 
 
 or third Duke, who died respectively 
 A. D. 1729 and A. D. 1755, unless 
 Winckelmann was thinking (A. D. 
 1762) of the then living Duke, the 
 fourth. 
 
 140 See below, Cat., arts. Chats- 
 wortb, and London, Devonshire 
 House. 
 
THE GOLDEN AGE OF CLASSIC 
 DILETTANTISM. 
 
 Rome and England. 
 
 32. As early as the sixteenth century it was quite 
 usual for Englishmen to go to Italy in pursuit of the 
 higher culture. The flourishing universities of Bologna 
 and Padua were regarded by the British lovers of learning 
 as the proper high school, particularly for the students of 
 Law and Medicine ; and the youth of the nobility was not 
 slow to improve its manners in the chief towns of Italy — 
 or to corrupt them according to the opinion of the stricter 
 sort, who were never tired of descanting upon the ruinous 
 influence of Hesperian licentiousness, or of quoting the 
 proverb ‘ Inglese italiancito £ un diavolo incarnato U V Eng- 
 lish language and poetry were, like English music, under 
 the special influence of Italy. It is therefore all the more 
 remarkable that neither in the works of the poets nor of 
 the moralists, to whom the subject would have been so 
 appropriate, do we find even the smallest allusions to the 
 master-pieces of antique art, which were scattered in such 
 profuse abundance throughout the whole of the peninsula 
 and concentrated in particular at Rome. We can only 
 
 141 My friend and colleague, England , ?.d ed. 1587, book 2, ch. 3 
 Prof. B. ten Brink, refers me to Roger and 5 (pp. 81, 129, ed. Fumivall). 
 Ascham’s Schoolmaster , written A. D. Ascham betrays in another place 
 1563 ( The English Works of R. A., (Works, p. 394) an interest in antique 
 London, 1761, p. 245 — 261), and coins, 
 to William Harrison’s Description of 
 
 Travels to 
 the South 
 in the tint 
 of the 
 Stuarts. 
 
56 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [32, 33 
 
 The 
 
 fashion of 
 the ‘ grand 
 tour. ’ 
 
 Sir A. 
 Fountaine. 
 Lord 
 Burling- 
 ton. 
 
 suppose that the eyes of the young Briton of that day 
 were not yet open to them ; that to his Northern nature 
 the peculiar excellences of ancient sculpture were still a 
 sealed book. 
 
 In the seventeenth century it was different. Lord 
 Arundel gave the lead, in the sense of being the first 
 who visited Italy for nothing so much as for her art 
 treasures. From the diary of John Evelyn, whom Lord 
 Arundel himself when on his death-bed provided with the 
 necessary hints, we are introduced in a lively manner to 
 the pursuits of a well-educated gentleman, who lets slip no 
 opportunity of gaining that personal knowledge of the 
 remains of ancient beauty, which Peacham had already 
 reckoned among the essentials of his complete gentleman. 
 George Wheler’s description of the journey to Greece and 
 the Levant which he took in company with Jacob Spon 
 of Lyons (A.D. 1675 — 1676), has, together with the work 
 of his then travelling companion, the charm and the value 
 of a first journey of exploration in a land at that time 
 almost unknown. Towards the close of the century the 
 number rose greatly of those who visited the south for the 
 sake of art, and brought home some memento or other of 
 their travels. Lord Pembroke, Lord Lempster, the Duke of 
 Devonshire, and Dr Mead may be mentioned here once 
 more as instances of this growing habit. 
 
 33. The idea, however, that ‘the grand tour,’ through 
 the continental countries, particularly France and Italy, 
 was the necessary complement to a refined training and 
 gave it a final polish, and that art was an essential element 
 in this higher culture, does not appear to have been very 
 generally realised before the beginning of the eighteenth 
 century. The travellers naturally found Rome the most 
 agreeable rendezvous, and the English soon formed the 
 chief contingent in that international society, which there 
 took part in the conversazioni of native learned men and 
 friends of art, and which allowed itself to be initiated into the 
 
33] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 57 
 
 wonders of the Eternal City in a shorter or longer time, by 
 obliging ciceroni, like Francesco de’ Ficoroni (d. A.D. 1747) 143 . 
 Purchases of pictures and antiquities were perpetually made, 
 extravagant or modest according to the means and incli- 
 nation of individuals. The result was that the English 
 gradually attained the first rank among purchasers of art- 
 treasures. The conviction of their inexhaustible wealth thus 
 gained by practical experience overcame in the natives all 
 prejudices aroused by the heresy and habits of life of their 
 northern guests. The treasures they had collected were 
 used by the English gentlemen to adorn the beautiful 
 country-houses scattered over the country, and more 
 than one traveller after his return enjoyed on the strength 
 of the information picked up in Italy the reputation 
 of a distinguished connoisseur, or even of an infallible 
 oracle in matters of good taste and art. The advice of SIR 
 Andrew Fountaine (a.d. 1675 — 1753), who travelled in 
 Italy at the beginning of the century and who interested 
 himself particularly in ancient coins, was eagerly sought 
 by collectors at home 143 ; thus we have already found him 
 concerned in the formation of the Pembroke Collection. 
 The position which Richard Boyle, Earl of Burling- 
 ton (A.D. 1695 — 1753), the patron of Will. Kent, Geo. 
 Vertue, and other artists, occupied after his return from 
 Italy as an authority on architectural matters is well known, 
 though every one does not agree to the almost unqualified 
 encomium of Horace Walpole 141 . In the garden of his villa 
 at Chiswick, which he built himself, and which eventually 
 became the property of his son-in-law, the Duke of Devon- 
 
 142 Ficoroni himself mentions some 
 of his English acquaintances, Le Ves- 
 tigia e Raritct di Roma Antica, Rom. 
 1744, preface. With respect to 
 Ficoroni, whose name is inseparably 
 connected with the noblest creation of 
 antique draughtsmanship, the bronze 
 cista of the Collegio Romano, cf. 
 Justi, C. , in Liitzow’s Zeitschrift fur 
 bildende Kunst , vn. (1872) p. 302. I 
 
 have to thank this scholar for the 
 communication of several extracts from 
 Ficoroni’s unpublished correspond- 
 ence. 
 
 143 Ficoroni, Vestigia, p.98, Haym, 
 Tesoro Brifannico, I. p. xi., Justi in the 
 Neues rhein. Museum , XXIX. (1874) 
 p. 582. 
 
 144 Walpole, A need. ch. XXII. (Bur- 
 lington, Kent). 
 
53 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [33, 34 
 
 Th. Coke 
 [Lord 
 Leicester . ) 
 
 shire, stood several ancient statues, which had been found 
 in the villa of Hadrian at Tivoli 145 . In his town mansion, 
 the stately Burlington House, the Elgin marbles were later 
 to find a temporary home. The present use of the site 
 for the head-quarters of the most prominent societies who 
 have devoted themselves to the nurture of art and anti- 
 quities in England, ensures the perpetuation of Lord Bur- 
 lington’s name in a manner most appropriate to the interests 
 he had at heart. 
 
 34. A younger contemporary of Lord Burlington was 
 Mr Thomas Coke (a. d. 1728 Lord Lovel, a. d. 1744 
 EARL OF Leicester), who spent a long period in Italy, 
 and of whose travels a number of interesting details 
 are to be gathered from an account-book kept by one 
 of his servants, which is now preserved in the library at 
 Holkham 14 °. In this we find in the broadest contrast items 
 for kitchen purposes, tailor, &c. side by side with pour- 
 boircs for seeing collections, travelling expenses, payments 
 for art purchases, &c. Mr Coke was absent from England 
 from A. D. 1714 to A.D. 1718, travelling in France and 
 Germany as well as Italy. He was at Rome in the year 
 1716, and again the following year after an excursion to 
 Florence and Pisa. He had dealings with the above-men- 
 tioned antiquary Ficoroni, a needy fellow, of whom draw- 
 ings from antique gems could be occasionally bought for a 
 few crowns. There occurs even more frequently the name of 
 PTancesco Sante Bartoli, son of the celebrated engraver 
 Pietro : and no inconsiderable number of copies from 
 ancient paintings, which form a conspicuous feature in 
 the library at Llolkham, may be traced to the artistic 
 hands of the two Bartoli. The ‘Cavalicre’ Coke, as he 
 was called in Italy, was diligent in having sketches made 
 
 140 Volkmann, Neueste Reiscn 
 durch England, Leipz. 1781, 11. p. 
 440. Cf. above, § 22. 
 
 146 For the opportunity of examin- 
 ing this volume I have to thank the 
 
 Reverend Alexander Napier of Holk- 
 ham, who had discovered this very 
 interesting document in the library 
 (of Holkham) entrusted to his care. 
 
34] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 59 
 
 of other antiques, statues, busts, &c. ; and he was so fortu- 
 nate as to obtain for fifty crowns a book of drawings, which 
 are partly executed by no less a person than the great 
 Raphael himself. Lastly, however, Mr Coke obtained 
 possession of a small number of original works in marble 
 of more remarkable artistic character than anything that 
 had hitherto been brought from Italy to England. In 
 some of these transactions he employed as agent William 
 Kent, who afterwards designed for him the plan of Holk- 
 ham Hall. Among these works are : The Artemis from 
 the Casa Consiglieri, which cost nine hundred crowns 147 ; the 
 so-called Lucius Antonins, which was restored in a masterly 
 manner by Bernini ; and the so-called Zeus, to which Kent 
 intended to give a place of honour on the staircase of the 
 new mansion 148 . All these are objects which would suffice 
 to adorn any museum, and which must have aroused 
 double admiration before the still brighter splendour of 
 Lord Leicester’s later acquisitions put them somewhat in 
 the shade. 
 
 The warm interest for antiquity, which Mr Coke 
 brought home with him from Italy, was however in the 
 mean time to be splendidly illustrated in another way. 
 Among the autographical treasures that he obtained was 
 an exhaustive work, in manuscript, by Thomas Dempster, a 
 Scotchman who had died almost one hundred years before 
 (A.D. 16.25) while working as a professor at Bologna. It was 
 an extraordinarily industrious and learned compilation of 
 every sort of information about Etruria and the Etruscans. 
 Coke not only had this work printed in Florence in two 
 large folio volumes, but further had sketches made of all 
 the Etruscan works of art that were within his reach, 
 and then had them engraved on ninety-three copper plates. 
 
 147 See below, Cat., art. Holkliam, Tuscany.” So Mr Brettingham tells 
 no. 24. “Purchased and sent out of us in his work on Holkham; to the 
 Rome by the Earl of Leicester; for same effect Dallaway, Anecd. p. 276; 
 which offence his Lordship was put the statements in the account-book 
 under arrest, but released soon after at contain no confirmation of the story, 
 the instances of the Grand Duke of 148 Holkham, no. 36, 5r. 
 
6o 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [34, 35 
 
 I.ord Car- 
 lisle , Lord 
 B ess- 
 borough, 
 Duke of 
 Beaufort. 
 
 He further induced a friend from Florence, the excellent 
 and learned senator Filippo Buonarroti, to add to the 
 work an appendix containing observations of solid value 149 . 
 The book thus produced (through Coke’s liberality) has 
 acquired a heightened interest inasmuch as it has been the 
 innocent cause of that foolish Etruscomania which pre- 
 vailed for many years in Italy — a startling example of the 
 length to which that people can be led by misdirected local 
 patriotism in conjunction with confused, uncritical learning. 
 
 35. At the same time that Mr Coke was in Italy, 
 Ficoroni had the opportunity of making the acquaintance 
 of Henry Howard, afterwards fourth Earl of Car- 
 lisle (a. D. 1694 — 1758), a connection of the Howards of 
 Arundel and Norfolk, and of making him familiar with the 
 antiquities of Rome (a. d. 1717). Later (A. D. 1739) he 
 looked with pride on this pupil of his, who then surpassed 
 his former teacher in knowledge 150 . The vast Castle Howard, 
 one of Vanbrugh’s ponderous creations, which the third 
 Earl had begun, and Earl Henry finished, still contains a 
 very heterogeneous collection, the foundation of which was 
 laid in Italy by Earl Henry at the time of which we speak. 
 This collection includes few objects of real consequence, 
 and illustrates by the number of its portrait-busts, par- 
 ticularly those of imperial Roman times, the prevailing 
 tendency of antiquarian interest in that period. It will how- 
 ever always possess a certain importance on account of the 
 number and variety of its antiques, a number afterwards 
 increased by art-loving successors of the first collector. 
 
 The fate of the collection founded by WILLIAM 
 Ponsonby, Viscount Dungannon, later second Earl 
 
 149 Thomac Dempster i de Etruria 
 Regali libri VII., nunc primitm editi 
 curante Thoma Coke Magnce Britan- 
 nice armigero, II. fol. Flor. 1723, 
 1724. The text was ready for the 
 press as early as a.d. 1719, but Buo- 
 narroti’s supplement delayed the ap- 
 pearance of the second volume until 
 
 the year 17 2d. For the Etruscheria, 
 cf. Justi, Winkelmann, 11. 1, pp. 245 
 —244, 267—270. 
 
 150 According to a letter of Fi- 
 coroni ; cf. his Vestigia, p. 132. A 
 characteristic anecdote relating to the 
 year 1 739 is told by Walpole in a letter 
 to R. West, 1740, May 7. 
 
35 , 3 6] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 6 1 
 
 OF BESSBOROUGH (d. A.D. 1 793), was less fortunate. He 
 lived a great deal on the continent till A.D. 1739, and in 
 Italy laid the foundation of his collection, which he after- 
 wards enlarged by considerable purchases in England and 
 other countries. He however sold his beautiful assortment 
 of gems, composing about two hundred specimens, cata- 
 logued in the year 1761 by L. Natter, to the Duke of Marl- 
 borough. There remained then in his villa at Roehampton 
 only the marbles, a collection of some repute, which was 
 sold by auction not long after the owner’s death 151 . The 
 collection of Henry Somerset, THIRD DUKE OF BEAU- 
 FORT (a.D. 1745), appears to have fared no better. lie 
 bought a considerable number of sarcophagi, which were 
 brought to light A.D. 1726 in a tomb near Rome, and which 
 were supposed to have been the coffins of the personal at- 
 tendants of the Empress Livia. The Duke was probably 
 present at Rome at the time of the discovery 152 . A number 
 of these sarcophagi may be seen at the present day at 
 Wilton House ; we may therefore presume that Lord 
 Pembroke, that ardent collector, purchased them, or else 
 received them as a present from the Duke of Beaufort 153 . 
 
 36. We have only space briefly to mention here a few Other tra- 
 other travellers, who, like Lord Carlisle, had dealings with Yjy'jrs. The 
 Ficoroni in Rome, and who as well as the Earl have made Ruhard - 
 
 SONS. 
 
 themselves known, to some extent at least, as lovers and 
 collectors of works of art 154 . SlR JOHN and Sir CHARLES 
 Frederick 155 , Mr Lethieullier (perhaps one of those 
 Lethieulliers who were among the first benefactors of the 
 
 151 April, 1801. Account of the 
 Statues, &c., at luce. Appendix. 
 Dallaway, Of Statuary, page 349. 
 One of tile finest specimens was 
 the torso of Venus, once belonging 
 to Baron Stosch, Ince, no. 63. See 
 below, Cat., art. Petworth, no. 12. 
 A second sale took place in July, 
 A.D. 1850. 
 
 152 Gori, Monumentum libertorum 
 Liviae Augustae det. 1726, Flor. 1727, 
 pref. p. xx. 
 
 153 Wilton, no. 60, 111, 129, 143, 
 155 - 
 
 164 Ficoroni’s Correspondence; cf. 
 his Vestigia , p. 130. 
 
 165 Sir Charles Frederick’s collec- 
 tion was sold A.D. 1786; one of the 
 purchasers was T own ley, v. A tic. Mart). 
 Brit. Mus. v. PI. 4, 3 and 4, PI. 10, 
 1. Sir Charles had offered Ficoroni 
 a considerable sum for his bronze cista, 
 but in vain. See Ficoroni, Memorie di 
 Labice, p. 74. 
 
62 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [36, 37 
 
 Founda- 
 tion of the 
 Society of 
 Dilettanti . 
 
 British Museum 138 ), Eyres, Conyers (Middleton?), are 
 similar names. Were the papers of Ficoroni, Gori, or 
 Baron Stosch at our disposal, the number could easily 
 be considerably increased. A fact characteristic of the 
 time is that now (A.D. 1722) appeared the first English guide 
 to works of art in Italy, a book by the RICHARDSONS, father 
 and son, compiled from materials collected by the latter, 
 which for a long time was looked upon as an indispensable 
 companion. Forty years later Winckelmann decided that, 
 in spite of its faults and omissions, and of the fact that 
 the author described the works of art as one who had 
 beheld them but in a dream, it was yet the best book that 
 was to be had 137 . 
 
 37. Who, that has passed some time in Italy, but must 
 have discovered by experience that the deep artistic im- 
 pressions there received form an invisible but firm bond by 
 which he feels himself united to all those who have enjoyed 
 a similar happiness and brought home similar recollections? 
 Nay, the whole band of those who in successive ages have 
 made for art’s sake the pilgrimage to Rome, form in some 
 sort a spiritual community, tacitly knit together by a 
 common devotion to the beautiful. Participation in such 
 feelings more easily draws together people who are per- 
 sonally unknown to each other. Sentiments of this kind 
 gave rise to the SOCIETY OF DILETTANTI 158 . “In the year 
 
 186 Edwards, Lives of the Founders 
 of the British Museum, 1. p. 347. 
 Gordon, A., A n Essay towards explain- 
 ing the hieroglyphical figures on the 
 coffin belonging to Captain Lethieullicr, 
 London, 1707. 
 
 157 An Account of some of the 
 Statues, Bas-reliefs, Drawings, and 
 Pictures in Italy , &c., London, 1722, 
 2nd ed. 1754. Walpole, Anccd. 
 ch. xvil. (“Jonathan Richardson”). 
 Winckelmann, Gcsch. d. Kunst , pref. 
 p. xiv. ( Werke , m. p. vi.). 
 
 158 Hamilton, W. R., Historical 
 Notices of the Society of Dilettanti. 
 Printed for private circulation only. 
 London, 1855, 4 0 . An extract from 
 
 this is to be found in the Edinburgh 
 Review, cv. 1857, pp. 493 — 517 [Lord 
 Houghton]. Eor the use of the 
 original I am indebted to the kind- 
 ness of Professor Sidney Colvin, Cam- 
 bridge. From this and other sources 
 I have drawn up a fuller sketch of 
 the history of the Society, published 
 in Liitzow’s Zeitschrift fur bildende 
 Kunst, Xiv. pp. 65 — 71, 104 — 113, 
 133 — 145. Judging by the official 
 
 chronology in the statement of ac- 
 counts, the foundation of the Society 
 did not take place, according to the 
 received opinion, A.D. 1734, but to- 
 wards the end of the preceding year, 
 probably in December, A.D. 1733. 
 
37, 3 8 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 63 
 
 1734” (more probably 1733), “some gentlemen who had 
 travelled in Italy, desirous of encouraging at home a taste 
 for those objects which had contributed so much to their 
 entertainment abroad, formed themselves into a Society 
 under the name of The Dilettanti , and agreed upon such 
 resolutions as they thought necessary to keep up the spirit 
 of the scheme.” This description is taken from the preface 
 of the Antiquities of Ionia , published by the Society in 
 the year 1769. While friendly and social intercourse stood 
 confessedly among the primary objects of the Society 159 , 
 the more intellectual aims were by no means neglected ; 
 and the learned and art-loving world is indebted to the 
 liberality of this distinguished body for that splendid suc- 
 cession of publications on the subject of Greek and Roman 
 Antiquities, from Stuart’s and Revett’s classical Antiquities 
 of Athens , down to the not less important works of 
 Cockerell, Penrose, and Pullan, which laid the foundation 
 and form the model of all such productions 160 . All these 
 volumes command similar respect on the score of irre- 
 fragable trustworthiness in reporting facts and in pursuit 
 of truth. Excellent as is their outward form, yet no sacrifice 
 has ever been made to external display, to the detriment 
 of unconditional material reliability. In this respect the 
 publications of the Society are unequalled. 
 
 38. Englishmen may well experience satisfaction and 
 pride, as they review the long list of distinguished and 
 
 loo « j n this respect no set of men 
 ever kept up more religiously to their 
 original Institution.” So say the 
 Dilettanti themselves, while Horace 
 Walpole writes (to Mann, 1743, April 
 14): “the Dilettanti., a club, for 
 
 which the nominal qualification is 
 having been in Italy, and the real one, 
 being drunk ; the two chiefs are Lord 
 Middlesex [afterwards Duke of Dorset] 
 and Sir Francis Dashwood, who were 
 seldom sober the whole time they were 
 in Italy.” Compare with this the de- 
 scription of the young Englishman in 
 Rome in a letter of Lady Mary W ortley 
 
 Montagu, 1753, June 3, in her Letters 
 and Works, edited by Lord Wharn- 
 cliffe, ill. p. 61. 
 
 160 Antiquities of Athens, IV. 1762 
 — 1816; Ionian Antiquities, III. 1769 
 — 1840 ; Chandler, Inscriptiones Anti- 
 ques, 1774; Travels, 11. 1775, 1776; 
 Specimens of Antient Sculpture, 11. 
 1809, 1835; Unedited Antiquities of 
 Attica, 1817; Gell', W., Rome and its 
 Vicinity, 1834; Brondsted, Bronzes 
 of Sin's, 1836; Penrose, Principles 
 of Athenian Architecture, 1831 ; 
 Cockerell, Temples of ALgina and 
 Basse e, 1860. 
 
 Activity 
 of its 
 members. 
 
64 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [38 
 
 respected names of men who have devoted their ample 
 means or their personal co-operation, for nearly a century 
 and a half, to the noble purposes of this Society. As a 
 matter of course the names of the most important collectors 
 are not missing from the list. Among the members for the 
 first ten years, we find the Hon. W. Ponsonby (Earl of 
 Bessborough), Mr R. Grenville (Earl Temple), Mr Wellbore 
 Ellis (Lord Mendip), the Marquis of Hartington (Duke of 
 Devonshire), Lord Lovel (Earl of Leicester), Mr (afterwards 
 Sir John) Frederick, Mr Thomas Brand, and Sir Charles 
 Wyndham (Earl of Egremont) ; also Spence, the cele- 
 brated author of Polymetis. It would carry us too far to 
 enumerate in this place even the most important names of 
 the succeeding period 161 ; few only are missing of those 
 with whom we shall afterwards have to occupy ourselves. 
 At times we see distinctly how admission into the Society 
 was the immediate result of a journey to Italy. Thus Lord 
 Charlemont returned in the year 1755 from the South 
 after an absence of nine years, and became a member of 
 the Society in the following year. The Duke of Roxburghe 
 was in Italy in the year 1762 and Viscount Palmerston in 
 the year 1764 : both joined the Dilettanti A.D. 1765, and so 
 did Mr W. Weddell in the following year, soon after his 
 
 161 I extract only the following 
 names of amateursand men of learning, 
 appending the year of their admission : 
 Mr Duncombe, 1747; Edw. Wortley 
 Montagu, 1749; Lord Anson, 1750; 
 J. Stuart, Nich. Revett, 1751 ; Mar- 
 quis of Rockingham, J. Dawkins, 
 1755; Lord Charlemont, 1756; Rob. 
 Wood, 1763 ; Lord Montagu (Marq. 
 of Monthernrer), 1764 ; Duke of Marl- 
 borough, Viscount Palmerston, 1 765 ; 
 W. Weddell, 1766 ; Duke of Buccleuch, 
 1767; Steph. Fox (Lord Holland), 
 1769; (Sir) Jos. Banks, 1774; Duke 
 of Dorset, 1776; Sir Will. Hamilton, 
 1777 ; Sir Rich. Worsley, 1778; Lyde 
 Browne, 1 780 ; R. Payne Knight, Sir 
 Henry C. Englefield, 1781 ; Ch. 
 Townley, 1786; James Smith Barry, 
 1788; Hon. Frederick North (Earl 
 of Guilford), 1790; John Hawkins, 
 J. 13 . S. Morritt, 1799; Tho. Hope, 
 
 1800; Lord North wick, 1802; Alex. 
 Marquis of Douglas (Duke of Hamil- 
 ton), 1803 ; Sam. Rogers, 1803 ; Lord 
 Aberdeen, 1806 ; (Sir) W. Gell, 1807 ; 
 Fred. Foster, W. Wilkins, 1809; 
 W. R. Hamilton, 1811 ; W. M. Leake, 
 1814; R. Westmacott, 1817; Duke 
 of Bedford, 1819; Marquis of Chandos 
 (Duke of Buckingham), 1823 ; Mar- 
 quis of Northampton, 1832 ; Mar- 
 quis of Douglas (Duke of Hamilton), 
 1833 ; Sii Stratford Canning (Lord 
 Stratford de Redcliffe), Alex. Baring 
 (Lord Ashburton), 1834 ; Charles 
 Fox, 1837 ; Sir J. C. Llobhouse (Lord 
 Broughton), 1839; F. C. Penrose, 
 1852; Lord Idoughton, 1852; W. 
 Watkiss Lloyd, 1854; C. T. Newton, 
 1863 ; Sidney Colvin, 1871 ; C. Knight 
 Watson, 1871; Lord Acton, 1872; 
 J. Fergusson, 1875. 
 
38, 39] golden age of classic dilettantism. 65 
 
 return from Italy. The ten years from A.D. 1760 to 177 ° 
 are on the whole distinguished by a peculiarly lively 
 interest in the objects of the Society, clue partly perhaps 
 to the fact that in the year 1762 the first volume of Stuart’s 
 and Revett’s great work appeared under its auspices. Next, 
 in the year 1764, Chandler, Revett and Pars were sent to 
 the Levant, which mission was the first independent under- 
 taking of the Society. Other members, such as Lord 
 Anson, Lord Charlemont, James Dawkins, and Robert 
 Wood, and afterwards Sir William Hamilton, added a 
 fresh lustre to the Society by the distinction of their own 
 travels and discoveries or the value of their publications. 
 Many of the Dilettanti also gave private support to learned 
 enterprises, even independently of the undertakings which 
 were under the patronage of the whole Society. But for the 
 liberality of J. Dawkins, who was supported by Lord Malton 
 (afterwards Marquis of Rockingham) and Lord Charlemont, 
 Stuart and Revett could never have had the leisure to com- 
 plete their Athenian labours 162 . As these two authors had 
 opportunities of executing buildings in London and in the 
 country for members of the Society 163 , they were able to 
 offer proof that the efforts of the Dilettanti were not merely 
 directed to theoretical inquiry into dead matters of history, 
 but that living and contemporary art was meant, and was 
 able, to derive benefit from their work. 
 
 39. In the meantime very favourable opportunities 
 were offered in Italy for the purchase of antique sculptures. 
 Great collections had been made in Rome in the seven- 
 teenth century by the princes and Cardinal-nephews, the 
 Barberini, Borghese, Giustiniani, Ludovisi, Odescalchi, 
 Pamfili, Rospigliosi, and others. This high tide in the 
 native love of art was however followed at the beginning 
 of the eighteenth century by an equally significant ebb, 
 
 163 Antiq. of Athens, IV. p. xxiii. later habits of life cf. J. Th. Smith, 
 Lord Anson got for Stuart also the Nollekens, I. p. 38. 
 lucrative sinecure of a surveyor to 163 Antiq. of Athens, IV. pp. xxviii. 
 
 Greenwich Hospital. As to Stuart’s xxxi. 
 
 State of 
 things at 
 Rome. 
 
 Founda- 
 tion of the 
 Capitoline 
 Museum. 
 
 M. C. 
 
 5 
 
66 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [39 
 
 caused by the increasing pecuniary embarrassments of the 
 noble families of Rome. The Giustiniani family led off, 
 and we have seen how Lord Pembroke availed himself of 
 the opportunity. In the year 1724 the sculptures of the 
 Odescalchi Museum, originally collected by Queen Christina 
 of Sweden, were sold to Spain for the sum of twelve thou- 
 sand doubloons (about ^9400), and placed in the Palace 
 of San Ildefonso 164 . Four years later Ficoroni negociated 
 the sale of the Chigi collection for thirty-four thousand 
 scudi (about £y 6 oo), to the King of Poland at Dresden ; 
 and even Cardinal Alessandro Albani, who was a most 
 enthusiastic collector, was obliged on account of straitened 
 means to part with thirty statues to the same monarch for 
 twenty thousand scudi (about ^4500) 1C5 . These events 
 caused great excitement in Rome. It was said, as in 
 ancient times, Rornae omnia venalia , and an effort was 
 made to save as much as possible for the Eternal City. 
 Cardinal Albani’s incomparable collection of portrait-busts 
 was bought, not by a foreign amateur, but by the Pope, in 
 the year 1734, and the founding of the Capitoline Museum 
 seemed to provide the most effectual means of obviating 
 the dispersion of antique sculptures. Remarkable speci- 
 mens were purchased from various palaces and villas; others 
 were presented to the Pope; others again were acquired by 
 means of excavations expressly set on foot. During the 
 pontificates of two Popes, Clement XII. and Benedict XIV., 
 of the houses of Corsini and Lambertini respectively (A.D. 
 1730 — 1758), the Capitoline Museum received its essential 
 form ; only few additions having been made to it, and those 
 in the times immediately succeeding 165 . 
 
 164 Hiibner, Antike Bildwerke in 
 Madrid, Berlin, 1862, p. 14. Winckel- 
 raann in letter to Mengs, 1761, Nov. 
 18 [Opere di R. Mengs, Rome, 1 787, p. 
 420), states the price of 51,000 scudi 
 (about Tn, 500), Fea, Storia delle Arti 
 del Dis., 11. p. 38, of 25,000 doppi, or 
 
 nearly 75,000 scudi (c. 746,800). 
 
 165 Hettner, Die Bildwerke der kgl. 
 Antikensammlung zn Dresden, 3 ed. 
 Dresden, 1875, p. iii. — vi. 
 
 16(: Justi, C-, in dm neuen Reich, 
 Leipzig, 1871, 11. p. 121. 
 
40] GOLDEN AGE OF CLASSIC DILETTANTISM. 6/ 
 
 40. The result was that a splendid treasure was secured 
 to Rome. But the movement which had once set in among 
 private collections was not checked. On the contrary it 
 received a stronger impulse. Private purchasers, among 
 whom the apothecary Borioni and above all the crafty 
 Belisario Amidei deserve to be mentioned, vied with each 
 other and with the government. Trade in antiques, and 
 excavations in search of them, were carried on with great 
 vigour. The fabrication of spurious antiques was not 
 omitted, but was in fact a general custom. In mutual 
 emulation Flavio Sirleti, Anton Pichler, the Costanzo 
 family, and other less skillful hands cut “antique” gems 
 or provided stones of genuine antiquity with modern in- 
 scriptions. So with marbles. Sometimes an old appearance 
 was given to new works by an artificial roughening of the 
 surface, or by the use of chemicals. Sometimes insignificant 
 old fragments were restored with more or less skill, that is 
 to say trimmed into apparent completeness by arbitrary 
 additions ; and in this way otherwise worthless specimens 
 were made saleable. The most celebrated virtuoso in this 
 branch was BARTOLOMMEO CAYACETPI, who had invented 
 a regular system of methodical restoration, which in theory 
 was excellent and almost incontrovertible, but in practice was 
 only in so far to be commended as Cavaceppi surpassed most 
 of his contemporaries in taste and execution. Through 
 several decades all the most important finds and purchases 
 of antique sculptures passed through Cavaceppi’s hands 
 and were made to submit to his rejuvenating arts. He 
 and his fellow- workers must not be blamed for this. No 
 one, or at least very few, would have bought the broken 
 torsi and limbs as they were taken out of the ground. Be- 
 sides, from the days of the Renaissance restorations had 
 been considered a matter of course. Plere and there an 
 individual might object to this or that particular example 
 of the process : yet no one doubted the principle that res- 
 torations must be made ; and even so fine a connoisseur as 
 
 Dealers 
 and restor- 
 ers. Cava- 
 ceppi. 
 
68 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [40, 41 
 
 Cardinal Albani carried on the business with such enthu- 
 siasm that he gained the title of rcpamtcur en chef dc 
 I’antiquite™. The Elgin Marbles were the first to break 
 the spell. Canova pronounced that it would be sacrilege 
 for a modern hand to complete these fragments ; and the 
 British Museum has been the first and unluckily the only 
 institution to abide by the principle thus laid down, and 
 check the unwarrantable introduction of arbitrary inter- 
 polations into ancient work. 
 
 Perry, the 41. This was the state of affairs in Rome at the time 
 \loU island the Society of Dilettanti was founded. “There are now 
 ^a'ud"^ selling,” writes Horace Walpole in the summer of A.D. 1740, 
 smaller “ no ] ess than three of the principal collections, the Bar- 
 
 collectors. _ _ 
 
 berini, the Sacchetti, and Ottoboni 168 .” The fact that Mr 
 PERRY in the year 1740 contented himself with purchasing 
 only a small number of busts, must be attributed to mode- 
 ration on his part, or the particular direction of his taste ; 
 with his purchases he adorned his house at Penshurst 169 , 
 which is so venerable and rich in memories. Similarly SlR 
 Robert Walpole (afterwards Lord Orford, a.d. 1745) 
 had a dozen busts purchased in Rome for the adornment 
 of his country seat of Houghton Hall ; these were cata- 
 logued by his son Horatio in the Acdes Walpolianae . 17 °. 
 HORACE Walpole himself, during his stay in Rome (A.D. 
 1740) “made but small collections, and bought only some 
 bronzes and medals, and a few busts,” among them the 
 famous Vespasian in touchstone from the auction of the 
 Cardinal Ottoboni 171 . Some later purchases in England 
 were added from the effects of Mead, Middleton and others, 
 and so was formed the cabinet which remained at Straw- 
 
 167 Cf. Justi, C., Winckelmann, 11. 
 1, pp. 317 — 324. Cavaceppi, Raccolta 
 tf antiche statue, &c. restaurate da 
 B. C., in. Rome 1768 — 1772- There 
 are forcible remarks on the hazardous 
 nature of restoration in Casanova’s 
 Discorso sopra gl' antichi, Leipzig, 
 1770. 
 
 168 To R. West, 1740, May 7. 
 
 169 See under Penshurst. 
 
 170 See under Houghton Hall. The 
 catalogue was already drawn up in the 
 year 1743, but was first published only 
 a.d. 1747, v. Walpole’s Letters, ed. 
 Cunningham, 1. p. lxv. 
 
 171 W r alpole toR. West, 1740, Oct. 
 2. Cf. the letter to H. S. Conway, 
 1740, April 23. 
 
4 1 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 69 
 
 berry Hill for nearly a century. The possessor himself 
 esteemed, as of the highest value after the Vespasian, 
 an eagle from the baths of Caracalla ; a small bronze 
 bust of Caligula, which was found among the first exca- 
 vations of Prince d’Elbceuf at Herculaneum (a.D. 1711), 
 and was a present from Sir Horace Mann ; and a small 
 head of Serapis in basalt from the Barberini palace, of 
 which he had at last (A.D. 1786) become the possessor after 
 it had passed through the hands of Sir William Hamilton 
 and the Duchess of Portland 172 . The sculptures obtained 
 by the pair of intimate friends THOMAS HOLLIS (A.D. 
 1720 — 1774) and Thomas Brand (who afterwards called 
 himself Brand-PIollis) were more numerous. These were 
 picked up by the two collectors, especially by the first, on 
 various journeys to Italy beginning with the year 1748, 
 and the number was completed by purchases in England. 
 After A.D. 1761 they were all placed in the Hyde, the 
 country seat of Hollis, in the hall constructed expressly for 
 the purpose 173 . At a later date, after additions by John 
 Disney, the collection was brought to Cambridge, where it 
 forms an important part of the University Museum. We 
 can only regret that its quality is, with few exceptions, 
 below the average ; moreover there are not a few spurious 
 imitations side by side with the genuine antiques. The 
 blame must rest upon the purchaser, whether this was Hollis 
 himself or his Roman friend, Jenkins. Finally we come to 
 
 173 A Description of the Villa of 
 Mr Horace Walpole , at Strawberry- 
 hill, near Twickenham, Middlesex 
 (Works of II. Walpole, 11. pp. 393 — 
 516). Add to this the catalogue of the 
 sale : A Catalogue of the Classic Con- 
 tents of Strawberry- Hill collected by 
 Hor. Walpole, April 25, May 21, 1842. 
 (A copy with notes of the buyers and 
 prices is in thepossession of G. Scharf. ) 
 Dallaway, Anecd. pp. 293, 384. The 
 Vespasian was sold for £ 220. ior. See 
 Llamilton Palace. For the eagle, see 
 below, Cat., art. London, Lord Wemyss 
 (sold for 74 10); for the Caligula, Wal- 
 pole to PI. Mann, 1767, May 30 (sold 
 
 for 7*48. 6 s.) ; for the Serapis, Walpole 
 to Conway, 1786, June 18 (bought 
 by Walpole for 7473- 5 s - 1 sold A.D. 
 1842 for 748. 15-f.). Besides this 
 
 mention should be made of the sitting 
 Ceres with a cow in her lap (Spec. Ant. 
 Sculpt. 11. PL 58 ; Clarac, 438 e, 786; 
 F. Miiller-Wieseler, Denkmalcr 11. 8, 
 91), which was sold to Mr Cope for 
 7i73- 1 or- 
 
 173 Museum Disneianum, preface. 
 For the origins of the collection, see 
 below, Cat. , arts. Cambridge and Hyde. 
 The Memoirs of Th. Hollis , Esq., 
 London, 1780, 4to, tell us nothing 
 about the origin of the collection. 
 
;o 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [41 
 
 Lord Anson and Lord Malton, Sir Richard Hoare, 
 Mr Wellbore Ellis (afterwards Lord Mendip), and 
 Mr Fox (afterwards Lord Holland), who obtained a small 
 number of statues and busts for their villas at Shug- 
 borough 174 , Wentworth House, Stourhead, Twickenham 178 , 
 and Kingsgate (Isleof Thanet 176 ) ; though their purchases did 
 not give a distinctive stamp to the character of those country- 
 seats. Nevertheless the young Roman Prince Bartolommeo 
 Corsini, who was travelling in England as early as A.D. 
 1753, expressed his surprise at the number of fine statues 
 which he often found collected in country houses, even in 
 those which were situated quite far from the high road and 
 buried in the wilderness ; he spoke of them as “ dragged 
 together out of all countries with vast pains and cost 177 .” 
 But it was not these bargains that could have brought to 
 the British their reputation in Rome as leading purchasers 
 of antiques, nor to their native island that character as a 
 strongbox of works of ancient sculpture which she was 
 soon to enjoy. 
 
 174 In Shugborough, Staffordshire, 
 were several chambers adorned with 
 a great number of statues, v. Pennant, 
 Journey from Chester to London , 
 Lond. 1782, p. 68 (Adonis, Thalia, 
 Trajan in the attitude of haranguing 
 his army, a number of rude Etruscan 
 figures). Volkmann, Rcisen, ill. p. 
 294. Cf. Cavaceppi, Raccolta, 1. 36 
 (Venus), 37 (Bacchus), 54 (Pedestal), 
 11. 60 (crouching Venus), in. 54 
 (Pedestal). The collection has been 
 sold, see Birmingham, Lowther, nos. 
 64, 65 ; Richmond, no. 40. 
 
 175 Lord Mendip’s collection was 
 sold by auction A. D. 1S02. One of 
 the principal buyers was H. Blundell. 
 See under Ince. 
 
 176 The Fox collection was subse- 
 quently brought to St Ann’s Hill ; 
 see Cat. sub voce. 
 
 177 This interesting letter, of which 
 
 Justi informed me and which Dr 
 Knapp has copied for me, is in the 
 Corsini Library at Rome, Cod. 1568. 
 It is addressed to the celebrated anti- 
 quary Bottari from London, dated Oct. 
 9, 1783. “ Id Inglesi da un certo tempo 
 
 in quel si sono un poco piii umanizzati ; 
 
 t ? vero chc si ha da sostenere da essi un 
 primo abbordo un poco freddo, e che 
 prima di trattare una persona, la 
 voglion conoscere ; conosciuta pero che 
 I'hanno, lecortesie che le praticano sono 
 cordialissime, non essendo fondate che 
 su V amicizia, e non avendo altro fine 
 che la medcsima. Questo costume 
 sarebbe desiderabile che fosse adottato 
 da tutte le nazioni, la maggior parte 
 delle quali fanno consistere la polizia 
 del vivere in un vano e fallace esteri- 
 ore — Abbiamo fatto un giro nella 
 campagna ed abbiamo veduto le delizie 
 ct le fabbriche veramente magnifiche di 
 questi signori. Tutto quello che v' l di 
 pin hello e di pin grande, altrove nelle 
 cittct, qui e in campagna ; un superbo 
 pa/azzo cavato da Vitruvio 0 da Pal- 
 ladio 0 copia delle opere dc' piii famosi 
 architetti, ornato di bellissime statue e 
 pitture astratte con gran fatica e spesa 
 da tutte le parti del mondo, l situato 
 non solamente in campagna, ma in 
 luogo totalmente fitori di strada e 
 deserto.” Cf. also Winckelmann 
 Geschichte der Kunst, pref. p. xxiii. 
 ( Werke, 111. p. xv.) 
 
42] GOLDEN AGE OF CLASSIC DILETTANTISM. 7 1 
 
 42. Thomas Coke, by this time EARL OF LEICESTER, Lord 
 
 _ . c* • c t~\ * * Leices 
 
 who had been a member of the Society ot Dilettanti since 
 A.D. 1740, was the first to strike another chord. He had 
 had a magnificent palace built for him by the elder Bret- 
 tingham on the north coast of Norfolk, at that time still 
 desolate, — mainly after the designs of his former travelling 
 companion Kent. Its whole west front was occupied by 
 a beautiful gallery with two dome-roofed rooms adjoin- 
 ing. Here, as well as in the staircase hall, were niches 
 provided for statues ; but the specimens brought at an 
 earlier date from Italy by the Earl himself were not suffi- 
 cient to fill them, and it was necessary to make fresh pur- 
 chases (about A.D. 1755). The commission was entrusted 
 to the younger Matthew Brettingham, who had already 
 bought busts for Lord Orford to adorn his neighbouring 
 seat of Houghton Hall, and he now had an opportunity of 
 proving, as he did not fail to do, that he was competent to 
 execute a still more important commission. Eleven statues, 
 eight busts, a relief, and some mosaic slabs were obtained 
 through his agency, including a few modern and some 
 insignificant specimens, but at the same time a considerable 
 number of good and a few excellent works 178 . The Silenus 
 (no. 19) is one of the most remarkable statues which are to 
 be found in any private collection in England; the Poseidon 
 and the Venus Genctrix (nos. 18, 23), as well as the two 
 colossal female statues (nos. 33, 34), are also of the highest 
 interest. Among the busts the Thukydides and the so-called 
 ‘ Sulla’ (nos. 26, 29) are highly interesting ; and finally the 
 colossal head of the Aphrodite (no. 37) is a work of truly 
 sublime beauty which would be an ornament to the richest 
 museum. Not a few of the statues were purchased by 
 Brettingham from Cardinal Albani, who at that time was 
 making a fresh collection to adorn the villa which he was 
 building, and who sold much that appeared to him of 
 
 378 For the information in detail see under Holkham. 
 
72 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [42, 43 
 
 Lord Egr 
 mont. 
 
 secondary value with the view of obtaining something better 
 in its place. That the first-rate Silenus, still incrusted with 
 its earthy coating, was among them, may suffice to show 
 that even such a practised connoisseur as Albani was 
 to some extent liable to errors of judgment. Cardinal 
 Furietti, the sculptor Carlo Monaldi, the dealer Belisario 
 Amidei, and Cavaceppi were the men with whom Bret- 
 tingham had most to do ; the last mentioned was employed 
 by him especially upon the redintegration of the injured 
 specimens. On the whole, Lord Leicester, who soon after- 
 wards (A.D. 1759) died, had every reason to be contented 
 with the execution of his commission. 
 
 43. Still more extensive was the activity displayed by 
 the same Brettingham for Charles Wyndham, second Earl 
 OF EgREMONT. The grand collection of sculptures, which 
 still in our day adorns the princely castle at Petworth, is 
 almost entirely the fruit of Brettingham’s exertions 179 . It 
 includes at present no fewer than twenty-four statues, among 
 them several of high value, while others are in an unusual 
 state of preservation, and also nearly twice as many busts. 
 Not a few of the latter are of interest ; a colossal female 
 head of heroic character deserves, on the score of its grand 
 expression and elevated style, a place of honour equal to 
 that of the Holkham Aphrodite. Though Lord Egremont 
 was lavish of the means for procuring these treasures, 
 his agent no less deserves also that full recognition for 
 his zeal and skill which was accorded to him later on 
 by the Dilettanti 180 . Unfortunately we have hardly any 
 information of the sources from which the specimens 
 were derived. The celebrated Apollo (no. 5) had long 
 before stood in the Vettori palace at Rome. A number 
 of statues had passed through Cavaceppi’s hands ; others 
 were obtained secretly from private collections. Gavin 
 
 179 For particulars see Cat., art. Egremont) being there named as the 
 
 Petworth. person who gave the commission, there 
 
 180 Specimens of Antient Sculpture, is perhaps a mistake for his nephew, 
 1. on PI. 72. As to the Duke of Sorner- the second Earl, who succeeded him 
 set (Algernon Seymour 1st Earl of a. d. 1750. 
 
43, 44] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 73 
 
 Hamilton’s name is also among those mentioned in connec- 
 tion with the forming of the collection. Be that as it may, 
 the Egremont collection when it reached England was 
 at any rate — perhaps with the exception of the Arundel 
 Marbles at Oxford — the most extensive aggregate of 
 antique sculptures in the whole country, and could bear 
 comparison with any of them in point of value. Hence 
 they received, even long afterwards, a special preference in 
 the choice of plates for the Specimens of Antient Sculp- 
 ture. First of all indeed, it was their lot to remain for a 
 long time packed up in their cases. Meanwhile the col- 
 lector died (a.D. 1763), and his son and heir was then still 
 a child. This may account for the sale of certain speci- 
 mens; but at the same time fresh purchases were occasion- 
 ally made. The partially mutilated statues, which had often 
 had to submit to sad restorations, gave rise to much shaking 
 of the head in the neighbourhood ; it being considered an 
 excellent joke to describe the castle at Petworth as a “hos- 
 pital for decayed statues.” Appreciation of the beauty of 
 ancient sculpture was at that time only just beginning to 
 be felt ; and those who objected to the broken torsi did 
 not bethink them how few statues have come down to us 
 through the long succession of centuries in good and perfect 
 preservation. As a matter of fact Petworth is comparatively 
 rich in complete specimens. 
 
 44. Matthew Brettingham belonged to a band of British 
 young British artists at Rome, who had been pursuing 
 their professional studies there since about A.D. 1740 , and Gavi " 
 
 L Hamilton. 
 
 each of whom lived to render good service in more 
 than one department. Among his friends were the two 
 painters Gavin Hamilton, a Scotchman, and James Stuart, 
 as well as the architect Nicholas Revett. In the year 1748 
 these four planned a journey together on foot to Naples 181 . 
 
 The two latter have won for themselves a world-wide 
 renown by their labours at Athens (A.D. 1750 — 1755). Of 
 
 1S1 Antiq. of Athens, IV. p. xxviii. 
 
74 ANCIENT MARBLES IN GREAT BRITAIN. [44 
 
 the assistance which they received from several rich patrons 
 in the circle of the Dilettanti, mention has been made 
 above. The idea of making this expedition, which may 
 be said to mark an epoch, had in reality emanated from 
 HAMILTON, who was only hindered from taking part in it 
 personally by some circumstance unknown to us 182 . Instead 
 of doing this he was soon to display another kind of activity 
 along the same line as Brettingham, but on a far larger 
 scale. The preference which Hamilton as a painter showed 
 for Homeric and other classical subjects — every visitor to 
 the Villa Borghese knows his paintings from the Trojan 
 legends — stood in close connection with his enthusiasm for 
 ancient sculpture. At the same time he was not without 
 an eye to the main chance. While he hoped for scientific 
 advantages from the Athenian undertaking, he also had in 
 view the possibility of commercial profit, so that his love 
 for old sculpture was not purely platonic. He did not 
 allow the numerous opportunities of obtaining antique 
 marbles, which presented themselves in that age at Rome, 
 to escape him ; and who can reproach him if he chose 
 to part with his purchases, to his fellow-countrymen on 
 their travels and to other amateurs, with advantage to 
 himself? It must be distinctly borne in mind that not the 
 least suspicion of any unfair or even questionable trans- 
 action has ever fallen upon Hamilton in connection with 
 his dealings in antiques. This is the more estimable, 
 seeing that lax principles in the art-trade of Rome were 
 quite a matter of course 183 . Hamilton had always been 
 known as a trustworthy and honourable gentleman, to 
 whom fortune was on that account so favourable as 
 generally to reward his spirit of enterprise with the richest 
 results 184 . 
 
 183 Ibidem , p. xxii. praise; in Mon. Gabini, pref., he calls 
 
 183 Justi, Winckelmann, II. 1, p. him“ solertissimo ed indefesso cercatore 
 
 318. Paciaudi, Lettres an Comte de d'antichita Cf. Fea, Relazione di 
 Caylns, Paris 1802, pp. 89, 264. un Viaggio ad Ostia, Rome 1802, 
 
 184 Visconti repeatedly speaks of p. 43. 
 
 Plamilton in terms of the highest 
 
45 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 75 
 
 45. Most intimately connected with the name of Thomas 
 Hamilton is that of the Englishman, Thomas Jenkins 185 . J enkins - 
 He too was originally a painter, though of far less talent 
 than Hamilton, and was fortunate enough to be high in 
 the favour of such a rich patron as Hon. Thomas Hollis, to 
 whom he himself attributed his entire career and fortune. 
 
 He had at his disposal considerable means, which he knew 
 how to turn to advantage in two ways ; partly as a banker, 
 in which capacity he came into relation with the majority 
 of his rich travelling fellow-countrymen ; partly as a dealer 
 in antiquities, whereby he understood how to use the said 
 relation in the most profitable manner. In former days he 
 enjoyed an unimpeached reputation. He was much looked 
 up to on account of his artistic and historic knowledge, and 
 was frequently consulted by Cardinal Albani, Winckelmann, 
 and Raphael Mengs. On coins and gems he was especially 
 an authority. He was courteous to scholars, and raised no 
 difficulty about permitting them to make known any of the 
 antiques in his possession. In this he showed himself to 
 have more knowledge of the world than those who selfishly 
 hid their treasures : for the money-value of a good work of 
 art is increased rather than lessened by publicity 186 . He was 
 generally looked upon as an honest and disinterested per- 
 son ; and was as such recommended by Winckelmann to be 
 agent for the sale of the celebrated collection of gems, the 
 property of the late Baron Stosch, which was afterwards 
 purchased by Frederick the Great for Berlin 187 . This ac- 
 count of Jenkins’ character is borne out by the following 
 anecdote. It appears that a poor valet de place had pur- 
 chased a cameo cheap and asked Jenkins’ opinion as to its 
 value. The latter paid him the high price of nine hundred 
 pounds, with the words: “You are a poor fellow; I can 
 
 185 Justi, Winckelmann, II. 1, p. 186 Guattani, Monum. Ined. 1786, 
 
 319 — 321. See especially Gorani, p. xxxii. 
 
 Memoires Secrets et Critiques . . .de 187 Winckelmann to Muzel-Stosch, 
 ritalie, Paris, II. p. 25 — 28. Gorani 17631 Dec. 7. 
 was in 1779 and 1790 in Italy. 
 
;6 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [45, 46 
 
 His 
 
 practices. 
 
 make your fortune without loss to myself ; there are four 
 thousand scudi.” The lucky man, so the story continues, had 
 a house built for himself with the money, and the following 
 inscription introduced over the door : — •“ Qucsta casa l fatta 
 duna sola piotra^P But Jenkins did not keep himself free, 
 as Hamilton did, from the noxious influences of certain 
 Roman colleagues, men “ for whom conscientiousness and 
 scruple were incomprehensible ideas.” He soon assumed 
 something of that theatrical bearing, those affected raptures, 
 by means of which the Italians understand so thoroughly 
 how to impose and force hard bargains upon strangers. 
 No one was a greater master than Jenkins of the art of 
 making the best bargain out of his wares; as a rule it was 
 only with great trouble that he could be induced to allow 
 himself to name a price, naturally a very high one ; when 
 the purchaser agreed to his figure, Jenkins did not tear 
 himself from his darling gem without gestures of extreme 
 emotion, and displays of extreme grief at parting from it. 
 He would weep, and could even manage to draw tears 
 from the sympathising purchaser. In fact to such an extent 
 did he carry his acting that he declared himself ready at 
 any time to take back the work of art he had sold, and 
 this he has actually been known to do. “ He would,” 
 observes our authority, Jos. Gorani, “furnish material for 
 an excellent comedy. Perhaps his emotion is genuine, per- 
 haps he is really attached to his stock-in-trade. In any 
 case, if this affectation is part and parcel of his business, we 
 must acknowledge that he has brought it to the highest 
 possible degree of perfection.” 
 
 46. But Jenkins did not confine himself to acting; he 
 was unfortunately guilty of more evil practices. Let us 
 hear the original testimony of Nollekens, who lived at 
 Rome for nearly ten years, from A.D. 1760, and who was 
 
 188 Souvenirs de Charles- Henri catalogue for Jenkins of his inscrip- 
 Baron de Gleichen , Paris 1868, p. 201. tions, calls him a “ mercante di ragione 
 Gleichen was in 1755 and 1756 — 58 che fa onore alia stta p atria" ( Mus . 
 in Rome. Visconti, who drew up a Pio-Clem. 1. on PI. 45). 
 
46] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 77 
 
 himself actively engaged, now in renovating a small frag- 
 ment of a terra-cotta relief by extensive additions, now in 
 lending an antique ‘patina’ to a marble figure, which had 
 been very much mended, by steeping it in tobacco juice 189 . 
 J. T. Smith puts the following words into his mouth 190 : “ I 
 got all the first and the best of my money, by putting 
 antiques together. Hamilton, and I, and Jenkins, gene- 
 rally used to go shares in what we bought; and as I had to 
 match the pieces as well as I could, and clean ’em, I had 
 the best part of the profits. Gavin Hamilton was a good 
 fellow, but as for Jenkins, he followed the trade of supply- 
 ing the foreign visitors with intaglios and cameos made by 
 his own people, that he kept in a part of the ruins of the 
 Coliseum, fitted up for ’em to work in slyly by themselves. 
 I saw ’em at work though, and Jenkins gave a whole hand- 
 ful of ’em to me to say nothing about the matter to any- 
 body else but myself. Bless your heart! he sold ’em as 
 fast as they made ’em.” The history of the Minerva of 
 Newby Hall is an illustration of the enormous percentage 
 which Jenkins made 191 , and what is related about the statue 
 of Venus in the same collection will serve to exemplify his 
 general mode of procedure in such matters. After he had 
 purchased the beautiful torso of Hamilton for a moderate 
 price, and had it furnished by Cavaceppi with a head 
 that did not belong to it, the statue was advertised as un- 
 injured ; its origin was shrouded in mystery ; an extra- 
 ordinarily high price, about which buyers and sellers were 
 bound to keep silence, was demanded, and then increased 
 on the score of the difficulty of obtaining permission for 
 exportation. By a false announcement that the King of 
 England was the purchaser the papal government was 
 cajoled into giving the permission 192 , and finally an exact 
 
 189 [Combs] Ancient Terracottas in 193 Newby, no. 20. Dallaway in 
 
 the British Museum , London, 1810. Nichols’ Illustrations Liter. Hist, m 
 Smith, Nollekens, I. p. ir, II. p. 62. p. 728. Winckelmann to Fuessly, 
 
 190 Nollekens , 1. p. 250. June 19, 1765, to Schlabbrendorf, Tune 
 
 191 See Newby Hall, no. 23. 22, 1765. 
 
His pur- 
 chases of 
 antiqties. 
 
 78 ANCIENT MARBLES IN GREAT BRITAIN. [46, 47 
 
 statement of every restoration was given to the custom- 
 house authorities in order to reduce the fees. In fact even 
 so brilliant a customer as Charles Townley, with whom 
 Jenkins carried out many joint undertakings, was not secure 
 against his tricks; and the former found it necessary to take 
 particular measures of precaution to protect himself from 
 imposition. This is shown by an often-repeated anecdote of 
 Dallaway’s, if indeed it be authentic. The purport is that 
 Townley thought it advisable to appear suddenly incognito 
 at Rome on the occasion of one such joint excavation, and 
 w r as actually witness of the fact that Jenkins secretly put 
 out of the way the most valuable fragment that was found 193 . 
 
 47. In spite of this the name of Jenkins appears in 
 connection with that of Hamilton on all occasions on which 
 Englishmen were collecting antiques in Rome at that 
 time. The reason of this must lie in the extraordinary 
 promptness with which Jenkins contrived to put himself 
 in possession of the coveted objects. Jenkins and Hamil- 
 ton not only found out and bought up single specimens, 
 which were then, far more numerously than at the present 
 day, scattered through the halls, galleries, cellars and court- 
 yards of the palaces and private houses of the Eternal City; 
 but they also, the former especially, turned to account the 
 straitened circumstances of their possessors, so as to acquire 
 whole collections at one stroke. It was a favourable cir- 
 cumstance for Jenkins that about A.D. 1766 the Cardinal 
 Albani, in those days the most important and in fact almost 
 the only Roman collector, brought his purchases to a close, 
 his villa being just then finished after about ten years’ work. 
 The formation of the Capitoline Museum had already been 
 completed. Accordingly the Villa Montalto or Negroni, 
 originally founded by that powerful Pope, Sixtus V., dis- 
 
 193 Dallaway l. cit. p. 727, re- emanating from Townley himself, 
 peated by Ellis, Townley Gallery, 1. p. which is given in Specimens of Antient 
 4, who however already refers to the Sculpture, 1. on PI. 40. 
 somewhat different version, probably 
 
47 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 79 
 
 gorged all its treasures into Jenkins’ depot ( a . d . 1786) 194 . 
 The Duke of Modena, at that time the owner of the Villa 
 d’Esteat Tivoli, the most fanciful creation of the Renaissance, 
 suffered from chronic shortness of funds, and so pretty 
 nearly about the same time the last remnants of its treasures, 
 still amounting to about sixty-five specimens, went the same 
 way, after the Capitol and the Villa Albani had had the 
 first and second choice among them 193 . The Villa Mattei, 
 an unusually rich museum, had a little before this undergone 
 a strange vicissitude, inasmuch as at the very moment when 
 its collection of sculptures was published in three folio 
 volumes (A.D. 1778), the originals were scattered to the four 
 winds, and no inconsiderable share of them fell into Jenkins’ 
 hands 196 . The Altieri, Barberini, Capponi, Lante palaces, 
 etc. ; the house of the late apothecary and art-collector, 
 Borioni; and many similar treasuries of antique art, whether 
 filled in more remote or more recent times, kept yielding up 
 to Jenkins rich material; he even extended his undertak- 
 ings beyond Roman territory, purchasing, for instance, the 
 sculptures of the Carafifa-Colombrano palace at Naples 197 . 
 Much was saleable without more ado. Other specimens 
 had first to be renovated, or if an earlier restoration had 
 not been successful, to undergo the treatment a second 
 time. A lively traffic therefore went on between Hamilton 
 and Jenkins on the one side, and, on the other, the sculp- 
 tors and restorers, Cavaceppi first and foremost, then Al- 
 baccini, Antonio d’Este, Nollekens, Pacetti, Piranesi, etc. 
 All these moreover carried on their private business in an- 
 tiques, so that there was no lack of competition. One of 
 the most dangerous competitors in the earlier part of this 
 period was Belisario Amidei, “ our tyrant — all the more so 
 
 194 Visconti, Mus. Pio-Clem ., hi. 
 on PI. 14. Guattani, Monumeiiti Ine- 
 diti, 1787 , p. xlvi. (Arsoli, Prince) 
 Notizie istor. della Villa Massimo, 
 Rome, 187,6. 
 
 195 Justi, Winckeltnann, n. 1, p. 'if,. 
 See below, Cat., arts. Ince, Marbury. 
 
 196 Amaduzzi in the preface to 
 the Monumcnta Matthaiana , 1778, 
 vol. 1. 
 
 197 The documents are to be found 
 in the descriptions of the particular 
 collections; see especially Ince, Mar- 
 bury, &c. 
 
8o 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [47, 48 
 
 Hamilton 
 and Jen- 
 kins' next) 
 excava- 
 tions. 
 
 because he is well-to-do and has no need to deal 198 .” Jenkins 
 however came out winner from this contest as from others. 
 
 48. In addition to the vast number of antiques which 
 had long been known, and some of which had already often 
 changed possessors and now were brought once more into 
 the market, resources yet untouched revealed themselves 
 to the spirit of enterprise that distinguished this band. 
 The soil of Rome and of its environs has at all times 
 
 been ready to yield up hidden treasures to the explorer, 
 even though every one did not possess the divining rod of 
 Cardinal Albani. As early as A.D. 1761 we hear of exca- 
 vations which Jenkins set going in Corneto 199 ; and amongst 
 the sculptures obtained by Brettingham, for Lord Egremont, 
 was a Satyr, which Hamilton had dug up in the Cam- 
 pagna 200 . But it is not till about the year 1770 that the 
 succession of grand undertakings begins, in respect of 
 which the Scotch architect, JAMES BYRES (A.D. 1733— 181 7), 
 is occasionally mentioned in conjunction with Hamilton 
 and Jenkins 201 . Such excavations were for the most part 
 started at the risk of those who undertook them, and on 
 
 the condition that the owner of the ground, the papal 
 government, and the Pope himself, should all have a share 
 in the find. Thus great hazard was involved in every 
 enterprise, and many an attempt, undertaken at great cost, 
 remained quite fruitless. Hamilton’s practical instinct and 
 luck in making discoveries displayed themselves in this 
 connection. In the year 1769 he began this branch of 
 work with an excavation in Hadrian’s Villa, below Tivoli, 
 
 that inexhaustible mine, which, worked at intervals ever 
 
 198 Padaudi, Lettres k Caylus, p. 
 133 (1760, March 22). Cf. Casanova, 
 Discorso sopragl' antichi , Leipz., 1770, 
 p. iii. 
 
 199 Paciaudi, /. cit., p. 248 (July 
 10, 1761). 
 
 200 Petworth, no. 6. 
 
 201 Dallaway, Anecd., p. 273. The 
 Extracts of Letters from Gavin Hamil- 
 ton to Ch.Townley in the same volume, 
 pp. 364 — 381, are of great value, yet 
 it would be desirable to make a fresh 
 
 comparison of them with the originals, 
 as the reasonable suspicion suggests 
 itself that Dallaway has in this in- 
 stance too proceeded with his usual 
 carelessness, especially as to the dates. 
 Cf. The Academy, 1878, p. J41, 142. 
 An attempt on my part to get a sight of 
 the originals has unfortunately come 
 to nothing. Townley also carried on 
 a correspondence with Byres for many 
 years. See Ellis, Townley Gallery, 
 P- 5 - 
 
48] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 since the sixteenth century, had yielded for the Farnese 
 and Este collections, and more recently for the Capitol and 
 the Villa Albani, an extensive series of their most precious 
 contents. Hamilton might have every confidence that he 
 would surely not dig here in vain. As a first step, it was 
 necessary to divert a lake, the so-called Pantanello, in order 
 to come at the desired point. The trouble was richly re- 
 warded by more than sixty marbles, chiefly busts, including 
 some of the first rank, which were buried in deep slime, 
 and, partly on that account, excellently preserved. Two 
 years later (A.D. 1771), followed an excavation which was 
 richer in statues, though otherwise perhaps less productive; 
 this was on the Via Appia, in the so-called tenuta del Co- 
 lombaro 202 . The following years were full of fresh under- 
 takings, attended, it is true, by varying results. Repeated 
 excavations, besides those on the Via Appia (at Roma 
 Vccchia), and at Prima Porta, were set on foot in the 
 country round the Alban Mountains (Albano, Grotta ferrata, 
 Genzano, Nemi) ; among these that undertaken at Monte 
 Cagnuolo, between Genzano and Civita Lavigna, was par- 
 ticularly distinguished for its yield of fine specimens 203 . 
 In the year 1775 followed Castel di Guido, the ancient 
 Lorium, situated on the road to Civita Vccchia. This 
 revealed some good sculptures, such as the little Cupid 
 drawing a bow of the Townley collection 204 . I11 many 
 parts of the extensive circuit of the ancient town of Ostia 
 Hamilton repeatedly broke ground 205 , sometimes with con- 
 siderable results, although the limekilns which he discovered 
 bore witness to the former destruction of valuable marbles. 
 At last the malaria of the marshes compelled him to aban- 
 don his labours. A brilliant close to this prolonged activity 
 in exploration was made in the year 1792 by an excavation 
 
 202 Or Palombaro, see the map of 35, 43. Petersburg, Hermitage, no. 5 
 
 the Via Appia, by P. Rosa, in the (Lyde Browne, Cat. 1779, no. 36). 
 Monianenti dell' Instituto, v. PI. 47. 206 1775: Mtts. Marbles , 11. 22. 
 
 203 Brit. Mus. 11. on PI. 45, X. 1776: ibid. 1. 8, ill. 5. 1788: Fea, 
 
 frontisp. and PI. 25, 26. Viaggio ad Ostia, Rome, 1802, p. 43. 
 
 204 Museum Marbles, 11. PI. 33, 1792: Dallaway, A need. p. 376. 
 
 c 
 
 M. C. 
 
82 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [48, 49 
 
 on the territory of the ancient Gabii ( Pantan de Griffi), 
 which Hamilton carried out in conjunction with the owner 
 of the ground, Prince Marco Antonio Borghese. These 
 “ Monument i Gabini" did not however come into the art 
 market, but were procured in their entirety for the Villa 
 Borghese, and are at the present day to be found in the 
 Louvre" 00 . Private friends of art derived just as little ad- 
 vantage from the excavations which the Papal government 
 instituted in different parts of their territory for the benefit 
 of the Vatican Museum 207 . On the other hand, Hamilton 
 and his comrades were by no means the only men who dug 
 on speculation. For examples we may mention the group 
 of Muses and the terminal portraits of men of letters, now 
 forming the chief contents of the Hall of Muses in the 
 Vatican, which were discovered by Domenico de Angelis 
 in the Pianella di Cassia, not far from Tivoli (1772) ; a similar 
 small find in the Villa Fonseca, on the Caelian (1773); an 
 excavation by Niccolo la Piccola on the road from Tivoli 
 to Palestrina (1775 — 76); the discovery of the splendid 
 Massimi Diskobolos in the Villa Palombara on the Esqui- 
 line (1781) ; and the excavations of Count Fede in Hadrian’s 
 Villa, which brought to light, among other things, two fresh 
 copies of the Diskobolos of Myron and the Lansdowne 
 Herakles (A.D. 1791) 208 . After the year 1794 the most 
 distinguished excavator was an English painter, ROBERT 
 FAGAN, who dug with great success, and in particular ob- 
 tained rich gains by repeated researches in the soil of Ostia 209 . 
 
 49. Thus during several decades the soil of Rome and 
 a wide extent of surrounding country was most zealously 
 
 206 E. Q. Visconti, Monumenti 
 Gabini della Villa Pinciana , Rome, 
 
 1 797 • 
 
 1117 Visconti, Museo Pio Clemen- 
 tino, 1. — Vli. Guattani, Monumenti 
 Inediti, , 1784 — 1789, 1805. 
 
 208 Tivoli: Mus. Pio Clem., I. on 
 PI. 8. Museum Marbles, 11. 32. — Villa 
 Fonseca : Mus. Pio Clem., VI. PI. 20, 
 24, 31. Museum Marbles, x. PI. 43, 1. 
 
 - — La Piccola : Museum Marbles, I. 
 10, 11. 37. (For another excavation 
 made by the same person see Ince, no. 
 30.) — Villa Palombara : Cancellieri, 
 dissertaz. epistol. sopra la statua del 
 discobolo, Rome, 1806. — Count Fede: 
 Welcker, alte Denkmdler, I. pp. 421 
 ' 4 - 4 * 
 
 209 Fea, Viaggio ad Ostia, pp. 45 — 
 57. See § 62, and Cat., art. Deepdene. 
 
49 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 83 
 
 turned up, and there resulted an abundance of treasures 
 which might more than content even the most eager pur- 
 chasers. Naturally these were not exclusively works of either 
 the first or second rank. Those who undertook the task 
 might well be content if, amid much chaff, they found a 
 respectable quantity of good grain, and here and there, once 
 in a way, a pearl. To single these out a peculiarly refined 
 taste and practised eye were needed ; to obtain them 
 when so selected, a heavy purse. For the most part the 
 newly discovered marbles came out of the earth in a 
 wretched plight, broken, mutilated, corroded, or encrusted 
 with the dirt of centuries. It was therefore always made a 
 great point that they should be properly cleaned — often 
 to the great detriment of their freshness — and vamped 
 up with old, or new, additions. Only after such treatment 
 could they be regarded as fit for a salon. Jenkins, who 
 knew men so well, made it a reproach to the conscientious 
 Hamilton, that “he did not understand the taste of English 
 virtuosi, who had no value for statues without heads ; and 
 that Lord Tavistock would not give him a guinea for the 
 finest torso ever discovered 210 .” Many purchasers flattered 
 themselves with the belief that they were in possession of a 
 genuine, well-preserved antique, when in reality only the 
 smallest part of it was ancient, and perhaps a peculiar 
 charm, something quite out of the common and worthy of 
 mark, had been attached to it by arbitrary additions. Such 
 additions gave opportunity for marvellous feats in the art 
 of mystic or other fashionable interpretation. “At Rome,” 
 says an eye-witness, “you may often see broken statues 
 made into busts or heads. I myself have looked on while 
 statues were sawn in half and attached to marble slabs as 
 reliefs, or conversely, while figures in good condition were 
 sawn off a relief, and a principal figure thus frequently 
 made out of a subordinate one. From this we can see 
 
 * 1 " Dallaway in Nichols’ Illustr. Lord Shelburne, Aug. 6, 1772 ( The 
 Lit. Hist. in. p. 728. For Hamilton’s Academy, 1878, p. 168). 
 opinion as to Jenkins, see his letter to 
 
 6—2 
 
84 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [49, 50 
 
 King 
 George I IT. 
 
 The Duke 
 of Marl- 
 borough. 
 
 what traps are laid for the learned... I only say this to 
 call attention to the fact of the difficulties which, in a few 
 centuries time, antiquaries will have with the antiquities of 
 our manufacture 211 .” But who cared for this ? Mundus 
 vult dccipi, ergo decipiatur was the motto of those Roman 
 art-dealers. So long as their purchasers were contented 
 with these cobbled wares, they might leave it to professed 
 archaeologists to discriminate between the genuine and the 
 spurious, and seek after the truth with pedantic conscien- 
 tiousness; for themselves the only question was, what would 
 by the taste of those times be considered beautiful and paid 
 for as such. It is essential that we should bear in mind 
 this predicament of almost all the antiques brought to 
 England in the second half of the last century, if we would 
 form a just estimate of their value and make them available 
 for scientific purposes. 
 
 50. In the year 1760, the young George III. ascended 
 the throne. He enjoyed the reputation of taking interest in 
 art, especially ancient art 212 ; and even though he did not 
 collect marbles, yet he had shown this interest in two ways. 
 Through the agency of James Adam, a younger brother of 
 the royal architect, Robert Adam, celebrated for his work 
 on Diocletian’s Palace at Spalatro, the King (A..D. 1762) 
 purchased from Cardinal Albani his grand collection of 
 drawings and prints at the price of fourteen thousand scudi 
 (about three thousand guineas). This collection had been 
 started in the seventeenth century by the Commendatore 
 Cassiano dal Pozzo, and was particularly valuable as pre- 
 serving, at least in the form of copies, works of classic art 
 which have been since destroyed or lost to sight. The illus- 
 trious Winckelmann, who was librarian to the Cardinal, might 
 protest; but he found his master’s need of gold more potent 
 than his own representations' 213 . In the Royal Library, dal 
 
 211 Casanova, Discorso sopra gl ’ 213 Winckelmann to Mengs, 176-2, 
 
 antichi , pp. xli., xlii., 1 . Juli 28 ( Opere di A. R. Mengs , Rome, 
 
 212 H. Walpole to H. Mann, 1760, j 787, p. 424); toUsteri, 1763, Jan. 1. 
 
 Nov. 1. Doran, “Mann" and man- For the collection itself see under 
 
 tiers, 11. p. 98. Windsor. A small but valuable por- 
 
50] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 85 
 
 Pozzo’s drawings found themselves side by side with those 
 brought by Mead from Rome, and the latter may per- 
 haps have suggested the purchase from the Cardinal 214 . In 
 this manner was formed a collection which is perhaps unsur- 
 passed in its way as a source of archaeological knowledge. 
 The second acquisition included the collection of gems 
 belonging to Smith, consul at Venice, who had become 
 bankrupt ; this, though far inferior to its fame, yet con- 
 tained a few fine specimens 216 . From the same source came 
 some drawings, probably at the same time with the con- 
 sul’s select library, which was purchased for the King as 
 early as A.D. iy62 ne . With regard to gems, we may men- 
 tion that the royal cabinet was far outdone by the precious 
 collection formed by GEORGE SrENCER, THIRD DUKE 
 of Marlborough (succ. a.d. 1758, died a.d. 1817). To 
 the Arundel gems, which he obtained from his sister-in- 
 law, he added the collection of Lord Bessborough, and a 
 selection of excellent specimens out of the cabinet of 
 the Venetian Count Antonio Maria Zanetti, together with 
 other occasional purchases. Thus arose a cabinet of gems 
 of unusual importance, rich alike in ancient jewels and 
 in magnificent specimens of the art of the Renaissance; 
 the Duke had the choicest of these engraved in costly style 
 and published in a sumptuous ouvrage dc luxe m . The 
 
 tion of the dal Pozzo collection has 
 passed through the hands of Dalton, 
 Macgowan, and Townley into the 
 possession of A. W. Franks, Esq., of 
 the British Museum. 
 
 214 See note 128. 
 
 216 Gori, Dactyliotheca Smithian a, 
 II., Venice, 1767, edited under the 
 King’s patronage. C. D. Fortnum, 
 Notes on some of the Gems and Jewels 
 of Her Majesty's Collection at Windsor 
 Castle ( Archceologia , XLV.), p. 3. Ac- 
 cording to Mariette (Letter to Paci- 
 audi, Feb. 26, 1767, in Nisard’s 
 Corresp. de Caylns II. p. 346), Smith 
 understood nothing about gems, and 
 only collected so as not to be outdone 
 by Zanetti (note 217). Cf. also Lady 
 Mary Wortley Montagu’s Letters and 
 Works, in. p. 89. In the year 1758 
 
 the King, then Prince of Wales, had 
 thought about buying the cabinet of 
 the deceased Baron Stosch ; see 
 Winckelmann toFranke, 1759, Jan. 1. 
 
 216 Ashpitel, A., On the Italian 
 Architectural Drawings in the R. 
 Library at Windsor. Read at the 
 Ordinary General Meeting at the 
 Royal Institute of British Architects, 
 June 16, 1862. Edwards, Lives of 
 the Founders of the Brit. Mils. 11. p. 
 469. Doran, “Mann ” and manners, 
 II. p. 99. 
 
 217 Cf. §§ 23, 35. Story Maske- 
 lyne, The Marlborough Gems, 1870, 
 p. VI. Choix de pierres gravtcs du 
 cab. du Due de Marlborough , 11. 1780, 
 1791, 2nd ed., London, 1845. For 
 Zanetti see Gori, Gemme antiche 
 di A. M. Zanetti, Yen. 1750, fol. 
 
86 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [50, 5 1 
 
 British 
 
 travellers. 
 
 King’s love of collecting, which soon became known in 
 Italy, was used by the Roman dealers, such as Jenkins, 
 as a means of procuring under this flag unfettered trans- 
 port to England for works purchased by private individuals, 
 their exportation out of the Papal States being in ordinary 
 cases forbidden 218 . Thus the King’s interest, even though 
 illegitimately employed, stood his art-loving subjects in 
 good stead. 
 
 51. The number of Englishmen who visited Rome 
 was meanwhile continually on the increase. The longing 
 to visit that wonderful city was not a little awakened or 
 stimulated by the magnificent engravings in which the 
 Venetian Giambattista Piranesi (a.d. 1721 — 1784), who 
 was afterwards assisted by his son Francesco, represented 
 the ruins of the Eternal City with wonderful poetic feeling 
 and artistic skill. The four folio volumes of his Roman 
 Antiquities , dedicated originally to Lord Charlemont, ap- 
 peared A.D. 1756; the Views of Rome about a quarter of a 
 century later. Piranesi’s name was soon in everybody’s 
 mouth, his works in the libraries of all dilettanti. Men made 
 pilgrimages to Rome to acquaint themselves with these 
 astonishing monuments; whether their exalted expectations 
 were fulfilled or disappointed, depended on the degree of 
 enthusiasm and poetic feeling which they brought with 
 them. We become acquainted with many of the English 
 travellers of this day from Winckelmann’s letters 219 . They 
 included some very original characters, such as Lord Bal- 
 timore, who under Winckelmann’s guidance ran through 
 the Villa Borghese in less than ten minutes, and cared for 
 none of the ancient statues except the Apollo Belvedere 220 . 
 The Duke of Gordon “shewed scarcely a trace of animation 
 as he sat in his carriage, while Winckelmann described to 
 
 Cf. Walpole to Mann, 1762, Jan. 4. 218 Cf. note 192. 
 
 Mariette to Paciaudi, 1765, July 10, 219 Justi, Winckelmann, II. 2, pp. 
 
 1768, Febr. 1, March 28 (in Nisard’s 34 — 40. Winckelmann to Genzmar, 
 Corresp. de Caylas , II. pp. 329, 353, 1764- Dec. 22. 
 
 359). The Duke paid ,£480 for four 220 Winckelmann to Usteri, 17 63, 
 
 specimens. Jan. 1; to Franke, 1763, Jan. 15. 
 
5 1 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 87 
 
 him, with the choicest expressions and grandest illustrations, 
 the beauties of the ancient works of art 221 .” With regard to 
 one or two others Winckelmann says : “They walk into 
 your house like very sticks, in a glamour of hypochrondria, 
 and like men who understand nothing of the spring-time of 
 life ; for to joy they are strangers. How can any host take 
 pleasure in such charcoal souls 222 ?” However they were not 
 all like this. Many evinced the liveliest interest in nature and 
 art, and Cavaceppi and Jenkins could relate stories of the 
 way in which this interest proved its activity in hard cash. 
 We have only to turn over the leaves of the three volumes 
 of Cavaceppi’s Raccolta d' antiche Statue, published in the 
 years 1768 — 1772, if we would learn how great a part of 
 the sculptures that had passed through the hands of that 
 restorer have found their way to England ; at the same 
 time the great number of those which are merely described 
 as “to be found in England,” but are no longer traceable 
 at the present day, shows how many may still lurk here 
 and there in unknown hiding-places 223 . No price was too 
 high for the British purchasers ; thirty thousand scudi 
 (about six thousand guineas) were offered to Cardinal 
 Furietti for the two black marble Centaurs which now' 
 stand in the Capitol ; and Locke had already advanced one 
 thousand zecchini (£600) for the Barberini candelabra, but 
 could not get permission to take them out of the country 224 . 
 They afterwards (A.D. 1 770) found their way into the Vatican. 
 “Perhaps it will occur to some mad Englishman to have 
 even Trajan’s column transported to London,”- — this indig- 
 nant utterance of Winckelmann describes the British passion 
 for costly undertakings, against which as “ President of 
 
 221 Winckelmann to TJsteri, 1763, 
 March 18. 
 
 222 Winckelmann to Fuessly, 1 767, 
 June 3 ; to Riedesel, 1767, June 2. 
 
 223 Raccolta, I. 15 — 21, 35, 38, 39, 
 41, 43; II. 6; III. 2, 7, 12, 18, 19, 
 26, 29, 30, 32, 34, 37, 39, 42— 44. 
 47, 49, 51, 52. On PI. 16 of the 
 
 third volume there is a Venus repre- 
 sented, which went to the bottom of 
 the sea on the voyage from Italy to 
 England. 
 
 224 Winckelmann to Riedesel, 
 1763, April ; to Muzel-Stosch, 1763, 
 Dec. 7 ; 1766, Oct. 4. 
 
Lyde 
 
 Browne. 
 
 88 ANCIENT MARBLES IN GREAT BRITAIN. [51, 52 
 
 Antiquities” he had in the interests of Rome to con- 
 tend 225 . 
 
 5 2 . Certain collectors, almost exclusively members of 
 the Society of Dilettanti, stand out conspicuously among 
 this great crowd. One of the most persevering was Lyde 
 BROWNE, who had been active ever since about the middle 
 of the century in forming the collection of sculptures which 
 adorned his house at Wimbledon. He continued these 
 efforts during thirty years, availing himself in great mea- 
 sure of the assistance of Jenkins. When he first issued a 
 catalogue in the year 1768 226 , the collection already in- 
 cluded a considerable number of sculptures, chiefly busts, 
 which had been obtained, partly from contemporaneous 
 excavations, partly from various Roman palaces and villas 
 (Barberini, Giustiniani, Massimi, Spada, Verospi, etc.). 
 Like Lord Leicester’s agent Brettingham, and like Town- 
 ley at a later date, Browne also obtained not a few speci- 
 mens from Cardinal Albani. But the most important 
 additions were made in the following decade, when Hamil- 
 ton and his associates developed that activity which has 
 been described above ; a new catalogue dated A.D. 1779 227 
 shows a very marked increase, including numerous speci- 
 mens due to the excavations conducted by Hamilton. It 
 almost appears as if Browne had contemplated the pub- 
 lication of some of his finest pieces; at any rate two statues, 
 twenty busts, and a relief were drawn by Cipriani on sheets 
 of large-sized j3aper, which quite give us the impression 
 that they were meant to serve as materials towards a pub- 
 lication 228 . Two of these drawings represent busts which 
 
 225 To Muzel-Stosch, 1768, Febr. 
 26. 
 
 226 Catalogus veteris aevi varii 
 generis monumentorum , quae Citne- 
 liarchio Lyde Browne Arm. apud 
 Wimbledon asservantur. 1768. (In 
 the Biit. Museum.) 
 
 227 Catalogo dci piii scelti e preziosi 
 marmi , chc si conservano nella Gal- 
 leria del Sigr. Lyde Browne, Cava- 
 
 liere Inglese , a Wimbledon , nella Con- 
 tea di Surry, raccolti con gran spesa 
 v.el corso di Went' anni, molti dei quali 
 si ammiravano prima nelle pin celebri 
 Gal/crie di Roma. London, 1779. 
 (In the Brit. Museum.) This is pro- 
 bably the catalogue which Dallaway, 
 Anecd. p. 389, got printed in the year 
 1 
 
 228 These hitherto unused draw- 
 
52] GOLDEN AGE OF CLASSIC DILETTANTISM. 89 
 
 are to be found in the Egremont Collection at Petworth 229 ; 
 and some remarkable specimens of the Browne collection 
 have reached the British Museum through Townley’s hands, 
 such as the beautiful head of a barbarian (“ Decebalus ”) 
 and an excellent head of an Amazon of the type ascribed 
 to Polykleitos 230 . The final fate of the collection is also 
 worthy of remark, as it is one of the few which have found 
 their way out of England again. The Empress Catherine 
 II. of Russia had engaged in the purchase of all kinds 
 of antiques at Rome through the agency of Cavaceppi 231 . 
 In the year 1780 her purchase of Lord Orford’s valuable 
 picture gallery at Houghton Hall, at the price of thirty 
 thousand pounds, showed that such undertakings might 
 succeed in England as well as elsewhere ; and in A.D. 
 1785 an agreement was concluded with Lyde Browne by 
 which his collection as it then stood passed for the sum of 
 twenty-three thousand pounds into the possession of the 
 Empress 232 . The affair, to be sure, was not brought to a 
 conclusion without a hitch. Either the imperial agent 
 became bankrupt after Mr Browne had received his first 
 instalment, and the rest of the sum could not be recovered 
 from the Empress 238 ; or else, as another account goes, “the 
 imperial Catherine failed in performing the whole agree- 
 ment, to the satisfaction of the representatives of that 
 gentleman 234 .” We may therefore infer that the entire 
 
 ings have been in the British Museum 
 sinceA.D. 1855, MS. Add. ■21118. They 
 must have been made between A.D. 
 1768 and 1779, as the numbers written 
 on some of them refer to the older 
 catalogue of 1768. The specimens 
 which are not specified in this are not 
 numbered at all. Sundry more ex- 
 tensive notices about Browne’s pur- 
 chases may be extracted from Town- 
 ley’s Memoranda in the Bodleian 
 Library, Oxford. 
 
 229 Nos. 11 and 15 of those draw- 
 ings = Petworth nos. 38, 66. 
 
 •230 Ancient Marbles Brit. Mus. 
 II. PI. 27, ill. 6, x. 3, 5, xi. 37. 
 
 231 See Cavaceppi, Raccolta, and 
 
 Guedeonow, Ermitage Imperial , Mu- 
 see de Sculpture antique , 2 nd ed. , Pe- 
 tersburg 1865, pref. 
 
 232 The date according to Dalla- 
 way, Of Statuary and Sculpture, Lon- 
 don, 1816, p. 274; in the Anecdotes 
 he had said “about the year 1787.” 
 The sum he states in both places at 
 the same figure ; in the book of draw- 
 ings (note 228) only £10,000 is men- 
 tioned. 
 
 233 So according to Dallaway, 
 Anecdotes (1800) p. 389. 
 
 234 So in Dallaway’s later ver- 
 sion; Of Statuary (1816) p. 274. Or 
 should we read “ dissatisfaction”? 
 
90 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [52, 53 
 
 Lord. Pal- 
 merston, 
 Weddell , 
 Wal- 
 moden. 
 
 collection had not yet been removed to St Petersburg, a 
 conclusion which seems to be confirmed by the actual con- 
 tents of the collections in that city 236 . And in this case the 
 acquisitions of Lord Egremont and of Townley, already 
 mentioned, may have been made from that part of the 
 collection which remained in England. 
 
 53. In the year 1764 the young HENRY TEMPLE, 
 second Viscount Palmerston, made his Italian tour, 
 and brought back to Broadlands a small collection of 
 paintings and marbles. He had entered into business 
 relations with Hamilton and Cavaceppi; whether he had to 
 do with Jenkins as well is not apparent. Conspicuous 
 among the ancient marbles is a colossal head of Aphrodite, 
 which has unfortunately undergone rather serious injury. 
 Though of good Greek work, the Viscount bought it for 
 the insignificant price of five pounds, perhaps because the 
 head had remained without any renovation. It is this 
 very fact which in our eyes raises its value 230 . Far more 
 important were the purchases made in the following year 
 by William Weddell, Esq., one of the first on whom 
 Jenkins tried his skill in dealing: Weddell also had 
 transactions with Nollekens and Cavaceppi. He had to 
 pay high, and sometimes enormous, prices, but the selection 
 with which he adorned his country seat of Newby Hall 
 was undeniably valuable and tasteful. The Aphrodite and 
 the Athene are comparable with any statues in private 
 English collections ; among the colossal busts there are 
 some of unusual interest and exalted beauty, and among 
 
 235 The sculptures, formerly all 
 together in the Castle Zarskoje-Sselo, 
 are now some of them in the Castle 
 at Pawlowsk (Stephani, Mem. de 
 l’ Acad. \Imp. de St. Petersbourg , 7th 
 series, vol. xvm.), and some in the 
 Hermitage (Stephani, Bulletin de 
 F Acad. xvil. p. 500 — 5 1 -z). Several 
 of the principal specimens are not 
 forthcoming in St Petersburg. 
 
 236 See below, Catalogue, art. 
 Broadlands. The date is settled by 
 Lord Palmerston’s autograph memo- 
 
 randum concerning his purchases, for 
 acquaintance with which I am in- 
 debted to the kindness of the Rt. 
 Hon. W. Cowper Temple. Lord Pal- 
 merston travelled in the company of 
 Garrick and others ;cf. Doran, “Mann” 
 and manners, II. p. 114. In the 
 year 1770 Lord Palmerston had the 
 interesting monument of the Secun- 
 dinii at Igel near Trier drawn by W. 
 Pars, who accompanied him on a 
 renewed tour, see Schorn, Abhandl. d. 
 Bayr. Akad. XII. p. -272. 
 
53 , 54 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 91 
 
 the sarcophagi two of great interest. For the most part 
 these sculptures had only come to light quite recently, but 
 among them seem to have been a few which had held a place 
 among the known antiquities of Rome as early as the six- 
 teenth century. Weddell showed a refined taste in the sort 
 of sculpture gallery which he built in immediate connection 
 with his dwelling rooms ; it consisted of three comfortable 
 chambers of moderate dimensions, greatly conducive to quiet 
 enjoyment of the marbles. The piety of his successors 
 has maintained the original character of this gallery 
 quite intact 237 . In the same years HANS LUDWIG VON 
 WALMODEN, Minister Plenipotentiary for Hanover at 
 Vienna, was forming his collection, one of some import- 
 ance, combining original antiques with excellent copies of 
 the most famous ancient statues ; the latter were executed 
 by Cavaceppi, Albaccini and others. Cavaceppi and Hamil- 
 ton, with Nollekens, were the chief agents in these pur- 
 chases. As son of the Countess of Yarmouth, Walmoden 
 stood in close relations to the Court of George II.; but 
 his collection gained a heightened interest in the eyes of 
 English connoisseurs from the fact that the possessor was 
 compelled to part with a large portion of it at a later time. 
 
 Lyde Browne was one of the purchasers. What is now to 
 be seen in the palace of Herrcnhausen near Hanover is there- 
 fore only a remnant of the original Walmoden collection 238 . 
 
 54. Among the Englishmen who at that time visited Locke, 
 
 Duke of 
 
 Rome, but contented themselves with a smaller number of Richmond , 
 ancient sculptures, there are still a few who deserve y[‘nu/,jgs' 
 
 237 See Catalogue, art. Newby 
 Hall. 
 
 238 Verzeichniss dec Bildhauer- 
 werke &*c. in den kgl. hannoverschen 
 Schlossern, Hann. 1S44, pp. 3 — 42. 
 Cf. Gori, Archivio Slorico di Roma, 
 II. p. 214 (May 27, 1761). Winckel- 
 mann to Schlabbrendorf, 1765, Jan. r. 
 Justi, Winckelmann, II. 2, p. 318. 
 Several interesting notices in reference 
 to that collection occur amongst T own- 
 ley’s Memoranda in the Bodleian 
 
 Library, Oxford ; thus for instance we 
 find that the nymph with the shell 
 in Pawlowsk (No. 11 Stephani) had 
 passed from the Walmoden collection 
 and been purchased by Lyde Browne. 
 This was after the year 1779, as at 
 that date it is not to be found in the 
 Catalogue (note 227). The Astraga- 
 lizusa of the Townley collection 
 {Mus. Marbles, 11. PL 48) also be- 
 longed formerly to Walmoden (Winck- 
 elmann, Gesch. d. IGunst, xi. 3, 16). 
 
92 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [54 
 
 Lord 
 Exeter, 
 Lord Yar- 
 borough, 
 Lord Caw- 
 dor, &c. 
 
 mention. William Locke, Esq., a descendant of the 
 famous philosopher, had as early as the middle of the 
 century, while staying at Rome, where he habitually as- 
 sociated with Wilton and Cipriani, acquired a lively interest 
 in ancient and modern art ; and had from time to time 
 exerted himself to adorn his mansions in Norbury Park, 
 Surrey, and Portman Square, London, with a few select 
 specimens. We have already mentioned how he meditated, 
 but did not effect, the acquisition of the Barberini cande- 
 labra 239 . The gems of his collection were a Diskobolos, 
 and a beautiful torso of a Venus, which has become famous 
 by its eventful fortunes. When Locke sold his antiquities 
 in subsequent years, the torso, for which the Empress of 
 Russia had sanctioned the offer of eight hundred pounds, 
 passed for the same sum into the possession of CHARLES 
 Lennox, third Duke of Richmond. This Duke of 
 Richmond was a great lover of art, who, as early as 
 the year 1758, had arranged in his house in Privy 
 Gardens, Westminster, a gallery of plaster casts for the 
 benefit of art students. Here the torso happened to 
 be when a fire broke out in the house, A.D. 1791. The 
 marble was much injured by the flames, and afterwards, at 
 the sale of the Duke of Richmond’s works of art, A.D. 1820, 
 it was purchased for a guinea by a dealer in casts, who 
 sold it again six weeks later to the painter Devis for fifteen 
 pounds, soon after which it was transferred to the British 
 Museum for the same price 240 . The Diskobolos was ob- 
 tained by a member of the Dilettanti society, CHARLES 
 DUNCOMBE, Esq., who already possessed at his country 
 seat of Duncombe Park a small number of statues and 
 busts ; to this he afterwards added a celebrated specimen, 
 a dog, which Horace Walpole reckoned among the best 
 representations of animals in classical art 241 . This dog 
 
 239 N 0 t e ^24. 180. Anc. Marbles Brit. Mus. xi. 
 
 240 Nochden in Bottiger’s Amal- PI. 35. 
 
 thca III. Leipz. 1825, pp. 3 — 18. 241 See Cat., art. Duncombe Park. 
 
 Smith, Nollekens it. pp. 168 — 173, 
 
54] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 93 
 
 came from the collection of H. CONSTANTINE JENNINGS, 
 of Shiplake, once an ardent customer of Cavaceppi’s, whose 
 art treasures were afterwards put up to auction 242 . Among 
 the customers of Nollekens was the Earl OF Exeter, 
 who behaved in the most generous manner in the disposal 
 of his antiques. He not only presented to the British 
 Museum the Arundel bronze head of ‘Homer,’ which he 
 had bought at Mead’s auction, but also gave an excellent 
 head of Niobe, purchased from Nollekens, to the Earl 
 of Yarborough, who independently of this gift pos- 
 sessed one or two good marbles 243 . Mr HOPE obtained 
 in the year 1763 a few antiques, notably a group of two 
 boys, playing with knuckle-bones 244 . Many of the collec- 
 tors who have been already mentioned were probably also 
 active at this period ; the Earl OF BeSSBOROUGH, for 
 instance, does not seem to have formed his collection at 
 a single purchase ; and more than one of the DUKES OF 
 DEVONSHIRE assisted the efforts of the Dilettanti. The 
 Marquis of Monti-iermer, whose antiquities passed 
 into the possession of the Duke OF BUCCLEUCH 245 , Lord 
 Camelford 243 , Sir John Macpiierson 247 , and Lord 
 Cawdor may also have made collections at this time, 
 but it is impossible for me to speak more exactly on 
 the subject. The same Lord Cawdor was one of the 
 
 243 Cavaceppi, Raccolta, 1. PI. 
 6 — 9. The Athlete came into Lord 
 Cadogan’s possession (Dallaway, A- 
 necd. p. 390). 
 
 243 See Cat., art.Brocldesby, nos. 5, 
 15. Lord Exeter also possessed a Bac- 
 chus (Dallaway, Anecd. p. 390). If I 
 am not mistaken a sale of objects of art 
 once took place at Burleigh House. 
 
 244 Winckelmann Moniim. Incd. 
 1. p. 41, and in a letter to Bianconi 
 1 763 March 26(Fea, Storia ill. p. 256). 
 See Heydemann, Knochelspielerin ini 
 Palast Colonna, Halle, 1877, P- 1 7 - 
 Cavaceppi, Raccolta 1. 22 (Venus). I 
 do not know where these marbles are 
 kept, certainly not at Deepdene, al- 
 though Hope belonged to the Scoto- 
 Dutch family, so that the title of 
 
 ‘ Lord’ was only conferred on him by 
 Cavaceppi and Winckelmann owing 
 to Italian misuse thereof. 
 
 246 Both were members of the Dilet- 
 tanti Society. Dallaway, Anecdotes , 
 pp. 337 — 339, enumerates three statues, 
 fourteen busts and four miscellaneous 
 specimens at that time set out in 
 Privy Gardens, Westminster. So far 
 as I know the collection was not 
 conveyed over to Montagu House, 
 but is dispersed. Cf. moreover Waa- 
 geiy Treas. 1. p. 37. 
 
 246 Dallaway, Anecd. p. 3S6: a 
 fountain Nymph and several other 
 good statues. 
 
 247 Dallaway, Anecd. p. 386 : about 
 twenty mutilated heads, and two small 
 figures, imperfect. 
 
94 ANCIENT MARBLES IN GREAT BRITAIN. [54, 55 
 
 Founding 
 of the 
 Vatican 
 Museum. 
 
 first men in England to start a collection of painted 
 vases 248 . 
 
 55. These English collectors of the seventh decade of 
 the last century had in their purchases at least the advan- 
 tage of a scarcity of rivals. The French appear to have 
 taken no part in the competition 249 , with the exception of 
 Count Caylus, who however collected no marbles and who 
 died as early as A. D. 1765. The Russian Empress and the 
 King of Prussia, the Prince of Dessau and General Wal- 
 moden, were the only competitors besides a few private 
 individuals, and their purchases seldom exceeded moderate 
 limits. Of Romans themselves, hardly any made a collec- 
 tion except Cardinal Albani, and he had in essentials 
 already completed his purchases. This state of things 
 was suddenly and completely changed by the death of 
 Clement XIII. (whose interest in art had limited itself 
 to providing the naked angels in his pictures with clothes, 
 and the antique statues in the Belvedere with tin fig-leaves), 
 and by the accession of the cultured Cardinal Ganganelli 
 to the papal throne, under the name of Clement XIV. (A.D. 
 1769). At this time it seemed once more, as at the 
 beginning of the century, as though the enormous export of 
 antiques, particularly to the “galleries of the Scauri and 
 Luculli of Great Britain 250 ,’’ were threatening Rome with the 
 loss of her choicest treasures, and all the more so from the 
 richness of the yield just then in course of being gathered in 
 from the excavations newly undertaken by Gavin Hamilton 
 and others. The Pope therefore decided to follow the 
 
 248 The collection enjoyed a high 
 reputation, see Dallaway, Anecd. pp. 
 388, 391. Of Statuary, p. 350. In 
 the sale in the year 1800 such men as 
 the following interested themselves as 
 purchasers: Townley (Anc. Marbl. 
 Brit. Mus. ill. PI. 4, X. PI. 27), Blundell 
 (see Ince, pref. ), the Duke of Bedford 
 (see Woburn, nos. 61, ioi,&c.). For 
 the vases see Dallaway, p. 387. 
 
 2451 Paciaudi to Caylus 1760 Jan. 
 23 ( Lettres , p. 1 18), “je suis bien etonne 
 
 qu'a Paris il n'y ait point d' amateurs 
 ...je crois que c’est comme chez nous, 
 person ne ne fait plus de cabinet... Je 
 suis vraiment f&che que ces diab/es 
 d' Anglais emportent dans leur pays ces 
 belles antiquites .” Caylus confirms 
 this, see Nisard, Correspondance inedite 
 du Comte de Caylus, Paris, 1877, I. 
 p. 144. 
 
 200 Guattani, Mon. hied. 1784, 
 p. 9. 
 
55] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 95 
 
 example of Clement XII. and Benedict XIV. by starting 
 as a collector himself, and he received the most ardent 
 co-operation from his treasurer, Monsignore Braschi ; who 
 in the year 1775 succeeded Clement in the chair of Saint 
 Peter as Pius VI., and carried out on a much extended 
 scale the plans of his predecessor. Instead of enlarging 
 the Capitoline Museum, it was soon thought more ex- 
 pedient to append a new museum, the Museum PlO- 
 Clementinum, to the already long-illustrious Belvedere 
 statues in the VATICAN PALACE. The superintendence 
 and publication of this collection were entrusted to Giam- 
 battista Visconti, and after his death, to his son, the great 
 Ennio-Quirino. The right of the government to forbid the 
 export of valuable specimens, which now resembled a right 
 of pre-emption, was more stringently exercised, and a 
 severe rivalry maintained against foreign amateurs for the 
 acquisition of high-class marbles. On the other hand, enter- 
 prising spirits were encouraged to begin fresh excavations, 
 the government waiving certain onerous preliminary rights. 
 Moreover the government itself, in emulation of private in- 
 dividuals, undertook, for the benefit of the new Museum, 
 several excavations that proved highly productive. The 
 rooms of the Museum increased yearly in space and mag- 
 nificence, and when about ten years had passed, although 
 by no means completed, it was considered the first Museum 
 in Rome and even in the world 261 . In truth it was high time 
 for the Eternal City to bestir itself. In the year 1775 one 
 of the most famous collections, that of the Villa Medici, 
 was removed to Florence, whither some of the principal 
 specimens had already been taken a century before. The 
 imminent extinction of the house of Farnese in Parma 
 threatened with the same fate the collections of the Far- 
 nese Palace and the Farnesina. These were actually trans- 
 ported to Naples in the year 1787, after the King of Naples 
 
 251 A detailed history of the Vati- The works mentioned in note 207 
 can Museum has not yet been written. furnish the principal data. 
 
Competi- 
 tors from 
 other 
 quarters. 
 Charles 
 Townley. 
 
 96 ANCIENT MARBLES IN GREAT BRITAIN. [55, 56 
 
 had succeeded to the inheritance, and were there combined, 
 in the Museo Borbonico, with the splendid results of the 
 Herculaneum excavations. 
 
 56. This new enterprise on the part of the papal 
 government made it harder for private individuals to com- 
 pete. All the more credit therefore is due to those 
 who entered the field in spite of obstacles. They some- 
 times met with brilliant success, a success which, to be 
 sure, was only rendered possible by the spirit of enter- 
 prise displayed as above narrated by Hamilton, Jenkins 
 and others. The Pope’s example and the activity of the 
 foreigner seemed to have their effect even on the Italians 
 themselves. Monsignore Chigi and the Prince Borghese 
 engaged in excavations on their estates which proved 
 highly productive, while Monsignore Borgia struck out 
 other ways of forming for himself a remarkable collection. 
 The Spanish Ambassador, Azara, developed in this direc- 
 tion great eagerness and activity, the fruits of which at a 
 later date were turned to the advantage of the Royal Museum 
 at Madrid ; just as the similar exertions of Cardinal Despuig 
 served to embellish a distant country house on the Island of 
 Majorca. The Spanish Cardinal Zelada, again, formed a col- 
 lection of coins. Gustavus III. King of Sweden, and the 
 Landgrave Frederick II. of Hesse, employed a brief sojourn 
 at Rome in founding or enriching the Museums at Stock- 
 holm and Cassel. Polish emigrants such as Poniatowsky 
 and Potocki were among the followers of the fashion. The 
 front rank however was still occupied by the English, nota- 
 bly by Charles Townley (a.d. 1737 — 1805) 252 . This 
 gentleman sprang from an old family in Lancashire, and was 
 
 262 The principal authority on 
 Townley is the memoir by Dallaway, 
 which first appeared A.D. r 8 1 1 in 
 The General Chronicle and Literary 
 Magazine , vol. v., and was after- 
 wards republished in John Nichols’ 
 Illustrations of the Literary History 
 of the Eighteenth Century , HI., Lon- 
 don, 1818, pp. 721 — 746, and in the 
 extract in Dallaway’s Of Statuary, 
 
 p. 324. From this source Ellis’ ac- 
 count, The Townley Gallery, 1. pp. 
 1 — 13, is almost exclusively derived ; 
 cf. Edwards’ Lives of the Founders of 
 the British Museum , pp. 369 — 3180. 
 There are shorter articles in Chal- 
 mers and in the Biographie Uni- 
 verse!, le, and several interesting details 
 in Smith’s Nollekcns, 1. pp. 257 — 
 266. 
 
56] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 97 
 
 on his mother’s side a descendant in the sixth degree of 
 the old Earl of Arundel. He was brought up in France, 
 and his first visit to Italy was paid in the year 1765. As 
 an ardent Jacobite he found all doors open to him at 
 Rome, where he lived for a good many years ; he also 
 visited the South of Italy and Sicily. At Naples he struck 
 up a friendship with William Hamilton, the British Envoy, 
 and it was in this city that he formed that acquaintance 
 with the adventurer Pierre Frangois Hugues, which proved 
 so perversive of his scientific views. Hugues, a native of 
 Lorraine, is best known to us under the pseudonym which 
 he had then adopted, Hancarville 253 . It must have been 
 this companionship which awakened in Townley that in- 
 terest in antiques which he soon displayed with such spirit 
 and munificence that he may be designated the successor, 
 not merely in time but in spirit, of Cardinal Albani. He 
 entered into close connection with Gavin Hamilton and 
 Jenkins, and had a considerable share in their under- 
 takings, which he promoted with his gold, sharing with 
 them their risks and their successes. His first acquisition 
 was that remarkable fragment, the group of two street 
 boys who have fallen out over their game at knuckle- 
 bones. This he purchased, A.D. 1768, from the widowed 
 Princess Barberini. In spite of the competition set on foot 
 in the mean time by the Vatican Museum — Townley being 
 in Italy A.D. 1765 — 1772, and Clement XIV. having begun 
 to collect A.D. 1769- — in spite of this, the Roman collections 
 and the new excavations afforded sufficient opportunity to 
 Townley for the formation of a rich collection, which he by 
 no means restricted to marbles. Bronzes, coins, gems, vases 
 were obtained at great expense, while a look-out was also 
 kept for drawings. To a collector of such means and such 
 zeal, four years’ residence at Rome must have been sufficient 
 to put into shape a museum such as might well challenge 
 comparison with any of the collections of his countrymen. 
 
 253 Justi, Winckelmann , II. 2, p. 381. 
 
 M. C. 
 
 7 
 
9 § 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [57 
 
 Townleyin 
 
 London. 
 
 57. In the year 1772 Tovvnley quitted Rome and 
 moved his quarters to London, where he bought himself a 
 house in Westminster (7, Park Street) and fitted it up ac- 
 cording to his tastes. Here the sculptures he had up to 
 this time acquired found a suitable resting-place. Neither 
 his relations with Rome, however, nor his purchases, by any 
 means came to an end ; on the contrary, he remained in 
 constant communication with Hamilton and Jenkins, and 
 re-visited Rome himself from time to time. Thus for about 
 twenty years his collection still kept continually receiving 
 rich additions from Italy ; being farther increased by all 
 kinds of purchases in England ( e.g . from Lyde Browne) and 
 by presents, as from Lord Cawdor. It was not till within 
 the last ten years of the century that it could be regarded 
 as on the whole completed, though even then, until a short 
 time before Townley’s death, single specimens were occa- 
 sionally introduced. By this time it formed one of the 
 greatest sights in London, and might in fact have taken a 
 high place among the collections of antiques of the day, 
 not only in England but in all Europe. The sculptures 
 were distributed with rare taste in the various rooms of the 
 house, so that the visitor found his impressions being con- 
 stantly deepened. Hall, staircase, and parlour were adorned 
 by preference with sepulchral monuments, inscriptions, and 
 terra cotta reliefs. The drawing-room contained a selec- 
 tion of the most beautiful busts, including Townley’s 
 favourite, that exquisite portrait of a Roman lady, which 
 is best known under the name of the Clytie ; other heads, 
 such as that of Homer, with its pictorial mode of execution, 
 served as appropriate adornments for the library. But the 
 most brilliant room was the dining-hall, against the walls 
 of which stood the finest statues of the collection, while 
 outside the windows the glance swept over the pleasant 
 verdure of St James’s Park. In this room Townley de- 
 lighted to give on Sundays dinners worthy of their sur- 
 roundings. His guests were partly artists, partly his friends 
 
57, 5 8 ] golden age of classic dilettantism. 
 
 99 
 
 among the Dilettanti Society (which Townley joined in the 
 year 1786), partly foreigners of distinction. An event of 
 importance occurred in the year 1784, when, in company 
 with Sir William Hamilton, Hancarville came to pay a 
 long visit at Townley’ s hospitable mansion, and there 
 finished his great work 254 , a fantastic farrago of mystico- 
 symbolical revelations and groundless hypotheses which 
 utterly captivated both Townley and Payne Knight. This 
 was the wisdom which Townley delighted to dish up for 
 the visitors to his collection, towards whom he always dis- 
 played .the greatest amiability and liberality — a genuine 
 mystagogue of the most genial type. A painting by 
 Zoffany, a regular guest at the house, represents Townley 
 in his library, surrounded by his beloved books and a few 
 chosen antiques, in conversation with Hancarville, near 
 whose chair stand Charles Greville and Thomas Astle : 
 it affords a lively illustration of the animated intercourse 
 which we may suppose to have been occasioned, at the 
 focus of antiquarian science and antiquarian interests, by 
 Idancarville’s presence in London 255 . 
 
 58. Another Lancashire man, a friend of Townley, 
 though considerably older, was HENRY BLUNDELL (a.D. 
 1723 — 1810), resident at Ince 256 . It is said that he accom- 
 panied Townley on one of liis journeys to Rome, and was 
 there seized with the rage for collecting; according to 
 another account, he already possessed his best specimens 
 before he became acquainted with Townley. At any rate 
 it is certain that his first purchases were made from 
 Jenkins in the year 1 777 257 . At that time Blundell was 
 already fifty-four years of age. But, as if eager to make 
 up for lost time, he pursued the undertaking he had 
 
 254 Recherches sur I Origine, !' Es- 
 prit et les Progris des Arts de la Grice. 
 London, 1785, II. 4to. 
 
 255 The original is in Townley 
 Ilall, and has been engraved. 
 
 256 Dallaway in Nichols’ Illustra- 
 
 tions , in. p. 739 (repeated : Of 
 Statuary , p. 352). S piker, Reise durch 
 England im f. 1816, Leipz., 1818, 
 1. pp. 396 — 403. For the rest see 
 under Ince. 
 
 257 See on Ince, no. 44. 
 
 II. Blun- 
 dell. 
 
 7—2 
 
IOO 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [ 5 8 
 
 begun with zeal and energy. Visconti, who knew him 
 personally, calls him a man of fine taste 258 . Blundell him- 
 self bore the expressive motto age quod agis. His chief 
 agent was a Mr Thorpe, once a member of the now extinct 
 order of Jesuits. Jenkins remained the principal purveyor, 
 and from his stores numerous specimens, which had once 
 stood in the Villa Mattei, found their way to Ince, whither 
 they were afterwards followed by the most important 
 specimens of the Villa d'Este and a few from the Villa 
 Negroni. There are many among this number which do 
 not serve to raise our opinion of Jenkins’ business prin- 
 ciples ; for instance, not a few sepulchral monuments, 
 which had hitherto stood in the Villa Mattei without in- 
 scriptions, were in the interval made more valuable by the 
 addition of ‘antique’ inscriptions. Many other collections 
 were ransacked besides the depot of Jenkins, and the most 
 various dealers in art were laid under contribution. Im- 
 portation in this quarter continued till after the year 1790, 
 and many piquant particulars are related in connection 
 with it; as, for instance, that on one occasion Blundell 
 recognised and bought among some French war plunder in 
 London a relief (Ince, No. 221), which he had himself on a 
 previous occasion purchased in Rome and presented to the 
 Pope. At the beginning of our own century sales in London 
 still yielded rich and precious objects. An example full 
 of comic naivete of the manner in which people at Ince 
 thought they might deal with remarkable monuments to fit 
 them for modern inspection is furnished by the marble 
 numbered 25 in that collection. The Ince marbles could in 
 no wise be compared as to quality with those of Townley, 
 which they perhaps even surpassed in number; but still 
 they do not deserve the contemptuous verdict which has 
 been passed upon them in many quarters. The worst feature 
 of the collection is that its really good and in several 
 instances exquisite specimens are thrown into the shade 
 258 Visconti, Musco Pio Clem., in. on H. a, 9. 
 
58, 59] golden age of classic dilettantism. 
 
 IOI 
 
 by so many that are unimportant or quite worthless, or 
 badly disfigured by restorations, or spurious. No collec- 
 tion in the world had need to be ashamed of the Theseus 
 (No. 43). Among the heads, as among the reliefs, there are 
 many of distinguished merit; but sight and mind become 
 stupefied if they have to toil through hundreds of inferior 
 marbles. A rigorous weeding-out could only have height- 
 ened the value of the collection, and the praise expended 
 by Visconti on the collector is misleading. It is still worse 
 if we read the commentaries of the collector himself, which 
 he partly set forth in a printed catalogue (A.D. 1803), 
 partly dictated on his death-bed, as the text for a great 
 illustrated publication (A.D. 1809). Side by side with most 
 homely trivialities we here once more encounter that insipid 
 mystic symbolism of Hancarville, which seems to be in- 
 spired by Townley, but is not seldom criticised in a re- 
 freshing manner by a rationalistic doubt of Blundell’s 
 own. The collector’s love for his treasures gave further 
 proof of its sincerity in the stately buildings which he 
 had erected for their reception. The dome-room of the 
 so-called Pantheon is in fact a very imposing chamber, 
 which may well remind us, si parva licet coviponere magnis , 
 of the Rotunda of the Vatican Museum. The museum at 
 Ince accordingly became a favourite resort for lovers of 
 art and curiosity from the neighbouring Liverpool, to such 
 an extent that the comfort of the inmates was occa- 
 sionally disturbed thereby, and in consequence obstacles 
 were placed in the way of visitors. Smith- 
 
 59. It was chiefly from the same sources and about 
 the same time that JAMES SmitiT-Barry formed the col- Sir 
 lection with which he adorned the gallery and a hall of Robinson, 
 his country seat, Marbury Hall in Cheshire 260 . The names Dorset, Sir 
 of Hamilton and Jenkins, of the Villas Mattei and Este, ^i^i' Duke 
 
 once more come before our notice, so that the collector °f st 
 
 Albans, 
 
 appears to have been a direct rival to Blundell. The 
 269 See Cat., art. Marbury. 
 
102 ANCIENT MARBLES IN GREAT BRITAIN. [59 
 
 limitation in number to a comparatively few specimens can 
 scarcely be regarded as a disadvantage; for the more valu- 
 able statues are more easily appreciated among them. We 
 must regard as its brightest ornament the ara from Naples, 
 transformed by the restorations of Jenkins into a vase, 
 representing Paris captivated by the beauty of Helen, the 
 Roman imitation of a Greek original. Besides this we 
 must not pass over one or two small but genuine Greek 
 fragments in this collection, as such treasures were at that 
 time seldom met with in English galleries. — The activity 
 of THOMAS Mansel-TalBOT, who also amassed his sculp- 
 tures through the help of Hamilton and Jenkins 260 , dates 
 perhaps from a somewhat earlier period, apparently not 
 later than the eighth decade of the century. His little 
 collection included two or three specimens of considerable 
 merit, quite undeserving of the fate, which they shared with 
 the Petworth marbles, of lying packed up for a long time 
 in their cases until a place was cleared for them in the 
 conservatory. To the remoteness of Margam Abbey (it is 
 probably the only place in Wales which can boast of a 
 collection of ancient marbles) we must ascribe the fact that 
 the antiques in the conservatory and afterwards in the hall 
 have remained scarcely less unknown to the learned world 
 than at the time when they were still shut up in their 
 cases. — Among the collections of still smaller extent which 
 were, like these, formed by Jenkins’ assistance at that 
 period, the following deserve mention. SIR THOMAS 
 ROBINSON founded the collection, consisting especially 
 of busts and statuettes, which is to this day to be found 
 at Rokeby Flail 261 . Its chief attraction was a large relief of 
 the children of Niobe, found at Naples; this was to have 
 been sent by the King of Naples as a present to the King 
 of Spain, but fell into the hands of English men-of-war. 
 — Busts again form the majority of the sculptures with 
 
 200 See Cat., art. Margam. 
 
 261 See Cat., art. Rokeby Hall. Dallaway, A need., p. 3S8. 
 
59, 6o] GOLDEN AGE OF CLASSIC DILETTANTISM. 103 
 
 which John Frederick, third Duke of Dorset (died 
 A.D. 1799), decorated the venerable rooms at Knole ; but 
 they are far exceeded in value by the remarkably well- 
 preserved statue of Demosthenes, which found a worthy 
 resting-place in the ancient hall of that mansion 262 . — Sir G. 
 STRICKLAND set up about a dozen marbles in Boynton 
 Hall. The taste displayed in their selection was spoken 
 of in high terms. Especial admiration was bestowed on 
 one statue of a so-called Juno, remarkable equally for its 
 workmanship and for its preservation 263 . — George, Lord 
 Temple, afterwards Marquis of Buckingham (a.d. 
 1753 — 1813) adorned the spacious gardens of Stowe with 
 a few marbles, especially vases artistically enriched, which 
 he had brought with him from Italy in the year 1774 264 . — 
 George, third Duke of St Alban’s (d. a.d. 1786) 
 brought home about A.D. 1780 a number of marbles from 
 Rome of less importance. The finest of these were pur- 
 chased by Townley at the Duke’s sale 263 . A near rela- 
 tion of his, LORD Vere, possessed a few sculptures at 
 Hanworth 268 , and LORD BATEMAN had a Hermes at 
 Shobden on which a particularly high value was set by 
 Townley 207 . BROWNLOW North, Bishop of Winchester, 
 decorated the episcopal residence at Chelsea with all kinds 
 of antiquities, which he had collected in the year 1791 in 
 Italy 26,3 . Finally Dr Adair was at Baiae in A.D. 1771 just 
 when a couple of bearded heads of Dionysos were found ; 
 these he bought, and parted with at a later date to Townley 209 . 
 
 60. High above all these collections of the second and 
 third rank stands the magnificent museum formed in the 
 
 262 See Cat., art. Knole. 
 
 283 g ee Oat., al -t. Boynton. 
 
 204 Stowe , A Description of the 
 House and Gardens of Gcorge-Grenvillc- 
 Nugent-Temple , Marquis of Buck- 
 ingham. Buckingham, 1797, 4to. 
 H. R. Forster, The Stowe Catalogue , 
 London, 1848, p. 47, nos. 726, 738, 
 739, 745. Dallaway, A need., p. 383. 
 
 265 Anc. Marbles Brit. A/us., v. 
 
 PI. 2, 5; 9, 3; x. 1. Ellis, Townley 
 Gallery, II. p . 64 ; Spec. Ant. Sculpt., 
 
 1. PI. 31. 
 
 266 Dallaway, Anecd., p. 390: “a 
 few marbles, sold in 1798.” 
 
 287 See Shobden. 
 
 288 Faulkener, History of Chelsea, 
 1. p. 293. 
 
 289 Anc. Marbles Brit. A/us., 11. 
 PI. 29, 30. 
 
 Lord 
 
 Shel- 
 
 burne. 
 
\ 
 
 ( Lans- 
 downe.) 
 
 104 ANCIENT MARBLES IN GREAT BRITAIN. [60 
 
 last decade of the century by William, second Earl of 
 Shelburne, afterwards first Marquis of Lansdowne 
 (a. D. 1737 — 1S05) 270 . Though deeply involved in the 
 politics of his time, Lord Shelburne showed the liveliest 
 interest in nature, art, and science. He gave proofs of 
 this by his gardens at Bowood, the building of Shel- 
 burne House, his art collections, and the founding of his 
 library. In the year 1771, after the death of his first 
 wife, and in a breathing-space in his public activity, he 
 visited Italy. The fact of his not afterwards joining the 
 Dilettanti Society is fully explained by the preponderance 
 of other political parties in that body. At Rome, Lord 
 Shelburne, who at that time was planning the building 
 of his new palace, entered into close relations with Gavin 
 Hamilton, by whom he had a plan sketched for the ar- 
 rangement and decoration of a sculpture gallery. A small 
 number of antiques were purchased by him personally, 
 others were procured for him by Hamilton in the follow- 
 ing years ; these were partly the choicest specimens from 
 Hamilton's own excavations, partly the result of jDurchases 
 elsewhere. Shelburne had done well to turn to a man of 
 honour like Hamilton, instead of to Jenkins. Considering 
 the number of competitors, among whom the Vatican 
 Museum stood in the first rank, it is surprising to see how 
 fine a selection of excellent works was brought together. 
 It is true that the purchases were continued for a long 
 time, into the last decade of the century, but the majority 
 of the most remarkable marbles are the result of Hamil- 
 ton’s earlier excavations in the years 1770 — 1780; e.g. the 
 so-called Jason, the Hermes, the Amazon, and the Disco- 
 bolus, which last has been badly disfigured by mistaken 
 restoration. The Herakles, however, did not come to light 
 till later. Among the heads there are not a few of con- 
 
 270 Fitzmaurice, Lord Edmond, p.445. The Academy, 1 8 7 S , Aug. 10, 
 
 Life of PV. Earl of Shelburne, London, 17, 14, 31, Sept. 7. Cf. Cat., art. 
 
 1875 — 76, particularly 11. p. 226, rit. London, Lansdowne House. 
 
6o] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 105 
 
 spicuous merit ; the Hermes, with the petasus, has become 
 a general favourite. Finally, we have a few excellent 
 reliefs. It is instructive to compare this collection with 
 that of Blundell, which was begun a little later (A.D. 1778). 
 While at Ince the crowd of worthless specimens hinders 
 and impairs the enjoyment of what is really good, the 
 collection at Lansdowne House bears a truly aristocratic 
 character. The value of the collection, however, is appre- 
 ciably raised by the tasteful manner in which Lord Lans- 
 downe applied it to the decoration of his new-built palace. 
 No bare sculpture gallery was erected for them, in which 
 the chilliness of the marbles one beside the other is often 
 apt to have a chilling effect on the visitor ; but, as is also 
 the case at Holkham Flail, the stately reception rooms 
 were throughout prepared to accommodate them, and the 
 works produced for decoration were once more introduced 
 into the midst of life. On his first entry, the hall and the 
 staircase gave the right tone of feeling to the visitor. In 
 the dining-hall and breakfast-room a number of niches 
 were adorned with smaller but by no means insignificant 
 statues. The library, at that time still the shelter of those 
 manuscript treasures which later found their way to the 
 British Museum, added to these possessions the appro- 
 priate decollation of a row of portraits and other busts ; 
 and received its crowning ornament in the ‘Jason.’ 
 Finally, there is true magnificence in the impression pro- 
 duced by the great ball-room, with its two semi-circular 
 ends, in which there are spacious niches containing the 
 finest treasures of the collection ; between the niches, as in 
 the Rotunda of the Vatican, either a lovely head, or a 
 statuette, on pillar-pedestals. Smaller groups, reliefs, an 
 excellent bust of Athene, etc. are distributed in the middle 
 of the room. With perfect right we may designate the 
 whole arrangement, the rooms and their decorations, as 
 one of the most distinguished and tasteful creations of 
 the kind, which in England at any rate can scarcely find 
 
Thomas 
 
 Hope. 
 
 106 ANCIENT MARBLES IN GREAT BRITAIN. [ 60 , 6l 
 
 its peer. One likes to imagine moving about these rooms 
 that choice society which the refined owner well knew how 
 to collect about him, finding in their animated discussions 
 some compensation for the numerous annoyances of his 
 political career. 
 
 6l. A similar fine taste for art regulated the activity 
 in collecting displayed by TlIOMAS HOPE, a member of the 
 rich family of bankers, who had returned to his English 
 home and people from Amsterdam. He made a collection 
 in the last ten years of the eighteenth century; two of the 
 principal specimens of his collection, the great Athena, for 
 a long time wrongly considered a copy of the Parthenos of 
 Phidias, and the beautiful Hygieia were only dug up in 
 A.D. 1797 at Ostia by Fagan'" 71 . The collection of Greek 
 vases, which came from Sir William Hamilton, formed a 
 very distinctive part of his art treasures. Though Hamilton 
 had some time before sold a first collection to the British 
 Museum, excavations undertaken in A.D. 1789 and 1790 
 and other purchases had supplied him afresh with abun- 
 dance of material for a second. In the year 1798 he sent 
 the whole to England, with a view of selling it there, after 
 an attempt to dispose of it at Berlin for seven thousand 
 pounds had fallen through. Eight chests, a third part of 
 the freight, were lost by shipwreck ; the rest was pur- 
 chased in the year 1801 by Hope, and served him as 
 the foundation of his collection, which he still further 
 increased from various other sources 272 . The owner, with 
 his fine taste for art, now brought his entire mansion in 
 London (Duchess Street) into the most correct accord 
 with his collections which he could devise. All the rooms 
 and all their contents, down to the humblest utensil or 
 
 271 See Deepdene. Cf. Gent!. by Hamilton, Prince Italinsky, 
 Mag., 1831, Apr. the Russian ambassador, and Fon- 
 
 27a Tischbein, Collection of tanini. Cf. J. H. W. Tischbein, Aus 
 Engravings from Ancient Eases dis- meinem Leben, Brunswick, 1861, 
 covered 1789 and 1790, now in the II. pp. 169 — 180. Edwards, Lives of 
 possession of Sir IV . Hamilton. Naples, the Founders of the British Museum, 
 1791 — 1803, iv. The letterpress is I. p. 357. 
 
6 1, 62 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 107 
 
 piece of furniture, were made after Hope’s own drawings 
 and designs, not uninfluenced by the Pompeian discoveries, 
 and at the same time in full harmony with the antiqua- 
 rian tendencies of art in the Napoleonic era 273 . The 
 statue-gallery was bordered on both sides with statues, 
 the picture-galleries derived an air of life from a few 
 marbles, and the vases served as the main adornment of 
 three rooms. In this condition the Hope collection re- 
 mained during many years in London, much visited and 
 admired by strangers ; at last it was taken to the mag- 
 nificent country seat of Deepdene, once the property of the 
 Howard family. The classical sculptures, intermingled 
 with masterpieces of Thorwaldsen and Canova, and with 
 copies of celebrated antiques, there form a magnificent 
 adornment to the galleried hall and to some other apart- 
 ments. Of the collection of vases, only a remnant is pre- 
 served. 
 
 62. Throughout almost the entire century, and to a The Revo- 
 
 . . . . . lution in 
 
 constantly increasing extent during its last decenmum, Rome and 
 the importation into England of antique sculptures from ^ewes.' 
 Italy, especially from Rome, was carried on. We cannot Earl of 
 but marvel at the inexhaustible wealth of the Eternal I -' ,stoL 
 City and her Campagna, when we recollect that besides 
 the collections formed at Rome itself, Florence, Madrid, 
 
 Paris, St Petersburg, Stockholm, England and Germany 
 have derived thence almost all their antiquities, while 
 Naples alone, in addition to the Farnese marbles, pos- 
 sessed a mine of discoveries apart in the buried cities of 
 her vicinity. Now, in consequence of events of world-wide 
 interest, a pause occurred in the commerce in antiques at 
 Rome. Byres had left Rome as early as A.D. 1790; Gavin 
 Hamilton died there in the year 1797, his death being 
 ascribed to excitement and anxiety caused by the advance 
 of the French; Jenkins was actually driven out of Rome 
 
 173 Household Furniture and in- by Thomas Hope. London, 1807, 
 terior decoration executed from designs fol. 
 
108 ANCIENT MARBLES IN GREAT BRITAIN. [62 
 
 by these invaders and died in 1798, just as he landed in 
 his native country at Yarmouth after a violent storm. He 
 had concealed a collection of engraved gems on his person, 
 but all the property he had left behind at Rome was con- 
 fiscated by the French 274 . Very curious were the fortunes 
 of Frederick, fourth Earl of Bristol, Bishop of 
 Derry (A.D. 1730 — 1803). Having been settled at Rome 
 for a long time, he had eagerly collected statues and paint- 
 ings, chiefly modern, but also including several antiques, in 
 the hope of adorning therewith the castle which he intended 
 to have built at Ickworth. “In 179S he was arrested by 
 the French, and confined for a time in the Castle of Milan; 
 and his valuable collection fell into the hands of the Repub- 
 licans. On this occasion a remonstrance was presented to 
 Citizen Haller, administrator of the finances of the army 
 of Italy, signed by three hundred and forty-three artists of 
 various nations, in favour of the restoration of the collection 
 to their munificent patron. It was redeemed for the sum 
 of ten thousand pounds, under an arrangement with the 
 Directory — and within a week after the payment of the 
 money, the collection was again plundered, and the whole 
 dispersed 275 !” To what purpose could the British Earl- 
 Bishop complain of such treatment, when even the Villa 
 Albani and the papal collections fared hardly better ; when 
 churches and palaces were plundered without mercy; and 
 when an undisciplined soldiery despoiled the private apart- 
 ments of the Pope himself after he had been led off to 
 France? Even these events resulted in profit to English 
 collectors. On one occasion, for instance, the Roman agent 
 of an English merchant purchased from a Frenchman not 
 fewer than forty-five chests full of marbles, tables, and so 
 on, the product of such booty. On its voyage to England 
 the vessel was four times captured and four times rescued 
 
 374 Ellis, Townley Gallery, 1. p. 5. London, 1838, p. 301. Gentleman's 
 
 276 J. Gage, History and Antiqui- Magazine, May, 1798, vol. LXVIll. 1, 
 ties of Suffolk. Thingoe Hundred, p. 434. 
 
62, 63] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 IO9 
 
 again before safely reaching Liverpool. Thence its freight 
 had first of all to be reshipped to London in order to find 
 purchasers. It has already been mentioned that on this 
 occasion Blundell bought again, for two hundred and sixty 
 guineas, a relief which he had purchased at Rome for less 
 than ten pounds and then presented to the Pope 276 , and 
 which is one of the most remarkable of his collection. We 
 may well feel surprised that in such restless times Fagan 
 still had courage to undertake excavations at Ostia, and 
 that Hope and another customer of Fagan’s, Prince Augus- 
 tus Frederick, found means to secure the safety of his 
 acquisitions 277 . This state of things was not to last long; 
 in the year 1801, to repeat the expression employed 
 at Rome, “ an end was put to the abuse and disorder 
 of commercial profit in such excavations, and a new papal 
 epoch set in 278 .” In other words there set in an epoch 
 of complete stagnation, which lasted as long as the wars of 
 Napoleon held all Europe in suspense. In regard to the 
 antiquarian relations between England and Rome, a pause 
 like this, when the former agents for the trade in antiques 
 disappeared from the scene, and Rome could be no com- 
 fortable residence for the travelling Englishman, served as 
 a complete break with tradition. — 
 
 63. The same was the case at Naples. Ever since William 
 A.D. 1764 the post of English ambassador had been filled and his 
 by Mr, afterwards Sir WILLIAM HAMILTON (1730 — 1 803 ), Collection 
 who formed the centre of an unusually eager intellectual 
 society, in which Hancarville, who like Hamilton has been 
 already mentioned, played an important part 279 . Hamilton 
 had two governing passions, the collection of antiques and 
 the study of natural science. The gratification of the first 
 was attended with no small difficulty owing to the jealousy 
 
 276 Ince, no. 221. 278 C. Fea, Viaggio ad Ostia, Rome, 
 
 277 He bought a statue of Venus 1802, p. 57. 
 
 which King William IV., A.D. 1834, 279 Justi, Winckebnann, ir. 2 pp. 
 
 presented to the British Museum 381 — 397. Edwards, Lives of the 
 (A nc. Marbles Brit. Mas., XI. PI. Founders of the British Museum, 1. 
 
 34); see Urlichs, Glyptothek, p. 30. pp. 347 — 361. 
 
I IO ANCIENT MARBLES IN GREAT BRITAIN. [63 
 
 of the Bourbon Government. Luckily for him, however, 
 the interest of the King was so fully engrossed by the 
 excavations at Herculaneum, that he looked with disdain 
 on all other varieties of antique art, except paintings and 
 bronzes. A large field was therefore left open to the 
 energies of Hamilton, who bought collections small and 
 great, and privately instituted excavations on his own 
 account. He was particularly interested in the painted 
 vases that were then still commonly called Etruscan, al- 
 though their Greek origin was getting to be more and 
 more recognised, and was distinctly proclaimed by Mazocchi, 
 YVinckelmann, and Hancarville. Hamilton was not the first 
 nor the only Briton who collected vases ; some time earlier 
 we find the names of FREDERICK and THOMS mentioned 
 as those of possessors of vases, and Lord Cawdor col- 
 lected as well as Hamilton 280 . But to Hamilton belongs 
 the merit of being the first to appreciate with warmth the 
 severe beauty of their shapes, colouring and drawing, the 
 mingled simplicity and feeling of the designs figured upon 
 them ; and it was he who recognised the value of these 
 unpretentious vessels for forming and ennobling modern 
 art-taste. The magnificent edition de luxe , for which Hamilton 
 paid no less than forty thousand ducats (six thousand 
 pounds), was particularly calculated to exhibit the impor- 
 tance of the vases in this respect. Hancarville’s abstruse 
 text at any rate rightly emphasized the worth of these 
 simple materials for the history of the forgotten art of 
 Greek painting ; nor did it at that time exercise a pre- 
 judicial effect, since it fell in with prevalent views on 
 mythology 281 . However, Flamilton did not limit himself 
 to vases. Of these he had brought together seven hun- 
 dred and thirty ; but his collection further contained one 
 hundred and seventy-five terra cottas, three hundred pieces 
 
 28° Passeri, Pictures Etruscorum et Romaines tiroes du cabinet de Mr 
 in vasculis, 1767, PI. 44, 45, 47, 158. Hamilton H Naples, Naples, 1766, 
 Cf. above, note 248. 1767, IV. fol. 
 
 281 Antiquites Etrusques Grecques 
 
63, 64] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 1 1 I 
 
 of glass, six hundred and twenty-seven bronzes, chiefly 
 armour, one hundred and fifty objects in ivory, one hun- 
 dred and fifty gems, as many gold articles of jewellery, 
 more than six thousand coins, particularly of Magna 
 Graecia, and lastly miscellaneous articles of various kinds 
 including some few marbles. All these treasures Hamilton 
 brought to England A.D. 1772, after a residence of eight 
 years in Naples, and sold to the British Museum for 
 £8,400. This event was noteworthy for its result in two 
 directions. The purchase was the first considerable ad- 
 dition made by public money to the Museum since its 
 foundation, and formed the groundwork of a Department 
 of Antiquities. At the same time it is well known how 
 great an influence Hamilton’s publication, and especially 
 the originals, exercised on Josiah Wedgewood’s manufac- 
 ture. In an incredibly short time his imitations met with 
 wide-spread favour, and contributed very materially to 
 making the ‘ Greek,’ ‘ Etruscan ’ or as they were some- 
 times even called 1 Pompeian’ vases popular. 
 
 64. In the year 1777 Sir William Hamilton joined the 
 Dilettanti Society. On the occasion of a second visit home 
 (a.D. 1785) lie resigned the celebrated glass vase from the 
 Barberini Palace, with white reliefs on a blue ground, to 
 the widowed DUCHESS OF PORTLAND, daughter of the 
 Earl of Oxford, mentioned above. This lady died soon 
 after. Her possessions were sold by auction (A.D. 1786) and 
 the vase, numbered 4155 in the complete cabinet, was 
 bought in by the family after the bidding had gone up to 
 one thousand and twenty-nine pounds; since A.D. 1810 it 
 has been deposited in the British Museum under the name 
 of the ‘ Portland vase ’ and has there been accessible to 
 the public, not, as is well known, without serious detri- 
 ment to its integrity 28 -. Yet another specimen, the most 
 
 282 Walpole to Lady Ossory, 1785, deceased: which will be sold by Mr 
 Aug. 10. A Catalogue of the Port- Skinner and Co. on the ':\th of April, 
 land Museum, lately the properly of 1786, and the 37 following days. The 
 the Duchess Dcnvager of Portland, antiques come last on the list (June 7) ; 
 
 Sir IV. 
 Hamilton s 
 second 
 collection. 
 
1 12 ANCIENT MARBLES IN GREAT BRITAIN. [64 
 
 important of its kind, came to England through the agency 
 of Sir William Hamilton, viz. the huge marble vase, 
 discovered in the year 1769 by Gavin Hamilton and pre- 
 sented by the purchaser to the Earl of Warwick, from 
 whom it took its usual name 283 . Sir William had in the 
 main renounced further collecting. It was therefore unwise 
 of him to return to Naples, for how could so enthusiastic a 
 collector resist the numerous opportunities of returning to 
 his ancient passion? It is a fact that in the year 1787 
 Goethe found Hamilton’s private art-vaults, to which it 
 was difficult to get access, quite filled with busts, torsos, 
 vases and bronzes ; there were also two splendid bronze 
 candelabra, which “ might have perhaps strayed from the 
 Pompeian excavation, and have lost themselves here 284 .” 
 Tischbein tells us that engraved gems were also not want- 
 ing, and he describes vividly how new discoveries of vases 
 completely overcame Hamilton’s resolutions and soon made 
 him once more an eager purchaser. Tischbein once saw 
 him coming from Court, in full court dress, with stars and 
 orders, carrying a basket full of vases ; a ragged lazarone 
 held one handle of the basket and the English Minister the 
 other. — (A similar story is told of Cardinal Albani 285 .) 
 Thus a second collection was formed, which was engraved 
 by Tischbein and of which we have already recorded the 
 fate above 286 . Though larger and more important than 
 the first, it was less fortunate, as it had not the protection 
 of a public museum, but was exposed to the vicissitudes 
 of private ownership. At the present day we know the 
 whereabouts of but very few of these vases. When they 
 were sent to England (A.D. 1798), the Republic was already 
 knocking at the door of the decayed Bourbon Kingdom. 
 At the close of the year Hamilton fled with the royal 
 
 the purchase of the vase was alleged to May 27. 
 
 have been made for the Duke of Marl- 235 J. II. W. Tischbein, Aus 
 
 borough. meinem Leben , Brunswick, 1861, 11. 
 
 283 See Cat., art. Warwick Castle. pp. 100 — 107, 169 — 180. 
 
 284 Goethe , italienische Reise, 1787, 286 Cf. above, § 6 1 . 
 
64, 65] GOLDEN AGE OF CLASSIC DILETTANTISM. I 1 3 
 
 family to Palermo. He returned once more to his beloved 
 Naples to leave her again for ever in A. D. 1800, a sick, 
 broken-down old man. The commerce in antiquities be- 
 tween England and Naples was interrupted for a long 
 time after this ; French rule at Naples making such rela- 
 tions quite impossible. 
 
 65. In comparison with Italy in the last century, 
 Greece, at least with regard to the trade in antiques, hung 
 far behind. There are however many scattered traces 
 to show that the English who lived in Greece — merchants, 
 ecclesiastics, physicians — had genuine feeling for the past 
 history of their adopted home, and neglected no oppor- 
 tunity for collecting antiquities. The first successful un- 
 dertaking, the search for the desert city of Palmyra, was 
 entered on by English merchants from Aleppo in the year 
 1691. Collections of coins were made at the beginning of 
 the eighteenth century by British merchants and clergy in 
 the same place, with such zeal that the prices within a few 
 years rose to exorbitant amounts 287 . A physician and a 
 clergyman of the British merchant colony in Constanti- 
 nople provided Dr Mead with antiquities about A.D. 1730 288 , 
 and in A.D. 1779 Dr SwiNNEY, the resident clergyman in 
 that city, sent to England the splendid bronze statuette of 
 Herakles found in Syria, which soon afterwards came into 
 Townley’s possession 288 . Smyrna in particular appears 
 once more, as in Petty’s time, to have been a fruitful mine 
 of discoveries. Winckelmann mentions an English phy- 
 sician who in A.D. 1763 obtained permission to make 
 excavations there, and another Englishman who received 
 two ships full of statues, eight of which were in perfect 
 condition and which he sent home together with some 
 
 287 Relation of a Voyage to Tadtnor , 
 Sept. ■29, 1691. Seller, Antiquities 
 of Palmyra, London, 1696. For the 
 trade in coins see the letters for the 
 years A.D. 1696 — 1708 in the ms. 
 Cuper., no. 1 fol. 19, 64, 77, 8r, 82, 
 97, 99, 1 14 (Archives at the Hague); 
 
 cf. Michaelis in Im neuen Reich, 1876, 
 1. pp. 990— 994. 
 
 288 Ellis, Townley Gallery, 11. p. 
 303 ; Corp. Riser. Grcec. 3797. 
 
 289 Anc. Marbles Brit. Mas., III. 
 PI. 2. 
 
 Relations 
 
 •with 
 
 Greece. 
 
 M. C. 
 
 8 
 
3 14 ANCIENT MARBLES IN GREAT BRITAIN. [65 
 
 busts 290 . From Smyrna also were the reliefs which Matthew 
 Duane and Thomas Tyrwhitt bought at a sale in London 
 A.D. 1772, and presented to the British Museum 291 . Our 
 interest is, however, less warmly awakened by the isolated 
 British residents in the East than by the travellers. 
 These could no longer rest contented with Italy, but 
 sought also the Levant. In A.D. 1725 Mr Topham 
 brought to London a relief from Attica, which reached the 
 British Museum more than half a century later 292 ; and 
 towards the middle of the century the learned Greek 
 scholar and physician, Dr ANTHONY ASKEW, brought 
 some marbles home with him from Athens, for example 
 the beautiful sepulchral monument of Xantluppos, which 
 was acquired by Townley at his sale in A.D. 1 77 5 293 . About 
 the same time Lady Bute, daughter of the well-known Lady 
 Mary Wortley Montagu, handed over to Trinity College, 
 Cambridge, a small number of Greek marbles, which her 
 father, the Honourable Edward Wortley Montagu, had 
 brought home in A.D. 1718 from his embassy at the Porte 294 . 
 As early as A.D. 1744 the Dilettanti were in possession of a 
 fragment of the Parthenon frieze, probably presented by 
 one of the members, just as one subsequently came to 
 Smith-Barry ; another was in the possession of the Duke 
 of Devonshire. How many similar souvenirs de voyage 
 may still be scattered here and there 295 ! The Dilettanti 
 soon appear in the foreground among the travellers to 
 Greece and to the East. One of the first was James, 
 Viscount, afterwards Earl of Charlemont, who since 
 A.D. 1749 had visited Sicily, Greece, Asia Minor, and 
 
 290 WinckelmanntoBianconi, 1763, 
 Apr. 30 (Fea, Storia, xix. p. 259). 
 
 291 Ellis, Townley Gallery , II. p. 
 160 — 165. 
 
 293 Anc. Marbles Brit. Mas. II. 
 
 PI. 41. 
 
 293 Ellis, Townley Gallery , II. p. 
 29, 107, 300. Askew was in Greece 
 about the year 1 748. 
 
 294 SeeCat., art. Cambridge, Trinity 
 
 College. 
 
 295 The fragments belonged to the 
 north friezes, slabs xxxv. andxxxil., 
 and to the south metopes, no. xvi. See 
 Michaelis, Der Parthenon , Leipzig, 
 1871, pp. 249, 250. Newton, in The 
 Academy, 1875, Oct. 2, p. 365. A 
 fragment in the Hope collection does 
 not belong to the Parthenon. See 
 Cat., art. Deepdene, no. 14. 
 
6 5 , 66] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 1 1 5 
 
 Egypt in company with Mr Francis Pierpont Burton (after- 
 wards Lord Conyngham), Mr Scott, Mr Murphy, and the 
 artist Richard Dalton, who has perpetuated some of the 
 knowledge gained during this journey in several instructive 
 engravings ; here, for example, we find the first serviceable 
 views of the Parthenon and the Erechtheion 296 . In the 
 following year two pairs of travellers met in Athens; on 
 the one hand James Stuart and Nicholas Revett, who had 
 just begun there that undertaking by which they opened a 
 new epoch in antiquarian studies, and on the other James 
 Dawkins and Robert Wood, who were starting thence on 
 their hardly less celebrated expedition to Palmyra. This 
 is not the place to speak of the scientific results of these 
 two undertakings ; what they brought back in the way of 
 antiques does not appear to have been of great importance. 
 Dawkins’ small collection was presented after his death 
 (A. D. 1759) by his brother Henry to the Oxford Univer- 
 sity 597 . From the journey of Chandler, Revett and Pars 
 (A. D. 1764 — 1766), undertaken at the cost of the Dilettanti 
 Society, and in accordance with Wood’s instructions, re- 
 sulted as the most valuable fruit the Ionian Antiquities. 
 These travellers apparently brought no originals to England 
 except inscriptions, which the Society consigned in the 
 year 17S5 to the British Museum 593 . 
 
 66. The first British traveller who brought home rich 
 booty from Greece itself was Sir Richard Worsley 
 (A.D. 1751 — i8o5)' 299 . For some time British resident at 
 Venice he started A.D. 1785 for Greece, where he re- 
 mained till A.D. 1787, part of the time at Athens and 
 part on the islands and coasts of Asia Minor. He spared 
 no expense in making a splendid collection. In it the 
 
 296 Hardy, Memoirs of the Earl sia, p. v. 
 
 of Char lemont, p. 11, 19 ff. Dalton, 288 [W. R. Hamilton], Historical 
 
 A series of Engravings, &c., London, Notices of the Society of Dilettanti , 
 1751 — 52. Antiquities and Views, London, 1835, p. 41. 
 
 &c., London, 1791. 299 See Brocklesby. Dallaway, Of 
 
 297 Chandler, Marmora Oxonien- Statuary, p. 350. 
 
 8—2 
 
 Sir 
 
 Richard 
 
 Worsley. 
 
ANCIENT MARBLES IN GREAT BRITAIN. [66 
 
 1 16 
 
 Greek reliefs, or fragments of reliefs, take the first place. 
 Such a work as the Girl with the Doves from Paros 300 , by 
 dint of its charming naivete , constitutes one of the most 
 attractive creations of Greek art which remain to us ; this 
 single specimen is worth a whole museum-full of Roman 
 works turned out by the gross. When Worsley proceeded 
 from Greece to Rome, he availed himself here also of the 
 opportunity of enriching his collection ; we may name as 
 a work of peculiar charm a group of Dionysos with Eros. 
 The busts and gems which he acquired were lfcss important. 
 The last he bought of Sir William Hamilton 301 . At the 
 same time Worsley caused to be engraved at Rome some 
 of the plates which he intended for the magnificent pub- 
 lication of his museum. Eor the most valuable portion of 
 the explanations that were to go with the plates he was 
 indebted to the friendship and kindness of Ennio Quirino 
 Visconti. When he had returned to his home in the Isle 
 of Wight, Sir Richard arranged his beloved specimens at 
 his beautifully-situated country house of Appuldurcombe, 
 and then devoted his leisure to the publication of the work 
 in question 302 . Its production did not cost less than three 
 thousand pounds. The result was a work which, in outward 
 splendour, can vie with any hitherto published. One cannot, 
 however, help feeling that, as in the Marlborough Gems , 
 the engraved fragments are occasionally, as it were, lost 
 in the wide surface of the white paper. As containing 
 works chiefly of Greek art, the Museum Worsleianum must 
 take a place of honour, among the publications of the 
 
 30 ° Brocklesby, no. 17. 
 
 301 Visconti, Mas. Pio Clem. VI. 
 PI. 7, n. 2. 
 
 3112 Museum Worsleianum, 11. fol. 
 Both volumes exhibit the date 1794. 
 It is however to be gathered from the 
 preface to the second volume that 
 the first was not published before the 
 year 1798, the second several years 
 later. This explains Dallaway’s state- 
 ment that upon Worsley ’s death, A.n. 
 1805, not more than 27 out of the 
 
 250 copies were distributed. In the 
 year 1824 a new edition of 250 copies 
 was prepared from the original copper- 
 plates. The subsequent destruction 
 of these was stipulated for by Lord 
 Yarborough with the publisher. See 
 Bottiger’s Amalthea, ill. p. 393, 
 where the sums given above are 
 stated. Dibdin, Bibliomania, p. 712. 
 and Savage, Librarian 1. , are cited as 
 putting the figure at ,£27,000. 
 
66,67] golden age of classic dilettantism. I 17 
 
 last century, beside the Antiquities of Athens and the Ionian 
 Antiquities ; though it cannot be denied that at the present 
 day, when so many other remains of genuine Greek sculp- 
 ture have become known to us, these fragments, with the 
 exception of a few specimens, have lost some of their im- 
 portance: but even in the British Museum the above-men- 
 tioned Girl with Doves would hold its own. At any rate 
 the Worsley marbles do not deserve to be left to ruin in a 
 damp summer-house : a fate which now threatens them 
 since they have been removed from Appuldurcombe to 
 Brocklesby Park and there incorporated with Lord Yar- 
 borough’s sculptures. 
 
 67. Amongst the number, by no means small, of British 
 travellers who visited the Greek coasts during the last 
 twenty years of the eighteenth and in the first few of the 
 present century, the following names also deserve special 
 mention in this place. J. B. S. MORRITT, who travelled 
 there in the years A.D. 1795 and 1796. Besides keeping 
 his eyes open for the solution of difficult questions (such 
 as the position of Troy), he indulged an interest in trans- 
 portable remains of antiquity. His booty certainly does 
 not appear to have been great, if we may draw any infer- 
 ence from the present contents of the collection in Rokeby 
 Hall. One of the principal specimens, a bronze helmet from 
 Olympia, with an archaic inscription, was given up by Mor- 
 ritt to Payne Knight. Morritt’s efforts were frequently 
 thwarted by the opposition of the Turkish magistrates, 
 both in Athens, where he wished to get one or two slabs 
 of the friezes and a metope from the Parthenon, and in 
 Ephesus and Amyklae 303 . At the latter place a better 
 fortune attended the efforts of the highly-cultivated young 
 
 803 See Rokeby. Morritt, Obser- Travels in the East, London, 1820, 
 vations on a Dissertation by J. Bryant, p. 588). Report from the Elgin Com- 
 1795; a vindication of Homer, Crc. mittee, London, 1816, p.130. Morritt 
 1798. Walpole’s Memoirs relating to belonged to the Dilettanti Society 
 Turkey, London, 1818, p. 33, 567. from the year 1799. 
 
 Corf. Inscr. Grac. 29 (Walpole, 
 
 Morritt, 
 
 Lord 
 
 Aberdeen, 
 
 Clarke, 
 
 R. Wal- 
 pole, 
 
 Hawkins. 
 
1 1 8 ANCIENT MARBLES IN GREAT BRITAIN. [67 
 
 George, fourth Earl of Aberdeen (d. a.d. i860), who 
 was travelling in Greece in the year 1803. Ele there suc- 
 ceeded in obtaining a few very remarkable reliefs, which 
 place before our eyes in the minutest detail the parapher- 
 nalia of a feminine toilet. To these were added sepulchral 
 reliefs from Attica and perhaps some other specimens. 
 Since A.D. 1861 the collection has been in the British 
 Museum as a present from the son and heir of the collec- 
 tor 304 . Only two bronzes, which came from Paramythia, 
 were given by Lord Aberdeen to Payne Knight 305 . Of 
 more importance were the marbles which Dr E. D. CLARKE 
 (A.D. 1769 — 1822), Fellow of Jesus College, Cambridge, 
 brought home from his extensive travels in the Levant 
 (A.D. 1801 — 2), although all the rest stand far behind the 
 colossal fragment of the Ivistophors from Eleusis, in which 
 the owner, with pardonable enthusiasm, was willing to re- 
 cognise the goddess of the mystic sanctuary herself. The 
 embarkation of the enormous block caused difficulties 
 enough ; next, the ship containing it sank in the neigh- 
 bourhood of Beachy Plead ; but a successful effort was 
 made to recover the precious freight. The whole collection 
 w r as presented by Clarke to Cambridge University, and for 
 many years formed the ornament of the vestibule of 
 the Public Library 308 . This example of liberality immedi- 
 ately found an imitator in ROBERT WALPOLE, an alumnus 
 of Trinity College, who on his return in the year 1808 from 
 his long travels in Greece and Asia Minor, presented the 
 few specimens he had brought with him to the University. 
 Other Cambridge scholars followed suit 307 . The most for- 
 tunate among these travellers was the naturalist JOHN 
 Hawkins, resident for a long time at Zante, whence he 
 
 304 Walpole’s Memoirs , p. 452. 
 
 305 Spec. Ant. Sculpt. II. p. lxvi. 
 308 Clarke, Travels hi various 
 
 countries of Europe, Asia and Africa, 
 II. sect. i. — iii. London, 181-2 — 1816. 
 Greek marbles, &c. in Cambridge, 
 
 Cambr. 1809. Otter, Life and Re- 
 mains of E.D. Clarke, London, 1824, 
 ch. VI. 
 
 307 See Cat., art. Cambridge, Fitz- 
 william Museum. 
 
67 , 68] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 ”9 
 
 undertook several journeys of various extent through 
 Greece, without being an actual collector of antiquities. 
 
 He paid two visits to Jannina, at that time the residence of 
 the dreaded Ali Pasha; on the first occasion (A.D. 1795 ) an 
 excellent bronze statuette of Hermes was presented to 
 him; on the second (A.D. 1798) he bought a bronze relief 
 of singular beauty, representing the visit of Aphrodite to 
 Anchises. Both specimens came from a place in the 
 neighbourhood named Paramythi'a 308 . 
 
 68. The small Hermes in question, like Lord Aberdeen’s Payne 
 two bronzes, was only the remains of a larger find which had a collector. 
 been made in Paramythi'a about two years before, and the Lord 
 
 . . . . .. , . , Norlfvwkk. 
 
 greater part of which, if we except those specimens that 
 had been put in the smelting furnaces of a bronze-founder 
 at Jannina, had found its way to Russia and thence after- 
 wards to England. The fortunate purchaser was RICHARD 
 Payne Knight (a.d. 1749 — -1824), one of the most influ- 
 ential connoisseurs of the time 309 . When he was only a 
 youth of seventeen, he had visited Italy and spent many 
 years there ; he was there again in the year 1777, and with 
 Charles Gore and the landscape painter Philip Hackcrt 
 made a journey to Sicily. He kept a diary of this 
 visit, which has been made public by Goethe 810 . In the 
 year 17S1 he joined the Dilettanti Society and met Han- 
 carville when on his visit toTownley (a.d. 1784); on which 
 occasion that ingenious professor of the fantastic seems to 
 have bewitched him. The following year again found him 
 travelling southwards, and in A.D. 1785 he laid the founda- 
 tion of his collection with a bronze head which he bought 
 of Jenkins 311 . In opposition to Aristotle, who reckons mag- 
 nitude an essential characteristic of beauty, Payne Knight 
 
 308 Hawkins in Walpole’s Travels, Museum, 1. p.401 — 412. 
 
 pp. 481, 482. Spec. Ant. Sculpt. 11. 
 PI. 20, 21. See Bignor. He was a 
 fellow of the Society of Dilettanti from 
 the year 1799. 
 
 309 Bottiger, Amalthca, nr. Leip- 
 zig, 1825, pp. 408 — 418. Edwards, 
 Lives of the Founders of the British 
 
 310 Goethe, Philipp Hackcrt ( IVer- 
 ke, xxxvil. 1830, pp. 146 — 218, where 
 he is erroneously called Henry, cf. 
 pp. 320—324). 
 
 311 Spec. Ant. Sculpt. 1. PI. 20, 
 1 r . 
 
120 ANCIENT MARBLES IN GREAT BRITAIN. [68 
 
 held that magnitude and beauty cannot be united, and 
 he only took delight in the smaller productions of antique 
 art. Hence his preference for bronzes and coins, which 
 he was able to indulge during a long stay at Naples in 
 company with Sir William Hamilton. It is well known 
 that the coins of Magna Graecia and Sicily surpass all other 
 antique coins in the beauty of the dies from which they 
 have been struck. Here therefore Payne Knight found a 
 wide field for his particular taste, and he succeeded in 
 forming a cabinet of Greek coins that was quite un- 
 equalled. In this field he soon found a rival in SIR 
 John Rushout, afterwards second Lord Northwick. 
 During the last ten years of the century the latter 
 made his wonderful collection of silver coins, to which only 
 the choicest specimens, true gems of their kind, gained ad- 
 mittance 312 . In Payne Knight’s collection the eye is particu- 
 larly attracted by the small bronzes, even more than by the 
 coins, and these the possessor liked to designate his “jewels 
 in bronze.” In this respect his cabinet far surpassed any 
 other ; his friend Townley, for instance, had only a very 
 few bronzes. This superiority was due to Payne Knight’s 
 refined taste in combination with good luck in collecting. 
 One specimen of the bronze treasure from Paramythia had 
 come to England through the hands of a Greek dragoman, 
 and knowledge of this reached Payne Knight. Not con- 
 tent with buying this specimen, he sent an agent to Russia 
 to hunt up the rest, and the agent succeeded in finding 
 nine or ten pieces which had come into the hands of a 
 Herr von Wiessiolowski and the Count Golovkin ; two 
 more of the scattered specimens were presented to him, as 
 we have said, by Lord Aberdeen 313 . His plans were more- 
 over furthered by the circumstances of the time. The 
 
 312 Noehden, G. II., Select ancient 313 Heyne, in Goettinger gelehrte 
 
 coins, chiefly from Magna Graecia and Anzeigen, 1800, pp. 1801 — 1805. 
 Sicily, from the cabinet of Lord North- Koehler, Gesammelte Schriften, VI. p. 
 wick. London, 1824. (250 copies 31 — 38. Specimens Ant. Sculpt. 11. 
 only.) p. lxv. Cf. Stephani, Apollon Boil • 
 
68, 69] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 I 2 I 
 
 Hermes with the golden necklace, which had been disco- 
 vered sixty years before not far from Lyons, passed through 
 the hands of three French owners in succession, and at 
 last came into the possession of Payne Knight in the year 
 of terror A.D. 1792 314 . For another specimen, a Bacchic 
 mask, he was indebted to the dissolution of the Jesuit 
 College in Lyons 315 . A considerable part of the collec- 
 tion came from the Due de Chaulnes, who died at the 
 commencement of the Revolution, and who is known by his 
 Egyptian travels (A.D. 1765), and his researches in natural 
 history 315 . Thus many specimens in Knight’s cabinet 
 had their own pedigree. Auctions and dealers, friends 
 and correspondents on the continent, were eagerly laid 
 under contribution. In comparison with the statuettes, 
 bronze heads and masks, and coins and medals, the 
 gems and the few marble heads of this collection received 
 little consideration. At Payne Knight’s death the value 
 of the whole was estimated at from ^5 0,000 to £60,000. 
 
 That it was all bequeathed to the British Museum is well 
 known. 
 
 69. The more unreservedly we recognise Payne Knight’s Payne 
 skill and taste in collecting, without necessarily sharing his a'l/PA-a^ 
 indifference to larger marble works, — the higher we are te £ l> s 'p cc 'f ,ie 
 bound to estimate the result of his zeal, inasmuch as it ran mens of 
 in a line far removed from the path chosen by the majority ‘sculpture." 
 of contemporary dilettanti, — the more unconditionally we 
 praise his liberality, — the greater all the while must be our 
 reserves in connection with his literary activity. He made 
 his dttut as an author with an article on the God of 
 Lampsakos 317 , which deserves blame far less on account of 
 
 dromios , Petersb. i860, pp. 6, 44. — 
 Bronzes of Paramythia in Spec. Ant. 
 Sculpt. 1. PI. 32, 43, 44, 52, 53, 63. 
 II. PI. 22, 23, 24. 
 
 314 Spec. Ant. Sculpt. I. PI. 33, 
 34. Caylus, Recueil vii. p. 268. 
 
 3111 Spec. Ant. Sculpt. II. PI. 35. 
 316 Dallaway, Of Statuary, p. 356. 
 Spec. Ant. Sculpt. 1. PI. 18, 19. 
 
 317 An account of the remains of 
 the worship of Priapus lately existing 
 in Isernia ; to which is added a dis- 
 course on the worship of Priapus and 
 its connexion with the mystic theology 
 of the ancients, 1786, 4to. The copies 
 of this work in the market were after- 
 wards bought in by the author. 
 
122 ANCIENT MARBLES IN GREAT BRITAIN. [69 
 
 the offensiveness of its subject than for its unsound, un- 
 methodical, mythological fantasies after the manner of 
 Hancarville. But at that time, when treatment such as 
 this was in vogue, it was the first-named characteristic 
 that called forth especial reprobation. A further publica- 
 tion 318 introduced Payne Knight to the public as a didactic 
 poet of considerable tediousness. The work which followed 
 this 319 showed him to be a despiser of Christianity and an 
 enthusiastic follower of the doctrines of Lucretius. One 
 would have thought that a treatise held to be indecent, an 
 anti-Christian book, and a tedious poem, would have suf- 
 ficed to banish the author from good society in England. 
 By no means ! As a connoisseur Payne Knight enjoyed 
 a respect so immoveably firm, as an oracle in matters of art 
 he was considered altogether so infallible, that all his lite- 
 rary sins were forgotten. His treatise on taste 320 was re- 
 garded as laying down the canon, and he who would have 
 ventured to raise a doubt about him would have had to 
 atone bitterly for such sacrilege. His influence extended 
 particularly over the Society of Dilettanti, in which he and 
 Townley gave the tone in all questions of antique art. It 
 was these two who, immediately after the completion of 
 the second volume of Ionian Antiquities (A.D. 1797), pro- 
 posed to the Society to publish in a magnificent volume the 
 most interesting and most beautiful specimens of ancient 
 sculpture to be found in English collections. The Society 
 accepted the proposal, and the duumviri were entrusted 
 with the selection; Townley having the decision in the 
 matter of marbles. That the collections of the editors them- 
 selves received the most notice, twenty-three specimens 
 being selected for publication from each, was not only 
 natural, but justified by the intrinsic importance of the 
 selected pieces. Among other collections that of Petworth 
 
 318 Landscape, a didactic poem, 1796, 4-to. 
 
 1794. 320 Analytical enquiry into the 
 
 319 The progress of civil society, Principles of Taste, 1805. 
 
6 g, 7°] golden age of classic dilettantism. 
 
 123 
 
 had the honour of contributing nine examples ; that of the 
 Marquis of Lansdovvne four; that of Mr Hope two ; those 
 of Lord Yarborough and the Earl of Upper Ossory one 
 each. Many collections were not represented at all, be- 
 cause a plan was speedily formed of producing a second 
 volume. The sixty -three monuments published in the 
 first volume were engraved on seventy-five plates at a 
 cost of .£2,300; they are most of them executed in a 
 masterly way, so that the book is really a model publi- 
 cation, and quite worthy of the Society 321 . The text 
 was written by Payne Knight. I11 his description of the 
 statues and judgment of their style, in his information as 
 to their origin, restorations, &c., he observes throughout 
 an appropriate precision and brevity ; digressions into 
 critical territory occur seldom, although there are many 
 explanations which read both singular and entertaining at 
 the present day. The exhaustive introduction gives us, 
 like Winckelmann’s introduction to his Monumenti Inediti, 
 a glance over the development of ancient art. Though 
 much in it is questionable, or even quite wrong, this intro- 
 duction belongs nevertheless to the best of Payne Knight’s 
 writing. All things considered, the first volume of Speci- 
 mens of Antient Sculpture in Great Britain , which appeared 
 in the year 1809, and had been ten years in preparation, 
 forms a brilliant conclusion to the century of antique dilet- 
 tantism in England. 
 
 70. There is yet one memorial, of a more modest kind, J. Dalla- 
 which dates from this time. As at the commencement of ^ ' 
 the epoch of dilettantism the book of the two Richardsons 
 had served to introduce Englishmen on their travels to the 
 art treasures of Italy, so at the close of the epoch the same 
 service with regard to English collections might naturally 
 
 321 Specimens of Antient Sculpture, engraving of the plates occupied from 
 selected from several collections in Great A.D. 1799 to 1807 ; as they were sold 
 Britain , by the Society of Dilettanti, to the publishers Thomas Payne and 
 Vol. I. London, 1809, fol. Cf. [W. White and Cochrane, the actual pub- 
 R. Hamilton] Historical Notices of the lication only cost £1222, for which 
 Society of Dilettanti, pp. 53—56. The the Society secured 60 copies. 
 
124 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [7 O 
 
 be welcomed both by natives and foreigners. This task 
 was undertaken by JAMES DALLAWAY, a man who, having 
 been educated at Oxford and then resided for a long 
 period in Italy and Constantinople, finally became secre- 
 tary to the Earl Marshal, and in that capacity devoted his 
 leisure to literary pursuits. His connection with the Earl 
 Marshal Charles Duke of Norfolk, a descendant of the 
 great Earl of Arundel, drew him towards the history of 
 the services rendered by Arundel to art collecting in 
 England; and his old attachment to the University of 
 Oxford, where the remains of the Arundel collection were 
 preserved, kept this interest alive. In the year 1800 Dalla- 
 way published his Anecdotes of the Arts in England, the 
 middle portion of which treats of sculpture 322 . His purpose 
 was merely to provide a “ cicerone book” for travellers, qnem 
 tollere rheda possis , and the book does not in fact offer 
 much more. The notes of the individual collections are 
 generally nothing more than a bare reprint of the haphazard 
 nomenclatures which are usually given in collections for the 
 information of visitors. These have been for the most part 
 mechanically copied by Dallaway without personal inspec- 
 tion, without intimate knowledge, and without criticism. 
 The different collections receive extremely unequal con- 
 sideration. In the small Palmerston cabinet more speci- 
 mens are mentioned by name than in the whole throng of 
 marbles at Ince; the Lansdowne gallery is disposed of 
 with striking indifference ; Dallaway even says in the year 
 1816, though he was then living in London, that “this col- 
 lection consists principally of torsos and mutilated statues.” 
 The only collections that he treats with any comprehen- 
 siveness are Townley’s and that at Oxford; here extensive 
 previous work was at his disposal, in the shape partly of 
 printed books, partly of Townley’s own notes. The informa- 
 
 332 Anecdotes of the Arts in Oxford. London, 1800. For our 
 England, or comparative remarks on object, pp. 728 — 391 are important. 
 Architecture, Sculpture, and Painting, Cf. Kraft and Bottiger, A. L. Millin, 
 chiefly illustrated by specimens at Leipzig, 1819, pp. 8j — 84. 
 
70 , 7 ij GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 125 
 
 tion to be gleaned from Gavin Hamilton’s letters to Tovvnley 
 was particularly valuable. Dallaway was throughout en- 
 tirely dependent on the previous works at his disposal. He 
 follows them without any criticism; for which reason it is 
 essential to analyse his compilation almost into its primi- 
 tive elements, and it is well never to follow Dallaway 
 implicitly without satisfying ourselves about his authorities, 
 or at least about the possibility of authentic information 
 being in his possession. Dallaway however deserves our 
 thanks in two particulars. He at least makes an effort to 
 sketch the history of the introduction of antique statuary in- 
 to England in chronological order, and thus gives many a 
 hint how to find the way through the entanglement of 
 scattered notices; although for a great part of his notes, 
 particularly those which refer to the seventeenth century, 
 it is better to turn for ourselves to his chief authority, Hor. 
 Walpole’s Anecdotes of Painting. Dallaway’s second merit 
 consists in giving us information about many collections 
 which have since been lost sight of or dispersed. In the 
 latter respect the new edition of the section referring to 
 sculpture, which Dallaway undertook sixteen years later, 
 is valuable. Some points are here corrected, and not a 
 little is added 323 . After all until quite modern times 
 Dallaway’s book has been the only means of obtaining 
 information about the private collections of antiques in 
 England. The interest which it aroused as a guide-book 
 was sufficient to cause a French version of it to be made; 
 and to this A. L. Millin supplied some unimportant foot- 
 notes, written without any independent knowledge of the 
 collections themselves or of the specimens they contained 324 . 
 
 71. But a time approached when many of these valua- Sa,cs - /,! ' 
 
 ' J crease oj 
 
 323 Of Statuary and Sculpture ouvrage traduit dc P Anglois de M. 
 among the Antients. With some ac- Dallaway par M*** ,publit et augmente 
 count of specimens preserved in Eng - de notes par A. L. Millin. Paris, 
 land, London, 1816. Many of the cir- 1807, 2 vols. Millin also proposed to 
 cumstances here given are taken from have the second work translated, see 
 the memoir of Townley (note 252). Bottiger, loc. cit. p. 84. 
 
 3 - 4 Les beaux-arts en Angleterre, 
 
126 ANCIENT MARBLES IN GREAT BRITAIN. [7 1 
 
 the British ble antiques were to pass into other hands than those of their 
 
 Museum. co q ec j. orS; a ti me marked by many auctions. Of some 
 
 we have already heard. In A.D. 1775 Dr Askew’s collec- 
 tion, in A.D. 1786 those of the Duchess of Portland and Sir 
 Charles Frederick, and shortly afterwards that of the Duke 
 of S. Albans, had been put under the hammer 325 . About 
 the same time Lyde Browne had sold his marbles to St 
 Petersburg; and Locke and Jennings had voluntarily parted 
 with theirs 328 . We first hear of the collections of Mr Chace 
 Price and Mr Beaumont when the fact of their sale is 
 announced to us 327 . At the close of the last century and 
 the opening of the present, sales, often of great importance, 
 followed one another in rapid succession, Lord Vere’s (A.D. 
 1798), Lord Cawdor’s (A.D. 1800), Lord Bessborough’s (a.d. 
 1801), Lord Mendip’s (A.D. 1802), and as far as I know the 
 collections of the Duke of Buccleuch and Mr Anson were 
 sold not long after 328 . The same fate seemed to threaten 
 the splendid collection of the Marquis of Lansdowne, for 
 the second Marquis had taken them over from his father’s 
 executors for the sum of eight thousand pounds and 
 had then settled them on his widow. However the 
 third Marquis, half-brother to the second, was fortunately 
 able to buy them from her and so to preserve them from 
 the fate of the Arundel gems (A.D. 1809) 329 . The excava- 
 tors and the dealers, the Hamiltons and Jenkinses, had now 
 passed away ; the ranks of the collectors began to thin 
 visibly in their turn. Lord Palmerston died A.D. 1802, Sir 
 Will. Hamilton in the next year, and in the single year 
 A.D. 1805 Lord Lansdowne, Sir Richard Worsley and Mr 
 Townley. Sometimes there were no direct heirs to inherit 
 
 325 Notes 293, 282, 155, 265. colossal Venus, and one of a small 
 
 326 § 52, notes 240, 242. size. 
 
 327 Of the former Dalla way, Anecd., 338 Notes 266, 248, 151, 175, 
 
 p. 389, mentions a Venus Salutifera, 245, 174. Henry, third Duke ofBuc- 
 and several vases of considerable cleuch, died A.D. 1812. 
 
 value, of the latter a Cupid and an 339 Mrs Jameson, Companion to 
 
 eagle, which both passed into Town- the private galleries of art in London, 
 ley’s possession ( Anc . Marbl. Brit. London, 1844, p. 334, XI. 
 
 Mus. XI. 37, x. 58, 1), and further a 
 
7 1 ] GOLDEN AGE OF CLASSIC DILETTANTISM. 
 
 127 
 
 the collections, sometimes the heirs did not share the inter- 
 ests of their predecessors, or again pecuniary circumstances 
 might oblige the family to sell its treasures: — in any case 
 there was but too often cause for the melancholy reflection 
 “how insecure is the permanency of heirlooms 330 !” The 
 old race passed away, new times had dawned — who could 
 foretell whither the tastes of the new generation might 
 lead? It was therefore natural enough that ardent col- 
 lectors, very unwilling to entertain the probability that 
 the results of all their trouble would soon be scattered to 
 the four winds, should seek some means of preserving their 
 collections from such a fate. The way had long since been 
 indicated; it had been struck out by the Popes in Rome 
 under the eyes of Townley and Payne Knight. The Arun- 
 del collection was under the protection of the Oxford 
 University, and Clarke had just presented his sculptures to 
 Cambridge. Another public institution was yet nearer at 
 hand. The British Museum, founded on the legacy of 
 Hans Sloane, had been already several times enriched by 
 presents, from Thomas Hollis, the Lethieullier family and 
 Sir William Hamilton 331 . The nucleus of a Department of 
 Antiquities had been formed by the purchase (A.D. 1772) of 
 the first Hamilton collection, and a most valuable addition 
 had been made to this nucleus by the booty won from the 
 French in the Egyptian expedition (A.D. 1S02) 332 . To 
 enlarge the rooms, and to make available a more free and 
 thorough use of the collections, were part of the plan of the 
 excellent director, Joseph Planta. Since A.D. 1791 Town- 
 ley had been a trustee of the Museum, and although he had 
 occasionally projected the removal of his collection at some 
 opportune moment to Townley Hall, the thought now struck 
 him to bequeath his marbles to this national institution, on 
 
 330 H. Walpole to Lady Ossory, is the beautiful head of Herakles, found 
 
 1785, Aug. 10. at the foot of Vesuvius (A?ic. Marbl. 
 
 331 Ed wards, 'Zzzw of the Founders Brit. Mus., i. PI. n). 
 
 of the Brit. Mus., I. pp. 347, 360. One 332 Edwards, /. cit., I. pp. 361 — 
 
 of Hamilton’s donations, for example, 368. 
 
128 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [7 1 
 
 one condition only, that within two years special rooms 
 should be erected for their reception (A.D. 1802). His idea 
 was not carried out precisely in this way, but after his death 
 his sculptures were bought from his heirs for the nation at 
 the price of ,£20,000, and the collection was made complete 
 by the purchase of his bronzes, gems, coins and drawings in 
 A.D. 1814 333 . In the same year 1805 the British Museum 
 was opened free to the British public, many troublesome 
 formalities having up to that time been required in order 
 to obtain admission. Three years later (A.D. 1808) the 
 new Townley Gallery was completed and there appeared 
 for the first time a Synopsis of the Contents of the 
 British Museum 334 . Sixteen years later (A.D. 1824) Payne 
 Knight’s liberal legacy was added. Thus the three men who 
 may be considered chief representatives of the Dilettanti 
 Society at the time of its most brilliant season of activity, 
 namely Hamilton, Townley and Knight, were yet again 
 so far united after their death that the results of their 
 favourite pursuits all passed into the safe keeping of the 
 public Museum of the British nation. 
 
 333 Dallaway in Nichols’ Illustr. Townley’s drawings are in the pos- 
 Liter. Hist. ill. p.741. Ellis, Townley session of A. W. Franks, Esq., Brit. 
 Gall., I. pp. 10 — 12. Edwards, l. Mus. (note 213). 
 
 eit . , I. pp. 368, 400. The price 334 Edwards, /. cit., 1. pp. 336 — 
 
 amounted to ^8200. A portion of 341. 
 
III. 
 
 THE BRITISH MUSEUM AND THE PRIVATE 
 COLLECTIONS. 
 
 Greece and England. 
 
 72. “To transplant old Greece into England.” This Traveiiei 
 was what old Peacham had once commended as a merit ’jjodwell, 
 in Lord Arundel. The idea of which the Earl had merely 
 set the initiative, and which had then for a long time re- 
 ceived little attention, now at length began to be more and 
 more realised. The expeditions of Stuart and Rcvett and 
 those of the Dilettanti, the travels of Worsley, Clarke, and 
 their companions, showed plainly that the archaeological 
 magnet was veering strongly in the direction of Greece. 
 
 When the French domination in Italy made it, if not impos- 
 sible, yet difficult and disagreeable for the English to travel 
 there, the attraction of Greece became all the stronger, 
 especially taken in connection with the unlimited predomi- 
 nance of English influence in all quarters of the Turkish 
 empire after the overthrow of the French arms in Egypt. 
 
 It may not be inappropriate here to remember that just at 
 the opening of this century a great impulse was given to 
 the study of Greek throughout Europe, while the study of 
 Latin, which had so long occupied the foreground, was for 
 a time pushed aside. The interests for which F. A. Wolf 
 and Immanuel Bekker, Gottfried Hermann and August 
 Boeckh, Boissonade and Korai's and many others were 
 working and striving on the Continent, were represented 
 in England by the brilliant constellation of Richard Porson 
 
 o 
 
 M. C. 
 
130 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [72 
 
 and his school. It might be said that all concerns relating 
 to antiquity received a Greek colour. Nor must it be 
 forgotten that the disclosure of the wonderland of Egypt, 
 effected by the French expedition, opened a new perspec- 
 tive, and to a certain extent invited our own countrymen to 
 similar discoveries. Accordingly from the beginning of this 
 century a stream of enterprising travellers poured into 
 Greece: and first in the list stood the English. Out of a very 
 large number there can be mentioned here only those three 
 to whom we are most indebted for topographical and ar- 
 chaeological researches: EDWARD DODWELL (a.D. 1767 — 
 i832) 33B , William Gell (a.d. 1777 — 1836) 336 , and Martin 
 LEAKE (A.D. 1777 — 1860) 337 . They are, however, less re- 
 markable as collectors of antiquities than on account of 
 their other merits. Dodwell formed a small collection in 
 which a few choice specimens were to be found among a 
 good many insignificant pieces (though all had a certain 
 value because of the accurate accounts given of their places 
 of discovery) 338 . Leake brought home from his repeated 
 and extensive travels not only a considerable number of 
 marble sculptures, which he presented for the most part to 
 the British Museum 339 , but also a very fine collection of 
 Greek coins 340 , which, together with sundry bronzes and 
 
 336 Dodwell was in Greece a.d. 
 1801, and again a.d. 1805, 1806. 
 Bassirilievi della Grecia, 1812. Clas- 
 sical Tour , 11. 1819. Cyclopian or 
 Pelasgic Remains , 1834. 
 
 336 Gell visited Greece at the same 
 time as Dodwell, and again A.D. 
 1811 — 1813 (note 343). Ithaca , 1807. 
 Argolis, 1810. Itinerary of the Morea, 
 1817. Itinerary of Greece, 1819. 
 Journey in the Morea, 1823. Probe- 
 stiicke von Stddtemauern , 1831. See 
 also the works on Pompeii and Rome. 
 His drawings were bequeathed (A. D. 
 1853) by the Hon. Keppel Craven to 
 the British Museum. 
 
 337 Leake was four times in Greece 
 from A.D. 1802. Athens , 1821. Asia 
 Minor, 1824. Demi of Attica, 1829. 
 Morea, in. 1830. Northern Greece , 
 IV. 1835. Peloponnesiaca, 1846. 
 
 338 [Braun, E.] Notice sur le itiusee 
 Dodwell. Rome, 1837. Amongst 
 the Graeco-Roman antiquities the 115 
 bronzes constitute an important sec- 
 tion. All or most of the 143 vases 
 went to Munich (Jahn, Vasensamm- 
 lung K. Ludwigs in Miinchen, Mu- 
 nich, 1854, p. vi.), among them the 
 celebrated ‘Dodwell vase.’ A head 
 once in Dodwell’s possession from the 
 west pediment of the Parthenon, be- 
 longing to the second figure from the 
 north end, has disappeared (Class. 
 Tour, 1. p. 325). See below, note 
 420. 
 
 339 E. g. Mus. Marbles, xi. PI. 17, 
 18. Millingen, Uned. Mon. 11. PI. 
 9, 10, 16. 
 
 340 Numismata Hellenica, 1856 — 
 59. Arch. Zeitung, 1846^.206 — 210. 
 See Cat., art. Cambridge. 
 
72 , 73 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I 3 1 
 
 vases, were purchased after his death by the University 
 of Cambridge. 
 
 73. The activity of a second and, so to speak, inter- 
 national party of travellers, belongs to the second decade 
 of our century, A.D. 1810 — 1815. This circle of intimate 
 companions were so fortunate as to discover the pediment 
 groups of the temple of Athene at Aegina (A.D. 1811), 
 and the frieze of the Temple of the Apollo Epikurios at 
 Bassae near Phigalia (A.D. 1812). With the Dane Broend- 
 sted, the Livonian Baron Stackelberg, the Germans Linkh 
 and Baron Haller of Hallerstein, there were associated as 
 representatives of England J. FOSTER, and above all the 
 excellent C. R. COCKERELL. The four last-named explorers 
 were in the summer of A.D. 1 8 1 1 guided to the discovery of 
 one of the slabs of the frieze by a fox, which crawled under 
 the confused ruins of the temple of Apollo. After some diffi- 
 cult negotiations with Veil Pasha, then governor of the 
 Morea, they at last obtained permission to make excavations, 
 and in the summer months of A.D. 1812 that magic scene of 
 mountain grandeur was witness to the development of a busy 
 and various activity among its silent rocks and mighty oaks. 
 The discoverers and their friends — Cockerell was not among 
 those present — lived in huts of boughs round the temple, 
 and had the satisfaction of seeing the numberless sculp- 
 tured fragments gradually piece themselves together into 
 the perfect whole. The whole undertaking was finished 
 in August, and soon after, new difficulties having arisen 
 and been overcome, the complete and costly result of the 
 excavation was securely stowed away at Zante. Two years 
 later it was there put up to auction 341 . Though the discovery 
 of these two series of sculptures at Aegina and Bassae was 
 undoubtedly the most important, still it was not the sole 
 
 341 Combe, T., Mils. Marbles , vol. Epicurins at Bassae. London, i860. 
 
 IV., 1820. Stackelberg, der Apollo- A beautiful specimen of the vases in 
 tempel in Basso", Rome, 1826. Foster’s possession is represented in 
 Cockerell, The Temples of Jupiter Stackelberg’s Graber der Hellencn, 
 Panhellenius [more correctly, of PI. 21, 1. 
 
 Minerva ] at Aegina and of Apollon 
 
 Cockerell 
 and other 
 architects. 
 — Bassae. 
 
 9-2 
 
132 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [73, 74 
 
 Lord 
 
 Elgin's 
 
 under- 
 
 takings. 
 
 fruit of the labours and researches of the little company. 
 Cockerell’s thorough and sagacious researches and his untir- 
 ing activity stood the illustrated publications of the Dilettanti 
 Society and the British Museum in good stead for nearly 
 half a century. Besides his later work on the temples at 
 Aegina and at Bassae, Cockerell was engaged with Donald- 
 son, Jenkins, Kinnard and Railton on the continuation of the 
 Antiquities of A thens 342 ; while Francis Bedford and John 
 P. Gandy, guided by W. Gell, were working by commission 
 of the Dilettanti Society towards the completion of that 
 fundamental work, as well as of the Ionian Antiquities (a.D. 
 1 8 1 1 — 1 8 1 3) 34S . It happened sometimes in these travels 
 and researches that here and there an original fragment 
 came to the hands of the explorers. With praiseworthy 
 unselfishness they gave up all they found to the British 
 Museum. This institution is, for example, indebted to 
 Cockerell for a piece of the Parthenon frieze, and to Gandy 
 for some interesting sculptures from Rhamnus 344 . 
 
 74. The great undertakings of LORD ELGIN (A.D. 1766 
 — 1841), which form so splendid an inauguration of the new 
 century, threw all other acquisitions of original works into 
 the shade 345 . Urged by the architect Harrison, the young 
 lord, when he had been named ambassador to the Porte (A.D. 
 1799), resolved to have drawings and casts made of all the 
 Athenian sculptures that were accessible for the purpose. 
 An attempt to interest the Government in the scheme, and 
 
 342 A ntiquities of A thens and other 
 places in Greece , Sicily , <S°c. Supple - 
 mentary to the Ant. of Ath. by Stuart 
 and Revett. London, 1830. 
 
 34:1 The. Unedited Antiquities of 
 Attica. London, 1817. Antiquities 
 of Ionia, vol. ill. London, 1840. 
 
 344 Parthenon, south frieze, slab 1. 
 (Mus. Marbles, vm. PI. 56). Uned. 
 Ant. of Attica, ch. VI. pref., ch. vii. 
 PI. 1 ( Synopsis , 63 ed., 1856, p. 127, 
 nos. 300, 325, fragment of head of 
 Nemesis, 325*, statue of ‘Themis,’ 
 326, p. 129, no. 368). 
 
 34j The chief authorities on Lord 
 
 Elgin are Hamilton’s Memorandum 
 (notes 370, 378) and the report of the 
 Parliamentary Commission with the 
 Minutes of evidence (note 387). Cf. 
 'Anc. Marbles Brit. Mus. VII. p. 22, 
 and the narrative founded on the ori- 
 ginal documents in my Parthenon, p. 
 74 — 87. Besides this I have made use 
 of the ietters in the Gentleman' s Maga- 
 zine, lxxiii., 1803, 11. p. 725 (Rome); 
 Lxxx., 1810, 11. p. 333 (London); 
 Tom Taylor, Life of B. R. Haydon, 
 London, 1853, vol. 1. ; Haydon, Cor- 
 respondence and Table-talk , London, 
 1876, 2 vols. 
 
74] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 33 
 
 to obtain a small grant of public money, proved a failure, 
 for Pitt hesitated to authorize such an outlay, — a hesitation 
 easily accounted for by the enormous expenses incurred 
 during the long and burdensome years of war. Lord Elgin 
 therefore decided to undertake the work at his own cost. 
 By the advice of the experienced Sir William Hamilton, 
 who was then in Sicily, he entrusted the artistic guidance 
 of the enterprise to the Neapolitan painter Don Tita Lusieri, 
 while his secretary, W. R. Hamilton, engaged the rest of the 
 artists, a draughtsman, two architects, and two formatori , 
 in Rome 346 . With this suite the ambassador proceeded to 
 Constantinople. He did not himself go near Athens, but 
 after the necessary preparations had been made, despatched 
 the little party thither under the direction of Hamilton. In 
 consequence of Bonaparte’s successes in Egypt at this time, 
 British influence in Constantinople was very slight, and it 
 was impossible to obtain permission to do more than make 
 drawings. The Athenian authorities showed themselves 
 most ingenious in intrigues, evasions, and hindrances of all 
 kinds; entrance to the Acropolis, for example, cost a daily 
 douceur of almost five pounds. Accordingly for nine months 
 the undertaking had only very small results. A change then 
 occurred in Egyptian affairs, and the influence of England 
 became again predominant at the Porte. Elgin instantly 
 availed himself of the favourable turn. A new firman at once 
 permitted the erection of scaffolding and the taking of plaster 
 casts (May A.D. 1801). Work began in good earnest on the 
 Acropolis, entrance to which no longer entailed a daily 
 payment, although there was even now no lack of incivility 
 and vexatiousness on the part of the garrison. A personal 
 visit paid by Lord Elgin to Athens 347 convinced him of these 
 facts, and he consequently applied for further powers. He 
 was soon enabled to arrange for the purchase and demolition 
 
 34li Hamilton’s letter to Haydon, 347 Lord Elgin’s visit is clear from 
 
 1840, Dec. 25, in Haydon’s Corresp. the Gentl. Mag, i.xxx., 11. p.333. Cf. 
 1. p. 425. Report of Comm. p. 42. 
 
134 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [74, 75 
 
 The new 
 Firman 
 and its 
 conse- 
 quences. 
 
 of two houses next to the Parthenon. Under one was dis- 
 covered a rich booty of costly fragments of pediment figures : 
 under the other nothing at all. The Turkish owner pointed 
 with a sardonic smile to the lime in the city wall, which had 
 been made from the sculptures that once stood there ! This 
 was not the only experience of the kind. It was impossible 
 to ignore the fact that the ruin of the noblest works of art 
 in the world was progressing with giant steps. Since the 
 drawings of Dalton, Stuart, and Revett had been taken 
 half a century before, much had vanished and much had 
 been destroyed. In the year 1787 the French Vice-Consul, 
 Fauvel, had abstracted a metope and a slab of the frieze from 
 the Parthenon for his ambassador, Count Choiseul-Gouffier, 
 and the same enterprising agent was accused of cherishing 
 schemes far more extensive. Year after year also travellers 
 had been coming in increasing numbers, and taking away 
 larger or smaller fragments by way of keepsake. The sad- 
 dest fate, it was clear, awaited the buildings of Athens and 
 the sculptures of Phidias : they would be gradually broken 
 up, and dispersed to every nook and corner of the world 348 . 
 
 75. Meanwhile Hamilton was engaged in travelling 
 through Asia Minor, Syria and Egypt. The chaplain to 
 the embassy, Dr Philip Hunt, was the life and soul of the 
 undertakings at Athens ; he was more often to be found in 
 that city and on other classic spots than in Constantinople 349 . 
 At his suggestion Lord Elgin in A.D. 1801 obtained that 
 firman which has become so celebrated, by which full 
 liberty is granted to his work-people “in going in and 
 out of the citadel of Athens ; or in fixing scaffolding 
 around the ancient Temple of the Idols; or in modelling 
 with chalk or gypsum the ornaments and visible figures 
 thereon, or in measuring the fragments and vestiges of 
 other ruined edifices, or in excavating, when they find it 
 
 348 Elgin’s opponents endeavoured 349 Hunt’s assertion in the Report 
 
 to deny this danger. Cf. however the of Committee, p. 140 — 147. Gentl. 
 facts given in my Parthenon , p. 72, Mag. lxxiii., ir. p. 725. I have not 
 7 5, had access to Dr Hunt’s ‘Journal.’ 
 
75 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 35 
 
 necessary, the foundations, in search of inscriptions among 
 the rubbish;” finally it is commanded “that they be not 
 molested, and that no one meddle with their scaffolding or 
 implements, nor hinder them from taking away any pieces 
 of stone (1 qualche pezzi di pietra ) with inscriptions or figures.” 
 The elastic final clause of this memorable permit was so 
 luminously expounded by Hunt to the governor of Athens, 
 the interpretation being backed up by an appropriate 
 present of brilliant cut-glass lustres, firearms, and other 
 articles of English manufacture, that the governor at once 
 gave leave for a metope to be taken from the Parthenon. 
 Hunt was prudent enough to have this forthwith put on 
 board ship and sent off to England. “ The facility with 
 which this had been obtained induced Lord Elgin to apply 
 for permission to lower other groups of sculpture from the 
 Parthenon, which he did to a considerable extent, not only 
 on the Parthenon, but on other edifices in the Acropolis 300 .” 
 The result of these labours, which employed between three 
 and four hundred men for about a year, is well known. 
 The principal pedimental figures, fifteen metopes and fifty- 
 six slabs of the frieze from the Parthenon (without including 
 numerous fragments), one of the sculptured ‘ Korai ’ from 
 the Erechtheion, four slabs from the frieze of the temple of 
 Athene Nike, besides a number of architectural remains and 
 more than a hundred inscribed stones, formed the precious 
 booty. Many of these had not been taken from their original 
 places without difficulty; in particular the removal of 
 several metopes, and of the statue from the Erechtheion, 
 had severely injured the surrounding architecture; at the 
 same time the fact must not be forgotten that a great part 
 of the sculptures had long been severed from their con- 
 nections, that they had been scattered over the whole surface 
 of the fortress, and sometimes built over with miserable 
 hovels, or else let into walls, and that they now owed their 
 collection and preservation to the zeal of Lord Elgin’s agents. 
 
 250 Hunt’s own words, Rep. of Comm, p 142. 
 
136 ANCIENT MARBLES IN GREAT BRITAIN. [75, 76 
 
 Transport 
 of the 
 marbles to 
 England. 
 
 It may be doubted whether Lord Elgin was quite discreet in 
 thus using the influence of his official position to further his 
 private undertakings; or whether the interpretation of that 
 firman, made with the connivance of the Athenian magis- 
 trates, was in accordance with the views of the Turkish 
 Government — if indeed the elasticity of the wording had 
 been made altogether clear to them 351 . But only blind passion 
 could doubt that Lord Elgin’s act was an act of preser- 
 vation, and that he took the only possible steps to keep 
 together the remains of the most comprehensive creation 
 of Phidias, and guard from further disfigurement so much 
 as had been lucky enough to survive all preceding dis- 
 asters, from Morosini’s bombardment to Fauvel’s partial 
 depredation 352 . 
 
 76. In the year 1803 Lord Elgin was recalled from his 
 post. On his way home he visited Athens, where he found 
 the most important part of his work finished and two hun- 
 dred chests full of marbles ready for transportation. Lusieri 
 remained behind in Athens to look after the shipping of 
 these chests and to superintend some arrears of work, while 
 Lord Elgin and the other artists went to Italy. In Rome 
 the drawings aroused Canova’s highest admiration, and 
 prompted the advice never to have these masterpieces, the 
 renovation of which Elgin proposed to him, touched by the 
 hands of a restorer. While continuing his journey the Earl 
 himself was taken prisoner by the French, contrary to all 
 international law, and confined in Paris for two years. In 
 the year 1805, on account of a denunciation from Athens, 
 he was actually shut up in the fortress of Melun. While 
 
 351 It is singularly characteristic of 
 Turkish duplicity that the Turkish 
 Government subsequently ( r 8 1 1 ) “en- 
 tirely disavowed ever having given 
 any authority to Lord Elgin for re- 
 moving any part of his collection, and 
 did still refuse to allow the removal of 
 some articles remaining behind”(Lord 
 Colchester, Diary and Corresp. II. p. 
 327). As a matter of fact, the firman 
 
 only speaks of taking away, not of re- 
 moving. Cf. also the anecdotes in 
 Fellows’ The Xanthian Marbles, p. 
 1 2 note. 
 
 352 As standard witnesses, be- 
 cause certainly not partial, for 
 Lord Elgin, I mention only Choiseul- 
 Gouffier, Voyage fit tor. II. p. 86, 
 Quatremere de Quincy, Lettres h 
 Canova, pp. 5, 18, 30. 
 
76 , 77 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I 37 
 
 Lord Elgin was thus unlucky, his art treasures met with 
 misfortunes of another kind. The majority of them reached 
 England in various ships, but in the absence of the owner 
 and his family the chests remained unclaimed in sundry 
 English harbours. About a dozen large chests were shipped 
 in Athens on board the brig ‘ Mentor,’ in which Hamilton, 
 who had returned from his travels, also took ship. Near the 
 island of Cerigo the vessel sprang a leak, struck upon a 
 rock just at the entrance of the harbour, and sank. Hamil- 
 ton’s energy succeeded in rescuing in the same year four 
 chests, which were brought up by skilful divers from Kos 
 and Syme. Further costly endeavours to raise the whole 
 ship by the aid of two frigates were unsuccessful; and it 
 was not until two years later, when the vessel had fallen 
 to pieces, that the same divers rescued the remaining chests 
 from the bottom of the sea and brought them again to the 
 light of day 363 . This freight could now be brought to Eng- 
 land. Meanwhile Lusieri had to withstand other dangers 
 in Athens. War having been declared against England 
 by the Porte in A.I). 1807, he was forced to leave the city. 
 
 Lord Elgin’s marbles, which were stored in magazines, 
 were seized by the French and taken to the Piraeus, where 
 they were threatened with the fate of shipment to France. 
 
 Thus they seemed likely to be dispersed again. But Eng- 
 land held supremacy at sea, and so no secure opportunity 
 for their transportation was found. The hostile prepara- 
 tions were closed by a hasty peace, and Lusieri soon found 
 himself again in possession of all the property. Not how- 
 ever till A.D. 1812 was this last freight, consisting of about 
 eighty chests, sent off to England. 
 
 77. Immediately after his capture by the French Lord opposition 
 Elgin had sent instructions to England that his whole collec- 
 tion was to be handed over unconditionally to the Govern- V!a ’^ les - 
 
 — Iayne 
 
 ment, but these directions were not attended to. At last, Knight. 
 
 353 Memor. p. 22. Rep. of Comm. 11 p. 726. Hamilton in ITaydon’s 
 App. p. xvm. Gentl. Mag. lxxiii., Corresp. 1. pp. 424, 425. 
 
138 ANCIENT MARBLES IN GREAT BRITAIN. [77 
 
 in A.D. 1806, he was liberated arid enabled to return home. 
 At the cost of much trouble he collected his scattered chests 
 and brought them to London, intending to exhibit his trea- 
 sures to the public. A peculiarly unlucky star seemed how- 
 ever to hang over the expatriated gods 354 . In the space of 
 a few years the marbles had to change their home four 
 times. First they sought shelter in the mansion of the 
 Duchess of Portland, then they were taken to Richmond 
 Gardens, thence to Lord Elgin’s residence in Park Lane, 
 and finally to Burlington House. And another far heavier 
 cloud hung over them yet ; inasmuch as PAYNE KNIGHT, 
 before one of the chests had been opened, before he had 
 seen a single specimen with his own eyes, pronounced on 
 the unknown gods sentence of excommunication. About a 
 hundred and thirty years previously, the traveller Jacob 
 Spon, after a single visit to the Acropolis, had hazarded 
 the opinion that two of the figures of the west pediment 
 resembled the Emperor Hadrian and his consort Sabina ; 
 upon this Spon had founded the theory that all the pedi- 
 mental sculptures were a later addition to the temple 355 . 
 Knight, who, as we have seen, considered that magnitude and 
 beauty could not be found together, took his stand upon this. 
 At the first dinner party at which Lord Elgin met him, he 
 cried out in a loud voice: “You have lost your labour, my 
 Lord Elgin, your marbles are over-rated ; they are not 
 Greek, they are Roman of the time of Hadrian 356 .” Great 
 as was Payne Knight’s authority in matters of taste, it 
 would have been incomprehensible how such an absurdity 
 could meet with any supporters, had not other travellers, 
 who had been present in Athens during the operations 
 attendant upon the removal of the marbles, spoken much 
 of the reckless behaviour of Lord Elgin’s agents at that 
 
 354 Cf. Michaelis, die Anfnahme 1678, II. p. 146. Cf. Wheler, 
 dcr Elgin Marbles in London , in Journey into Greece, London, 1682, 
 Jin neuen Reich, Leipzig, 1877, 1. pp. p. 361. 
 
 81 — 94, 135 — 150. 356 Haydon’s own words; cf .Life 
 
 305 Voyage diltalie, &c., Lyon, of Hay don, 1. p. 272. 
 
77 , 7 8 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I 39 
 
 time. The severe censure which these agents deserved was 
 naturally visited on their master 857 . Lord Elgin's long in- 
 voluntary absence had made it impossible for him to dissi- 
 pate prejudices of this kind, and “ les absents out toujours 
 tort SbS .” Thus the Earl, who could not possibly hold himself 
 responsible for the violence of his agents, found the tone of 
 critical circles unfavourable and even inimical to him, in- 
 asmuch as opinion in these circles was led by the Society 
 of Dilettanti, who in their turn took their cue in such 
 matters from Payne Knight. The fashionable disfavour 
 was transferred from Lord Elgin to his marbles. The 
 worst of all was an attack which Knight allowed himself 
 to make in his Introduction to the Specimens of Antient 
 Sculpture, A.D. 1809, published in the name and under the 
 sanction of the Society, in which lie said of the friezes and 
 metopes of the Parthenon: “as these are merely architec- 
 tural sculptures, executed from Phidias’ designs and under 
 his directions, probably by workmen scarcely ranked among 
 artists,... they can throw but little light upon the more 
 
 important details of his art They are.... evidently the 
 
 works of many different persons, some of whom would not 
 have been entitled to the rank of artists in a much less 
 cultivated and fastidious age 359 .” Harmless as such idle 
 judgments would have been in ordinary times, they helped 
 to prejudice public opinion in the then position of 
 affairs 360 . 
 
 78. Thus ill appreciated by the aristocratic public of Champions 
 London, the Athenian deities lay for many years in a “damp °£igi n 
 dirty pent-house” in the court of the house in Park Lane 361 . vl f rblcs - 
 
 J L West, 
 
 Their owner, who had thought to do valuable service to Fuseli, 
 
 , . , , - • 1 • . Haydon. 
 
 his country by his exertions and great pecuniary sacrifices, 
 
 367 Clarke, Travels, II. II. pp. given in Haydon’s Corresp. 1. p. 425. 
 
 483, &c. Dodwell, Class. Tour , 1. p. 359 Specimens, vol. I., prelim. 
 
 322, &c. Hughes, Travels, 1. p. 261. dissert, p. xxxix. 
 
 Eustace, Tour in Italy, 1. p. 269, 360 Woods, J ., Antiq. of Athens, 
 
 rails from a distance without having IV. p. 28, shows how Elgin took his 
 been in Athens. revenge. 
 
 358 This judgment of Hamilton's is 361 Life of Haydon, 1. p. 84. 
 
I40 ANCIENT MARBLES IN GREAT BRITAIN. [78 
 
 could only feel deeply hurt by the partial tone taken by a 
 misguided but influential coterie. Still there were some 
 more judicious critics to be found, especially among artists. 
 The venerable President of the Royal Academy, BENJAMIN 
 WEST, unreservedly acknowledged the hitherto undreamt-of 
 greatness of these works, and tried at once to turn them to 
 account for modern art by employing them in his own 
 compositions 382 . The keeper of the Academy, HENRY 
 FUSELI, was of the same opinion 363 . The enthusiasm of 
 the younger generation expressed itself even more vigo- 
 rously, being represented especially by the talented but 
 unfortunate Benjamin Robert Haydon 364 . From the 
 first moment that these marvellous works were presented 
 to his sight (a.D. 1808) he recognised their full value, their 
 peculiar character, and their great superiority over the 
 whole crowd of late Greek and Roman works which had 
 hitherto been valued as the highest form of antique art, 
 and which filled the galleries of the English Dilettanti. 
 He regarded it as certain “that it was the greatest blessing 
 that ever happened to this country their being brought 
 here 365 .” For three months he kept copying the originals 
 till he made them quite his own, and thought and dreamt 
 of nothing else. He entreated Lord Elgin to permit young 
 artists to have access to them as much as possible, as they 
 were the true School of Art 366 . So enthusiastic a spirit as 
 Haydon, and one so well able to handle the pen, could not 
 fail to come forward as the public champion of persecuted 
 beauty, and harbinger of the new gospel of art 367 . Stout 
 comrades in arms seem to have stood by him, like Elmes 
 and the architect John Soane 368 . However neither criticism, 
 
 363 West to Lord Elgin, 1809, 
 Feb. b, 18x1, March 20, in the 
 Memorandum., App. A. Cf. Life of 
 Haydon, 1. p. 86 — 88. 
 
 363 Knowles, J., Life and Writings 
 of Henry Fuseli, London, 1831, i.p. 294. 
 
 364 Haydon regarded his acquaint- 
 ance with the Elgin marbles as the 
 turning-point of his activity as an 
 
 artist. See especially Life, 1. pp. 82, 
 &c. The reader cannot help being 
 infected by his enthusiasm. 
 
 385 Haydon, Life, 1. p. 89. 
 
 368 Haydon to Lord Elgin, 1808, 
 Dec., in the Corresp. 1. p. 256. 
 
 387 The Examiner, 1812, Jan. 26, 
 Feb. 2, 9. 
 
 308 ■phe acC ount is derived from 
 
78, 79] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 141 
 
 nor scorn, nor enthusiasm could dissuade the aristocratic 
 circle from swearing by the word of their lord and master, 
 and the Elgin marbles remained as unfashionable and as 
 much under excommunication as ever. What was the good of 
 these headless and armless statues and these defaced reliefs? 
 
 They could not possibly be used for decorative purposes. 
 
 79. Under such unfavourable circumstances did Lord Attempts 
 Elgin find himself obliged to contemplate a sale of his Collection. 
 treasures. The Athenian works had cost him £25,700, Byron. 
 the transport £2,500, the salvage of the sculptures sunk at 
 the shipwreck £5,000, the task of collecting, housing, and 
 guarding them in England £6,000, making a total of 
 £39,200, and besides these expenses he experienced a loss 
 of interest extending over many years and reckoned at 
 £23,240 369 . The Earl received hints that he should offer 
 his marbles for sale in Paris, where they would be incor- 
 porated into the Musee Napoleon together with the booty 
 gained by the Napoleonic armies. He paid no heed to 
 this suggestion, for in all his undertakings he had had the 
 honour and interest of his own country exclusively before 
 his eyes. The British Museum naturally presented itself as 
 the most appropriate institution to fulfil these views and 
 wishes. The nucleus of a national collection of antiques 
 had been formed by Sir William Hamilton’s vases, Townley’s 
 Graeco-Roman sculptures, and by the capture from the 
 French of the booty they had gathered on the Egyptian 
 Expedition, and it seemed that this nucleus would be com- 
 pleted in the happiest way by the remains of the art of the 
 Athens of Pericles. At the beginning of the year 18 11 
 W. R. HAMILTON, Lord Elgin’s former secretary, wrote a 
 “Memorandum on the subject of the Earl of Elgin’s pur- 
 
 Bottiger, Denkschrift fiber Lord by Mr A. S. Murray, nothing of the 
 Elgin's Erwerbungen , Leipzig, 1817, kind exists there, 
 p. 54, and refers to letters of Elmes 3159 Elgin to Long, 1811, May 6, in 
 
 to Th. Hope, in Valpy’s Pamphleteer , the Report of Comm. App. pp. vii. — 
 in., 1814, p. 329, and of Soane in xiv. Cf. also the letters to Bankes, 
 
 Prince Hoare’s “The Artist.” But 1816, Feb. 29, March 13 (pp. xv. — 
 there seems to be a mistake in our way, xxi. ). 
 
 as according to information furnished 
 
142 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [79 
 
 suits in Greece'™,’’ which described briefly and skilfully all 
 that the Earl had done and the value of his acquisitions. 
 It was perhaps not without an afterthought in regard to 
 them that Hamilton about this time joined the Dilettanti 
 Society 371 . In April A. D. 1811 Elgin asked compensation 
 for his expenses, trial of the artistic worth of his collection 
 by a competent tribunal, and the recognition that by his 
 trouble he had rendered a service to his country. He 
 believed this to be due to his honour, which had been 
 attacked by the ill-feeling of the Dilettanti. The premier, 
 Perceval, without causing any detailed valuation of the 
 sculptures to be made, only offered Lord Elgin the inade- 
 quate sum of thirty thousand pounds; and instead of any 
 recognition of his services, doubts were raised as to whether 
 the marbles were his own property, or whether, on account 
 of the official position he held at the time of his acquiring 
 them, they did not rather belong to the State. In this un- 
 worthy treatment the influence of the disfavour prevailing 
 among the aristocratic Dilettanti is distinctly perceptible. 
 Lord Elgin naturally broke off the negotiations ; for they 
 only brought him the scoffing nicknames of “stone-monger,” 
 “ marble-dealer,” and even “ marble-stealer 372 .” The rod 
 seemed finally to break over the head of the “ modern 
 Piet” when in the summer of A. I). 1812 there appeared those 
 burning lines in which Childe Harold lamented seeing 
 
 “The walls defaced, the mouldering shrines removed 
 By British hands, which it had best behoved 
 To guard those relics ne’er to be restored,” 
 
 and discharged his full hatred upon “the last, the worst 
 dull spoiler” of the Greek temples 373 . Again, all who should 
 venture to admire the Greek treasures by the Thames were 
 
 370 London and Edinburgh, 1811. 371 He was elected Jan. 6, a. D. 
 
 The first rare edition only contains 1811. 
 
 three appendices, West’s letter to Lord 372 Horace Smith quizzes Haydon 
 
 Elgin, Notes on Phidias and his School , with “ your friend the marble-stealer” 
 
 and Millin, Description d'un has relief (Haydon, Corresp. 1. p. 319). 
 du Parthenon , actuellement an Musee 3,3 Canto II. str. 11 — 15. 
 
 Napoleon. 
 
79 , So] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 143 
 
 plunged into the same condemnation by the “ Curse of 
 Minerva 374 ;” for the goddess was obliging enough to appear 
 in phantom shape to the noble English poet in order to 
 stir up his hatred against his Scotch compeer, and to 
 shower down a rich cornucopia of far from Olympian 
 curses. 
 
 “Meantime, the flattering feeble dotard, West, 
 
 Europe’s worst dauber and poor Britain’s best, 
 
 With palsied hand shall turn each model o’er, 
 
 And own himself an infant of fourscore: 
 
 Be all the bruisers call’d from all St Giles, 
 
 That art and nature may compare their styles ; 
 
 While brawny brutes in stupid wonder stare, 
 
 And marvel at his lordship’s - stone-shop there.” 
 
 The foolish condemnations of Payne Knight were not 
 dangerous for long, and soon passed into oblivion : but LORD 
 BYRON with his words of flame became Elgin’s most 
 dangerous enemy, since even to the present day his judg- 
 ment is often adopted by the ill-informed. It is well known 
 that the poet is always considered to be in the right, and 
 the more strongly he lays on his colours, the more credence 
 does he gain. What availed it that Byron’s travelling com- 
 panion, Hobhouse, showed a very different comprehension, 
 one that was both more impartial and more true? Besides, 
 Hobhouse’s book did not appear till a year later 375 . 
 
 80. Who knows how much longer the incomparable Foreign 
 
 ■ • . aid. 
 
 collection, increased meanwhile by the contents of those yisconti. 
 
 eighty chests which had been so long detained in Athens, Lord 
 
 Elrin s 
 
 would have remained unappreciated in the sheds of Bur- renewed 
 lington House, if unexpected and favourable circumstances P r °P osals - 
 had not arisen? The immediate cause of change was the 
 judgment of two foreigners, very competent judges, who 
 opposed the opinion prevailing in England. After the 
 conclusion of the Peace of Paris (May 30, A.D. 1814) 
 Ludwig, Crown Prince of Bavaria, came thence to 
 
 374 This libellous poem, written at lessened if it be privately adminis- 
 Athens in March, A.D. 18 n, was, as tered. 
 
 is well known, not intended for publi- 375 yourney through Albania, 
 
 cation. The effect of poison is not London, 1813, 1. p. 340, &c. 
 
144 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [8o 
 
 London. Himself an excellent connoisseur and successful 
 collector, having only a short time before this obtained the 
 marbles from Aegina, the Prince showed no limit to 
 his admiration of the sculptures, and extolled them, the 
 reliefs particularly, as the perfection of art 376 . The similar 
 verdict of ENNIO QuiRINO VISCONTI, the Director of 
 the Musee Napoleon , who shortly after came from Paris to 
 study Lord Elgin’s collection, carried with it even greater 
 weight. What could be said in opposition to the judgment 
 of the recognised leader among living archaeologists, when 
 he expatiated upon the significance of those works for the 
 culture of modern art, as much as upon their beauty and 
 historical importance? Lord Elgin’s opponents could only 
 be thankful that this view was not yet made public in official 
 form 377 . Lord Elgin began to think he had a better pros- 
 pect of carrying out his former plan with success. Hamil- 
 ton was now Under Secretary of State, and his Memorandum 
 appeared at the beginning of the year 1815 in a new edition 
 intended for a larger public 378 . He also opened negotiations 
 respecting the placing of the marbles in the British Museum, 
 as the sale of Burlington House made it necessary 
 to remove them thence (March 21). The Trustees of the 
 Museum could not entertain the proposal immediately, they 
 too being hampered by want of space ; but they showed 
 themselves inclined to recommend the purchase of the 
 collection. Government seemed also disposed to buy, and 
 on the eighth of June Lord Elgin presented a petition to 
 the State to purchase his marbles, proposing, as the basis 
 for determining the price, not his own expenses, but a 
 valuation to be decided by a commission. The proposition 
 was laid before the House of Commons on the fifteenth of 
 
 376 Letter to M. Wagner, 1814, 
 June 17, in Urlichs, Die Glyptothek Sr. 
 Maj. des Konigs Ludwig I von Bayern , 
 Munich, 1867, p. 53. 
 
 377 Lettre de E. Q. Visconti d tin 
 Anglais (W. R. Hamilton), Paris, 
 1814, Nov. 35 ; in the second edition 
 
 of the Memorandum , pp. 78 — 84. 
 
 378 Memorandum, &*c. Second 
 edition, corrected. London, John 
 Murray, 1815. There are in addition 
 Visconti’s letter and a letter from an 
 anonymous person to a friend of Lord 
 Elgin’s, January, 18:5. 
 
80, 8 1 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 45 
 
 June, and was not received without eager and immediate 
 opposition: the Battle of Waterloo and the adjournment of 
 the House (July 12) prevented the matter being then 
 brought to a conclusion” 9 . 
 
 81. This time, however, the delay worked favourably. The Phi- 
 In the autumn of the year 1815 the reliefs from Phigalia at Garbles 
 last arrived in England. They had been purchased in Canova's 
 
 visit. 
 
 Zante by the Prince Regent on the first May A.D. 1814, for Selcct 
 .£15,000. In consequence of this purchase universal at- committee. 
 tention was turned to the remains of Greek sculpture, and 
 it was moreover inevitable that comparisons should be 
 instituted between the friezes that the State had thus 
 obtained and the marbles which were offered to it by 
 Lord Elgin. It is unnecessary to add that Payne Knight 
 spoke as loudly in favour of the Prince Regent’s acquisition 
 as he continued to do in condemnation of Lord Elgin’s 380 ; 
 but the truth was irresistibly making way. Its final triumph 
 was assured when a new authority, and one from which 
 opinion at that date allowed no appeal, pronounced in 
 favour of the Elgin marbles. CANOVA came to Paris to 
 recover for the Vatican the art-treasures that had lately 
 been carried off. Visconti’s unqualified approval of the 
 Athenian sculptures might well determine him the more 
 readily to accept an invitation from the sculptor Rossi to 
 visit him in London. He came in November. Hamilton 
 conducted him to see the marbles ; Haydon, who was then 
 occupied in taking the first casts of them, acted as cicerone. 
 Canova’s expectations had been pitched high, but he found 
 them far surpassed. In his opinion these sculptures put all 
 other antiques, the Apollo Belvedere not excepted, quite 
 in the shade ; it was worth a journey from Rome only to 
 
 379 Lord Colchester, Diary and pion, by the editor, John Scott, and 
 
 Corresp. 11. p. 534, 546, 547. Report by Haydon. Thus according to 
 
 of Comm. p. 53. Hansard’s Parliam. Bdttiger, Denkschrift , p. 55, who be- 
 
 Debates , xxxi. pp. 828 — 830. sides refers to the New Monthly 
 
 380 In the Morning Chronicle . — Magazine, 1 8 1 <5, April, pp. 247 — 
 
 Contradictions followed in the Cham - 249. 
 
 IO 
 
146 ANCIENT MARBLES IN GREAT BRITAIN. [8 1 
 
 see them ; they must necessarily work a great revolution in 
 modern sculpture. Canova himself regretted that he had 
 not been able to study from them in his youth : “ Oh ! that 
 I were a young man, and had to begin again, I should 
 work on totally different principles from what I have done, 
 and form, I hope, an entirely new school.” He spent all 
 his spare time during his short visit in studying them most 
 carefully. Everywhere he sounded their praise, and pro- 
 nounced that if £15,000 had been paid for the Phigalian 
 frieze, this collection was certainly worth £100, OOO 381 . Such 
 expressions, from such a mouth, naturally made a great 
 impression on the public at large and on the Government ; 
 while Payne Knight, and those who had blindly followed 
 him, were much perplexed 382 . This change in the general 
 tone was particularly valuable to Lord Elgin just now, as 
 he was entangled in a vexatious literary controversy, which 
 though not directly connected with his marbles, yet con- 
 cerned his honour 383 . In February A.D. 1816 he again 
 presented his petition to the Lower House, and a week 
 later a Select Committee was appointed “to enquire whether 
 it be expedient that the collection should be purchased on 
 behalf of the public, and if so, what price it may be rea- 
 sonable to allow for the same 384 .” The constitution of the 
 Committee, of which Henry Bankes was elected chairman, 
 was supposed to be inimical to Lord Elgin, and not quite 
 without reason, for Bankes had repeatedly in Parliament 
 expressed doubts as to the right of Lord Elgin to the 
 
 381 Canova to Elgin, London, 1S15, 
 Nov. 10 (Visconti, Deux mem. p. 1). 
 Haydon, Life, I. pp. 293 — 297. 
 Corresp. I. pp. 321—323, 424, 11. p. 
 19. Rossi in the Report of Comm. p. 
 88. Planta in Lord Colchester’s 
 Diary, II. p. 564. Morgcnblatt, 
 Tubingen, 1816, nos. 51, 52. 
 
 382 Ilaydon, Life, 1. pp. 297, 298. 
 
 383 Remains of the late John 
 Tweddell, ed. by Robert Tweddell, 
 London, 1815, Appendix. Lord Elgin, 
 Letter to the Editor of the Edinburgh 
 
 Review, &c., London, 1816, and Post- 
 script to a Letter, &*c. Hunt, Philip, 
 A Narrative of what is knoavn re- 
 specting the Literary Remains of the 
 late John Tweddell, London, 1816. 
 Quarterly Review, xiv. no. XXVII. art. 
 “Elgin.” Tweddell, R., Addenda to 
 the Remains of J. Tweddell, London, 
 1816, and Account of the Examination 
 of the Elgin-box at the Foreign Office, 
 on fh Nov., 1816, Manchester. 
 
 384 Hansard, Parliam. Deb. xxxn. 
 pp. 577, 823—828. 
 
Sr, 82] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 4 / 
 
 sculptures as exclusively his private property 385 . The suc- 
 cess of Lord Elgin’s petition was even regarded in many 
 circles as so doubtful, that the Crown Prince of Bavaria, 
 it was rumoured, secretly lodged thirty thousand pounds 
 with his London agents for immediate advance to Lord 
 Elgin if opportunity offered 386 . 
 
 82. The course of the deliberations of the Committee Delilcra- 
 
 did not justify such apprehensions, and Bankes proved him- Committee. 
 
 self a thoroughly impartial president 387 . On the twenty- Literary 
 
 warfare. 
 
 ninth of February the hearing of witnesses began, Lord 
 Elgin being the first. He, Hamilton, and Hunt, as having 
 been most immediately concerned, were regarded as the 
 chief witnesses for the establishment of the facts. A 
 second group consisted of travellers who were called upon 
 to confirm the degree of danger which had threatened the 
 sculptures in Athens. Morritt in particular described this 
 danger very impressively ; in addition to him were heard 
 Lord Aberdeen, Wilkins the architect, and Fazakerley. 
 
 The third and largest group was composed of artists 
 and connoisseurs. Among the latter the most interesting 
 witness was Payne Knight. His judgment in art did no 
 honour to the purity of his taste — only the metopes finding 
 favour in his eyes — but we can distinctly perceive his feel- 
 ing that he is struggling for a lost cause. Wilkins expressed 
 himself with great coldness ; Lord Aberdeen with far more 
 freedom from prejudice, although he had been regarded in 
 public as a leading opponent of the purchase 888 . The testi- 
 monies of the artists have a very different tone, particularly 
 those of the sculptors, Flaxman, Chantrey, Westmacott, 
 
 386 Haydon, Corresp. 1. p. 94. 
 Hansard, Parliam. Debates , xxxi. p. 
 829, XXXII. p. 825. 
 
 386 Haydon, Corresp. I. p. 94. 
 Ellis, Elgin Marbles , 1. p. 10. 
 
 387 Report from the Select Com- 
 mittee of the House of Commons on the 
 Earl of Elgin's Collection of Sculp- 
 tured Marbles, London, 1816. The 
 report is dated March 25, 1816 ; the 
 
 official edition was ordered to be 
 printed 30th April, 1816. The re- 
 port itself, without the extremely 
 interesting minutes of evidence and 
 official documents, has often been 
 reprinted. 
 
 388 Haydon, Life, 1. p. 303, 304. 
 In the Examiner, no. 435, 1816, Apr. 
 28, there appeared a satiric poem on 
 Knight and Aberdeen. 
 
 10 — 2 
 
148 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [82 
 
 Rossi ; the eccentric old Nollekens was less communicative. 
 Different as were their modes of answering this or that 
 separate question — Flaxman gave the Committee a set 
 lecture on the history of art — they were unanimous in the 
 opinion that the Elgin marbles belong to the very highest 
 class of all known antiques, and that they not only far 
 excel Townley’s Graeco-Roman sculptures, but deserve to 
 be preferred before the friezes of Phigalia. Such had 
 already been the opinion of Canova, and so now said the 
 painters West and Lawrence, and the art-dealer, Day. It 
 was a pitched battle between the old and the new periods 
 of taste, but the victory of the latter was a foregone con- 
 clusion. Haydon would also most willingly have given 
 his testimony. Lord Elgin had proposed him as a witness, 
 but he was put off day after day, till at last his evidence 
 was altogether dispensed with “out of delicacy to Mr 
 Payne Knight.” He then sent forth his voice abroad in a 
 fulminating article which appeared in two weekly papers 
 on the next Sunday after the hearing of witnesses had 
 concluded (March 13): “On the judgment of connoisseurs 
 being preferred to that of professional men.” The article 
 created a tremendous sensation ; replies and rejoinders fol- 
 lowed ; it was translated into foreign languages, and went 
 the round of Europe as the writ of a new art-gospel 380 . 
 Then came just at the twelfth hour the two masterly 
 treatises of Visconti which he had read before the Paris 
 Academy in the preceding autumn. Lord Elgin received 
 them just in time to have them printed, together with a 
 letter of Canova’s, both in the original languages and in 
 English 690 . The book appeared in May. The Earl’s skill, 
 
 389 Haydon, Life, 1. pp. 306 — 3 1 3. 
 Corresp. I. pp. 94 — 96. Examiner, 
 1816, no. 429, March 17. Reply by 
 “J. W.” in the same paper, no. 432, 
 Apr. 7. Rejoinder by Mariette, no. 
 434, Apr. 21. Haydon’s fiery article 
 appeared at the same time in the 
 Champion. 
 
 390 Lettre du chev. A. Canova ; et 
 denx JMemoires his a /' Institut Royal 
 de France [ 1815, Oct. 21 and Nov. 10] 
 sur les ouvrages de sculpture dans la 
 collection de Mylord Comte cT Elgin, 
 par le chev. E. Q. Visconti. London, 
 1816 (reprinted in Paris 1818, and in 
 Visconti’s Opcre varie. III. p. 84). A 
 
82, 83] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I49 
 
 in thus marshalling in battle array his native troops and 
 his foreign auxiliaries exactly at the right moment, elicited 
 no small admiration 891 . 
 
 83. The seventh of June was the memorable day of The 
 the parliamentary debate, which placed the official seal on ^ofthe^ 
 a complete revolution in taste 392 . The report of Bankes’ 
 Committee proved the legality of the claim of ownership, 
 enlarged on the value of the collection both for its own Museum. 
 sake and for the culture of art in England, and proposed in 
 conclusion, in accordance with a valuation made by Lord 
 Aberdeen, and agreeably to Perceval’s former offer, a pur- 
 chase sum of thirty-five thousand pounds. This proposal 
 should have contented those who considered that Lord 
 Elgin was at the most entitled to indemnification for his 
 expenses, and that anything obtained by an ambassador be- 
 longed half to the nation; for Elgin’s bare costs had in the 
 meantime risen to 1,000, and the interest on the capital he 
 had laid out was reckoned, as we have said, at ,£23,240; so 
 that the sum proposed would not cover the half of his total 
 expenses. But, although the value of the collection was 
 hardly called in question — such had been the impression 
 produced by the hearing of the witnesses and all the inci- 
 dental discussion— yet the peculiar character of the acqui- 
 sition on the one hand, and on the other the impoverished 
 state of the national finances, gave excuse to the opposition 
 party for long debate, till they could at last retire with 
 honour and give way to a majority of eighty-two voices 
 against thirty. The ratification of the resolution, on the 
 part of the public journals, even those of the opposition, 
 followed immediately 393 ; and when soon after (A.D. 1817) 
 the newly acquired sculptures were exhibited in the rooms 
 of the Museum, the value of the treasure that had at last 
 
 Letter , &c., and two Memoirs , drv., Leipzig and Altenburg, 1817, p. 53. 
 
 London, 1816. 382 Hansard, Parliam. Debates , 
 
 391 Denkschrift iiber Lord Elgin's xxxiv. p. 1027 — 1040. 
 
 Erwerbungen in Grieclunland. Mit 383 Times and Alorning Chronicle, 
 
 emer Vorrede von C. A. Bottiger, 1816, June 8. 
 
150 ANCIENT MARBLES IN GREAT BRITAIN. [83 
 
 been happily housed, was recognised by the public at 
 large ; from the riding-master who recommended to his 
 pupils the study of the Panathenaic horsemen 394 , up to the 
 circle of the most gifted artists, who eagerly drew upon the 
 newly opened resources of study 395 , and even to the royal 
 and august personages who visited London from abroad 398 . 
 The excitement caused by the whole affair extended far 
 beyond England’s boundaries. The venerable GOETHE, 
 brought up with quite different views of art, longed to see 
 those works “in which alone law and gospel were united 
 he considered himself happy to have at least lived to see 
 this event, and sketched a plan for every German sculptor 
 in future to come and study for a time in the British Mu- 
 seum 397 . Plaster casts, taken first from Haydon’s models, 
 and then from other sources, were rapidly circulated through 
 Europe, even to the Neva and the Tiber 398 , and they caused 
 the sculptor DANNECKER to give utterance to the just obser- 
 vation, “these works seem moulded from the life, and yet 
 he had never had the good fortune to see in the life such 
 perfection 399 .” But the most inspired prophet was the gifted 
 QUATREMERE DE Quincy, then sixty-three years of age, 
 whose seven letters, written to Canova in the year 1818, 
 bear witness in the most eloquent manner to the complete 
 change wrought in the general view of the history and 
 aesthetics of Greek art 400 . At one stroke the British Mu- 
 seum had become the most distinguished museum of anti- 
 
 394 Smith, J. Th., Nollekens, 1. p. 
 316 note. Cf. Haydon, Corresp. I. p. 
 ix. note 3. Northcote judged very 
 differently (Hazlitt, Conversations of 
 J. Northcote , London, 1830, p. 255). 
 
 395 Haydon, Corresp. 1. p. 106, 
 336. The Elgin Marbles, London, 
 1816. Lyons, Edwin, Outlines of the 
 E. M. , London, 1816. Burrow, The 
 E.M. , 1. London, 1817. Lawrence, 
 E. M. from the Parthenon of Athens, 
 London, 1818. 
 
 393 Haydon, Corresp. 1. p. 103. 
 
 397 Goethe to Sartorius, 1817, July 
 30 (see Neue Freie Presse, Vienna, 
 
 1878, Jan. 8). Id. Werke, XXXII. p. 
 1 7 1 , XLIV. p. 36. Haydon, Corresp. 
 1. p. ( 382. 
 
 3iis Petersburg : Haydon, Corresp. 
 1. pp. 323 — 329, 11. p. 64. Rome, 
 Canova : Haydon, Life, 1. p. 297. 
 Corresp. 1. pp. 321—323. Thorvald- 
 sen : ib. II. p. 173. 
 
 399 Dannecker to Welcker, 1819, 
 July 26 (see Ini neuen Reich, Leipzig, 
 1877, 1. p. 147). , 
 
 400 Lcttres eemtes de Loud res a 
 Rome, et adressees a M. Canova, sur 
 les Marbres d' Elgin. Rome, 1818. 
 
83, 84] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I 5 I 
 
 quities in the world, and with the secure prospect of always 
 remaining such. The splendid publication of the Museum 
 Marbles , published by Taylor Combe, Hawkins, and others, 
 under the direction of Planta, was the outward sign that 
 the institution was both conscious and proud of its new 
 position ; the sculptures of Phigalia and Athens, drawn 
 by the master-hand of H. Corbould, were here reproduced 
 in an exemplary manner 401 . By the legacy of Payne 
 Knight (a.D. i 824) the section devoted to bronzes and Greek 
 coins was soon enriched to such a degree that henceforth in 
 this respect too the museum needed to shun no comparison. 
 
 84. Tantae molis erat Elgiui coudere sigua. The only The 
 persons who, in this affair, had suffered serious damage a 0 f l ^ y 
 were the DILETTANTI. Still it would be unjust to jud ge °d 
 
 them only according to the unlucky part which Payne tanti. 
 Knight’s mistaken persistency had betrayed them into 
 playing. It must not be forgotten that in A.D. 1811, soon 
 after the publication of the first volume of Specimens of 
 Antient Sculpture , the Greek expedition under the conduct 
 of W. Gell was fitted out. It cost over .£6,500. Again in 
 the year 1816, at the suggestion of Sir Henry Englefield, 
 and with a view to the publication of the results of that 
 journey, an “Ionian Fund” was founded, to which every 
 member contributed ten guineas for five years. They were 
 in consequence in a position to publish in A.D. 1817 the 
 Unedited Antiquities of Attica , in A.D. 1821 to follow 
 this up by a new and improved edition of the first volume 
 of the Antiquities of Ionia , and finally in 1840 A.D. to 
 complete this work with the third volume 402 . All these 
 undertakings contributed towards the more intimate know- 
 ledge of Greece and Greek art, and they in this way moved 
 in the same direction as Lord Elgin’s activity. When Payne 
 
 401 A Description of Ancient I. — III., v., X., XI., relate to the 
 Marbles in the British Museum, vol. Townley Sculptures. 
 
 IV. 1820 (Phigalia). VI. — VIII. 1830 402 [Hamilton] Hist. Notices Soc. 
 
 — 1839 (Parthenon), ix. 1842 (Elgin Dil. pp. 46 — 51,111. Cf. above, notes 
 Miscellanies). The remaining volumes, 342, 343. 
 
152 
 
 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [84 
 
 Knight was dead (A.D. 1824) and Hamilton had under- 
 taken the secretaryship of the society (A.D. 1830), there was 
 a hope of peace; for the society elected Lord Elgin as a 
 member without his knowledge in A.D. 1831. But flatter- 
 ing as was the form of the proposal, the Earl could not 
 bring himself to accept the honour. In a polite but decided 
 letter to the secretary (July 25, 1831), he referred to his 
 former exertions, the result of which “will never cease to be 
 a matter of the utmost gratification to me. If, when it was 
 made known to the public, twenty-five years ago, or at any 
 reasonable time afterwards, it had been thought that the 
 same energy would be considered useful to the Dilettanti 
 Society, most happy should I have been to have contri- 
 buted every aid in my power. But as such expectation 
 has long since past, I really do not apprehend that I shall 
 be thought fastidious, if I decline the honour now pro- 
 posed to me at this my eleventh hour 403 .” While this effort 
 to atone for an old fault failed, the society was zealously 
 exerting itself to win new honours. It supported Sir Wil- 
 liam Gell, now its “Resident Plenipotentiary in Italy,” in 
 the publication of his Topography of Rome and its Vici- 
 nity (A.D. 1 834) 404 ; by means of a subscription raised partly 
 among its own members and partly among other lovers of 
 art, the imposing sum of ^834. 16. 6 was obtained, and 
 was given to the British Museum to enable it to compass 
 the purchase from Chevalier Bronsted of the so-called 
 bronzes of Siris, consummate examples of Greek metal- 
 work (A.D. 1833), and also to provide for their appropriate 
 publication (A.D. 1836) 405 . Finally, in A.D. 1S35, after many 
 
 403 Hist. Notices, p. ior. Edin- 
 burgh Review , cv., 1 8 =, 7 , p. 504. 
 
 404 2 vols. London, 1834. A new 
 edition, revised by E. II. Bunbury, 
 1846. The Society awarded Gell, who 
 regularly sent in to it a report from 
 Italy, a honorarium of £200 for the 
 volume ( Hist or. Notices , pp. 94 — 97). 
 
 4115 Broendsted got £1000 for the 
 originals and £100 for the engravings 
 
 of the Bronzes of Siris, now in the 
 Brit. A/us., an archaeological essay by 
 P. O. Br., 1836; subsequently expand- 
 ed under the title Die Bronzen von Si- 
 ris, Copenhagen, 1837. Thepedigreeof 
 the bronzes is very doubtful, as the Nea- 
 politan vendor Michele de’ Crescenzi 
 stated to Broendsted that the place of 
 their discovery was Saponara, not far 
 from Siris, to E. Braun (Bullett. del T 
 
84, 85] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I 5 3 
 
 years’ preparation, appeared the second volume of Specimens 
 of Anticut Sculpture, the earliest plates of which had been 
 already executed before the publication of the first volume 406 . 
 Unfortunately the second volume does not deserve the 
 same praise as its predecessor. The work opens with 
 an introductory treatise by W. S. Morritt, of no great im- 
 portance, after which the society thought themselves bound 
 to add Payne Knight’s Inquiry into the Symbolism of 
 Greek Art and Mythology, which had already been twice 
 printed 407 . In fact it paid more regard to piety towards a 
 departed and meritorious member, than to scientific inves- 
 tigations which had in the meantime established stronger 
 claims to soundness and perspicuity. The execution of 
 the fifty-eight plates is far inferior to the workmanship of 
 the earlier ones and in its weak smooth elegance shews 
 disadvantageously on the whole by the side of the work 
 of the British Museum. In the choice of sculptures, the 
 lion’s share has fallen on the British Museum, as eight 
 specimens from Townley’s collection, ten from Knight’s 
 and four others make a total of twenty-two from this 
 source. The remaining thirty examples are taken from no 
 less than sixteen different private collections, in strong 
 contrast to the more exclusive character of the selection 
 in the first volume. Christie, Hope and Westmacott, as 
 well as Knight, contributed to the text. 
 
 85. Handsome, then, as this volume was, still the ques- 
 tion could not fail to suggest itself whether such a collected 
 publication of single specimens, mostly of second and third 
 rank, was as appropriate now as it had been six and twenty 
 years ago; for by this time the national institution could 
 and did publish complete connected series of sculptures of 
 the first order. The treasures of the Golden Age of Greece, 
 
 Inst. 184 r, p. 136) and to Welcker 400 Hist. A T ot. pp. 36 — 59. The 
 
 (MS. Note) Armento, to K. O. expenses amounted to about ^4,000. 
 Miiller ( Zeitschr . f. d. Alt.- IViss. 40 ' At first printed for private cir- 
 
 1S45, p. 10S) Vulci. James Millingen culation A.U. 1818, then reprinted in 
 also mistrusted these statements. the Class. pour.,v ols. xxm. — -xxvil. 
 
 Minor 
 
 collectors. 
 
 Westma- 
 
 cott. 
 
 Rogers. 
 
>54 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [85 
 
 which were collected in that museum, assuredly weighed 
 heavily against the private collections, which were mostly 
 Graeco-Roman and lent to their publication an almost pre- 
 ponderating personal interest. Certainly the new volume 
 proved that Payne Knight had exaggerated when he had 
 stated before the Commission on the Elgin marbles that 
 there are no collectors in this country 408 . Besides the 
 Egremont, Hope and Lansdowne collections, which had 
 already been represented in the first volume, besides those 
 at Holkham, Ince, Marbury, Newby, Strawberry Hill and 
 that of Mr Hawkins, all of which dated their origin from 
 the last century, new names were to be found, chiefly from 
 the circle of the Dilettanti themselves. Such were Leake 
 and Drummond Hay, each of whom had contributed a 
 bronze 409 . W. J. BANKES, of Kingston Hall, appeared as 
 the possessor of a few heads, which had been brought by 
 Consul Baldwin from Egypt and in A.D. 1828 put up to 
 auction. W. R. Hamilton contributed a head of the same 
 origin and a beautiful fragment that Canova had given to 
 him 410 . The sculptor RICH. WESTMACOTT, who possessed 
 a small collection of not very important marble statues, was 
 represented in the volume by a small bronze Athene 411 ; 
 the poet Sam. Rogers by an excellent marble head which 
 owed its origin to the excavations of Fagan at Ostia. 
 Rogers’ collection, in the formation of which James Mil- 
 lingen had been active, consisted mainly of painted vases, 
 sometimes of considerable value. Besides these there were 
 fifty specimens of bronzes of all kinds and as many gold 
 ornaments; also some objects in glass and terra cotta, and 
 lastly about eighty Egyptian antiquities. The whole col- 
 lection enjoyed great fame for the taste with which it had 
 been formed 412 . The last new name in the second volume 
 of the Specimens was that of the Duke of Bedford. 
 
 408 Report of Comm. p. 100. Museum. 
 
 409 Leake’s Iierakles is now in 410 See Cat., art. London. 
 
 Cambridge, Hay’s Herakles (Mon. 4]1 See Cat., art. London. 
 
 dclF Inst. 1. PL 17) in the British 412 Waagen, Treas. 11. p. 81. 
 
86] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 55 
 
 86. In the time of the first of the Stuarts we find that The 
 a Countess of Bedford had interested herself in ancient coins, ^ dford. ' . 
 and about the middle of the last century Francis, Marquis 
 of Tavistock, had brought a few marble statues home 
 with him from Rome 413 . A very splendid specimen, the 
 so-called Lante vase, and a beautiful sarcophagus relief 
 from Sicily were obtained by his eldest son, Francis, the 
 seventh Duke ( d . A.D. 1802), at Lord Cawdor’s sale (A.D. 
 1800) 414 . But his younger brother, JOPIN, SIXTH DUKE 
 OF BEDFORD (A.D. 1766 — 1839), is the real founder of the 
 celebrated collection of Woburn Abbey. During travels in 
 Italy in the year 1815 he made numerous purchases, among 
 which a number of unusually large sarcophagus slabs from 
 the Villa Aldobrandini in Frascati deserve particular men- 
 tion. They were not brought to England without difficulty. 
 
 The Rondanini Palace, the painter Camuccini, and also 
 James Millingen contributed other specimens; and the 
 results of the newest excavations, of those in Fladrian’s 
 Villa for example, were not passed over. The Duke was 
 present at an excavation at Pompeii, and the dantiest find, 
 a bronze satyr, was immediately presented to the illustrious 
 stranger by Queen Caroline. In England, where the Duke 
 joined the Society of Dilettanti in the year 1819, his 
 collection was increased by several purchases ; nor were 
 plenty of presents wanting. His second son, Lord George 
 William Russell, the father of the present Duke, brought 
 with him a few specimens from Italy ; others were pre- 
 sented to the head of the Russell family by personal and 
 political friends, like Lord Holland and Sir George Hayter. 
 
 The whole collection was then (A.D. 1820) placed in a splen- 
 did situation in the large, bright hall that had originally 
 
 Catalogue of the very celebrated Collec- lection see Waagen, II. p. 271. 
 tion of Works of Art, the property of 413 Cf. above, notes 29, 210. Wo- 
 Sam. Rogers, Esq., deceased. Messrs burn, nos. 1 7 1 , 210. 
 
 Christie and Manson. Apr. and May, 414 For details see Cat., art. 
 
 1856. Cf. Archaeol. Anzeiger, 1856, Woburn, 
 pp. 247 — 254. For Miss Rogers’ col- 
 
156 ANCIENT MARBLES IN GREAT BRITAIN. [86,87 
 
 Collectors 
 at Rome. 
 Duke of 
 Bucking- 
 ham. Lord 
 Kinnaird. 
 Disney , 
 &c. 
 
 been intended for a conservatory. There is a particular 
 charm (which may be compared in a small way to that of 
 the Campo Santo at Pisa) in the close contiguity of the 
 antiquities to masterpieces of modern sculpture, by Canova, 
 Thorwaldsen, Flaxman, Chantrey and Westmacott, to nu- 
 merous copies of celebrated old and modern sculptures, and 
 to busts of the heads of the Whig party. The Woburn 
 Abbey collection must take a place of honour among 
 English sculpture-galleries, and the Duke himself was 
 busily engaged in preparing to make this evident by a 
 splendid publication, the plates of which were drawn by 
 Corbould, while the text was by Dr Plunt, once Lord 
 Elgin’s chaplain and agent, but now Dean of Holkham 415 . 
 This work appeared in A.D. 1822, but the purchases by no 
 means ceased then. Pieces of a mosaic flooring and a 
 couple of Assyrian reliefs were added later, the last-named 
 undoubtedly after the death of Duke John (A.D. 1839). To 
 shew the direction of the latter’s taste, it is worthy of men- 
 tion that he caused the riding school at Woburn Abbey to 
 be adorned with casts from the equestrian procession of 
 the Parthenon; homage was paid to his elegant taste by 
 the dedication to him of Inwood’s great work on the 
 Erechtheion at Athens 416 . 
 
 87. The example of the Duke of Bedford shews that 
 Rome, in spite of a long pause, had not lost her old power 
 of attraction. The English, indeed, had now no longer the 
 sole control of the market of antiques in that city. Besides 
 the French (among whom both the Government and private 
 individuals were active, such as General Miollis and Prince 
 Lucien Bonaparte) and some few Russians, .the Crown 
 Prince Ludwig of Bavaria was collecting through his agent 
 Martin Wagner with great success for the proposed Glyp- 
 tothek at Munich. After the Restoration Prussia soon 
 entered the competition on behalf of the Berlin Museum; 
 
 Marbles. 1822. fol. 
 
 410 London, 1827. fol. 
 
 415 Outline Engravings and De- 
 scriptions of the Woburn Abbey 
 
87] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 57 
 
 the Duke of Blacas, Count PourtaRs, Durand and other 
 Frenchmen, developed a most zealous activity; and above 
 all the Papal Government took a great share in the pur- 
 chases on behalf of the Chiaramonti Museum, and later of 
 the Lateran Museum. The Archaeological Commission, 
 with the watchful Carlo Fea at their head, did everything 
 to hinder the exportation of the better specimens 417 . The 
 Barberini Faun, for example, afterwards a chief ornament 
 of the Munich Glyptothek , had already been sold once 
 for about ,£2,850 (13,000 scudi) to an Englishman; but its 
 removal from the city was at that time forbidden 418 . Fagan, 
 who had increased his Roman supply by valuable pur- 
 chases from Sicily, tried in a measure to replace Hamilton 
 or Jenkins ; but he died as early as A.D. i8i6 419 . Edward 
 Dodwell and James Millingen did some business in an- 
 tiques, and did not restrict themselves to purchasers among 
 their own countrymen 420 . Many of the latter instituted 
 excavations on their own account. TlIE DUCHESS OF 
 Devonshire, a daughter of that Earl of Bristol, whose 
 collections had suffered so much at the hands of the French, 
 earned gratitude by clearing out the Forum round the 
 column of Focas, and that not at all for her own benefit (A.D. 
 1817) 421 . The excavations undertaken by RICHARD, MAR- 
 QUIS OF ClIANDOS, afterwards DUKE OF BUCKINGHAM 
 AND ClIANDOS (a.d. 1776 — 1839), on the Via Appia and 
 
 417 Much material is contained in 
 the little volume by L. Urlichs, die 
 Glyptothek Sr. Maj. des Kdnigs Lud- 
 wig I von Bayern nach ihrer Ge- 
 schichte und ihrem Bestande. Munich, 
 1867. 
 
 418 Urlichs, Glyptothek , p. 26. 
 
 419 lb. pp. 69, 70. 
 
 420 Dodwell sold, for example, to 
 the Crown Prince of Bavaria the re- 
 markable bronze reliefs from Perugia 
 ( Glypt . nos. 32 — 38), and an archaic 
 head of a warrior (ib. no. 40) ; see Ur- 
 lichs, Glypt., pp. 77,95. For the rest 
 cf. note 338. The excellent Millingen 
 had collected and brought to England 
 many beautiful or interesting works ; 
 
 for instance a bronze candelabrum 
 belonging to S. Rogers, Woburn, 
 no. 99, Anc. Marbl. Brit. Mus. XI. 
 PI. 45. The vases and terracottas 
 which he left behind him passed, a.d. 
 1847, into the possession of the British 
 Museum (Archaeol. A nzeiger, 1847, 
 pp. 154 — 156). A celebrated little 
 “marble figure” from Smyrna, (Arch. 
 Zeitnng), 1849, Bh 1, came into Lord 
 Vernon’s possession; but it has since 
 been proved to be a modern fabrica- 
 tion in biscuit-ware. 
 
 421 Bullett. delP Inst. 1829, p. 30. 
 She had four paid workmen, while 
 the Papal Government placed ten 
 convicts at her disposal. 
 
158 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [87 
 
 at the Villa of Hadrian, and also in Rome by the baths 
 of Agrippa, were set on foot rather for private interests. 
 The booty was applied to the adorning of the princely seat 
 at Stowe, where nearly half a century before Earl Temple 
 had applied some antiques to the decoration of the famous 
 park 422 . Even richer treasures fell to the share of Stowe 
 after the Duke’s second journey to Italy, made in the years 
 1828 and 1829, before undertaking which he had joined the 
 Dilettanti. In Italy he partly bought old antiques and 
 partly obtained them from excavations instituted by him- 
 self on the Via Appia, at Roma Vecchia, and at the tomb 
 of Caecilia Metella, A sarcophagus, found in the last- 
 named place, served after A.D. 1837 as a coffin for the 
 Duke’s aged pet dog, and was placed in the midst of the 
 flower garden. But the great curiosity of all was a funeral 
 inscription purporting to be that of Paris the son of Priam ! 423 
 More modest was the selection made by CHARLES, EIGHTH 
 Lord Kinnaird (b. A.D. 1807— r/. A.D. 1878), during a pro- 
 longed residence in Rome from about A.D. 1820 to 1825. It 
 consisted chiefly of fragments of sculpture and inscriptions, 
 which were deposited by him in his mansion of Rossie 
 Priory 424 . He and the Duke of Bedford divided between them 
 a mosaic pavement found in the neighbourhood of Rome 
 in A.D. 1822. Lord Kinnaird’s name is specially connected 
 with the Warrior’s Tomb in Corneto, the chief part of the 
 contents of which came into his possession ; it was the first 
 grave found there quite untouched, and in consequence of 
 its discovery an impulse was given for numberless exca- 
 vations in the neighbourhood, some of which proved very 
 successful. Alexander Baring, afterwards Lord Ashbur- 
 ton (b. A.D. 1774 — r/. A.D. 1848), bought single marbles, partly 
 
 422 Forster, H. R., the Stoive Cata- from the Braschi collection), p. 265, 
 
 logue, London, 1848, p. 44, no. 697, nos. 30, 31 (Hamilton), p. 27r, nos. 
 
 699, p. 48, no. 748. Cf. above, note ro6 (Hertz, Catal. p. 154, no. 56), 115 
 
 264. (Lowther, no. 108), 1 1 7. 
 
 423 Stcnve Catal. p. 43, no. 684, 424 See Cat., art. Rossie Priory, 
 
 p. 264, no. 17 (statue of Lucius Verus 
 
87, 88] BRITISH MUSEUM AND PRIVATE COLLECTIONS. I 59 
 
 in competition with the Crown Prince of Bavaria 425 . John 
 DISNEY inherited the old collection of Thomas Hollis, in 
 endeavouring to perfect which, towards A.D. 1830, he shewed 
 more zeal than knowledge or criticism 428 . The number of 
 valuable sculptures is small, while that of inferior or spurious 
 specimens is very large. Flaxman, Combe and Christie were 
 polite enough to mention the latter in terms of praise in 
 referring to the amiable owner. The collection — of trash 
 rather than treasure — was bequeathed by Disney to the 
 Cambridge University, while his smaller antiquities re- 
 mained in the Hyde. Vases and other small antiques were 
 collected somewhat later by Robert Henry, twelfth 
 Earl of Pembroke (a.d. 1791 — 1862), and by Spencer- 
 Joshua-Alwyne, second Marquis of Northampton 
 (a.D. 1790 — 1851); coins and engraved gems by Dr NOTT 427 . 
 
 Still later, between the years 1840 and 1850, General 
 Ramsay formed a small collection in Rome, which came 
 by inheritance into the possession of Lord Murray 428 . 
 
 About the same time the banker Thomas Blayds brought 
 home a fine collection of vases from his Italian travels, in 
 which was incorporated, among other things, a considerable 
 portion of the Pizzati collection at Florence. For a time 
 this collection was housed at Englefield Green, Surrey, but 
 in A.D. 1849 it came under the hammer and was scattered ; 
 a small number of specimens was obtained by the British 
 Museum 429 . 
 
 88. The post of English ambassador at Naples was Sir 
 filled for many years by Sir William Temple, the rj. \npu. 
 younger son of the collector, Viscount Palmerston, who had Collectors 
 
 425 Urlichs, Glyptothek , p. 84 
 (colossal bust of Titus). 
 
 426 Museum Disneianum , London, 
 1849, fol. See Cat., art. Cambridge, 
 Hyde. 
 
 427 Gerhard, Archaeolog. Intelli- 
 genzblatt zur allg. Literatur-Zeitung, 
 Halle, 1833, pp. 11, 14, 15, 16. Lord 
 Pembroke’s and Dr Nott’s collections 
 have been sold ; that of the Marquis 
 
 of Northampton has for the most part 
 come into the British Museum. See 
 Cat., art. Castle Ashby. 
 
 428 See Cat., art. Edinburgh. Cf. 
 Bullett. dell' Inst., 1844, pp. 35, 155. 
 
 429 Archaeol. Zeitung, 1846, p. 
 195. Arch. Anzeiger, 1849, pp. 97— 
 10 1. Another part of the Pizzati col- 
 lection had been already sold to St 
 Petersburg. 
 
at Athens , 
 
 Lord 
 
 Guilford , 
 
 Burgon, 
 
 Lady 
 
 Ruthven. 
 
 l6o ANCIENT MARBLES IN GREAT BRITAIN. [88 
 
 inherited the artistic tastes of his father. The result of his 
 exertions in that city, in which traffic in small antiquities 
 has always been very briskly carried on, was a collection 
 of over fourteen hundred specimens. Among these we may 
 notice specially the first-rate series of smaller bronzes, 
 which are worthy to be mentioned beside Payne Knight’s 
 collection. Painted vases, among which was the magni- 
 ficent Hippolytus vase, terracottas, glass vessels, and gold 
 ornaments completed the collection ; the sculptures, coins, 
 and other small works of art, were of less importance. 
 When the owner had returned home, he made over the 
 whole collection to the national museum, which thereby 
 in several departments received most valuable completion 
 (a.D. 1856) 43 °. In Greece there was a very considerable 
 roll of active collectors. Athens, where Lusieri and the 
 French consul Fauvel had excellent collections, offered 
 particularly rich booty. Contemporary with the explorers 
 we have just mentioned above (§ 73), the following col- 
 lectors must be placed : Frederick North, afterwards fifth 
 Earl of Guilford, Lewis Richard, third Lord Sondes, 
 Messrs Thomas Burgon, Sandford Graham, and Thomas 
 Legh 431 . The first of these, LORD GUILFORD (a.D. 1766 — 
 1827), a nephew of that Bishop of Winchester who had col- 
 lected antiquities in Rome (§ 59), was Chancellor of the 
 University of the Ionian Islands, and had been since A.D. 
 1790 a member of the Dilettanti Society. Lortune favoured 
 him particularly, for besides specimens of less value he 
 obtained two marbles of the first rank. These were the 
 fragment of an unusually beautiful sepulchral stele from 
 Acharnae, and the celebrated putcal with reliefs in a fine 
 archaic style which Dodwcll had seen in Corinth, still used 
 
 430 Arch. Anzeiger, 1857, p. -27. lenen, Berlin, 1837, p. 16. Graham 
 
 It is said that Lord Palmerston, on his and Lord Sondes, see ib. PI. 35, 2, 
 brother’s asking him what disposition 3. Millingen, Anc. Uncd. A/on. 1. 
 he desired to be made with respect to pi. 15. Legh was one of the owners 
 the collection, had on his part re- of the Phigalia frieze. He joined the 
 nounced all claim to it. Dilettanti A. D. 1816. 
 
 431 Stackelberg, Griiber der Hel- 
 
88, 89] BRITISH MUSEUM AND PRIVATE COLLECTIONS. l6l 
 
 as the mouth of a well, but turned the wrong side upwards, 
 and which was then brought safely to Zante. The antiques 
 were stored in Lord Guilford’s London house (23, St 
 James’ Place), which, having been sold at his death with 
 almost all its contents, was forty years later pulled down. 
 The fate of the rest is veiled in obscurity. The sepul- 
 chral relief has re-appeared at Lowther Castle, but, in 
 spite of all inquiries, not the slightest trace has as yet been 
 discovered of the sculptured puteal, a specimen of high 
 importance to the history of art 432 . A few works of art 
 obtained by Dr MACMICHAEL in Athens, and brought 
 by him to England, have vanished in the same manner 430 . 
 The collection of THOMAS BURGON was rich in smaller 
 works of art, not solely of Athenian origin. It contained 
 an old Panathenaic prize vase, the only one which has 
 been discovered on Attic ground, and some remarkable 
 terra cotta reliefs from the island of Melos, which have at- 
 tained a high degree of celebrity 434 . Somewhat later Lady 
 RUTHVEN, who lived for a long time at Athens, had a 
 number of tombs opened near that city, and obtained in this 
 manner a fairly considerable collection of painted vases, 
 which are preserved, with some sepulchral reliefs, in 
 Winton Castle 433 . 
 
 89. Among English collectors who were active in Other 
 parts of Greece other than Athens, particular mention must ^//c'refcc. 
 be made of Percy CLINTON Sydney SMYTHE, SIXTH L ° rd 
 
 Strang- 
 
 Viscount Strangford (a.d. 1780—1855), who from ford, 
 
 Borrell, 
 
 A.D. 1820 to 1825 filled the office of ambassador to the iVood- 
 
 hoasc. 
 
 433 Lowther, no. 37. Dodwell, 
 Class. Tour , 11. p. 200, note 6. Ger- 
 hard, Hyperbor. rom. Studien, 11. Berl. 
 1S52, p. 303. Stackelberg, Grciber , 
 PI. 12, 3. The facts given in the text 
 concerning the house are derived from 
 a letter by Baroness North to Lady 
 Sheffield, communicated through Mr 
 Newton. What can have become 
 of the fruits of Lord Guilford’s ex- 
 cavations in the temple of Zeus at 
 Olympia (Gerhard, l. cit. p. 306)? 
 
 The country-seats of the family are 
 Waldershare Park, near Dover, and 
 Glenham Hall, Suffolk. 
 
 433 Stackelberg, Grciber , PI. 3, 2 ; 
 
 18, 1 . 
 
 434 Millingen, Anc. Uned. Mon. 1. 
 PI. 1—3, It. PI. 2, 3. Stackelberg, 
 Grciber, PI. ti, 2 ; 16, 1 ; 45, 1 ; 50, 1 ; 
 56, 1 ; 6 3, 1 ; 66, 1. The collection 
 was bought a.d. 1842, after Burgon’s 
 death, for the British Museum. 
 
 435 See Cat., art. Winton Castle. 
 
ANCIENT MARBLES IN GREAT BRITAIN. [89, 90 
 
 162 
 
 Collectors 
 
 in London. 
 
 Edwards, 
 
 Burke, 
 
 Chinnery, 
 
 Coghill, 
 
 Porte. Among other purposes he utilized his residence in 
 the East for founding a fine collection of antiquities, part 
 of which he presented to Canterbury. This section con- 
 sists chiefly of terra cottas from various islands in the 
 Archipelago, and they are not all free from suspicion. The 
 marbles were far more valuable, though few in number. 
 Two among them, an archaic statue of Apollo after a style 
 allied to the Aeginetan, and the fragment of a copy of the 
 shield of the Athene Parthcnos of Phidias, became famous 
 soon after they had passed by bequest into the possession 
 of the British Museum 436 . The excellent numismatist H. P. 
 Borrell collected in Smyrna. He by no means limited 
 himself to coins, not rejecting other small monuments, such 
 as terra cottas and gems 437 . P'inally, in the west of Greece, 
 in Corfu, the rich merchant James Woodhouse, who for a 
 time held an appointment in the government of the Ionian 
 Islands, was busy for nearly half a century in forming a very 
 remarkable collection. He controlled the market for antiqui- 
 ties on the island and on the opposite mainland almost auto- 
 cratically, and besides this he was often gratified by presents. 
 Greek coins formed the staple of his collection, but gold and 
 silver ornaments, bronzes, glass vessels, sculptures, vases, and 
 terra cottas, as well as very valuable inscriptions, were not 
 wanting. In the year 1866 he bequeathed it all to the 
 British Museum, which however, even after prolonged litiga- 
 tion, has never come into possession of the entire legacy 438 . 
 
 90. If we turn back again from Greece and Italy to 
 England, we shall find yet a further group of amateurs 
 who have recourse principally or exclusively to the art 
 
 4:ili See Cat., art. Canterbury. 
 Archaeol. A nzeiger, 1864, pp. 163, 286. 
 Mon. Ined. dell ' Inst. IX. PL 41. 
 Arch. Zeitung, 1865, PI. 19O. The 
 marbles were long hidden in a cellar, 
 when they were discovered by Mr 
 Newton. 
 
 437 E. g. Welcker, Alte Denkm. II. 
 PI. 12, 20. Archaeol. Zeitung , 1849, 
 PI. 6, 3. The collection of coins was 
 bought for the British Museum A. D. 
 
 1833 for ,£1,000, some other antiqui- 
 ties at the sale A. D. 1852. 
 
 438 Edwards, Lives of the Founders, 
 11. pp. 702 — 705. Cf. the parlia- 
 
 mentary papers for A.r>. 1867: Cor- 
 respondence as to the Woodhouse- Col- 
 lection of Antiquities. Appendix to 
 “ Correspondence," <P~c. Report from 
 the Select Committee on the Woodhouse- 
 Collection. Archaeol. Anz. 18 66, p. 
 260. Archaeol. Zeitung, 1868, p. 76. 
 
90] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 63 
 
 market at home in the formation of larger or smaller col- Englefield, 
 lections of antiques. Ample opportunities were afforded siade, 
 by the numerous sales which took place about the end of 
 the last century and the beginning of this. In this way 
 the bookseller, J. Edwards, formed a good collection of 
 vases in London, the gem of which came from the Cawdor 
 sale, and was ornamented with a scene from the legend 
 of Pelops, found at Lecce in the year 1790. Tin’s large 
 amphora had first belonged to the King of Naples, had 
 then been bought by General Oudinot and sold to Lord 
 Cawdor for a thousand guineas ; at the sale of Edwards’ 
 collection (A.D. 1815), it came into the hands of Soane 4 ”. 
 
 In the year 1812 the marbles of the Rt. IIon. Edmund 
 Burke 440 , and the mixed collection of marbles and vases 
 belonging to Messrs W. and G. CHINNERY 441 , were put up 
 to auction ; and some years later the same fate befel the ex- 
 tensive collection of vases which had been formed originally 
 by the Neapolitan Laid, then purchased by the Cavaliere de 
 Rossi, finally bought by Sir James Cogiiill, and increased 
 by further purchases in Naples. This collection has become 
 particularly well known through Millingen’s publication 412 . 
 
 It contributed, along with the Cawdor and Chinnery sales 
 and other sources, to the formation of a choice cabinet of 
 
 vases, that, namely, of Sir Henry Englefield, during 
 many years a member of the Dilettanti Society (elected 
 A.D. 1781), and for fourteen years its secretary. Sir Henry’s 
 choicest specimens have been engraved in a style of much 
 elegance by Henry Moses 443 . The most singular of these 
 
 439 Goede, England, Dresden, 
 1806, IV. p. 7. Collection of fine 
 Greek vases of J. Edwards, London, 
 1815. Moses, Collection of Antique 
 Vases, PL 23. Millin, Mon. inid. 11. 
 PI. 14. Peintures de vases , 1. PI. 34, 
 49, 50, 66. Archaeol. Anzeiger, 1864, 
 p. 165. Millingen, Anc. Uned. Mon. 
 
 I. PI. 18, publishes a vase belonging 
 to Mrs C. Edwards, of Harrow. 
 
 44l) Anc. Marbles Brit. Mns. XT. 
 PI. 23, 29, 36. Ellis, Tow nicy Gallery, 
 
 II. p. 22. 
 
 441 Chinnery, W. , Museum Marbles, 
 11. PI. 21. Chinnery, G., Moses, 
 Englefield Vases, PI. 4 — 12. 
 
 443 Millingen, J., Peintures antiques 
 de Vases grecs de la collection de Sir 
 John Coghill, Bart., Rome, 1817, fol. 
 Moses, Englefield Vases, PI. 15 — 28. 
 Payne Knight was also one of the 
 buyers ; see Catal. of Vases Brit. 
 Mus. nos. 609, 612. 
 
 443 Vases from the Collection of Sir 
 H. Englefield, Bart., drawn and 
 engraved by II. Moses (40 plates), 
 
164 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [90 
 
 collections was that of the eminent architect SlR JOHN 
 SOANE (a.D. 1755— 1837). Non multnm sed mnlta appears 
 to have been his motto in collecting ; for there is something 
 of everything. Along with a few choice specimens of high 
 value, or at least of considerable interest, there is an im 
 measurable chaos of worthless fragments, of all times, from 
 all countries, of all kinds of art, originals and copies mixed 
 together. All this is crammed into the narrow limits of a 
 private house, and is arranged in so ingenious a manner 
 that no corner, however dark, is left unoccupied. In this 
 respect the architect has achieved marvels ; nevertheless 
 this labyrinth stuffed full of fragments is the most tasteless 
 arrangement that can be seen ; it has the same kind of 
 perplexing and oppressive effect on the spectator as if the 
 whole large stock of an old-clothes-dealer had been squeezed 
 into a doll’s house. For an appropriate situation has not 
 been in all cases found for even the few good specimens. 
 Two only are fairly well placed, the remarkable Egyptian 
 sarcophagus discovered by Belzoni, and the Cawdor vase 
 above mentioned; in fact, many sculptures worthy of notice 
 are rendered quite unavailable for enjoyment and study by 
 their bad position. In such a shape has this cabinet of 
 rarities, by the will of the collector, become the property 
 of the State. It seems to find admirers : and certainly it 
 enriches London by one curiosity the more 444 . How far 
 preferable to this sort of amateurship is devotion to a single 
 branch of collecting, we may learn by the examples of Fox 
 and Slade. FELIX Slade (a.D. 1790 — 1868), at very con- 
 siderable expense, made a collection entirely consisting of 
 glass, m which antique glass is very well represented, though 
 it does not hold the most important place. He bequeathed 
 
 London, 1820. 4to. A new and several vases from other private collec- 
 enlarged edition (52 plates) appeared tions are represented: J. P. Ander- 
 in 1848. The collection has been, so ton, G. Cooke, C. H. Tatham (PI. 
 far as I know, dispersed; at any rate, 1, 2, 12). 
 
 a beautiful specimen from it is in the 444 See Cat., art. London, Soane 
 
 Soane Museum. In Moses’ Collcc- Museum. 
 lion of Vases, drv., London, 1814, 
 
90, gi] BRITISH MUSEUM and private collections. 165 
 
 the whole to the British Museum, to which he had already 
 made handsome presents, such, for example, as the so- 
 called sword of Tiberius 445 . On the other hand, Major- 
 General Charles Fox, a grand-nephew of the celebrated 
 statesman, in the course of nearly fifty years, by purchases 
 of smaller collections and single specimens, formed a cabinet 
 of eleven thousand five hundred Greek coins, which by the 
 rarity of many of the specimens, by the abundance of the 
 connected series it contained, and by the excellent state of 
 their preservation throughout, could challenge almost any 
 private collection in Europe. This precious property 
 passed on the death of the owner to the Royal Museum 
 at Berlin (A.D. 1873) 440 . 
 
 91. Great as was the number of amateurs who made Decline of 
 collections of antiques during the first half of our century, ^ Fttant - 
 it is indisputable that only few of them went to work with ,sm ‘ 
 that magnificence which had been so much a mark of the 
 dilettanti of the previous century. Had such a work as 
 James Millingen's Ancient Unedited Monuments appeared 
 then, he would certainly not have had to complain of being 
 obliged to limit his work on account of lack of interest, and 
 of the difficulty of obtaining access to some collections. As 
 it was, he had reason to grumble at “the disregard entertained 
 in this country for archaeological pursuits,” a disregard 
 which even amounted to scoffing at antiquarian researches 
 on the part of some “pretended wits 447 .” Quid placet aut odio 
 est quod non mutabile credas ? In the meantime a new kind 
 of art-passion had become dominant. The French Revolu- 
 tion and the Napoleonic wars had caused an immense 
 number of pictures from churches and convents, public 
 and private galleries, to be offered for sale in all the 
 countries of Europe, and the lion’s share had fallen to 
 England. The sales of the Calonne (A.D. 1795) and the 
 
 445 Franks, A. W., Catalogue of the 44l! Friedlander, Archaeol. Zeitung , 
 
 Collection of Glass formed by Felix Slade, 1873, pp. 99 — 103. 
 
 London, 1871. 410. Edwards, Lives 447 Millingen, Anc. Uned. Mon., 11. 
 
 of the Founders, II. pp. 706 — 717. London, 1826, preface. 
 
1 66 ANCIENT MARBLES IN GREAT BRITAIN. [9 1 
 
 Orleans (a.D. 1798) collections were, through the zeal of 
 enterprising art-dealers and agents, followed by further 
 acquisitions from Rome, Genoa, and other parts of Italy, 
 from Belgium and Holland, from Spain, and even from 
 France herself. For a long period London was continually 
 the scene of extensive sales of pictures from all countries; 
 great collections of Italian and French origin were put 
 under the hammer not in Paris, but in London. By 
 means of such auctions and private sales, countless paint- 
 ings, including not a few masterpieces of the first rank, 
 were scattered among the many mansions and country-seats 
 of the English nobility and gentry, where they were not in- 
 frequently incorporated into collections of older standing 448 . 
 Waagen’s well-known book gives us a glance over these 
 treasures. Among the collectors we meet the names, 
 besides many others, of the leading members of the 
 Dilettanti Society. The fact is undoubted : dilettantism 
 had struck out in a new direction, and had turned from 
 ancient art to modern. The circumstances of the time, as 
 already mentioned, were as favourable to the latter as they 
 were unfavourable to the former; inasmuch as Rome was 
 at the beginning of the century closed to the English, and 
 moreover watched with a new jealousy the export of her an- 
 tiques, coveted as they were on every hand ; while to make 
 acquisitions in Greek territory, which was partly under 
 Turkish government and partly in open rebellion, offered to 
 private individuals a still more difficult task. Moreover in 
 the domain of sculpture the modern masters Canova and 
 Thorwaldsen,Flaxman, Chantrey, and Westmacott obtained 
 the preference.— We must point out another sign of the decay 
 of antiquarian dilettantism. In spite of the numerous sales 
 at the close of the preceding century, the majority of the 
 antique collections that had been found in the most flourish- 
 ing period of the pursuit remained fixed in the hands of 
 the families of the collectors. But among all the collections 
 
 448 Waagen, Treasures of Art, 1. pp. 18 — 28. 
 
91 , 9 2 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 67 
 
 that were formed in the first half of the present century, 
 there are on the contrary few which, like that at Woburn 
 Abbey, have survived the life of their founder. Fewer still 
 have been handed down in his family for more than one gene- 
 ration. Most were sold by the heirs on the death of the first 
 collector 449 , while even some of older date, like that of Horace 
 Walpole, were at this period put under the hammer 450 . The 
 antiquities of Stowe were scattered in the fearful bank- 
 ruptcy which overtook the son of the collector soon after 
 a visit paid by the Queen to his luxurious hereditary 
 abode, and in which was involved the loss of all his movable 
 property 461 . Lord Guilford’s collection fell completely into 
 oblivion. Sir John Soane converted his into a special 
 museum ; Disney’s and General Ramsay’s antiquities went 
 to enrich the public museums at Cambridge and Edin- 
 burgh; Lord Strangford’s were divided between Canterbury 
 and the British Museum. Besides many smaller additions, 
 by gift or by will, there fell to the share of the last-named 
 museum the collections, some of them rich, of Sir William 
 Temple, Lord Aberdeen, Slade, and Woodhouse 453 . 
 
 92. Since the acquisition of the Elgin marbles and 
 the legacy of Payne Knight, the British Museum had for 
 a long time received no important addition. Isolated gifts 
 had of course never ceased to come in. Some good speci- 
 mens were purchased at home and abroad, or obtained by 
 means of exchange; for example, the Apollo from the 
 Choiseul-Gouffier collection (A.D. 1818), the relief of the 
 Apotheosis of Homer from the Palazzo Colonna (A.D. 1819), 
 the torso of the Richmond Venus (a.d. 1S21), the Leda and 
 the bronze Apollo from the Mimaut collection (A.D. 1S37), a 
 
 449 Burke and Chinnery, 1S12; 
 Edwards, 1815; Coghill about 1818; 
 Englefield (?) ; Dodwell, 1837; Bur- 
 gon, 1842; Millingen, 1847; Pem- 
 broke, 1848; Blayds and Hope (see 
 Cat., art. Deepdene), 1849; Bess- 
 borough (note 151), 1850; Borrell, 
 1852; Nott(?); Rogers, 1856; Fox, 
 i873- 
 
 4511 1842, — see note 172. 
 
 451 The Stowe Catalogue priced and 
 annotated by Henry Rwusey Forster, 
 London, 1848. 4to. 
 
 452 Aberdeen, — see § 67. Lord 
 Northampton’s vases have also, to the 
 best of my knowledge, come into the 
 British Museum by bequest. Cf. Cat. 
 of Vases Brit. Plus. no. 694. 
 
 Additions 
 
 to the 
 
 British 
 
 Museum. 
 
 Fellows. 
 
 Sir 
 
 Stratford 
 
 Canning. 
 
ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [92 
 
 168 
 
 fine Satyr from the Dresden Museum (A.D. 1838). At the 
 same time the list of donors, among whom were Kings 
 George IV. and William IV. (A.D. 1823, 1834), increased con- 
 siderably 453 . But it was not until after the year 1835 that im- 
 portant and homogeneous additions were made in the shape 
 of extensive purchases of GREEK PAINTED VASES, which had 
 within the preceding ten years been found in undreamt-of 
 numbers in Southern Etruria. The Durand and Canino 
 (A.D. 1836, 1837) sales in Paris offered plentiful material, and 
 the museum reached a culminating point on the important 
 acquisition of a hundred choice specimens from the collec- 
 tion of the widowed princess of Canino (A.D. 1843) 454 . 
 From this time forward the British Museum could stand 
 comparison in this department with the continental collec- 
 tions of vases at Paris, Berlin, or Munich. While these 
 vases had the effect of throwing a new light upon the lost 
 traditions of Greek painting, and opening up a copious in- 
 sight into the mythology and daily life of the race, the de- 
 partment of ancient sculpture was on its part remarkably 
 enriched by the results of the travels of Mr, afterwards 
 Sir, Charles Fellows (a.d. 1799— 1860) in Asia Minor 
 (A. D. 1S38 — 1S40) 455 . The semi-Greek mountain country 
 of Fycia in particular revealed an extraordinary wealth of 
 remarkable monyiments ; the capital, Xanthos, alone con- 
 tained a whole cycle of art history from the archaic epoch 
 to the time of the Roman Emperors. The directors of the 
 British Museum, among whom not only Hawkins, but also 
 W. R. Hamilton and Ford Northampton, trustees of the 
 institution, showed a keen interest, applied for a firman 
 
 453 Museum Marbles , XI. PI. 32 — 
 35, 40. Guide to the Bronze Room , 
 1871, p. 12. Graeco-Roman Sculpt. 
 no. 159. Of other donors 1 mention 
 W. R. Hamilton, 1821, 1840; A. E. 
 Impey, 1825; C. Standish, 1826; 
 J. T. Barber Beaumont and J. S. 
 Gaskoin, 1836; Lord Western, 1839. 
 Cf. notes 336, 339, 344. 
 
 454 J. de Witte, Description des 
 antiques de feu M. Durand, Paris, 
 
 1836. Descr. d'une collection de vases 
 peints provenant des fouilles de 
 V Etrurie, Paris, 1837. Notice d'une 
 collection de vases antiques prov. des 
 fouilles faites par feu M. le Prince de 
 Canino, Paris, 1843. 
 
 485 Fellows, A Journal 'written 
 during an excursion in Asia Minor, 
 London, 1839. An account of dis- 
 coveries in Lycia, London, 1841. 
 
92, 93] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 69 
 
 for removing these new treasures, and Fellows himself 
 conducted the undertaking. In the first months of the 
 year 1842 the majority of the discovered sculptures were 
 secured for the Museum. A second expedition followed 
 under the personal conduct of Fellows and completed the 
 acquisitions 456 . The Harpy Tomb, the vaulted tombs of 
 Pajava and Merehi (the ‘ Horse Tomb’ and the ‘Chimaera 
 Tomb’), and the extensive sculptures of the Nereid Monu- 
 ment (next to the Parthenon the most considerable con- 
 nected series of Greek sculptures which was at that time 
 known to be preserved), were the principal rewards of their 
 exertions. The Lycian marbles received a distinguished 
 completion in the shape of eleven slabs from the frieze of the 
 Mausoleum at Halicarnassus, which, after being walled up for 
 three centuries in the fortifications of Budrum, were pre- 
 sented in A. D. 1846 by the Sultan to the English ambas- 
 sador, Sir Stratford Canning, afterwards Lord 
 Stratford de Redcliffe, and then by him to the British 
 Museum 457 . Just as the Elgin and Phigalian marbles formed 
 noble memorials of the fifth century B.C., so the fourth 
 century B.C. was now suitably represented in the British 
 Museum by the sculptures of Asia Minor (not to speak of 
 the much more ancient Harpy Tomb); equally authentic 
 memorials of these great epochs of Greek art were possessed 
 by no other museum in Europe. 
 
 93. Archaeological interest during the next following Discoveries 
 years was essentially taken up by the great discoveries 
 made on the site of ancient Nineveh. England received 1 ' nIlan ' 
 her share of the spoil through the combined exertions of 
 Sir Stratford Canning, Mr., now SlR, A. H. LAYARD, and 
 afterwards of SIR HENRY Rawlinson, who at that time 
 was consul-general at Bagdad. Not long after another con- 
 sular official earned the thanks of the British Museum by 
 
 45,5 Fellows, The Xantluan Marbles, the Ionic Trophy Monument excavated 
 their acquisition and transmission to at Xanthus, London, 1848. 
 
 England, London, 1843. Account of 457 Mon. dell' Inst. v. PI. 18—21. 
 
170 ANCIENT MARBLES IN GREAT BRITAIN. [93 
 
 procuring for it an important addition in the department of 
 classical sculpture from Asia Minor. Here was a field, rich 
 in hidden beauties and more accessible to foreign treasure- 
 seekers than the kingdom of Greece, which after the con- 
 stitution of A.D. 1842 forbade the export of antiques. 
 CHARLES T. Newton, who had previously held an appoint- 
 ment in the British Museum, had filled since A.D. 1852 the 
 post of vice-consul in Mytilene, and had had abundant 
 opportunity of exploring the coasts of Asia Minor and 
 the neighbouring islands. In more than one place he 
 had already secured valuable acquisitions for the museum. 
 In the year 1855, while on one of his excursions, he 
 observed, introduced into the walls of the fort of Budrum, 
 a number of lions’ heads, which could only have come from 
 the Mausoleum. The following year Mr Newton again 
 stayed at this same spot and made up his mind to attempt 
 excavations on the field of this wonder of the world. He 
 was successful in obtaining the co-operation of the British 
 Museum and of the Government in the accomplishment of 
 his plans. The first stroke of the spade was made on the 
 1st of January, A.D. 1857, and by the spring of the year 
 1858 almost everything had been recovered that yet re- 
 mained accessible of the masterpieces of Skopas and his 
 colleagues. Further undertakings at and near Knidos, and 
 in Branchidae not far from Miletus, turned out no less 
 successful. These researches were carried on till the middle 
 of the year 1859, and no fewer than three hundred and 
 eighty -four chests were despatched by Newton to the 
 British Museum. Thus among many other treasures the 
 museum obtained, in the sitting figures and the lions of 
 the Sacred Way of Branchidae, splendid examples of ancient 
 Ionic art of the sixth century B.C.; in the lion of Knidos a 
 grand historical monument of the time of Conon ; in the 
 Demeter (also from Knidos) a masterpiece that may give us 
 an idea of the style of Praxiteles; and finally in the colossal 
 statues and relief- slabs from the Mausoleum the much- 
 
93 , 94] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 7 I 
 
 desired complement of the present of Lord Stratford de 
 Redcliffe. The architecture of the grand sepulchral monu- 
 ment was also represented by appropriate specimens 458 . 
 Newton was placed, A.D. 1861, at the head of the department 
 of Greek and Roman Antiquities in the museum, and imme- 
 diately afterwards the necessary funds were voted by the 
 trustees to enable the architect J. T. WOOD to institute exca- 
 vations in Ephesus. These were begun A.D. 1863, and led to 
 the discovery, six years later, of the site of the celebrated 
 temple of Artemis. Nearly five more years of hard labour 
 were required to bring the remains of the temple to light. 
 These too have been placed in the British Museum. Be- 
 sides the interesting architectural remains, the drums and 
 square bases of columns covered with reliefs deserve par- 
 ticular mention as furnishing us with additional evidence 
 of the state of Greek art in Asia Minor about the middle 
 
 of the fourth century B.C. 469 Almost at the same time (A.D. 
 1870) the Society of Dilettanti sent the architect R. P. 
 Pullan, whose abilities had already been proved at Hali- 
 carnassus, to Priene, that he might examine the sanctuary 
 of Athena Polias, dedicated by Alexander the Great, more 
 carefully than Chandler and his companions had been able 
 to do 46 °. With its traditional liberality the Society made 
 over the rich yield of architectural and sculptured fragments 
 to the National Museum, which was now in possession of 
 the most important art treasures of the chief towns of Asia 
 
 Minor except Pergamos 461 . 
 
 94. When returning from Halicarnassus (A.D. 1859) Sakmann 
 Newton had acquired in Rhodes the collection of ancient 
 
 458 Newton, A History of Dis- 
 coveries at Halicarnassus , Cnidus , and 
 Branchidae, London, 1862, 1863, 
 
 2 vols. and plates. Travels and Dis- 
 coveries in the Levant, London, 1865, 
 2 vols. In the year 1865 Newton had 
 the good luck to purchase at Genoa 
 a slab of the Mausoleum frieze {Mon. 
 hied, dell' Inst. v. PL 1 — 3); still 
 later some fragments in Rhodes ; also 
 an additional excavation on the spot 
 
 in the year 1865 yielded some further 
 addition. 
 
 45!) Wood, Discoveries at Ephesus , 
 London, 1877. 
 
 400 p u n an ’ s account of his dis- 
 coveries will appear in a forthcoming 
 publication of the Dilettanti Society. 3 
 
 461 A colossal torso from Pergamos, 
 unearthed by Capt. Spratt, is in the 
 museum. See Arch. Zeitung , 1863, 
 p. 72. 
 
172 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [94 
 
 Cesnola, 
 Smith and 
 Porcher. 
 Dennis, 
 Davis. 
 
 pottery which had shortly before been dug up by Messrs 
 SalzmAnn and Biliotti on the site of the town of 
 Kameiros. This acquisition was manifestly so important 
 for the pursuit of the study of the earlier development of 
 art, that the British Museum supported the further explora- 
 tions of the discoverers, and by the year 1865 a rich harvest 
 had been garnered. The gem of the number is a vase 
 painted in colours with fully developed art. Another very 
 remarkable specimen is a painted sarcophagus of terra 
 cotta 402 . From Cyprus, the most eastern of the Greek 
 islands, the museum received a sufficient series of sculp- 
 tures of the local school, which bear for the most part the 
 same character, and of which so vast a yield resulted from 
 the excavations carried on for many years by the American 
 consul, General CESNOLA 403 . Already during the Crimean 
 War there had been obtained from the museum at KERTSCH 
 a considerable number of sepulchral reliefs in a rude 
 provincial style of art 404 . Further booty was secured on 
 the north coast of Africa. The undertakings of R. M. 
 Smith and E. A. Porcher on the site of ancient Cyrene 
 (a.D. i860) furnished the museum with a respectable 
 number of sculptures, mostly of later date, and among 
 them a noble statue of Apollo 466 ; at the same time and 
 from the same place an attractive selection of terracottas 
 were obtained for the Louvre. All the more thankworthy 
 are the interesting discoveries of painted vases which we 
 owe to the zeal and skill of Messrs WERRY, CROWE and 
 DENNIS, who succeeded each other as consuls in Benghazi; 
 they have furnished most valuable contributions to the 
 history of vase-painting from the fourth century B.C., par- 
 
 4B2 Aug. Salzmann, Necropole de 
 Camiros. Journal des fouilles cxe- 
 cutees pendant les annees 1858 h 1865, 
 Paris, 1875. Newton in The Fine 
 Arts Quarterly Review, 1864, p. 1. 
 
 46:i Cesnola, General Louis Palma 
 di, Cyprus, its ancient cities, tombs, 
 and temples, London, 1877. The 
 Antiquities of Cyprus, discovered by 
 
 Cesnola, photogr. by Thompson from 
 a selection made by Newton. With an 
 Introduction by Sidney Colvin, Lon- 
 don, 1873, fol. 
 
 404 Macpherson, Duncan, Antiqui- 
 ties of Kertch, London, 1857, fol. 
 
 41:5 Smith and Porcher, History of 
 the recent Diseovei-ies at Cyrene, made 
 in 1860-61, London, 1864. 4to. 
 
94 . 95 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 73 
 
 ticularly in the specimens of the prize amphorae contended 
 for at the Panathenaic games, with their deliberate imita- 
 tion of an archaic style, and their exact dates indicated by 
 the names of the Attic Archons (a.D. 1866) 466 . Before this, 
 at the suggestion of the Government, G. Dennis had dug up 
 an important number of valuable vases in Sicily, together 
 with other smaller antiquities, which Earl Russell, who was 
 then (A.D. 1863) Secretary of State for Foreign Affairs, 
 assigned to the British Museum 467 . Finally the museum 
 received the results of the excavations which Dr Nathan 
 DAVIS had set going on the sites of ancient Carthage and 
 PItica during the years preceding i860; these belong princi- 
 pally to the later Roman times 468 . We have thus made it 
 clear with what remarkable energy and consistency the 
 British Museum undertook and discharged the task of bring- 
 ing to light over the entire range of Graeco-Roman civiliza- 
 tion, as far as it could be made accessible to the British spirit 
 of enterprise, the treasures of art so long hidden in the bosom 
 of the earth and of exhibiting them for study and inspection 
 in the halls and basements of the national institution. 
 
 95. In conjunction with these acquisitions, chiefly the 
 results of special enterprise, we must mention the additions 
 which were made to the museum by judicious use of other 
 sources, particularly the sales of older collections. Not to 
 speak of less important purchases, which were made every 
 year, we notice the acquisition in A.D. 1856 of a collection 
 of Sardinian antiquities, articles of jewellery, terra cotta, 
 and glass, all of marked provincial style 469 . Again in A.D. 
 1864 most of those among the FARNESE marbles which 
 had not been carried to Naples eighty years before, but 
 had remained in the Farnese Palace at Rome, were pur- 
 chased from the ex-king of Naples. Of these an eques- 
 
 466 Dennis, Transact. R. Soc. Lit. 1856 by W. J. Smith, Esq. 
 
 IX. N.S. Catal. of Rases Brit. AIus. 467 Guide to the First Vase Room, 
 
 11. pp. 249 — 295. A number of vases Brit. A/us., 1871, p. 29. 
 
 from the Cyrenaica had already, A.D. 4S8 Davis, Carthage and her Re- 
 
 1852, been presented by Dr Tomlin- mains, London, 1861. 
 
 son, Bishop of Gibraltar, and in A.D. 46U Arch. Anzeiger, 1856, p. 271. 
 
 Purchases 
 
 of Farnese, 
 
 Pourtales, 
 
 B/acas, 
 
 Castellani 
 
 collections, 
 
 &c. 
 
174 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [95 
 
 trian statue with the head of Caligula, a very beautiful 
 Hermes, and the celebrated Farnese Diadumenos are the 
 most important specimens, and form a noticeable com- 
 plement to the section of Graeco-Roman sculpture 470 . The 
 following year (A.D. 1865) were added an excellent slab of 
 the Mausoleum frieze from a private collection at Genoa 471 , 
 and a very fine selection from the choice collection of Count 
 POURTALES-GORGIER, which was put up to auction in Paris 
 and competed for by all the large museums of Europe. It 
 will be sufficient to make special mention, among the 
 marbles, of the head of the Giustiniani Apollo, and also 
 to point out the fine bronzes and vases which fell to the 
 share of the museum 472 . In the year 1866 a still more 
 important purchase was made : this was the entire cabinet 
 of the Duke of Blacas, formed by two collectors of 
 artistic tastes, father and son. The cabinet was poor, it is 
 true, in sculptures, but so much the richer in bronzes, vases, 
 and terracottas, and above all in engraved gems. Of 
 the last alone there were seven hundred and forty-eight 
 genuine antique examples, among them far-famed and 
 splendid specimens from the Strozzi collection 473 . About the 
 same time (A.D. 1865) the museum made its first large pur- 
 chase, consisting principally of Greek and Etruscan bronzes, 
 from the Roman dealer in antiquities, ALESSANDRO CAS- 
 TELLANI 474 ; this purchase was followed in A.D. 1873 by a 
 second far more extensive and important. Among the great 
 number and variety of excellent works of art (bronzes, vases, 
 terracottas, marbles, etc.), we need only notice specially 
 the female bronze head, larger than life, from Armenia, 
 the small bronze relief of a man in a sitting posture from 
 Tarentum, the marble head of Hera from Girgenti, and the 
 wonderfully well-preserved sarcophagus in painted terra 
 
 470 Graeco-Roman Sculptures, nos. Collection of Antiquities, 1867. Ed- 
 33, 45, 109, 111, 132, 134, 1 7 1 . wards, Lives of the Founders, II. 
 
 474 See note 458. pp. 689 — 692. The purchase money 
 
 472 Arch. Anz. 1866, p. 179, note amounted to At°.ooo. 
 
 38, pp. 243—245. 474 Arch. Anzeiger, 1866, p. 245. 
 
 472 Newton, Guide to the Blacas 
 
95 , 96] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 7 5 
 
 cotta from Cervetri ; these will suffice to show the unusual 
 importance of the purchase 475 . Before this, considerable 
 acquisitions of smaller antiquities, especially of bronzes, 
 had been made from the PULSZKY and HERTZ collections 478 . 
 At the same time the department of coins had been enlarged 
 by rich additions, for example, by the gift of E. Wigan’s 
 collection (a.d. 1864), and by the Bank of England Cabinet 
 of coins and medals (a.d. 1865). No other museum in 
 Europe can boast such a succession of important additions, 
 following so quickly one upon the other. No other 
 museum would have been able to show year after year such 
 an uninterrupted series of presents, comprising sometimes 
 single specimens, often whole collections, but ever bearing 
 witness to the lively interest felt on all hands in the national 
 institution 477 . This interest was continually kept alive 
 through the liberality with which both every section of the 
 museum was thrown open to gratify the public passion for 
 sight-seeing, and every opportunity given to specialists 
 for study in their respective departments. 
 
 96. Private individuals could make no stand in com- 
 parison with the concentrated energy of the public museum. 
 The activity of the SOCIETY OF DILETTANTI relaxed; 
 though, when exerted, it proved worthy of the good old 
 traditions of the past century. The society supported 
 F. C. Penrose in his exhaustive researches on the most 
 beautiful buildings of Athens; it caused Cockerell to pub- 
 lish in a connected form his admirable observations on the 
 
 475 The Castellan i Collection , pho- 
 tographed by S. Thompson from a 
 selection made by C. T. Newton , 
 London, 1873. Murray, A. S., Aca- 
 demy, 1873, p. 166. lllnstr. London 
 Neivs , 1873, Nov. 02. The acquisition 
 of a new collection of Castellani’s 
 ( lllnstr . London News, 1876, March 4) 
 was declined by the trustees, but 
 individual purchases have since been 
 made from the same source. 
 
 47!i Pulszky, 1856, see Arch. Anz. 
 1856, p. 271. Hertz, 1859, see note 
 489. 
 
 477 To give only a few examples, the 
 department of sculpture alone exhibits 
 the following names of donors : Hud- 
 son Gurney, a.d. 1843; Smith Barry, 
 1850; J. Scott Tucker, 1851; W. P. 
 Williams Freeman, 1854 : S. Cham- 
 bers Hall, 1855 ; Society of Dilettanti, 
 1870; Greviiie Chester, 1872; T. A. 
 B. Spratt. In the department of vases 
 the bequest of Miss Auldjo, A. D. 1 859, 
 deserves to be specially mentioned. 
 In that of bronzes the donation of 
 Mr Chambers Hall, A.D. 1855. Cf. 
 besides § 91 ad fin., and note 453. 
 
 Private 
 collectors 
 of marbles, 
 Lord 
 Lonsdale, 
 Cook, Lrc. 
 
176 ANCIENT MARBLES IN GREAT BRITAIN. 
 
 [96 
 
 temples of Aegina and Bassae; it sent R. P. Pullan on that 
 expedition to Priene, the material results of which, as far 
 as they consisted of marble remains, were, as has been 
 narrated above, handed over to the British Museum 478 . 
 Individual members seldom became collectors, as used 
 formerly to be the case ; though as exceptions to this rule 
 we must mention the Duke of Hamilton and Lord de 
 Mauley (a.d. 1787 — 1855), a grandson of the Lord Bess- 
 borough who has been previously spoken of 179 . We find 
 the former among the purchasers at the auction of the 
 Stowe collection (a.d. 1848), where he obtained three 
 splendid statues 480 . The catalogue of this sale shows 
 plainly how few regular collectors there were then in Eng- 
 land, for most of the specimens went singly to this and 
 that buyer, who were apparently mere ordinary amateurs 
 rather than collectors properly so called. Conspicuous 
 among purchasers of marbles were Lady GLAMIS, who 
 bought a considerable number of busts 481 , and WlLLI AM, 
 second Earl of Lonsdale (a.d. 1787 — 1 868). This 
 nobleman is one of the very few who take an important 
 position among the Epigoni of Dilettantism. Besides 
 the Stowe auction he zealously availed himself of other 
 similar opportunities for bringing together a collection 
 remarkable for the number and in some instances for the 
 value of its specimens. In the year 1866 Lord Lonsdale 
 
 478 Penrose, Two Letters from 
 Athens , 1846. Investigation of the 
 Principles of Athenian Architecture, 
 London, 1851. Cockerell’s work 
 (note 341) appeared A. n. i860. It 
 was furnished with a dissertation 
 by W. W. Lloyd on the propor- 
 tions of the Greek temple. Pullan’s 
 work is in preparation. See note 
 460. 
 
 478 Waagen, Treasures, 1. p. 37, 
 mentions Lord de Mauley, fellow of 
 the Society from a.d. 1821, as a col- 
 lector. The finest specimen in his 
 possession was the beautiful tragic 
 female head from Ostia, which his 
 younger son, the Hon. Ashley G. J. 
 Ponsonby, has exhibited for a long 
 
 time in the South Kensington Museum 
 (see Cat., art. London). 
 
 480 See Cat., art. Hamilton Pa- 
 lace. In the year 1803 Alexander, 
 tenth Duke (d. A.D. 1852), and in 
 1833, William, Marquis of Douglas, 
 later eleventh Duke of Hamilton (d. 
 a.d. 1863), joined the Dilettanti. 
 
 481 As to the subsequent fate of 
 this collection I am not able to speak. 
 Among other purchasers of marbles 
 I make special mention of H.M. 
 Queen Victoria (see ‘Osborne’), the 
 British Museum, Lord Nugent (a con- 
 nection of the ducal family of Buck- 
 ingham), W. Wakeford Attree, P. 
 Norton, Mark Philipps, A. Robertson, 
 See. 
 
r> 6 , 97] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 77 
 
 added to his magnificent seat of Lowther Castle two 
 splendid galleries, which formed a worthy resting-place 
 for the antiques that had wandered so much and been 
 collected from so many sources. The most beautiful 
 specimens among them are a replica of the Knidian 
 Aphrodite from Stowe, and that fragment of an Athenian 
 sepulchral stele which Lord Guilford had once brought 
 home from Attica 482 . In still more recent years Mr 
 Francis Cook has formed a collection at Richmond, 
 independently of another which he possesses in Portugal 4 " 3 . 
 
 The Richmond collection was formed from purchases in 
 Italy, France, and England, partly from older collections 
 and at sales, partly from the results of the latest excava- 
 tions, so that the cabinet, though not large, is various, and 
 contains, besides single marbles worthy of remark, some 
 noticeable bronzes and gems 484 . Admiral T. A. SPRATT, 
 of Tunbridge Wells, possesses a few marbles, the fruit of 
 personal travels in Greece, and has moreover by repeated 
 presents earned the gratitude of the British Museum 485 . A 
 number of sculptures from Asia Minor, belonging to Mr 
 GEORGE McLeay, are deposited in the South Kensington 
 Museum during his residence in India 488 . 
 
 97. Besides the marbles many bronzes were put up Collectors 
 at the Stowe auctions, among the purchasers of which ‘’antiques. 
 B. Hertz is particularly conspicuous. For many years ^f a ^' r 
 he had been a zealous collector of smaller antiquities, not Forman, 
 
 Auldjo, 
 
 only Greek and Roman, but also Oriental and American. &°c. 
 
 His collection, which was begun soon after A. D. 1830, and of 
 which a catalogue appeared in A. D. 1851 487 , was particularly 
 rich in engraved gems, containing more than seventeen 
 
 482 See Cat., art. Lowther. 
 
 483 Archaeol. Zeitung , 1868, p. 84. 
 
 484 See Cat., art. Richmond. 
 
 485 See Cat., art. Tunbridge 
 Wells. Cf. notes 461, 477. 
 
 486 See Cat., art. London, South 
 Kensington Museum. 
 
 487 Catalogue of the Collection of 
 Assyrian, Babylonian, Egyptian, 
 Greek, Etruscan, Roman, Indian, 
 Peruvian and Mexican Antiquities, 
 formed by B. Hertz, London, 1851, 4to. 
 Cf. Archaeol. Anz. 1851, pp. 91 — 96, 
 107 — 1 20. 
 
 M. C. 
 
 I 2 
 
178 ANCIENT MARBLES IN GREAT BRITAIN. [97 
 
 hundred specimens of Greek, Etruscan, or Roman origin ; 
 next to them we must mention the bronzes and the articles 
 in ivory, glass, etc.; while other classes of monuments, such 
 as sculptures and vases, were less numerously represented. 
 At that time however Hertz had by no means completed 
 his collection. It was constantly receiving fresh additions, 
 particularly of gems 488 , till in the year 1856 he made it all 
 over for twelve thousand pounds to an association of Liver- 
 pool merchants, at the head of which stood the wealthy 
 silversmith, JOS. MAYER. It was the intention of the pur- 
 chasers to present the complete cabinet to their native 
 city, but either differences of opinion, or the unfavourable 
 circumstances of the times, led to a dissolution of the 
 Society two years later. The collection was put up to 
 auction in London (a.D. 1859) 489 , and scattered far and 
 wide. Among the buyers were the British Museum and 
 some private collectors, Forman, Fortnum, Rhodes, and 
 others ; very little was bought in by Mayer himself. He 
 was, however, already the owner of a very extensive col- 
 lection, of which classic antiquities formed the least im- 
 portant ingredient. Its great feature was a remarkable 
 series of ivories, which originated from the famous Fejervary 
 collection, and which had been sold to Mayer by Franz 
 Pulszky 4 ''’ 0 . All this rich museum, which was said to have 
 cost him eighty thousand pounds, the excellent man, who 
 has been compared to the Fuggers at Augsburg or to the 
 Medici, bequeathed to his native town as the founda- 
 tion of a public collection. LORD CADOGAN (a.D. 1783 — 
 1864) and Lord Londesborough (a.d. 1805 — 1860) were 
 
 488 Arch. Anz. 1854, pp. 432, 433. 
 At the Rogers sale, too (1856, April 
 and May), Hertz was a principal 
 purchaser. 
 
 48i! Ih. 1856, p. 271. I am 
 indebted for several details to a 
 verbal communication from a sure 
 source. Catalogue of the celebrated 
 and well-known Collection of Anti- 
 quities, formed by B. Hertz , now the 
 
 property of Joseph Mayer, Esq., oj 
 Liverpool ; which will be sold by auc- 
 tion, February, 1859. (It is in 
 essentials the older catalogue.) 
 
 490 Pulszky, Catalogue of the 
 Fejervary Ivories in the Museum of 
 Jos. Mayer. Liverpool, 1856. Arch. 
 Anz. 1856, p. 271. Cf. 1854, PP- 43 2 ' 
 472. See Cat., art. Liverpool. 
 
97 . 9 8 ] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 79 
 
 collecting bronzes and gold ornaments 401 about the same 
 time. Mr H. FORMAN in London was also a zealous col- 
 lector of objects in bronze and glass, and other minor 
 antiquities, as well as of painted vases; he availed himself 
 with great skill of the Rogers and Hertz sales, and of other 
 opportunities of the antiquarian market 492 . The collection 
 of Mr C. D. E. Fortnum at Stanmore Hill was formed 
 from similar sources, and is rich in bronzes and particularly 
 in rings 493 . Mr Auldjo’s ruling passion was for painted 
 vases, and his collection afterwards fell to the share of the 
 British Museum. One of its principal ornaments, “ the 
 Auldjo vase,” is a glass vessel with reliefs, something like 
 the Portland vase 404 . But it would be labour spent in vain 
 to try to enumerate the numberless collections of smaller 
 objects. As has been well remarked by an observer who 
 for a long time had opportunities of closely watching the 
 course of art matters in England, “ The numerous travellers 
 in Italy, Greece, and Asia Minor constantly bring home 
 such objects as mementos, but they do not form large 
 collections, and the next generation sells them to art- 
 dealers and jewellers 405 .” 
 
 98. “The next generation” — these words precisely hit Penis of 
 the danger which is inseparable from private collections. 
 
 At the beginning of the seventeenth century the stream 
 of classical dilettantism had poured into England for the 
 first time, issuing from a single rich source, and in strength 
 sufficient to bear down powerful hindrances that opposed 
 it. During the last century this stream flowed through the 
 whole country, carrying beauty and fertility everywhere. 
 
 Its main current, to pursue the metaphor, has now been 
 turned aside into another bed, and its diverging branches 
 trickle in rivulets unobserved, till they are finally lost in 
 
 491 Arch. Anz. 1854, p. 433, 1856, 
 p. 27 r, where also other collectors and 
 traders in objects of art are mentioned. 
 Cf. note 242. 
 
 482 See Cat., art. Pippbrook House. 
 
 483 See Cat., art. Stanmore Hill. 
 
 484 Waagen, Treasures , 1. p. 37. 
 Cf. note 477. 
 
 495 Pulszky, Archaeol. Anz. 1854, 
 P- 434 - 
 
Evils of 
 
 private 
 
 collections. 
 
 l8o ANCIENT MARBLES IN GREAT BRITAIN. [98, 99 
 
 the sand, or leave only puddles of stagnant water to be 
 seen. Any one who observes the collections at country 
 houses with unprejudiced eyes, cannot fail to notice on how 
 few of them the glance of the present possessor rests with 
 real affection, and how different are his feelings to those 
 of the amateurs who collected them. In one house the 
 marbles stand in dark rooms like warehouses; in another 
 they are perishing in a damp summer-house ; in a third 
 they lie about disorderly in the corners; many collections 
 cannot be found at all. Let the stranger ask for “ the 
 sculptures,” a sound which would have been familiar 
 enough in the last century ; too frequently he will receive 
 from the housekeeper, who is acting as cicerone, the counter 
 question : '‘What are sculptures ? I do not understand you;” 
 or perhaps the slighting answer: “O yes! there are some 
 marbles of the kind.” Is it an unfair inference to think we 
 may detect in this an echo, perhaps exaggerated and dis- 
 torted, of the small appreciation which the owner himself 
 feels for such things ? Without much alteration we might 
 apply to the modern public of Great Britain the words 
 once spoken by Horace of the Greeks, and say : 
 
 Marmoris ant eboris fabros ant aeris amavit ; 
 
 Suspendit picta voltum mentemque tabella. 
 
 Nunc tibicinibus gaudet gaudetque tragoedis, 
 
 Nunc athletarum studiis, nunc ardet equorum. 
 
 The safety of the costly collections seems endangered in 
 such an altered state of feeling, for every death, every 
 change whether in the person or the taste of the possessor, 
 makes them the sport of blind chance, as has so often been 
 proved by experience, and much oftener in the later than 
 in the earlier years of this century. The treasures can only 
 be quite safely secured from such dangers by being placed 
 in the shelter of a public institution. 
 
 99. A second point of view is here presented to us. 
 It lies in the very essence of art that its works are not 
 created for the enjoyment of a few chosen spirits alone, 
 
99] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 8 I 
 
 but have a wider and higher mission of culture, to exer- 
 cise a refining and ennobling influence on the public at 
 large. The owners of art collections have but seldom 
 shrunk from the duty such possessions involve; we need 
 only remember the museums and galleries of Rome. 
 The institution of certain “show days” on which the 
 public are marched in troops at double quick time past 
 the works of art, and the kindness of the owners in 
 granting permission for more intimate inspection to a 
 select few who wish to devote special study to the sub- 
 ject, are both in their way deserving of our thanks; 
 yet they very inadequately redeem the debt which is in- 
 curred by the mere ownership of such noble collections. 
 This unfortunate state of things is felt all the more in 
 England, because here the collections are not, as in Rome, 
 Paris, and most other countries, kept in the town-houses 
 of the noble and wealthy (Lansdowne House is quite a 
 rare exception), but, removed from the smoky, foggy atmo- 
 sphere of the capital, are scattered through the land to 
 adorn its charming country-homes. Who would blame the 
 possessors for this ? The same plan was followed in ancient 
 Rome, and villas were in the same way honoured above 
 town residences. But there too this condition of things 
 was felt to be an evil. We are told of the grave Agrippa, 
 the greatest statesman of the Augustan age, that in a 
 brilliant speech, worthy of Rome’s foremost citizen, he urged 
 that all paintings and statues should be handed over to the 
 State, as a far fitter course than that they should remain 
 banished in country villas 196 . If only some influential 
 politician, endowed with the eloquence of a Brougham, 
 would take upon himself the same task in England ! lie 
 might point to the lofty duties which art-ownership brings 
 with it; to the dangers which threaten private property; 
 to the small sacrifice which would be entailed on many 
 owners if they would forego in favour of the community 
 « 6 Plin. Nat. Hist. xxxv. 26 . 
 
182 
 
 ANCIENT MARBLES IN GREAT BRITAIN. [99, IOO 
 
 Passing of 
 private 
 collections 
 into public 
 museums. 
 
 their private rights in possessions which they regard, 
 like other antiquated house-furniture, rather as cumbersome 
 heirlooms and survivals of an obsolete fashion than as a 
 source of real artistic pleasure. It will of course be under- 
 stood that what has been said does not apply to all col- 
 lections. For example it would be a matter for regret if 
 the well-lighted sculpture-gallery in Woburn Abbey, the 
 Pantheon in Ince Blundell Hall, the noble hall at Deepdene 
 with its surrounding galleries, the cloister at Wilton House, 
 or the niches in the saloons of Holkham Hall and Lans- 
 downe House, were to be shorn of their beautiful marbles; nor 
 should we like to think of the comfortable rooms of Newby 
 Hall without the attraction for the eye which is supplied 
 by their antiques. But there are many other collections 
 not placed amid such favourable surroundings ; and the 
 guardians of such treasures should above all things think 
 betimes of the duty entailed upon them. Very forcibly 
 is this duty brought home to us in Horace Walpole’s 
 melancholy observation, which we must cite once more, 
 “how insecure is the permanency of heirlooms !” 
 
 100. We need not recapitulate here the long roll of 
 names, increasing every year, which is inscribed in the 
 book of benefactors at the various public museums. No- 
 thing appears more striking and imposing to the stranger 
 who visits the British Isles for the first time, than the 
 number of public institutions of every kind, schools, hos- 
 pitals, etc., which on the continent would be established 
 and supported by the State or by the community, but 
 in England owe their existence to the energetic help and 
 cheerful self-sacrifice of well-to-do private individuals. 
 In the same way the antique collections at Oxford and 
 Cambridge, Liverpool and Edinburgh have arisen and 
 flourished. The bequest of a single collector, in conjunc- 
 tion with a parliamentary grant, was the origin of the 
 British Museum. The State has ever since liberally de- 
 voted regular as well as extraordinary subsidies to this 
 
loo] BRITISH MUSEUM AND PRIVATE COLLECTIONS. 1 83 
 
 grand national institution. With signal success it has re- 
 commended its diplomatic representatives in classic lands 
 to keep the interests of the British Museum ever before 
 their eyes, and it has liberally supported their researches. 
 Not unfrequently officials have been chosen with special 
 regard to their capacity for such work. Finally, the State 
 has taken care that the management of the great institu- 
 tion should only be entrusted to the most capable hands. 
 At the same time the zeal of private individuals has al- 
 ways kept pace with the fostering care of the Government. 
 Legacies and presents, generosity in every form, play a 
 large part in the history of the museum. It might be 
 thought that since the State is so active in the matter, the 
 help of private individuals would be less necessary to this 
 institution. As to this we may draw attention, by way 
 of example, to one point which bears directly upon the 
 subject of this work. The directors of the museum give 
 the preference, quite naturally and with perfect right, to 
 the original Greek sculptures of the most flourishing periods 
 of art, which came into the possession of the museum more 
 than sixty years ago, and the number of which has been 
 ever since increasing. But perhaps in thus acting they 
 somewhat neglect the less favoured epochs of antique art. 
 This is especially true of the after-bloom of Greek art, 
 which is still so rich in invention, and which fills up the 
 centuries of the Hellenistic or Alexandrian era, and lays 
 the foundation for the development of Roman art. It is 
 no less true of the imitative as well as of the national art 
 of Rome herself, which includes many copies or variations 
 of older works, the originals of which are lost to us. These 
 are works of second or third rank, but cannot be dispensed 
 with for filling in and correcting our survey of the de- 
 velopment of ancient sculpture. The treasures hoarded in 
 the private collections of Great Britain would precisely 
 fill this gap, and would make up for the reserve exhibited 
 by the directors of the National Museum as to the acqui- 
 
184 ANCIENT MARBLES IN GREAT BRITAIN. [lOO 
 
 sition of copies and minor works. For all the marbles 
 contained in private galleries belong, with unimportant 
 exceptions, to this class of Graeco-Roman sculpture. May 
 a noble emulation on the part of individuals make ever 
 greater and greater efforts to remedy such defects as still 
 exist in the public collection, so that the latter may, out 
 of its own means, continue to pursue the highest aims 
 exclusively, and acquire nothing but the genuine master- 
 pieces and corner-stones of Greek art ! The author of the 
 present work would desire nothing better than that the 
 following Catalogue should soon be pronounced out of 
 date, and should only remain as a kind of sepulchral 
 monument of the private galleries of antiques in Great 
 Britain ; that a great part of the collections it enumerates 
 here should vanish from its lists, while the names of 
 their owners should be inscribed in letters of gold on the 
 roll of donors to the British Museum. 
 
APPENDIX. 
 
 LETTERS OF SIR THOMAS ROE. 
 
 Extracts from 
 
 “The Negotiations of Sir Thomas Roe, in his Embassy to the 
 Ottoman Porte, from the year 1621 to 1628 Inclusive.” 
 London, 1740, fob 
 
 i (p. 16). 
 
 Copy to my Lord of Arundel, Earl Marshal. 
 
 My Lord , 
 
 I receiued your lordships letter in the Downes; and though 
 my imployment bee the other end of the circle, to attend new 
 things ; yet myne owne inclynation is curious enough, to my 
 meanes, to look back upon antiquity, and some learnings lost and 
 decayed, rather, as I think, ex industria , then by the moth of 
 tyme; in which opinion the little examination I haue made in 
 these parts, confirms me hereby I find no difficulty in pro- 
 curing such reliques, if I could discouer them But now 1 
 
 desire only to giue your lordship an accompt of the care I haue of 
 your lordships commands. I moued our consul, Richard Milward 
 at Scio, whom I found prepared and ready. Wee conferred about 
 the maid of Smirna, which he cannott yet obteyne, without an 
 especiall command. I brought with mee from Messina, the bishop 
 of Andre, one of the islands of the Arches, a man of good learn- 
 ing, and great experience in these parts. Hee assured mee, That 
 the search after old and good authors was vtterly vaine Con- 
 
 cerning antiquities in marbles, there are many in diuers parts, but 
 especially at Delphos [Delos], vnesteemed here ; and, I doubt not, 
 easy to be procured for the charge of digging and fetching, which 
 must be purposely vndertaken. It is supposed, that many statues 
 are buried, to secure them from the enuy of the Turks; and that, 
 if leaue obteyned, would come to light, which I will endeauour as 
 soone as I am warme here. Coynes wilbe had from Jewes, but 
 
APPENDIX. 
 
 1 86 
 
 very deare when enquired for. Two are giuen me by Dominico 
 to present to your lordship, which I haue deliuered Antony Wood, 
 captain of the Rainbow; the one gold, is of Alexander; the other 
 is brasse, and very antient, of a queen of Seruia, with hierogly- 
 phicks now unknowne. I haue also a stone taken out of the old 
 pallace of Priam in Troy, cutt in horned shape; but because I 
 neither can tell of what it is, nor hath it any other bewty, but 
 only the antiquity and truth of being a peece of that ruined and 
 famous building, I will not presume to send it you; yet I haue 
 deliuered it to the same messenger, that your lordship may see it, 
 
 and throw it away I am a louer of those vertues which haue 
 
 made mee Your Lordship’s Seruant. 
 
 Constantinople, 27 Jan. 1621 [1622]. 
 
 2 (P- 154 )- 
 
 Extract of a Letter to my Lord u/'Arundell. 
 
 My Lord, 
 
 Constant. T ~ Maij, 1623. 
 
 I haue receaued from your lordship two fauours, in that you 
 please to command mee any seruice: and though these tumultu- 
 ous tymes hinder mee from an exact performance, and such as 
 might giue your lordship full assurance of my readyness; yett I 
 
 doubt not you will accept of what you can The command you 
 
 required for the Greek to be sent into Morea, I haue solicited two 
 viziers, one after the other; but they both reiected mee, and gaue 
 answere, That it was no tyme to graunt such priuil edges 
 
 Neare to the port they haue not so great doubt, and therefore 
 I haue preuailed for another, sent Mr. Markham, assisted with a 
 letter from the capten bassa, whose jurisdiction extends to all the 
 
 islands and seaports hee hath so good experience in this 
 
 cuntry, that he knowes how to make vse of it I beseech your 
 
 lordship... to beleeue, that it was very difficult to procure so much; 
 and I hope the effects thereof will content you. 
 
 Antiquities in gold and siluer, of the antient Greeks, from 
 Alexander downward, and many Romans more antient, are here 
 to be gathered; butt so deare, by reason the last French ambas- 
 sador made great search, and some Italians are ready to buy, 
 that I know not whether your lordship will esteeme them at such 
 rates. The meddels of gold, or olde quoyne, if they bee faire, and 
 the inscriptions ledgible, are held at twice and thrice the waight. 
 
EXTRACTS FROM ROE’S LETTERS. 
 
 18; 
 
 Some, for curiosity, I haue bought, with others pretended to be 
 ZEgiptian, Armenian, and Arabian: but my skill is not great, I 
 iudge only by the eye; these shall serue your lordship, if you like 
 them. 
 
 I may also light of some pieces of marble by stealth; as now 
 I am offered a lyon to the wast, of pure white, holding a bulls 
 head in his clawes; butt the very nose and mouth is defaced, the 
 rest very faire, and, they say, a V antique: I haue not yett seene 
 it, but expect it howrely, if the shipp meet it not: it was taken vp 
 at Lampsacum in Natolia. On Asia side, about Troy, Zizicum, 
 and all the way to Aleppo, are innumerable pillers, statues, and 
 tombstones of marble, with inscriptions in Greeke : these may be 
 fetcht at charge and secrettly; butt yf wee ask leaue, it cannot be 
 obteyned; therefore Mr. Markham will vse discretion, rather then 
 power, and so the Turks will bring them for their proffitt. 
 
 I know the worth of Mr. Markham, now our consull, soe well, 
 that I should wrong my selfe, if in all things I gaue him not his 
 due 
 
 3 (P- 3 1 9» 3 20 )- 
 
 To my Lord Archbishop (?/ Canterbury. 
 
 [p. 320]. ..I heare your grace hath written by one Mr. 
 
 Petty, that is arriued at Smirna, ymployed by my lord of Aru 11- 
 dell to buy books and antiquities. Hee will find, that barbarisme 
 hath worne out all the footstepps of ciuility and learning; yett 
 manuscripts are plenty, old Greeke books, that are litle worth; 
 they haue bene cerned ouer by many of good iudgment, and I 
 think the gleanings are uery poore. When hee comes, I will pre- 
 sent and assist him 
 
 Constantinople, 3L Dec. 1624. 
 
 4 (P- 343> 344)- 
 To the Duke of Buckingham. 
 
 The antiquities which I conceiue your grace doth desire, 
 
 (for curiosity in newe arts there is none here) are either columns 
 or statues in stone, or bookes, or ancient coynes, or medalls. I 
 confesse my ignorance in choosing or knowing any of these; yett, 
 for the reuerence I beare to them, either as lights or reliques of 
 antient learning, or noble sciences, I haue a litle endeauored to 
 search, and enforme my selfe. Butt I haue found, the spight or 
 
APPENDIX. 
 
 I8S 
 
 sordidness of barbarisme hath trode-out all the stepps of ciuility, 
 or, like rust, destroyed them. For columnes, the building of so 
 many Mahometan moschyes hath many enquiry euen into the 
 rubbish of all old monuments, and into the bowells of the earth; 
 so that there is litle to bee hoped for by industry, if chance assist 
 not. Statues, or figures of beasts, because they are forbiden in 
 their lawe, are either defaced on purpose by them, or sought for 
 by others, and conueyed away, so they are become very rare. 
 One of that kinde I heard of, beeing a halfe lyon of white marble, 
 holding the head of a bull in the pawes, the neck renuersed. I 
 sent for it a great way, to Lamsacum in Asia, vpon report; and 
 when it arriued, it had no grace in my eyes; for the face was 
 broken off: the rest makes a showe of art, but beyond my capa- 
 city; for when the principall part was defaced, I thought it not 
 worthy any estimation. I did dessigne it for your grace, but haue 
 kept it two yeares, as not worth the portage, except there bee any 
 
 mistery in these things, that I vnder [p. 344] stand not Medalls 
 
 and coynes in gold and siluer, of the antient Greeke kings and 
 emperours, Armenians and Romans, by chaunce I light vpon: of 
 those I will gather all that haue either bewty or antiquity ; and 
 these, and all, and all I can performe or finde, are freely presented 
 to your grace. Whatsoeuer I can collect, hauing now your graces 
 command, added to rnyne owne desire, shall not goe out of the 
 way to Venice: I knowe as well howe to send them, and haue as 
 much affection to serue your grace, as any man liuing. I expect 
 daily here the comming of one Mr. Petty, recommended by my 
 lord of Arundell, I think, to the same vses. It seemes, that gen- 
 tleman is better praticque, and may informe my judgment. With 
 his ayd, I doubt not to giue your grace satisfaction, either in 
 effects, or in industry: and I hope I am now fallen into a good 
 way by the help of the patriarch of this citty, who hath enformed 
 mee of a small, despised, vninhabited island, in the Arches, a 
 place antiently esteemed sacred, the buriall of all the Greekes, as 
 yett vnbroken vpp; where, hee tells mee, are like to bee found 
 many rare things. Your grace may please to giue order to some 
 shipping, that comes for this place, (if in the rneane tyme I can 
 procure none) to take directions of mee, and a guide from hence, 
 and to anchor there 5 or 6 dayes, to search it; where they may 
 take, without trouble or prohibition, whatsoeuer they please, if 
 any man of judgment to make the choyce. Hee hath also assured 
 mee, that Alexandria, which was once the retraict and delicicc 
 
EXTRACTS FROM ROE’S LETTERS. 
 
 189 
 
 Romanorum, bath yett about it more rare peeces, then any part 
 within the Leuant seas; whereof, when hee was patriarch there, 
 he discouered many; and, among others, a statue of a Negro, of 
 black marble, taken vpp whole, butt by accident a thigh broken, 
 the forehead inlayd with a work of gold ; which hee hath promised 
 to procure mee, and sayes it is one of the most bewtifull figures 
 and stone in the world, and that hee will write thither to recouer 
 whatsoeuer can be gotten 
 
 Constantinople, 24 January, 1624 [1625]. 
 
 5 (p. 386, 387). 
 
 To the Duke of Buckingham. 
 
 May it please your Grace , 
 
 By conference with Mr. Petty, sent hither by my lord of Arun- 
 dell, I haue somewhat bettered my sckill, in such figures as your 
 grace hath commanded mee to seeke ; at least, hee hath made 
 mee more assured, to venture vpon some things, which I should 
 of my selfe haue little esteemed, for the defacings, either by age, 
 or accident; if I committ any great error, I must excuse my selfe 
 vpon him, on whose judgement I relye; yet I will, as neare as I 
 can, reguard the bewtye, which takes the eye, and that the princi- 
 pal! parts bee not too much disgraced. 
 
 Wee haue searched all this cyttye, and found nothing but 
 vpon one gate, called antiently Porta Aurea, built by Constantine, 
 bewtifyed with two mighty pillars, and vpon the sides and ouer yt, 
 twelue tables of fine marble, cutt into historyes, some of a very 
 great releuo, sett into the wall, with small pillars, as supporters. 
 Most of the figures are equall, some aboue the life, some less. 
 They are, in my eye, extreamly decayed ; but Mr. Petty doth so 
 prayse them, as that he hath not seene much better in the great and 
 costly collections of Italye. Your grace, for better enformation, may 
 view his letters to the earl of Arundell, how he hath allowed them. 
 There are of them but sixe that are woorth the taking downe, the 
 other beeing flatt Gothish bodyes, lame, and of later tyrnes sett vp 
 only to fill place of the other sixe. Two, in my opinion, (though 
 Mr. Petty like them) want much of excellence, great, but brute ; 
 and, as I coniecture, are some storye of Hercules, not mentioned 
 in his labors. The fower, to which I haue most affection, are 
 fuller of woorke : the one is (as wee comment) an Endimion care- 
 lessly sleeping by his sheepe ; Luna descending from the sckye 
 
APPENDIX. 
 
 190 
 
 with a torch in her hand, representing night ; and a Cupid houer- 
 ing in the ayre, to signifye her loue. This last gentleman is much 
 misused, and wee can only know him ; the other two want some 
 parts, and the faces battered ; but the generall proportions are 
 both braue and sweete. The next is an historye I vnderstand 
 not, either of some race, or game; in the middest is a horse, a 
 young man naked running by yt, and reaching to pull another off. 
 Some other figures ther are, which I remember not; but it hath 
 beene a peice of great bewtye and art ; the releuo so high, that 
 they are almost statues, and doe but seeme to sticke to the ground: 
 some leggs, and other parts, standing holow off, are broken and 
 lost; yet, in the whole, it hath a showe of rare antiquitye. The 
 third is a Pegasus, with the Nimphs or Muses; one representing 
 the foun [p. 3Sy]teyne Pirenne powring out water. These figures 
 are many, but less then halfe the life, as I judge them, not so 
 much defaced, standing high, and to a vulgar eye, like rnyne, of 
 most grace and pleasure. The last is a Satyre, sckipping betweene 
 an Hercules, or a wild man, and a woman, which he seemes to 
 auoyd : the one hath a whip in his hand, the other a pott of water 
 held behind her, and may signifye a rescue from rauishment : these 
 are aboue the life, and rather great and stately, then delightfull; 
 but generally they haue all suffered much uiolence, both by 
 weather and spight : yet they are so well esteemed by this gentle- 
 man, that I will endeauor to get them. Promise to obteyne 
 them I cannot, because they stand vpon the ancient gate, the 
 most conspicuous of the cyttye, though now mured up, beeing the 
 entrance by the castell called the Seauen Towers, and neuer 
 opened since the Greeke emperors lost yt : to offer to steale them, 
 no man dares to deface the cheafe seete of the grand signor: to 
 procure them by fauour, is more impossible, such enuy they beare 
 vnto us. There is only then one way left; by corruption of some 
 churchman, to dislike them, as agaynst their law; and vnder that 
 pretence, to take them downe to bee brought into some priuat 
 place; from whence, after the matter is cold and unsuspected, they 
 may be conueyed. I haue practised this for the foure, and am 
 offered to haue it done for 600 crownes. To send them home 
 chested, and freight, with some other bribes att the water syde, 
 may cost 100 more. This is a great price, and yet I rather des- 
 payre of obteyning them. 
 
 I haue sent to Angory [Ankyra] in Galatia, the seate of Midas; 
 and Mr. Petty is going to search some other parts of Asya, with 
 
EXTRACTS FROM ROE’S LETTERS. 1 9 1 
 
 commands; he may discouer and choose, but can hardly bring 
 any thing away: that I must doe by tyme. On the other syde, 
 without his directions, I may committ great errors. Therfore, 
 that wee may not preuent one the other, I haue mooued him, and 
 he is well content, yf your grace and the earle marashall approoue 
 yt, to joyne, and whatsoeuer both can recouer, to putt into one 
 stocke; and so to diuide them, when they come into England, by 
 lotts, or any other way that shall seeme best to your grace: our 
 meaning is such things as both shalbe interessed in, he by dis- 
 couerye, I by procuring: in this poynt I humbly desire an an- 
 swere. The blacke statue from Alexandria, and some other that 
 I hope to prouide alone, your grace will accept from your ser- 
 uant 
 
 Constantinople, T y May, 1625. 
 
 6 (P- 4 33. 434)- 
 To the Duke of Buckingham. 
 
 May it please your Grace , 
 
 I shall render a barren reckoning of your command laid vpon 
 mee to prouide your grace some antient statues; yet I had rather 
 giue you any account of my endeauour, then by long silence to 
 deserue the imputation of negligence. That which hath discou- 
 raged mee, is the failing of my promise for the black goddesse 
 from Alexandria; which beeing giuen mee by the patriarch, confi- 
 dent it was yet in his garden, 1 sent for, in company of his ser- 
 uant ; but beeing retorned, they haue only discouered, that a 
 colloire left in that charge had sold it 18 moneths since, to the 
 French consull, for 30 dollers, who hath transported it into France, 
 to the exceeding displeasure of the patriarch, and my shame. Yet 
 I thought it fitt to aduise your [p. 434] Grace thereof: perhaps you 
 may there recouer it at no great charge, beeing esteemed the jewel! 
 of all the stones in this part of the world. 
 
 I haue not left any probable city vnsearcht into, and heare of 
 diuers peeces; but what they will proue, I cannot yet iudge. Some 
 I am absolutely promised, but nothing entire; halfe bodyes, heads 
 and bustos. In Salonica a Jewe hath a whole marble, and antient: 
 I haue procured letters to the metropolitan to buy it, if mony 
 will preuail. From Angora I am in hope, at least, of a faire lyon. 
 These on porta aurea will not bee remoued: no man dares aduen- 
 ture to steale them from the principall gate, nor any fauorite of 
 
192 
 
 APPENDIX. 
 
 the vizier presume to mention the defaceing of the wall: yet I will 
 not leaue to hope, by some art they may bee made dropp, and 
 that so I may gather them. Mr. Petty hath bene at the so much 
 famed Pergamo, and brought somewhat away, as hee writes, 
 meane things, not worth his charge, only as testimonyes of his 
 trauailes; but hee is a close and subtill borderer, and will not bragg 
 of his prizes. From thence hee is gone forwards into the islands, 
 and hath this aduantage of mee, that hee makes search with his 
 owne eyes, and is not sparing to spend, when hee finds content; 
 though hee shall not out-buy mee, if wee fall in competition. Some- 
 what your grace may expect with patience, that is, all that I can 
 find or procure; which you will accept by the measure of my 
 ambition to your seruice — 
 
 Halchys, 26 August, old stile, 1625. 
 
 7 (P- 444 , 445 )- 
 To the Earl of Arundel. 
 
 My Lord , , 
 
 I haue receiued recompence enough for more seruice then I 
 am able to doe your lordship, by your acceptance of that litle I 
 haue a desire to doe, expressed in your two letters of the 10th 
 and 1 2th of May. If myne, of the first and 25. of the same 
 moneth, bee arriued, I hope they haue giuen your lordship more 
 satisfaction : since which tyme I haue bene able to doe nothing 
 here, beeing fled vntill the last weeke, from the great contagion, 
 that hath carried away in this citty, and the suburbs, neare 200000 
 people. Mr. Petty this wile hath visited Pergamo, Samos, Ephesus, 
 and some other places; where he hath made your lordship greate 
 prouisions, though hee lately wrote to mee, hee had found nothing 
 of worth. Your lordship had good experience in a man for such an 
 imployment, that spareth no paynes nor arts to effect his sendees. 
 When hee departed, I hoped wee had bene ioyned, and that hee 
 would haue acquainted mee freely with his proceedings: but hee 
 hath therein deceiued mee; for I now perceiue, your lordship (by 
 way of preuention) hath resolued to bee alone; and Mr. Petty, in 
 this space, hath preuented mee, vpon confidence, to haue sent one 
 with or before him, and hath aduised mee, hee can find nothing. 
 T am so assured in your lordships integrity and wisedome, as I 
 dare write you playnly according to my nature. I haue done for 
 Mr. Petty whatsoeuer was in my power, by giuing him forceable 
 
EXTRACTS FROM ROE’S LETTERS. 
 
 193 
 
 commands, and letters of recommendation from the patriarch. I 
 haue bene free and open to him, in whatsoeuer I lcnewe, and so I 
 will continue for your lordships command : but your lordship 
 knowing, that I haue receiued the like from his grace the duke 
 of Buckingham, and engaged my word to doe him seruice, hee 
 might iudge it want of witt, or will, or creditt, if Mr. Petty (who 
 could doe nothing but by mee) should take all things before or 
 from mee. Therefore, to auoid all emulation, and that I might 
 stand cleare before two so great and honorable patrons, I thought 
 I had made agreement with him for all our aduantages. There- 
 fore wee resolued to take downe those sixe mentioned releuos on 
 porta aurea , and I proceeded so farre as I offer’d 600 dollers for 
 4 of them, to bee diuided betweene his grace and your lordship, 
 by lotts. And if your lordship liked not the price, Mr. Petty had 
 his choice to forsake them; but now I perceaue hee hath entitled 
 your lordship to them all, by some right, that if I could gett them, 
 it were an injury to diuide them. Your lordship shall neuer find 
 mee to write you an vntruth, nor dissemble the truth : Mr. Petty 
 did not discouer them. When I carried him to the patriarch, and 
 there discoursed with him, what places were like to furnish vs 
 with old statues; hee told mee of those on porta aurea , and wished 
 mee to goe see them, though hee thought the difficulty would bee 
 great to procure them. Whereupon I, hauing no skill, sent a 
 Janizary with Mr. Petty, to view them; [p. 445] vpon whose report 
 of liking them, I went with him a second tynre; and so wee 
 resolued to take them downe if possible; and I was not only 
 content, but desirous, your lordship should haue halfe : and so I 
 assured him, though 1 both must bee the meanes to gett them, 
 and to disburse the mony, which I would willingly doe for your 
 lordship. And this beeing the truth, and 1 remayning constant 
 in the same resolution, I hope your lordship will well accept it. 
 Since, hee wrote mee another letter, in manner renouncing them 
 at that price, and aduising mee not to spend aboue 200 dollers 
 for all sixe. It seernes, hee beeing better prouided at Pergamo, 
 or willing to leaue these for a better occasion, was content I 
 should not meddle with them: but when I answered him, hee 
 knewe I had made lardger offers, and if hee refused, would take 
 them for my owne account, and yet in England offer your lordship 
 your part; hee then wrote mee, That hee would not leaue his 
 interest in them, nor yet encourage mee what to spend, to procure 
 them: but I am sorry wee striue for the shadowe. Your lordship 
 
 M. C. 
 
 ’3 
 
194 
 
 APPENDIX. 
 
 beleeue an honest man, and your seruant, I haue tryed the bassa, 
 the capteyne of the castle, the ouerseer of the grand signors works, 
 the soldiours that make that watch, and none of them dare meddle: 
 they stand betweene two mighty pillars of marble, in other tables 
 of marble, supported with lesse pillars, vpon the cheife port of the 
 citty, the entrance by the castle called the Seauen Towres; which 
 was neuer opened since the Greeke emperour lost it, but a coun- 
 terscarfe and another wall built before it. The vizier dares not, 
 for his head, offer to deface the chiefest port, so many will 
 clamour against him : the capteyne of the castle, nor the ouerseer 
 of the walls, cannot doe it without a speciall command from the 
 grand signor : the soldiours cannot steale them, being 30 foot, and 
 40 foot high, made fast to the wall with iron pins; and must bee 
 let downe with scaffolds, and the help of at least 50 men; for if 
 they fall, they will breake to dust, the ground being so thinne, and 
 worne with age. There is then but one way left in the world, 
 which I will practice; and if I can procure them, your lordship 
 shall know my seruice by the part I send you, without Mr. Petty, 
 or any other helpe. Within the castle, and on that gate, is a con- 
 tinuall watch of 20 soldiours: it is the kings prison; and how hard 
 it were to take downe such things, of at least a tonne weight 
 apeece, from the Tower-gate of London, your lordship will easily 
 iudge. And if I gett them not, I will pronounce, no man, nor am- 
 bassador, shall euer be able to doe it; except also the grand signor, 
 for want, will sell the castle. 
 
 After all these disputes for nothing, Mr. Petty hath aduised 
 mee, that retorning from Samos, where hee had gotten many things, 
 going to Ephesus by sea, hee made shippwrack in a great storme 
 vpon the coast of Asia; and sauing his owne life, lost both all his 
 collection of that uoiadge, and his commands and letters by mee 
 procured; desiring mee to send him others, or else, that hee can 
 proceed no further. Hee was putt in prison for a spy, hauing 
 lost in the sea all his testimonyes; but was released by the witness 
 of Turks that knew him. From thence hee recouered Scio, where 
 he furnished himselfe againe; and is gone to the place where 
 hee left his boate to fish for the marbles, in hope to find them, 
 and from thence to Ephesus; and this is the last newes I heard 
 from him. To renew commands so often, giues great jealousy 
 to these people, hauing taken out 3, in litle more then a yeare, 
 for your lordship; so that with much adoe, and by force of a 
 bribe, I haue again procured another, and more large, for your 
 
EXTRACTS FROM ROE’S LETTERS. 
 
 195 
 
 lordship, which is nowe by mee, and shalbee sent to Mr. Petty, so 
 soone as I know where he is: though I haue written to him to 
 leaue tire sea, and to spend this winter with mee, where he shalbee 
 welcome. 
 
 In conclusion, I desire your lordship to bee assured, that as 1 
 cannot fade of my duty to my lord of Buckingham, so I will doe 
 your lordship that seruice, that shall witnesse for mee my affection 
 thereto. I will in all things assist Mr. Petty, and seeing I must 
 goe alone in this business, I will search all Asia, but I will find 
 somwhat worth my labour. My mysery is, vsing others, I must 
 take bad and good; and I haue things sent mee from diners 
 places, figures indeed, that cost mee much, but not worth the 
 portage. When I haue done my best, and alone, your lordship 
 shall haue somwhat from mee, that you shall knowe I would haue 
 dealt fairely, and that I had a syncere purpose to rneritt your 
 lordships fauour 
 
 Constantinople, §§. October, 1625 . 
 
 8 (P- 495)- 
 
 To the Earl of Arundell. 
 
 My Lord , 
 
 My last letters brought your lordship the aduice of Mr. Pettyes 
 shipwracke, and losses vpon the coast of Asya, returning from 
 Samos: his commands and letters of recommendation, and his 
 labors, togither there perished. The first I presently renewed, 
 and sent them to Smyrna; and the other, I thincke, he hath by 
 great industrye, since recouered. From that tyme, what aduentures 
 he hath passed his owne enclosed will giue best satisfaction; and 
 it shall suffice mee to say in gross, that, although he will not 
 boast to mee, yett I am informed hee hath gotten many things, 
 rare, and antient. Ther was neuer man so fitted to an imploy- 
 ment, that encounters all accident with so unwearied patience; 
 eates with Greekes on their worst dayes; lyes with fishermen on 
 plancks, at the best; is all things to all men, that he may obteyne 
 his ends, which are your lordships seruice. He is gone to Athens, 
 where also I haue sent; and from thence promiseth mee to visitt 
 this citty, wher I shalbee glad to enterteyne him, and to know the 
 history of his labors. I haue in my endeauour bad success, by 
 the ignorance of those that I am forced to employ, who send mee 
 heauy stones at great chardge, that prooue newe images, wher I 
 
 13—2 
 
196 
 
 APPENDIX. 
 
 seeke old idolls; for such also were the Roman statues of their 
 emperors. From Angory I had an hal-woman, brought 18 dayes 
 by land, vpon change of mules, which wants a hand, a nose, a 
 lip; and is so deformed, that shee makes me remember an hos- 
 pital: yet the malicious Turkes brought troubles on the buyers, 
 by a false command, accusing them of a great wealth stollen out 
 of the castle; it hath cost mee money to punish them, and that is 
 all 1 haue for my labor. I haue sent three seruants togither to 
 Tassos, Caualla, Philippi, and all the coast of Thrace; followed 
 Mr. Petty to Pergamo, and Troy ; am digging in Asya; and, to fulfill 
 the prouerb, turning of all stones. Somwhat I hope to gett, to 
 saue my creditt; but 1 dare not write to his grace, vntill I am in 
 possession: so often I haue beene by Greekish promise deceiued. 
 Those on Porta Aurea stand vp, ready to fall, in spight of all my 
 arts, and offers; the tymes are so dangerous that I dare not uen- 
 ture to entreague others; but ther is an opportunity attended to 
 make them stoope : the glorye of taking them from the gate of 
 Constantinople inciteth me farther then any bewtye I see in 
 ruines, that only showe their was once bewtye, good emblemes of 
 one that had beene a handsome woman, if an old woman were 
 not a better; yet few loue them. When I haue made my collec- 
 tion, I will not forgett that I was engaged by your lordships com- 
 mands; as I am assured your lordship will not grudge mee to 
 performe the seruice I owe the duke of Buckingham, betweene 
 whom, and your lordship, if ther had beene an vnion, ther had 
 nothing beene difficult to us both here, and many things much 
 cheaper.... 
 
 Constantinople, 28. Mar. old stile, 1626. 
 
 9 (P- 5”. 5 9 * * 12 )- 
 
 To the Duke of Buckingham. 
 
 ...My agents from Greece are retorned with no great fruit of 
 their labours, other then discoueryes of some marbles vnder 
 ground, which will require tyme and priuacy to take vpp, to 
 auoid the enuy of these people, who suspect treasure in euery 
 place where Christians breake the earth. I haue omitted no 
 search nor expence to giue your grace some testimony of my 
 
 desire to obey your first command, wherein I would not bee 
 judged by effects, though I doubt not also by them to bee in part 
 iustified. 
 
EXTRACTS FROM ROE’S LETTERS. 
 
 I 9 ; 
 
 Mr. Petty, in the islands, hath gotten many marbles: hee takes 
 all; what they will proue, is beyond my judgment. I haue some, 
 but I desire not to lade your grace with vngracefull stones : they 
 shall haue some bewty with antiquity which I will present; and if 
 there come other, they must passe in a throng, for number, not 
 for weight, though they bee uery heuy. 
 
 [p. 512] I haue a litle marble, a halfe woman, in releuo, excel- 
 lent workmanshipp, and a stone of rare whiteness and hardness, 
 recouered from Troy, though, I think, in those days, no such 
 masters, but the hand of some later Roman. It will seme for a 
 chimney, though it bee not a statue. A head of Germanicus from 
 Angury [Ankyra], whence I expect daily a whole peece, brought 
 vpon a litter, by fower mules. From Athens I haue no retorne; 
 but looke this rnoneth to know the success. In an island called 
 Augustop], neare Paris [Paros], in the Arches, I haue heard of two 
 great marbles, and haue taken a command to fetch them, by the 
 bishopp of Naxia. Another of Scyra hath promised mee a whole 
 cupid, taken vpp in Delos, of white alabaster. From Tiria 
 [Tenos] I expect a retome of another factor. From Pergamo, 
 by the consull of Smirna. From Morea, by the merchants of 
 Patrass. From Aleppo and Alexandria, by the industry of Mr. 
 Kirkham. If all these should produce nothing, I may bee ashamed, 
 but not accused of negligence. 
 
 Those on Port Aurea are like to stand, till they fall with tyrne: 
 I haue vsed all means, and once bought them, and deposed, 3 
 moneths, 500 dollers. Without authority, the danger and impos- 
 sibility were alike; therefore I dealt with the great treasurer, who 
 in these tyrnes is greedy of any mony, and hee had consented to 
 deliuer them into a boat without any hazard of my part. The 
 last weeke hee rode himself to see them, and carried the sur- 
 weigher of the citty walls with him; but the Castellano and the 
 people beganne to mutine, and fell vpon a strange conceit; inso- 
 much that hee was forced to retyre, and presently sent for my 
 enterpreter, demanding if I had any old booke of prophesy : infer- 
 ring, that those statues were enchanted, and that wee knew, when 
 they should be taken downe, some great alteration should befall 
 this citty. Hee spake of a vault vnder ground, that I vnderstand 
 not; which, concurring with the rumour of the Cossacks, filled 
 them with superstition, and suspition of mee; in conclusion, hee 
 sent to mee, to think, nor mention no more that place, which 
 might cost his life, and bring mee into trouble; so that I despair 
 
198 
 
 APPENDIX. 
 
 to effect therein your graces seruice: and it is true, though I could 
 not gett the stones, yet I almost raised an insurrection in that 
 
 part of the citty 
 
 Constantinople, T 8 g-. May, 1626. 
 
 10 (P- 534 , 535 )- 
 From the Duke 0/ Buckingham. 
 
 ...I haue likewise receiued two letters from yow, concerning 
 some buisines of my owne; the latter bearing date the -i-. May, 
 1626, wherein I find my selfe much obliged to an extraordinarie 
 dilligence yow haue vsd, in search of such pieces and antiquityes, 
 as yow guesse will be most Wellcome vnto me ; and I shall 
 endeauour to deserue the paines you bestowe vpon me there, in 
 any seruice yow shall imploye me in heere; desireing a continu- 
 ance of your respect vnto mee in this kind, with this caution only, 
 that yow laye not out much money vpon any alabaster pieces, 
 vnlesse they be figvres of exquisite curiosity : for your antique 
 masters (as I am informd) neuer wrought vpon alabaster. Neither 
 am I so fond of antiquitye (as you rightly coniecture) to court it 
 in a deformed or mishapen stone; but where yow shall meete 
 beautye with antiquitye together in a statue, I shall not stand 
 vpon any cost your judgment shall vallew it att. For those other 
 pieces on Porta Aurea, since they cannot be compast without 
 difficultye and danger, I am satisfyd with the attempt of your 
 industrie had vpon them ; and shall hope for some other [p. 535] 
 
 rarityes that may be purchast with less trouble 
 
 Yorke-FIouse, July, 19. stilo vet. 1626. 
 
 11 (P- 57 °, 57 1 )• 
 
 To the Duke 0/ Buckingham. 
 
 ...I expected . . your farther order how I should proceed in 
 the search of marbles, which I haue found a quarry and stone 
 
 busines For your graces command of marbles, I haue beene so 
 
 unlucky, that with much industrie and expence, I haue yet beene 
 able to procure none such as, I feare, your curiositye doth expect. 
 Mr. Petty hath raked togither 200 peices, all broken, or few 
 entyre: what they will proue, I cannot judge. Flee had this 
 aduantage, that hee went himselfe into all the islands, and tooke 
 all hee saw, and is now gon to Athens, where I haue had an 
 
EXTRACTS FROM ROE’S LETTERS. 
 
 I 99 
 
 agent 9 monethes, and haue now sent the Venice bayloes letters 
 to his consull their resident, to assist mee, patiently attending some 
 better issue. I haue foure bustoes, and some heades and peices 
 collected in Asya and Paris [Paros] ; but being left at Scio, I can- 
 not commend what I haue not seene. New hopes are giuen me 
 from Andri and Santerino, and other parts... [p. 57 1] ... I am tyed 
 to a residence almost to a prison; and my ignorant instruments 
 take all figured marbles, how disgracefull soeuer, for statues, and 
 with them haue cloyed mee 
 
 Constantinople, -j\. Non. 1626. 
 
 12 (P- 5 S 3)- 
 
 To the Countess of Bedford. 
 
 Madam , 
 
 I am glad to fynd an excuse, and force an occasion to renew 
 
 in your remembrance the name of an old seruant I haue 
 
 recalled my thoughts upon what your ladyship tooke the latest 
 pleasure, that I saw yow marshalling of antient coynes and medalls, 
 delighting in the records of vertuous tymes, vertuous men, and 
 uertuous actions; so that I haue presumed to enterteyne yow one 
 hower with the enclosed catalogue of such, as in this pilgrimage I 
 haue collected: amongst which there are some so rare, that I sup- 
 pose the cabinets of Paris, which muster 12000, cannot match 
 them. This curiositye of antiquityes, though by some seuere men 
 censured, hath yet diuers uses besides delight, not to bee con- 
 temned: they are a kind of lay humanity, teaching and inciting 
 deuotion to morall uertue, as well, and more safely then images 
 among the new Romans, to the contemplation of diuine misteries. 
 They propose a finely cronologye on the one syde, and a repre- 
 sentation of historye, heroicque or great actions, on the other. 
 They carry in them a shadow of eternitye, and kindle an emula- 
 tion of glorye, by seeing dead men kept long among the liuing by 
 their famous deedes. This apologye made for the general!, your 
 ladyship will giue mee leaue to say somwhat of particulars. Foure 
 things are required in medalls, truth, antiquitye, tewty, storye, or 
 poetrye : for these, the mettall is one of the best wittnesses. 
 Copper is seldome here a counterfayt, harder to woorke upon, 
 
 and therfore of most esteeme [p. 584] Greeke medalls, 
 
 in my opinion, as they are more antient, so they are bewtifull, lull 
 
200 
 
 APPENDIX. 
 
 of art, and most misticall in the reuerses, alluding to their sacri- 
 fices, religions, or warrs. I haue some rare peices, a dedication 
 for the health or saftye of Hercules, an hierogliphicque of the 
 Heathen diety, a Pallas of Athens, a head in brass, not to 
 bee cutt in many moderne ages, in which I read almost Agamem- 
 non. Most of these are great, braue, and bold figures, semiunciales, 
 of gold and siluer; in breife, cose di cardinale. To the contem- 
 plation of their inscriptions I leaue your ladyship, not doubting 
 yow will teach mee, when I returne, more then I can fynd of them 
 
 without helpe 
 
 Constantinople, r \ Decemb. 1626. 
 
 1 3 (P- 619). 
 
 To the Duke ^Buckingham. 
 
 — ..I am sorry I can yet giue your grace no better account of 
 marbles, after a long and exquisite search; wherein Mr. Petty 
 hath, by his personall sckill and labour, preuented my dull instru- 
 ments. My agent is returned after a 9 moneths voyadge to 
 Athens, and the relicques of old Greece; and hath brought me 
 little fruict to my contentment, but some heads and small releuo’s, 
 antient and good worke, a feast of Jupiter, and a peice of a 
 sacrifice, and such like. I had drawne them in paper to send 
 your grace, but defer it till a better haruest. I haue bought two 
 statues at Zia: how they will prouc, I must runne the hazard. 
 Some others are collected for me in the islands; but not hauing 
 seene them, 1 will not spoyle them with prayses. My last hope 
 is vpon another adventure to Greece, whither, vpon a new enfor- 
 mation of the archbishop of Lacedemon, I haue sent two moneths 
 since a seruant of rnyne owne, that hath seene many collections 
 in Italye, and pretends to know. I haue giuen him two rules, 
 beautye and hard marble. I am made beleeue that he shall fynd 
 braue matter, and haue furnished him with a command, the capten 
 bassaes letter, the patriarchs recommendation, and sufficient 
 creditt: and I doubt not but to bring your grace good satisfaction. 
 
 1 haue two antient gates of hard white marble, wrought al'antiquo, 
 fiue stones a piece, the sides, head, and thresholds: they were 
 gotten in the islands from an old temple, and are very fayre; and 
 though they are not for your graces gallery, they wilbe rich and 
 
EXTRACTS FROM ROE’S LETTERS. 
 
 201 
 
 bewtifull in any building. This is the ill reckoning I can yet giue 
 
 your grace of my industrye 
 
 [1627. February or March.] 
 
 14 (p. 647). 
 
 To the Duke of Buckingham. 
 
 May it please your Grace, 
 
 After a long and almost dispayrefull search of marbles, hidden 
 in the ground, I haue fallen vpon a course, which, I hope, will 
 fullfill your graces expectation, and pleade my humble affections, 
 and industrye to doe you some seruice. About 4 moneths since, 
 as I then aduised, I sent a seruant well furnished with meanes 
 and authoritye to trauell Morea; who hath found, as he enformes 
 mee, some rare peices: one whole statue, 8 foote high, not much 
 defaced; another wanting the head, in the old famous Corynth ; 
 and these embarked for Zant, to be there laden for England. He 
 hath digged to two more, then vpon price, and 1 doubt not to 
 haue them. A braue head, supposed of Lucius Mummius. I wish 
 they may answer his prayses: at least, the place will giue them 
 some estimation. From thence he went to Athens; where what- 
 soeuer is to be had aboue or vnder ground, wilbe procured for 
 him. From Zea, an island in the Arches, I heard last from him, 
 arriued there to ship away two statues, long since bought by mee, 
 wanting the heads; one whereof is sent to my lord of Arundell. 
 There are more to be gotten, if any art can take them downe. He 
 is now returning to Corynth, to fetch those that were at his 
 departure buried, and a great vrn of braue releuo, if possible to 
 carry yt, and a pillar with a garland, inscribed Pallade; and many 
 other raretyes. He proceedes to Lacedemon, to the antient 
 Sparta, where I heare of seauen more, and hope to possess them. 
 From Andros I haue receiued, at Scio, a great releuo of Bacchus; 
 which, vpon report, hath cost mee deare, beeing obteyned by 
 fauour of the bey of that island, and mined for vnder an old 
 foundation ; but the face is battered, the feete and one hand 
 broken off : the rest is fayre and statelye. From many other 
 places, and sundrye agents, I expect diuers other things, which 
 yet I haue not seene; and must be contented to take bad with 
 good, from those that, hauing no skill, yet spend my rnony to 
 employ themselues. I am this day sending a drogaman, and 
 
202 
 
 APPENDIX. 
 
 Janitzarie, with an Italian to Brussia, the antient metropolis of 
 Bythinia, where, I am enformed, are many marbles; and I attend 
 a returne from Sinope on the Black Sea, in Amasia. Thus your 
 grace will approue my dilligence, and accept the success accord- 
 ing to your owne benignitye. The difficultye of carriage, and 
 engines, and expence, is great, and the danger among these 
 remote habitations greater, some stones weighing aboue 20 hun- 
 dred, and brought by hand to the water : yet your grace shall haue 
 no cause to repent the charge; for I hope to make you a noble 
 collection. 
 
 If you please to continew this search, there willbe found dayly 
 many rare matters, the poore people being sett on worke, in hope 
 of gayne, and all these parts full of the enquirye made by me and 
 Mr. Petty: all aboue ground being gone to Venice, wee must trust, 
 like miners, to chance; but I fynd, that the old Christians, to preuent 
 the enuye of the Turkes, did in all Greece, and the islands, burye 
 theire antiquityes, which tyme and dilligence will discouer. Your 
 grace willbe pleased to send me herein your farther directions, 
 and to accept my poore man, who hath vndergone infinite paynes 
 and perill, and is now well practised both in the countrye and 
 with the inhabitants, and has sufficient language, and indefatigable 
 industrye, for this employment, not easely matched. His hopes 
 are, that seeing I cannot reward him, that your grace, which is 
 his ambition, will take him for your seruant : which I shall humbly 
 acknowledge as an high fauour, that I haue beene able to doe 
 one man good 
 
 Constantinople, May, 1627. 
 
 15 (p. 692, 693). 
 
 To the Duke of Buckingham. 
 
 May it please your Grace , 
 
 My last letters were dated the 19. of May: wherein I enclosed 
 the forme of some peices of marble drawne in paper: and if that 
 be arriued to your grace, you will haue found the first fruicts of my 
 seruants imployment into Greece, who is not yet returned, but I 
 haue often heard from him. Foure statues he hath sent from 
 Corynth: what they will proue, I dare not spoyle by prayses and 
 expectations; but I am enformed, that they are such (though de- 
 faced) as in Rome (where images are gods) would be highly 
 
EXTRACTS FROM ROE’S LETTERS. 203 
 
 esteemed. He is some monethes past gone to Achaya, Argos, 
 Lacedemon, and Napoli di Romania, and so to the islands Cy- 
 clades: and I do expect him shortly, after hauing uisited all the 
 places likely to yeild your graces contentment. Many other peices 
 he hath gotten, of which, when he shall returne, I will send your 
 grace a catalogue, as a modell of the success of my zealous en- 
 deauours to doe you humble seruice. 
 
 At Bursia I lost my labour and expence, not hauing one head 
 nor foote. And from Sinope and Amasia, ther is nothing come 
 but aduice of a tombe, which, if it could be gotten, is too heauy 
 for any engine to carry to the sea. What I cannot performe in 
 my owne tyme, (which now with much wearines I spinne out) I 
 will sett in such order, that whatsoeuer is found (and our search 
 hath begotten a diligence and care in all the inhabitants of the 
 Arches and Morea) shalbe presented [p. 693] for your grace; who 
 I know doth esteeme it as much greatnes to accept of small ser- 
 uices of poore men, as to command the mighty; and therfore 
 I will take that comfort in your graces nobelnes, that I cannot 
 fynd in my owne meritt 
 
 Constantinople, if. Octob. 1627. 
 
 16 (p. 763, 764). 
 
 Extract of a Letter to the Duke c/ - B uckingham. 
 
 ...[p. 7 64]... In the search of marbles, wherby I haue endeauored 
 that your grace should measure my deuotion to your desires, I 
 haue had many crosses, but a late one aboue all the rest. My 
 agent, whom 1 presumed to recommend to your grace, and im- 
 ployed in Greece, after hauing visited and searched all the famous 
 parts of Morea, as Thebes, Athens, Lacedemon, Achaia, Corynth, 
 and many others, and as he continually wrote me, had bought 
 many pieces that he could not prouide suddenly to carry away, is 
 dead in Patras; whither he had sent foure statues, and followed to 
 ship them : of these the consull will take charge, and to recouer 
 many other things scattered here and there, according to such 
 notes as he left, or had formerly sent me; but this must be a new 
 worke. He also had sought in most of the islands, where he 
 bought such as could be found, and buried them in the sand, or 
 left them with Greekes vntill his returne to make his full collection ; 
 but God hath preuented him. I haue in other places diuers 
 
204 
 
 APPENDIX. 
 
 marbles, if I can gett them togither: what they will proue, doth 
 rest in your graces only acceptance and benignitye; and though 
 I had lost them all, yet I would not loose his testemonye, that 
 no diligence, care, trauell, nor expence, hath been spared to proue 
 my selfe, &c. 
 
 Constantinople, 22. Feb. old stile, 1627 [1628]. 
 
 17 (p. 808). 
 
 To the Duke of Buckingham. 
 
 ...He [Sir Thomas Roe’s successor] hath seene some of my 
 little marbles, and flatters me with an opinion, that they wilbe 
 acceptable. I am sure they haue two consequences of curiosityes; 
 much care in getting, and their valew resting only vpon your 
 gratious liking. I haue lately gotten one, whose rude figure I 
 enclose: and being praysed by a doctor brought vp in Italye, I 
 will transcribe his owne words: E di quelle statue che li gentilhuomini 
 Romani sogliono metere nelle bauole \tavolet\ et scautie di lor libra- 
 rie, secondo il’uso Romano , intiera , bella, et di finissimo marmo , ct a 
 giuditio mio di bona ualuta: non siaro d definger/a pin oltre. I know 
 not what my racolta will proue: I should haue many; but the 
 death of my seruant on the one syde, and the difficulty to gett our 
 shipps to goe out of the way to take them in, will diminish the 
 muster of my diligence. I could haue laden shipps with such 
 stones as Mr. Petty diggs ; but good things undefaced are rare, or 
 rather not to be found. Our search hath made many poore men 
 industrious to rippe up old ruines: so that, in this also, my suc- 
 cessor may supply my defects ; and I am aboundantly recom- 
 penced, if any thing I haue done shall be by your grace esteemed 
 in any proportion of my deuotion 
 
 Constantinople, 15th April, 1628. 
 
 18 (p. 81S). 
 
 To the Duke of Buckingham. 
 
 ...I am now collecting and lading the few marbles I haue 
 found for your grace. Some are to be shipt from Patrass: others I 
 attend from Zea and the islands. If they want the expected 
 beautye, your grace will consider I had them out of the ground, 
 which is not sufficient sanctuarye from the envye of the Turkes, 
 and vouchsafe in them my true zeal to your seruice 
 
 Smyrna, 27. June, 1628. 
 
EXTRACTS. 
 
 205 
 
 Extract from Tierney, The History and Antiquities of the Castle 
 and Town of Arundel. London, 1834. 
 
 (11. p. 435 )- 
 
 The Earl of Arundel to his Countess. 
 
 ...I desire you woulde presently, by some meanes, knowe what 
 Sir Tho. Roe hath brought of antiquities, Goddes, vases, inscrip- 
 tions, medalles, or such like. I thinke Sir Robert Cotton, or Mr. 
 Dikes, were fitte to gette them. I wish it were done before Fri- 
 day, for I feare my lord Chamberlayne; and nowe I thinke they 
 
 might easily be had 
 
 Theobald’s, Monday. 
 
A CATALOGUE 
 
 OF 
 
 ANCIENT MARBLES 
 
 IN 
 
 GREAT BRITAIN, 
 
 PARTICULARLY THOSE IN PRIVATE 
 COLLECTIONS. 
 
 “ ...in un pajo di Secoli li Antiquarj avran da faticar molto sopra le Antichit h 
 nscite dalla Manifattura nostra 
 
 G. Casanova, Discorso sopra gl' Antichi, 
 Lipsia 1770, p. xli. 
 

 
ANCIENT MARBLES 
 
 IN 
 
 GREAT BRITAIN. 
 
 St ANN’S HILL (Surrey). 
 
 Dallaway, p. 385 (11. p. 137). 
 
 The antiques collected by Henry Fox, who became Lord 
 Holland in 1763, are probably now in the possession of Lady 
 Holland. Dallaway enumerates the following busts : 
 
 1. “ Sappho.” 
 
 2. Trajan. 
 
 3. “ Cicero.” 
 
 4. “ Demokritos.” 
 
 To these must be added 
 
 5. Boy with pitcher. Cavaceppi, Race., 1. PI. 4. The 
 
 boy is standing with his legs wide apart; a drapery rests on his 1. 
 shoulder and hangs down his back to the ground. On the left 
 shoulder the boy holds with both hands a large urn in a slanting 
 position ; if it is antique, water probably issued from it into a basin, 
 and it characterises the whole work as a decoration for a fountain. 
 The figure appears to be less than life size. 
 
 CASTLE ASHBY (Northamptonshire). 
 
 Birch, Arch. Zeit., 1846, p. 340 ff. Conze, Arch. Anz., 1864, P- 
 237* f. 
 
 The collection of the Marquis of Northampton includes glass 
 vessels, of which we have no further information, and painted 
 
 14—2 
 
212 
 
 BATTLESUEN. BIGNOR. 
 
 vases, which are treated of in the two accounts quoted. The 
 vases seem to have been collected together after 1830 (cf. Archdol. 
 Intelligenzblatt , 1833, p. n). The collector, who himself wrote 
 “ Observations on a Greek vase discovered in Etruria, bearing 
 the name of the fabricator Nicosthenes, in the possession of the 
 Marquess of Northampton” (1841, 4to), died a.d. 1851; some of 
 his vases appear to have afterwards come into the possession of the 
 British Museum. (Introd. note 452.) 
 
 BATTLESDEN (Bedfordshire). 
 
 Since June, a.d. 1875, the celebrated collection of the Marlborough 
 gems has found a home here. It was bought by the present owner, 
 Mr Broomielow of Manchester, for 35,000 guineas. George 
 Spencer, 4th Duke of Marlborough, was the collector. The 
 principal constituents were the Arundel gems, the collection of the 
 Earl of Bessborough, and finally single purchases made by the Duke, 
 for example from Count Zanetti in Venice. Cf. Introd. §§ 23, 50. 
 The collection, which consists of 739 specimens, has been admirably 
 catalogued by M. H. Nevil Story-Maskelyne, The Marlborough 
 Gems , 1870. A selection of 100 of the best specimens is to be 
 found in the magnificent publication : Choix de pierres antiques 
 gravies du Cabinet du Due de Marlborough, fob, V ol. 1. 1780, with text 
 by James Bryant; Vol. 11. 1791, by W. Cole (100 copies only). In 
 1S45 John Murray had a new impression of the plates prepared, with 
 text by Vaughan Thomas (2 vols., fob). 
 
 BIGNOR PARK (Sussex). 
 
 Bignor is situated on the old Roman road from Regm (Chichester) 
 to Londinium, and is celebrated for its remains of a Roman villa 
 with valuable Mosaics (Lysons, Reliquiae Brit. Rom., pt. 111.). Not 
 far from it is situated the country seat of Mr Hawkins, where are 
 preserved some antiques, collected by the well-known traveller J. 
 Hawkins, who sold Payne Knight a portion of his bronzes ; for 
 example the valuable specimens from Paramythia (Epeiros); but kept 
 back for himself a few beautiful examples. (Introd. §§ 67, 68.) 
 
 1. Bronze relief from Paramythia: Millingen, Ajic. Uned. 
 Mon., 11. PI. 12. Spec., 11. 20. Mtiller-Wieseler, 11. PI. 27, 293. 
 Aphrodite, accompanied by two Erotes, announces to her paramour, 
 Anchises, who wears an Eastern costume, the future greatness of his 
 
BIRMINGHAM. BLENHEIM I. 
 
 213 
 
 race, of which she is to be the ancestress. (Cf. the Homeric 
 Hymn to Aphrodite.) A magnificent relief in the most beautiful 
 and delicate style of art. Some small injuries have been repaired 
 by Flaxman. 
 
 2. Hermes, resting in a sitting posture. By his side a cock, 
 which has been restored. Bronze, from Paramythla. Spec., 11. 
 PI. 21. 
 
 3. Cameo: large size: representing the triumphal procession 
 of a beardless Emperor on a quadriga. He is being crowned by a 
 Victory, and is surrounded by eleven men, among whom are six 
 lictors. A Cupid hovers above ; at his feet sits a weeping Woman, 
 the personification probably of a conquered country. Of late date. 
 [Conze, Arch. Anz., 1864, p. 167*] 
 
 I am not in a position to say whether Mr Plawkins possesses 
 any more antiques. 
 
 BIRMINGHAM. 
 
 Mr Newton informs me that Mr J. A. Crane owns two statues 
 which formerly belonged to the Anson collection at Shugborough 
 (Introd. note 174), viz.: 
 
 1. Trajan, in the attitude of haranguing his army ( allocutio ), and 
 
 2. An empress, both seriously renovated. The former has 
 been already noticed by Pennant. 
 
 BLENHEIM PALACE (Oxfordshire). 
 
 Scharf, G., Catalogue Raisonne of the pictures, in Blenheim Palace , 
 London, 1861, pp. 81 — 82. Waagen, Treas., in. p. 132 (11. p. 51). 
 
 In the splendid though somewhat cumbrous palace which the 
 English nation had built for the victorious Duke of Marlborough 
 at Woodstock, are two busts which I examined in 1877 . 
 
 Hall. 
 
 1. Bust of Alexander the Great, supposed to come from 
 Herculaneum. There is no doubt about the antiquity of the head, 
 which is excellently sculptured and of beautiful Greek marble, 
 probably Pentelic, of particularly fine quality. It is almost perfect 
 except the extreme tip of the nose, which has been restored 
 in plaster ; here and there small lesions appear, particularly round 
 the left eye ; finally the curls on the back of the neck have 
 been cut oft' quite straight. The form of the face is eompara- 
 
214 
 
 BLENHEIM I. 
 
 tively broad ; the expression inclines towards sadness ; the eyes are 
 deep set, particularly in the inner corners. The lines of the eye- 
 brows and of the bridge of the nose, which is wide, are clearly 
 defined, but without any sharpness ; the gently curved profile of the 
 nose is very fine. The lips are remarkably full ; the upper lip pro- 
 trudes strikingly, the lower one is round and somewhat depressed. 
 The lower half of the forehead projects, especially towards the 
 temples ; the upper part is set more back, but not divided from the 
 lower by any definite line. In contrast to the slightly polished flesh 
 the hair is roughly treated, and still preserves distinct traces of 
 reddish colour; in a like spirit the curls are deeply undercut but 
 not very delicately finished. The head is surrounded by a fillet ; 
 above it the hair, combed in rays, is only slightly defined ; the curls 
 once fell low down on the neck ; in front they are raised considerably 
 above the forehead, not however over the middle, but rather 
 over the r. eye, a peculiarity which recurs in other portraits of the 
 Great King. The whole face is framed by abundant curls, which 
 do not however in any way confine it. The head belongs to the 
 class of ideal portraits, and forms a strong contrast to the insipid 
 terminal bust from Tivoli preserved in the Louvre (Bouillon, Mus. 
 des Ant., n., bustes, PI. 4 ). Of the neck only a small part remains 
 intact, and this piece shows that the head was originally inclined 
 towards the 1. shoulder. It is now joined by a neck-piece of spotted 
 marble on to a bust covered with a breast-plate. The lower half 
 of this breast-plate slanting down from the r. shoulder to the 1 . 
 nipple is an uninteresting modern restoration. The upper half is 
 excellent, comprising the open throat below the neck-pit, the upper 
 edge of the breast-plate with the remains of a head of Medusa, and a 
 piece of the chlamys in rich folds on the shoulder. Although this 
 portion has been broken in several places, and here and there 
 mended a little, there is no doubt all these pieces originally be- 
 longed together ; they are of Greek marble exactly resembling that 
 of the head. The folds of the chlamys are of rich workmanship; 
 they flow from a button which is ornamented with a fine relief after 
 the manner of chased metal-work, and which represents, within a 
 beaded moulding, an eagle facing 1 ., standing on a dead hare, and 
 plucking out part of its intestines with his beak. (Cf. coins from 
 Elis, Agrigentum, etc.) The Medusa-head is remarkable for its 
 abundant and bristling hair, and also for the size of its wings. 
 That part of the chiton which appears above the edge of the 
 breast-plate in the form of a richly gathered shirt-hem looks rather 
 
BLENHEIM 2, 3. 
 
 215 
 
 modern, and might make us doubtful whether the whole of the 
 breast-plate is antique. The form of the breast-plate on the shoulders 
 and at the back of the neck is unusual ; it is also strange that there 
 are no longer any traces at the back of the neck of the curls which 
 there is every reason to believe must previously have fallen down on 
 to it. Considering, however, the similar quality of the marble and 
 the excellence of the work, which are equal to those of the head, 
 
 I do not venture seriously to doubt the genuineness of this upper 
 portion of the breast-plate. H. 075, height of head 0-31. L. of face 
 0-185. [* Scharf '] 
 
 Library. 
 
 2. Bronze bust of a Satyr: of the nobler type, laughing 
 and youthful, looking upwards r.; life size. Over the forehead 
 two small horns, the brutish ears lying quite back. Pupils of the 
 eyes indicated. At the back of the head, strong traces of gilding. 
 Very peculiar is the fawn-skin (ve/3 pis) fastened lightly round the neck 
 with a border, trimmed with fringe. This fringe and some other 
 peculiarities arouse doubts as to the ancient origin of the bust. [*] 
 
 Garden. 
 
 On the further side of the waterfall, and about a mile from the 
 mansion, there stands, under a group of trees, and used as the front 
 wall of the basin of a fountain, an — 
 
 3. Oval sarcophagus : front half now in great measure over- 
 grown with moss, so that the lower half of the relief is no longer 
 visible. Two lions’ heads, now furnished with conduit pipes, divide 
 the figure sculpture into compartments. Below the lion’s head to 
 the 1. Herakles is reclining on a lion’s skin, with a roll-shaped 
 wreath (xnToOvjxU) round his neck and the r. arm (the hand of which 
 is missing) upraised. A small Pan supports his back, and a second 
 (the head missing) is pouring wine from a skin into the drinking- 
 cup (a-Kv<j>o<i) which Herakles holds out. The group is surrounded 
 by a Maenad with a lyre to the 1. of the lion’s head (the r. arm and 
 half of the 1. forearm are missing) and a second Maenad with cymbals 
 (Kv/xf 3 a\a) by the feet of Herakles (the r. hand and the lower half 
 of the 1. arm are wanting) ; both wear long draperies and cloaks 
 floating in an arch over their heads. A Satyr (who has lost his 
 r. hand and the lower half of his 1. arm) dances in the midst before 
 Dionysos ( minus the head and r. arm), whose lower limbs are partly 
 hidden by his cloak. He is supported by a second Satyr, who 
 holds a pedum in his 1. arm (his head is missing) ; on the ground 
 
21 6 
 
 BOYNTON. 
 
 crouches a female panther. Then comes another Maenad draped in 
 a floating cloak, hurrying r. (her head, lower part of r. arm and 1. 
 hand, are gone). At her feet lies the sleeping Ariadne under the 
 lion’s head, her lower limbs draped, the upper part of the figure 
 nude. This upper part rests in the lap of a richly dressed figure 
 (Somnus?), the head of which is missing. A small Cupid is playing 
 at Ariadne’s feet, and a skittish little Pan is just going to uncover 
 the sleeper still more. On the other side of the lion’s face are 
 another Maenad with a lyre, and a Satyr with a nebris, raising his 
 r. hand. The elegant symmetrical composition, the graceful sub- 
 ject, the good alto-relievo deserve a better fate than to keep 
 gradually disappearing in this romantic spot under their destructive 
 covering of moss. The sarcophagus belonged at one time to the 
 Massimi, and then to the Della Valle. Old drawings of it are to 
 be found in Cod. Coburg., Matz, no. 142, in "Windsor (Vol. vii. 
 PI. 3, 22, x. PI. 20), in the possession of Mr Franks in London 
 (in duplicate), and in the Library of Trinity College, Cambridge 
 (R. 17. 3, fob 18). L. r'85. LI. cvfiq. [*] 
 
 BOYNTON (Yorkshire). 
 
 Dallaway, Anecd., p. 386. Of Statuary, p. 340. 
 
 In Boynton, near Bridlington, now the seat of Sir Walter 
 Strickland, are preserved some marbles, which Sir George Strick- 
 land had obtained through Jenkins in Rome between a.d. 1780 — 
 1782. Dallaway mentions only two of them : — 
 
 1. “Statue of Juno [? cf. Gerhard, Ant. Bildwerke , PI. 12 
 ‘ Libera’], h. 4 10" [1 *47] carrying a faun [fawn?] under her left arm, 
 which is encircled in a wreath of fruits and flowers suspended from 
 the right shoulder; in the right hand a bunch of flowers. In great 
 preservation, and the drapery excellent. This fine statue was found 
 in 1777, at the Torre tre teste, four miles from Rome, on the Prae- 
 nestian way, laid on a tesselated pavement, probably of the temple 
 to which it belonged. 
 
 2. Head of M. Junius Brutus, large life, and of perfect and 
 excellent sculpture.” 
 
 A communication of A. S. Murray, Esq., enables me to add the 
 following marbles : 
 
 3. Venus and Cupid. 4. Terpsichore. 5. Diana. 
 
 6. Vase from Villa Mattei. 
 
BRO ADLAN DS I — 4. 
 
 BROADLANDS (Hampshire). 
 
 Dallaway, p. 344 f. (11. p. 9). 
 
 Very near the small town of Romsey in Hampshire is situated 
 the beautiful country seat of Broadlands, belonging to the Palmer- 
 ston family, and now in the possession of the Right Hon. W. Cowper 
 Temple. Here may be seen a small collection of antique sculptures 
 which Henry Temple, second Viscount Palmerston (1739 — 1S02), 
 acquired in Italy in 1764 when he was a young man. An autograph 
 memorandum by the collector gives some of the prices, which have 
 been placed under the particular specimens so far as it can be recog- 
 nised with certainty to which they refer. In 1877 I visited the 
 collection and made a full description. 
 
 Vestibule. 
 
 Here, not to mention three modern busts of an Emperor, an 
 Empress and a veiled female, are the following antique sculptures : 
 
 1. Head of Apollo, colossal scale : hair drawn back from the 
 
 face and fastened together over the parting in a coronal. (Cf. Deep- 
 dene no. 4, Petworth no. 7.) Forehead very round, with the brow- 
 line sharply defined. The good workmanship proves the value of 
 the original head here copied. New: nose, upper lip, breast. Pentelic 
 marble. H. of the genuine part 0-35. L. of face 0-20. Probably 
 purchased together with no. 9 for ,£35. [*] 
 
 2. Relief of a Satyr: he dances r. on r. leg, and throws back 
 
 his head. His r. hand is stretched out backwards and he grasps in 
 it the corner of a panther skin, whereof the greater part hangs down 
 over his 1. arm which is stretched straight out. In 1. hand he holds 
 a kantharos, the contents of which he is pouring out. Very low 
 relief, in shape of a round disk. Diameter 0-29. Purchased together 
 with no. 4 for ^22. [*j 
 
 3. Fragment of a relief: female flute-player draped in a 
 
 chiton, with a cloak thrown over her lower limbs, 1. arm and back, 
 moving r. and blowing the double flute. From below the knee to the 
 neck, and part of the profile of the face, old ; flute and r. hand 
 partly new. Very high relief, originally of fresh and good workman- 
 ship, but on the chiton much worn and on all other parts a good 
 deal touched up. Fine-grained Greek marble. H. 073. L. 072. 
 Bought for _^ro. [*] 
 
 4. “Hygieia,” oval relief : evidently only the remains cut 
 out of a much larger relief. A woman, turning somewhat r., 
 
2l8 
 
 BROADLANDS 5, 6. 
 
 wears a chiton and over it a cloak gracefully cast from her r. hip 
 over her 1. shoulder ; both forearms extended at a right angle. 
 Hair simply arranged and gathered up behind in a plait. R. fore- 
 arm, with a serpent coiled round it, and 1. hand, with a cup (which 
 details explain why the female has been ticketed Hygieia), new, and 
 so are the greatest part of the face and parts of both legs. Very 
 high relief of elegant workmanship. The marble has black spots. 
 H. o - 54. L. 0-35. Cf. remarks on no. 2. [*] 
 
 5. Fragment of a relief representing three Maenads 
 
 dancing, composed of four pieces which belong to each other, 
 and completed by two new patches. It corresponds exactly to the 
 Albani relief in Zoega, Bassirilievi, 11. PL 83, cf. London, Lansdowne 
 House, no. 58. The first Maenad, facing 1., with her head thrown 
 back on her neck, is swinging a fawn over her 1. shoulder, and in 
 her r. hand, which is extended backwards, holding a sword upright. 
 The second, moving in the same direction but with her head lowered, 
 holds the sword behind her neck and half a deer in her 1. hand 
 which is lowered. The third faces r. She also holds half a fawn in 
 her lowered 1. hand, and in the r, a thyrsos vertically. In the second 
 figure the sword blade, the upper part of 1. arm with part of the 
 cloak, the 1. foot and part of the chiton are new; the third figure 
 has been completely renewed from above the elbow upwards. High 
 relief in the so-called Neo-Attic style. Pentelic marble. H. o - 42. 
 L. 0-65. [*] 
 
 Hall, 1st compartment. 
 
 6. Head of Aphrodite, with neck : a beautiful Greek head 
 of coarse-grained marble, probably Parim, the surface much cor- 
 roded and dotted with calcined excrescences, but not restored, or 
 retouched. Nose in perfect preservation. In the direction of its 
 length the forehead, which is peaked and not very low, is much 
 rounded. The hair, parted down the middle, flows in beautifully 
 treated waving lines towards the ears, the delicate tips of which are 
 visible, and behind falls unrestrained down the back of the neck. 
 The upper part of the skull is missing ; a flat plane sloping back- 
 wards reminds us of the lesion disfiguring the Psyche of Capua ; a 
 narrow groove in front would seem to show that the head was once 
 crowned with a metal stephane. The brow-line over the eyes is dis- 
 tinctly but very delicately drawn ; the eyes, which are quite oval in 
 shape, are somewhat deep set (1. o’oq, h. o'oi5; distance of the inner 
 corners of the eyes from each other o - o 3). The eyelids are very 
 delicate, rounded more below than above, somewhat sunk in the 
 
BROADLANDS 7 — 9. 
 
 219 
 
 inner corners; all four corners of the eyes lie in a horizontal line. 
 The insides of the eyes were hollow and have been filled up with 
 plaster. The nose has a broad bridge and is almost straight, with 
 a pretty, delicate tip; its profile diverges somewhat from the line of 
 the forehead. The mouth again is very delicate and softly curved 
 (I. o'o5), and is slightly opened; the upper lip protrudes a little. The 
 chin is very long. The whole head gives one the impression of grand 
 and lofty beauty, more delicate than that of the goddess of Melos, 
 perhaps somewhat more severe than that of the Knidian Aphrodite 
 in the Vatican. Purchased for ^5! H. 0-37. Length of face 0-21, 
 height of forehead 0-07, length of nose 0-07, space between the 
 nose and the mouth C015, length of chin o-o-j. [*] 
 
 7. Cinerarium : two eagles holding an oak garland in their 
 beaks; above, a bird seizing a lizard by the tail. Below, the fol- 
 lowing inscription (C. /. Lett., vi. 1, 2503): Mettio Messori | mil(iii) 
 cho{ortis) hi pr(aetoriae ), 7 ( centuria ) Au\dacis, Claudius | Rufianus 
 conm\aniplo b(ene ) inherent i ) f(ecit). Found in 1735 near S. Alessio 
 on the Aventine. L. o - 35. H. o - i8. “Two cinerary altars (cf. 
 nos. 8, 30), and an urn (nos. 32? 33?) and a small basso relievo (?) ” 
 were purchased together for ^17. [*] 
 
 8. Cinerarium : two Ionic spiral fluted columns connected by 
 a garland. Below, a tablet with the inscription : T. Aquilio | T.l(iberto ) 
 Peloro | vestiario de hor(tis ) | Volusianis | Plotia Flora | coniug(i) 
 b(ene ) merentii). The horti Volusiani, probably laid out by one of 
 the Volusii Saturnini, a family famous for its colossal wealth in the 
 first century of the empire (Tac., Ann., 3, 30), do not appear to be 
 known otherwise; for vestiarii, with more exact description of place, 
 cf. Preller, Regional der Stadt Rom , p. 151. Below the inscription, 
 folding doors, open and surmounted by a pediment. In the doorway 
 stand a man in tunic and pallium and a woman with a curled 
 wig, in stola and palla, holding out their r. hands to each other ; he 
 lays his 1. on her head and she in her 1. holds an apple (?). H. 0-58. 
 L. 0-36. D. 0-31. Cf. on no. 7. [*] 
 
 9. Head of Hermes, not a portrait : hair very curly, and 
 covered by the petasos, the brim of which has been broken all round 
 and restored on too scanty a scale (cf. Lansdowne House, no. 88); the 
 hat held on by a riband, which passes not under the chin but round 
 the nape of the neck. The terminal bust has been restored. Ordinary 
 workmanship. Marble with grey stripes. H. of genuine parts C29. 
 L. of face o - i6. Cf. on no. 1. [*] 
 
220 
 
 BROAD LA N D S IO — 12. 
 
 10. Terminal bust of a victorious athlete : short curly 
 hair lying close to the head, and entwined with a round rope-like 
 fillet, the ends of which fall over the shoulders in front. Mouth 
 slightly opened, chin very long. The original was, to judge by this 
 repetition, of a pure early style, and belonged probably to the close 
 of the 5th century b. c., or to the beginning of the 4th. New : tip 
 of the nose, a great portion of the back part of the head with pieces 
 of the fillet, two thirds of the terminal bust. Greek (Pentelic?) 
 marble. H. o-^g. L. of face o-i8. Can this be the “Ptolemy” 
 (£ l 3) °f fh e Memorandum? Cf. however on no. 23. [*] 
 
 11. Triangular altar, with a top-piece of slightly raised acan- 
 thus work ending in a (modern) knob, showing that the altar was 
 intended for ornament and not for use. On the three sides the 
 following reliefs: (1) Seiienos, bearded and bald-headed, crowned 
 with ivy, nude except for an apron about his loins and shoes on his 
 feet; he is standing in repose facing r., holding a tympanon in his 
 1. hand, which is lowered, and with his r. touching the plaited fan 
 (Xlkvov, vannus ) in which the phallus is visible surrounded with fruit. 
 (2) On the side further 1., and therefore behind Seiienos, is a female, 
 facing r., in a quiet pose, draped in chiton and cloak; her r. shoulder 
 is bare, and on the 1. she carries a flat dish full of fruits, among 
 which a long root (?) rises up high; with her r. hand she holds a 
 flaming torch horizontally before her, directed towards an altar on 
 which fire burns. (3) Behind her, a Maenad in girdled chiton 
 which leaves the r. breast and arm free ; her head is thrown back ; 
 her r. hand, which is lowered behind her, holds a sword, and her 1., 
 lowered in front of her, half a fawn; she is in violent action, and her 
 chiton floats down in grand folds. The three reliefs are to be found 
 in the drawings of dal Pozzo at Windsor, Yol. vir. PI. 59 — 61. The 
 lower architectural sections are modern. H. o - 66. L. 0-27. [*] 
 
 12. Statue of a Nymph, called less correctly “Melpomene,” 
 answering to that in the Vatican given in Biondi, Monumenti 
 Amaranziqni , PL 34. Clarac, iv. 752, 1830. The wide cloak is 
 thrown round the legs, leaving the whole of the upper part of the 
 figure nude. She stands on the r. leg, and steps, after the manner of 
 Melpomene, with the 1. foot much raised; half the 1. foot and the 
 marble block with its base have been put in incorrectly, in place of a 
 large vase lying on the ground, as is shown in the Vatican replica. 
 The upper part of the figure is leaning far forward, supported on the 
 1. arm, which rests on 1. knee. New : 1. forearm and a piece of 
 upper arm, also the whole of r. arm, head and part of neck. 
 
BROADLANDS 1 3 — 1 6. 
 
 221 
 
 Graceful decorative work, but touched up. Greek marble. H. 0-62. 
 Possibly the one styled in the memorandum “ small statue of 
 Venus,” which was purchased together with no. 31 for the sum of 
 ^ 75 - [*] 
 
 Hall, 2nd compartment. 
 
 Besides a number of modern works and copies from the antique, 
 among which is the vase with Bacchic scenes (no. 16 in Dallaway), 
 are to be seen here: 
 
 13. Statue of “Ceres,” originally a portrait like those in the 
 Florentine Loggia de’ Lanzi : Cavaceppi, Race., 1. PI. 10. Clarac, 
 nx. 42S, 770. The imposing figure resting on the 1. leg is draped 
 with an Attic ^treuv Snr/Yofs. Over this doubled chiton is a cloak which 
 covers the 1. breast, shoulder and arm, and is then drawn gracefully 
 behind the back to the r. shoulder in folds reaching to the knee; 
 the upper border falls down over the 1. forearm, which is outstretched. 
 New: the head, crowned with ears of wheat, the neck, the uplifted r. 
 arm with the ears of corn, inclusive of the shoulder, the 1. forearm and 
 hand, as well as both feet and part of the flowing chiton. Good 
 work, not however particularly fine ; only slightly touched up. Pen- 
 telic marble. H. 119. Purchased for ^£90 together with no. 14. [*] 
 
 14. Statue of Hygieia: Cavaceppi, Race., 1. PI. 11. Clarac, iv. 
 557, 1181. A figure standing in repose in chiton and cloak which 
 covers the 1. arm and the greater part of the back and legs. She 
 rests on her 1. leg, the r. being retired a little behind. Beside her r. 
 thigh a serpent rises up between her hip and elbow, and then winds 
 round the latter, along the arm and through her hand along front 
 of her body, towards a cup which the goddess holds in her 1. hand. 
 New: Hygieia’s head and neck, some parts of the serpent (whose 
 head is missing), and r. foot ; the r. arm has been fastened on, but 
 is antique; the 1. hand and the cup are apparently so too. Decora- 
 tive work. Coarse-grained Parian marble. PI. i'o8. Cf. on no. 
 
 [*] 
 
 15. Female portrait head: hair gathered up in a small knot 
 
 behind, and cut in short curls round the forehead without any mean- 
 ness of effect. Much washed out. New: tip of nose, part of hair 
 over r. half of forehead, bust. Height of genuine parts 0-23. L. of 
 face o • 1 1 . [*] 
 
 16. Double terminal bust : on one side, a youthful Satyr- 
 like head, with ruffled hair, among which is an ivy wreath. The 
 eyebrows are strongly waved and drawn up. On the other side 
 
222 
 
 BROADLANDS 1 7 — 20 . 
 
 a similar head with a somewhat more tender expression (perhaps 
 feminine) wearing a laurel wreath. The upper parts of all the ears 
 are concealed. The conjunction of the wreath sacred to Apollo 
 with that of Dionysos is worthy of notice. In a state of perfect 
 preservation except that the busts are modern. H. of genuine 
 part o *2o. L. of face 0-13. “A term” was bought for ^5. [*] 
 
 17. Bust of a young Roman with a good open countenance, 
 
 called “Scipio Nasica.” Hair very smooth, combed right over 
 the forehead, and carefully treated there only, the rest being left in 
 a somewhat rough state. New: certainly the nose and the bust, 
 which is covered with drapery; all the rest has been carefully smoothed 
 over and is not quite free from a suspicion of being spurious. In- 
 artistic work. H. 0-64. L. of face 0-16. Probably bought with 
 no. 18 as “two busts” for ^22. [*] 
 
 18. Bust called “ Titus a big head, with a fillet through 
 
 the hair, certainly not Titus. The pupils of the eyes are indicated. 
 New : the nose, and the bust, which is covered with drapery. I 
 would not undertake to vouch for the authenticity of this insignificant 
 piece of work. H. 0-64. L. of face 0-17. Cf. on no. 17. [*] 
 
 19. Bust of Africa : Cavaceppi, Race ., 1. PI. 49. A grace- 
 ful little head, somewhat in the character of a Venus, inclined gently 
 towards its own 1 . This head is framed in abundant curly hair, 
 which is deeply undercut with the drill. An elephant’s hide lies 
 on the hair (the trunk and small tusks have been restored) in thick 
 furrows, the large ears hang down at the sides. The fertility of 
 that quarter of the world is indicated by the wreath of corn lying 
 on the hide, and bound together behind by a piece of riband. 
 New : the nose ; the hem of the garment in front of the neck 
 is open to suspicion : the work as a whole, however, though 
 somewhat defaced, appears to be antique. Visible traces of 
 touching up to be perceived here and there, but essential parts all 
 original. Africa appears on coins depicted in a similar manner, 
 but without the wreath. H. o - 29. L. of face o - i2. Bought for 
 j£*7- [*] 
 
 20. Youthful head, of Bacchic character : a broad fillet covers 
 
 the forehead and passes through the hair, which is gathered together 
 in a knot behind; long curls hang down to the shoulders. Hair 
 crowned with ears of wheat. The older parts much rubbed. New : 
 nose, mouth, chin, part of the wreath and the female bust; the head 
 has been raised up 1. with a somewhat sharp turn without any 
 apparent reason. L. of face 0U5. [*] 
 
BROADLANDS 21. 
 
 223 
 
 21. Front of sarcophagus with the story of Meleagros, 
 
 resembling that in the Casino Rospigliosi (Beger, Meleagrides , p. 19) 
 more than any other, (a) King Oeneus, in sleeved chiton and a 
 cloak thrown round his hips, stands under an arched gateway on the 
 extreme 1. ; he clutches his beard sadly with his r. hand, while in his 
 1. arm he holds a sceptre. ( b ) A youthful attendant in chlamys 
 regarding the King with a sad demeanour stands near him in the 
 background, (c) The powerful Ankaios at the same time moves 
 hurriedly r. with heavy steps ; on his 1. shoulder he carries a double 
 axe, with his r. hand he leads a hound by a cord, (d) Artemis, exactly 
 in the attitude of the celebrated statue of Versailles in the Louvre, 
 hastens before him; her r. breast bare, her head inclined forwards; 
 by her side runs a second dog. In the background (e) a bearded 
 man, looking behind him, wearing the chlamys, his r. hand in front 
 of his body ; in front a third dog. (fg) The two Dioskouroi then 
 follow with chlamys, cap and spear; f is seizing Meleagros by 
 the arm; a horse’s head is visible near g. (New : the forepart of the 
 third dog and the lower part of/’s r. leg.) (Ji) Meleagros, with a 
 fillet about his hair and dressed in the chlamys, is couching his 
 lance; between his legs is a fourth dog; (i) Atalanta is beside him in 
 the background, shooting off her arrow. Opposite them stands (k) 
 the mighty boar, which seems just to have burst from a cavern that 
 is but slightly indicated ; he has been transfixed by Meleagros, and 
 bitten by a fifth dog in the leg. Beyond the boar we perceive a tree, 
 and beside it (/) a hunter in chlamys and hat, casting a stone at the 
 boar. On this side of the cavern (;;/) a hunter with a fillet in his 
 hair, dressed in chlamys and boots, is thrusting his spear against the 
 animal; between his legs lies ( n ) a wounded youth, supporting him- 
 self on his 1. hand, with his r. resting on his left shin; he also wears 
 a chlamys and boots. The whole closes r. with (0) a bearded man 
 whose expression is full of grief; he wears a chlamys and is girded 
 with a sword; supporting himself with his 1. hand on his spear, he 
 lays his r. on his wounded 1. thigh. The sarcophagus, which is of 
 ordinary workmanship, is not mentioned in the researches concerning 
 the Meleagros sarcophagi of Kekule ( De fabula Meleagrea , Berlin, 
 1861), Helbig ( Annali delF Inst., 1863, p. 81), Matz (ibid., 1869, p. 
 76). Though considerably broken it is yet in a state of good preser- 
 vation, and with the exception of the addition made to f has not 
 been restored in any way. Parts of some of the feet are missing, so 
 are the lower half of the bow of Artemis, the r. hand of Meleagros, 
 and the whole of his spear as far as his 1. hand, the upper half of 
 
224 
 
 BROADLANDS 22 — 28. 
 
 Atalanta’s bow, the point of m ' s spear. I,. 2-16. H. 0-58. Bought 
 for £6. [*] 
 
 22. Relief ; a large slab with two figures placed far apart. To 
 
 the 1. a lady in a stola with a palla thrown round her legs is sitting 
 on a chair without back, facing 1.; she is supporting herself with her 
 1. arm on the seat of the chair, her r. hand rests in her lap. She 
 looks round towards a beardless man, with the Roman type of 
 features, draped in tunic and toga, who is extending his r. hand as 
 if he were speaking. New: all four corners of slab, and footstool 
 and part of legs of woman. Sculpture in imitation of the Greek, in 
 high relief, belonging to the first century of the empire. Of Greek 
 marble. H. o'6i. L. C93. Bought for ^10. [*] 
 
 23. Bust of a boy with close-cut hair of Roman type. The 
 pupils of the eyes are indicated. New : tip of nose, parts of the 
 ears, r. shoulder, parts of tunic and cloak. Coarse. Possibly the 
 “Diadumenus” of the Memorandum, bought for £10. H. 0-37. 
 L. of face oto, [*] 
 
 24. Bust of a child with joyous expression, with crisp close 
 hair. Small size. The tip of the nose, which is broken, appears to 
 be ancient, and so does the bust. Eyes very narrow. Of Thasian 
 marble. H. 0-28. L. of face on 2. Bought for £5. [*] 
 
 Ante-Room. 
 
 25. Terminal bust of the winged Dionysos ( psilax ) 
 crowned with ivy, the wavy hair smoothed back, the expression 
 delicate. Small size. The tip of the nose is new. Of coarse- 
 grained Parian marble. H. o - 27- Probably bought with no. 26 
 for ^6, “two small busts.” ["] 
 
 26. Terminal bust of a female Satyr, laughing: small 
 size. A broad fillet intertwined with vine-leaves is drawn over her 
 forehead and through her hair. New : nose and lower corner. Not 
 agreeable sculpture. Italian marble. H. o - 24. Cf. on no. 25. [*] 
 
 27. A fat goat with full udder, lowering its head to graze. The 
 
 1. hind leg and some other details are new. Rough work. H. 0-25. 
 L. 0-28. [*] 
 
 Drawing Room. 
 
 28. Statuette of a female ; seated on a block of rock, quite 
 enveloped in her ample cloak, the folds of which remind us some- 
 what of the statue of Antiocheia ( Mus . Pio-Clan., m., PI. 46). She 
 has thrown her r. leg over the 1. so that it extends far out ; her r. 
 elbow is supported on her r. thigh, and her head is leaning on her 
 
BROADLANDS 29 — 32. 
 
 hand. The 1 . arm describes a right angle. ' 1 'he head, separately 
 wrought, has a diadem (crre^aVry) ; the hair is simply drawn back 
 and gathered together in a knot behind ; it shows abundant traces 
 of a red tinge ; the r. hand lay originally somewhat further back than 
 it does now. New : nose, r. fore-arm, 1 . hand with the roll, and 
 details in the folds. Workmanship rather smooth and not delicate, 
 but the composition is very graceful and the pose of the head fine. 
 
 H. 0-51. [*] 
 
 29. Statuette of Eros. The mighty lion’s skin is spread over 
 a rock on which the boy sleeps with his head somewhat raised. The 
 
 I. arm is outstretched and lies on one wing, the r. across the breast 
 
 and body. The idea of sleep is very naturally indicated in the 
 position of the head which is sunk back ; along the crown the 
 curly hair is dressed in a kind of plait. Both legs outstretched. 
 The torch, still burning, has fallen from the r. hand, the 1 . holds the 
 broken string of the bow, both ends of which terminate in the head 
 of a swan. The quiver lies behind the back of Eros on the ground. 
 Near his breast crawls a lizard and another by his 1 . foot. New : 
 r. foot, half the 1. foot, two fingers of the 1. hand, nose and upper 
 lip. Coarse-grained Parian marble. L. o - 57 - [*] 
 
 Saloon. 
 
 30. Cinerarium, of the period of the Flavian Emperors, at 
 the close of the first century after Christ. On the lower part of the 
 front surface the folding-doors of the grave, ornamented with lions’ 
 heads, on either side a dog crouching on a pedestal. Over the door 
 hangs a wreath enclosing a tablet with the following inscription 
 (Gruter, 601. 4): T. Flavio Aug(usti) lib(erto) \ Oneswio , ministrat(ori ), | 
 dec{iiriaruHi) mi, | deduria ) Favoris, \ T. Flavius Vitalianus | patri 
 optimo . Over this a plant and on either side of it an ornament con- 
 sisting of a shell out of which a trident rises up, to which two dolphins 
 are chained by the tails. In each corner is an erection like a can- 
 delabrum, ornamented with a mask below and with a double sphinx 
 above. On each side is also a plant. Formerly in the Capodiferro 
 (Spada) palace in Rome. H. C54. L. 0-42. D. C32. Cf. on no. 7. [*] 
 
 31. Statuette of Athene, in the pose of the colossal statue 
 
 fromVelletri in the Louvre. New: head, r. arm, 1 . fore-arm, feet and 
 a great part of the folds. H. o - 68. Cf. on no. 12. [*] 
 
 Dining Room. 
 
 32. Round vase, richly ornamented : cover and handles mo- 
 dern, the rest much touched up. On the principal band is on. one 
 
 M. C. 
 
 >5 
 
226 
 
 BROADLANDS 33. BROCKLESBY. 
 
 side a pedum and a syrinx between two masks of Satyrs, one youthful 
 and one bearded ; on the other side a cista with the serpent, and 
 a thyrsos between the masks of a semi-bearded Satyr and a Silenus 
 crowned with ivy. All the reliefs very flat. H. 0-45. Cf. on 
 no. 7. [*] 
 
 33. A similar vase ornamented round the neck with rich fine 
 work representing branches; the body fluted. New: lowest piece 
 and cover. H. 0-50. Cf. on no. 7. [*] 
 
 BROCKLESBY PARK (Lincolnshire). 
 
 Catalogue of the Picticres , etc. in the House at Brochlesby Park , 
 1856. 4 0 (very brief notices). Dallaway, p. 386 (11. p. 138). Conze, 
 Arch. Anzeigcr , 1864, p. 215. For the Worsley Collection see 
 Museum Worsleyamim , London, 1794, 11. fob (English and Italian 
 text. The first volume appeared in 1798, the second some years 
 later). New ed. London, 1824, n. 4 0 ; Milan, 1834 (only the 
 Italian text, which is based chiefly on the explanations of E. Q. 
 Visconti . I have given my references according to the London editions, 
 appending to them in parentheses the references according to the 
 edition of Milan). Dallaway, pp. 359 ff. (n. p. ito). I visited the 
 collection in 1873. The numbers in my list are those of the cata- 
 logue mentioned above and of the collection itself; the numbers 
 which are passed over belong to modern specimens. 
 
 South of Hull, distant about two miles from the Brocklesby 
 railway station, lies the extensive estate of the Earl of Yarborough, 
 called Brocklesby Hall. The sculpture gallery, separated from the 
 dwelling-house and built under splendid lofty trees, is a plain and 
 very damp apartment, not at all suited for sculptures, which are 
 injured by the damp. In it may be seen the few antiquities collected 
 by the first Lord Yarborough (1749 — 1823. Cf. Smith, Noltckens, 1. 
 p. 13. Introd. § 54), together with most of the specimens of the 
 celebrated collection which Sir Richard Worsley (1751 — 1805), 
 who was at that time English resident at Venice, made at great 
 cost on a journey through Greece and Italy 17S5 — 87 (Introd. § 66). 
 Lord Yarborough inherited this collection. Since the sale of the 
 Worsley estate, Appuldurcombe, in the Isle of Wight, most of the 
 antiques have been deposited at Brocklesby ; the rest are said to be 
 in the town house (17 Arlington Street) where, however, Waagen 
 ( Treas ., iv. p. 64 ff.) mentions nothing of the kind. 
 
BROCKLESBY 2—9. 
 
 2 2 / 
 
 2. Terminal head of “ Sophocles”: Mus. Hors/., Cl. 11. 1 
 (PL 12, 1). The head, found by Worsley himself in the ruins of the 
 so-called Prytaneion at Athens in June 1785, is of bad workmanship 
 of the later Roman period and has nothing to do with the great writer 
 of tragedy. New: nose, breast and inscription. [Z>C] 
 
 5. Plead of Niobe : Spec., 1. PI. 35 — 37. Miiller-Wieseler, 
 1. 34, 142. Of the head, which with the hair and neck is antique, 
 only a great part of the nose has been restored; it was no doubt 
 originally intended to be let into a statue, and has now been 
 completed by modern drapery imitated from the Florentine example. 
 It appears to have been very little if at all touched up. The exami- 
 nation of the original and the comparison of a cast with the cast of 
 the Florentine statue, leave no doubt that the head in Brocklesby is 
 the finer of the two. The expression of grief in the deep-sunk inner 
 corners of the eyes is somewhat more strongly marked; the mouth 
 is very beautiful and noble; the luxuriant curly hair, which falls in 
 rich masses over the shoulders and neck, intertwined with a fillet, is 
 of a fine picturesque effect (cf. the Epigrams, Antfi. Plan., 133. 134). 
 The marble of a beautiful yellowish tint, apparently Pentelic of 
 the finest quality. Length of face 0-23 (forehead 0^07 , nose o'oS, 
 lower part of the face o;o8). Nollekens sold the head to the Earl 
 of Exeter, who gave it to Lord Yarborough. (VVaagen, Treas., iv. p. 
 506, is inaccurate.) Possibly it is the same head a cast of which 
 Winckelmann (Kunsfgesch., ix. 2, 27) knew of in Rome (cf. Monnm. 
 Jned ., p. lxxi.) and of which Fea ( Storia , 11. p. 199) says that it was 
 in England (cf. Mengs, Opere, 11. p. 11); according to other authorities 
 this head went to Russia and was there utterly lost sight of (see Stark, 
 Niobe, p. 233). [* C] 
 
 7. Terminal head of “ Alcibiades ” : Mus. TVorsl., Cl. n. 2 
 (PI. 12, 2). This head, of late style, dug out at the same time as 
 no. 2, has just as little to do with Alkibiades as no. 2 with Sophokles. 
 The features have not been recognised; they remind us a little of the 
 so-called Persius of the Villa Albani (Zoega, Bassir., PL 115). The 
 hair slightly curled. New: back of head with ears, nose, a large 
 portion of r. cheek, and breast with the inscription. [* BC] 
 
 8. Figure of a Kerkopithekos, cut out of the handle of a 
 water-vase: Mus. IVorsl., CL in. 10 (PL 18, 2). 
 
 9. Fragment of a marble door: Mus. IVorsl., CL 1. 14 (PL 
 9, 5). On the transverse framework ((vyd, impages) numerous bosses 
 (rjXoi, bullae ) are introduced; the lions’ heads in the panels, from 
 
BROCKLESBY 17. 
 
LROCKLESBY I 5 — I /. 
 
 229 
 
 15. Head of Aphrodite, of colossal scale, intended to be let 
 
 into a (draped) statue. It came originally from Greece and afterwards 
 from the collection of Townley into the possession of Lord Yar- 
 borough. The hair has been but little worked on the top, because, 
 chiefly from the size of the statue, it was originally concealed by the 
 metal stephane, for which a groove is introduced ; but there are no 
 holes for fastening it on. By this means the upper part of the face, 
 by itself unusually high, must once have had a still greater prepon- 
 derance over the lower part of the face, which is somewhat short. 
 The hair is smoothed back in free waves, thus allowing the high 
 triangle of the peaked forehead to stand out even more than it other- 
 wise would. These circumstances might almost raise doubts about 
 the appellation of Aphrodite, but they are due perhaps more to the 
 art standard of the epoch of the original. The cheeks show the wide 
 treatment of Attic heads, the eyes are directed downwards in some- 
 what marked manner, and this when looked at in profile does not 
 contrast well with the retreating forehead; the eyes and mouth have 
 not much expression. The whole head is decidedly inclined towards 
 its r. We seem to have before us a later, even copy of a peculiar 
 type of a good period, which certainly is far behind the head at 
 Holkham (no. 37). The lobes of the ears are pierced. Pentelic 
 marble. Length of face o - 35; from the chin to the nose o'io, nose 
 on 1, forehead o’i4. [*C] 
 
 16. Relief, flat : remains of two horsemen galloping h, 
 
 in chiton and chlamys ; even the bridles have been executed in 
 marble. This beautiful relief is certainly not sepulchral. To the r. 
 and at the upper part perfect. Id. o - 43- L. 0-41. [*] 
 
 17. Girl with two doves, sepulchral relief from the isle of 
 Paros, found in 1783: M us. Worsl., Cl. 1. 17 (PI. 8, 1): the engraving 
 in its conventional delicacy gives no idea of the peculiar charm of 
 the uncommon proportions and relief style of this remarkable work, 
 which must be designated the pearl of the Worsley Collection. See 
 the accompanying woodcut, taken from a photograph. A girl, in 
 a Doric chiton, is standing turned r. The chiton is not girdled, and 
 on the r. side quite open; its diploi'dion falls back and front down to 
 the hips. The head is inclined downwards, the 1. leg slightly bent, 
 the whole frame in repose. On her 1. hand she holds a dove (the 
 head has been knocked old) in the manner of a falcon; with the r. 
 she presses a second dove to her breast, at the same time putting 
 her mouth to the beak of the bird to kiss it ; 
 
 Nam mellitus erat , snamque norat 
 
 Ipsam /am bate quam pitclla matrem , 
 
230 
 
 BROCKLESBY 1 8 . 
 
 Nec sese a premia illius movebat , 
 
 Set/ circmnsiliens modo kuc, modo illuc, 
 
 Ad solam dominant usque pipiabat. 
 
 By this action the diploidion, following the upward stragglings of the 
 bird, has been gently drawn up. The bent head of the girl is full of 
 enchanting naivete, and its unusual size (the height of head is nearly 
 one-fifth, and length of face (ono) one-eighth of the whole figure) may 
 be owing partly to the tender age of the child, partly to a peculiar feel- 
 ing for proportion. The whole arrangement of the hair, as well as 
 the treatment of its separate strands, is of almost laboured precision. 
 The garment is composed of a heavy material, and for this reason 
 takes only large folds; the nude portions are executed with similar 
 simplicity. All the contours are so clearly defined that, although the 
 treatment is flat, a very clear relief is effected. The beak of the 
 uninjured dove is quite detached from the ground ; the mutilated 
 head of the other bird was represented in the same way in alto- 
 relievo. A dowel-hole in the back of the first dove, between the 
 tips of the wings, shows that there was probably a metal ornament 
 there, perhaps a cord. The delicacy of the sentiment, the slightly 
 archaic tranquillity of the action, the well-calculated moderation in 
 the treatment of the relief, the apparently provincial peculiarities of 
 the style, finally the beautiful material (Parian lychnites) and its 
 excellent state of preservation, make the relief, which doubtless 
 belongs to the fifth century, a specimen of the first rank. The 
 relief is bounded below by a projecting rim; to the right and left 
 (as is generally the case with the older class of sepulchral reliefs) the 
 slab is not framed in. On the upper surface two holes seem to show 
 that the stele had something to crown it (piriOefxa), probably a pal- 
 mette (dvOepiov), It may therefore be compared with a sepulchral 
 relief of a girl in similar attire, with a casket in her hands, which also 
 probably came from the Greek islands, and which is, or was, at 
 Venice in the Giustiniani alle Zecchere Palace (Thiersch, Reisen in 
 Italien , 1. p. 260, Friederichs, Baustcine , no. 359; published by Mauch, 
 Bau-Ordnungen , PI. 90, 2); the two are not dissimilar in style. A 
 sepulchral relief from Thasos, the colony of Paros, may also be 
 compared with the one before us on account of many analogies in 
 style ( Anna/i delF I/ist., 1872, PI. L. Froehner, Musees de France , 
 PI. 39). II. o-8o. L. 0-39. Elevation of the relief from the field 
 0-03— 0-035. [*c] 
 
 18. Bust of Demosthenes, very naturalistic in treatment, 
 like all the portraits of the orator, which universally go back to 
 
BROCKLESBY 23 — 28. 
 
 2 3I 
 
 the statue of Polyeuktos (cf. Knole, no. 1). Modern : nose, part 
 of upper lip and of r. ear; the 1. ear injured. [ 7 ?C] 
 
 23. Statue of a Maenad or a dancer: below life size. She 
 wears an Attic chiton and a small cloak over her 1 . shoulder and 
 arm; the folds about the leg have all the air of being in motion and 
 are deeply worked out Modern: the head, which is thrown back, 
 the lower part of the r. arm with the thyrsos, half the lower part of 
 the 1 . arm and the pendent border of the cloak. The breast, being 
 but slightly raised, appeared on that account to Conze not indis- 
 putably female ; he also thought that the folds in the lap had 
 been worked over, and that a man might be disguised under the 
 feminine drapery. Figure well designed and not badly executed; the 
 back however is not finished. [Z?C] 
 
 26. Statue of Asklepias, priestess of Artemis Orthosia at 
 Megara, where the sculpture was disinterred. Small size. Mus. 
 
 Worst., Cl. in. 6 (PL 16, 2). Ordinary work of a late period. New : 
 head, r. fore-arm and 1 . hand. The inscription, which I have not 
 compared, runs ( C . I. Gr., 1064. Kaibel, Epigr. Gr., 870): 
 
 'A^optvp Kovppv ArjrwiSa eloxtaipa v, 
 
 "ApTcpuv ’OpdwtTipt', iroAews irepi iravra 
 
 elfd Uprjls iyto ’ Acr/c\?? 7 rias" £k Oc- Tonr/iov 
 irarpos ’EvKTiptvov ’ AaKAr/irLddao yevtalh^v, 
 
 5 p.r}Tpos <repLvoTaTr)S T$eLKr]<p6pi5os ytvos tudAbv, 
 
 0 i 5 ’ eu yeLuap-a'ol p! f-Oocrav lepplda rrjde Oealvy, 
 PovXrjS Kal Spfj.0 v \l/p<j>L(j((j)ap.tvr)S irep' ipe?o. 
 
 The sixth line is a heptameter. The form yevar 6 r]v in line 4 instead 
 of iyevyOrjv is barbarous. [C] 
 
 27. Terminal head of “Regulus”: M//s. Worst., Cl. 11. 6 
 (PI. 13, 2). The name is quite unwarranted, the inscription 
 modern. We perceive a distant resemblance to the Scipio heads, 
 but certainly no identity. Hair only indicated by short lines indented. 
 New: breast and a piece at the back of the head. [^>C] 
 
 28. Votive relief to Herakles: Mus. Worst., Cl. 1. 3 (PI. 1, 
 2). The hero is lying on the lion’s skin with the skyphos in his 
 r. hand and a wine-skin in his 1 .; quiver and club are near him. The 
 inscription runs (C. I. Gr., 473): 
 
 Tt'/xcuos ’Hpalk'Xecorjjs ? Kal...]i)S ' Up a k\ t-dirris 
 [aj'e]6 , 5j kclt\_ 7 }v vjoaov. 
 
 It seems to bear witness that Timaios and a fellow-countryman 
 
232 
 
 BROCKLESBY 29 — 36. 
 
 from Herakleia (on the Pontos?) dedicated the relief in consequence 
 of recovery from an illness. Found at Athens in 1785. 
 
 29. Bas-relief in terra cotta: Mus. JVorsl. , Cl. 1. 15 (PI. 7, 
 1). Miiller-Wieseler, 1. 1,4. Purification of a terminal head by 
 a Satyr, with the assistance of two female slaves and under the super- 
 intendence of a woman, perhaps a priestess, who carries a branch 
 intended for the adornment of the Hermes. In a replica in the 
 Louvre (Campana, Opere in Plastica, PL 44) a bunch of grapes is 
 represented instead of the sponge ; by the whole therefore a wreath- 
 ing of the Hermes is meant. The same motive was probably origin- 
 ally common to both copies, and one of the two has been incorrectly 
 restored; which it is could be learned only by exact investigation. 
 
 30. Kybele, with the lion at her side, the back of her head 
 concealed by her cloak. No modius. The hands restored. Ordi- 
 nary workmanship. [C] 
 
 31. Sepulchral relief, Attic: Mus. Worst., Cl. 1. 2 (PI. 1, 3), 
 “ Protesilaus and Laodamia.” An armed warrior, of whose spear 
 only a small part is expressed in the marble, is taking leave of his 
 wife, who is sitting down; only scanty traces of her are preserved. 
 A veiled female, with her head lowered, her r. hand on her cloak, 
 stands behind the warrior. Fine bas-relief with powerful outlines. 
 Pentelic marble. H. o'37. L. 0-30. The restoration given in the 
 engraving does not appear in the original. [*C] 
 
 32. Mask of a bearded warrior: it looks as if it were the 
 corner of a sarcophagus cover, and yet it is too large. H. circa 0-48. 
 
 [C] 
 
 33. Terminal bust of the youthful Herakles, crowned with 
 ivy, with a long fillet hanging down: Mus. Worst., Cl. 11. 5 (PI. 13, 1). 
 A beautiful head. Pentelic marble. Modern: nose, the greater 
 part of the mouth, and a piece of the chin; also 1. side of breast. 
 [* C] 
 
 34. Fragment of a sepulchral relief, lower part: Mus. 
 Worst. , Cl. 1. 4 (PI. 2, 1). A man in chiton and chlamys is offering 
 his hand in farewell to a woman sitting down ; she is not veiled. 
 Beside her stands another woman ; while behind the chair stands a 
 man in a cloak, his posture denoting grief. Under the chair lies a 
 dog. Very pretty, but not particularly delicate. From Megara. 
 Apparently of Pentelic marble. [*] 
 
 36. Painting: Glaukos and Skylla, composed in exact 
 accordance with Ovid ( Met ., xm. 907 ff): Mus. Worst., Vol. 1. 
 p. 103 (tar. d agg., no. 1). Penna, Viaggio dctla Villa Adriana, iv. 
 
BROCKLESBY 3 7 — 40. 
 
 233 
 
 PI. 141. Mon. dell ’ Inst. , 111. 52, 6, cf. Vinet, Annali, 1843, p. 184. 
 At the r. end Skylla is standing on a rocky shore, the upper part 
 of her body nude, her legs and trunk draped in her cloak, the border 
 of which she is raising with her 1. hand ; on her throat a necklace. 
 With her r. hand she waves refusal to Glaukos, who from the sea 
 assures her of his love. He is bearded; his feet terminate after many 
 coils in a fish’s tail. The painting is said to have been discovered 
 in Hadrian’s Villa in 1786, together with nine others which were 
 published in 1801 by Carloni. It has either been entirely painted 
 over, or (a hypothesis which seems to me more probable) is entirely 
 spurious. Bernoulli shares my doubts. We must not forget that in 
 the last century, when the Herculanean discoveries made so much 
 stir, the fabrication and sale of so-called “antique” paintings was 
 carried on in Rome with great energy; and we are expressly told 
 that many of these paintings found their way to England ; cf. 
 Winckelmann, Werke, xi. p. 46, 261. Fea, Storia delle Arti , in. 
 p. 219. Azara in Opere di Mengs , ed. Fea, p. xxxii. It is hardly 
 likely that so profitable a trade should have been brought to an 
 end by the death of the chief dealer, Guerra (1761). [*i?] 
 
 37. Draped female statue: Mus. JVorsl., Cl. hi. 5 (PL 16, 1), 
 “Venus.” Clarac, iv. 591, 1294. A woman stepping forward in a 
 graceful, almost affected manner, on the 1. leg. From the r. shoulder 
 which is somewhat lowered the chiton has slipped, and from her 
 breast; her very ample cloak envelopes her 1. arm, back and legs in 
 its rich folds. She has lowered her r. hand to lift the cloak near her 
 knees, and her 1. lies on the border of the garment. New: the 
 head; it is uncertain what further restorations may have been made. 
 
 W 
 
 39. Fragment of a votive relief, 1. end : Mus. JVorsl., CL 
 
 1. 10 (PL 5, 1). A man, two women (the foremost veiled), two 
 children and female slave with a large covered box on her head, are 
 moving r., to a space probably once occupied by a dead man, ren- 
 dered with heroic treatment (cf. no. 45), or else where gods were 
 represented. Ordinary work of a good period. Pentelic marble. 
 Found in Eleusis. H. o'qa. F. o - 29. [*] 
 
 40. Siren, tearing her hair with both hands: Mus. JVorsl., 
 CL 1. 7 (Pl. 3, 1). Over the arms on either side appear the 
 upper curves of the wings, the lower tips of which, like the tail, 
 were not fully given in the relief, but were originally only expressed 
 by colour. The whole is a fragment of the rounded top of an 
 Attic sepulchral stele. The upper edge was partly defined by the 
 
234 
 
 BROCKLESBY 41 — 55. 
 
 upper contour of the wings ; now the piece is sawn off horizon- 
 tally below and vertically on either side. (Cf., for similar adorn- 
 ment of sepulchral monuments, Schrader, Die Sirenen, p. 86. Ste- 
 phani, Compte-Rendu, 1866, p. 41. Conze, Sitzmigsberichte der Wiener 
 Akademie, lxxi. p. 326.) Very bold relief. Pentelic marble. H. 0-32. 
 L. o' 1 9. [*] 
 
 41. Fragment of a child’s sarcophagus, represent- 
 ing Cupids racing in the circus. Only one Cupid preserved, who 
 is riding, and beside him is a led horse. H. o - 28. L. 0-20. [CM] 
 
 42. Fragment of a relief: Mus. IVorsl., Cl. 1. 19 (PI. 8, 3), 
 
 “Theseus.” The name arises from the fact that in the engraving a 
 lion’s skin is on the head of the horseman, who is galloping r., but 
 this skin is not in the original ; in its place there is a flaw in the 
 marble. Small size. Delicate sculpture in slight relief, in the style 
 of the Parthenon frieze, unfortunately much rubbed; may have be- 
 longed to a sepulchral relief. Pentelic marble. “ Discovered amidst 
 some ruins in the Temple of Minerva in the Acropolis.” H. 0-20. 
 L. 0-13. [*R] 
 
 43. Mosaic, of large stones : an owl in a chariot, drawn by 
 two geese. [ddC] 
 
 45. Fragment of a sepulchral relief, r. end: Mus. 
 Worst. , Cl. 1. 12 (PI. 6, x), “Pluto.” Much more likely to be the 
 upper part of the body of a dead man to whom heroic honours 
 are assigned, looking somewhat like Pluto. He is reclining before 
 a table, prepared to receive the gifts and adoration of his worship- 
 pers. (Cf. no. 39.) Beside him, near a large krater, stands a youthful 
 slave. Good alto-relievo. Pentelic marble. H. 0-34. L. 0-13. [*] 
 
 48. Fragment of a relief. A boy with a cloak on his back 
 is with evident effort carrying a burden on his back. The motion 
 of the figure is graceful; cf. the boy furthest 1. in Millin, Gal. Mythol. , 
 PI. 1, 2. The face has been restored. The antique origin is not 
 quite free from suspicion. [C] 
 
 49. Fragment of a relief: Mus. Worst., Cl. 1. 25 (PI. 9, 6), 
 “ Pisistratus.” A bearded warrior and charioteer in chariot. 
 
 53. Fragment of a sepulchral relief, Attic : Mus. Worst, 
 Cl. 1. 5 (PI. 2, 3). A horseman armed with breastplate and shield is 
 galloping 1. The inscription on the field cannot be completed with 
 certainty : 
 
 . e p K\rj s IloXuap - - ' AXuTTfKlrjdev]. 
 
 (C. I. Gr., 580). Much defaced. [*] 
 
 55. Small bust with the modern inscription Telesphorus. [C] 
 
BROCKLESBY 60 — 67. 
 
 235 
 
 60. Small terminal bust of Asklepios, much resembling 
 Zeus, with a twisted roll round the head. Alabaster. The inscription 
 Juppiter 01. modern. Mus. Worst., Cl. 11. 9 (PL 13, 5). [Z?C] 
 
 62. Statue of a boy : Mus. Worst., Cl. in. 7 (PL 16, 3), 
 “Genius.” Pie is standing in a graceful attitude on his r. leg, 
 putting the 1. foot forward ; the chlamys is hung round his shoulders 
 and 1. arm, the r. arm and the 1. are bent at right angles. The 
 head let into the figure is not certainly a portrait. A riband goes 
 through the hair, which is arranged in a top-knot over the forehead. 
 Restorations unknown. [Z>] 
 
 64. Relief of a sacrificial ox : Mus. Worst., CL 1. 16 (PL- 
 7, 2). The ox is adorned for the sacrifice with a laurel wreath 
 ( infula ) and a broad embroidered fillet. “ Found in Magna Graecia, 
 and thence transported to Naples, where it remained some time in 
 the palace of His Grace Caraffa of Colubrano.” 
 
 65. Sepulchral relief : Mus. Worst., CL 1. 6 (PL 2, 2). In a 
 
 slightly sunken field the bearded Ion is offering his r. hand in 
 farewell to Aristokleia. She is sitting down and is fully draped, 
 but unveiled. The little Kaphision is standing by her chair look- 
 ing up to her. Above is inscribed Tow and ’ApioToTAeta ; in the 
 relief field itself Ka^iatW; over the field «a W is cut in. (C. I. Gr., 
 1091, faulty.) Style of the fourth century. Flat relief. The slab 
 has been sawn off above and below. H. 0-35. L. 0-24. [*] 
 
 66. Cinerarium of Saenia Longina: Piranesi, Vast e 
 Candelabri , PL 96. The rape of Persephone is delineated above, as 
 she is being forcibly carried off in a quadriga by Hades. The upper 
 part of the relief and the cover are, according to Conze’s opinion, 
 modern ; on the pediment of the latter may be seen a bust of 
 Mercury between an overturned basket and a cock. Below the 
 relief is the inscription Saeniae Longinae | [ filfpie [Ge]rmanil[ci]. 
 The letters in brackets are modern introductions. The urn is of 
 good workmanship and comes from Rome. It was formerly at 
 Chelsea at the house of the first Lord Yarborough’s father-in-law, 
 G. Aufrere, Esq. (cf. Welcker, Zeitschrift fur die alte Kunst , p. 195. 
 Forster, Raub der Persephone, p. 126. Overbeck, Kunst my thol., in. 
 p. 644, no. 7). FI. o - 42. L. o’4i. [CAP] 
 
 67. Fragment of a sepulchral vase; very large size: Mus. 
 
 Worst., CL 1. 14 (PL 6, 3). The bearded Moschos (Mo'cr^o?), who 
 is followed by a small attendant, is offering his hand to a lady sitting 
 down. Of the latter figure only a very small portion is preserved. 
 Pentelic marble. Found at Athens. H. o’27- L. 0U7. [*C] 
 
236 
 
 BROCKLESBY 69 — 89. 
 
 69. Small terminal head, with the modern inscription Sappho. 
 New : the whole profile and the bust. [EC] 
 
 70. Small terminal head, bearded, with the modern in- 
 scription Ermacus, i.e. Hermarchos. [EC] 
 
 72. Small terminal head, with the modern inscription Phere- 
 kydes: Mus. JVorsl. , Cl. 11. 4 (PI. 12, 4). The head is stretched 
 forwards and somewhat upwards, the eyes are put in unevenly, the 
 ears stand out. [EC] 
 
 74. Terminal head of Herakles, with the lion’s skin over 
 the head, the inscription Hercules being modern : Mus. Worst ., Cl. 11. 
 
 10 (PL 13, 6). [C] 
 
 76. Marble beard, from Athens: Mus. Worst., Cl. 1. 21 (PI. 
 9> 2 )- 
 
 79. Foot, covered with sandal: the twisting of the straps very 
 distinctly indicated. [C] 
 
 82. Eros, painfully dragging at Herakles’ club and lion’s skin: 
 Mus. Worst., Cl. hi. 4 (PI. 17, 2). The portion of the club which 
 touches the head genuine ; the rest of the club and the r. arm new. 
 
 m 
 
 83. Statue of Athene, less than life size. She is resting on 
 her r. leg, the 1. slightly bent, her r. arm rests on her hip. She wears 
 a girdled doubled chiton ; the aegis is divided into two rounded halves. 
 The motive pleasing and simply worked out. Modern : the helmeted 
 head, the r. arm (which has been correctly restored), the 1. arm and 
 the oval shield on which rests the 1. hand. [C] 
 
 84. Female head, modern; with the hair in the style of 
 Agrippina. [EC] 
 
 85. Female head, slightly inclined 1., with a double fillet in 
 the hair : Bernoulli considers it a tolerably exact replica of the 
 Venus of Arles in the Louvre. A delicate work. New: half the 
 neck, the nose, the lower lip. [EC] 
 
 86. Marble throne: Mus. Worst., Cl. in. 11 (PI. 19, 2). 
 Originally belonging to the celebrated Fulvio Orsini, and afterwards 
 added to the curiosities in Villa Montalto, bought by Jenkins. 
 
 87. Marble chair, of the same origin: Mus. JVorst., Cl. in. 
 
 11 (PI. 19, 3). 
 
 88. Bust of “Achilles,” modern: Mus. Worst., Cl. 11. 7 (PI. 
 i3,3)- [*EC] 
 
 89. Bust of Caracalla ; the neck and paludamentum un- 
 broken. The back part of the head is too small. [*] 
 
BROCK LESBV 90. 
 
 237 
 
 90. Dionysos and Eros : Mus. Worst., Cl. in. 1 (PI. 14), 
 “Bacchus and Acratus.” Clarac, iv. 690, 1626. Muller- Wieseler, 11. 
 32, 370. Dionysos, with a fillet and an ivy wreath in his hair and 
 with curls falling to his shoulders, stands in repose, his 1. hand 
 supported on his hip ; a chlamys lies on his r. shoulder, falling 
 across his back and partly concealing his 1. arm. He is laying his 
 r. hand on the r. shoulder of the youthful Eros, a figure of smaller 
 scale, who stands by him and over whose breast a nebris hangs 
 crosswise. Eros stands with his legs crossed, holding a goblet 
 to his breast with both hands and looking up at the god. Be- 
 tween the two is a vine-stock. The group has received important 
 restorations. The 1. arm of Dionysos and the drapery on it (but 
 not the hand) are new, and so are his legs and r. arm; the por- 
 tions of the chlamys which cover his back are old. The head and 
 neck are undoubtedly antique, but they seem somewhat too small 
 and perhaps do not really belong to the figure. New : the head 
 of Eros; his r. arm from the shoulder, with the goblet; also his 
 1. hand and half of the fore arm, a portion of the skin, nearly the 
 whole of his wings, and the lower parts of his legs ; also the vine- 
 stock and pedestal. The nebris is a rather remarkable attribute 
 for Eros to bear. There is besides at the back of the loins a 
 round smooth circle, with an iron socket, as if a little tail had once 
 been fastened there, and these facts give rise to the thought whether 
 the Eros was not originally a Satyr. But in this case the tail would 
 without doubt have been made of the same piece of marble with the 
 statue itself; the iron socket rather goes to show that the transforma- 
 tion into a Satyr was due to a restorer, to whom moreover the Satyr- 
 like head with the bristly hair may be referred. But a more modern 
 restorer has very rightly filled in the wings of the young figure, for 
 the part of the left wing adhering to the back is undoubtedly ancient. 
 Now it would be difficult to admit a winged Satyr (cf. Zoega, 
 Bassiril., PI. 88; Miiller-Wieseler, 11. 40, 479), while the Bacchic nebris 
 or panther’s skin, is quite suitable to Eros as the companion of 
 Dionysos. According to this view it was right to take away the little 
 tail, and the regeneration should have been completed by removing 
 the Satyr head of the first restorer and putting instead a head of Eros. 
 Finally it is worth mentioning that there is no material coherence 
 between the two figures in their antique parts. But it would be too 
 sceptical on that account to raise doubts about their having originally 
 belonged to each other. The marble of both figures is Pentelic 
 of the same quality. Besides, great praise has been rightly given to 
 
23 § 
 
 BROCKLESBY 9 1— IOO. 
 
 the harmonious flow of the lines; the fine grouping; the beautiful 
 treatment of the nude, particularly in Dionysos where “ the mascu- 
 line energy of youth is admirably blended with female softness 
 and virgin delicacy.” The whole group is of excellent effect, and 
 among the many similar must take a high rank. We may be 
 reminded of Thymilos’ group of Dionysos and Eros in the Street 
 of Tripods at Athens (Paus., 1. 20. 2). H. about 1 '3 7. [*C] 
 
 91. Marble ship, Roman: of rather clumsy construction. In 
 front, considerably raised, a beak ( rostrum ) is introduced in the 
 form of a bird’s beak, over that is a (modern) animal’s head; above 
 the foredeck is a battlemented turret (for the most part modern). 
 The hull of the ship has three tiers one above another; in the middle 
 and upper ones in the forepart of the vessel are 1 1 holes for the 
 oars. The after half of the uppermost tier is ornamented in the 
 fashion of the stern of a galley with a double row of relief fields, one 
 over the other; this adornment is varied on starboard and port 
 respectively. In the lowest row on the starboard side next to the 
 oar -holes is a bucranium, then an eagle, a snake, a thunderbolt; 
 on the port side is a wreath thrice repeated. Standing somewhat 
 out over the bucranium is a head with a crown of rays, an oar, an 
 ornament of branches, and a capricorn ; on the port a bearded head, 
 a trident surrounded with two dolphins, ornamental branches, a sea- 
 panther. Finally there projects a long way out from the stern a kind 
 of balcony (on it there are two half-moons on the starboard side and 
 one on the port); from which the aplustre (d^Xacrrov) rises up; in the 
 lower field of the latter is a capricorn, in the upper one a crab (on the 
 port a helmet below and a Janus head above); the uppermost portion 
 of the aplustre is modern. Steering paddles are not indicated. [C] 
 
 96. Female head, with a coif. Small size. Nicely executed 
 but somewhat rubbed out. [*] 
 
 97. Bearded head, with the modern inscription Anacreon: 
 Mus. Worsl., Cl. 11. 3 (PI. 12, 3). The antique head is fastened on 
 to a modern marble slab. [Z>C] 
 
 98. Satyr head, small and delicate, with two little horns and 
 pointed ears. It is of the tender kind that we see for example in the 
 statues of Cossutius Cerdo (Brit. Mus. Graeco-Roman Sculpt. No. 
 188, 190. Mus. Marbl. , 11. 33, 43). New: nose and neck. [* C] 
 
 99. Fragment of a sepulchral relief. A woman is repre- 
 
 sented in complete drapery, with wavy hair. Coarse, of a late epoch. 
 H. 030. L. 014. [*] 
 
 100. Head of an empress. The style of hair points to the 
 
BROCKLESBY IOI — 1 10. 
 
 239 
 
 beginning of the 3rd century. Said to be Julia Cornelia Paula. 
 New: nose, mouth, chin, r. eye. [AC] 
 
 101. Relief of Artemis facing r. in girdled doubled chiton, 
 
 her r. hand supported on her hip, her 1. hand somewhat raised and 
 holding the long straight bow. To her 1. a deer standing in repose. 
 The proportions unusually slender. Low relief. Greek workmanship, 
 very commonplace. H. o'ji. L. 0U7. [ # ] 
 
 102. Bust of Herakles. The breast new. [C] 
 
 103. Torso of Aphrodite, presented by the sculptor Emil 
 Wolff in Rome to the Earl of Yarborough. 
 
 106. Head of a Roman boy, with straight hair, designated 
 “ Britannicus.” Small size. Good work. [A] 
 
 108. Upper part of a beautiful female portrait statue 
 (“Muse”) purchased a.d. 1850 from the Bessborough collection in 
 Roehampton (Introd. note 1 5 1 ). The body is covered to the throat 
 by a fine cloak of which one end is thrown back and falls over the 1. 
 shoulder. The management of the folds, which are determined 
 mainly by the position of the arms (the r. lies across the body, the 
 1. is lowered), is very graceful, and reminds us of the delicacy of 
 terra cotta statues. The pretty head seems to belong to the rest 
 (Conze thinks it modern); it is inclined somewhat forward and 
 towards the r. shoulder; the hair is treated simply and gathered up 
 in a knot behind. Nose and 1. hand new. Of Greek, apparently 
 Pentelic, marble. [*AC] 
 
 io8 a (let into the pedestal of no. 108). Relief of good Ro- 
 man work. Two Satyrs and a Bacchante ; one of the Satyrs is 
 swinging a kantharos, of which he holds the handle by one finger. [C] 
 South Library. 
 
 109. Statue of an Egyptian priest: Mus. JVorsl., CL in. 8 
 (PI. 3, 7). Behind the back is an obelisk with an hieroglyphic inscrip- 
 tion. Basalt. 
 
 I cannot say where the following four specimens represented in 
 the engravings, but not exhibited with the other marbles, are at 
 present to be found. 
 
 no. Votive relief: Mus. Worsl., Cl. 1. 9 (PI. 4). Miiller- 
 Wieseler, n. 44, 555. A man, clothed in chiton and chlamys, 
 followed by three females also clothed, moving with light steps 
 before an altar of rough stones in a rocky grotto, over which Pan, 
 with goat’s legs, is sitting. According to the ingenious explanation 
 of Visconti, the figures are Kekrops and his three daughters, Aglau- 
 ros, Pandrosos and Herse, and the locality would be the grotto of 
 
240 
 
 BROCKLESBY III — I 1 3 . 
 
 Aglauros, on the northern rock-declivity of the Athenian Akropolis, 
 near the celebrated grotto of Pan (Eurip., Ion , 492 ff., 938, 1400). 
 This explanation is borne out by the beard of the supposed Kekrops. 
 But we see from the drawing that the face is entirely rubbed, and 
 the short drapery would be very surprising in king Kekrops. We 
 might rather incline, following the analogy of numerous similar 
 reliefs (cf. Michaelis, Annali dell' Inst., 1863, p. 31 1. Archdol.- 
 Epigraph. Mittheilungen aits Oesterreich , I. PL 1), to recognise 
 Hermes as leader of three nymphs, for it is well known that they 
 were often worshipped with Pan. The large bearded head at the 
 r. end would indicate a fountain, or a river. From the 1 . approaches 
 a troop of worshippers, represented as of less magnitude. They 
 lead a ram as a sacrificial offering and among them is probably __ 
 the donor of the relief, who came from the Attic demos Phlya [o 
 Sciva -jiV^rov aveOrjKev, C. I. Gr., 469). Mus. IVorsl. gives 
 
 no fuller information respecting the origin of the relief ; Leake’s 
 assertion ( Topogr . of Athens , p. 482, 2nd ed.) that it was found 
 near the Akropolis of Athens is probably dictated only by Visconti’s 
 explanation. 
 
 hi. Fragment of a relief, from Megara: Mus. IVorsl., 
 Cl. 1. 8 (PI. 3, 2), “Telephus and Auge.” A bearded man is sitting 
 on a block, holding forth his r. hand; beside the block appears a 
 small doe or fawn; near the man stands a woman. Is it votive? 
 
 112. Small statue of Herakles, discovered in Egypt: Mus. 
 IVorsl., Cl. hi. 3 (PI. 17, 1). Clarac, v. 795, 1986. The hero, his 
 head adorned with fillets and a wreath of flowers, is quite drunk 
 and is moving forward with unsteady steps ; he held his club on 
 his shoulder with his r. hand; the lion’s skin hangs over his out- 
 stretched 1. arm ; the hand is broken off, but probably held a goblet. 
 (Cf. Margarn, no. 4.) 
 
 1 13. Statue of Eros stringing his bow, in the favourite 
 composition: Mus. IVorsl., Cl. hi. 13 (PI. 19, 1). Found in 1793 
 below Colonna (Labicum). 
 
 The group of the Nile, from Ostia (Mus. IVorsl., Cl. in. 2, 
 PI. 15), is said by Mr F. Cook of Richmond to be in his collection 
 at Cintra, Portugal (Gurlitt, Arch. Zeit., 1868, p. 84, no. 1). 
 
 I know not what has become of the beautiful Worsley Collection 
 of Gems, formed in Rome, Athens, Egypt and Constantinople (Mus. 
 IVorsl., 1. p. 2 [p. xxxviii.]), which, it may be observed, included also 
 Sir W. Hamilton’s Gems (Visconti, Mus. Pio-Clem., vi. p. 63 Mil.). 
 Cf. Mus. IVorsl., Cl. iv. (PI. 20—31). 
 
BROOM HALL. CAMBRIDGE. 
 
 2 4 I 
 
 BROOM HALL (Scotland). 
 
 In this castle, near Dumfermline, the property of the Earl of 
 Elgin, may be seen a number of smaller fragments of reliefs and 
 inscriptions, which have been let into the walls. The cele- 
 brated Lord Elgin brought them with him from Athens. Even 
 although, as is Mr A. S. Murray’s opinion, they are “of no con- 
 sequence,” still a careful examination is much to be desired on 
 account of their origin. 
 
 CAMBRIDGE. 
 
 * The principal collection at Cambridge is now located in the base- 
 ment of the magnificent Fitzwilliam Museum, a smaller number in 
 the staircase well of Trinity College Library. It is much to be 
 wished that the latter should be deposited in the first-mentioned 
 locality, all the more as their present place of preservation is utterly 
 unworthy of them. 
 
 FITZWILLIAM MUSEUM. 
 
 Conze, Arch. Anzeiger , 1864, pp. 169 ff. Huebner, ibid. , 1866, 
 p. 301. 
 
 The sculptures of this Museum are to be divided into two princi- 
 pal groups. One, formerly in the vestibule of the University Library, 
 comprises the donations of E. D. Clarke (Introd. § 67) and of 
 some other amateurs, the objects composing which are derived from 
 the soil of Greece. Cf. Clarke, Greek Marbles brought from the 
 shores of the Euxine , Archipelago and Mediterranean , Cambridge, 1809. 
 (The explanations here given of the several works of art are in most 
 cases so thoroughly mistaken, that pious regard for the honoured 
 author bids one pass them over in silence.) Spiker, Rcisc durch 
 England \ 11. pp. 293-296. — The second portion originates in the 
 will of John Disney, who bequeathed to the University of Cam- 
 bridge the sculptures of the collection of antiques founded about 
 the middle of the last century by Thomas Hollis and Thomas 
 Brand, and increased in the third decade of this century by Disney 
 himself (Introd. §§ 41, 87). This collection is derived entirely from 
 Italy. It is interspersed with much that is spurious. Cf. Museum 
 Disneianum , being a description of a collection of ancient marbles , &=c. 
 in the possession of John Disney , Esq., London, 1849, fol. (with un- 
 usually bad illustrations); Gerhard, Arch. Zeit., 1847, pp. 157 — 160; 
 
 16 
 
 M. C. 
 
242 
 
 CAMBRIDGE — FITZWILLIAM MUSEUM I. 
 
 Wieseler, Gottingische gel. Anzeigen, 1849, pp. 441-462. — Owing to 
 the entirely different origin and style of art of the two divisions it 
 has seemed convenient to keep them distinct from one another and 
 to include in one or other of them the few similar specimens of 
 the collection, and then in conclusion to notice a few other antiques. 
 
 Sculptures collected in Greece. 
 
 Among these the place of honour is taken by 
 
 1. (Clarke, xiv.) Fragment of a statue of a Kistophoros 
 
 from Eleusis, in former times generally named Ceres : colossal scale. 
 Its present condition is represented by the illustrations, which are 
 however not accurate in matters of detail, in Museum Worsleyanum, 
 Cl. hi. 12 (PI. 18, 3 Mil.), in Clarke’s work, p. 24, and in Gerhard, 
 Antike Bildwerke , PI. 306, 5 ; for a front view restored after Flax- 
 man’s design, see Clarke’s frontispiece; Gerhard, I. c., no. 4; 
 Miiller-Wieseler, 11. 892. A better illustration is given in the 
 accompanying plate. Upper part of the body to about the 
 lower half of the breast, head and cista are preserved. The r. 
 breast and shoulder are destroyed. Professor Sidney Colvin has 
 
 Fig. i. 
 
 however lound in Eleusis a piece of shoulder and upper arm, with 
 the chiton depending from them, a plaster cast of which is in 
 Cambridge (fig. 1). There can be no doubt as to its belonging to 
 the specimen in question ; unless, indeed, we have to regard it as 
 
CAMBRIDGE I 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 1. 
 
 243 
 
 the fragment of a second exactly corresponding copy. The 1. shoulder 
 together with the junction of the arm is preserved ; the arm was 
 somewhat advanced. Chiton fastened together on the shoulder with 
 three buttons. Cross bands drawn slantwise across the breast ; 
 where they cross each other, a Medusa’s head carved in relief, 
 as a symbol to avert harm ( dnorpoiraiov ). Countenance of the statue 
 completely destroyed. Rich waving hair falls down behind in a not 
 very lengthy mass, which is in one place, on the nape of the neck, 
 confined by a band. On the head a very small porter’s pad (iTAr/, 
 Kvi(f>a\ Xov) whereon is sustained the large round vessel which people 
 have been inclined to designate as a xavoiiv or xdXaOos (and hence 
 too the bearer as Ivanephoros or Kalathephoros). It is however 
 likely to be best, considering the general shape, the proportion of 
 the height to the breadth, and the horizontal division into two parts, 
 to regard it as the mystic K10T17 (Jalm, in Hermes, in. pp. 317 — 334); 
 cf. the representation of this vessel on the Eleusinian Propylon 
 of Appius Claudius Fulcher ( Bullett . dell' Inst., i860, p. 226 ; C. 
 I. Lat., 1. 619, hi. 547; Lenormant, Rcch. arclieol. a Eleusis, p. 
 390), and, set on a pedestal with three feet, on a piece of en- 
 tablature from Eleusis ( lined. Antiq. of Attica, ch. 4, PL 7). Cista 
 very richly decorated; see Fig. 2, p. 245, in which its various 
 courses of ornament have been restored as accurately as possible 
 from their unmutilated portions. Its lower margin is encircled 
 by a braided band (<?), irregularly bordered below, along a short 
 portion of its course only, with a beaded moulding ( astragalus ) (/). 
 The next belt (d) exhibits in the front a vessel in the form of a 
 tureen, the 7 rA^/xcryoy of the Mysteries (Beule, Menu ales d’Athcnes, 
 p. 156; Botticher, in Phildlogus, xxm. p. 234) and wands with 
 regular projections laid crosswise. These are too much worn away to 
 enable it to be said with certainty whether they are stalks of a plant 
 or, perhaps, decorated torches in the manner of the reliefs quoted. 
 Then on either side a rosette, next to which are three ears of corn, 
 then again a rosette, then a longish object laid slantwise, much 
 abraded, probably a torch of a broader kind, though this is very 
 uncertain. Above this belt appears (c) a projecting roll (torus) formed 
 of leaves, upon which are seen berries in relief ; this roll is crossed 
 at intervals by bands, and bordered on either side with a bead and 
 reel moulding. This is the middle of the cista. Above this a 
 broad belt with beautiful palmette ornaments (/>). Lastly (a) remains 
 of a low cymatium moulding, too much mutilated to be restored, 
 form the upper border of the cista. The head as well as the 
 
 16— 2 
 
2 44 
 
 CAMBRIDGE — FITZWILLIAM MUSEUM I 
 
 cista is backed by a flat slab of marble 030 broad, which proves 
 that the figure was employed in architecture. Hence it is further 
 clear why the cista has no cover, but is flat on the top. On this an 
 epistyle or something of the sort would rest. The restoration of the 
 statue is to be obtained from the similar statue in the Villa Albani 
 given by Gerhard, Ant. Bildw PI. 94, 2; Clarac, hi. 442, 807. It 
 will have both arms raised symmetrically to the cista, the preserved 
 remnants of the arms being perfectly conformable with this attitude. 
 The older explanation of the figure as that of Demeter, perhaps 
 the very image from the great temple, has been given up ; Hirt 
 ( Geschichte der Baukunst , n. p. 21) having first regarded it as a 
 Kanephoros; Preller ( Demeter und Persephone , p. 375) as a Kalathe- 
 phoros ; while Leake ( Demi of Attica , p. 162, 2 ed.) rightly proposed 
 the name Kistophoros. (For the further literature of the subject cf. 
 Gerhard, A had. Ahhandl ., n. p. 408, note 198; Miiller-Wieseler, 
 Deukmdler , 11. 8, 92.) The style does not point to the Roman 
 period, in which people are disposed to place it on the evidence of 
 an inscribed block (cf. Wheler, Journey , p. 428, Boeckh, C. I. Gr., 
 389), but rather perhaps to the fourth or third century before Christ; 
 one might refer it to the fresh decoration of the sanctuary under 
 Demetrios of Phaleron (Vitruv., vii. praef. 17). Execution, with 
 deeply grooved folds, thoroughly in keeping with a figure designed 
 for architectural decoration. Pentelic marble. H. 2-15. H. of 
 cista 070 (viz. a 0U3, b 0-17, c 0-14, d C17, e 0-9), of head 0-55, of 
 neck 0-19, of part below 071. With regard to the history of the 
 monument, attention was first paid to it in a. d. 1668 (Les Monceaux 
 in C. Le Bruyn’s Voyages, Paris, 1725, v. p. 492); and all the 
 allusions made to it by earlier travellers have been collected by 
 Clarke (pp. 12 — 37, Travels, n. pp. 772 — 790), who in company with 
 J. M. Cripps (also of Jesus College, Cambridge), was lucky enough 
 (a. d. i8ot) to get possession of this colossus in spite of the ob- 
 jections of the people of Eleusis, and to ship it with great trouble. 
 The vessel was wrecked off Beachy Head, but the statue was rescued. 
 [* Colvin ] 
 
 2. (Clarke, xvi.) Fragment of a statuette of Aphrodite: 
 
 sketched by Clarke, Travels , 11. 1, p. 130, found in some ruins at Ku- 
 shunlu Tepe near Baramitsh in the Troad, where Leake (Asia M., p. 
 274) places the site of Ivebrene, cf. Clarke, p. 127. Motive on the 
 whole like that of the Aphrodite of Melos. The goddess stands on 
 the r. foot, the 1. leg being bent and the foot placed in a somewhat 
 raised position on a projecting portion of the rocky base. Both legs 
 
Fig 
 
246 CAMBRIDGE — FITZWILLIAM MUSEUM 3 — 5. 
 
 shrouded in the cloak, one end of which falls down in copious folds, 
 not however thrown from the hip over the 1. thigh and so down its 
 inner side, but on the outer part of the thigh. Near the 1. foot a 
 low round base, with the remains of a female statue in a long chiton 
 and cloak preserved about as far as the knees. Of the Aphrodite 
 itself there are still preserved the draped lower limbs and a small 
 portion of the nude body. A hole on the top points out that 
 the upper part was worked in a separate piece of marble. Execution 
 ordinary. Coarse Parian marble. H, 0-47- Cf. Preuner, Ueber die 
 Venus von Milo , Greifswald, 1874, p. 39. [*C] 
 
 3. (Clarke, xxxvi.) Mother of the gods(?) (“Ceres”). Small 
 figure in chiton and cloak, sitting on a throne, both arms in the lap. 
 Attributes not recognisable, the little figure being altogether much 
 defaced. The head, originally veiled, and feet are wanting. Coarse 
 work. Pentelic marble. H. on 9. From Athens. [*] 
 
 4. (Clarke, xi.) Pan ; rpo7rato^>opos, figured after Flaxman’s 
 
 restoration in Wilkins’ Aiitiq. of Magna Graecia, p. 71. The goat- 
 footed god stands quite straight. Upper part of the figure as far 
 as half the thigh clad in a rather stiff cloak apparently of leather. 
 In the lowered 1. hand he holds the syrinx, the r. arm lies bent 
 before the breast. Head missing, but remains of the long beard 
 extant. Back set against a marble column of irregular round shape, 
 which apparently represents the trunk of a tree. Apart from this 
 detail our statue corresponds closely, even in size, to a second copy 
 in the Theseion at Athens (no. 48; Muller- Wieseler, 11. 43, 532; 
 Clarac, iv. 726 F, 1736 K), found in the Peiraeus, which exhibits 
 the god standing against a square column (cf. Wilton, no. 144). Our 
 statue was “discovered in a garden below the grotto of Pan at the 
 foot of the Acropolis of Athens” (Clarke, Travels, n. 2, p. 479). 
 It undoubtedly served once for the decoration of a column of a 
 balustrade, and agreeably to this the still traceable iron cramp on 
 the top is to be explained, not as serving to fasten a tropaeon (cf. 
 Annali dell ’ Inst., 1863, p. 310). Pentelic marble. H. 075; in- 
 clusive of the basis, 0-85. [*C] 
 
 5. (Clarke, xxxiv.) Eros. A tall shape, most likely a tree- 
 stem or piece of rock (certainly not a “female figure”), is hung with 
 a large drapery, one of the depending corners of which is encircled 
 by the r. arm of a little Eros clinging to the tree. He stands quite 
 nude ; r. leg somewhat advanced ; curly head a little raised ; 1. arm 
 lowered, but preserved only in its upper half. Horizontally attached 
 to the tree behind the 1. thigh a round object, broader in the middle, 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 6 — 12. 
 
 247 
 
 in which Clarke recognised, without doubt wrongly, the torch of 
 Eros or a club. It seems to me to be a phallus, introduced here 
 owing to its power of averting evil. Coarse-grained marble. H. 040. 
 “Found in Egypt, and taken from the House of the French Institute 
 in Grand Cairo.” Cf. Clarke, Travels , 11. 2, p. 47. [*] 
 
 6. (Clarke, xxxii.) Male torso, apparently belonging to a 
 
 youth ; lower part of the body and 1. arm in a cloak, 1. hand lying 
 on the hip and holding a corner of the cloak. Breast and body nude. 
 Lowered r. arm preserved only where it joins shoulder. Head and 
 legs below the mid-thigh missing. A similar motive recurs in no. 32. 
 Good spirited execution of simple and beautiful effect; worked 
 quite carelessly at back. Parian marble. H. 0-57 . Brought from 
 Knidos by R. Walpole and presented 1808. [*] 
 
 7. (Clarke, xxxvm.) Right hand of a colossal statue, male : 
 
 treatment adequate to the dimensions. Very white marble. Clarke 
 brought the specimen from Larnaka in Cyprus; it came originally 
 from Paphos. Cf. Clarke, 1'ravels , 11. 1, p. 335. ['”] 
 
 8. Fragment of a column, with a cavity on the top in the 
 
 capital. Before it stands a terminal figure of Dionysos with long 
 hair and ivy-crowned. Square holes in the place of the shoulders. 
 Dark green stone. H. 0-44. [*] 
 
 9. (Clarke, xxvi.) Bust called “Juno,” found on the same 
 
 spot as no. 2 : sketched in Clarke’s Travels , 11. 1, p. 130. A female 
 head and neck, with a fillet in the hair, which is taken up from the 
 sides and all gathered into a knot on the top of the head. Nose 
 broken off, mouth much mutilated, back of the head split off. Head 
 of good design, but superficially executed, apparently belonging to 
 an Aphrodite. Greek marble. H. 0T3. L. of face o - i6. [*] 
 
 10. (Clarke, xix.) Comic mask : bearded, the r. eye raised 
 and wide open, the 1. drawn down ; wrinkles of the forehead much 
 distorted; hair arranged awry; laughing mouth wide open. In the 
 eyes traces of colour. The mask is left rough behind. H. o - 26. 
 Br. C24. “Found in the ruins of the proscenium of the theatre 
 at Stratonicea, in Asia Minor by R. Walpole, and presented by 
 him.” [*] 
 
 11. (Clarke, xxxm.) Fragment of a knotted club, lower 
 end ; flattened out at the bottom so as to be capable of standing 
 upright; apparently a votive offering, perhaps to Herakles. From 
 Athens. Coarse-grained Parian marble. H. o - 39. [*] 
 
 12. (Clarke, xxxvn.) Lion’s paw, large scale, resting on 
 a tapering block, which seems to have been let in somewhere. 
 
CAMBRIDGE — FITZ WILLI AM MUSEUM I 3 — I 5 . 
 
 248 
 
 Paw broken away above. Pentelic (?) marble. H. 0-27. Prom 
 Athens. [*] 
 
 13. Fragment of irregular shape, broken at the top and both 
 ends and rounded irregularly underneath. Scarcely a piece of a 
 ship; rather, of a fish. Upon it is engraved the outline of a dolphin, 
 and above the archaic inscription, running r. to 1 ., [Tt]/xojv eypcufri /xe. 
 Grey marble. L. o - 68. Plrought by Spratt from the neighbourhood 
 of Eremopolis in Crete and presented to this Museum. A woodcut is 
 given in Journal of Class, and Sac. Philology , Cambridge, 1 85 5, 11. p. 108. 
 Spratt, Travels in Crete , 11. PI. 1, no. 20; cf. Kirchhoff, Studien zur 
 Gesch. des Alphaletes, 3 ed., p. 64. Jahn in Arch. Zeit., 1863, p. 65. [*] 
 
 14. Fragment of an altar, upper part : from Kanawat in 
 Syria. From the square surface projects the raised rim (h. 0-06) of 
 a well-shaped cavity sunk (d. o'n) into the body of the altar; the 
 bottom of this cavity is now perforated. On one side of the rim near 
 its upper edge is a round hole. In the middle of each of the four- 
 sides of the surface is a small square hole of little depth ; on each 
 of the four corners are traces of a raised projection. The surface is 
 surrounded by a moulding. On the body of the altar are the fol- 
 lowing reliefs. In front, head of a youthful god (Baal) with nine 
 leaf-like rays, wearing chiton, which is furnished on both shoulders 
 with a button. On the right, besides some architectural ornament, 
 the lintel for a doorway, the interior of which is hollowed quite out : 
 on the back, a female head (of Astaroth) over a crescent-moon. On 
 the left a flower, and characters below. Coarse stone. H. 0-54. 
 L. 0-43. D. 0-43. Presented by the executors of the late C. F. 
 Tyrwhitt Drake, 1874. [*] 
 
 15. (Clarke, xxix.) Votive relief to Athene. Two antae 
 with an architrave, surmounted by tiles. Athene stands in a girdled 
 
 8i7rAovs and with a small aegis, r. arm resting on her hip, 1. arm 
 upraised as if it held a spear, the shield leaning against her leg. 
 The plume of her helmet reaches into the architrave and divides the 
 name thus A©H NA. Two men approach her from r., the fore- 
 most wearing a cloak which leaves the breast and r. arm free. He 
 lays his r. hand in the gesture of entreaty on the arm of the goddess. 
 (The name on the architrave is worn away.) Next after him a warrior 
 in breastplate, chlamys and helmet ; his shield standing behind him. 
 He rests his 1 . arm on his side and raises the r. with a gesture of 
 entreaty. Of his name the last letters AOS (AAOS according to 
 Clarke) are preserved. H. 0-29. L. 0-34. Projection of relief 
 from field 0-015. The relief, which looks like Attic work, comes 
 
CAMBRIDGE — FITZWILLIAM MUSEUM I 6 — 19. 
 
 249 
 
 from the ruins of Sigeion (where Clarke obtained it in 1801), a 
 community intimately connected with Athens. [*] 
 
 16. (Clarke, xv.) Relief of Asklepios and Hygieia. 
 
 (“Initiation of Hercules by a priestess of Ceres.”) The figures are 
 enclosed in a frame, and both seen from the front. Asklepios is to 
 the 1., in the usual fashion draped in a cloak ; his 1. hand resting on 
 his side ; his staff, entwined with the snake, placed under his arm-pit. 
 Hygieia, in a chiton, stands r., enveloped to the knees in her cloak ; 
 her 1. hand on her thigh and in her lowered r. hand the cup : no 
 sign of a snake. Both heads destroyed. A fair relief of somewhat 
 coarse execution, much knocked about. H. o - 54. L. o - 43- Pro- 
 jection of relief from field o'oq. From Athens ; cf. Clarke, Travels , 
 11. 2, p. 529. [*C] 
 
 17. (Clarke, x.) Left half of a votive relief, framed. Three 
 rows of draped figures are turned to the right ; above are eight adult 
 figures, of whom four in flatter relief appear in the background. 
 They represent probably two men and six women ; below are two 
 girls and four boys. All alike are making the gesture of adoration 
 (cf. Brocklesby, no. ro). Pentelic marble. Rather coarse style. 
 H. o'57. L. o' 36. The various degrees of projection of the three 
 rows of figures on the relief are interesting, o - oi, o'oq, o - o5. Found 
 in a garden at Athens; cf. Clarke, Travels , 11. 2, p. 530. [*] 
 
 18. (Clarke, xxvii.) Sepulchral votive relief, still provided 
 below with the marble peg for letting into a base. On either side 
 an anta, supporting an architrave with the upper surface tiled. To 
 the r., lying on a bed, the dead man, honoured as a hero, partly 
 covered by his cloak and having a modius on his head. In his 
 r. hand he holds a rhyton, which he is in the act of raising to pour 
 wine into a goblet which he holds in his 1. hand. Beside the bed 
 at his feet sits his wife, clothed in cloak and chiton ; her r. hand 
 in her lap, 1. raised, as if holding something. In front of both in 
 the foreground a low table with cakes on it. Behind the lady stands 
 a young servant (7 reus) with a cup in his lowered 1. hand, and beside 
 him a mixing-bowl (Kparrjp) which stands on a draped tripod. A 
 bearded man stands I, also a veiled female and a little girl (the 
 survivors), all adoring. Above them is seen in a sunken square 
 panel the head of a horse, to indicate the equestrian rank of the 
 deceased. Delicate, rather flat execution ; relatively early. Pentelic 
 marble. IT 0-17; with projection of peg o - 22. L. 0-23. Brought 
 from Athens by the Earl of Aberdeen. ["'] 
 
 19. Remains of a similar relief. The greater part of a 
 
250 CAMBRIDGE — FITZWILLIAM MUSEUM 20 — 23. 
 
 female in sitting posture is preserved, holding her cloak with her 
 1. hand ; part of a male reclining with r. arm raised ; and half of a 
 three-legged table with food on it standing by the couch. Ordinary 
 workmanship. High relief. H. o^o. L. o'i8. [*] 
 
 20. (Clarke, xvm.) Upper half of a sepulchral stele. 
 (“ Caligula bringing his daughter, Livia Drusilla, to the protecting 
 Minerva.”) Above, a cornice with the remains of a pediment over it. 
 Below, a broad belt, probably intended for the reception of an 
 inscription. Underneath is the sunken field of the relief without 
 any framing at the side. A lady completely dressed sits r. in 
 a comfortable easy chair, her r. hand on cloak, her 1. in lap. 
 A girl, in chiton and cloak, stands 1 . before the lady, holding a 
 swathed infant in her hands. Both figures preserved to the knee. 
 A beautiful, softly rounded relief, but badly rubbed. Belongs pro- 
 bably to the beginning of the 4th century. Pentelic marble. H. 
 o'Sy. L. 0-35. From Athens; cf. Clarke, Travels , 11. 2, p. 529. [*C] 
 
 21. (Clarke, xn.) Rounded sepulchral stele of late cha- 
 racter ; flat at the top and encircled by a torus. Below is the 
 inscription Eii^XtSa? EvkAiSou | 'Ep/uoreii? ( C. /. Ur., 83 9); underneath 
 in a niche surmounted by a pediment a man enveloped in his cloak ; 
 head missing. Rough relief. Below, roughly cut, is a dog on his 
 hindlegs. Hymettian marble, of Roman period. H. rc>7. Diameter 
 C42. “This pillar served as a horse-block in one of the streets of 
 Athens.” Cf. Clarke, Travels, 11. 2, p. 530. [* C] 
 
 22. Sepulchral lekythos of Pentelic marble : neck, foot 
 and handle almost entirely broken away. Upon the body in very 
 low relief we see r. a bearded man, in cloak, holding out his r. hand 
 to a youth, who is approaching him, dressed in chiton and chlamys, 
 his sword sheathed in his 1. hand, his petasos pushed back on to 
 his neck. Beside him is his horse and behind him a small servant 
 wrapped in a cloak and holding two handsome greyhounds, one of 
 which looks before him attentively while the other sniffs at the 
 ground. Above the bearded man is written ['H]y7y'p,a)r | ’ETn^c/Fcn- 
 [os], as supplied by Dobree (see Rose, Inscr. Gr., p. 418, C. /. 
 Gr., 2033). 4th century b. c. H. 0-84. Diameter 0-7,6. H. of 
 figures o‘ 4T John Spencer Smith, Minister Plenipotentiary at the 
 Ottoman Porte, brought home this genuine Attic vase from the 
 coast of the Propontis; cf. Clarke, Travels , n. 2, pp. 494, 528. [*C] 
 
 23. Sepulchral votive relief, framed by two antae and an 
 epistyle. A youth, honoured as a hero, lying on a couch half covered 
 by his cloak. He has a fillet in his hair and holds a cup with his 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 24 — 2 7. 
 
 251 
 
 1. hand, stretching out his r. for a small box handed to him by a 
 well-dressed lady, who sits at the foot of the bed, and whose hair is 
 covered with a kerchief in the form of a cap. Near the lady’s chair 
 stands a diminutive female servant with a box. Before the bed is 
 placed a three-legged table with food, and beside it is another dimi- 
 nutive servant who has filled a pitcher from a large mixing vessel on 
 the ground. Above is a tree entwined with a snake, the symbol of 
 heroic honours. Below is the inscription Mr]rpo 8 wpov tov \ ’AnoX- 
 X 68 u>pov, from the 2nd or 1st century b. c. ( C . I. Gr., 6966). L. 046. 
 
 H. 049. The relief, which is somewhat roughly executed, comes, to 
 judge by the style of the marble, from Asia Minor (Smyrna?) 
 or the Islands. Presented by Dr Fiott Lee. 
 
 24. (Clarke, xm.) Sepulchral stele with pediment, which 
 
 is adorned with a rosette. Upon a couch lies a beardless man, in 
 chiton and cloak ; a roll in his 1 . hand. He looks at his wife, fully 
 draped and sitting at the foot of the bed, viewed from the front. 
 In front of the bed is a barking dog and a round three-legged table, 
 with food. At the head of the bed stands a full-grown girl in chiton 
 and peplos, supporting her head sadly on her r. hand. Beside her 
 stands a diminutive female servant carrying in front of her an un- 
 recognisable object. Below ’Apicrreas | Zwcrt/xov ( C . I. Gr. 2262) in 
 late letters. The light yellow colour of the marble and the tasteless 
 execution betray provincial art; the prettiest part is the motive of 
 the daughter. Very low relief. FI. o'fia. L. 041. Found upon 
 a small rocky isle near the mouth of the harbour of La Scala in 
 Patinos; cf. Clarke, Travels , 11. 2, p. 372. [ # ] 
 
 25. (Clarke, v.) Sepulchral stele: much injured, and broken 
 off at the top. L. a female in a sitting posture, r. hand in lap, 
 
 I . raised towards chin. R. a smaller female, standing in full face. 
 
 Coarse execution. Grey marble. H. 043. L. 0-33. From the 
 ruins of Phanagoria (Taman) on the Cimmerian Bosporus ; cf. 
 Clarke, Travels , 1. p. 404. [*] 
 
 26. (Clarke, iv.) Sepulchral stele : of the same kind and 
 
 origin as no. 25. R., on a throne elevated on a low step, sits a fully 
 
 dressed female, supporting her chin on r. hand. Before her a small 
 figure, totally effaced, standing beside a column on which is seen a 
 small statue of a man wearing the chiton. H. 070. L. 0-2^. [*] 
 
 27. (Clarke, vi.) Sepulchral stele : of the same origin as 
 no. 25, but of better marble and slightly better workmanship. Below 
 is a marble peg ; the plinth was so placed that both sides were 
 visible. Front : remains of a relief, which represents a horse stand- 
 
252 CAMBRIDGE — FITZWILLIAM MUSEUM 28 — 31. 
 
 ing, facing r.; before it two human feet. Underneath the following 
 inscription of Roman date, probably before the Christian Era ( C . I. 
 Gr., 2127. Kaibel, Epigr. Gr., 539): 
 
 TeL/Aodeos Aaaeios x a ?P e - 
 
 Tei^ao^efojs, 6 Tlarpas tiaios 0cus, 7ra?s be AcareZos, 
 rpLS oeKaras eriuv reppar Leras Zdaves' 
 d rd\av > oiKTeipoj <re i ro\vK\avoTip eiri Tupficp, 
 
 [v\\jv be avv ijpujcov x^P 0V % X 0LS (pSLfievos. 
 
 In line 2, Se/caras is written incorrectly for Se^aSas, in line 4, HYN 
 for vvv : the semi-barbarians permitted themselves to use <rvv cum 
 genetivo in the neighbouring Pantikapaion also (C. /. Gr ., 2114 c, d). 
 Patra is a place not far off (Strabo, p. 494). Back: a powerfully 
 chiselled relief: a man leading a horse r., behind whom is seen 
 a (female?) figure. Above, remains of an inscription ...AIIE ... 
 H. 0-53. L. 0-47- [*] 
 
 28. (Clarke, xxii.) Fragment of a relief, upper r. corner. 
 
 Upper half of the body of a youth wearing the chlamys, front view ; 
 both arms, of which only the upper parts remain, lowered, the head 
 broken off ; high relief. Clarke imagined that this coarsely-executed 
 work was a piece of a metope from the Parthenon, which is quite a 
 mistake. It may rather be a piece of a sepulchral relief (Huebner, 
 Arch. Anz ., 1866, p. 301), although it is of an unusual style. 
 Clarke found the fragment outside the entrance to the Acropolis and 
 received it as a present from the governor of the citadel ( Travels , 11. 
 2, p. 475). Pentelic marble. H. 0-31. L. o - 35- Projection from 
 field 0-13. Thickness of slab C17. [*] 
 
 29. (Clarke, xxv.) Round altar, or pedestal, adorned with 
 four bull-heads conjoined with garlands and fillets (ure/quara, vittac) : 
 in each loop a patera, or rosette. On the top a hollow perhaps 
 intended for the reception of a statue (?). Parian marble. H. o - 6r. 
 Diameter o - 6i. Brought from Delos by an ancestor of the Rev. 
 Bridges Harvey, Jesus Coll., who gave it to Clarke. [ # £ 7 ] 
 
 30. (Clarke, xx.) Small fragment of base of a pilaster : 
 found in the castle of Pergamos, about sixty feet from the ground. 
 Figured in Wilkins, Antiq. of Magna Graecia, frontisp. Above, a 
 torus with plaited straps, bordered higher still by an astragalus ; 
 below a flat trochilus, interrupted by a relief, which displays the 
 winged Nike, on a biga, driving rapidly r. H. o'i5. L. o‘29_ 
 Brought to England by the late Captain George Clarke, R.N. [*] 
 
 31. Sarcophagus: from Arvi, on the south coast of Crete, 
 presented by Sir Pultney Malcolm 1835. Figured and explained 
 
253 
 
 CAMBRIDGE — FITZWILLI AM MUSEUM 3 I. 
 
 Pashley, Travels in Crete, 11. pp. 6, 18, 19 (not yet quite com- 
 plete). The latter has the merit of having collected the fragments 
 and completed them by new excavations. (1. p. 275, 11. pp. 
 2 — 20.) An accurate drawing lies before me. Front. Bacchic 
 triumphal procession, moving r. To the extreme 1 . a nude Bacchante 
 is dancing ; she has a small cloak over her left arm and across her 
 lap, and is beating the tympanon. In front is a two-wheeled car 
 richly ornamented with reliefs (crouching lion ; two standing figures ; 
 Eros and Pan between two columns, challenging each other to fight), 
 on the car stands the youthful Dionysos, an ivy wreath in his long 
 hair, a nebris round his breast. He holds the thyrsos in his 1 . 
 hand sceptrewise, and rests the r., which holds a wreath, on a Satyr 
 crouching in the car, who serves the god as his support. The 
 car is drawn by a male and a female Centaur. The latter holds 
 a large pine-branch in her r. arm, and lays the 1., in which she 
 has the kantharos, on her companion’s shoulder ; the male Centaur, 
 who is crowned and has features like a Seilenos, is looking round ; 
 his 1. arm, clothed in a skin, is thrown round his wife ; his r. hand, 
 which is uplifted, is emptying out a drinking-horn. The goat-footed 
 Pan, who is delineated in a masterly manner, capers with brutish 
 vivacity before the Centaurs, striking the tympanon high above his 
 head (cf. Miiller-Wieseler, 11. 36, 422). Near him in the background 
 is a pine tree, in the foreground beside him on the ground a pedum 
 and a large kantharos. The latter seems to have fallen from the 
 grasp of the wreathed Seilem s, who, wearing a sleeved tunic made 
 of skins and a small cloak, staggers along, drunk. He is supported 
 with difficulty by a Satyr in a skin apron and by a Maenad in a 
 flowing garment • in the background is seen a Satyr crowned with 
 pine leaves. Seilenos is speaking to Dionysos, to whom he stretches 
 out his r. arm ; in the 1 . he holds a bunch of grapes. Farther in 
 advance a youth is stepping, with a boy riding on his shoulder 
 whom he holds fast with his r. hand ; across his 1. arm a skin is 
 thrown, and in his hand he holds a thyrsos ; in the background is 
 a fig tree. This group is preceded by an elephant partly draped 
 in a long falling cloth with a carpet over it; on the carpet sit or 
 rather lie two small Maenads and a Satyr, all draped ; one of the 
 Maenads plays the flute, the Satyr has a kantharos, the second 
 Maenad is swinging a thyrsos in her r. hand, and resting her 1 ., which 
 holds a goblet, on a plaited osier basket. Next to her sits, on the 
 neck of the elephant, a second young Satyr with the nebris and a 
 pedum, probably intended to guide the animal. On the other side 
 
254 
 
 CAMBRIDGE — FITZWILLIAM MUSEUM 3 I. 
 
 of a gap, from which something (hardly of importance) has been lost, 
 a young Satyr is trying to hold a full wine-skin on his shoulders ; his 
 back is covered with a skin, at his feet are a panther and a kantharos. 
 Quite at the end is a vine. — Right end. A curtain is suspended 
 from the vine and from a bare tree. In front of it a young Satyr 
 with a skin apron on his loins and a torch over his r. shoulder, and 
 a bearded companion with skin and torch over the 1 . shoulder, hold 
 the two handles of a plaited winnowing fan ( vannus ) in which there 
 are three apples and a crouching child, probably the young Dionysos 
 himself, who, frightened at the shaking of the fan, seems to wish to 
 climb out. The same design is repeated on one end of the Farnese 
 sarcophagus (Gerhard, Antike Bildwerke, PI. in, 3; Miiller-Wieseler, 
 11. 44, 458), from which, as Prof. Colvin suggests, it may probably 
 have been copied by Raphael in the drawing reproduced in a well- 
 known engraving of Marcantonio (Bartsch, no. 230, cf. Fisher, R., 
 Catalogue of a Collection of Engravings , Etchings , and Woodcuts, 
 p. 47.) — -Left end. Two small Erotes, one with wings and one 
 without, are carrying away with manifest exertion, Pan, heavy with 
 wine, drunken and ithyphallic. Behind are a pine tree and olive 
 tree (?) over the branches of which a large cloth is stretched. 
 
 The Sarcophagus has still its original Lid in almost perfect pre- 
 servation, which is finished off at each of the front corners with the 
 mask of a youthful Satyr with bristling hair. On the front of the 
 lid is seen a great rout of Satyrs and Maenads on a couch covered 
 with a lion’s skin ; in the background carpets are spread out. Quite 
 1 . sits a female, playing on a lyre ; opposite to her is a bearded Satyr, 
 with a wreath in his r. hand and a goblet in his 1., and behind him 
 a youthful Satyr with a wreath in his 1 . hand and the r. laid upon 
 his head ; on the ground beside them are a ladle ( simpulum ), a 
 skyphos, a small goblet, and another skyphos. A second group 
 represents a bearded Satyr, lying on his belly, and offering a large 
 skyphos to a Bacchante, who holds a wreath in her left hand (cf. 
 Clarac, 11. 139, 139); beside them is a baby Satyr sitting on the 
 ground, devouring a bunch of grapes, and two drinking vessels. 
 Then follows a bearded Satyr with a skyphos in his r. hand, turning 
 to a Bacchante opposite him, who is holding up a bunch of grapes 
 in her r. hand and has a wreath in the 1.; at her feet in the back- 
 ground is a draped, bearded dwarf figure, with a girt-up cloak and a 
 cap, raising a bowl to his mouth. Then a gap occurs, from which 
 probably a figure and a half have been lost, after which comes the 
 upper half of a naked youthful form with a goblet in the 1 . hand; 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 32, 33. 255 
 
 beside it a draped Maenad with a kerchief on her head, drinking. 
 Last comes a bearded Satyr with a skin apron, clapping his hands 
 delightedly; beside the couch two drinking vessels and a ladle. To 
 the extreme r. sits a Maenad, rocking an infant Satyr on her lap. — 
 On each of the ends, which are pediment-shaped, stands a vessel, 
 filled with fruits, between two crouching panthers. At the back 
 corners are small youthful masks, with curls and Phrygian caps. 
 
 This sarcophagus, carved in somewhat high relief, has been 
 reckoned with perfect justice among the best of works of the kind 
 which have come to us. Matz, however, is also equally correct 
 {Arch. Zeit ., 1873, p. 33) in ascribing the execution not to Crete, 
 but to Rome, or at all events to Italy (cf. Wiltonhouse, no. 137) ; 
 and in remarking that the celebrated Farnese sarcophagus is the 
 most nearly allied to it, not only because of the repetition in both of 
 the same scenes as above-mentioned, but also because it is of the 
 same refined and delicate execution, reminding us sometimes of 
 miniature sculpture. Many figures and groups occurring in this 
 composition are to be found on other Roman sarcophagi ; and the 
 grey striped marble seems to me to resemble the marble of southern 
 Italy. H. o'5o. L. 2 - ii. D. o'6. 
 
 Sculptures collected in Italy. 
 
 Among the works of this class at the Fitzwilliam Museum, which 
 almost all come from the Hollis-Brand-Disney collection, I shall 
 place the statues first, then the busts, and lastly the reliefs. The 
 numbers added in parentheses are those of the Disney Collection. 
 
 Statues and Statuettes. 
 
 32 (50). Statuette of a youth : Mus. Disn ., PI. 25. Subject 
 same as that of no. 6. Here too the head and r. arm are missing ; 
 by the 1 . foot is a support. Poor work. Greek marble. H. with 
 base, o’32. [*] 
 
 33 (2). Statuette of a youthful Satyr : Mus. Disn., PI. 26. 
 This is the most graceful piece of statuary in the collection. The 
 Satyr is sitting on a rock, leaning so far back that it seems as if he 
 must fall. He has a short tail behind. His right foot is crossed 
 lightly over the left and both legs are stretched out. He holds in 
 his hands a flute, which he is blowing (cf. Wieseler in Gott. gel. 
 Anzeigen, 1849, p. 448). His head, which has pointed ears and 
 little horns, growing from the forehead, is crowned with pine twigs. 
 The r. arm was broken, but is nevertheless the original arm ; only 
 
256 CAMBRIDGE — FITZWILLIAM MUSEUM 34 — 37. 
 
 some fingers having been supplied. The whole work is badly 
 polished. H. o - 49. [*C] 
 
 34 (24). Statuette of a woman with a child : Mus. Disn., 
 
 PI. 27. “Leucothoe.” The woman, draped in chiton and wide 
 cloak, is resting on her 1. leg, the right being somewhat in advance, 
 the r. arm, which is hidden by her cloak, lowered; on the 1. is to 
 be seen all that remains of a rather big boy. The head (missing) 
 had long curly hair and was veiled. The statue was originally not 
 badly executed, but the front has been so destroyed and re-worked 
 that only the grace of the general design can now be traced. 
 Greek marble. H. C47. [*C] 
 
 35 (5). Statuette of Seilenos : Mus. Disn ., PI. 28. The 
 
 bearded Seilenos, crowned with ivy, sitting on a rock, playing the 
 flute. He has drawn up his 1. foot ; a cloak covers the rock and 
 part of the r. thigh. To the 1. a dog. This dry uninteresting 
 little figure, although broken, appears to me to be quite modern. 
 H. 0-49. [*] 
 
 36 (4). Statuette of a sitting female : Mus. Disn., PI. 30. 
 
 “Juno.” On a stuffed chair, which stands in a strangely oblique 
 position, sits a woman in girdled chiton and with a cloak which 
 covers legs, 1. arm, and back, and which once veiled the head. L. foot 
 advanced, r. drawn back, 1. forearm stretched out. New: nose, 
 neck, r. arm, which is lowered, as well as half the 1. forearm with 
 the sceptre, 1. foot, veil and the four legs of the chair. The veil 
 is modern and has been stuck on an antique head which can hardly 
 belong to the figure, and to which the restorer (Pigiani, an assistant 
 of Vescovali) has added a crown. Disney considered it a Vesta, 
 Westmacott, a Roma. The old parts are of good decorative work 
 (cf. the Terra Mater, Bullett. municip., 1. PI. 3; Overbeck, Kunst- 
 niythol. Atlas , PI. 14, no. 17). The marble appears to be Italian. 
 H. 0-65. Found in a . d . 1825 in Tivoli, opposite the Cascatelle 
 in the so-called villa of Quintilius Varus; bought by Disney a.d. 
 1826. [*] 
 
 37 (3). Statuette of a throned goddess, called “Vesta.” 
 A veiled goddess sitting on a throne with a high back, like the 
 usual representations of Kybele (cf. no. 3), but without any recog- 
 nisable emblem ; a fragment beside the 1. thigh is not likely to be a 
 tympanon, and both forearms, which were outstretched, are missing. 
 The head with Stephanos has been stuck on, but is antique. Other 
 restored pieces have fallen off again. Coarse Roman work. H. o'45. 
 
 m 
 
CAMBRIDGE — P'lTZ WILLI AM MUSEUM 38—45. 257 
 
 38 (35). Fragment of a double terminal figure : Mus. 
 Disn., PL 29. A terminal column culminates in a double half-length, 
 female figure, draped, and having a number of folds slanting across 
 the breast. The arms, which are lowered on both sides, hold each 
 the corner of the garment. Stiff curls lie on the shoulders. The 
 double head missing. Stiff, ornamented archaism, coarsely executed. 
 Between the forearms on either side is a square hole, probably 
 intended to receive a beam which connected these hermae and other 
 similar ones in a kind of railing. Found in a field at Cumae by 
 Mr Henry Tuffnell in a.d. 1824, who gave it to Disney. H. o - 54. [*C] 
 
 Works in the round: Busts and Heads. 
 
 39 (7). Athene : Mus. Disn., PI. 1. Bust much exceeding 
 life size ; front half only preserved ; the helmet is cut off in front and 
 nevertheless the hair flows over the edge. The work is either 
 completely restored or more probably quite modern. Coarse execu- 
 tion. Brought from Rome by Wil. Lloyd and bought of him by 
 Hollis, in a. d. 1761. H. 0-46. L. of face o‘2i. [*] 
 
 40 (21). Portrait head: Mas. Disn., PI. 2, “Antoninus Pius.” 
 
 A poor head, certainly not that of Antoninus Pius ; a much patched 
 and plastered face and new nose. The r. half of the breast perhaps 
 ancient, but not belonging to the rest : the 1. half and the drapery 
 new. H. o - 66. L. of face o - i8. [*] 
 
 41 (26). Marcus Aurelius : Mas. Disn., PI. 3. A fairly 
 good head with a new nose; the pupils of the eyes expressed. Neck 
 modern and so probably all the draped bust with the wide cross 
 stripe, usually called the laena. H. 077. L. o‘2o. From the 
 Barberini Palace, bought by Hollis a.d. 1766, purporting to have 
 been brought from Alexandria about a.d. 1742 (?). [*] 
 
 42 (20). “ Domitian” (?) : Alas. Disn., PI. 4. Head quite 
 
 intact, crowned with oak. The pupils of the eyes expressed. Rough 
 work. H. 0-37. L. of face 0-20. [*] 
 
 43 (13). Head of a barbarian: Alas. Disn., PI. 5. Perhaps 
 a Dacian, with scanty beard and Phrygian cap. By no means free 
 from suspicion. Striped alabaster. H. o - 29. [*C] 
 
 44(12). Phrygian youth, perhaps Ganymedes : Mus. Disn., 
 PI. 6, “Atys”. A passable held with curly hair and Phrygian 
 cap; tip of nose new. H. o - 39. L. o‘i5. Bought at the Duke of 
 Argyle’s sale, a.d. 1771. [*] 
 
 45 (19). Roman portrait : Mas. Disn., PI. 7, “Otho.” Mass- 
 ive head, the forehead surrounded by a fringe of hair, strangely 
 
 M. C. 
 
 
258 CAMBRIDGE— FITZWILLIAM MUSEUM 46— 5 I. 
 
 drawn back. Nose new. The neck has been inserted into a new 
 bust. Insignificant work. L. of face o'i8. [*] 
 
 46 (9). Serapis : Mus. Disn., PI. 8. A tolerable head, on 
 the top of which is seen the ring for the modius. New: the 
 modius, which is wreathed with oak, and the drapery. H. o' 37. 
 L. of face o - ii. Bought of the Abbate Clementi at Rome a. d. 
 J 75 2 - [* c ] 
 
 47 (32). Terminal head of Dionysos: Mus. Disn., PI. 9. 
 A beautiful bearded head with grave expression. The whole is 
 executed with a moderate tendency to archaism. The beard, which 
 is somewhat pushed aside, well treated, neither too minutely, nor 
 too freely. The hair is worked in regular furrows, and gathered in 
 with a narrow fillet, which, on the forehead, is delicately entwined 
 with two long curls. The hair hung far down, but has been broken 
 off. New: the tresses falling down to the shoulders, the bust-piece 
 and the nose. The eyes are singularly small. Pentelic marble ? 
 H. of head o - 34. L. of face 0U7. Bought by Hollis in a.d. 1761. 
 [*C] 
 
 48 (8). Bacchic female head: Mas. Disn., PI. 10, “Muse.” 
 A colossal head and neck, very broad in the proportions, apparently 
 belonging to the Bacchic cycle. A fillet is drawn across the forehead 
 and through the hair, which is gathered in a knot behind. Hard 
 execution. Coarse Greek marble. H. C33. L. of face 0-19. “I 
 have every reason to believe it was found in, or near to, the Acropolis 
 at Athens.” (?) Disney. [*] 
 
 49 (10). Young girl: Mas. Disn., PI. xi, “Sappho.” No 
 cloth or kerchief covers the hair, which is gathered into a knot be- 
 hind. New: bust, neck, chin and point of the nose; the rest 
 being restored in so uninteresting a way that it looks almost entirely 
 modern. H. o - i8. L. of face 0-12. [*] 
 
 50 (25). Double terminal bust. Mus. Disn., PI. 12, “Bac- 
 chus and Ceres.” On one side Seilenos, crowned with ivy, on the 
 other a youthful head crowned with laurel, thus shewing the connec- 
 tion of the attributes of Dionysos and Apollo. (Cf. Broadlands, 
 no. 16; London, Lansdowne House, no. 69.) New: busts and 
 nose tips. Pretty. Height, of the genuine parts, o - i6. [*] 
 
 51 (22). Double terminal bust: Mus. Disn., PI. 13, “Bac- 
 chus and Libera”. The two heads, which are strikingly narrow, are 
 pressed very close together, perhaps because the piece of marble was 
 not larger. On one side Seilenos, with long beard, crowned with ivy ; 
 his ears were originally covered by the hair, but the restorer has 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 52 — 59. 259 
 
 transformed them into pointed ears. On the other side a youthful 
 head, also crowned with ivy; nose-tip restored. H. o - 28. [*] 
 
 52 (31). Terminal bust of Pan: Mus. Disn., PI. 15, 
 
 “ Silenus.” Bearded head with horns, crowned with ivy. The face 
 has a grinning expression. Modern. H. C35. Bought by Hollis of 
 Mr Lloyd, a. d. 1761. [*] 
 
 53 (14). Dionysos? Mus. Disn ., PI. 16, “Aeginetan Bac- 
 chus.” Bearded head in stiff imitation of the archaic style : three 
 rows of curls on the forehead: beard well designed: eyes filled up 
 with some substance. New: nose and bust. H. o - 33. L. of face 
 o-iS. [*] 
 
 54 (15). “ Hermarchos” : Mus. Disn., PI. 17. I cannot 
 
 warrant the identification, but it appears to me possible. (Cf. Vis- 
 conti, Iconogr. Gr., 1. PI. 26.) Head broad, no meagreness in the 
 face ; nose slightly aquiline, beard tolerably long ; forehead wrinkled. 
 Bust new ; nose only slightly injured. Ordinary workmanship. Greek 
 marble. L. of face o - 2o. Bought by Disney in London. [*] 
 
 55 (6). Terminal bust of a Satyr: Mus. Disn., PI. 19. 
 
 A very bad head, of poor, timid workmanship, for the face cannot 
 even laugh properly. Horns over the forehead. The terminal bust of a 
 very awkward shape. Said to have been “ found in a vineyard near 
 Rome, about two miles out of the Porta Pia, near the Church of 
 St Agnese, in a. d. 1826, by a peasant, and brought immediately to 
 Sig. Raim. Trentanove, of whom Disney bought it a.d. 1827.” In 
 spite of this statement as to the discovery, and of the fact that the 
 nose has been repaired, I consider the head to be modern. H. o - 38. 
 L. 0-14. [*] 
 
 56 ( 1 1 ). Bust of a youth: Mus. Disn., PI. 20, “Mercury, 
 young.” The orbits are hollow ; the point of the nose new. “ Found 
 in Populonia, in a.d. 1828,” and bought by Disney. The head ap- 
 pears to me to be modern. H. o - 4i. [*] 
 
 57 (17). A Roman: Mus. Disn., PI. 21. “Found in the 
 neighbourhood of Florence, where Disney bought it in a.d. 1829, of 
 Sig. Trugoni.” The genuineness of this bust, which is quite intact, 
 is most doubtful. H. 0*35. L. of face on 8. [*] 
 
 58(29). “Julia Sabina” : Mus. Disn., PI. 22. Lightly waving 
 hair adorned with stephane. The pupils of the eyes expressed. 
 New : tip of nose. Very superficial work. Parian marble. PI. o - 33. 
 L. of face 0U5. Bought in London, a.d. 1823, by Disney. [*] 
 
 59 (24). Double terminal bust : Mus. Disn., PI. 23, “Bac- 
 chus and Libera.” Two youthful heads with the usual stiff curls on 
 
 17—2 
 
260 CAMBRIDGE — FITZWILLIAM MUSEUM 60 — 67. 
 
 forehead; one is almost half modern. Sculpture of no merit. H. C29. 
 
 [*C] 
 
 60 (33). Pan. So early as in Th. Hollis’s Memoirs , p. 821, 
 this bad head is ascribed to Michael Angelo; but it is hardly 
 necessary to mention that he is absolutely guiltless of it. Modern. 
 H. 0-33. [*C] 
 
 61 (16). Female head, adorned with stephane, and the hair 
 gathered in a knot behind. Tip of nose new. We suspect the work 
 to be of modern origin, as it is very superficial and poor. H. o'24. 
 L. of face o - i2. [*] 
 
 62 (18). A youth with a circlet in his hair. New: nose and 
 upper lip. Breast crossed by sword-band, chlamys on 1 . shoulder. 
 Insignificant sculpture. H. 0-29. Length of face o' 13. The appel- 
 lation “ Octavianus ” quite without foundation. [*] 
 
 63 (27). Lucius Verus. New: nose. Very rough work. 
 H. o'39. L. of face o'i7. [*] 
 
 64 (28). “ Commodus ” (?): Eyebrows and pupils expressed. 
 
 A very poor head; bust with breast-plate modern. H. o'30. L. of 
 face o' 1 9. [*] 
 
 65 (30). “ L. Aelius Caesar ” (?). New: nose. Bad sculp- 
 
 ture. H. 0-40. L. of face o' 16. [ # ] 
 
 Works in relief, 
 
 66 (53). Agamemnon and Chryses, from Iliad 1. : Mus. 
 Disn., PI. 39. Overbeck, Bildwerke, PI. 16, n. Said to have been 
 found at Perugia, a. d. 1826, and bought by Disney from Vesco- 
 vali in Rome. The latter sold at that time many similar imitations, 
 the works of the Neapolitan Vine. Monti, ( Knnst-Blait , 1823, no. 
 95, 1824, no. 30). This very low relief, nominally Greek, but of 
 which the modern origin is beyond all question, imposes on us more 
 at the first glance than after closer investigation. Cf. Wieseler, pp. 
 455 — 45 8 > and Conze, pp. 169, 170. [*C] 
 
 67 (66). Votive relief to Pan: Mas. Disn., PI. 35. Within 
 a rocky grotto there stands Pan, full face, with a pointed beard, 
 horned and ithyphallic; in the 1. arm, over which a small cloak 
 hangs, he holds a pedum, and with the right, which is lowered, he is 
 emptying a vessel (now destroyed) over a small Hermes with a long 
 beard. The latter is provided on the shoulders with quadrangular 
 projections, and is placed upon a low pedestal; the head is apparently 
 covered with a cap and the symbol of sex is not wanting. Rude 
 work. Apparently of Italian marble. PI. o'42. L. 0-24. [*C] 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 68 — 74. 
 
 261 
 
 68 (70). Greek votive relief: Mus. Disn., PI. 88, 2. Two 
 columns (the r. hand one has been restored) support an epistyle with 
 tiles on the top. Zeus stands in the middle, facing r., in a cloak 
 which leaves his r. breast and shoulders free; his lowered r. hand 
 holds the thunderbolt (much damaged), his 1., upraised, a piece of 
 sceptre. Hera stands behind him in a doubled chiton, her r. hand 
 resting on her side, the 1. uplifted as if to hold a sceptre, which how- 
 ever is not represented in the sculpture; her cloak droops over both 
 arms and down her back ; her head is adorned with a Stephanos. 
 R. of Zeus more than a third of the space is left completely bare; is 
 it possible that a painting was once introduced here? Although the 
 relief is much rubbed, pretty motives can be traced through it. 
 Coarse Greek marble, certainly not Attic. H. o - 47- L. C63. 
 Brought to England by Brand. [*C] 
 
 69 (38)- Fragment of an Attic votive relief. A beardless 
 man in adoration, facing 1., in a cloak of which he holds a corner in 
 1. hand; r. hand outstretched. Pentelic marble. H. o’qi. L. o'i4. 
 
 m 
 
 70 (52). Front of a marble discus : Mus. Disn., PI. 37 1. 
 A bearded Satyr, with a skin floating behind his back, moves quickly 
 r. towards a rock altar. In 1. hand he carries a flat dish and with r. 
 holds out a torch towards the altar. Moderate relief. Diameter 
 0'26. [*] 
 
 71 (54). Back of the same discus : Mus. Disn., PI. 37, 2. 
 A Seilenos in apron, carrying in both hands a winnowing fan ( vannus ), 
 from which rises a phallus. Before him a rocky altar. Very low 
 relief. Diameter 0-26. [*] 
 
 72 (67). Fragment of a marble discus: Mus. Disn., 
 PI. 33. On one side two masks facing r. ; one youthful, crowned 
 with ivy and a fillet, the other of a female, the hair being quite 
 hidden by a kerchief. Upon the other side a dancing Satyr, facing 
 r., with a skin floating behind him, the thyrsos in 1. arm, the r. arm 
 outstretched. Below is all that remains of a panther snapping his 
 teeth in the air. Edge broken away all round. Very low relief. 
 H. o - 1 8. L. o’2r. Original diameter abt. 0-36. [*] 
 
 73 (68). Two Bacchic masks, placed opposite to each 
 other. That to the 1. youthful, wearing an ivy wreath and a fillet. 
 Beside him a thyrsos. That to the r. bearded and bald-headed, with 
 human ears. Common-place work. H. 0-23. L. 0-31. [*] 
 
 74 (56)- Female mask, perhaps Medusa. Very coarse. H. 0-23. 
 L. 0’20. [*] 
 
262 
 
 CAMBRIDGE— FITZWILLIAM MUSEUM 75, 76. 
 
 75 (23). Base of a pilaster. A female figure terminating 
 in and flanked on each side by branches. Delicate relief. H. 0-40. 
 L. o’3i. D. o - 23. H. of field 0-14, L. 0-23. [*] 
 
 76 (41). Sarcophagus representing story of Achilleus : 
 
 Alus. Disn ., PI. 42 and 42 a. Front. Achilleus on Skyros. 
 Achilleus, facing r., in the centre of the composition, is violently 
 excited. He is clothed in a long Doric chiton, which leaves his r. 
 leg free and which has slipped from his r. shoulder, revealing the 
 masculine form of his breast. A waving cloak floats behind his 
 head and round his arms, and his head is covered with a cap. In 
 contrast to this, his 1. hand is armed with the shield, and his r. with 
 the lance; a helmet stands on the ground. The 1 . foot is still shod, 
 his r. shoe lies on the ground. The glance of Achilleus is directed 
 1 ., where De'idameia, in chiton and cloak, and with a kerchief on her 
 head, is kneeling on the ground with outstretched arms and looking 
 up to him entreatingly. A sister, in chiton and coif, with a floating 
 veil, hurries past her to their mother, who is sitting 1. on a low 
 seat, looking astonished at the whole scene. One sister is already 
 standing beside her, leaning against her chair, and like the mother 
 she is arrayed in chiton, cloak, shoes and coif. Behind the chair 
 stand two more sisters, in simple chiton and coif, talking more calmly 
 over the occurrence. Quite to the 1 . stands the bearded king 
 Lykomedes, in long chiton (xitujv -n-oSijpris), with a broad girdle and 
 cloak, shoes on his feet and a fillet in his hair. He rests his r. hand 
 on a low column, and in his lowered 1. holds a roll (?); his glance 
 is directed to the group, but he is less astonished than the others, 
 probably because he understands better what is going on. On the 
 other side of Achilleus is another woman, much excited, draped in 
 chiton and floating cloak, a sister of Deidameia. She has apparently 
 just sprung up from an easy chair and is excitedly calling for help. 
 Instead of that Odysseus comes hurriedly up, nude except for his 
 cloak and characteristic cap (71-1X09, pikas), his r. hand raised, in the 
 1 . his sword in its sheath. Near him Agyrtes, beardless, is blowing 
 the long trumpet, with 1. hand bent towards the back of his head ; 
 he is dressed in short chiton, cloak, ancf boots. At the r. extremity 
 comes up the youthful Diomedes, dressed in a chlamys, stretching 
 out his r. hand and holding his sheathed sword in 1 . (The interesting 
 representation is to be added to those of O. Jahn, Archdol. Beitrage, 
 p. 359; Overbeck, Bildwerke, p. 287.) — Left end. Achilleus, nude 
 except for his helmet and shield, is running with his drawn sword in 
 his r. hand. He looks round 1 . at Hektor, who has sunk to the 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 76, 77. 263 
 
 ground and who is equipped in breast-plate, helmet, shield and sword. 
 In the background r. the stone walls of Troy. The figure of Achilleus 
 is only lightly sketched, that of Hektor more fully wrought.- — 
 Right end. Achilleus, who is depicted as on the other side, is seiz- 
 ing by the hair Penthesileia, who has fallen to the ground. She is 
 clothed in a short chiton and boots; her hands are lowered, but with 
 the r. she grasps her double axe, holding in the 1. her crescent-shaped 
 shield ( pelta ). In the background her charger, from which Achilleus 
 has dragged her, is galloping away. — The lid is ornamented at each 
 corner with a grinning mask of Pan. These masks are without 
 horns, but have very long drooping ears. Upon the front the centre 
 is indicated by a portable censer (thymiaterion), on each side of which 
 crouch sphinxes, symmetrically grouped round an amphora with a 
 cover. Each end of the lid is adorned with a thunderbolt. The 
 reliefs of the lid are somewhat affected, particularly the masks, but 
 they are not modern. The sarcophagus is distinguished by its perfect 
 state of preservation. Hollis received it from William Lloyd, who 
 had brought it from the palace of the Marchese Cavalieri in Rome. 
 L. 1-62. H. 0-50. D. 0-46. [*CM] 
 
 77 (46). Bacchic sarcophagus : Mus. Dis?i. y PI. 41. The 
 front is ornamented with perpendicularly waved flutings which at 
 either end leave a narrow space and in the middle a broad space. 
 The latter is enclosed by two Corinthian pilasters, which support a 
 flat arch. Within stands Dionysos. Besides the wreath on his curly 
 hair he is adorned with a second (vttoOv/j. is) placed across on his 
 breast. A cloak, lying on his 1. shoulder, conceals his r. leg; on his 
 feet he has high boots. The god is resting the elbow of his 1. arm 
 on the r. shoulder of a youthful Satyr, and supporting his head with 
 his 1. hand. The Satyr has a skin hanging over his 1. arm and is 
 leaning vigorously forwards. Below the corner of the skin stands a 
 round cista of osier, from which the snake stretches up. By the side, 
 at the feet of Dionysos, moves a panther, laying his r. fore-paw on a 
 pedum. With the r. hand Dionysos is pouring wine from a kantharos 
 upon a ram’s head which is lying on a low altar. Above the altar, 
 half concealed by the god, Pan appears, bearded and horned, and the 
 artist has succeeded in giving to his countenance his particularly 
 brutish expression. He is looking at the god and with his r. hand 
 is supporting the latter’s r. arm; he has placed his r. foot on a low 
 mass of rock. (Cf. the very similar representation in Miiller-Wieseler, 
 11. 42, 508.) In the space at the 1. end a Satyr, in a skin hung over 
 him crosswise, is dancing, holding in his r. arm a pedum and in his 
 
264 CAMBRIDGE — FITZWILLIAM MUSEUM 78 — 82. 
 
 1. hand a staff. He is turning away his face from a small boy, who 
 is hanging on his 1. shoulder and embracing him. On the ground 
 a panther is stepping on the head of a ram; and there is besides 
 the large head of a he-goat. At the end r. a Bacchante in a long 
 Doric chiton is dancing. Her garment leaves her 1. leg and r. breast 
 bare. She is striking the cymbals. — On the left end we see in very 
 low relief a large round shield, behind which two spears are crossed. 
 
 - — The right end is left rough. — The sarcophagus is in excellent 
 preservation, in front highly polished. Found about a. d. 1740 in 
 the Vigna Capponi beyond S. Andrea della Via Flaminia, brought 
 home by W. Lloyd, and in a. d. 1761 bought of him by Hollis. 
 L. 2-15. H. 0-59. D. o-6r. [*CM] 
 
 78 (62). Fragment showing a female figure : Mus. Disn ., PI. 36. 
 A female in long drapery and a floating cloak moves 1. Gerhard and 
 Wieseler, p. 454, have suggested that it is Selene going to Endymion, 
 but this appears questionable. The fragment has been cut on all 
 sides to make it square. H. C24. L. o - i5. [*C] 
 
 79 (55). Right corner of the lid of a sarcophagus : 
 a mask with long curls and a radiated crown. H. o - 27. L. 0-22. [*]. 
 
 80 (39). Etruscan urn : Mus. Disn., PL 85. A man and a 
 woman are holding out their hands to each other. A winged figure, 
 in short drapery and with a lowered torch, approaches from the 1. 
 and lays his 1. hand on the man. A similar figure, without wings, 
 is hurrying up from the r. with r. hand on head and shouldering a 
 torch with the 1. arm. A similar figure with a sword in the 1. 
 arm is trying to hold her back. Greyish marble. H. o‘4i. 
 L. o - 54. D. o‘25. — The lid, which does not belong to the urn, is 
 of nenfro, and represents a recumbent man of very short proportions, 
 wreathed and with a cup in his r. hand. H. 0-39. Bought by 
 Disney of Sig. Cinci, at Volterra, Oct. a. d. 1829, soon after it 
 had been found. [*] 
 
 Then follow a number of Roman cineraria; those marked with 
 a star are to be found figured in the plates at the end of Th. Hollis’ 
 Memoirs. 
 
 81 (42)'*. Round urn, fluted : Mus. Disn., PI. 48. Inscribed 
 on tablet: Dips) M(anibus). \ T. Tliavio ) Vero Aug(usti) \ lib{erto ), 
 tabiidario) rat(ionis) \ aquarior(utn), co\iugi bene me\renti Octa\via 
 Thetis f(ecit). (Mommsen, Inscr. R. Neap., 24S9. Orelli-Henzen, 
 6570.) From Pozzuoli. H. 0-25. Diameter 0-25. [*] 
 
 82 (40)*. Urn in the form of a pail: Mus. Disn., PI. 49. 
 The surface is marked to represent a stone wall, so that the whole 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 83 — 88. 265 
 
 has the appearance of a round tower diminishing upwards. In front 
 is a tablet with inscription: D(is) AT(anibus). | AT. Aur(elio ) AT. f(ilio)\ 
 Aelia Gal/fca ) | Vivinacio \ milfiti) coh(ortis ) iv pr{aetoriae) | vixs(it) 
 anniis) xlv, mil(itavit) ann{is) xim, | Aurelia Nice \ marito suo \ b(ene) 
 m(erenti) posuit. H. 0-24. Diameter of base o - 27, of top 0-22. [*] 
 
 83 (47)*. Round urn (modern), antique lid : ATus. Disn., 
 PI. 51. The lid is covered with foliage, and on it stands upright 
 a small tablet with this inscription : have Acciae | P. /( iliae ) Tulliae | 
 sol. ti. b. f. (Genuine ?? The last letters appear to contain a mis- 
 conception of familiar formulas). [*] 
 
 84 (45). Round urn: ATus. Disn ., PI. 52. On either side 
 a head serves as a handle. Inscription : L. Sentii L. l(iberti) 
 Cocceti | v(ixil) a(nno ) 1. m(ensibus ) vi. | nolite dolere parentes , | hoc faci- 
 undum fuit. The inscription is a spurious imitation of one that was 
 once in Rome and is now in Milan (Muratori, 1213, 9. Wilmanns, 
 Exempla , no. 607 h). Found a.d. 1825, near the tomb of Caecilia 
 Metella. H. 0^5 2. Diameter o - 42. [*] 
 
 85 (77)*. Sepulchral monument: ATus. Disn., PI. 50. In 
 the pediment is a wreath. Below, a relief : upon her deathbed lies 
 a draped female, with the stalk of a poppy in her lowered r. hand ; 
 on her legs lies a large wolf-hound. Below: D(is) AT(anibus). \ Pom - 
 peiae \ ATargaridi \ fidelissimae \ Felicio \ coniugi suae | b(ene) 
 m(erenti ) | posuit. The name of the husband, Felicio, is strangely 
 crowded in. H. o - 62. L. 0-32. [*] 
 
 86 (44)*. Square cinerarium : ATus. Disn., PI. 53. On 
 what are usually called masks of Ammon hangs a garland, in the 
 curve of which is the inscription : D(is) AKanibus). | AT. Ulpio \ 
 Aug(usti ) lib{erto ) | Fortunato \ Philetus pater | ct Ulpia P/usias \ 
 coniugi b(ene) m(erenti) f(cccrunt). Below at the comers are masks in 
 Phrygian caps. On the lid is a trident entwined with two dolphins, 
 and two shells. H. o - 66. L. C36. D. o‘2p Bought by Hollis 
 ofW. Lloyd, a.d. 1761. [*] 
 
 87 (1)*. Square cinerarium : ATus. Disn., PI. 54 and 54m 
 On all four sides are garlands of fruits, depending from skulls 
 of rams, and below are two birds. On front and back there is 
 also a bird over the garland, and on the two sides is a Medusa 
 head in the same place. In front, above : Aeli(a ) Postumia vcrna 
 fecit | sivi Pe [sic, instead of et\ | coniugi carissimo ; below : conquo 
 vTxit an{nis) xxm, b(ene) m(erenti). H. 0-45. L - 0-44. D. 0-42. [*] 
 
 88 (51)*. Square cinerarium: ATus. Disn., PI. 55. The 
 inscription runs: Ti. Claudius Hermias \ fecit Tuliae Anthidi \ coniugi 
 
266 CAMBRIDGE — FITZWILLIAM MUSEUM 89 — 94. 
 
 suae | carissimae et \ sibi. vixit ann[is ) xxxvi. All around are 
 branches : above, a bird, seizing a snake with his beak. On the 
 ends plants and on the lid a wreath. H. C36. L. 074. D. 
 0'29- [*] 
 
 89 (36)*. Rectangular cinerarium : Mas. Disn., PI. 56, 1. 
 
 A garland hangs down from two so-called heads of Ammon, below 
 which swans are visible, two birds above and two below. In the 
 inside of the wreath the inscription: Cn. Caesio \ Attico | Julia 
 Cypare \ coniug(i) cariss{imo). H. o - 32. L. C27. D. o' 2^. [*] 
 
 90 (58)*. Square cinerarium : Mus. Disn., PI. 56, 2. Within 
 a garland the inscription : Dils Manibus \ Q. Calidi Pothi Valeria | 
 Ias(o) coniugi bene mereni (sic) | et Valeriae Maximae f(iliae ) | Calidius 
 Eleuthr. 1. fecer(unt). Upon each of the sides a tripod. The cover 
 does not belong to it. H. 0-22. L. 0-44. D. 0-30. [*] 
 
 gi (43)*. Cippus : Mus. Disn., PI. 57, 58. On two so-called 
 heads of Ammon, below which eagles are visible, hangs a garland, 
 within which is a lion tearing an ass. Above : Dils Manibus \ sa- 
 crum | T. Statilio Hermeti | Statilia Philaenis | fecit coniugi | suo 
 carissimo | et bene j merito de se. On the two sides are 1 . a cup, r. 
 an ewer, each in a garland ; on the back corners a ram’s head above 
 and a swan below. Above is a round pediment with branches. 
 H. 076. L. o'46. D. C29. [" C] 
 
 False or Doubtful Reliefs. 
 
 In conclusion we have a number of reliefs which are not 
 genuine, or which are in the highest degree suspicious. 
 
 92 (71). Round relief: Mus. Disn., PI. 31. Head of Medusa, 
 surrounded by snakes : mouth deeply hollowed out. Low relief. 
 Coarse grey stone. According to Hollis’ Memoirs, p. 820, “beautiful 
 and of Greek workmanship in my opinion modern. [*] 
 
 93 (58). Piece of an antique ornament of a pilaster, 
 on the back of which is introduced a modern head of “Julius 
 Caesar, seen in profile, with a fillet in the hair”: Mus. Disn., PI. 
 32, 32 a. Bought of a merchant of Naples, about the year A.n. 
 i 755 > by Plollis. [*C] 
 
 94 (69). Low relief of Nero, with halo of rays : Mus. Disn., 
 PL 34. We read in Hollis’ Memoirs , p. 820, of this composition, 
 which is certainly modern : “ it was over a portal in Attica ; the 
 reverse a figure of Roma Triumphans,” and Disney says “ brought 
 from Athens. Purchased at Venice about a. d. 1752.” It is clear 
 that trade in art was never at a loss for testimonies to origin. ["£’] 
 
CAMBRIDGE — FITZWILLIAM MUSEUM 95 — 104. 267 
 
 95 (65)- “ Agrippa.” Head in profile, with a wreath. Mus. 
 
 Disn., PI. 38. Modern. [*] 
 
 96 (63). 97 (61). “ Small male head”: Mus. Disn., PI. 40. 
 “ Small female head.” Similar. Modern flat relief. 
 
 98(57). 99(64). “ Laureate head of Philip of Macedon.” 
 “ Faustina.” Similar. [*] 
 
 100 (60). Portrait of an emperor. Low relief, with sharp 
 edges, like a cameo. Modern. [*C] 
 
 101 (59). A female, sitting on the ground, half nude. Grace- 
 ful posture. Modern. [*] 
 
 Certain marbles, of which there are drawings in Mus. Disn., 
 are not in Cambridge, viz.: PI. 14, Ivy-wreathed bust of Thalia; PI. 
 18, Bust, falsely called “Corbulo”; PI. 24, Statue of Apollo. They 
 have probably remained with the Bronzes and other works of art in 
 the Hyde. (See below, art. Hyde). 
 
 Besides the Marbles we have spoken of in the collections of 
 Clarke and Disney, the Fitzwilliam Museum possesses other Anti- 
 quities, important among which is the great collection of Greek 
 coins, purchased from the executors of the late Colonel Leake for 
 <£5000; further some Greek vases from the property of Col. Leake 
 and Dr. Churchill Babington ( Archaeol. . Anz., 1866, p. 302); for 
 example, eleven amphorae, four hydriae, ten bowls, numerous lekythoi 
 (with inscriptions of vase-painters Chachrylion and Hermogenes, 
 hydria with inscriptions “ Herakles” and “Triton”); some Attic 
 terra cottas, among which are some of graceful design ; and a 
 collection of very handsome Cyprian glass vessels, obtained from 
 Gen. Cesnola; and finally some good bronzes, among which I 
 consider the following most worthy of notice: 
 
 102. Statuette of Herakles, staggering drunken. Spec., 11. 
 PI. 31, 32. An excellent piece, 0-23 high, bought by Leake in Vra- 
 chori in Aetolia, where it had been brought from Vlochos (Agrinion). 
 Travels in Northern Greece, 1. p. 325. [*] 
 
 103. Statuette of Zeus, standing on his r. leg, with the 1. 
 slightly bent, quite nude. In his r. hand he is lowering the light- 
 ning, and his 1. arm is raised. His head is bent slightly downwards, 
 looking r. Hair and beard are carefully treated and the latter is tole- 
 rably long. With this may be compared an Athenian coin (Miiller- 
 Wieseler, 11. 2, 23), in which some scholars have proposed to recognise 
 the Zeus Polieus of Leochares. H. 0-155. Leake. [*] 
 
 104. Statuette of Poseidon, placing his r. foot on a rock 
 
268 CAMBRIDGE— FITZWILLIAM MUSEUM 105 — 108. 
 
 and laying his r. arm on his knee, with a dolphin in his r. hand; his 
 1. arm is raised, and it no doubt held the trident. The head 
 approaches very nearly the character of Zeus. Concerning this type, 
 cf. Overbeck, Kunslmythologie, n. p. 278. Lange, Das Motiv des 
 aufgesetzten Fusses, pp. 81 ff. H. o’io. Leake. [*] 
 
 105. Statuette of Dionysos : in a cloak that leaves his 
 r. arm and breast free. The r. arm is somewhat lowered and 
 stretched out, the position of the hand shows that it must have been 
 in the act of emptying out a cup. The 1. hand held something before 
 the breast. The face has a noble expression, the beard is well trim- 
 med, the hair on both sides of the forehead is confined by a fillet. 
 This good piece appears to be Etruscan. H. o’26. Leake. [*] 
 
 106. Statuette of a nude youth, with a head surrounded 
 with curls, resting on his r. leg, and his 1. leg bent. In his r. hand 
 he held something before his body; his 1. arm is broken off. On 
 the top of the head is a broken peg. A good figure, found in Zoan 
 in the delta of the Nile. H. on 7. Leake. [*] 
 
 107. Statuette of a Satyr, dancing forwards in moderate 
 movement, with the 1. leg advanced; stretching out his 1. arm with 
 extended fingers, and raising his r. hand. In both instances the 
 wrists are much bent, as is usual with Satyrs. The hair thin. 
 Round pedestal. The figure comes from Etruria. H. o’ 13. [*] 
 
 I pass over some bronze figures of less consequence, two Etruscan 
 candlesticks and a bronze hand; also a suspicious bust of a female 
 and a modern Herakles (presented by Mrs Hare). There are two 
 Etruscan incised mirrors representing mythological subjects, viz., 
 Tydeus, Amphiaraos, and Adrastos (Tute, Amphiare, Atrste), 
 Tydeus standing in the middle between Adrastos seated 1. and 
 Amphiaraos r. This mirror, of which the figures and inscriptions 
 are almost obliterated with rust, belonged formerly to Gerhard, and 
 has been published by him. Cf. Gerhard, Etrask. Spiegel, 178. 
 
 108. A nude female figure with wings, moving quickly r., 
 with a Phrygian cap and shoes; in her lowered r. hand she holds a 
 cup for flowers. Cf. Gerhard, Etrusk. Spiegel, PI. 31 ff. 
 
 TRINITY COLLEGE. 
 
 Conze, Archaeol. Anzeiger, 1864, p. 172. 
 
 In a corner downstairs close to the staircase which leads to the 
 Library stand several antique sculptures. Some of them, which have 
 
CAMBRIDGE — TRINITY COLLEGE 109, 1 10. 
 
 269 
 
 their origin in the north of England, were collected by Sir Robert 
 Cotton, and kept by him at Cunnington, near Huntingdon, till 
 in a. d. 1750 Sir John Cotton de Stratton presented the collection 
 to Trinity. Cf. John Horsley, Britannia Romana , p. 192, PI. 29 ; 
 Bruce, in the Archaeological Journal, Bond. A. D. 1855, xii. no. 47. 
 For the chief piece see the C. I. Lat., vil, ioox. 
 
 Somewhat later some Greek marbles were added which Edward 
 Wortley Montagu (died a. d. 1761), the husband of Lady Mary 
 Wortley Montagu, had collected in the East while he was British 
 Ambassador at Constantinople (1716 — 1718 a. d.). Cf. Clarke, 
 Travels, 11. 1, p. 163. Scipio Maffei saw the stones at Montagu’s 
 house about a. d. 1733. (- Letters and Works of Lady M. Worthy 
 
 Montagu , ed. by Lord Wharncliffe, in. p. 96.) The most celebrated 
 specimen was the inscription of Sigeum (C. I. Gr., 3595), which 
 Montagu’s daughter, Lady Bute, presented to Trinity in a. d. 1766, 
 probably together with the rest of the specimens. Some have been 
 added from other parts. 
 
 109. Square sepulchral relief, framed. Two men are lying 
 on a couch ; the one 1. half covered with his cloak, while the upper 
 part of his body is bare, and he holds a goblet in his 1. hand. The 
 one r. wears his chiton and cloak, and with his r. hand, which is 
 raised, he pours wine from a drinking-horn ( rhyton ), with a ram’s 
 head, into a large cup, which he holds in his 1. hand. A small, 
 three-legged table stands by the couch with cakes on it and a small 
 ewer. Further r. is a side-board, with two shelves one over the other; 
 on the upper one are two plates, on the lower one a goblet; in front 
 a mixing vessel, by which a small servant stands, and between him 
 and the couch stands a second servant. A curtain is hung up at 
 the back of the whole; over it, looking 1., are the necks and heads 
 of three horses, one behind the other, also the upper parts of the 
 bodies of three riders equipped with helmet and shield. From the 
 marble and style it may be inferred that the relief comes from r\sia 
 Minor. H. 0-46. L. 0-46. [* C] 
 
 no. Sepulchral monument. A quadrangular slab, enclosed 
 by two pilasters with a kind of Corinthian capitals; above is a 
 cornice with branches, below an architectural moulding. In the field 
 is a wreath with a broad riband; below, in rather late characters, 
 the inscription (C. I. Gr., 6861): 
 
 ’Bi'fidSe yrj /carpet viov avt\pa, u war pis rjep 
 
 KaXrj | xdtov Aoidpoco, t6 [ 5’ oiivopa oi t65’ tKewo | 
 
 Ilavtas I Ha<xiKpd.TOvs‘ Ka0\d 
 
270 
 
 CAMBRIDGE— TRINITY COLLEGE ill, 1 1 2. 
 
 Franz reads naddave, and Kaibel ( Epigrammata Graeca, Berlin, 
 1878, no. 666) supplies Kaddave 8’ ev tt oXe/xw; on the stone itself 
 there seems never to have been more than is given above. I do not 
 know what the long stroke after ria-n-ta? is intended to signify. Franz 
 has justly referred the “Land of Dokimos” to the town of Dokimia 
 or Dokimeion, not far from Synnada in Phrygia. On the 1 . pilaster, in 
 three lines one above the other, stands a? | rtcurijas (the final syllable 
 was at first falsely written over) ; on the pilaster to the right ^atpe. 
 Coarse yellow marble, apparently Asiatic. H. 0-59. L. 0-45. [*] 
 
 hi. Fragment of Attic sepulchral column, broken off 
 below. Under a fiat pediment is a narrow lintel on which appears 
 (C. /. Gr. : 805*) €t!(U|KPIT 02 S AEAIOS. (In the second word, A 
 appears to me to be certain, E probable; Dobree read doubtfully 
 HAIAIOS, K. O. Muller ...AIAIOS, Conze doubtfully ABAIOS ; 
 Bockh suggested Oivalos, which cannot possibly be right ; and 
 EiVeaios can hardly be so. It is also possible to suppose that it is 
 the name of the second man represented below. Below, on the slab 
 itself, in characters much effaced : 
 
 ’Evdaoe rbv Trdffrjs dperrjs ii rl r\dppa poXovra | 
 
 [E]v0vKpiTov irarpia \ ixdXvif/e ratpip, | 
 
 prjTpl (plXov Kal varpl, Kam\[y]vrjTa^ re icoBtivbv | 
 
 Traa[i ] re tTalpoiaw a vvt potpov | ^Aifa'cts. 
 
 Below, in a sunken field, is a large amphora of graceful shape, 
 with handles worked with volutes. On the body of the amphora 
 another field has been sunk ; on this is represented in very low 
 relief, 1. a man, apparently beardless, in a cloak; r. a nude youth 
 with the chlamys over his arm ; they are extending their hands to 
 each other. Beside each of them is a dog ; the one 1 . is sniffing the 
 ground, the one r. is looking up backwards to his master. Below the 
 body of the amphora the slab is broken off. Fine Attic style of 4th 
 century. Pentelic marble. Brought from Athens by the Rev. H. V. 
 Elliott and the Rev. E. I>. Elliott, Fellows of Trinity College. 
 
 H. I ‘22. L. 0‘42. [* C ] 
 
 112. Lower part of an Attic sepulchral stele. Two 
 
 lekythoi are represented in tolerably high relief, on the 1. a small 
 and on the r. a larger one. On the latter distinct traces of painting 
 are preserved, above on the body a broad stripe, below a border 
 a la Grecque and below that perpendicular stripes ; on the field are 
 what appear to be the outlines of a woman in a sitting posture to the 
 
 I. and to the r. a man standing up, bending slightly toward her. 
 
 Pentelic marble. H. 072. L. 07 7. [* C] 
 
CAMBRIDGE— TRINITY COLLEGE 113 — Il6. 
 
 271 
 
 113. Colossal akroterion, with a double front, allowing a 
 
 very rich palmette of acanthus to grow forth : originally the splendid 
 capital of a large Attic stele. It is broken on one of the lower 
 corners and here and there in other parts. Pentelic marble. H. 
 i’ig. L. 070. The relief stands out about 0-13. [* C] 
 
 In the Library is 
 
 1 14. Statuette of Asklepios, his r. shoulder supported on a 
 staff round which a snake is entwined; he is feeding the snake. In 
 perfect preservation. H. about C30. Presented by Sir Clifton 
 Winthringham. [A] 
 
 The Rev. C. W. King, M.A., Fellow of Trin. Coll., the author 
 of the esteemed works on gems, possesses, besides a choice collection 
 of cut stones, a few antique sculptures : 
 
 115. Relief representing three women, in hieratic style, 
 
 arranged stiffly about a round column. (Cf. Montfaucon, Ant. 
 Expl. , 1. PI. 90.) They are all placed full face, and they wear a girdled 
 chiton with double folds (SmtAoiSiov) ; on their heads a kalathos, or 
 modius ; plaits fall down on their shoulders. The first has both her 
 arms lowered; in the hands holes may be observed, in which to fasten 
 some symbol; the chiton has no sleeves. The second wears woollen 
 sleeves reaching to her elbows ; her r. hand, in which is also a hole, 
 lowered; 1. hand raised to her breast and her first two fingers are placed 
 as if she held something in them. The third figure is without sleeves; 
 the hair is arranged in rows of curls on the forehead ; the 1. hand, 
 which is pierced, is lowered ; the r. lies on her breast. This disposition 
 of the hands leaves room between the first and second woman for a 
 small Pan, moving r., horned and bearded, with chlamys thrown across 
 his breast. He carries on his 1. shoulder a flat dish of fruit ; his r. 
 hand rests on his hip (the arm is broken). The upper part of the 
 column is slightly hollowed out and shaped like a patera, or eV^apa. 
 The whole served probably as an altar. Commonplace workman- 
 ship. Greek marble from Alexandria. From the collection of 
 Giovanni di Demetris. H. 0-47. [*] 
 
 116. Statue of Ceres. A draped female, bending far back, 
 is sitting on a square seat; her cloak, of very good drapery, covers 
 her legs, back and left arm. Her r. leg is stretched out, the 1. drawn 
 back. On the 1. arm she holds a cornucopia, in the r. a bunch 
 of ears of corn and poppies; this arm is broken in several places and 
 is perhaps old. Of the broken head the face is entirely new, the 
 wreath of corn perhaps old, but completely worked over. So is the 
 
272 CAMBRIDGE — TRINITY COLLEGE 1 1 7. CANTERBURY. 
 
 right foot. The motive is pretty, but is carried out in an ordinary 
 manner. Greek marble. H. 0-50. [*] 
 
 117. Fragment of a statue of Seilenos. Only the upper part 
 
 of the body, from the navel upwards, is preserved. The head has 
 pointed ears, and is bald, with a long beard ; he is looking down 
 kindly. The breast is stout and hairy ; the halves of the upper arms, 
 which are all that remain, are lowered. Well preserved, but polished. 
 Good sculpture. From Smyrna. H. o - 2i. [*] 
 
 ST JOHN’S COLLEGE. 
 
 118. “Apollinis ara.” Huebner, C. I. Lat., vii. 218. In a 
 corner of cloister of third court is the quadrangular so-called ara, 
 raised on a stone inscribed to the effect that it was found near 
 “Coccium” (Ribchester), and bequeathed by T. Dunham Whitaker, 
 LL.D. It was built into a wall at Salesbury Hall. L. side. Apollo 
 in arched field resting on 1. leg, r. leg crossed behind it and r. toe 
 resting on ground ; 1. hand rests on lyre on piece of rock to r. of 
 figure, r. elbow on 1. hand, head on r. hand; drapery hangs down 
 at the sides, and a piece goes over 1. shoulder and slantwise across 
 breast; figure nude with this exception. Hair long and raised over 
 forehead. Front. Two draped females of somewhat smaller scale 
 in field divided at the top into two arches, which meet in a point : 
 under 1. arch, the figure holding r. forearm straight across body 
 towards that under r. arch, whose 1. forearm is in similar posi- 
 tion ; they seem to hold some object between them. R. knee of r. 
 figure a little advanced. Mural crowns on heads, or hair raised. 
 R. top corner of field broken off with from three to six inches of 
 the entire r. side of the “ara.” Back. Within a moulding an 
 inscription of at least ten lines, of which the middle and ends are 
 partly legible, LEC VI occurring. Huebner has attempted its 
 restoration. — Brownish gray stone (?). Very much worn. H. r66. 
 W. o'5i. L. (original) 074. In centre of flat top a quadrangular 
 hole. [Fennell]. 
 
 CANTERBURY (Kent). 
 
 J. Brent, The Egyptian , Grecian , Roman and Anglo-Saxon Anti- 
 quities in the Museum at Canterbury. Canterb. 1875. Michaelis, 
 Arch. Zeit., 1864, pp. 121 ff, 137 ff. 
 
 Besides other antiquities this Museum possesses a collection 
 of smaller objects, which Percy Clinton, Viscount Strangford, 
 
CANTERBURY 4 — I 3. 
 
 (d. 1S55), the English Ambassador at the Porte till 1825, collected 
 in the Greek Islands, Asia Minor and Egypt, during his residence 
 in the Levant, and which he presented afterwards to the Museum 
 (cf. Introd. § 89). These specimens form the contents of Case H. 
 I published some of them in 1864, from sketches by G. Scharf. The 
 catalogue includes 175 objects, of which I select the following. 
 
 4. Pitcher, formed in the shape of Dionysos, as a boy. 
 Arch. Zeit ., 1S64, PI. 182, 4. He is sitting on the ground, with a 
 narrow nebris across his breast, a wreath on his head, a ring over the 
 r. calf ; holding a pitcher in the r. hand. Pale clay. From Naxos 
 1822. (No. x appears to be of a similar description.) 
 
 5. Statuette in a sitting posture, probably of Hera, found 
 at Samos 1823. Arch. Zeit ., 1864, PI. 182, 2. This figure is remark- 
 able on account of the numerous traces of colour, white, blue, red, 
 black. The old type is completely preserved, the features of the 
 face being of archaic roughness ; some rows of curls over the fore- 
 head and a polos on the head, give the same a somewhat heavy 
 character. Terra cotta. H. o'22. There are other similar figures in 
 the collection, for ex. nos. 2, 3, 6, 9, ix.) 
 
 6. A similar figure from Samos, with a wreath round the head 
 and a peaked cap. 
 
 7. “ Pedestal in terra cotta ; a boy leaning against a tree 
 or support of some description ; on the base is depicted a theatrical 
 mask of a grinning face. Portions of an inscription may be traced 
 to the 1. of the figure, which is partially covered with a hood or shawl.” 
 
 12. “ Egypto-Etruscan cippus, representing Osiris between 
 two ibises or cranes, which stand in an attitude of adoration. The 
 lower part of Osiris terminates in a pillar, upon which is an Etruscan 
 inscription. On the back of this cippus is a bilingual inscription, 
 hieroglyphic and Etruscan. Terra cotta.” 
 
 13. Statuette of Aphrodite in the typical pose; very ancient. 
 Arch. Zeit., 1864, PI. 182, 1. The chiton falls in large zigzag folds 
 over her r. arm and she is raising it a little with her 1. hand. She 
 holds to her breast with her r. hand something which in the draw- 
 ing appears to be a dove, but which according to the catalogue 
 would be a pear or pomegranate. The round, plump face, with 
 pouting lips, eyes set in obliquely, and very large round ears, is framed 
 by long curls ; the head is as it were drawn backwards by the full, 
 thick mass of hair which falls down her back to her waist. The pro- 
 portions very thick-set. Back very flat. Terra cotta, H. o - 25. 
 At the back is written “Samos, 1823,” at the bottom “ Cyprus.” 
 
 18 
 
 M. C. 
 
274 
 
 CANTERBURY 14 — 45. 
 
 14. Female figure : in a flowing robe, in a dancing attitude. 
 Terra cotta. From Delos, 1823. 
 
 15. Dionysos: as a youth, with an ivy wreath on his yellow hair. 
 The god stands in repose, holding the wide cloak, which covers his 
 1. arm and the whole of his back, with the r. hand, as if he were 
 going to throw it round him. Terra cotta. Cf. Arch. Zeit ., 1864, pp. 
 144 sq. H. 0T3. [From a sketch by Scharf.] 
 
 16. Female dancer : draped in a wide ungirdled chiton which 
 has slipped off her r. shoulder and breast and surrounds her body in 
 flowing folds. In her lowered 1 . hand she holds the tympanon. 
 Terra cotta. H. o - i6. Cf. Arch. Zeit., 1864, p. 144, and the similar 
 figure in Janssen’s Terra-Cotta s te Leyden , PI. 7, 32. [From a 
 sketch by Scharf.] 
 
 17 — 21. 24. Heads in terra cotta. 
 
 25. Head with laughing face, with a Pan’s pipe. 
 
 27. Head of a wolf, or a wolf-dog. Arch. Zeit., 1864, PI. 
 182, 5. Fine expression. From Argos. L. 0-05. 
 
 35. Pomegranate, cut open to shew the interior, admirably 
 done. Hollow and very light, of a rich and pale clay ; a small hole 
 at the bottom. Found near Mount Athos, 1821 (according to the 
 catalogue near Athens). W. o'o8. Cf. Arch. Zeit., 1864, p. 144. 
 From a sketch by Scharf.] 
 
 37—54. Lamps in terra cotta, some of them bearing the 
 potter’s name. Among them may be specially mentioned : 
 
 43. Mercury, with winged hat, holding a caduceus, 
 
 44. Jupiter’s eagle carrying off the boy Ganymedes. Arch. 
 Zeit., 1864, PI. 181, 3. The inscription at the bottom MCHRI 97 
 awakens suspicion. 
 
 45. Odysseus bound to the mast of his ship, looking at the 
 Siren, who is portrayed in a very unusual manner : desinit in piscem 
 ?nnlier formosa superne. Arch. Zeit., 1864, PL 181, 1, cf. 1865, p. 32. 
 Cf. Liber monstrorum, 1, 7 (M. Haupt, Opuscula, n. p. 224). Sirenae 
 sunt marinae puellae, quae navigantes pulcherrima forma et cantus 
 decipiunt dulcedine, et a capite usque ad umbilicum sunt corpore vir- 
 gmali et humano getieri simillimae , squamosas tamen piscium caudas 
 habent, quibus in gurgite semper latent. In the ship is the steersman 
 with a companion, who has his fingers in his ears. Terra cotta. 
 At the bottom the potter’s name, C. Lun(ius) Bit. On account of 
 the unusual form given to the Siren the antique origin, either of the 
 lamp as a whole, or of portions of it, has been seriously doubted, 
 see Schrader, die Sirenen , Berlin 1868, p. 73. Heydemann, Ann. 
 
CANTERBURY 46 — 143. 
 
 275 
 
 dell Inst., 1876, p. 357 (who gives further references). It is not the 
 only specimen in the collection subject to suspicion, cf. nos. 44, 
 T 55- 
 
 46. “ Man bearing a pole across his shoulders, with a vessel 
 
 at one end and a faun at the other. He holds a staff to support his 
 hand.” 
 
 54. High lamp, on the stem of which Aphrodite is depicted 
 nude, with a drapery round 1. leg. Arch. Zeit., 1864, PI. 181, 4. 
 Traces of red colouring. From Histiaea in Euboea. 
 
 55 — 128. 156 — 170. Vessels, urns, vases of various shapes, 
 
 of terra cotta and marble, among them are also some painted 
 vases of which I think the following the most noticeable. 
 
 hi. Nasiterno from Megara of “ Corinthian ” style, with 
 imaginary animals. 
 
 1 13. Lekythos, with red figure, Nike pouring wine on an 
 altar. 
 
 1 16. Lekythos, from Athens, coloured outlines on white ground. 
 A youth and a girl adorning a tomb with garlands. “ Orestes and 
 Electra at the tomb of Agamemnon.” (Nos. 117, 118 appear to be 
 of the same character, but the representations are much defaced.) 
 
 125. Lekythos, in the style of Nola, with yellow figure. A 
 lady holding a mirror, and approaching a chair. 
 
 131. “ Metallic mirror, from a tomb at Athens.” 
 
 132 — 154. 171 — 175. Sculptures in marble or stone, many of 
 
 which are fragmentary. Among them : 
 
 133. “Carved figure, in marble or stone, coloured red, from 
 the neighbourhood of Mount Athos. The head has a hood-like 
 covering, with cloak and robe reaching to the knees. Inscription to 
 the left : ATHAIERUS. INOI.” 
 
 136. “Horse and rider, in rough marble; much worn.” 
 Probably a sepulchral relief. 
 
 137. “ Sepulchral relief in stone. A man reclining on a 
 couch, a female by the side, seated, holding his hand (?), and a child 
 at her elbow ; two attendants, near a bust on a pedestal,” surely a 
 terminal bust. 
 
 140. “ Relief in marble, a man holding a club, standing be- 
 
 side a horse. Fragmentary, and much worn. From the neighbour- 
 hood of Buyukdere,” on the European side of the Bosporos. 
 
 143. Head of Bacchus, ivy-crowned, with a broad fillet 
 round the forehead. Arch. Zeit., 1864, PI. 182, 3. Admirably worked, 
 well moulded, and full of spirit. From Naxos. Fragmentary. The 
 
 18 — 2 
 
276 
 
 CANTERBURY 144 — 1 74. 
 
 material, although not expressly mentioned, seems to be marble. 
 L. of face about 0-15. 
 
 144 — 148. Small heads in marble. 
 
 149. Sepulchral relief, in marble, from Brussa. “ A man on 
 horseback in front of an altar, over which is a snake, clinging to a 
 tree on the opposite side.” Cf. the relief in Ephesus, Mus. IVorsl., 
 Cl. 1. PI. 20 (PI. 9, 1.). 
 
 150. Relief, in marble, from Corcyra. A votive offering, 
 hollowed for the hand to carry it. An inscription in Greek : “Callis- 
 tus (presents this) as a thank-offering for the prosperity of Alexander." 
 
 155. Terra cotta slab, said to be from Syracuse, containing 
 an exact copy of that part of the reliefs of the Ara Casali (Wieseler, 
 Ara Casali , PI. 3, uppermost section) which is generally referred to 
 the dragging of Hektor by Achilleus, by others to that of Troilos 
 (Virgil, Aen., 1. 474 f.). Arch. Zeit. 1864, PI. 181, 2. The slab is 
 probably a modern forgery, see Brunn, Arch. Anz., 1864, p. 303. 
 
 167. A small krater on a pedestal, with yellow figures. Four 
 female heads and a bird. From lower Italy (?). H. o - o8. Cf. Arch. 
 Zeit., 1864, pp. 144 f. 
 
 172. Sepulchral relief, in marble. “A man on a couch 
 holding a ring (?, a cup, probably) in his right hand; a woman is seated 
 by his side, and a child. A table with three legs. Below, two oxen 
 drawing a plough. Inscription not legible.” 
 
 174. Sepulchral relief. “Two figures on a couch. Below 
 the couch, a boy with a vessel in his left hand. Greek inscription of 
 the Christian era.” 
 
 Some small bronzes and other small antiques are to be found 
 in case I, Shelves 18 and 19. 
 
 In the Hall are preserved two fragments of Mosaic pavement 
 of the simplest description, found at Canterbury; one of them is 
 ornamented with a two-handled vessel. 
 
 CHATSWORTH (Derbyshire). 
 
 Marbles, Bronzes and Fragments at Chatsworth. Fondon 1838, 4 0 
 (I had not access to this catalogue). Waagen, Treas., in. pp. 365 f. 
 (11. p. 448). 
 
 The Castle of the Duke of Devonshire is celebrated for 
 its large collection of art treasures. In the splendid Sculpture 
 gallery, among masterpieces by modern sculptors, are to be found 
 also the following antiques. 
 
CHATSWORTH 2. CHICHESTER. 
 
 277 
 
 1. “A colossal antique bust of Alexander the Great, with 
 rich flowing hair disposed like that of Jupiter, and very noble features; 
 of an idealised character, but agreeing very well in the main features 
 with the celebrated portrait-bust in the Louvre. New : half the 
 nose, and all from the throat downwards.” [ IV] 
 
 2. “An antique bronze ; two greyhounds licking each other: 
 admirable in expression and motive, but of inferior execution in 
 details.” [JV] 
 
 In the Conservatories Waagen observed — 
 
 3. “Tasteful Roman cinerary urns.” 
 
 Winckelmann mentions besides ( Kunstgesch . vii. 2. 27) — - 
 
 4. A bronze bust of Plato, which the Duke of Devonshire is 
 said to have received from Greece about 30 years before the com- 
 pletion of the Kunstgeschichte in 1762. I do not know whether this 
 bust is at Chatsworth or at Devonshire House in London, or in the 
 villa at Chiswick, or whether it is still in the possession of the ducal 
 family at all. We shall probably not be far wrong if in the so-called 
 “ Plato” we suspect a bearded Dionysos. 
 
 [5. Fragment from the Parthenon (recognised as such by 
 Count Leon de Laborde). At the request of Mr C. T. Newton it 
 was presented by the late Duke to the British Museum in 1855. Mr 
 Newton afterwards identified the head with that belonging to the 
 torso of the vanquished Lapith from the south metope xvi (Michaelis, 
 Parthenon, PI. 3). See Academy, 1875, p. 365. Guide to the Par- 
 thenon Sculptures, p. 40. How the fragment came to Chatsworth 
 is not known.] 
 
 Library. 
 
 A Bronze head, somewhat above life-size, apparently of Apollo ; 
 with signs of a wreath, which has disappeared. Hair very elaborately 
 treated, and gathered at the back into clustering ringlets; eye-sockets 
 empty ; face completely preserved. The bronze is of unusual thick- 
 ness, and has a beautiful bluish patina. Late, somewhat heavy 
 workmanship. Said to have been brought by one of the recent 
 Dukes from Smyrna ; the type is quite analogous to that figured on 
 the obverse of a well-known group of the copper coins of that city, 
 the so-called 'Ofxi'ipua, cf. Eckhel. [Colvin.] 
 
 CHICHESTER (Sussex). 
 
 The Municipal Museum and the neighbouring Goodwood Park, 
 which belongs to the Duke of Richmond, contain, as far as I know, 
 
278 
 
 CLUMBER PARK. DALKEITH PALACE. 
 
 only native antiquities, and in particular Roman inscriptions. Cf. 
 Huebner, Monatsbericht der Berliner Akademie, 1868, p. 90. 
 
 CLUMBER PARK (Nottinghamshire). 
 
 Among the “Antiquities, Sculptures and Paintings” which he 
 had not seen Waagen mentions those of the Duke of Newcastle 
 in his original German work (11. p. 479). On the occasion of 
 a later visit ( Treas ., iv. p. 508) he confines his descriptions to paint- 
 ings. In March 1878 a fire destroyed part of the house. On that 
 occasion perished inter alia “ the collection of [antique ?] busts which 
 graced the entrance-hall. A number of art-treasures from the ruins 
 of Pompeii, two sarcophagi, a number of vases, and several urns were 
 consumed.” (I/lustr. London Nows, Apr. 5, 1879, p. 332.) I cannot 
 say whether there are any antiquities at Clumber Park now. 
 
 COLCHESTER (Essex). 
 
 Both the public Museum in the Castle and the collection of the 
 Rev. J. PI. Pollexfen contain only native antiquities. In the 
 Museum may be seen the remarkable so-called Colchester Vase 
 ( C . I. Lat., vii. 1335, 3); the chief ornament of Mr Pollexfen’s collec- 
 tion was a glass vase with reliefs and inscriptions, which has lately 
 been placed in the British Museum, (ibid. vii. 1273). See Huebner, 
 Monatsbericht dcr Berliner Akademie , 1868, pp. 86 ff. 
 
 CORFE CASTLE (Dorsetshire). 
 See art. Kingston Hall. 
 
 DALKEITH PALACE (Scotland). 
 
 Waagen, Treas., iv. p. 436. 
 
 In this magnificent Castle of the Duke of Buccleuch, situated 
 not far from Edinburgh, may be mentioned the torso of an antique 
 female statue of Parian marble, of good workmanship, especially 
 of the drapery. The head is modern. This is remarkable as having 
 been found in England. [ IV] 
 
 At the beginning of the century a considerable collection of Roman 
 antiques, which the Marquis of Monthermer had brought from 
 Italy, was to be seen in the town house of the Duke of Buccleuch, 
 
DEEPDENE I. 
 
 279 
 
 Privy Gardens, Westminster. This mansion was afterwards pulled 
 down and Montagu House was built for the Duke. It is possible 
 that when this was done the antiquities were dispersed. (Cf. Introd. 
 notes 245, 328). 
 
 DEEPDENE (Surrey). 
 
 Clarac, hi. p. 64. Waagen, Treas., n. pp. 112 f. (11. pp. 135 f.) 
 Michaelis, Arch. Zeitung , , 1874, pp. 15 f. In 1861 I merely paid a 
 flying visit to the collection, but in 1877, by the courteous permission 
 of the owner, Mrs Hope, I was able to examine it at leisure. 
 
 At the close of the last century and the beginning of the present 
 one Thomas Hope formed a collection of antiques, which his son and 
 heir afterwards increased. These rested for a long time in the 
 London residence of the family. (Cf. Hope, Household furniture , 
 London, 1807, and above Introd. § 61.) There Clarac went through 
 the statues in 1833, while in 1835 Waagen contented himself with a 
 superficial look at them. The whole collection was removed after- 
 wards to Deepdene, once a seat of the Arundel family, situated 
 in a wonderfully beautiful wooded valley not far from Box Hill, 
 where the beauty of nature and the glorious products of art vie with 
 each other for preeminence. 
 
 the Hall. 
 
 On three sides of this striking room is a corridor under six arches 
 on each side, supported by square columns, and above this corridor 
 is a gallery adorned with Corinthian columns. In the archways, 
 before the pillars, and in the corridors, stand groups, statues and 
 busts, chiefly of marble, but in part also of stone and of bronze. 
 Among them are masterpieces by modern sculptors (Thorwaldsen’s 
 Jason and Shepherd, Canova’s Venus), and careful copies of celebrated 
 antiques ; besides them (beginning from the west side) the following 
 antiquities in marble : 
 
 1. Satyr’s head, of the refined kind like the Resting Satyr 
 (Miiller-Wieseler, 1. 35, 143), originating perhaps from a copy of this. 
 Head unusually good, in fact one of the best Satyr’s heads I know. 
 Eyelids very sharply indicated, and at the edge surrounded by a 
 lightly incised line. Hair admirably treated. New: tip of nose, part 
 of the pointed ears and of the hair, a part of top of head and the 
 whole of the bust. Excellent Parian marble. Life size. ["'] 
 
280 
 
 DEEI’DENE 2 — 4. 
 
 2. Apollo. Clarac, in. 476 B, 905 C. Only the torso is part 
 of the original statue. This torso does not belong to a Sauroktonos, 
 but to that enigmatical type in which a cloak hangs to the ground 
 from the uplifted 1. arm and a swan is depicted beside the figure 
 sitting on the ground, cf. Clarac, in. 479, 918; 483, 928; Dilthey in 
 the rheinische Jahrbucher , lii, p. 51, note 2. This is shown by the 
 position of the legs, which are crossed. Of good delicate work. 
 Beautiful yellowish Parian marble. New: lower half of the r. leg, 
 three-quarters of the 1. leg, stem of tree with serpent, 1. arm including 
 the shoulder, r. arm from shoulder, and the neck. The head, which 
 is of Greek marble and not so well executed as the body, did 
 not originally belong to this. The hair is brushed up on both sides 
 towards the top of the head, but not from the forehead. New: nose 
 and chin and the hair on the top of the head. H. i^i. [*] 
 
 3. Dionysos and Idol. Spec., 11. PI. 53. Clarac, iv. 695, 
 
 1614. Muller- Wieseler, 11. 33, 372. Gerhard, Ges. Abhandl. , PI. 32, 
 5. Dionysos, in short chiton with a nebris thrown over it crosswise, 
 is leaning his 1 . arm on a statue of an Aphrodite-Spes, crowned with 
 flowers; the drapery of this statue is of an ancient style, with the well- 
 known motive of the garment lifted with the 1 . hand. The nebris is 
 very tightly confined by the girdle, and this is the more singular, as the 
 girdle passes directly the animal’s head. The main part of the group 
 shows a close connection of the two figures and is very well executed. 
 It is of a fine-grained marble with grey spots, and is in tolerably 
 good preservation. New: both of Dionysos’ arms from about the 
 cloak, including the attributes (thyrsos and kantharos), lower half of the 
 r. and the greater part of 1. leg, and the edge of the drapery that falls 
 down by the r. leg; the neck. The antique head (new: nose, 
 mouth, chin, 1. cheek, great part of the corymbi of the ivy), of coarse- 
 grained Parian marble, did not belong to the figure originally. In 
 the female statue, both of the arms, from the drapery downwards, are 
 new ; so is the uplifted corner of the drapery, half of the lower legs 
 and the pedestal. H. 2 - oo. (A replica, somewhat larger, was found 
 at Tusculum towards the close of the 17th cent.; it came into the 
 possession of the March. Cavalieri [Buonarroti, Medaglioni, p. 420. 
 Maffei, Raccolta, PI. 134, p. 126. Montfaucon, Ant. Expl. , 1. PI. 
 15 1], was then in the Palace Lucatelli al Corso [Guattani, Mon. 
 Died., 1785, Sept., PI. 2. Clarac, iv. 695, 1615. Gerhard, l. c., PI. 
 32, 6], and is now in St. Petersburg!), Ermitage, no. 156.) [*] 
 
 4. Apollo and Hyakinthos. Spec., 11. PI. 51. Clarac, in. 
 494 B, 966 A. Miiller-' Wieseler, 11. 12, 139. The group has been 
 
DEEPDENE 4. 
 
 281 
 
 much restored, but there is not a doubt that the two figures originally 
 belonged to each other. The god is leaning mostly on his 1. leg, 
 his body softly bent, and rests his r. elbow on the trunk of a tree, 
 before which his favourite (represented much smaller) is standing in 
 a rather calm attitude. The latter holds in his outstretched r. hand 
 a flat, thin object, which on the side nearest to the hand finishes in a 
 straight line, but the edge of which on the other side is broken off all 
 round and restored to a semicircular form. It has been suggested 
 that this is the disc which was to become so fatally important to 
 the boy, but if it is so it is of very unusual shape. New: Apollo’s 1. 
 shin between knee and ankle, his 1. hand, r. arm, including the 
 shoulder, and neck, the head is of the same kind of marble, and 
 certainly belongs to the statue, but half the nose, the edges of the 
 ears, the plait at the back of the neck and the long flowing curls 
 have been restored ; and this restoration of the hair shows plainly 
 that the restorer did not understand the intention of the sculptor 
 with regard to it, as it was originally all drawn up to the top of the 
 head and fastened there in a large knot (cf. Broadlands, no. 1. 
 Petworth, no. 7). Although Hyakinthos’ 1. arm, which is lowered, is 
 broken below the elbow, his 1. hand is preserved entire with all its 
 fingers, these being bound together with rather strong supports. A 
 considerable portion of the lower half of the r. arm is mended and is 
 apparently new, but the hand and the part of the supposed disc 
 nearest to it are old (see above). The neck modern ; head old, 
 but it does not appear to belong to the statue, as there is no trace 
 of the distinct coarse grain of the Parian marble of which the rest is 
 composed 3 the head has, in fact, besides the tip of the nose and 
 many parts of the curls (which are restored), been so much touched 
 up that it has now quite an affected modern character. Hyakinthos 
 touches Apollo only with his 1. shoulder ; at this point the group has 
 certainly been broken at one time, but there is no doubt as to the 
 original connection of the parts with each other; the same may be 
 said of many fractures of the legs. All of the trunk behind Hyakin- 
 thos, except the lowest part, is new. This group is said to have 
 been the particular favourite of Canova ; he must however have 
 admired the delicate pose of Apollo more than the execution of the 
 whole. We are struck by a peculiar flatness in the surfaces and a 
 marked crudity in their transitions, (eg. the muscles of the paunch) 
 which are far from pleasing. The boy is more delicate, but still 
 not exempt from these faults. Altogether the group is a remarkable 
 work. Cf. Kekule’s remarks Bull, dell' Inst. 1866, p. 100. Muller’s 
 
282 
 
 DEEPDENE S~7- 
 
 interpretation that Dionysos and his cupbearer are intended (Botti- 
 ger’s Amalthea, in. p. 253) is certainly wrong. From Hadrian’s villa. 
 H. 2-03. [*] 
 
 5. Zeus (“ Antoninus Pius ”). There is no doubt that this 
 grand figure was originally intended for Zeus, but got changed 
 into Antoninus Pius by the addition of the modern head and neck. 
 The powerful body rests on the r. leg, while the 1. is slightly bent ; 
 the r. arm is lowered (the lower part of the arm is modern, and 
 should be held rather further forward, as is shewn by traces of a 
 support at the thigh); the 1. arm (of which the hand is restored) 
 forms nearly a right angle, shoulder and arm are draped in a chlamys, 
 which falls low near the god’s side, (restored here and there). The 
 legs are broken in many places, but the essential parts are old, 
 except the foremost part of the 1. and a piece of the r. foot ; the 
 pedestal too and the eagle which stands beside the r. foot and is 
 looking up at its master (the greater part of both wings and the beak 
 have been restored) are old and evidently part of the original work- 
 The body and the drapery are well treated. Thasian marble of 
 very micaceous grain. H. i'95- Similar figures of Zeus, without 
 exception only statuettes, are to be seen in Overbeck’s Kunstmytho- 
 logie, 11. p. 145 and Atlas 1. Fig. 17; according to these a thunderbolt 
 should be restored to the lowered r. hand. [*] 
 
 6. Aphrodite. Clarac, iv. 626 A, 1345. In all essential 
 parts the goddess reproduces the motive of the Venus de Medici, 
 with the exception that her ample flowing drapery encircles the 
 backs and sides of her legs and is gathered to the lower part of her 
 body in her 1. hand. (Cf. Bernoulli, Aphrodite, pp. 255 f.) New: 
 lower half of r. arm ; neck and head (with an additional new tip to 
 the nose) and here and there small restorations. Good work in 
 excellent preservation. Coarse-grained Parian marble. H. 1 -So. [*] 
 
 7. Hygieia. Spec., 1. PI. 26. Clarac, iv. 555, 1178. Miiller- 
 Wieseler, 11. 61, 7S0. (Cf. Lansdowne House, no. 10.) Beautiful 
 figure draped in long chiton and also enveloped in an ample cloak 
 which is thrown back over the 1. shoulder. She stands on the r. leg, 
 the 1. being placed slightly back. A cloth wound round her head, 
 which is lowered. A large snake coils round her 1. shoulder and 
 down her breast to the r. forearm. New : 1. hand, the r. forearm 
 with the cup, very considerable portions of the snake and several 
 patches on the garment, particularly on the left side. The joint 
 between the bust and the neck is somewhat repaired, but there 
 is no doubt that the neck with the head belong to the statue ; Fea 
 
DEEPDENE 8. 
 
 283 
 
 (see below) bears the same testimony. The nose is new, and glass 
 eyes have been put in ; the head is somewhat rubbed. The cloak is 
 excellently arranged and well executed ; here and there perhaps 
 the details have received almost too much attention ; the execution 
 of the chiton is rather dry and finnicking. A cord, which passing 
 from the neck over the shoulder and drawn under the right arm, 
 causes a number of small folds in the chiton, is worthy of notice 
 (cf. one of the female figures of the eastern pediment of the Parthenon, 
 Mus. Marbles , vi. PI. 11. Michaelis, Parthenon , PI. 6, 16, and Wilton, 
 no. 159). The statue has been a good deal retouched, but is still 
 worthy of great praise. The marble appears to be Italian, not 
 Pentelic ( marmo cippolla) as Fea states. Found in 1797 at Ostia, on 
 the spot Tor Bovacciano (Fea, Viaggio ad Ostia, p. 45), “among the 
 ruins of a magnificent palace, and thirty feet below the surface of the 
 ground, broken into fragments, and buried immediately under the 
 niches, in which they had been once placed.” (l)allaway, Of 
 Statuary, p. 355.) H. r 9 6. [*] 
 
 8. Statue of Antinous. Spec., 11. PI. 52. Clarac, v. 945, 
 2430 B. This elegant statue is unusually well executed and although 
 it has been touched up here and there, it is on the whole exceed- 
 ingly well preserved. The youthful Antinous is represented in slight 
 movement, his handsome head looking up and his r. arm stretched 
 out in the same direction. The restorer has added the cup in his r. 
 hand, and the vase in his lowered 1. hand, thus imparting the 
 character of a Ganymede to the statue, but this character suits well 
 with the delicacy of form of our statue and is also in harmony 
 with Antinous’ position as the favourite ( catamitus ) of Hadrian ; 
 cf. Prudentius, In Symmachum , 1. 27 r : quid loquar Antinoum caelesti 
 in sede locatum ? | ilium dclicias nunc divi principis, ilium | purpureo 
 in gremio spoliation sorte virili | Hadrianique dei Ganymedem, non 
 cyathos dis | porgere, sed medio recubantem cum love fulcro \ nectaris 
 ambrosii sacrum potare lyaeum | cumque suo in templis vota exaudire 
 mar it 0 ? The breadth of chest usually given to the handsome 
 Bithynian is here much reduced, the hair too does not fall in such 
 masses at the back of the neck, and the weak and effeminate ren- 
 dering of the pubes is worthy of notice. All this accords well with 
 its acceptation as an Antinous-Ganymedes, which may once have 
 been grouped with a Hadrianus-Jupiter. New: tip of the nose, 
 both fore-arms with their additions, the lower half of the 1. leg with 
 the greater part of the pedestal, four toes of the r. foot and parts 
 of the chlamys. The last-mentioned is spread over the trunk of a 
 
284 
 
 DEEPDENE 9 — 12. 
 
 tree by the side of the r. leg. The head has never been broken ; 
 the pedestal which is constructed like the base of an Attic column, 
 spira, is of irregular form. Marble, Parian somewhat stained 
 through oxydation. Our statue is probably the one which Al. Hirt 
 saw in Rome towards the end of the last century at the sculptor 
 Sposimo’s ; which came from Hadrian’s Villa at Tivoli, the original 
 home of several of our most remarkable Antinous statues. (Levezow, 
 Ueber den Antinous, p. hi.) H. 1-93. [*] 
 
 9. Statue of Asklepios. Clarac, iv. 548, 1158 (the drawing 
 PI. 549, 1158, borrowed from Guattani, Mon. Ined., 1784, Nov., PI. 2, 
 refers, as Clarac himself remarks in the text, to a totally different statue). 
 Enveloped in the customary manner in his cloak the god stands on 
 his 1. leg, his r. leg being slightly bent ; his 1. arm rests on his hip, 
 and his r. shoulder is supported by a long staff. New : the r. 
 arm, which has been much broken, is entirely, or almost entirely, 
 new (perhaps the elbow and the parts nearest to it are old); the 
 club round which the snake coils except the uppermost piece under 
 the shoulder, which looks more like the end of a thin staff ; both 
 feet and almost the whole of the casket by the 1. foot, of which 
 only one of the upper corners is antique. Many edges of the folds 
 have also been restored. Neck and head, the long curls of which, 
 although they have in no instance preserved their original length, 
 yet do not touch the shoulders and the back of the neck, belong 
 to a Serapis, of somewhat sullen, but not gloomy expression, the 
 forehead being much shaded by the curls. New : tip of nose, 
 upper and back parts of head where the modius may once have 
 rested. The figure appears to be of Italian marble and is well 
 executed, particularly the folds on 1. arm ; the work of the head is 
 not nearly so good. H. 2 - o5. [*] 
 
 10. Quadrangular Cinerarium. Front: on each corner is 
 a spiral column and between them a kind of candelabrum, all of 
 which support two wreaths, with birds ; within the field formed by 
 the curve of each wreath is a tablet with a spurious inscription, on 
 the 1. : DM | M Nutonius \ Ccler | vixif [sic] ami \ XXXXU in 
 III , on the r. : D M \ nlia [sic] Scamda | fee. L. Avillant \ cond. 
 gr. nigrae | coning d'lgnissi. On each adjacent side tendrils. The 
 lid is modern. H. 0-28. L. o^i. [*] 
 
 11. Round Cinerarium, ornamented with tendrils. 
 
 12. Antique female figure. Standing stiffly with legs close 
 together and both forearms outstretched. The narrow chiton is quite 
 plain and has only a broad perpendicular fold in front between the 
 
DEEPDENE 1 3 — I 5. 
 
 2S5 
 
 legs. Over the chiton is worn a woollen jacket which reaches to the 
 hips; it is somewhat shorter in the middle of the front, and round 
 the neck it is bordered with a plain band. The sleeves reach to 
 the elbow. A narrow shawl lies in small parallel folds on the neck, 
 and then flows in zigzag folds to the calf of the leg. The chest as 
 a whole is much raised, but the breasts are very little separated from 
 each other. Three long closely-woven plaits fall on each shoulder 
 and down on the shawl. The head, with its artistically stiff coiffure 
 and the stephane, may belong to the figure, though the neck has 
 been much pieced ; the nose and other details have been restored. 
 New : great part of r. fore-arm, the sistrum in the r. hand and 
 the 1. fore-arm. Good archaistic imitation of an old type. (Cf. 
 Lebas, Voyage Archeol., Mon. fig., PI. 2, 2.) H. 1*46. [*] 
 
 13. Archaistic female figure, standing with both feet 
 straight, raising a corner of the chiton with 1. hand. She wears a 
 doubled chiton, the outer part of which lies plainly on the breast; four 
 dowel holes in the body below this outer fold seem to indicate 
 that a metal girdle was once attached to the figure. The legs were 
 broken, and have been patched ; r. arm (the lower half stretched 
 out) is for the most part new ; though the neck is modern, still the 
 head, with stiff rows of curls and a stephane, probably belongs 
 originally to the figure. New : nose and upper lip. The affected 
 archaism of the statue aims at the utmost simplicity possible. 
 Coarse-grained Parian marble. H. 1-36. [*] 
 
 14. A man’s right arm, preserved from a little above the 
 
 elbow, broken above the wrist. The outer side has suffered much 
 from the weather, the inside is almost flat, and the fingers of the 
 clenched fist have been quite neglected inside ; the hand holds a 
 bronze tool, that is like a large nail. The marble is apparently not 
 Pentelic; and this circumstance, together with the fact that the work is 
 anything but remarkable, shews that the fragment certainly did not 
 belong to a metope of the Parthenon as is stated (Michaelis, 
 Parthenon , p. 124). L. o^i, from the bend of the elbow to the 
 wrist o' 1 65. [*] 
 
 Gallery of the Hall. 
 
 15. Head of a Roman lady of rank, with a stephane adorned 
 with palmettes : belongs probably to the first century, and reminds 
 us somewhat of Agrippina. A fine head with strongly, much 
 arched nose and a very delicate mouth ; the hair forms numerous 
 
286 
 
 DEEPDENE 1 6— 19. 
 
 little ringlets on the forehead. New: great part of the stephane, 
 half the nose, and all the bust, which is draped. Life size. [*] 
 
 16. Terminal head of a victorious youth, with fillet of 
 victory in his curly hair. The head, which is slightly looking up, is 
 inclined somewhat 1. after the manner of the heads of Alexander. 
 Features very much rounded, eyes small. The whole character is 
 Lysippian, but more in the style of an Herakles than the head of 
 the Apoxyomenos. The nose is new, the hair has been restored in 
 places. Good sculpture. Life size. [*] 
 
 17. Torso of a youth, resting on r. leg. Very small part of 
 legs preserved ; the r. arm was lowered and the 1. probably formed 
 a right angle with the elbow, which was supported on some object ; 
 only a part of the arm is preserved and even this is perhaps spurious. 
 Indifferent sculpture. H. 0-42. [*] 
 
 18. Statue of Seilenos as Herakles. Clarac, v. 790 B, 1984 
 
 A. The motive of this statue is the same as the Farnese ‘ Resting 
 Herakles ’ by Glykon, with the exception that here the inclination of 
 the body is exaggerated even to parody, and the lion’s skin (restored 
 in many places) covers the head, a part of the back, and the upper end 
 of the club on which the 1. shoulder of the statue is supported. The 
 face (the nose has been restored) belongs undoubtedly to a bald-headed 
 Seilenos, who is here making a parody of Herakles, as Eros does 
 sometimes. New: r. arm and probably also the hand behind the 
 back, with the bunch of grapes, which takes the place of the apples 
 of the Hesperides ; 1. hand, exclusive of the thumb, the lower part 
 of the club, the lower half of both legs, the pedestal and the lowest 
 portion of the mass of rock on which the club rests. Decorative 
 sculpture. Greek marble. H. 071. (A statuette of “Hercules 
 rusticus,” “about 4 palmi” [o'8S] high, formerly in the possession 
 of the architect Carlo Antonini, is rather differently restored, but is 
 very similar to this one, Guattani, Mon. Ined., 1787, Aug., PI. 3. 
 Clarac v. 790 B, 1984. Can it be that the two statues are iden- 
 tical ?) [ # ] 
 
 19. Statue of Seilenos, sitting on a mass of rock. Clarac 
 iv. 730 B, 1755 B. Seilenos is sitting in a tolerably upright posi- 
 tion. The original motive cannot be distinguished with sufficient 
 certainty, as both arms, the r. with a goblet in the hand, have been 
 restored. New also : outstretched r. leg from the half of the thigh, 
 the 1. shin between the knee and the foot (which leans towards the 
 rock). The head, bald and ivy-crowned (nose, part of beard and 
 of wreath have been restored), is probably original, although the 
 
DEEPDENE 20— 24. 
 
 2S 7 
 
 neck is a modern insertion. Good work ; Greek marble, much cor- 
 roded. H. 0-93. [*] 
 
 20. Dionysos. Clarac, iv. 696, 1619 B. The god is quite 
 nude. He stands, resting on his r. leg, near the trunk of a tree, 
 before which a panther is sitting, looking up at a bunch of grapes 
 held by the god in his lowered r. hand. The 1 . arm singularly strained 
 (or twisted) holds the stem of a thyrsos. The head, with long curls 
 and vine-wreath, is inclined towards the r. shoulder. The propor- 
 tions, particularly those of the legs, are somewhat heavy. The 
 head and arms were broken, the latter in many places, but as they 
 have been repaired with Thasian marble similar to that of the body, 
 it is difficult to state the restorations in detail. New : without 
 doubt the principal part of the panther, probably also the god’s 1. 
 foot, almost all his 1. arm and the thyrsos, and perhaps his r. hand ; 
 I also doubt the authenticity of the head. Ordinary decorative work. 
 
 H. o-8 1. [*] 
 
 21. Crouching greyhound bitch : with collar, raising r. 
 
 paw; it is the counterpart to no. 23. New: mouth, ears, part of 
 neck, parts of the forelegs. Coarse-grained Greek marble. H. 
 0-64. [*] 
 
 22. Eros and Psyche. Clarac, iv. 653, 1501 B. This 
 
 group is a tolerably exact copy of the famous Capitoline Sculpture ; 
 here also we notice the absence of wings. Eros wears a top-knot on 
 his crown and so does Psyche, she further has a plait along the 
 parting and a fillet. Eros is certainly antique as far as his knees, 
 and the upper part of Psyche’s body to below her waist is old also ; 
 the rest of her body, though much pieced, appears to be also antique, 
 but it is impossible to vouch for Eros’ head and Psyche’s forearm 
 and hand ; some trifles have been filled in. Rather smooth work. 
 Coarse-grained Greek marble. H. 075. [*] 
 
 23. Crouching hound with a collar, companion to no. 21. 
 The upraised head and neck are put on and perhaps modern ; the 
 
 I . leg certainly modern. Good work. Marble, same as no. 21. 
 H. o-68. [*] 
 
 24. Statue of “ Ganymedes.” Clarac, in. 410 B, 706 A. 
 The statue is nude and from its bending posture it is probable that 
 the 1 . arm rested on a support. The restorer arbitrarily made it into 
 a Ganymede. New : almost the whole of r. leg with the eagle, three 
 parts of 1. leg, the lower part of r. arm, three parts of 1. arm and the 
 cup, also the neck. The head (of which the nose is new), slightly 
 bent and encircled with a fillet, apparently belongs to the rest of the 
 
288 
 
 DEEPDENE 25— 30. 
 
 figure, the ends of the fillet well joined to the tops of the shoulders. 
 The body is treated smoothly but without much character, the head 
 is worn. Apparently Italian marble. H. i - o6. [*] 
 
 25. Egyptian Statue with apron and calantica : 1. foot 
 
 advanced, supported behind by a column. The whole statue is pro- 
 bably modern. Oriental alabaster. H. 0.92. [*]. 
 
 26. Statue of Hermaphroditos. Clarac, iv. 668, 1554. The 
 figure is perfectly nude, it rests on the r. leg and the hip is much 
 curved outwards. The principal part of the torso, and the thighs 
 with the portion of the support adhering to the 1. thigh, are antique. 
 The breast and hips are decidedly feminine ; the masculine member 
 is very weak and the navel unusually sunk. New: head and 
 neck, arms, together with the shoulders, part of the r. breast, and all 
 below the knees. Work insignificant, marble coarse-grained. H. roq. 
 Cf. Oxford, no. 34. A very similar figure in a better state of preser- 
 vation is in Berlin (Clarac, v. 669, 1546 C). [*] 
 
 27. Statue of Pan. Spec., n., PL 55. Clarac, iv. 726 A, 
 
 1740 B. Pan, with his goat’s legs, is leaning against a tree trunk, 
 a skin folded round his 1. arm, which he holds behind his back, 
 while he uplifts his r. arm. New : the whole of r. arm with the pedum 
 and parts of the legs ; the head has been put on, but is antique ; 
 only the nose and part of the horns have been restored. The figure 
 is well executed in a lively manner and corresponds to the one in 
 Dresden, no. 57 (Clarac, in. 544, 1142). Fine-grained Greek 
 marble. H. o - 87. [*] 
 
 Colonnade of the South Front, first Storey. 
 
 28. Bust of Antinous in Egyptian costume, with calantica 
 
 reaching below the breast. More than life size. The pupils of the 
 eyes and the eyebrows are indicated. Restored : nose, ears, lips, parts 
 of the calantica. Ordinary work. Italian marble. H. o-6j. [*] 
 
 29. Head of Athene; colossal scale; with the so-called 
 Corinthian helmet, the front shield of which is ornamented with 
 rams’ heads. The head is inclined somewhat 1. ; the hair is gathered 
 into a plait behind. New : nose, upper and half lower lip, chin and 
 parts of helmet. Insignificant sculpture. [*] 
 
 30. Statue of a Bacchante resting on her r. leg, with the 1. 
 leg drawn back, supporting her r. hand on her hip and lowering the 
 1. She is clothed in a girdled chiton that has slipped down from 
 her r. shoulder, and a cloak is thrown round her hips and thighs. 
 Near her 1. leg stands a tree round which a snake is twined. New : 
 
DEEPDENE 3 I — 35. 
 
 289 
 
 probably 1. hand, undoubtedly the kantharos in this hand, parts of 
 the tree and of the snake. Neck cracked right through, but there 
 is no doubt that the head with its round cheeks and long curls, 
 adorned with an ivy wreath and fillet, is antique and belonging to 
 the figure ; it looks towards the 1. shoulder. The tip of the nose and 
 details have been restored. The entire sculpture is treated quite in 
 a decorative style and so thoroughly re-touched that one might take 
 it at first for a modern work. The back is left almost rough. 
 Thasian marble. H. 1 -30. [*] 
 
 31. Head of a Roman, colossal scale, bearded, nose unusu- 
 ally squeezed in and lower lip standing out ; the hair curly. 
 
 32. Statuette of a female : style of affected archaism. The 
 
 figure draped in a woollen chiton, of which we see only the sleeves 
 and the piece by the feet, for over it falls a cloak reaching to the 
 ankles, with a long piece folded over in front ( diploidion ), and two 
 corners hanging in zigzag folds. L. foot is somewhat in advance. 
 Face surrounded by a row of round button-like curls. New : three 
 parts of the lowered 1. arm with an ewer, lower half of r. arm (which 
 is advanced), half of the feet, nose and upper lip. The imitation 
 of archaism is very superficial. Grey-striped marble. H. o - 23. [*] 
 
 33. Bust of Cicero : apparently a modern copy of the 
 Mattei bust (London, Apsley House, no. 1). Nose restored, neck 
 broken. L. of face 0^24, a measurement which agrees with that of 
 the Mattei bust. [*] 
 
 34. Statue of Apollo, nude, resting on his 1. leg, with r. 
 
 leg slightly bent ; beside the 1. leg is the trunk of a tree. The 
 head, crowned with laurel, and with long curls, has been put on, 
 but it belongs to the figure. New : tip of nose, r. arm with quiver 
 (the strap of which is held by the lowered hand), lower half of the 1. 
 arm with the fragment of a bow, upper part of r. leg, the 1. foot 
 and the lowest portion of the trunk. An insignificant sculpture. 
 Thasian marble. H. r - 45. [*] 
 
 35. Statue of a Nymph. Cavaceppi, Race., 1. PL 22. 
 Clarac, iv. 599, i3r2. A replica of an oft-repeated figure, supposed 
 by Jahn ( Archaeol . Attfs., p. 27) to be Amymone, by Bernoulli 
 (. Aphrodite , p. 366), to be Thetis or Amphitrith, by others to be 
 Aphrodite. In the above-cited engravings of the statue belonging 
 to “Milord Hope in England” the support beside the r. leg is 
 described as the trunk of a palm tree, in the copy at Deepdene 
 as a vase \ therefore either a new restoration has been undertaken, 
 or the copies are different, as other antiques of “ Milord Hope ” 
 
 19 
 
 M. C. 
 
290 
 
 DEEPDENE 36 — 39. 
 
 (Introd. § 54, note 244) are certainly not at Deepdene. New parts 
 in the Deepdene statue : lower part of r. arm, and the vase covered 
 with a drapery (that a support, probably a dolphin, was always there, 
 is proved by a puntello on the r. hip), half of the r. foot and a part 
 of the pedestal. The neck is inserted, but the head old and 
 apparently belonging to the figure ; the hair is plaited into a large top- 
 knot (Kopu/x/Sos) on the crown and gathered together on the back of 
 the neck ; it falls in two long curls over the shoulders. The drapery 
 has been mended here and there. The folds are well treated and 
 on the 1 . side show a rich composition. Coarse-grained Parian 
 marble. H. i‘4o. ['*] 
 
 Library. 
 
 36. Statue of Dionysos. Clarac, iv. 696 A, 1641 A. The 
 
 god is standing in a very constrained position ; upper part of his body 
 nude, but round his waist and legs a wide cloak is thrown, the corners 
 of which fall down in zigzag folds from his advanced 1 . arm. The 
 head has been put on, but is old; the beard however is for the most 
 part new; so also are the r. arm with the goblet, the 1. forearm with the 
 thyrsos, the feet and a part of the cloak. The imitation of archaism 
 is very neatly carried out. H. 0-62. [*] 
 
 37. Statue of draped female (“Isis”). Clarac, v. 990, 2569 
 
 A. The figure stands in a constrained position with the r. foot 
 stretched out. She wears a long chiton, over which hangs a peplos 
 after the fashion of an ungirdled doubled chiton. This peplos, 
 which reaches very far down, is opened on the 1. side, forming 
 slight zigzag folds. The original motive of the drapery has been 
 misunderstood by the restorer, to whom we are indebted for the 
 principal part of the upper half of the body, the head, the breast 
 and both arms ; also half the r. foot is new. Elegant work. H. 
 o - 66. [*] 
 
 38. Terminal bust of the bearded Dionysos, crowned 
 with ivy. H. o'ao. [*] 
 
 Garden Saloon. 
 
 39. Statue of Athene. Spec., 1., PI. 25. 11. PI. 9. Clarac, in. 
 459, 850- Miiller-Wieseler, 11. 19, 202. Braun, Kunstmythologie, 
 PI. 59. This beautiful type, which was formerly incorrectly referred 
 to the Parthenos of Pheidias, is the same as that of the Farnese statue 
 
DEEPDENE 40, 41. 
 
 291 
 
 (Clarac, 111. 458, 851 A), in comparison with which the Hope statue 
 is far behind in value. A doubled cloak, fastened on the r. shoulder 
 and covered above by the wide aegis divided into two parts, forms a 
 splendid group of folds of simple composition and rich effect ; 
 below, the chiton with its smaller folds is visible; it is seen also 
 on the arms. The 1. arm was always raised, the r. lowered and 
 advanced. The head, which is slightly inclined, has long curls, and 
 is covered by a closely-fitting “ Attic ” helmet ornamented above 
 with a sphinx, and on either side with a griffin. The execution of 
 this statue, which was formerly valued far beyond its worth, is merely 
 decorative ; the folds of the chiton have no life, those of the cloak 
 are treated meagrely ; the rendering of the puckered edge of the 
 selvage appears particularly superficial. The back is hardly more 
 than indicated. The part showing the best work is the head, 
 together with the neck. It was made separately with a view to 
 insertion. We should imagine the eyes to be a modern addition, 
 had not Fea ( Viaggio ad Ostia, 1802, p. 45) borne witness to their 
 being antique u gli occhi ncl bulbo d'avorio, la papilla incavata per 
 modo, clu supponeva materia di altro colore ; e le pennazze di lastre 
 d' ottone finissime (This last statement is incomprehensible to me, 
 and is certainly not borne out by the statue.) So much of the above- 
 mentioned ornament of the helmet is antique as to place the sphinx 
 and the griffins, which are known to have adorned the helmet of 
 the Parthenos, beyond a doubt. The plait of hair falls down 
 somewhat long. The aegis is rounded at the back and goes to below 
 the shoulder-blades. New: both arms with a part of the chiton, the 
 stiff figure of Nike on the r. hand and the spear in the 1., part of the 
 snakes on the aegis and also the chin and nose of the Gorgon’s 
 head ; partly also the toes on the r. foot. Carrara marble. Found 
 at Ostia in 1797, together with no. 7, q. v. H. 2 - oo ['■'] 
 
 40. Torso of a Satyr. Clarac, iv. 709, 1671 C. The head, 
 
 with its pointed ears and small horns, is ancient except the nose, but 
 does not belong to the torso ; the neck is an insertion. New : both 
 arms with the cymbals, the r. leg, which is somewhat raised, with the 
 wooden shoe (rpov 7re£a), the lower half of 1. leg, and the principal part 
 of the tree trunk, with the syrinx. The torso itself, the remains of 
 which show that a some such movement was intended, is not so 
 badly executed. H. o'6i. [*] 
 
 41. Small head, like the Blacas Asklepios in the British 
 Museum. A pretty piece. The neck is so much bent that the 
 head, which is inclined I, can look up. (Compare the head of Zeus 
 
 19 — 2 
 
292 
 
 DEEPDENE 42, 43. 
 
 on the Zulian cammeo, Miiller-Wieseler, 11. 1, 5.) The long curly 
 hair hangs far down on the neck. New : nose. Work not fine, 
 but effective. H. 0-14. L. of face 0-07. [*] 
 
 42. Marble relief: roughly sketched and of late date. With 
 three rows of figures, in many parts similar to the bronze plate, Mon. 
 dell' Inst., iv. 38, 1 ; Arch. Zeit ., 1854, PI. 65, 3. H. o"24- L. 0-19. — 
 Upper row. In the midst sits amid flames (?) a swan, or a 
 phoenix; below are three busts, the middle one of which appears to 
 be female and is draped ; the two others have pointed beards and 
 pointed Phrygian caps. On either side stands a man in a similar 
 pointed cap: the man to the r. seen from the front, has a long staff in 
 his 1. hand, and his r. hand rests on his side ; the man to the 1. is 
 clothed in a chlamys, and holding a large indistinct object of the 
 shape of an alabastros to the 1 . over the trunk of a tree (?). At 
 either end on a low pedestal is a bust; the one on the r. hand of a 
 female, on the 1 . seemingly of a man. — Middle row. In the middle 
 stands a female with long drapery, behind a three-legged table on 
 which a fish is lying ; she holds both hands out from her body at a 
 right angle, so that each may touch the mouth of a horse standing 
 quietly by. On either horse sits a rider with pointed beard and 
 pointed cap, short doublet and short cloak, and with the face turned 
 towards the spectator. Under the horse on the 1 . a man lies stretched 
 out on the ground, below him to the r. is a dog. A serpent is visible 
 over each rider, with its head turned to the centre towards the head 
 of the female ; behind each rider in the upper corner is the upper 
 part of a draped figure, the one to the 1. with arms outstretched. — 
 Lower row. In the centre kneels a figure in short drapery, 
 seen from the front, partly hidden by a large mysterious object, 
 which may in some measure be described as a wide-stretched 
 slanting cross with all the corners and angles rounded off; each 
 upper arm of this object is held by a man with a pointed beard in 
 doublet, cloak and pointed cap. On the r. lies a bullock, and over it 
 a ram referring perhaps to the corresponding sacrifices Taurobolia 
 and Kriobolia; on the 1 . stands a draped female, facing r. and 
 raising her r. hand to her face as if in grief; behind her a high 
 unrecognisable object, below a ball or a shield. — This relief has been 
 known at least since the middle of the seventeenth century, as we 
 see by a drawing at Windsor from the collection of Dal Pozzo (Vol. 
 11. /W. 30). [*] 
 
 43. Four candelabra and sundry vases and pieces of 
 decoration have been pieced together from antique and modern 
 
DEEPDENE 44—46. 
 
 293 
 
 fragments in the fashion of Piranesi. For one of these candelabra 
 see Moses, Coll, of Antique Vases, PI. 87. [*] 
 
 Before the South Front of the House. 
 
 44. Terminal head, bearded, probably of a Dionysos, of 
 good, severe archaic style. Larger than life size. [*] 
 
 45. Similar terminal head, but of very vacant expression and 
 common style. [*] 
 
 I have not found out 
 
 46. Statue of Satyr sitting on a mass of rock. Clarac, iv. 
 718, 1718. R. foot placed somewhat higher than the 1 ., which is far 
 advanced. The r. arm, with a syrinx, is lowered, the 1 . is extended 
 with the hand open ; the head, crowned with ivy, is directing the 
 glance to his 1 . hand. Grey marble. Clarac only expresses doubt 
 about the wreath and the syrinx, and says that in other respects the 
 statue is in a state of good preservation ; but it seems to me that the 
 whole figure is not free from suspicion, and even the good preserva- 
 tion of the arms, for instance, rather strengthens the doubts awakened 
 by the whole character of the composition. 
 
 The remains of a Collection of vases, that was once much 
 larger, are placed on shelves in a spacious room. The foundation of 
 this cabinet was formed by sixteen cases full of vases from Sir Will. 
 Hamilton’s second collection (Introd. § 64), which Thomas Hope 
 purchased in 1801 for 4500 guineas, after eight other cases had 
 been lost in the shipwreck of the Colossus off the Scilly Isles, on 
 their passage from Naples to England. In 1805 Hope sold 180 
 of the specimens. Other purchases were made gradually from 
 the Cawdor, Chinnery, Edwards, Coghill, Parois, Durand, Magnon- 
 court, Beugnot and other collections. (Millin, Mon. Incd., 11. p. 15, 
 Vases feints , 1. p. xvra., Dallaway, n. p. 140, note.) In 1849 a sale 
 of vases took place ( Arch . Anzeiger, 1849, p. 97), and from a hurried 
 survey I took, it appeared to me that not many specimens of con- 
 spicuous value had remained behind, but that those which were left 
 were chiefly vases from Lower Italy, in which the decorative style 
 preponderated. It is however to be wished that a better review 
 should be made, particularly that a comparison be instituted with 
 Tischbein’s Collection of Engravings, &=c., Naples, 1791 — 1803, 4 
 Vols., the originals of which work were taken from Hamilton’s second 
 collection (Introd. §§ 61 — 64). 
 
DENTON HALL. DUNCOMBE PARK I. 
 
 294 
 
 DENTON HALL (Northumberland). 
 
 This estate is situated not far from Newcastle-on-Tyne, and 
 belongs to Lord Rokeby (the Robinson-Montagu family). I have 
 received a communication to the effect that here is preserved the 
 “bas-relief of Niobe and her children, found near Naples, and 
 intended as a present from his Sicilian majesty to his brother of 
 Spain, which was taken at sea, and purchased by the late Sir Thomas 
 Robinson,” so highly praised by Dallaway, p. 388 (n. p. 141). In 
 fact the relief is not now at Rokeby Hall, once the property of Sir 
 Thomas, as quoted by Volkmann ( Rciscn , iv. p. 101), and Dallaway, 
 and no one there was able to say if it ever had been there. Thomas 
 Robinson, who died without heirs, was a brother of Matthew, 2nd 
 Baron Rokeby, and of Morris Robinson, whose sons, Morris and 
 Matthew Robinson-Montagu, became successively 3rd and 4th 
 Barons Rokeby. In this way the relief may have passed to Denton 
 Hall, while other smaller sculptures, once in the possession of 
 Thos. Robinson, are still to be seen at Rokeby Hall (//. v.). The 
 notices probably refer to a sarcophagus relief, cf. Matz, Arch. Zeit., 
 1873, p. 25. 
 
 DITCHLEY (Oxfordshire). 
 
 Dallaway, Of Statuary, p. 314, mentions that a statue of Hygieia 
 from Doctor Mead’s collection ( Museum Meadianum, p. 221), was 
 on his sale in the year 1755 (Introd. § 29) transferred to Viscount 
 Dillon’s above-mentioned country house. 
 
 DUNCOMBE PARK (Yorkshire). 
 
 Volkmann, Rciscn durcli England, iv. p. 113. Waagen, Trcas., 
 iv. p. 492. 
 
 This estate, which belongs to the Earl of Feversham (Duncombe 
 family), is near Helmsley (on a branch line of the North-Eastern 
 Railway). Two antiques may still be seen in the Hall which were 
 mentioned by Dallaway, pp. 389 ff, (n. pp. 143 ff.) as being in the 
 possession of Mr Duncombe. 
 
 1. A crouching dog, mentioned by Winckelmann, Kunst- 
 gcsch., v. 6, 23, as a beautiful specimen; large size. Purchased in 
 Rome by a zealous dilettante, Mr Jennings of Shiplake, and after- 
 
DUNCOMBE PARK 2. 
 
 295 
 
 wards purchased for a thousand guineas at a sale at Christie’s by 
 Mr Buncombe (cf. Dallaway, Of Statuary, p. 34S. Introd. § 54); 
 it has been engraved by Cavaceppi (Race., 1. PL 6), who had 
 restored the dog and who was inclined to ascribe it to no less a 
 master than Pheidias (Casanova, Discorsi sopra gH Antichi, p. lxi.). 
 Cf. Winckelmann, Werke, iv. p. 429, note 710, where similar speci- 
 mens are quoted. Hor. Walpole ( Works, n. p. 463) reckons the dog 
 among the five chief statues of animals ; Waagen considers it more 
 animated and of more careful workmanship than the Florentine 
 dog. New : according to Waagen and to a critic in the Athenaeum , 
 1S80, Sept. 11, p. 345, only the 1 . forefoot; according to Casanova 
 (p. lxii.) also half the muzzle. Of Parian marble. [ W] 
 
 2. Statue of a Diskobolos. Cavaceppi, Race., 1. PI. 42. 
 Clarac, v. 863, 2196. A replica of the Diskobolos ascribed by Visconti 
 to Naukydes of Argos (Mus. Pio-Clem ., in. p. 119 Mil.), which has 
 been more correctly recognised by Kekule as Attic (Arch. Zeit., 1866, 
 pp. 169 ff.), and brought into connection with Alkamenes’ “canonical 
 statue” (encrinomenos). The Duncombe replica appears to have 
 belonged originally to Giambattista Vettori in Rome (see Mercu- 
 rialis, De arte gymnast., n, ch. 12); from the Villa Montalto, the 
 splendid creation of Pope Sixtus V., it passed through Cavaceppi’s 
 hands to that wealthy dilettante Mr Locke of Norbury Park 
 (Introd. § 54), and Duncombe bought it out of Mr Locke’s collec- 
 tion for ,£341. 5.1. o d., (cf. Visconti, p. 121. Noehden in Bottiger, 
 Amalthea , hi. p. 12). To judge from a cast now in the Strassburg 
 museum and probably the only one in existence, it seems to me 
 a mediocre specimen not to be compared with the surpassingly 
 excellent Vatican statue. Such was also the opinion of Gav. Hamil- 
 ton, when he described the last-named statue as “much finer than 
 that of Mr Lock, which makes so great a noise in the world” 
 (Academy, 1878, Aug. 17, p. 169). It appears besides that the 
 statue at Duncombe is disfigured by a very inappropriate head, found, 
 however, already in Mercurialis’ engraving (1573). New : according 
 to Clarac only the neck and the r. hand (which is missing in Mercu- 
 rialis), according to Waagen, the nose, mouth, chin, part of the neck 
 and the r. hand ; but neither of these connoisseurs is always quite 
 complete in his lists of restorations, and the insertion of the neck 
 cannot but strengthen the conviction that the head does not belong 
 to the statue, though it may be ancient. According to the above- 
 cited article in the Athenaeum, the statue is “of Roman work, and, 
 like the dog, of Parian marble.” H. u68. [* W] 
 
2g6 
 
 BUNCOMBE PARK 3. 
 
 EASTON NESTON. 
 
 In Thomas Allen’s History of the county of York, hi. p. 471, we 
 further find mentioned as being in the Library four antique statues : — 
 
 3. Apollo, 
 
 4. Bacchus, 
 
 5. Mars, and 
 
 6. Mercury ; also 
 
 7. Two good busts of Cicero, and 
 
 8. Horace (?). 
 
 Volkmann gives a still fuller list, for in his time (1782) the hall 
 and the saloon were adorned with various statues, but it is not 
 stated whether they were all antique. Nos. 1 and 2 he ignores ; but 
 he mentions in the Hall : — 
 
 9. Jupiter, 
 
 10. Mercury, 
 
 11. Minerva, 
 
 12. Mars, 
 
 13. Venus, 
 
 14. Diana ; 
 
 in the Saloon he places nos. 3 — 7 ; in the Drawing room : — 
 
 15. A small statue of Antonius ; 
 finally in a Temple in the garden : — ■ 
 
 16. Four statues. 
 
 The building was severely damaged by a fire in January 1879. 
 The grand saloon and the library were destroyed ; the principal works 
 of art, in particular the dog and the Diskobolos, were however 
 rescued (. Athenaeum , 1879, Jan. 18, p. 96). Thus, the above-quoted 
 critic ( Athenceum , 1880) found in the Hall nos. 1 and 2, the life-size 
 figures of Mercury, Apollo, and Bacchus (nos. 3, 4, 6 ?), and “a 
 certain number of modern busts.” 
 
 DUNROBIN CASTLE (Sutherlandshire, Scotland). 
 
 I have only a communication from Edinburgh stating that the 
 Duke of Sutherland possesses some antiques in Dunrobin Castle 
 on Dornoch Firth, I can say nothing more definite about them. 
 Such a collection would be the most northerly of all the antique 
 collections in Great Britain. 
 
 EASTON NESTON (Northamptonshire). 
 
 This estate, the property of the Earls of Pomfret, is not far 
 
EASTON NESTON I, 2. EDINBURGH. 
 
 297 
 
 from Towcester, and here were deposited a large portion of the 
 Arundel Marbles, till in 1755 the widowed Countess Henrietta 
 Louisa purchased them from her son and presented them to the 
 University of Oxford. (Cf. Introd. § 24.) We have a very clear 
 account of their arrangement at Easton Neston from George Vertue, 
 who probably inspected them in 1734. His work, A description 
 of Easton Neston in Northamptonshire , the seat of the Rt. Hon. the 
 Earl of Pomfret , is a sequel to the book, A Catalogue of the Curious 
 Collections of Pictures of George Villiers, Duke of Buckingham , 
 London, 1758, pp. 53 — 59. This book mentions some marbles 
 which are not to be found at Oxford and which perhaps were left at 
 Easton Neston ; I therefore now append notices of them : 
 
 1, 2. “Two fine statues of the Two Scipios in their general’s 
 habit, very perfect and exceeding fine.” (P. 54.) 
 
 3. “A statue very noble, and bigger than the life, of Quintus 
 Fabius Maximus, in his senatorial robes (a true antique as are 
 both the Scipios), the 1. hand is wanting, the r. held up in a speaking 
 posture.” (P. 54.) 
 
 4. “A sun dial.” (P. 56.) 
 
 5. “A fine statue of a senator in his robes.” (P. 56.) 
 
 6. “A Judith with Holofernes’s head, r. arm and 1. hand want- 
 ing.” (P. 56, where she is expressly mentioned among the antiques; 
 perhaps a Muse with a mask ?) 
 
 Another statue belonging to the Arundel Collection, which has 
 disappeared, may also be mentioned here : 
 
 7. “Paris,” Sandrart, Sculpt, vet. admiranda , Niirnberg, 1680, 
 PI. 54, “ inter Arundeliana quondam monumenta , Londini ” (r. and 
 1. reversed, as in all the engravings of this book). A youth resting 
 on 1. leg with r. knee bent ; his only drapery is the chlamys which 
 covers his shoulders and back, and the corner of which he holds in 
 his lowered r. hand. His 1. hand is advanced and holds the apple, 
 which is like a large ball. He wears on his feet some sort of boots, 
 undoubtedly modern. It is difficult to believe that the 1. arm is 
 antique and so there is no sufficient reason to believe that Paris is 
 intended. 
 
 EDINBURGH. 
 
 Antiquarian Museum. 
 
 Catalogue of Antiquities in the Museum of the Society of Antiquaries 
 of Scotland. Waagen, Treas ., iv., pp. 429 ff. 
 
2g8 EDINBURGH, ANTIQUARIAN MUSEUM I— 23. 
 
 One division (E) embraces Greek, Etruscan, Roman and other 
 antiquities. Among them are eight marble sculptures from Cyrene, 
 which were probably all presented in 1830 by R. Hay, Esq., Under- 
 secretary of State. Those worthy of mention are : 
 
 1. Statue of Asklepios, marble. H. 1-27. 
 
 3. Fragment of a votive relief, 1. end: bounded on the 1. 
 by an anta, surmounted by an architrave with tiles on the top. 
 Quite to the 1. is Artemis, in long drapery, with two long torches ; 
 opposite to her is a youth half concealed by his cloak ; he has a 
 cup in his r. hand and a large empty cornucopia in his 1. arm 
 (Agathodaemon ? according to Scharf Acheloos) ; behind is a 
 female, draped and holding a cup. All the rest is lost. The 
 three figures are of equal stature and very slender, and the heads are 
 small and severe. Unfinished marble of good Greek style. Cf. 
 Arch. Ztit., 1874, p. 17. [From a sketch and notes by G. 
 Scharf.] 
 
 12, 14, 15. Female heads: imperfect. 
 
 13. Head of a warrior, with flowing hair: imperfect. 
 
 Of the remaining marbles I may mention : 
 
 6. Sarcophagus, from Rhodes, with roof-like cover, as is 
 peculiar to Greek sarcophagi in contradistinction to those of Rome. 
 (See Matz, Arch. Zeit., 1873, pp. 11 f.) 
 
 16. Bust of Julius Caesar, life size: brought from Italy by 
 the late General Ramsay (from the Casali Palace in Rome ?). “ The 
 
 nose is unusually thick, and the forms very prominent. If this bust 
 be antique, it is probably not earlier than towards the end of the 2nd 
 century after Christ.” (Waagen, Treas., iv. p. 43 r.) 
 
 22. Man on horseback, fragment from Bavay (France, 
 Dep. du Nord), the ancient capital of the Nervii (Bagacum). 
 
 23. Fragments of ornaments in relief, from the Choragic 
 monument of Lysicrates at Athens. 
 
 Of the terra cottas (nos. 28 — 117), a considerable number 
 come from Knidos, e. g. nos. 49 — 56 figures from the temenos of 
 Demeter, nos. 57, 58 heads, nos. 59, 60 circular weights for the loom, 
 from the temple of Aphrodite. These antiquities are due to Mr 
 Newton’s well-known excavations on the site of these temples, a. d. 
 1858, and were presented by him to the Museum. — -Nos. 61 — 117 
 are lamps found in various places. 
 
 There are also some vases, but apparently none of any im- 
 portance. 
 
EDINBURGH, LORD MURRAY’S COLLECTION I — 5. 299 
 
 Architects’ Institution. 
 
 There is a “Catalogue of Antiquities in the Museum of the 
 Archit. Inst., Edinb. 1859” ; but I only know it by name. 
 
 Royal Institution. 
 
 In the buildings of the R. Institution are to be found, belonging 
 to the legacy of Sir James Erskine, some small torsos, and among 
 them that of (1) a draped female in Parian marble, and also that 
 of (2) a man, with the head and limbs restored. (Waagen, Treas., 
 in. p. 272.) Can the former be the charming torso from Keos which 
 has been lost sight of, engraved in Brondstedt, Voy. ct Rccherchcs en 
 Grice, 1. PI. 9 ? 
 
 A. Coventry, Esq. 
 See London, Crichton. 
 
 Lord Murray’s Collection. 
 
 Lord Murray, Gt Stuart Street, possesses, or at least did possess 
 in 1856, the antiques (some of which are very beautiful), collected by 
 General Ramsay in Rome; among them Waagen, Treas., iv. p. 431, 
 singles out : 
 
 1. “Flat relief of a horseman, with the chlamys and the 
 petasos. II. abt. o - 33- W. o - 5i.” 
 
 2. “ A relief in Pentelic marble, a fragment of a horse, and of 
 a man holding it; treated in the style of the frieze of the Parthenon, 
 of rare beauty.” [Sepulchral ?] 
 
 3. “ Head of Bacchus, with the fig branch ; mezzo rilievo, 
 in terra cotta. Very noble in character, and of broad and careful 
 workmanship.” 
 
 4. “ Bacchante in bronze, with a wreath of vine-leaves, lightly 
 draped, and with the nebris. Two bunches of grapes at the sides. 
 A relief showing a very peculiar conception of the character, and of 
 a soft workmanship truly conformable to style.” [Antique?] 
 
 5. “ Bronze statuette of Venus holding her hair in her raised 
 1. hand, and in the r. a golden patera [mirror?]. She is decorated 
 with a golden armlet, and gold rings round her ankles. At her feet 
 is Cupid, holding in his 1. hand a looking-glass, in his r., as it 
 appears, an apple. The Venus is high, about no, the (original) 
 pedestal o - o5. The workmanship is tolerably good.” 
 
300 
 
 HAMILTON PALACE I — 6. 
 
 6. “ Bronze vase ( praefericulum) with the head of a youth, 
 about § life-size, of singular delicacy and beauty of features. The 
 treatment of the hair with little prominence is antiquated.” 
 
 7. “Small head of Atys, or Adonis [?] of terra cotta.” 
 
 The bust of Jul. Caesar has been incorporated into the Anti- 
 quarian Museum, (cf. supra, no. 16). 
 
 HAMILTON PALACE (Lanarkshire, Scotland). 
 
 Waagen, Treas., hi., pp. 296, 298, 305 ff. 
 
 This magnificent Castle of the Duke of Hamilton is situated 
 near Hamilton, in the neighbourhood of Glasgow. Among the 
 antiques of the palace the following deserve mention : 
 
 In the Large Staircase. 
 
 1. “An admirable example of the Venus of the Capitol, in 
 Parian marble.” [IP] Purchased by Gav. Hamilton, who writes thus 
 to Lord Shelburne, 1776, Jan. 6. (Academy, 1878, Aug. 31, p. 220.) 
 “The large Venus I had in my possession is now on its way to 
 Scotland. The Duke of Hamilton fell in love with it the moment he 
 saw it, and secured it immediately. It is a fine thing.” 
 
 In the Dining Saloon. 
 
 2. “Antique bust of Venus; new : nose and lower lip. The 
 conception remarkable as being midway between that of the Venus 
 of Milo and of Medici, and at the same time of a beauty of work- 
 manship which bears witness to a Greek chisel.” [ W] 
 
 3. “Bust of the dying Alexander; conceived exactly like 
 the marble at Florence, and in the finest red porphyry. Wonderfully 
 executed.” [ID] Antique? 
 
 In the Marele Staircase. 
 
 4. 5. “Porphyry busts of the Emperors Augustus and Ves- 
 pasian ; the latter very forcible, and taken at an advanced period 
 of life.” [ IV] Antique ? 
 
 6. “Admirable bust of Vespasian ; the head of nero antico, 
 the bust of coloured marble. Formerly at Strawberry Hill.” 
 [IF] Hor. Walpole, Works , 11., p. 465, says about this bust: “Ves- 
 pasian, in basaltes ; a noble bust bought out of the collection of 
 Cardinal Ottoboni.” Cf. Introd. § 41. 
 
 Besides these antiques described by Waagen, in the “ Stowe 
 Catalogue,” 1848 (cf. Introd., notes 422, 451), p. 265, the three follow- 
 
HAMILTON PALACE 7. HILLINGDON COURT. 
 
 301 
 
 ing “ fine antique marble statues, of heroic size ” are mentioned 
 as having been purchased by the Duke of Hamilton. 
 
 7. (No. 30.) “Apollo, with the attributes of the god of 
 Medicine. This fine statue was found in the island of Lemnos. 
 (^•46. 6s.)” 
 
 8. (No. 3T.) “A Roman Consul in the act of speaking 
 (^168). The two statues were purchased in Italy by the Duke of 
 Buckingham in 1829.” 
 
 9. (No. 34.) “ Paris holding out the apple of discord. This 
 statue was discovered near the ruins of the ancient Lanuvium, in 
 1 7 7 r , by Gavin Hamilton (^52. ior.).” Hamilton himself speaks of 
 this statue in his letters to Lord Shelburne, 1774, Jan. 16, May 1, 
 {Academy, 1878, Aug. 24). According to him the neck is modern, 
 but the head its own. “ The statue is in the attitude of giving the 
 apple to Venus. The drapery is very fine. It wants the left hand 
 and one half of the right arm. The rest is preserved, as it came out 
 of the sculptor’s hands.” The statue was found in 177 3 ; Hamilton 
 offered it to Lord Shelburne for ^400. 
 
 According to a statement of R. Lanciani’s (given by Matz in the 
 Nachrichten von der Kgl. Ges. d. Wiss. in Gottingen , 1872, p. 66), the 
 Duke of Hamilton possesses some volumes with original drawings 
 from the antique, taken from the collection of the Commend, dal 
 Pozzo (cf. Holkham, ad fin. and Windsor), but this statement has 
 been doubted by competent authority. Cf. Matz, Arch. Zcit., 1873, 
 p. 34. I have not been able to obtain any more definite information 
 on the subject. 
 
 HILLINGDON COURT (Middlesex). 
 
 Years ago Mr Newton saw on the lawn of that place a recumbent 
 bull of Pentelic marble, a very fine work of the Athenian School. 
 It had been brought over from Athens, about sixty years ago, by the 
 late Mr Cockerell. In landing it at London the sailors contrived to 
 slip it into the Thames. The fishing it out cost so much that 
 Cockerell declined to pay the freight. The bull then went to the 
 London Custom House, where it remained some years, till Mr 
 James Bandinel got hold of it. Lie sold or gave it to Mr Mills, the 
 owner of Hillingdon Court, nr. West Drayton. I am informed that 
 the marble is still existing in that place, but to what extent, being 
 exposed in the open air, it may have suffered from the destroying 
 influences of English climate, I am unable to say. 
 
302 
 
 HOLKHAM HALL I, 2. 
 
 HOLKHAM HALL (Norfolk). 
 
 Mat. Brettingham, The plans, elevations , &=c. of Holkham, London, 
 1761. Dallaway, pp. 275 ff. (n. pp. 7 ff.) Waagen, Treasures, hi. 
 pp. 413 ff. (11. pp. 494 ff.). Clarac, in. pp. 36 f. Conze, Arch. Anz., 
 1864, pp. 213 f. Matz, Arch. Zeitung, 1873, pp. 30 f. 35. Guide to 
 Holkham, Norwich, 1861. I have examined the collection myself 
 minutely (in the year 1877), and in particular I verified the notices 
 of restorations, which in some cases show striking discrepancies. 
 
 Thomas Coke, Earl of Leicester (acc. 1744), is the founder 
 of this fine collection, of the history of which a general account has 
 been given in the Introduction §§ 34, 42. Here may be mentioned 
 again the valuable Book of Accounts, kept by one of Mr Coke’s 
 servants on his tour through Italy (a. d. 1716, 17x7), which has been 
 discovered in the library at Holkham by the present librarian, the 
 Rev. Alex. Napier, whose kindness has enabled me to incorporate in 
 the following descriptions all that is interesting in that book. But 
 the main part of the antiques was procured much later for Lord 
 Leicester, by Matthew Brettingham, who purchased in Italy after 
 1755 f° r the decoration of the sculpture gallery, and some other 
 rooms of Lord Leicester’s newly built palace, a considerable number of 
 statues and busts. He gives brief information about the purchase 
 thereof in the above-mentioned book (see Hor. Walpole, Works, 111., 
 p. 491. Dallaway, p. 271 [11. p. 3]. Payne Knight in Specimens of 
 Antient Sculpture, 1. on PI. 72). Dallaway’s information rests exclu 
 sively on Brettingham’s authority. Since the founder’s death (1759) 
 the collection has not been increased. The numbering given below 
 follows the order in the rooms of the Hall. 
 
 Gallery of the Hall. 
 
 Besides a number of plaster casts there are here : 
 
 1. Statue of a Roman in toga: head of Septimius 
 Severus attached. Clarac, v. 966, 2481 A. New: of the head, tip 
 of nose; of the body, all r. arm with roll and half 1. forearm. Mean 
 work. Marble of poor quality. Bought by Brettingham. H. 1 '97. [*] 
 
 2. Statue of a Satyr. Clarac, iv. 704 B, 1671 A. Only 
 
 the torso, resting on the 1. leg, old. An unimportant work. A 
 nebris falls from 1. shoulder down back. New: head, both arms and 
 r. shoulder, part of the animal’s head, half the lower part of r. leg, 
 almost all 1. leg and the support. Purchased of Mr Pond by 
 Brettingham. H. i - 6i. [*] 
 
HOLICHAM HALL 3 — 9. 
 
 303 
 
 3. Statue of a Satyr. Clarac, iv. 714, 1701. As both arms 
 with the cymbals, both legs from the knees with the wooden shoe 
 (Kfjovne^a) and the whole support are new, it is hard to say what 
 the original motive of the slim statue really was. Perhaps he 
 held his hand over his eyes, gazing into the distance, and shading 
 his eyes from the glare Of the sun (aTrocr Koire.lv, airodKOTrivw), a 
 favourite motive of later vase-painters. On the youthful curly-haired 
 head, which has never been broken off, one notices brutish ears, on 
 the back a little tail. New: nose. Mediocre sculpture. H. i - 4<3. 
 This is probably the statue bought by Mr Coke about which there is 
 an entry in the Book of Accounts, “For the Faunus no Rom. 
 crowns.” [*] 
 
 4. Statue called “Julia Mammaea.” Clarac, v. 929, 2371, 
 
 “Agrippina the younger.” Bad modern copy of the so-called 
 “Pudicitia” in the Vatican Museum. Marble of the worst quality. 
 Bought by Mr Coke at Rome. H. [* IV] 
 
 Saloon. 
 
 5. Head of a female Bacchante, falsely called “Juno.” 
 The hair is partly raised above a broad band into a sort of knot, 
 partly it flows waving down, behind, and forms a coil on the neck. 
 The original was good ; the copy however is very dry and moreover 
 much worked over. New: tip of nose and the bust with bared 1 . 
 breast. Bought at Rome by Brettingham. L. of face, o' 18. [*] 
 
 6. 7. Two specimens of Mosaic, made up into plates for 
 the table. On a white ground hexagonal panels with coloured 
 rosettes and similar ornaments, divided by black maeander patterns. 
 Found in tire Villa of Hadrian near Tivoli, and purchased of Mon- 
 signor Furietti by Brettingham. [*] 
 
 South Tribune. 
 
 8. Female head, called “Julia, Titus’ daughter.” A large 
 
 structure of curls over the forehead. Pupils of eyes expressed. New : 
 tip of nose, parts of ears, neck and bust. Smooth, poor work. 
 L. of face o' 15. [* B] 
 
 9. Bust of Hadrian : according to Bernoulli Antoninus Pius. 
 
 But on the seriously mutilated and patched up bust all portions which 
 are unsuitable to Hadrian are due to restoration, e.g. the curl falling 
 down on the forehead. Old : only r. side of face and 1 . cheek. L. 
 of face o' 1 8. [ ;f B] 
 
304 
 
 IIOLKHAM HALL 10— I 5 . 
 
 10. Bust of Julia Mammaea. Modern: nose, upper lip, 
 
 and parts of drapery. Pupils expressed. It is a moderately executed 
 replica of the heads in Paris (Mongez, Iconogr. Rom., PI. 52), and 
 in the Vatican (Visconti, Mus. Pio-Clem ., vi. PI. 57, 1). H. o - 6o. 
 L. of face, on 6. [*A] 
 
 11. Head of a boy, called “Geta,” the Emperor, of which 
 numerous replicas exist, referred by Mongez ( Iconogr . Rom., PI. 
 42) to Annius Verus. New : tip of nose and a curl. Set on a 
 draped bust restored in many places. H. o - 56. L. of face 0-15. [*A] 
 
 12. Bust of a Roman, called “Gallienus”: short curly 
 
 hair brushed to the sides, and slight mustaches and whiskers. 
 Pupils expressed. Good work. New : half the nose and the bust. 
 The neck and part of drapery on neck and 1. shoulder are old. 
 Parian marble. L. of face o-i6. [*.Z?] 
 
 13. Bust of Marcus Aurelius, youthful. New: nose, upper 
 lip and bust. L. of face 0U7. Bought by Lord Leicester in Rome, 
 1716, with no. 52 for 65 Roman crowns. 
 
 Statue Gallery. 
 
 14. Modern bust of “Junius Brutus,” on the whole similar to 
 the Capitoline bust of L. Brutus. Dallaway, no. 15. Bought by 
 Brettingham. Its genuineness seemed doubtful to Bernoulli also. 
 
 [**] 
 
 15. Statue of a youthful Satyr. Chirac, iv. 723, 1671 B. 
 The slim youth of graceful form, without a tail, leans with his 
 1. shoulder on a tree-trunk, near which the r. arm hangs down 
 easily. Beneath, on the trunk the remains of a crook ( pedum ) are 
 visible, the crooked end lowest, and the remains of the tie by which 
 the staff of the crook was tied to the trunk. Lurther to the front 
 of the trunk the bottom piece of the shaft of a spear which must have 
 rested in the arm of the Satyr. Both weapons are suitable to the 
 character of the Satyr that haunts wood and field. A great part of 
 the body is covered in a very thin tight-fitting nebris, the head of 
 which is seen near the 1. shoulder ; from which, besides, a little 
 cloak falls down behind the trunk of the tree. The legs are crossed, 
 1. slightly bent and in front of r. on which the body is supported. 
 The feet are in sandals. R. arm lowered, but forearm raised; the 
 hand may perhaps have always held the pipe. Restored by West- 
 macott : head, neck, three quarters of 1. arm, including the best part 
 of the spear and pedum, half r. forearm with the pipe. The 
 remainder of the statue is antique, though broken in several places. 
 
HOLKHAM HALL 1 6 — 18. 
 
 305 
 
 The pedestal is much worked over. The motive is charming and well 
 executed. Parian marble. For the source cf. on no. 16. FI. i - 29. 
 [*CW] 
 
 16. Statue of a youthful Satyr reposing. Clarac, iv. 
 704 D, 1683 A. The motive is in general very like that of no. 15, 
 but the 1. arm does not hang down, both hands meeting before the 
 breast. Moreover, the figure is more boyish, and the nebris, with an 
 unusually large animal’s head, is drawn in a narrower strip from the 
 r. shoulder, slanting across the breast to the 1. upper-arm. On the 
 tree which supports the figure, the upper end of the pedum is antique. 
 On the back a little tail. Of the numerous replicas of this figure, 
 which is specially adapted to decorate villas and gardens, the most 
 celebrated is the Borghese in the Louvre. New: head, three-quarters 
 of r. arm, about half the 1. forearm, the pipe, lower parts of both legs, 
 and the lower half of the trunk of the tree. As to the source of 
 nos. 15 and 16 (Dallaway, nos. 1, 2), Brettingham says: — “One 
 was purchased of Cardinal Albani, and the other of Cavaceppi the 
 sculptor (who restored them both), by Brettingham.” H. i'27. 
 [ML] 
 
 17. Head of “Seneca.” Modern copy (rather a caricature) 
 of the well-known head. Coarse marble. Dallaway, no. 16. 
 Bought by Brettingham. [*] 
 
 18. Statue of Poseidon. Clarac, iv. 744, 1796 A. The 
 god, entirely nude, is stepping forward with the r. leg, which 
 bears the weight of the body. The large dolphin close by, in 
 beautifully rendered motion, indicates the sovereignty of the sea, 
 with which the head is also in character. It is like that of Zeus, only 
 with a slightly surly expression about the mouth : beard very curly, 
 hair thrown back, but not falling down so dank as is usually the case 
 with Poseidon. There is a clear trace of colour on the r. pupil. 
 New: nose, the whole head seriously worked over. There is some 
 patchery at the neck ; still, the head, though rather small, seems to 
 belong to the statue. This is a fairly exact replica of a considerably 
 larger statue, found about twenty years ago in Cherchell (Algeria), the 
 old capital of Mauritania (Iol or Julia Caesarea), engraved Annali dell' 
 Institute), 1857, PL E, 1 (Brunn). Overbeck, Atlas zur Kunstmy- 
 thologie, PI. 12, 34, cf. ib. Vol. 11., pp. 287 ff. In this latter statue the 
 head is more depressed, and on the advanced r. hand are the 
 remains of a hippocampus (cf. Strabo, 8, p. 384). The modern r. 
 arm of our statue ought to be restored accordingly. A dowel hole 
 at the 1. shoulder, and a few smirched places, shew that the trident 
 
 M. C. 
 
 20 
 
30 6 
 
 HOLKHAM HALL 1 9 , 20. 
 
 in the 1. arm has been rightly restored. Traces of the same are 
 also to be observed on the statue from Cherchell. Lastly, the lower 
 part of the 1. leg has been restored. (Clarac’s remarks are in part 
 erroneous.) Parian marble. H 1-64. Purchased by Brettingham 
 of Carlo Monaldi, who restored the arms and the trident. Dallaway, 
 no. 3. ["'MW] 
 
 19. Statue of Seilenos, called “ Faun.” Spec . , n. PI. 7. 
 
 Clarac, iv. 724, 1680 E. This most exquisite statue, distinguished 
 moreover by its very fortunate state of preservation, amply deserves 
 the celebrity which it enjoys. Not unlike in his pose to the often 
 repeated custos famulusque dei Silenus alumni (cf. Wilton, No. 70), 
 Seilenos supports himself with his 1. arm on the trunk of a tree, and 
 advances the relieved 1. leg a little, while the hip of the r. bearing 
 leg is accordingly protruded. A panther’s skin knotted together 
 before the breast, falls down behind the back ; one corner of it being 
 thrown over the advanced 1. forearm. The powerfully-developed 
 body of a grown man, not disfigured by a tail, corresponds to the 
 bearded head, of dignified expression, more earnest and thoughtful 
 than usual, without a trace of brutish feeling; only the goat’s ears, the 
 bristly beard, the hair standing up above the brow, and the snub 
 nose betray Seilenos. A pine-wreath encircling the hair enhances the 
 height of the head ; the pupils are rendered, as also the updrawn eye- 
 brows. Modern : only the tip of the nose, 1. hand and perhaps 
 the r. hand with the pedum ; still this hand and the held part of 
 the pedum may easily be old, and in any case are worked quite 
 differently from the 1. hand. The r. arm, though broken in several 
 places, is old. The pedestal is mainly new. This first-rate figure, 
 which would do honour to any museum, and can perhaps challenge 
 all its fellows for the palm of merit, “ was dug up in the Campagna 
 of Rome, and first purchased by Cardinal Albani, from whom it 
 was bought soon after, in the condition in which it was found, 
 encrusted over with Tartar of the earth, by Brettingham ; restored by 
 Cavaceppi.” H. r87. [*CW] 
 
 20. Statue of “ Meleager.” Clarac, v. 807, 2022 A. The 
 attitude of the statue is vouched for by the genuine parts. The 
 youth resting on the r. leg supports himself, with a considerable 
 bending of the upper part of the body, on the 1. arm, which is 
 lowered vertically so that the shoulder is much pressed up. The r. 
 arm lies behind the back. The curly youthful head looks 1. into the 
 distance. The elegant figure of good Roman work has been a little 
 smoothed by Cavaceppi. He has besides restored the trunk of the 
 
HOLKHAM HALL 21 — 2 
 
 307 
 
 3 - 
 
 tree, with the boar’s head and the 1. arm supported thereon up to 
 the biceps, also the lower parts of both legs including the knees, and 
 part of the r. thigh, and finally the nose. The upper part of the head 
 from above the chin has been broken off, but it belongs to the statue, 
 and has suffered less by the working over than the rest. Coarse- 
 grained Greek marble. H. 172. Bought of Belisario Amadei. 
 Dallaway, no. 5. BMW] 
 
 21. Statue of Apollo. Clarac, 111. 494 B, 912 F. The 
 much-broken statue is almost entirely antique. New: three-quarters 
 of r. leg, altar and part of base, some fingers of r. hand, 1. hand, 
 nose. All the other parts old, and belonging to each other. The 
 slim body is slightly inclined, and rests on the r. leg ; 1. arm sup- 
 ported on a tripod entwined with a snake, which stands on a mass of 
 rock ; r. arm rests on the curly head. Ordinary superficial work. 
 Thasian marble. FI. 1 *5 7, with the base 1T4. Bought in Rome by 
 Mr Coke for 90 Roman crowns. Dallaway, no. 7. [*MfV] 
 
 22. Bust of the tutelary goddess of a town, or of 
 Kybele. Old apparently : neck, face which is turned 1. somewhat, 
 the stephane adorned with flowers, and the mural crown above it, 
 also the long hair falling down on the shoulders. New : veil, bust, 
 nose, chin. The bust is placed so high up that even with the help 
 of a high set of steps a close examination is impossible. It seems to 
 be of good sculpture. L. of face would be between o - 22 and o - 25. 
 Bought in Rome by Mr Coke together with no. 56 for 418 Roman 
 crowns. [* W] 
 
 23. Statue of Venus Genetrix. Spec., 11. PI. 54. Clarac, 
 iv. 594, 1449 A. We are acquainted with several types of the divine 
 ancestress of the Julian gens, cf. Reifferscheid, Annali dell' Inst., 
 1863, pp. 362 ff. Ivekule, Arcliaeol. epigr. Mitth. aus Oesterreich , in. 
 pp. 8 ff. judging from the great number of at least twenty repetitions 
 (see Bernoulli, Aphrodite, pp. 86 ff.) the type represented in the 
 Holkham statue, obviously owing to its sensual, charming character, 
 was in later times far the greatest favourite ; it may be traced 
 to a conception of the Hellenistic period. The goddess, with 
 her weight so decidedly on the 1. leg, that the hip is forced out to 
 an unusual degree, is draped with an ungirdled chiton, only the 1. 
 breast and shoulder being left bare, but by virtue of its fine, trans- 
 parent, clinging texture it does not so much veil the full form as 
 reveal it with heightened charm ; Cols tibi paene videre est id nudam. 
 Then there is the frame as it were with which the mantle surrounds 
 the figure, without covering it in front, with one corner thrown 
 
 20 
 
308 
 
 HOLKHAM HALL 24. 
 
 over the lowered and somewhat advanced 1. arm, while the other 
 corner is drawn over the r. shoulder by the raised r. hand — a 
 graceful, but rather coquettish motive. Finally the slight inclination 
 of the head harmonises well with the waving line in which the 
 whole body as it were sways. Yet the countenance is remarkable 
 for its noble and almost chaste expression, and the hair, gathered 
 behind into a kind of net (oTnadoa^evSovt]), for its simple arrange- 
 ment. The proportions of the figure are somewhat heavy. The 
 extremely fortunate state of preservation, by which this replica is 
 distinguished perhaps above all others, is unluckily a little impaired 
 by Cavaceppi’s working over. He has only joined on the 1. hand 
 with the hydria (instead of the apple on the coins of Sabina and the 
 two Faustina’s), the fingers of the r. hand with the uppermost corner 
 of the cloak, and another piece of the folds of the cloak. R. arm 
 broken but old. Pentelic marble, with several cracks, slightly patched 
 up. H. 1 '64, with base 171. Bought of Belisario Amadei by Bret- 
 tingham. Dallaway, no. 6. [* IV] 
 
 24. Artemis. Maffei, Raccolta, PI. 145 (in the second edition, 
 1 742, noticed as Mr Coke’s property). Montfaucon, Antiq. expli- 
 qn'ee, 1. PI. 87. 1. Spec., 11. PI. 36. Clarac, iv. 563, 1203 A. The 
 antique parts of this imposing statue, one of the principal ornaments 
 of Holkham, are of very beautiful fine-grained marble, apparently 
 Greek, with a few faint blackish spots. They are as much dis- 
 tinguished by the noble simplicity of the composition as by the 
 good execution ; but are however worked over and polished. The 
 irregular shape of the base, the straight side of which is marked by a 
 slight ornamentation, shews that the figure should not be seen exactly 
 straight from the front, but as if stepping in a direction half to the 
 r. of the spectator. The goddess steps out with the 1. leg, round 
 which the folds of the large chiton fall straight down; the whole body 
 inclines forward a little ; the r. foot is somewhat drawn back. The 
 chiton is doubly girded, inside and outside, so that a large row of 
 folds hangs down and is visible under the very edge of the diploidion. 
 A round cord serves as girdle. It is gracefully tied in front so that 
 the ends are pushed through under the cord again. The row of 
 hanging folds cleverly conceals a joint which divides this statue into two 
 separately-worked halves, the legs and the upper part of the figure. 
 Evidently the block of marble was not big enough for the scale of the 
 figure. The joint however is only visible behind. The divine huntress 
 is fully identified by the quiver-strap which goes from the r. shoulder 
 slantwise across the breast, and by a small fragment of the bow near 
 
HOLKHAM HALL 25. 
 
 309 
 
 the 1. hip ; though the head and neck, the quiver and the whole of 
 the uplifted r. arm, and finally the 1. forearm with the bow are new. 
 Similarly restored, as can be seen from Maffei’s drawing (a. d. 1704), 
 the statue stood in the house of Ignazio Consiglieri at Rome, whence 
 it was “purchased and sent out of Rome by the Earl of Leicester; 
 for which offence His Lordship (known at that time by the name 
 of the Cavalier Coke) was put under arrest, but released soon after at 
 the instances of the Grand Duke of Tuscany” (Brettingham). The 
 book of Accounts gives no direct hint as to the trustworthiness of 
 this record, nor are its statements referring to the statue very clear. 
 It shows that Mr Coke was in Rome from June to September, 1716, 
 and returned thither for a short time in March 1717, after an absence 
 of several months spent in Pisa and Florence ; at the end of April 
 1717, he was again in Florence. Further, there are the following 
 entries in reference to our statue: “ 1717, April 10. Paid for bringing 
 the statue of Diana from Pisa to Florence 4 crowns o pauls 5 bai.” 
 From an account rendered by Mr Hobart (one of Mr Coke’s com- 
 panions) on April 30, 1717, “Paid for the statue of Diana 900 
 crowns. Paid to Lucca Corsi for a head of Diana and for his 
 assistance in buying the above said statue 26 cr. 8 p.” Further, 
 “Expended by Mr Kent at Rome. Paid for a piece of marble sent 
 to Florence for the head of the Diana 3 cr.” In a comprehensive 
 notice of June 25, 1718, is the final reference “Statue of Diana 
 
 900 cr Head of Diana 26 cr.” As there is no single head of 
 
 Diana in Holkham, the last entry cannot but relate to the head 
 which, according to Brettingham, the sculptor Camillo Rusconi put 
 on in place of the older restoration of the statue, although in the 
 Book of Accounts Lucca Corsi’s name is connected with the head. 
 At any rate, the head is a bad work. From a comparison of Maffei’s 
 drawing with the present condition of the statue, we must infer 
 that the other restorations were likewise renovated. H. 179, includ- 
 ing the old base, which is antique, i - 86. Dallaway, no. 8 : “There 
 is a tradition that this statue cost Lord Leicester ^1500.” It may 
 be seen from the above citations how untrustworthy such traditions 
 are, even if one takes into account the cost, unquestionably very 
 serious, of transport from Italy to England. [*CIV] 
 
 25. Statue of Dionysos. Clarac, iv. 696, 1608 A. The god, 
 entirely nude, stands near the trunk of a tree entwined with a vine, 
 the 1. leg a little drawn back; his figure somewhat clumsy; workman- 
 ship poor and insignificant. New: perhaps the head crowned with 
 ivy (remains of the long curls and of the fillet on both shoulders cer- 
 
3io 
 
 IIOLKHAM HALL 2 6, 27. 
 
 tainly antique), yet the marble is the same as that of the body; 
 beyond a doubt 1. forearm with grapes, toes of r. foot and a piece 
 of 1. leg between calf and ankle; apparently also r. forearm and hand, 
 certainly several fingers and the greater part of the hydria, the foot 
 of which is attached to the trunk of the tree, and is antique. Several 
 other parts broken, but old. Thasian marble. H. W52. Bought 
 by Brettingham of Cavaceppi, who restored the r. hand and 1. 
 arm. [* IV] 
 
 26. Bust of Thukydides (“Metrodoros”). Michaelis, Die 
 Bildnisse des Thukydides, Strassburg, 1877. The Holkham Bust of 
 Thucydides. Transl. by Alex. Napier, Cambridge, 1878 (printed for 
 private circulation). The nomenclature is confirmed by comparison 
 of the inscribed terminal bust of Thukydides in Naples (Visconti, 
 Iconogr. Grecque , 1., PL 27), which corresponds in all details and 
 in proportions, but in the expression of the features and in the free- 
 dom of the pose of the head stands far behind our bust. This is 
 in capital preservation. A little damage on the tip of the nose, 
 which does not impair the shape of that feature, a few small flaws 
 on forehead, 1. cheek and breast, and a few slight scratches are all 
 together of no consequence. Here and there the surface is some- 
 what rubbed, while at the back of the head remains of soil still 
 cling to the marble. The whole bust is antique, with the portion of 
 the cloak on the 1. shoulder. The r. shoulder, being a little 
 lifted, seems to suggest the rhetorical posture of the arm on that 
 statue, from which our bust may have been copied (cf. the statue in 
 Christodoros’ Anthol. Palat., 2, 372). The head takes the same 
 direction. Its expression is exceedingly earnest. Beneath the lofty, 
 powerful forehead, which is surrounded by sparse crisp hair, lie eyes 
 of not large size, as it were oppressed by the thoughtful earnestness 
 of the wrinkled forehead : nose aquiline and large, mouth shut close 
 with markedly protruding upper lip, without a tinge of cheerfulness. 
 The crisp beard is clipped short. The skull, smoothly rounded, 
 bald on the top, and going down very straight behind. Our bust, 
 a capital portrait of the gravest of historians, is obviously a faithful 
 copy of a bronze original, to all appearance of the period soon after 
 the death of Thukydides. Marble very white, of extraordinarily fine 
 grain. From a faint lamination, which is especially manifest on the 
 r. temple, it seems to be Pentelic marble of peculiarly delicate 
 quality. H. o - 62. L. of face 0-22. Bought by Brettingham. \fB] 
 
 27. Statue of Athene. Clarac, in. 462 B, 888 A. In 
 general arrangement the statue resembles the Athene of the Plope 
 
HOLICHAM HALL 28, 29. 
 
 3 1 1 
 
 collection (Deepdeene, no. 39), but the cloak is only once thrown 
 around the figure, not doubled, and its folds want the grand character 
 of that example. The Aegis is divided into two parts and adorned 
 with a Medusa’s head. New : the whole r. arm, including shoulder 
 and r. breast as far as up to the Medusa’s head, 1. arm from point of 
 separation from the body, 1. foot with a piece of the chiton, lastly the 
 neck and the greatest part of the collar-like raised border of the Aegis 
 behind the neck : still enough of it is old to determine the motive. 
 Of the head, as to which it is very doubtful whether it belongs to the 
 statue, the back, ears, helmet and tip of nose are new. Proportions 
 tolerably broad. Ordinary workmanship. Marble perhaps Pentelic. 
 
 H. 1 -54. This statue and no. 28, obtained of Cardinal Albani 
 by Brettingham, were restored by Cavaceppi. [* C IV] 
 
 28. Statue of Tyche (“Ceres”). Clarac, in. 438 B, 786 D. 
 Over the chiton the goddess wears a cloak, the border of which, 
 twisted up into a thick roll, is thrown from the r. hip over the 
 
 I. shoulder. R. breast and arm are left outside the cloak. On the 
 
 upper part of the 1. arm a small portion of the cornucopia is old, the 
 rest of it, and the hand new. New also three-quarters of the r. arm, 
 with the ears of corn ; a steering paddle was undoubtedly the original 
 attribute. Sundry parts of the drapery are restored. The pretty 
 head with a garland of fruit, of Pentelic marble, does not belong to 
 the statue ; it is much more freely treated. Its nose, part of the 
 underlip, a large portion of the garland are new. Basement and foot, 
 with the sandals, antique. Work not bad but rather mechanical. 
 Marble of coarse grain, apparently Greek. H. i'\6. Of same 
 origin as no. 27. [* W] 
 
 2Q. Bust of “ Sulla.” . The features of Sulla on coins 
 scarcely correspond at all. Bernoulli knows of no second copy 
 of this highly interesting head. Short clipped hair covers the 
 skull ; under the high forehead, a little contracted above the nose, 
 lie sunk pretty deep small piercing eyes. Pupils and brows 
 lightly indicated. The long, thin, strongly arched nose takes a 
 decided bend downwards with the point ; only the extreme tip 
 is new. The vigorous mouth is full of character, with its thin lips 
 tightly closed ; the underlip recedes considerably. Chin tolerably 
 long, beardless cheeks broad. The expression of strong will and 
 subtle acuteness is enhanced by the lively turn of the head to its 
 own 1. It has only suffered from polishing, while the breast-piece 
 is seriously patched up. This signal preservation of the head 
 makes the work still more valuable. Fine Carrara marble, like 
 
312 HOLKHAM HALL 30 — 33. 
 
 alabaster. H. o - 54. Length of face 0T9. Purchased by Bretting- 
 ham. [* _#] 
 
 30. Mosaic, worked up into a plate for the table. On a 
 
 white ground vine leaves, naturally rendered, alternate with plants of 
 ornamental shape. Colours somewhat motley. A wand encircled by 
 a fillet goes all round. Found in the Villa of Hadrian near Tivoli ; 
 bought of Cavaceppi by Brettingham. L. o - 6g. Br. 0-48. [*] 
 
 North Tribune. 
 
 31. Statue of a Togatus. Clarac, v. 957, 2459 A. The 
 toga is arranged in the usual fashion. New : arms from the 
 drapery onward, and feet with boots, also various portions of the 
 drapery. The head, of different marble, belongs to Lucius Verus; 
 nose, mouth, 1 . cheek and 1 . brow new. Purchased at Rome by 
 Kent, to whom 200 Roman crowns were sent in the year 1718, “ for 
 the Consular statue;” cf. however, no. 36. H. 2 - 02. [*B W~\ 
 
 32. “ Philippus Arabs,” bust of a young Roman : of the 
 second or third century. Hair slightly curly. Brows and pupils 
 indicated. New: nose. Neck and bust broken and much patched, 
 but belonging to the head. Over the tunic lies a cloak with a fringe. 
 A tablet with slight ornamentation is preserved beneath the bust. 
 H. o - 62. L. of face o'i6. Bought by Brettingham. [*J?W] 
 
 33. Fragment of a draped statue of a female called 
 “Juno.” Clarac, v. 992, 2575 A (“Isis”). It was a fragment 
 belonging to Cardinal Albani, restored by Cavaceppi, and purchased 
 by Brettingham. Cavaceppi has proceeded in a very arbitrary 
 manner, inasmuch as the r. arm and the whole motive, suggesting 
 the lifting up of the cloak, are to be traced to him alone. Conse- 
 quently the whole drapery originally peculiar has now been made 
 inexplicable. The cloak fell with its one edge straight down 
 behind the 1. shoulder, so that only one corner thereof came in front 
 and covered the breast. The arm was lowered ; only the shoulder 
 and the junction of the arm are old. The cloak hung down behind 
 the back, and was drawn from the r. to the front round the body and 
 the legs, then again behind the back slantwise up to the r. shoulder, 
 from which the edge fell down behind, but a small corner was 
 drawn forward slantwise over the breast, and was tied in a knot with 
 the somewhat raised front portion of the drapery. The very end ot 
 this corner hangs straight down in front. The edges of the drapery 
 are at various places restored, other portions retouched. The unusual 
 
IIOLKHAM HALL 34 — 36. 
 
 313 
 
 motive is well carried out, and the folds are effectively executed. 
 Another arbitrary freak of Cavaceppi’s has affected the girdled chiton, 
 for he has thoroughly worked over the whole portion thereof on the 
 r. breast, and brought it into a very unantique shape. It originally 
 covered this part of the body, and was fastened on the shoulder. 
 The lowest portion of the chiton, feet and base, and a large piece on 
 the r. knee are restorations. The back is only a very little worked. 
 A broad mass of hair on the neck, and a part of the curls on tire 1. 
 shoulder are old. The whole body is of Pentelic marble. The 
 head, apparently of Italian marble, is connected with it by a neck of 
 marble spotted with black, and certainly does not belong to the body. 
 The head seems to be that of a Venus, with waving hair, brushed 
 back and well arranged, a fillet being passed through it. The knot 
 behind, and the tip of the nose are new. H. 2 '35. Dallaway, 
 no. 12. [* W~\ 
 
 34. Draped statue, perhaps of Hera. Clarac, in. 438, 
 
 754 B. The statue has been made into a Ceres by the renovation 
 of the r. forearm, and the addition of a handful of ears of corn, 
 though a Hera type gives it its fundamental characteristics, cf. 
 Overbeck, Griech. Kunstmythol, in. p. 121. It has further had 
 placed upon it by the insertion of a neck a head which passes for 
 that of the elder Agrippina, but neither has the hair treated like hers, 
 nor resembles her usual portraits. It has flat eyes, and the lower 
 part of the face recedes. The tip of the nose is new. A stephane 
 crowns the veiled head. Of the body itself the nude part of the r. 
 arm, details of the drapery, and toes of the feet are new. The chiton 
 is left somewhat rough, and has preserved manifest traces of reddish 
 colour on the r. side. The cloak is treated more smoothly, the very 
 deeply undercut folds suggesting some tolerably fine material. The 
 whole treatment is careless. The body is of Parian marble, the head 
 of a different kind. H. 2 '15. Bought by Brettingham as a com- 
 panion to no. 33 of Belisario Amadei, who procured it from the Villa 
 Ginnetti at Velletri. Dallaway, no. 13. \*B W ] 
 
 35. Bust of “Faustina the younger”: more likely from 
 the treatment of the hair to be a lady of the period of the Flavian 
 Emperors. Several bands of hair are laid over one another hori- 
 zontally, the uppermost being tied together in front. Good head, 
 smoothly treated. New: tip of nose, chin, ears, the greater part of 
 the drapery. No pupils. Beautiful Greek marble. H. 0-55. Length 
 of face o' 16. Bought by Brettingham. [*BW\ 
 
 36. Statue of “Lucius Antonius” in a toga. Maffei, 
 
314 
 
 HOLKHAM HALL 37. 
 
 Racco/ta, PI. 147. Clarac, v. 903, 2346 A. The statue, once an 
 ornament of the saloon of the Congregazione dell' Archiconfraternita 
 della SS. Aimunziata in Rome, was bought by Mr Coke. “The 
 arms and head are finely added by Bernini” (Brettingham). A close 
 examination of the statue has left no doubt in my mind as to the 
 correctness of this statement, though Clarac and Bernoulli hold the 
 head to be antique. The head, as well as the neck, quite uninjured, is 
 let into the tunic; the short curly hair lying close to the head is 
 treated in a thoroughly unantique way, as also are the eyes, mouth, 
 and folds of the skin. All over the head one observes the marks 
 of the chisel, which are afterwards polished over. Albeit the head is 
 so excellent in its features, expression and pose, and is set so well in 
 harmony with the motion of the r. arm, that the restoration is one of 
 the most striking successes that 1 know. The dispute about the 
 nomenclature of the head may under these circumstances be let alone. 
 The marble of the head is Carrara. The statue itself, apparently 
 of Pentelic marble, is of good delicate sculpture, but in many parts 
 worked over. The toga slanting across the breast to the 1 . shoulder, 
 is drawn up somewhat more tightly than usual, and is different 
 in some other details from the ordinary type. Near the 1 . foot 
 stands a round case for books ( capsa , scrinium ), with handle. New: 
 besides head and r. arm, also half 1. forearm with parts of the drapery 
 and the roll, r. foot and several details in the folds. If this statue is 
 meant by the “Consular Statue” mentioned on no. 31, as is probably 
 the case, the price, 200 crowns, is very reasonable. H. i'97. [*J3 W] 
 
 Dining Room. 
 
 37. Head of Aphrodite, colossal scale: wrongly taken for 
 Apollo by Waagen. See the annexed Plate. It is one of the most 
 striking specimens of the collection, and richly merits being better 
 known ; being a good copy of an original of the best period. The 
 conception stands about halfway between the Aphrodite of Melos and 
 the Aphrodite of Knidos by Praxiteles. New : the whole of the 
 crown of the head with a fillet, the back of the head, the back half 
 of the neck ; face and front half of neck on the other hand in perfect 
 preservation. Forehead broad, not low ; the waving hair simply 
 brushed back on both sides, as in heads of the best period. Eyes 
 elongated and slightly sunk towards the inner corners, upper lid 
 convex, lower only slightly rounded. The large broad nose comes 
 forward in profile a little from the line of the forehead ; it is a 
 
HOLKHAM "N ° 37. 
 

HOLKHAM HALL 38 — 41. 
 
 315 
 
 grand design, as are the cheeks and neck, and long, broad chin. 
 Space between nose and mouth very small. The slightly opened 
 mouth is of great winningness yet with a noble expression, though 
 perhaps not so reserved as that of the Aphrodite of Melos. 
 The sublimity of the shape is toned down by a slight but effective 
 inclination of the head towards the r. side. This bust, rightly 
 designated “ very capital,” is one of the most beautiful of Bret- 
 tingham’s purchases. Dallaway, no. 17. H. o - 56. L. of face 
 about 0-28; the several parts have the following proportions: fore- 
 head o'io high, nose o'oq long; space between nose and mouth 
 about o’025, and space from mouth to chin about o'o6 ; neck from 
 the chin to the hollow of the throat measures o'io. [* BCMW\ 
 
 38. Bust of Geta, turned slightly r. with crisp beard not 
 
 encroaching on the face. Head and neck old. Drapery of varie- 
 gated marble, modern. Coarse work. The nose is restored. L. of 
 face on 7. [*BW\ 
 
 39. Bust of Marcus Aurelius, not “Antoninus Pius” 
 (Waagen). Only the head is old, and of that the nose is new. 
 Pupils indicated. Drapery same as no. 38. L. of face o - 2o. 
 [*B W] 
 
 40. Bust of Lucius Verus, colossal scale. The sullen look 
 
 is softened and the hair somewhat less disordered than usual. Pupils 
 indicated. New : nose, lower part of beard, details of the hair. 
 This large bust, found in cleaning the port of Nettuno, was purchased 
 by Brettingham. Dallaway, no. 18. [* 3 CIV] 
 
 North-West Corridor. 
 
 41. Statuette of the Nile. Clarac, iv. 749, 1814 A. The 
 river-god reclines on his 1. arm, his leg enveloped in the cloak. The 
 r. hand, resting on the knee, holds the fillet of a garland ; over the 
 whole plinth stream waves which swell from the pointed end of a 
 cornucopia supported by the 1. arm of the god, the horn being pierced 
 at its end after the manner of a drinking-horn (puroV). From the 
 waves a small boy emerges with half his body out, drinking from the 
 flood : near him under Nile’s arm the broad head of a hippopotamus; 
 at the feet of the god crawls a little crocodile, and near it a boy 
 (head missing) is clambering up, a weak reminiscence of the troop 
 of boys in the famous Vatican Statue (Mits. Pio-Clem., 1. PI. 37; 
 Clarac, iv. 748, 181 1), who symbolised the sixteen ells (-n^eis, cubitus ) 
 of the rise of the stream. The garlanded head (nose new) is put on, 
 
316 
 
 HOLKHAM HALL 42 — 46. 
 
 but belongs to the statue. New: upper part of cornucopia with 
 fruits. Ordinary work. Thasian marble. L. C89. [* C] 
 
 42. Tyche. Clarac, v. 987, 2569 B (“Isis”). Over the chiton 
 
 a fringed cloth or cloak is thrown so as to cover the whole back and 
 both shoulders. One of its corners moreover conceals the upper 
 part of the 1. arm, the other the r. breast and the body, and then 
 hangs down over the advanced 1. forearm. In the 1. arm the goddess 
 holds a cornucopia full of fruit encircled by a knotted fillet of wool 
 (ureja/xa, vitta) and by a snake. New : head, with the lotos-flower, 
 r. forearm with the vase (probably the goddess originally held a 
 steering paddle), 1. forearm, half the cornucopia and large portion of 
 the drapery that falls down at that part, lastly the pedestal with feet 
 and lowest part of the chiton. All antique parts worked over by 
 Cavaceppi to such a degree that it is often difficult to recognise the 
 restorations. H. 0-92. [*C] 
 
 43. Bust of Gordianus III., wrongly named “Saloninus.” 
 New: tip of nose and bust. There are replicas in the Louvre 
 (Mongez, Iconogr. Rom., PL 54), and in the Vatican ( Braccio JY. 
 No. 76, “Alexander Severus”). Purchased by Brettingham. [*i?] 
 
 Library. 
 
 44. Head of Roma. Face of a rounded contour. On the 
 round helmet, closely fitting to the head, three figures for the most 
 part restored, the she-wolf on the top, the twin boys on the two sides. 
 Remains of the original figures are preserved. New : nose, also 
 the bust of Rosso antico. Fine-grained marble. H. of genuine 
 part 0-42. L. of face 0-14. ["'CJ 
 
 45. Mosaic. In the midst of rocky scenery, a lion, viewed 
 almost from the front, is rending a panther lying on the ground. 
 Composition effective ; drawing not quite correspondingly good : 
 colouring and technical execution very praiseworthy. Bought by 
 Mr Coke in Rome. L. o - 88. H. about the same. [* IV] 
 
 State Bed-Chamber. 
 
 [46. Bas Relief of Julius Caesar: oval shape. From Dr 
 Meade’s collection. Mus. Meadianum , p. 225. Unquestionably 
 modern.] 
 
 The following rooms on the ground floor are decorated with 
 antiques. 
 
HOLKHAM HALL 47 — 50. 
 
 317 
 
 Billiard Room. 
 
 47. Terminal bust of the bearded Dionysos : called 
 “ Plato.” Of pseudo-archaic style. Three rows of round curls extend 
 over the forehead, long curls fall down on to the shoulders ; behind 
 the hair forms a broad mass. The broad beard projects decidedly. 
 New: tip of nose. Ordinary work. It was dug up in a vineyard 
 near the Church of St John Lateran, and purchased at Rome by 
 Brettingham. H. 0-45. L. of face o - i8. [* C I V~\ 
 
 48. Portrait-head of Lysias : on a modern terminal pillar with 
 the inscription AY2$IA2 (sic). The identification, however, is correct. 
 The head resembles the Farnese (Visconti, Iconogr. Grecque , 1. PI. 
 28), only it is less bald, corresponding in this particular more with 
 the Capitoline bust (Mus. Capit. ., 1. PI. 63). The beard hangs down 
 tolerably straight ; the little wrinkles at the outer corners of the eyes 
 are plainly rendered. New : tip of the decidedly arched nose, a 
 piece of the 1. ear. The surface generally speaking is much washed 
 out. Greek marble. Purchased by Brettingham. H. of genuine 
 part, o'35. L. of face, o'2i. [*PCJV] 
 
 49. Square cinerary urn : with the inscription D. M. | 
 Petronio Hedychro \ vix(it ) an(nis ) XXXV m(ens). VI d(ieb). VIII \ 
 Pctronia Tpophime [sic] | conliberto , idem \ coniitgi suo b(cne ) m(ercnti) 
 fec(it). At the corners richly constructed candelabra; on their 
 bases rams’ heads, and between them a trident with two dol- 
 phins ; further up a sphinx ; quite at the top a lamp. Under the 
 tablet for the inscription two stags’ heads sustain a garland in the 
 curved space enclosed by which the she-wolf and only one sucking 
 boy are represented. Beneath, two birds of prey. On the sides a 
 griffin on a high pedestal. Bought together with no. 50 for 15 
 Roman crowns by Kent in Rome. H. o - 59. L. o - 44. D. 0-28. 
 \*CW] 
 
 50. Square cinerary urn : with the inscription C. Cal- 
 purnio \ Cognito, \ vix(it) an(nis) XVIII , | Calpurnia \ Chrysis \ 
 mater. A Cupid on either side of the tablet for the inscription, 
 supporting the garland in the curved space enclosed by which a 
 Cupid sleeping on a rock is represented, with a hound sitting at his 
 head. Under the garland a winged Cupid on a quadriga drives r., 
 carrying off a wingless maiden who extends both arms to heaven. A 
 snake under the horses. On the extreme r. an olive tree. It is a transfer- 
 ence of the rape of Proserpine by Pluto (cf. Brocklesby, no. 1 to) to an- 
 other combination of figures (cf. O. Jahn, Arcliaeol. 1:1c Hr., pp. 194 ft'.); 
 
3iS 
 
 HOLKHAM HALL 5 I — 53. 
 
 a similar example is to be seen in the Galeria Giustiniani , 11. PI. 147. 
 On the sides the garland is upheld by a Cupid at the front corner, 
 and behind by a ram’s head under which a swan is visible ; inside 
 the garland a hydria on one side, a cup on the other. For the source 
 cf. on no. 49. H. 0 63. L. 0-44. D. C33. [* CIV] 
 
 The setting-in of darkness prevented me from making a more 
 accurate examination of the following nos., 51 — 54. 
 
 Vestibule under the Portico. 
 
 51. “ Medallion of Carneades. The hair and face antique 
 
 of Grecian work; the other parts restored by Cavaceppi.” Brettingham. 
 In my opinion the antique portion comprising the chief part of the 
 head is of good work and of Pentelic marble, also the nomenclature 
 correct. [*] 
 
 Audit Room. 
 
 52. “ Medallion of a Faun (antique), dancing as if inspired 
 
 by the god Bacchus : he holds the lituus [i.e. the pedum] in one 
 hand, and in the other a bunch of grapes ; upon the background is a 
 vase. It is in basso-relievo.” Brettingham. Unquestionably a 
 disc of marble. It is perhaps the “basso-relievo” mentioned under 
 no. 13, or, as the servant writes on another occasion, the “bust 
 releif. ” 
 
 Porter’s Hall (Guard Room). 
 
 53. “ Busto called by the name of Lucius Lentulus.” 
 
 Brettingham. Noticed in the Book of Accounts as “ Ritratto of 
 Lucio Lentulo, a colossaean head,” which the servant turns into a 
 “ Colossaeum Busto of L. Lentulo.” The Rev. Alex. Napier of 
 Holkham has the merit of having solved the riddle of this curious 
 nomenclature, by discovering the Holkham head to be identical with 
 the bust published by Th. Gallaeus ( Illustrium imagines, Antw. 1606, 
 PI. 48) as “ L. Cornelius Lentulus,” then in possession of Fulvius 
 Ursinus, and by E. O. Visconti ( Iconogr . Rom. 1., PI. 4, 6). To say 
 nothing of the likeness of the features, the identity is established by 
 the fact, that in the said bust, according to Ursinus (see below, cf. 
 Faber in his notes to Gallaeus), a ring of metal was fastened at the 
 back of the neck, and that the Holkham bust shows at the very junc- 
 tion of the head and the neck a groove 0-25 long, evidently the hole 
 into which the ring had once been let in. The bust seems to have 
 
HOLKHAM HALL 53. 
 
 319 
 
 been discovered in die 1 6th century in Tivoli, together with an 
 inscribed bronze tablet ( C. I. Lat., 1. 201). The inscription 
 contains a letter of L. Cornelius Cn. f pr(aetor), in which he in- 
 forms the inhabitants of Tivoli that the Roman Senate had accepted 
 their justification, and expresses the hope that the Roman People 
 will do the same. Judging from the palaeographical character, the 
 inscription belongs to the 7th century of the city of Rome. Faber 
 referred it to L. Cornelius Cn. f. Lentulus Lupus, afterwards consul 
 in b.c. 156; Visconti was rather inclined to seek the reasons of the 
 quarrel between Rome and Tivoli in the disturbances of the social 
 war, b.c. 90 or 89 ; Mommsen recalls the movement caused by 
 Sertorius, during which, b.c. 78, a certain L. Cornelius ... f. Sisenna 
 was praetor urbanus et inter peregrinos ( C . I. Lat., 1. 203, 1). But, 
 as Visconti has already observed, it is questionable whether we are 
 right to give to the bust the name mentioned in the inscription ; only 
 a very exact account of the circumstances of the discovery would 
 enable us to judge this point with certainty. I am indebted to the 
 kindness of Dr H. Dessau, who is preparing the edition of the in- 
 scriptions of Latium for the Corpus Inscriptionum Lat inarum, for the 
 following notices taken from sources partly unedited. The first 
 mention occurs in the voluminous collectanea of Pirro Ligorio pre- 
 served in the R. Library at Turin (composed between a.d. 1566 
 and 1587), a copy of which exists in the Vatican Library (Cod. 
 Ottobon. 3376, fob 42) : “ ...fragmento di una Tabola di Bronzo tro- 
 uata in Teibur proprio con la testa di quel Lucio Cornelio Pretore di 
 Marino^ &c. A somewhat more detailed account is given in the 
 work of Antonio del Re, DelV antichitd. Tiburtine capitolo V., Rome, 
 1611, p. xo8 : “ ...d'vno di loro [of the Scipios] fit trouata vna testa 
 di mar mo, con la tauola di bronzo, nella quale era intagliato detto 
 Senatoconsulio, in alcune rouble di muri antic hi fatti ad opera retico- 
 lata, cauandosi vna cantina non lunge dalla Cliiesa di S. Lorenzo , 
 vicino al luogo detto la Forma'’ (or tl le Forme," cf. Cabral and del Re, 
 Delle ville, &c. di Tivoli, Rome 1779, p. 34). Other antiquaries pre- 
 ferred to see in the head not one of the Scipios, but a praetor Tibur- 
 tinus called L. Lentulus. From these accounts it does not appear 
 likely that the head should have been found at its original place ; 
 nor does the opus reticolatum , the network used in the 8th century of 
 Rome, agree well with the epoch of the inscription. It is, in con- 
 sequence, very doubtful whether the head has any connection 
 with the inscription, and more particularly, whether it was meant 
 to represent the praetor L. Cornelius who sent the Senatuscon- 
 
32 ° 
 
 HOLKHAM HALL 54, 55. 
 
 sultum to the people of Tivoli. These doubts will be the more 
 strengthened if Mr Napier is right in identifying the countenance of 
 the Holkham bust with that of another terminal bust, published by 
 Lafrerie, Inlustr. virorum vultus , Rome 1569, PL 34, which is now in 
 Florence (probably Uffizi, no. 319, or no. 543 of Duetschke’s cata- 
 logue). Be this as it may, the bronze tablet, apparently together with 
 the marble bust, was sold by the discoverer for 25 scudi to Curzio 
 Alessio, canon of St John in Lateran, and by this man for 100 scudi 
 to Fulvius Ursinus (Ant. del Re, in Cod. Barberin. liii, 53), in whose 
 possession it was when Gallaeus made his drawing. Ursinus thought 
 so highly of these two pieces that in his will (Jan. 21, 1600) he be- 
 queathed “ senatui populoque Romano caput marmoreum L. Cornelii 
 Praetoris , cui a tergo pendet anulns acrcus, fidem faciens appensum olim 
 fuisse in aliqno publico loco ciuitatis Tiburtinae , cum aenea tabella..., 
 cupiens earn in Capitolio reponi cum sup?-adido capite marmoreo eo 
 potissimum loco , quo Bruti caput aeneum hodie servatur.” (Castalio, 
 Vita Ful. Ursini, Rome 1657, p. 24.) It appears, however, that 
 this bequest came to no effect ; at least Ant. del Re (/. cit.) was told 
 of the inscription having passed into the possession of Ursinus’ 
 protector, the Cardinal Farnese ; and, in point of fact, in the 18th 
 century it was in the Barberini collection (see Ficoroni, Le vestigia di 
 Roma , Rome 1744, 11. p. 54; Visconti, /. c.) ; since that time it has 
 been utterly lost sight of. About the fate of the bust nothing certain 
 can be said except that, according to the book of accounts at 
 Holkham, more than a century after the death of Ursinus the archi- 
 tect Kent bought it in Rome for Mr Coke for a sum of 25 crowns. [*] 
 
 54. “A fine antique consular bust on a pedestal, both of 
 one piece of marble ; incognito.” Brettingham. 
 
 Conservatory. 
 
 Here there stands, in a most unfavourable situation, hidden 
 behind a broad palm tree, the colossal statue (no. 55), for which 
 Kent had designed the place of honour over the staircase of the 
 Hall (see Walpole, Anecd. of Painting , iv. p. no). 
 
 55. Statue of “Zeus,” colossal scale. Clarac, m. 396 D, 
 
 678 B. Bought by Mr Coke in Rome together with no. 22 for 
 
 418 Roman crowns, and restored by Wilton. As the neck, in- 
 cluding the hollow of the throat, is an insertion, and the head is of 
 different marble from that of the rest of the statue, they must both be 
 treated separately. The splendid body, of Greek (Pentelic?) marble 
 
HOLKHAM HALL. 
 
 of inferior quality, has been accommodated to the character of Zeus by 
 the following restorations. New: r. arm including a piece of shoulder, 
 with sceptre, 1. hand from the drapery with the cup : also part of the 
 much broken lower parts of legs, feet, lowest piece of palm, and 
 parts of the drapery depending therefrom. There is left the torso of 
 a powerful man resting on r. leg, quite nude towards the upper part, 
 draped round hips and thighs with a broad cloak in rich folds, one 
 end of which falls down over the advanced 1. arm ; near r. leg a 
 palm tree with dates, serving as a support. Though there are 
 statues of Zeus of similar design (cf. Overbeck, Griech. Kunstmy- 
 thologie, ii. pp. 140 ff. ), yet a palm tree for a support for a Zeus is 
 unheard of. It seems to me therefore reasonable to suppose that our 
 torso once belonged to a statue of a Caesar in the habit of Zeus (cf. 
 ibidem, p. 574). 
 
 It is otherwise with the head, of the finest Pentelic marble, 
 worked far more exquisitely than the body, and in fact of rare 
 beauty. New : only part of the tip of nose. Hair not massed over 
 the brow, but parted and brushed sideways at first almost flat in soft 
 curly waves, further down it falls smoother, on the neck short. The 
 whole back of the head is negligently treated. Lower half of brow 
 projects somewhat. Eyes, of a very beautiful oval, do not, however, 
 lie deep. The fine, long nose comes out a little from the line of the 
 profile of the brow. Small mouth a little open, cheeks somewhat 
 dissimilar, the 1. being a little too flat. Beard tolerably long. In 
 style I might especially compare the beautiful head to the fragment 
 in the Louvre (Bouillon, Mils, des Ant. 1., PI. 1), yet it is more soft 
 in execution. It would seem to belong to the younger Attic school, 
 standing midway between the sublime simplicity of the Zeus of 
 Pheidias on the frieze of the Parthenon and on coins of Elis, and 
 the effective display of refined art in the Blacas head in the British 
 Museum, the Mask of Otricoli, and other representations of Zeus and 
 kindred divinities by the school of Lysippos. The extremely mild 
 expression of the features, which forms the chief trait in the character, 
 joined with the short hair on the neck, makes Waagen’s and Matz’s 
 identification as an Asklepios probable ; yet one cannot as yet with 
 certainty distinguish between this god and a mild Zeus (Zeus r/mos), 
 considering the difference of the schools of art. The head highly 
 deserves to have a cast made from it. Dallaway, no. 14. H. 2-23. 
 [*BCMW] 
 
 M. C. 
 
322 
 
 HOLKHAM HALL 58 — 6l. 
 
 In the Park, in another greenhouse are 56, 57. Two busts: 
 modern. One, no. 57, with the pretended features of Maecenas 
 borrowed from a gem (Visconti, Iconogr. Rom., 1. PI. 13); besides 
 these on the 
 
 Seat on the Mount 
 
 58. Sarcophagus : oval shaped, fluted, with the inscription 
 D(is) Mianibus) T. Flabio Hermae Ti. coiugi. [M] 
 
 Two more heads may here be mentioned which are temporarily 
 (1877) in the vestibule of Lord Leicester’s town house, 19 Grosvenor 
 Square, but which belong to the Holkham Marbles. 
 
 59. Head of the youthful Apollo. Thick, wavy hair parted 
 
 over the brow, and falling back in a thick bunch. It is encircled 
 with a fillet. The fine features remind one slightly of an archaic 
 model. One can recall the Apollo shooting with the bow in bronze 
 from Pornpei (Muller, Dcnkm. d. alt. Kunst, 11. PI. n, 125). 
 Lips shut close ; eyes flat. New : a small piece of the tip of the 
 nose, neck and bust. Parian marble ( lychnites ) of unusual trans- 
 parency. Work not quite as good as the material. H. of head o’2i. 
 L. of face 0-15. [*] 
 
 60. Portrait-head of a Roman girl. Hair slightly waved, 
 at the back tied up into a flat coil of tresses. Features somewhat 
 blunt and stiff, mouth thick ; nose a little cocked up ; eyes (pupils 
 expressed) looking upwards. Expression earnest, almost sad. Hair 
 superficially treated. New: tip of nose, and the whole bust except 
 a piece of the neck. Italian marble. H. C25. L. of face 0-17. [*] 
 
 Beside its marble originals Holkham possesses, amongst the 
 valuable manuscripts and rare books in which the library is so rich, 
 a special treasure, namely some volumes of drawings from antiques, 
 which Mr Coke purchased in Italy. 
 
 61. A small volume of drawings by Rafael : small folio. 
 Formerly in the possession of Carlo Maratta in Rome, bought there 
 by Mr Coke, Aug. 29, 1716: “Paid for a book of the drawings of 
 Rafael 50 Rom. crowns.” The sketches are really for the most part 
 drawn by Rafael, especially architectural details, which may pertain 
 to the studies of the antiquities of Rome in the artist’s later years. 
 A particular account of the contents is given by Passavant, Rafael 
 von Urbino, 11. pp. 5 86 ff., cf. Matz, Arch. Zeitung, 1873, p. 35. [*J/] 
 
HOLKHAM HALL 62. HOUGHTON HALL. 
 
 323 
 
 62. Two volumes of drawings by both the Bartolis, 
 
 the father Pietro Sante, the son Francesco. The latter is often men- 
 tioned in the Book of Accounts, Mr Coke having employed him on 
 drawings after antiques. E.g. “1716, Aug. 4. Paid to signor 
 Bartoli for an Antique Painting of the Volta of a temple of Bacchus 
 20 cr.” “Aug. 31. Paid to signor Bartli for Antick painting and for 
 the uolte of the uel. palace di Tito 30 cr. 1 p. 5 bai.” Bartoli’s 
 name also occurs in reference to other services : “1717, March 17. 
 Paid to Signor Bartoli for seuerale Licences two send awais pictures 
 and statues 7 cr. 2 p.” Lastly there is mentioned in a brief notice 
 without Bartoli’s name, “Book of antique paintings 60 old Louis.” 
 Evidently by this “ book ” are indicated the two volumes in question. 
 Unfortunately the drawings, for the most part very delicately coloured, 
 have been bound up in no order into two magnificent volumes, large 
 folio, of which one contains 77, the other 65 leaves. They are most 
 of them original sketches for Pietro Sante Bartoli’s Pitture antiche 
 del Sepolcro de' Nasonii (Rome, 1680), and Pitture antiche dellc grotte 
 di Roma , by Bartoli father and son (Rome, 1706), but a con- 
 siderable number of antiques from other quarters are mixed up with 
 them, such as drawings for the Antichi Sepolcri , the Vatican Virgil, 
 the Admiranda , &c. On Vol. 11., PI. 29, “Fran[ces]co Barto[li] ” is 
 named as the artist. A series of leaves contains the light original 
 sketches in outline, the instructions for the colours only appended in 
 words ; these are copied on the other leaves, and filled in with 
 simple, unbroken colours. Cf. Matz, Got/inger Nachrichten, 1872, 
 pp. 68 f., and Arch. Zeitung, , 1873, p. 35. His conjecture that the 
 Holkham drawings are derived from the legacy left by Dr Mead is 
 confuted by the Book of Accounts (cf. Introd. § 29, and Windsor 
 Castle, Vol. xix). Unfortunately my time at Holkham did not allow 
 me to make a detailed inventory of the single drawings ; it may be 
 hoped that Mr Napier one day will publish a list of them and of the 
 places in which each of them, respectively, has been published. 
 [*M] 
 
 HOUGHTON HALL (Norfolk). 
 
 Aedes Walpolianae , or a description of the collection of pictures at 
 Houghton Hall , 1747, 1752. (Horatio Walpole, Works, n. pp. 221 — 
 278.) Dallaway, pp. 271, 291 f., 384 (n. pp. 3 f., 27 f., 136). 
 
 This country seat of the Marquis of Cholmondeley, situated 
 
 2 1 2 
 
324 HOUGHTON HALL I — 16. HOVINGHAM I — 3. 
 
 near Fakenham (Gt. Eastern Ry., between Wymondham and Wells) 
 was adorned with a number of busts by Sir Robert Walpole, after- 
 wards Earl of Orford, most of which the younger Brettingham (cf. 
 Holkham) had collected for him in Italy (Introd. § 41). Horatio 
 Walpole (/. c., pp. 264 f.) gives the following list of the busts. 
 
 The Hall. 
 
 1. A woman, a most beautiful antique, and 
 
 2. Roman Empress ; brought from Mrs Vernon’s at Twicken- 
 ham Park. 
 
 3. Marcus Aurelius. 
 
 4. Trajan. 
 
 5. Septimius Severus, and 
 
 6. Commodus ; given to General Churchill by Cardinal Alex- 
 ander Albani, and by him to Sir Robert Walpole. 
 
 7. A young Hercules. 
 
 8. Faustina Senior. 
 
 9. A young Commodus. 
 
 10. Jupiter. 
 
 11. A Philosopher. 
 
 12. Hadrian. 
 
 13. Pollux. 
 
 The Porch, 
 
 14. Philosopher. 
 
 15. Julia Pia Severi. 
 
 Dallaway adds — 
 
 16. A small bust of Venus. 
 
 HOVINGHAM (Yorkshire). 
 
 Volkmann ( Reisen , iv. p. 121) mentioned as being at this 
 country seat then belonging to Mr Worsley — - 
 
 1. “An antique bas-relief of Bacchantes,” perhaps a Bacchic 
 relief from a sarcophagus. 
 
 The two following groups in bronze are hardly antique — 
 
 2. Herakles and Antaeos. 
 
 3. Herakles and the stag. 
 
CASTLE HOWARD I — 3. 
 
 325 
 
 CASTLE HOWARD (Yorkshire). 
 
 Volkmann, Rcisen , iv. pp. 122 ff. Dallaway, pp. 295 ff. (11. pp. 
 31 ff.). Waagen, Treas., m. pp. 326 ff. (11. pp. 420 ff). Clarac, in. 
 p. 1 15 (Clarac was not there himself). Conze, Arch. Anz 1864, 
 pp. 216 ff. 
 
 On the railway from York to Scarborough (North-Eastern) there 
 lies, somewhat out of the way, between wooded hills, the seat of 
 the Earl of Carlisle, whose antiques had been collected so early as 
 the first decades of the last century by Henry Howard, 4th Earl of 
 Carlisle (1694 — 1758), a zealous and tasteful dilettante, who lived 
 much in Rome (Introd. § 35). The collection is the oldest in 
 England after those in Oxford, and at Wilton House. The number 
 of its specimens seems to be in excess of its richness in notable 
 antiques. A few additions have been made recently. I do not know 
 whether a fire, which some years ago took place at the castle, has 
 injured the antiques. Of the statues Dallaway only names no. 7 ; 
 Clarac has had drawings made of 16 specimens; Volkmann has 
 already given a very full description. I was unfortunately prevented 
 from visiting this collection, and therefore find myself merely citing 
 the notices of the above-quoted authorities. As Clarac did not him- 
 self visit Castle Howard, he gives no remarks on restorations. 
 
 1. Statue of a female. Clarac, 111. 438 A, 774 A (“Ceres”). 
 She rests on her 1 . foot; over the girdled chiton, a cloak covering both 
 legs, the end of which is thrown over the 1 . forearm. The head 
 crowned with laurel has been added to the statue. New: neck, more 
 than half the r. arm, nude part of 1 ., and the attributes of Ceres, 
 torch and ears of corn, in the two hands, 1. breast and legs from 
 above the knee. H. i'35- 
 
 2. Statue of a female. Clarac, m. 438 A, 774 B (“Ceres”), 
 according to Waagen an empress as Ceres. Draped much like no. 
 1, resting on the r. leg. The statue in the pose of the arms pre- 
 sents the usual motive of Pietas ( Mils . Pio-Clem., 11. PI. 47); the 
 antique portrait head does not belong to it. New : half of both fore- 
 arms, so also the ears of wheat in the r. hand. Of little importance. 
 H. i- 75 - [*H 
 
 3. Statue of Fortuna. Clarac, 111. 438 B, 823 B (“Abun- 
 dantia”). Upon a chair, to the r. side of which a cornucopia is repre- 
 sented, the goddess sits in a chiton, which leaves both arms perfectly 
 free ; legs covered in a cloak. Head (with a stephane), of which the 
 
CASTLE HOWARD 4 — 8. 
 
 326 
 
 fine features, according to Waagen, have much the character of a 
 Venus, re-joined, but according to Clarac’s letter-press, belonging to 
 the statue. New : nose, neck, half 1. forearm with cup, half r. 
 hand with cluster of grapes, on which it rests, and also some patches 
 here and there. Well-designed figure of ordinary execution. H. 
 i7 3- [CIV] 
 
 4. Statue of Athene. Clarac, in. 462 B, 888 C. The god- 
 dess rests on her 1. leg ; the prettily- arranged cloak is thrown around 
 body and thigh, and also round the 1. arm, which is supported on the 
 side; a narrow aegis covers a portion of the breast. There are several 
 copies in existence, e.g. Ince, no. 10, Oxford, no. 20, in the Villa Pamfili 
 (Clarac, iv. 552 B, 1186 D), also one once at Cavaceppi’s {Race., 1. 
 PI. 18; Clarac, hi. 471, 900), which was bought and sent to 
 England, but is hardly identical with our statue, rather with that in 
 the Ince collection. New : head, r. arm, 1. foot and part of r. The 
 rest well preserved, and of good, simple work. H. 1*52. [CIV] 
 
 5. Statue of Hygieia. Clarac, iv. 552, 1172 A. Standing 
 
 in repose in chiton and wide cloak. R. arm, entwined by snake, 
 approaches a cup held in the 1. hand. New : snake from the hand. 
 Head does not belong to the statue; it has the features of Julia 
 Mammaea. A good work with delicate drapery. H. i-6o. [W] 
 
 6. Statue of a boy, probably Eros. Clarac, iv. 650 A, 
 
 1467 A. He rests on the r. leg, 1. shoulder much raised, r. corre- 
 spondingly lowered, head thrown back. The quiver-strap over the 
 breast has given occasion for the pleasing restoration, as though he 
 had shot an arrow, and is looking after it. New : arms, lower parts 
 of legs, trunk of tree and pedestal; whether the head also is new is 
 not to be made out in the present position of the statue. H. 
 o-66. [C] 
 
 7. Statue of Eros, fastening the string to his bow. 
 
 Clarac, iv. 650 C, 1471 B. Dallaway, no. 1. A good torso of the 
 favourite figure, restored with a head that does not belong to it. 
 New : nose, neck, both arms with the bow, lower parts of both legs. 
 H. 1*22. [CIV] 
 
 8. Statue of Dionysos. Clarac, iv. 678 B, 1619 C. The 
 
 god leans with 1. arm on the trunk of a tree, entwined with a vine. 
 Head, crowned with ivy, turned with a gentle inflection toward the r., 
 on which side he pours out with lowered r. hand the contents of a 
 kantharos on a panther sitting at his feet. A nebris drawn over the 
 breast; feet encased in high boots. Much pieced together. New : 
 panther’s head. H. 1 *5 5. [C] 
 
CASTLE HOWARD 9 — 20. 
 
 327 
 
 9. Group of boy riding on a goat (Bacchus?) Clarac, iv. 
 694 A, 1610 B, “Bacchus enfant sur un bouc.” Dallaway, p. 298. 
 The boy wears a garland slantwise across his breast and tries to 
 drive the animal on with a stick in his r. hand. According to Waagen, 
 the group is beautiful and spirited in motive, of good style and 
 vigorous character; according to Conze of inferior work. New: of 
 the boy, head, 1. arm which holds the goat’s horn, 1. and half of r. 
 foot; of the goat, legs, ears, horns. H. 0-92. [CIV] 
 
 [10. Small statue of sleeping Seilenos. Clarac, iv. 738, 
 1762 A. Serves as cover of the sarcophagus, no. 48. Modern, see 
 Dallaway, p. 298, confirmed by Conze.] 
 
 xi. Bearded river-god. Clarac, iv. 749, 1821 B. He sits 
 on the ground, supported on 1. hand, a shell in r. Bluish grey stone. 
 The composition of the figure itself as well as the form of the plinth 
 arouse strong suspicion against its genuineness. 
 
 12. Statue of Serapis. Clarac, iv. 758, 1851 B. Probably 
 wrongly described by Waagen, p. 329, as a bust. Usual motive. 
 Insignificazrt execution. The two side heads of the Kerberos are 
 small in proportion and turn backwards. New: of the Serapis, head, 
 1. arm, with upper half of sceptre, r. forearm and hand, half of 1. foot; 
 of the Kerberos pieces of the head and r. foreleg. H. i'oo. [U] 
 
 13. Statue of a youthful Roman in the toga. Clarac, v. 
 904, 2313 A. New: both forearms and the wrongly restored portion 
 from the ankles downwards. H. i'47. 
 
 14. Augustus. Clarac, v. 913, 2331. The Emperor is repre- 
 
 sented in Greek style, nude but for the chlamys, which is fastened 
 together on r. shoulder and leaves the whole r. side and r. arm free. 
 Head admirable, other parts much repaired. H. 1-75. [W] 
 
 15. Statuette of a nude youth, Clarac, v. 927, 2354 B. 
 (Probably the figure described by Waagen, p. 328, as Apollo, with 
 many repairs.) Leaning 1. on the trunk of a tree. Hair curly. 
 Certainly not a portrait-figure. Modern ? PI. 0-64. 
 
 16. Statue of “Marcus Aurelius.” Clarac, v. 952, 2445 
 B. Beardless, youthful. Nude, but for the chlamys which covers 
 the breast and partly the 1. arm. Of good workmanship. New: r. 
 leg, r. arm with staff, 1. hand with globe, probably head also, lastly the 
 inscription AVR. CAES, on the pedestal. H. r6o. [CIV] 
 
 17. Statuette of Athene. Yellow stone (oriental alabaster?). 
 Black extremities. Probably modern. [C] 
 
 18. Elder Pan attacking a younger. Perhaps antique. [C] 
 
 19. 20. Two groups of a lion tearing a bull: spirited 
 
328 
 
 CASTLE HOWARD 21 — 29. 
 
 design, indifferent workmanship. Many parts restored. About one- 
 fourth the size of life. [CIV] 
 
 The number of busts is extraordinarily large, and includes many 
 Roman portraits, but also many modern specimens. The identifica- 
 tion of the descriptions of the different authorities is not always to be 
 managed with certainty. 
 
 21. Bust of Minerva or Rome. Dallaway, no. 12. Wrongly 
 described as a statue by Waagen, p. 297. New: face. Helmet 
 ornamented with figures on horseback, Amazons according to 
 Dallaway, horsemen according to Waagen. [ IV] 
 
 22. Large mask of bearded Bacchus. Dallaway, no. 13. 
 
 23. Bust of Bacchus : crowned with grapes and ivy-berries. 
 Of the type of the Capitoline head (“Ariadne”). Dallaway, no. 8. 
 New: nose. Very noble. Admirably executed. [CIV] 
 
 24. Head with Phrygian cap. Inclined 1 . Slightly pained 
 expression. Hair luxuriant. Dallaway, no. 9, “ Atis." Waagen, 
 p. 331, “Paris.” New: nose, mouth, chin: much patched on cap 
 and hair. Good head. [CIV] 
 
 25. Head of lo. Life-size. Meant to be let into a statue. 
 Out of the waving hair, on which a stephane is visible, spring two 
 little horns over the forehead. Well preserved. Character and work 
 unimportant. [C ; undoubtedly identical with Waagen’s “Attes or 
 Atys,” p. 328.] 
 
 26. Female head, small scale. Graceful, of delicate, hieratic 
 style. Openings of eyes quite narrow. Traces of red colour visible 
 on hair, which falls in regular curls over the forehead, in broader, 
 flatter masses on the ears, then down behind the neck. A strange 
 kind of helmet covers the head. It is surrounded by an ornamental 
 wreath of flowers on the lower rim, shows remains of decoration 
 above and behind (an animal above), and is furnished behind with a 
 guard for the neck. New : breast-piece of oriental alabaster. Conze 
 compares a head at St Petersburg, probably Ermitage, no. 182. 
 H. 0U3. [CIV ; apparently identical with Dallaway’s no. 14, 
 “ Isis.”] 
 
 27. Youthful Herakles. Of unusual beauty. New: nose, 
 piece of chin, r. ear, breast and neck. Parian marble. [CIV] 
 
 28. “Siienus” (Dallaway, no. ii): rather some ancient 
 poet according to Waagen. Long beard. Head crowned with vine- 
 leaves and ivy-berries. New: nose. Spirited, excellent work. [W] 
 
 29. Dioskuros. New: nose. Dallaway, no. 10. 
 
CASTLE HOWARD 30— 45. 
 
 329 
 
 30. “Junius Brutus.” Larger than life. Of decided cha- 
 racter. Beard merely indicated by scratches on the marble. New: 
 one ear entirely, the other half. Dallaway, no. 15. [IN] 
 
 31. Scipio Africanus Major. New : nose. Good workman- 
 ship. [W] 
 
 32. “ Cicero.” New : nose. Otherwise of very good work- 
 manship. [ W ] 
 
 33. Bust of Agrippina. Hair disposed in rows of detached 
 curls. New: bust. Dallaway, no. 7. 
 
 34. Otho. Larger than life. Beard only indicated by 
 
 scratches. [ IV] 
 
 35. Domitian. Larger than life. Of good workmanship, but 
 much broken and restored. [IV] 
 
 36. Hadrian. New: nose. Very well executed. [IV] 
 
 37. Bust of Antoninus Pius. Dallaway, no. 5. New: 
 r. shoulder and nose. Very well executed. [IV] 
 
 38. Bust of Commodus, when young. Dallaway, no. 6. 
 Very well executed and admirably preserved, drapery polished. [ IV] 
 
 39. Septimius Severus. The same. [ IV] 
 
 40. Geta. Hair treated in the manner of a bronze. Work- 
 manship and preservation the same. [ IV] 
 
 41. Baidheaded man. New: nose. Very good workman- 
 ship. [IV] 
 
 The end of a gallery is adorned with two rows of ancient and 
 modern busts. The following are perhaps among these. 
 
 42. Boy: unknown. Hair minutely picked out. New: bust. 
 Dallaway, no. 2. 
 
 43. Man. Hair, beard and fringe of drapery remaining 
 fresh from the tool, face and drapery highly finished. Antique? 
 Dallaway, no. 3. 
 
 44. “ Domitius Ahenobarbus”: the same. Dallaway, no. 4. 
 
 The reliefs are far fewer in number. 
 
 45. N ike. Smacks of the hieratic style. Antique : upper 
 part of body to about middle of thighs, with greater part of wings, r. 
 arm inclusive of hand and fillet, and 1. arm as far as the wrist. A 
 fillet of peculiar shape is thrown around the waving hair which falls 
 down in plaits. Leaving the wings out of account the figure 
 corresponds with tolerable accuracy in drapery, pose, treatment and 
 even in the' movement of the hands to the priestess decorating 
 the tripod on the three-sided pedestal in Dresden (no. 106. August- 
 eum , PL 7. Millin, Gal. myth ., PI. 16, 56. Arch. Zeit ., 1S58, 
 
330 
 
 CASTLE HOWARD 46 — 50. 
 
 PI. hi, 3), which is also repeated on a relief in the Louvre 
 (Botticher, Grab. d. Dionysos , Berlin, 1858, fig. 2). Perhaps on our 
 relief too a tripod should be restored instead of the modern tropaeon. 
 It would be dedicated by the goddess of Victory as a symbol of a 
 victory won in some games in honour of Dionysos or of Apollo. 
 [CIV] 
 
 46. Fragment, Bacchante and youth. Similar style to 
 
 no. 45, but higher relief. Old : only upper parts of both figures. 
 The full-draped Maenad stands 1., the long thyrsos resting on 1. 
 shoulder and r. hand advanced with fingers spread out. Opposite 
 her, r., a youth nude but for a small shawl, with hair tied up («p co- 
 fivXos) on his neck, 1. hand lowered, in raised r. a (modern) cup 
 being lifted to the mouth. Space between the two figures rubbed. 
 Girl’s 1. hand belongs to the modern lower piece. Delicate work. 
 FI. about 075. [ CW\ 
 
 47. Sepulchral relief. Youth by a horse; an attendant near 
 him; on the other side a tree entwined by a snake. Poor work. [C] 
 
 48. Child’s sarcophagus, oval shape ; with four lions’ heads 
 as apotropaea, which have each a ring in its mouth. Bacchic 
 procession executed by children. Front side: Dionysos relatively 
 grown up, like a youth, supported by a boy, follows a young 
 girl who is striking the tympanon. L>. end. Five figures. Near 
 a basket, from which the head of a snake seems to protrude, a 
 Satyr boy with pointed ears, with pedum, moves 1. ; before him a 
 young girl with tympanon ; touching her a bearded Pan, whom a 
 Centaur playing the lyre faces ; finally a young girl playing the 
 double flute. Back : three children treading grapes. R. end : 
 quite r. a tree, then a boy with pointed ears, with pedum ; a boy 
 with a lyre and one blowing a German flute (7rAa-yios av’Ao's), faced 
 on 1. side by a female Centaur playing the double flute. (With 
 regard to the lid cf. no. 10.) [CIV] 
 
 49. Relief representing a ploughman : small size. Old : 
 only the lower piece, part of stem of a tree, both oxen except the 
 horns, part of plough, a suggestion of the loosened earth, the lower 
 parts of the ploughman’s legs with long drapery. (Cf. O. Jahn, Arch. 
 Zcit., 1861, pp. 145 ff., and Ince, no. 293). [ C ] 
 
 Of the large number of cineraria, urns, cippi, &c. the following 
 may be specially noticed. 
 
 50. Cippus of P. Aelius Aug. lib. Taurus : with a fine ox 
 ( taunts ) on it. Cf. the tombstone of T. Statilius Aper with the boar 
 
CASTLE HOWARD 5 I — 63. 
 
 331 
 
 (, a per ), Mas. Capit., iv. PI. 9, and the bank dedicated by M. Nigidius 
 Vaccula, ornamented with cow heads and cow feet, Mas. Borbon., 
 n. PL 54- \CW] 
 
 51. Double urn of M. Vigellius Logus and Vigellia 
 
 Jucunda, and also Vigellia Anthusa, the inscriptions on two 
 tablets on the front. Between these and on each of the front corners 
 a head with Satyr’s ears and ram’s horns like a head of Ammon, (see 
 Jahn, Lauersforter Phalerae , Bonn, i860, pp. 10 f.), connected by 
 garlands, in the field enclosed by which, below the inscriptions, are 
 representations of — 1. fight of a bird with a snake, — r. two birds 
 pecking a locust (cf. Michaelis, Arch. Zeit., 1866, pp. 142 f.). Below 
 at each of the corners a double sphinx with only one head (Jahn, /. c. 
 P- 9 )- [C] 
 
 52. Round cinerarium in the shape of a box. Moses, 
 Collection of Antique Vases, &c., PI. 121. In front, below, a low 
 candelabrum, a Cupid on either side whose legs run into vine-shoots 
 which rise high on both sides. On the tablet the inscription : D(is) 
 M(anibus ) \ P. Murrio | Epigono \ Mania Procula \ /{ilia) et Abas- 
 cantus | et Amianthus \ patrono b(ene) m[erenti) /(eccrant). 
 
 53. Round pedestal of a tripod : with three holes on the 
 top surface. Front half polished; rest rough. Simple mouldings. 
 Brought by Nelson from Delphi. PI. o'98. Diameter o - 74. [CIV ] 
 
 Of the numerous small bronzes the following are worthy of 
 mention. 
 
 54. 55, 56. Jupiter, Victory, Telesphoros. [IV] 
 
 57. Hercules. Very delicate. PI. o - o6. [IV] 
 
 58. Etruscan warrior. Of the well-known slender type. 
 Dallaway, no. 1 8, “ Mars.” [ W] 
 
 59. Venus. Estimable. H. about 0-20. [IV] 
 
 60. Fury, sleeping with a serpent in each hand, as well as 
 serpents and wings in her hair. Features expressive of sorrow ; 
 design very noble, workmanship good but not delicate. The rock 
 restored in wood. Dallaway, no. 17, “Nemesis or Medusa.” Is 
 the figure undoubtedly antique ? H. about 0-13. [IV] 
 
 61. Archaic figure of a nude man, stepping forward with 
 
 1 . leg : both lowered arms somewhat bent. Apparently with cap 
 on head. A Dioskuros ? [C] 
 
 62. 63. Two figures of Minerva and Hercules; of bar- 
 baric roughness. Former in full armature, latter found in Naworth 
 Castle, Cumberland. [C] 
 
332 
 
 CASTLE HOWARD 64 — 67. 
 
 There are also two Mosaics, according to Waagen pretty, but 
 repaired in many places : 
 
 64. Pan. Sitting with a wine-skin in r. hand, and letting the 
 jet from a drinking-horn held in 1. flow into his mouth. On a leafless 
 tree hangs a cup. At the bottom, two male masks, one on a krater 
 against which a tympanon leans. Dull colours. [C] 
 
 65. Aphrodite or Galateia : with red drapery floating in the 
 form of an arch, driving in a chariot drawn by dolphins. R. a Triton 
 blowing a shell, 1. a female Triton with a branch of coral. [ C ] 
 
 Among the seventeen painted vases (Waagen, p. 327) only one 
 seems to be important. 
 
 66. Krater of Python (UvOiov eypafa). Ann. de Vlnstitut 
 Archeol., sect, f ran f., PI. 10. Vol. 1., pp. 487 ff. PI. B. (J. Millingen). 
 The vase is as noteworthy for the variety of the colours as for the sub- 
 ject. On a high funeral pyre, which “ Amphitryon ” and “ Antenor” 
 are trying to ignite with two torches each, sits “Alkmene,” r. arm 
 advanced in entreaty to “Zeus,” who is above, L, with half his body 
 visible, and seems to be giving an order with his 1. hand. He has 
 hurled down two thunderbolts by Antenor and Amphitryon. Two 
 goddesses of rain, in gray draperies spotted with white, pour down 
 water from anaphoras on the pyre and Alkmene, who is surrounded 
 by rain like flakes of snow. A rainbow of divers colours forms an 
 arch over her. Above in the r. corner “ Aos,” with a mirror in her 
 r. hand, is looking on. The inscriptions containing the names of the 
 figures are scratched on the surface. Back : Dionysos between two 
 Maenads. Over him Pan and two Satyrs with only the upper parts 
 of the bodies visible. H. about 0-55. Probably of Lucanian origin; 
 formerly in Naples in the royal collection (Hirt, Gesch. d. Kiinste , 
 p. 264, Bilderbuch , p. 21) or in the royal manufactory of porcelain 
 (Matthison in the Morgenblatt, 1811, p. 651. Welcker, Alte Denkm., 
 hi. p. 300), then brought by the artist Mr Tresham from Italy to 
 England. [CW] 
 
 Lastly the collection contains a considerable quantity of various 
 antique articles such as metallic mirrors, sistra, bronze and 
 terra-cotta lamps as well as a fine collection of gems. \JV] 
 
 Among the lamps I may mention 
 
 67. Pegasos flying up : his bridle held by a youth who is 
 running by him in lively movement, with an animal’s skin over 1. 
 arm. Large lamp. [ C ] 
 
THE HYDE. INCE BLUNDELL HALL. 
 
 333 
 
 THE HYDE (Essex). 
 
 In this country house, the residence of the late John Disney, 
 Esq., near Ingatestone (Gt. Eastern Ry., not far from Chelmsford), 
 are still preserved the bronzes, terra-cottas, glass objects, 
 vases, &c. of his collection, chiefly collected by Thomas Hollis and 
 Thomas Brand in Italy, while the marbles have been bequeathed to 
 the Fitzwilliam Museum at Cambridge, with the exception, as it 
 appears, of a few specimens (see Cambridge, after no. ioi). Those 
 small articles are sketched in the Museum Disneianum , Bond. 184S, 
 Vol. 11. and 111., PI. 59 — 127; cf. Gerhard, Arch. Am., 1849, 
 pp. 55 ff., 125 ff. [Conze, Arch. Am., 1864, p. 169.] 
 
 ICKWORTH (Suffolk). 
 
 For the collection, which Frederick Augustus, Fourth Earl 
 of Bristol, Bishop of Derry (1730-1803), had laid the foundation of 
 in Rome with a view to the adornment of his magnificent mansion at 
 Ickworth, cf. Introd. § 62. This collection having been dispersed, 
 only a very few antiques seem to exist at Ickworth. J. Gage {Hist, 
 and Antiq. of Suffolk, Thingoe Hundred , Lond. 1838, p. 307) 
 mentions as being in the dining-room : 
 
 1. Bust of Hercules, colossal scale, 
 
 2. Bust of Lucius Verus, the same; 
 in the library : 
 
 3. A frieze of Bacchanalian figures, presumably, if an 
 tique at all, a relief from a sarcophagus. 
 
 INCE BLUNDELL HALL (Lancashire). 
 
 An Account of the Statues, Busts, Bass-relieves , Cinerary Urns, 
 and other Ancient Marbles, and Paintings, at Ince. Collected by H. B. 
 Liverpool: printed by McCreery, 1803, 4to. (332 pages). — En- 
 gravings and Etchings of Sepulchral Monuments, Cinerary Urns, 
 Gems, Bronzes, Prints, Greek Inscriptions, Fragments, ePc. in the Col- 
 lection of Henry Blundell, Esq., at Ince, 1809. 2 vols. fol. (158 
 
 plates and 3 frontispieces). Dallaway, pp. 357 f. (11. pp. 107 ff. He 
 only gives 12 numbers.) Spiker, Reise, 1. pp. 396 — 403. Clarac, 
 iii. pp. cccxxxvii f. Waagen, Trcas., m. pp. 242 ff. Conze, Arch. 
 
334 
 
 INCE BLUNDELL HALL. 
 
 Anz., 1864, pp. 220 ff., Matz, Arch. Zeit., 1873, pp. 31 ff. Michaelis, 
 ibid., 1874, pp. 20 ff. I examined a large portion of the collec- 
 tion in the years 1873 and 1877. 
 
 The Railway northward along the coast from Liverpool takes one 
 to Hightown (9 m.) from which station one gets byroad to Ince Blun- 
 dell, about 3 miles inland. The collection of antiques there appears 
 to be the largest private collection, unless the former Townley collec- 
 tion equalled or just surpassed it, which England ever possessed (the 
 catalogue gives 553 numbers, among which not many are modern), 
 though it is inferior to others in the number of remarkable specimens. 
 It is exclusively the work of Henry Blundell (b. 1728, d. 1810). 
 “ Mr Blundell had nearly attained to his grand climacteric, when having 
 accompanied Mr Townley to Rome, he was present when, through 
 the agency of Jenkins, the marbles of the Villas Mattei and d’Este 
 were offered for sale. An opportunity so alluring, of becoming pos- 
 sessed of well-known antique statues, and of a collection, without a 
 gradual and tedious acquirement, was a temptation not to be resisted 
 by Mr Blundell.” Dallaway, Of Statuary , p. 352. For another 
 version see Spiker, Reise, 1. p. 399. The earliest purchases were 
 made in the year 1777 (no. 44), among which were also copies of 
 antiques which our description passes over. The purchases soon 
 increased prodigiously. The above-mentioned collections of the 
 Villa Mattei on the Caelian and the Villa d’Este at Tivoli proved 
 especially productive. Other specimens were furnished by the Palaces 
 and Villas Altieri, Borioni, Capponi, Lante, Negroni, and by the art 
 dealers and restorers Albaccini, Boni, Cavaceppi, Ant. d’Este, Gavin 
 Hamilton, Jenkins, Lisandroni, Pacetti, Nice, la Piccola (keeper 
 of the Capitoline Museum), Piranesi, Volpato, &c. It was Thorpe 
 for the most part, a ci-devant Jesuit father, who is said to have been 
 also actively engaged on Townley’ s behalf, who advised the purchases 
 and looked after them in Rome. The majority were accumulated 
 before the end of the last century, but were even further increased 
 in England during the next few years. In May 1800, 45 chests of 
 objects of art were sold by auction at Christie’s, which had been 
 carried off by the French from the Pope’s apartments (see on no. 
 220); and of these Blundell bought 10 specimens. In June of the 
 same year he purchased 8 at Lord Cawdor’s sale; in April 1801 at 
 that of Lord Bessborough of Roehampton 22 ; in May 1802 at that 
 of Lord Mendip at Twickenham in his villa, formerly Mr Pope’s, 7 
 specimens (cf. besides nos. 50, 64, 140, 141, 144, 228). Even after 
 the publication of the “Account” (1803) the collection was still 
 
INCE BLUNDELL HALL. 
 
 335 
 
 augmented by some few specimens. The marble bust of the owner 
 at the age of eighty years prepared by Bullock in the year 1804, 
 a representation of which is the frontispiece to the “ Engrav- 
 ings,” gives an idea of the energy by which such a result was 
 attained. 
 
 The fame of the new collection soon drew a multitude of visitors 
 from the neighbouring town of Liverpool, which was annoying to the 
 inhabitants of the house. On this account Blundell had a large hall 
 with a cupola and circular skylight, the “Garden Pantheon,” built near 
 his house for the reception of the choicest specimens. There is an 
 engraving of it on the title-page of the first volume of the “ Engrav- 
 ings.” It was afterwards brought into immediate connection with 
 the dwelling-house by a passage. Three large, four medium-sized and 
 eight smaller niches, walls, tables, pedestals and lastly the floor in 
 this building received the bulk of the antiques, arranged, nowadays 
 at least, in tolerably motley confusion. The Staircase moreover is 
 richly adorned with antiques of all sorts, while individual specimens 
 also stand in the Picture Gallery. A further considerable store- 
 house is a garden house called “the Garden Temple,” a spacious 
 square edifice with the corners cut off, the walls furnished with 
 niches. (A view of the front is on the title-page of the second volume 
 of the “Engravings”.) This very dilapidated building, lately how- 
 ever in course of restoration, serves in the mean while as a lumber 
 room, nor is it easy to thread one’s way through — to say nothing of 
 studying accurately — the stores which are crowded together and piled 
 one on another. Through the “Temple” lies the way to the Green- 
 house, in which again several antiques are arranged. After enjoyment 
 of the collection by the public had not been allowed with the same 
 liberality as in its early days, at least for a time while Mr Blundell’s 
 son controlled it (see Clarac’s complaint, in. p. cccxxxvii, while 
 Spiker had occasion to praise Blundell’s amiability), the present owner 
 Mr Thomas Weld-Blundell with exceeding liberality permits the 
 undisturbed study of his treasures; indeed he has gone so far as 
 very kindly to allow not merely photographs to be taken (by his 
 gardener, a learned photographer !) but even casts of some specimens 
 (nos. 15, 154, 179, 259, 267). Still many others deserve to be simi- 
 larly multiplied, especially nos. 30 and 43, and also perhaps nos. 
 33, no, 121, 177, as well as sundry reliefs. The “Account” like the 
 “Engravings” only published for private presentation, being of the 
 greatest rarity and scarcely to be met with, I have here communi- 
 cated all matter-of-fact indications from both works and have supple- 
 
336 
 
 INCE BLUNDELL HALL, 
 
 mented or corrected them by my own observations and some other 
 aids, especially Prof. Bernoulli’s notes. As to the explanations 
 offered in these volumes, they being more than curious, I have 
 thought it better to set them aside. It must here however be observed 
 that the identification of the busts named in the “Account,” indeed 
 even of those represented in the “ Engravings,” is often very diffi- 
 cult, and therefore some errors committed in referring the notices 
 before me to particular specimens of the collection may have crept in. 
 
 It was impossible to follow the present order, partly because in 
 many points it is not definitive, partly because my notices are not 
 complete enough for it. In the “Account” there is no ruling system, 
 so that there would be no sense in following that. My arrangement 
 divides first of all the different classes of sculptures. Among the 
 statues those come first which Clarac has had copied, and indeed 
 according to the order of his work. For the rest in the several 
 classes of monuments those take precedence which are figured in the 
 “ Engravings” and then come the rest according to the numbering of 
 the “Account.” By this means it is in particular made easy as far 
 as possible to find out a published specimen. The numbers of the 
 “Account” are placed in brackets after the consecutive numbers, 
 so too as far as possible is the indication of the place where the 
 specimen is kept. In these brackets G. means the greenhouse with 
 the adjoining localities. P. the “Pantheon” with its vestibule, S. 
 the staircase, T. the garden temple. 
 
 The following grouping of numbers may serve for more conve- 
 nient use on the spot. 
 
 Pantheon. Statues no. i. 2. 8. 9. n. 12. 14. 22—24/28. 29. 
 3 i- 33 - 34 - 36. 37 - 4 °- 43 — 45 - 5 2 - 53 - 56- 63. 71. 74. 78. 81. 82. 
 Busts no. 89. 90. 92. 94. 95. 101. 104 — 106. 10S. no. m. 113. 1x5 
 — 117. 119 — 122. 127. 128. 137. 152. 155. 164. 178. 182—185. 193. 
 
 214. 216. 217/. Reliefs no. 221. 227. 241. 246. 259. 267. 271. 272. 
 
 281. 282. 288. 289. 295. 303— 310. 371 a. 393. 395. 
 
 Picture Gallery. Busts no. 96. 114. 170. 189. 
 
 Staircase. Statues no. 3. 4. 17. 21. 26. 27. 54. 55. 68 — 70. 
 Busts no. 123. 126. 148. 205 a. Reliefs no. 218. 224. 228. 245. 
 
 247 — 251. 256 — 258. 260. 262 — 265. 269. 270. 274. 374. 378. 396. 
 
 398. Mosaics no. 410. 413. 
 
 Garden Temple. Statues no, 5 — 7. 13. 15. 16. 18. 20. 25. 30. 
 32. 38. 39. 42. 46. 48. 59. 83. Busts no. 84 — 88. 91. 93. 98 — 100. 
 102. X12. 124. 125. 133. 139 — 141. 154. 160. 168. 176. 216 a. 217 
 a.b.c. Reliefs no. 261. 273. 278. 287. 290. 296. 298. 375 — 377. 391. 
 
INCE BLUNDELL HALL I — 4. 
 
 337 
 
 Greenhouse. Statues no. 10. 41. 49 — 51. Busts no. 217. d.e. 
 Reliefs no. 223. 225. 229. 243. 255. 397. 
 
 Statues. 
 
 1 (56. P). Ceres. Clarac, 111. 396 C, 662 A. Engr., 31, 
 “Cybele.” Mon. Matth ., 1. 71, “ Sacerdos Cereris sacrificans .” The 
 fully-draped, veiled goddess sits on a broad stool, holding out a cup 
 in her r. hand. Near her r. leg a circular altar, covered with a sheep- 
 skin, close to it a cow or an ox, on it a tympanon ; to her 1. a small 
 round cista, apparently with a lid, by it a pig. The animals are 
 those preeminently sacred to Demeter, to whom, it is true, the tym- 
 panon only pertains through a confusion with Rhea or Kybele. Cf. 
 Overbeck, Kunstmythologie , hi. p. 459, and the similar statue in the 
 Collegio Romano (Gerhard, Ges. Abhandl ., 11. p. 397). New : head 
 of cow, 1. hand of goddess, parts of r. hand and of the cup, neck and 
 veil, nose and chin; the rest of the face old, but not belonging to 
 the statue, of different marble. Italian marble. Decorative work. 
 
 H. 0-50. I* CIV] 
 
 2 (4. P). Statue of Zeus. Clarac, hi. 396 D, 681 A. 
 Engr., 4. Entirely nude, r. arm lowered, 1. raised. The general 
 expression is rather grand, the execution is however not above the 
 ordinary standard, moreover the whole surface is sadly smoothed over. 
 Head, with curly hair and beard, of noble features, but indifferent 
 expression, has never been detached from the trunk. New: r. hand, 
 
 I. arm with sceptre, lower part of 1. leg, three quarters of r. leg, besides 
 trunk of a tree and eagle. A strong plug of lead near r. wrist served 
 probably to fasten on the thunderbolt. On the back under the 
 shoulder-blades two small drilled holes. From Hadrian’s Villa, after- 
 wards in the Villa d’Este. IT. 2-14. ' [*C] 
 
 3 (10. S). Draped female figure. Clarac, in. 421, 743. 
 
 Engr., 10, 1, “Juno.” Over a chiton, the folds of which fall down 
 over the girdle as far as the lap, the figure wears a cloak which fully 
 covers back, head, upper parts of body and of arms, and which would 
 enfold the whole body, if both forearms did not raise up a part of the 
 cloak. New : veiled head and neck, both hands, the r. with a pome- 
 granate. According to Clarac one of the best statues of the collec- 
 tion ; it really is executed, though not at all delicately, still in a very 
 powerful decorative style. Thasian marble. From Hadrian’s Villa, 
 afterwards in the Villa d’Este. H. 178. [*] 
 
 4 (18. S). Draped female statue. Clarac, 111. 428, 769. 
 
 M. c. 
 
 1 
 
338 
 
 INCE BLUNDELL HALL 5 — 8. 
 
 Engr., 18, 2, “Ceres.” Cavaceppi, Race ., 11. 36. Very ordinary 
 statue in chiton and cloak which leaves r. breast and arm free. New: 
 r. forearm with ears of corn, half 1. forearm ; the head has been 
 broken off but is old and perhaps its own. Found in some ruins a 
 little way out of Rome, and bought from Antonio d’Este. H. x '07. [*] 
 
 5 (39. T). Statuette of Silvanus. Clarac, 111. 449, 820 A. 
 
 Engr ., 26, 1. Exhibits quite the usual type of the rural god (cf. 
 Reitferscheid, Annuli, 1866, pp. 210 f.), only that instead of the skin 
 filled with fruits there appears a small cloak with nothing in it (cf. 
 ibid. , PI. K, 2); it is more distinguished by tolerable preservation than 
 by goodness of the work. New : only 1. hand with the branch of a 
 pine tree, r. arm (which should be more bent) with the knife, lower 
 parts of legs, which are therefore without the boots. H. 0-69. [*C] 
 
 6 (22. T, portico). Statuette of a boy, carrying flowers and 
 
 ears of wheat in the lap of his tunic, probably representing the 
 season of spring and summer (cf. Marbury, no. 8). Clarac, 
 111. 449, 816 A. Engr., 19, 1, “Vertumnus.” New: head and 
 neck, lower parts of both legs with corresponding piece of drapery 
 falling down behind as far as the ground ; 1. forearm and both hands 
 wanting. Coarse work. H. o'88. [*] 
 
 7 (54. T). Statuette of Tyche. Clarac, 111. 454, 834 A. 
 
 Engr., 44, 1, “ Fortuna Navalis.” Draped in chiton and cloak, sitting 
 on a throne, r. hand on the steering paddle, large cornucopia in 1. 
 arm. New, according to Clarac: paddle, cornucopia, 1. arm: to myself 
 all essential parts seem to be antique. The head seems to be a portrait 
 and may belong to the statue. Very ordinary work. From the Villa 
 Borioni. H. 073. [*] 
 
 8 (1. P). Statue of Athene. Clarac, 111. 473, 899 A. Engr., 1. 
 Account, PL 1. The goddess in girdled Doric chiton stands on r. foot, 
 1. being somewhat retired. Preservation excellent. Head never broken 
 off. New : apex of helmet above the brow and the sphinx, tip of nose, 
 r. forearm with owl (cf. Newby, no. 23), thumb, first finger and part of 
 middle finger on 1. hand, two toes of 1. foot, trifles in the drapery. 
 In 1. hand traces of the groove intended for the spear. The drapery 
 shows the motive of the Parthenos ; folds deeply undercut ; the 
 small aegis almost entirely invisible behind the back ; on the other 
 hand the long coil of the hair of the Parthenos is retained. Selvage 
 of chiton still recognisable. The inclined head however indicates a 
 later type, though less sentimental than many other heads (e.g. Mon. 
 dell. Inst., iv. PL 1). Good, though somewhat dry Roman work. 
 Pentelic marble. Found in Ostia; from the Palazzo Lante it passed 
 
/ 
 
 j A h 
 
 < - 
 
 r 
 
 INCE BLUNDELL HALL 9 — 12. 
 
 339 
 
 through Volpato’s hands to Jenkins, from whom it came to Blundell. 
 H. 1 '98 without the sphinx. [*CJV] 
 
 g (8. P). Statue of Athene. Clarac, hi. 473, 899 B. Eng r., 8. 
 Account, PL 8. Pose of the figure and arrangement of chiton corre- 
 spond to the statue no. 8 ; aegis reaches down from r. shoulder 
 to 1. hip in a slanting direction • on the 1. shoulder lies a piece 
 of the cloak. New : r. arm, 1. arm from above the elbow with 
 the shield, about a third of the parts of the legs below the knee, besides 
 
 the nose, mouth, chin and part of the 1. brow, the guard of the helmet 
 (the ram’s-horns 1. old) and the sphinx but for a part of the attachment. 
 AVork in no respect remarkable, folds on body very flat while they 
 are as marked and deeply cut in on the r. bearing leg, as if there 
 were no solid leg underneath. Coarse-grained Parian marble. 
 According to the “ Account” the statue was got from the Villa 
 Negroni. According to Thorpe however (ibid., p. 281) the head was 
 found near the church of S. Croce in Gerusalemme and came into 
 Cavaceppi’s possession ; the torso found at the church of S. Susanna 
 on the Quirinal was purchased from Albaccini, and Canova directed 
 the further restorations. PI. i‘93. [* C ] 
 
 10 (13. G). Statue of Athene. Clarac, in. 473, 899 C. 
 
 Engr., 13, 2. Insipid enough, but not belying a good original 
 (cf. Castle Howard, no. 4). New : head and r. arm. From the 
 Villa Mattei. H. 1-47. [*] 
 
 11 (5x8. P). Torso of an Athene in hieratic style. Clarac, 
 111. 473, 899 D. Engr., 38. The large aegis with a powerful 
 Medusa-head in old style is girt with a lion’s skin, the head of which, 
 disproportionately small, appears in front in an unusual manner as a 
 kind of buckle to the girdle. In Clarac’s doubt as to the antiquity 
 of this rare dress I entirely participate. I regard the frigid, over- 
 refined torso of Italian marble as modern. On it is set an insignifi- 
 cant antique head of yellowish marble ; the so-called Corinthian 
 helmet is furnished with a very lofty crest. New : arms, and legs 
 
 Trom the knees downwards. Bought at Lord Cawdor’s sale. H. 1 -30. 
 
 12 (P). Statue of Apollo Sauroktonos. Clarac, hi. 476 B, 
 905 B. Engr., 36. Torso antique, also the uppermost quarter of 
 both legs and the piece of r. arm from above elbow to wrist. The 
 antique head (new : nose, chin, neck) has not the ingenuous expres- 
 sion of the Sauroktonos, but somewhat the character of a Venus, and 
 seems to be of different marble from the torso. AVork good, but not 
 
 details in the folds, on the head the whole r. half of face including 
 
340 
 
 INCE BLUNDELL HALL I 3 — I 5. 
 
 eminently so ; according to Clarac the statue is polished over. 
 Found near Rome by G. Hamilton and sold to Mr Rob. Heathcote 
 and sent to England. H. i'38. \*CIV] 
 
 13 (12. T). Statue of Apollo in repose. Clarac, 111. 488, 
 
 946. Engr ., 12. New: lower parts of both legs, both arms, lyre 
 and stem of tree. Head antique, but seriously restored, and not 
 belonging to the statue. Work, flat decorative. The statue was 
 got from the Villa Mattei and is probably identical with Mon. Matth., 
 1. 8, Clarac, hi. 476, 912 E; rather than with Mon. Matth., 1. 4, 
 Clarac, in. 490, 954 B. H. i’ 45- [*] 
 
 14 (76. P). Statue of Apollo, Clarac, in. 488, 946 A. Engr., 
 
 23, 2. The graceful, but by no means finely executed body rests on 
 r. leg. The quiver-strap goes slantwise over the breast, but there 
 are no traces of the quiver on the back. Long curls fall down on 
 the shoulders. New : head, both arms, tripod, 3. thigh and half the 
 lower part of the leg, both feet. Greek marble. H. i'34. [*C] 
 
 15 (530. T). Statue of Apollo, of archaistic style. Clarac, 
 hi. 488, 946 B. Engr., 39. Arch. Zeit., 1874, PI. 2. This very 
 interesting statue is most closely related in style to the Vatican 
 Apollo (Gerhard, Ant. Bildw. , PL 11. Clarac, in. 483, 931), but is 
 distinguished by its wonderfully perfect preservation. New : only a 
 small piece of tip of nose, r. hand, uppermost point of bow, part of 
 pedestal. The god, quite nude, has his weight on both feet equally, 
 1. foot a little advanced. L. arm (antique throughout) hangs down 
 freely close to the body: r., likewise lowered, is a little advanced. 
 Bow and arrow on the laurel tree determine the subject as Apollo. 
 Fingers of 1. hand in such a position as shows them to have once 
 had some object in their grasp. It is the old type, as it begins 
 in the famous statue of Tenea and its congeners and later on has 
 been remodelled and improved in different ways, especially in the 
 Choiseul-Gouffler Apollo in the British Museum ( Spec ., 11. PI. 5, Mus. 
 Marbles, xi. PI. 32, Journ. Hell. Stud., 1 . PI. 4, Clarac, hi. 482 B, 
 931 A) and the replica thereof from the theatre of Dionysos at Athens 
 (Conze, Bcitr. zur Gesch. d. griech. Plastik, PI. 3 — 5). In the 
 broad prominent breast and deeply hollowed back and loins one 
 discerns a reminiscence of the archaic style, but the whole treatment 
 of the form is modernised and badly flattened. There is an 
 especially distressing contrast between the archaic type and the 
 modern execution of the head, which compared with the rest of the 
 body seems needlessly stiff and devoid of expression. The hair 
 with an old-fashioned roll (Kpmfjv Aos), which is raised at the back 
 
INCE BLUNDELL HALL 1 6 — 1 9 . 
 
 341 
 
 of the neck and looped in a head-band, is no less superficially treated. 
 The lobes of the ears are of comparatively small curvature, the eye- 
 balls indicated by a circle. The statue, which is throughout much 
 poorer than the so-called Stephanos figures which are akin to it in 
 many traits (see Margam, no. 5), is perhaps the latest and weakest 
 imitation of that ancient type ; but it is interesting, because it shows 
 how long that type maintained its currency. Pentelic marble. H. 
 x *53 (without pedestal). Bought from the Bessborough collection. 
 [*CW] 
 
 16 (52. T). Statue of sitting Apollo. Clarac, in. 494 A, 
 959 C. Engr., 44, 2. He sits on a block of rock on which a lizard 
 crawls. Upper part of body nude, legs enveloped in cloak. It is 
 very seriously patched up, and is besides of a poor style of art. 
 From the Villa Mattei. H. og 6 . [*] 
 
 17 (74. S). Statue of Muse ? Clarac, 111. 515, 1041 B. Engr., 
 
 10, 2, “Thalia.” The delicate chiton is entirely ungirt, the cloak 
 lies in a rather meaningless manner on the r. thigh which is a 
 very little bent forward, and covers back and r. arm. The pleasing 
 original from which this copy was taken must have been in the manner 
 of the Venus genetrix in Goan drapery (see Holkham, no. 27); the 
 copy before us is executed with little care. New : ivy-crowned head, 
 neck, three-quarters of r. arm with the mask, 1. fore-arm with pedum, 
 part of drapery, the pedestal. Bought from the sale of property left 
 by La Piccola together with nos. 30, 32, 41 1. H. x - 22. [*] 
 
 18 (23. T, portico). Statuette of Muse? Clarac, 111. 516, 
 
 X053A. Engr ., 20, “Melpomene.” The richly draped figure sup- 
 ports itself with the 1. elbow on a column. Chiton girt high up, 
 enveloped on the thighs by a cloak of which the folds fall down near 
 the 1. hip over the column. New : head, greater part of breast, r. and 
 almost all 1. arm with the mask, 1. foot and part of the column. Badly 
 executed. Bought from Cavaceppi. H. C89. [*] 
 
 19 (19). Statuette of Muse? Clarac, hi. 533, mo C. 
 Engr., 14, 2, “Urania.” Clarac takes the hands with globe and style 
 to be modern. In my opinion the whole of the little alabaster figure, 
 especially in the arrangement of its cloak, quite suggests certain 
 Christian figures of saints, so as to convey more than a mere suspicion 
 of its genuineness. The statuette is said to have been found in the 
 Marrana, a muddy brook which comes down from the Alban hills, 
 and after flowing through the Circus Maximus empties itself into the 
 Tiber. It was bought from Cochetto, a noted dealer in antiquities, 
 and restored by Antonio d’Este. H. 038. 
 
342 
 
 INCE BLUNDELL HALL 20 — 23. 
 
 20 (5. T). Statue of Asklepios. Clarac, iv. 550, 1160 A. 
 
 Engr., 5. The statue exhibits none of the usual characteristics of 
 Asklepios. The front corner of the cloak is thrown over the 1. fore- 
 arm ; instead of the staff entwined by a snake the stem of a tree 
 entwined by a snake stands near the r. leg. New: 1. hand from the 
 cloak, the three first fingers of r. hand (the arm has never been broken 
 off), head of snake and a piece of the neck. The feet have been 
 broken off, but are antique, and so is the pedestal. The head is put 
 on, but almost certainly belongs to the statue. It looks up a little 
 sideways and strongly reminds one of the Blacas Asklepios in the 
 British Museum. Consequently the nomenclature both of the statue 
 and the head is reciprocally verified. Work not bad, so far as the 
 unfavourable light and position allow it to be discerned. From the 
 Villa Mattei. H. 2 - oS. [*] 
 
 21 (29. S). Statuette of Asklepios. Clarac, iv. 551, 1160B. 
 
 Engr., 18. In the case of this statuette the meaning is determined 
 by the head with its long beard, which has never been broken off. 
 New: nose, 1. arm, half the r. with the staff entwined by a snake, r. 
 foot and toes of 1. and the pedestal. Unimportant work ; expression 
 of face meaningless. Found a little way out of one of the gates 
 at Rome and bought from Cavaceppi. IT. 076. [*] 
 
 22 (2. P). Statue of Artemis. Clarac, iv. 567, 1209 A. 
 E/igt'., 2. Account, PI. 2. Antique : the torso with its short 
 drapery of heavy style and the large skin girt over it (of which the 
 head and th.<e leg that hangs down in front are new), and part of the 
 quiver, also the knees, r. arm, exclusive of the hand with the arrow, 
 and a piece of the neck and back of the head, though the last is not, 
 as is stated in the Account, unbroken. New: apparently 1. arm; 
 Conze describes the hand exclusive of the tip of the thumb and the 
 forefinger as probably antique; all the rest is certainly new. “When 
 this statue was first found it plainly appeared to have been gilt;” that 
 is it is in many parts quite yellow, but that is scarcely to be accounted 
 for by gilding. Found in the ruins of the Emperor Gordian’s Villa, 
 and bought by Mr Thorpe from Albaccini. Of very mediocre execu- 
 tion. IT. 1-58. [*CIV] 
 
 23 (37. P). Statuette of Artemis. Clarac, iv. 580, 1237 B. 
 Engr., 28, 1. A short chiton tucked and girdled after the fashion of 
 an Amazon covers both breasts ; the quiver-strap runs slantwise across 
 the breast. Near 1. leg a stem of a tree with quiver and skull of a 
 wild beast on it. The head is antique (nose and part of the knot of 
 hair restored), and may belong to the statue in spite of the inserted 
 
INCE BLUNDELL HALL 24, 25. 
 
 343 
 
 neck. Lobes of ears pierced. New : r. arm with shoulder, half the 
 1. forearm, r. leg below knee, a part of same portion of 1. leg, parts 
 of folds of drapery and of pedestal. Composition of statuette pretty, 
 though execution not particularly delicate, the back indeed is left 
 quite rough. Very remarkable is its resemblance to the statues of 
 Amazons in which sometimes even the whole breast is draped, c. g. 
 in the Dresden and Vienna statuettes (Clarac, v. 810 A, 2031 B, 
 Berichte d. sacks. Ges. d. Wiss., 1850, PL 1, 2, 6), and on the Phigalia 
 frieze, &c., so that a doubt as to the intention can arise as well as 
 that which prevails in the case of a similar statue in the casino of 
 the Villa Pamfili (Clarac, iv. 567, 120SB, cf. Jahn, Berichte, l.c. p. 
 46 note). If Artemis is really intended, we have before us an older 
 type of the goddess with short drapery. Grey marble. H. o - 56. 
 \*CJV] 
 
 24 (20. P). Enigmatical Statuette. Clarac, iv. 593, 1290. 
 
 Engr . , 15, 1, “Venus Victrix.” This unpleasing figure wears over 
 the chiton apparently a kind of woollen jacket, which, however, has 
 been created solely through modern working over of the pretty well 
 worn chiton; over that a short cloak. New: both arms (the cup with 
 the Victory, which is said to have been added, according to Visconti’s 
 advice, is now no longer in existence) and the front half of both 
 feet, also the head with the strange cloth on it, though a part of 
 the face is further added separately. A corner of the drapery behind 
 the r. shoulder seems to have furnished the idea of the head-cloth. 
 Moreover the whole figure is not free from suspicion. At best it is 
 entirely worked over. The meaning is obscure in my judgment. 
 From the Villa Mattei. H. 0-84. [*C] 
 
 2 5 ( 53 1 - T). Statue of sleeping Hermaphroditos. Clarac, 
 iv. 628, 1425 B. Engr., 41, “Sleeping Venus.” The Account 
 (1803) mentions the figure under the first title as it was bought from 
 the Bessborough collection ; “ this curious figure is accompanied 
 with three little genii, one of which is sucking at the left breast.” 
 Otherwise the Engravings (1809): “The figure was unnatural and 
 very disgusting to the sight; but by means of a little castration and 
 cutting away the little brats [crawling about its breast], it became a 
 sleeping Venus and as pleasing a figure as any in this collection.’’ We 
 now see after this, certainly very cleverly executed, operation, only 
 a nude female figure, lying half on the back, half on the r. side, on a 
 wide drapery which merely covers the r. knee and the lower part of 
 the leg drawn up under it, as well as the part about the 1 . knee. The 
 upper part of the body lies raised on a block of rock covered with a 
 
344 
 
 INCE BLUNDELL HALL 2 6 — 29. 
 
 drapery, and the head is very naturally fallen back on to the r. 
 shoulder. Eyes closed ; the widely opened mouth, from which one 
 fancies one can perceive breath passing, corresponds to the bent back 
 position of the head. A wreath of flowers tied with a bandage adorns 
 the hair. Very singular are the unusually developed breasts, especially 
 the 1. which almost hangs, but in fact this peculiarity finds its expla- 
 nation in the circumstance that we originally had before us a sleep- 
 ing Hermaphrodite as a nursing mother, the acme of unnatural 
 refinement. The work deserves no special praise. New: whole of 
 r. arm which hangs down, and 1. from the armlet which encircles 
 the middle of the upper arm, half r. foot, the 1. leg with foot in a shoe, 
 a great part of the wreath of flowers, nose and mouth. L. i’2$. H. 
 °' 5 °- [*] 
 
 26 (32. S). Statue of Cupid without wings, with attributes 
 
 of earth and sea. Clarac, iv. 649, 1455 A from Engr., 19, 2, and iv. 
 650 D, 1455 A from Mon. Matt//., 1. 15. The boy, quite nude, steps 
 forward with 1. leg. Hair curly, lying on the top of the head in the 
 well-known plait-like arrangement. In 1. arm he carries a large bunch 
 of akanthos leaves with flowers and fruit ; on the support near 1. arm 
 a dolphin twines itself. New: r. arm with quince, 1. hand, 1. foot, 
 half r. and part of pedestal. Ordinary work. From the Villa Mattei. 
 H. o-68. [*] 
 
 27 (3 1 - S). Statue of Hermes as a boy. Clarac, iv. 655, 
 1506 A. Engr., 24. The nude boy with winged shoes on his feet 
 stands in repose. Body rests on r. leg, near which is a heavy support 
 adorned with the caduceus. The curly child’s head is put on, but 
 perhaps its own. New: both arms and the purse. Winged shoes 
 and caduceus certainly old. Ordinary work. Bought by Mr 
 Thorpe. [*] 
 
 28 (30. P). Statue of Hermes. Clarac, iv. 661, 1528 A. 
 Engr., 23, 1. The god stands in a tolerably reposeful attitude, r. 
 foot a little retired, stepping forward a little with 1. foot. The chlamys 
 buttoned together on 1. shoulder passes slantwise over the breast, 
 covers r. shoulder and r. arm, and from it falls down to the knee ; 
 under it is the trunk of a tree. Head with wings facing somewhat r. 
 is put on ; nose and 1. cheek patched. New : half r. arm with tor- 
 toise, 1. hand with handle of caduceus as also its upper end, and 
 perhaps r. foot as far as above the ankle. The statue is coarsely 
 worked and of clumsy proportions. From the Villa d’Este. H. I’oS. 
 [*C] 
 
 29 (34. P). Statuette of Hermes. Clarac, iv. 661, 1529 A. 
 
345 
 
 INCE BLUNDELL IIALL 30. 
 
 Engr., 26, 3. Chlamys lies on 1. shoulder and covers part of arm and 
 back. Body, slightly bent, rests especially on r. leg, near which a 
 clumsy support is visible, r. leg somewhat bent. The lowered r. hand 
 holds a purse. New: head with its winged cap, half the lower 
 parts of the god’s legs with the adjoining part of the trunk of the 
 tree and 1. hand, but the middle part of caduceus antique, enough to 
 verify the attribute. Of the he-goat by the trunk of the tree the head 
 is old; but the rest of its body is new. The statuette is clumsy and 
 of poor workmanship. Bought from the Palazzo Capponi. H. 0-55. 
 
 L*c] 
 
 30 (75. T). Group of Satyr and Hermaphroditos. Clarac, 
 iv. 672, 1735 A. Engr. 42. Bottiger, Archaeol. und Kunst, 1. Plate 
 to p. 169. Several examples of this composition, altogether or in part 
 identical, have come down to us: namely two in Dresden (nos. 209, 
 210) found at Tivoli, formerly in the collection of Prince Mazarin ; 
 one from Hadrian’s Villa, once in Count Fede’s possession, now 
 lost (Lipsius, Beschr. der Antikengall. in Dresden , p. 312); one in 
 the British Museum (Graeco-Roman Sculpt., no. 178, Mils. Mar- 
 bles, xi. 39). This proves the popularity of the symplegma (according 
 to Stephani, Compte-Rendu , 1867, pp. 10 f., by Heliodoros, see Pliny 
 Nat. Hist., 36, 35). Its popularity is accounted for as much by the 
 lubricity of the subject, which is agreeable to the taste of the Helle- 
 nistic period, as by the wonderful excellence of the lively composition. 
 The bearded Satyr, whose sexual excitement is extremely apparent, 
 sits on a low rise of rock and has both legs clasped round a Herm- 
 aphroditos so that the Hermaphroditos’ back is turned to him. 
 But with the suppleness of an eel the Hermaphroditos contrives to 
 extricate himself from the embrace, by resting his r. knee on the 
 ground in a peculiar bend and drawing his 1. leg from under the 1. leg 
 of his assailant so that the next minute will find him on both knees 
 half turned to the Satyr. He is already twisting round his lithe body 
 and pushing aside the 1. foot of the assailant with the 1. hand to 
 give himself free space for springing up and effecting his escape, and 
 is thrusting his r. hand straight into the Satyr’s face, who has to seize 
 the arm with both hands to save himself from the thrust, and whose 
 whole body is forced back. The Hermaphroditos, sure of victory, 
 looks back on his too forward lover, with a mocking smile of triumph. 
 The whole of the extremely complicated movement is carried out 
 in a masterly manner, all one direction, one movement, the previous 
 and the immediately following moments of the struggle connected in 
 the most pregnant way. Agreeable to this is the exceedingly soft, 
 
346 
 
 INCE BLUNDELL HALL 30. 
 
 fleshy rendering of the lithe, female figure with its full roundness of 
 breast and hip and the very sprightly lines of the bent back. The 
 features too of the Hermaphroditos are appropriate in connection with 
 the Satyr, borrowed as they are from a merry, robust, country-girl 
 used to sport of the kind. The poverty of the delineation of the 
 masculine parts stands in characteristic contrast to all the lines and 
 curves of the body and the long hair. The naturalistic sentiment, 
 especially in the rendering of the nude, reminding one of Dutch 
 artists, combined with the smallness of the figures, which are about 
 half life-size, all the more strongly emphasizes the lubricity of the 
 motive. The same is the case with the Townley group of a Satyr 
 and a nymph in the British Museum (Dallaway, p. 312, no. 27, 
 Visconti, Mus. Pio-Clem ., 1. p. 4S Mil., Arch. Zeit ., 1874, p. 24). 
 The preservation is in the most important portions excellent, 
 the head of the Hermaphroditos in particular never having been 
 severed from the body. New: of the Hermaphroditos, 1. forearm and 
 lower parts of both legs ; of the Satyr, the lower part of r. leg and 
 half the lower part of the 1. leg, 1. knee-cap and a large piece on the 
 r. knee, part of the cranium, besides insignificant patches and the 
 bottom part of the rock. The restorer has not caught quite the right 
 idea as to the 1. hand of the Hermaphroditos, which must have grasped 
 the foot of the Satyr otherwise, and probably not as to hisr. leg, which 
 may have been placed a little less out. The group is not executed 
 with particular delicacy but with considerable vigour. It was found 
 about a.d. 1760 in the Tenuta di Salone on the Via Praenestina this 
 side of the Tor dc' Schiavi, as was also no. 32, a crouching Venus 
 and a plinth on which is said to have been the inscription BouVaAos 
 iiroUi (Visconti, Mus. Pio Clem., 1. p. 61 Mil., Opere Varie , 11. p. 
 644, note 1). The Venus with a copy of the plinth, accurate even 
 in the mouldings, went to the Vatican (Mus. Pio-Clem., 1. PI. 10). 
 Our group was united by the discoverer Nic. La Piccola (cf. no. 17) 
 with that plinth, which undoubtedly had nothing to do with it origi- 
 nally. For it must have had a piece added to lengthen it to be able 
 to receive the group (at present it is 070 long by 030 broad); again 
 the block of rock does not consist of the same piece as the plinth 
 but was afterwards let into it. Probably the plinth was thoroughly 
 worked over on this occasion and so got its tolerably modern look. 
 Moreover the inscription, which stands on the narrow side under the 
 feet, appears very suspicious. It is faint as if scratched in with a 
 knife thus — 
 
INCE BLUNDELL HALL 3 1, 32. 
 
 347 
 
 BOYHAAOS 
 
 EJIOIEI 
 
 The shape of the B, the Y slanting 1., the A instead of A and 
 lastly both the I’s without the little stroke at the top strengthen our 
 suspicions. Visconti, considering that the palaeography has little in 
 common with the period of the ancient Bupalos of Chios, supposed 
 a falsification of the inscription in ancient times (cf. Phaedr. Fab. , 5, 
 prol.), as indeed we read of a preference entertained by Augustus for 
 this very ancient sculptor (Plin. Nat. Hist., 36, 13); in my opinion it is 
 more probably a modern forgery, as Franz also supposes ( C . I. Gr., in. 
 6141), and this in fact would not be the only instance in connection 
 with the name Bupalos (see R. Rochette, Lettre cl M. Schorn, p. 239). 
 In the Engravings we read of this group, “La Picola...kept it up 
 for many years at an extravagant price. The late Mr C. Townley is 
 said to have offered a very large sum for it. At La Picola’s death it 
 became the joint property of his widow and others, when it was 
 obliged to be sold, and was purchased for this collection.” L. o - 7 8. 
 PI. 0-67. [* W] 
 
 31 (14. P). Statue of Dionysos. Clarac, iv. 678 A, 1595 A. 
 
 Engr., 14, 1. Mon. Matth ., 1. 12. The god, perfectly nude, stands with 
 his body slightly inclined and his r. arm leaning on the trunk of a 
 tree twined with branches of vine; 1. arm hanging down on the body, 
 r. hand resting on a bunch of grapes. This statue of medium size 
 has been broken across the body, below the knees and across both 
 arms. New: head crowned with vine, 1. forearm with vase (both diffe- 
 rently restored previously — a patch on 1. hip still shows the old point 
 of junction), probably r. leg from knee to ankle. The preservation 
 of the other parts is good, as also is the work. The oval pedestal 
 has a rough moulding in the style of the basis of an Attic column. 
 From the Villa Mattei. H. 1-15. [*C] 
 
 32 (7 3. T). Statue of Dionysos. Clarac, iv. 684, T603 A. 
 Engr., 34. The youthful god with long curls, a fawn-skin hanging 
 from the 1. shoulder slantwise over the breast, rests on the r. leg, 
 which is attached to a clumsy support : the 1. leg being slightly bent 
 and a little retired. The bent head (new: nose and lips) is encircled 
 with a fillet. It may be the original head: the neck however is in- 
 serted. The 1. hand with the kantharos and the r. hand or the fore- 
 arm with the thyrsos are most probably modern, apparently also the 
 legs below the knee with the corresponding portion of the support : 
 still the figure is so covered with old dust that it is very difficult 
 
34 § 
 
 INCE BLUNDELL HALL 33 — 36. 
 
 actually to judge about the various parts. Found together with no. 
 30 and likewise bought from La Piccola’s widow. H. 1-58. [*] 
 
 33 (38. P). Female Statuette (Nemesis?). Clarac, iv. 698, 
 
 1646 A. Engr ., 26, 2, “Bacchante.” A pleasing Attic figure in 
 doubled chiton, fastened, with a mass of folds round the hips, 
 resting on 1 . leg while the r. foot is a little advanced. The move- 
 ment of the r. arm, which is not modern, is particularly delicate. It 
 is raised before the breast so that the hand grasps the drapery at 
 the throat. That it should therefore be called Nemesis, as Conze 
 conjectures (cf. Anthol. Palat. app. Planud ., 223, 224, Mesomedes, 
 Hymn, in Nem., 1 1), is possible, but not certain (see Zoega, Abhandl . , 
 p. 52); it would be certain, if indeed the lowered r. hand had held a 
 twig of apple. The head joined on to the body by an inserted neck 
 seems old (new according to Clarac and Conze) and may belong to 
 the statue. New: the whole lower part nearly up to the knees and 
 half the r. forearm with the vase; besides two iron plugs visible on the 
 chiton prove that the hand always held an object requiring to be 
 fastened on to it. H. 0*47 5. \*C~\ 
 
 34 (15. P). Statue of a Bacchante ? Clarac, iv. 698, 1696 B. 
 
 Engi-., 15, 2. A figure in long drapery. It is assigned to the Bacchic 
 cycle owing to the fawn-skin girt slantwise across the body. But with 
 its full drapery, its long mass of folds hanging down, and the dignified 
 repose of the attitude, it rather gives the impression of a goddess 
 (Ariadne ?) than of a dancing Bacchante which is stamped upon it by 
 the modern cymbals. New : both forearms with the cymbals, also 
 the head and neck. Work somewhat hard, apparently a reduced 
 copy of a good original of larger size. Greek marble. Found in 
 Hadrian’s villa, and bought by Mr Thorpe. H. 1-19. [*] 
 
 35 ( 57 )- Group of Satyr-boy and Goat. Clarac, iv. 709, 
 1670 A. Engr., 32. The pretty lad, only to a small extent covered 
 by the skin which is fastened below the breast with a cord, kneels on 
 the r. knee and has the 1 . foot advanced. He holds a bunch of 
 grapes in each hand, while his glance is directed to the goat which 
 lies before him on the ground with its head attentively raised. The 
 pleasing motive has a lively effect. New: r. arm and 1 . leg below 
 the knee. From the Capponi palace. H. o'4.6. 
 
 36 (516. P). Statue of Aphrodite (called “Galatea”). Clarac, 
 iv. 746, 1S02 A. Engr., 13, 1. For the motive and meaning of this 
 attractive figure see below on Newby Hall, no. 6. This copy came 
 from Greece to Rome, where Lord Cawdor bought it. Though not 
 very delicately worked it is still of good decorative effect. The 
 
INCE BLUNDELL HALL 37, 38. 
 
 349 
 
 pierced snout of the dolphin proves that it was employed to adorn a 
 fountain. The head with stephanh and veil is put on, but is certainly 
 old and its own (Conze thinks otherwise). A mark of a join (puntello) 
 above the r. breast shows that the veil fell down so far. New: r. 
 arm with shoulder, 1. forearm (upper arm broken, but old), upper 
 part of staff and dolphin ; sundry pieces on under border of garment. 
 Well preserved in the genuine portions. Coarse-grained Parian 
 marble of fine yellow colour. H. i - i8. [*C, cf. Matz, Arch. Zeit., 
 
 1 873, p. 23, note 3.] 
 
 37 (16. P). Statue of Anchirrhoe. Clarac, iv. 750, 1828. 
 
 Engr ., 16. Visconti, Mus. Pio-Clem., 111. PL a , v. This example is 
 distinguished among the several replicas (Stark, Niobe, pp. 283 ff.) by 
 the undoubtedly genuine inscription (Conze indeed suspects it) 
 ANCHYRRHOE 1 , which first recalls Neilos’ daughter the wife of 
 Belos ; the same significant name however belongs also to other 
 water-goddesses (Visconti, hi. pp. 189, 231 Mil., Matz, Arch. Zeit., 
 1873, p. 31, Michaelis, ib., 1874, p. 24). The charming motive 
 of the nymph answers to the latter. She lifts her drapery slightly 
 over the r. knee and steps down cautiously to the well. She without 
 doubt once carried a hydria on the r. shoulder (see Friederichs, 
 Berlins ant. Bildw., 1. no. 685). The body is entirely supported on 
 the 1 . leg, which is bent, while the r. foot is advanced. It is pretty 
 clear that the figure was originally designed to adorn a well (cf. Paus., 
 8. 31, 4). Unfortunately, owing to the unintelligent restoration of the 
 head, which ought to look down, and to the affected elegance of the 
 pose of the r. arm with the tiny hydria, the impression of beauty 
 is seriously impaired. The restoration, after a clumsy repairing of 
 older date had been removed, was effected for Blundell by the 
 sculptors Lisandroni and Este. The r. arm and the shoulder are 
 correctly restored, as the folds of the cloak on the thigh prove. 
 R. foot and half the lower part of leg also new. The pleasing com- 
 position has, as it seems, been subsequently transferred to Muses 
 and other maidens. Brilliant Parian marble. Found in Hadrian’s 
 Villa, bought from the Villa d’Este. H. 1 "6 5. [* CM IV ] 
 
 38 (51. T). Statuette of Serapis. Clarac, iv. 758, 1S51C. 
 Engr., 30, “Pluto.” This statuette exhibits the usual representation 
 
 1 Matz shows that this inscription was already known in the 16th century. 
 It subsequently disappeared, and the statue received the name Llebe. “ When it 
 was removed from the place in the Villa d’Este, where it had stood for many 
 years, on the plinth of it was discovered its real name, which had been long 
 covered with mortar.” ( Account , p. 16.) 
 
350 
 
 INCE BLUNDELL HALL 39 — 42. 
 
 of the Alexandrine God, seated on a throne, draped in chiton and 
 cloak, on the lowering head the rnodius decorated with a spray of olive, 
 sceptre in 1. hand, Kerberos at the r. In the original the snake 
 shows no scales. New : both arms from the drapery, upper half of 
 sceptre, middle and outer heads of the hell-hound. Coarse work. H. 
 o‘86. [*] 
 
 39(55. T). Statuette of Serapis. Replica of the last statuette. 
 New : only 1. arm with upper half of sceptre and the face, the greater 
 part of the head with the rnodius ornamented with boughs is old. 
 Coarse-grained Parian marble. Bought from Cavaceppi. H. o - 86. [*] 
 
 40 (28. P). Statuette of Aphrodite-Spes. Clarac, iv. 760, 
 
 1899. Engr., 22, “ Spes Etrusca.” A rough Roman copy of the 
 very old artistic device by which Greek art had at first tried to 
 enliven the long drapery of female figures and which was then used 
 by preference for Aphrodite, and afterwards for Spes. New : head, 
 both forearms and lower part of the legs from below the calves. H. 
 075. [*C] 
 
 41 (G). Statuette of Aphrodite-Spes. A much stiffer 
 
 replica of the same figure, but reversed so that the r. hand grasps the 
 drapery, the 1. holds a fruit or flower. It is so rigid that the taking 
 up of the corner of the drapery exerts scarcely any influence on the 
 general direction of the folds. New: nose, neck, lower part of legs 
 and two fingers of r. hand. H. 074. [* IV] 
 
 42 (9. T). Statue of Phrygia ; colossal scale. Clarac, iv. 
 768 A, 1906 A. Engr., 9, “Bithynia.” This statue is executed in 
 rather a coarse decorative style, yet is of good effect. It is worthy 
 of attention as the only undoubted example which has come down 
 to us of a sculptured personification of a province. A high girt 
 chiton of stout material falls in simple folds down as far as the knee : 
 before the breast there is fastened together the cloak, which merely 
 covers the shoulders, upper arms and back. Head, broken, but un- 
 doubtedly its own, bearing a lofty mural crown, under which a twisted 
 fillet, in the style of a porter’s pad (we^a/Wov, TvX-tj) is visible (cf. 
 the Messene, Arch. Zcit., 1875, P- i°4 )• This attribute indicates 
 the general department of local personification to which the statue 
 belongs. A large tambourine (rv^iravoi) placed on the trunk of 
 a tree, on which the 1. hand rests, alludes most probably to the land 
 of the mother of the gods. This is also the explanation of Filippo 
 Aurelio Visconti {Account, p. 282), for which the nomenclature 
 “Bithynia” in the explanatory text of the Account and the Engravings 
 seems to be substituted by mere mistake. New : legs from drapery 
 
INCE BLUNDELL HALL 43. 
 
 351 
 
 downwards with the pedestal and part of the tree, r. arm almost from 
 the drapery as well as the banner, lastly sundry portions of the cloak. 
 Marble apparently from Thasos. This statue, found in Hadrian’s 
 Villa, formerly stood in the Villa d’Este restored with ears of corn in 
 the r. hand as Ceres or Cybele, and was only allowed to be exported 
 after long negotiations and great expense through the mediation 
 of the sculptor Lisandroni (1789). H. i'So according to Clarac, 
 according to my memory considerably greater. [* JV] 
 
 43 ( 3 - P). Statue of Theseus. Clarac, v. 829, 2071 Q. Engr., 
 3. Spec., 11. 19. Arch. Zcit., 1874, PL 1 (from a Photograph). This 
 most elegant statue is one of the principal treasures of the collection 
 and was esteemed by Townley as the best specimen (Spiker, 1. p. 400 
 note). It represents a youthful hero whose body rests for the most 
 part on the 1. leg, but still so that the r. leg which is advanced in a 
 freer position shares the weight. A singularly delicate and elastic 
 movement pervades the quiet pose of the main design, a quality 
 characteristic of the works of Lysippos, especially the ‘Scraper’ 
 (aTro^vo/xei'os, destringens se) of the Vatican (cf. Kelcule, Die Gruppe 
 dcs Mcnelaos, p. 36). All the other characteristics of the statue 
 answer to the far-famed elegance of the Sikyonian master : the soft 
 texture of the skin, the large size and the flatness of the feet, 
 and above all the proportions (determined afresh, as is well 
 known, by Lysippos), which in every single measurable portion 
 thereof correspond accurately, mostly to within a centimeter, to those 
 of the tt7ro^o/reros (cf. Arch. Zeit., 1874, p. 25). There can therefore 
 be no doubt that the statue is to be referred to Lysippos or his 
 school. There is also little doubt that it is a creditable copy of a 
 bronze original. In this original, where of course the stem of a tree 
 which serves as a support might be absent, the impression of light- 
 ness and grace must have been much more conspicuous. In the 
 present copy in marble a support was originally placed against the 1. 
 leg, as the small antique fragment of the stem on the 1. calf proves. 
 The remainder of the stem is modern. New also: 1 . forearm from 
 above the elbow. It is highly probable that the arm did not originally 
 lie on the stem of the tree (an arrangement by which the freedom and 
 elasticity of the pose is seriously impaired) but carried a cloak or skin 
 or else some attribute (cf. the similar Llorentine Statue in Clarac, iv. 
 635, 1434). New again, besides many small patches, are the 1 . knee, 
 a piece in front of the r. thigh including the knee, r. arm and the 
 greater part of the club ; the lower part of this, up to about the 
 hollow of the knee, is old, though completely worked over and, now 
 
352 
 
 INCE BLUNDELL HALL 44. 
 
 at least, no longer rounded off at the lower end. As to club and 
 arm the restorer had his way so far indicated with certainty. It 
 is on the other hand open to question whether in the bronze 
 original the club was not in an easier position without resting on the 
 ground, as e.g. in the bronze Herakles of Lysippian character in the 
 Capitoline Museum (Righetti, Campidoglio , 1. PL 35, Clarac, v. 802 
 E, 1969 B) and the bronze statuette of the British Museum (Mus. 
 Marbles , in. PI. 2, Clarac, v. 785, 1966). The club might designate 
 Herakles, were not the slimness and elegance of the figure too great 
 for a youthful Herakles even by Lysippos (cf. Schoene, Griech. Reliefs , 
 PL 27, no. 1 13). There remains then Theseus, his Attic counter- 
 part, who is undoubtedly represented if the head, which is very 
 beautiful, belongs to the statue. New parts of head : nose, lips, 
 chin, a piece of r. brow, on the round so-called Attic helmet the 
 crest and parts of both griffins. The head agrees so admirably with 
 the body in proportions, pose and character that one might regard it 
 as belonging to the statue in spite of the inserted neck and the 
 different colour of the marble. This opinion is shared by the writer 
 of the letterpress of the Specimens , but not by Dallaway, no. 4. 
 Head and body both certainly consist of Pentelic marble, the strata 
 of which in both cases run in the same vertical direction, but on 
 the head it looks like white sugar and is traversed by a few dark 
 micaceous veins ; on the body, on the other hand, it has a bright 
 yellow hue and these veins are but little visible. To be sure the 
 body is to a great extent seriously rubbed and owes its smoother 
 appearance to this fact, while the head, especially the helmet and 
 back of the head, are less affected by rubbing ; and in fact on the 
 parts of the body which are not so thoroughly abraded, the 1. 
 shoulder, the outside of the r. calf and especially on the feet, whereof 
 the surface has suffered much by rain or some such influence, the 
 marble presents quite a similar character to that of the head. 
 Although, then, the original connection of the head cannot be demon- 
 strated with complete certainty, still it is not improbable; less proba- 
 ble would be the supposition that in consideration of the size of the 
 statue the head may have been originally made of a separate piece of 
 marble. The interpretation of the statue as Ares (Dilthey, Rhein, 
 f'al/rb., liii. p. 31) is certainly wrong. Waagen’s depreciatory judg- 
 ment (p. 256) is altogether unjust. Found in Hadrian’s Villa; 
 bought from the Villa d’Este, where it stood in the centre of the 
 saloon. H. 2-035. [*CIV] 
 
 44 (49. P). Statuette of a seated man, a philosopher 
 
INCE BLUNDELL HALL 45 — 48. 
 
 353 
 
 probably. Clarac, v. 846, 2134. Engr., 29. The man enveloped in 
 a wide cloak sits in a quiet and very characteristic attitude in a stone 
 chair, adorned with lions’ heads and feet in front, and moulded with 
 a low back : r. leg far advanced, head supported on the r. hand, 
 in the style of the Spada Aristotle (Visconti, Iconogr. Gr., 1. PI. 20, 2); 
 r. elbow rests on the 1. hand which is laid across it. R. side of 
 upper part of body not covered by cloak. Head inserted and of 
 different marble. It is related to the so-called heads of Diogenes. 
 It is bald, the long beard divided and softly flowing. Expression 
 thoughtful. New: almost whole r. arm, 1 . hand, both feet inclusive 
 of part of legs and drapery, plinth with lower part of chair. 
 “ Bought from Mr Jenkins in 1777; it was the first piece of ancient 
 marble bought for this collection.” H. 0-46. [*J 3 C IV] 
 
 45 (33. P). Group of boy and swan. Clarac, v. 875, 2232 
 B. Engr., 25. A tolerably big boy, quite nude, stands, with head 
 inclined in rather affected fashion towards the r. shoulder, close to 
 a large swan, which stands upright, and is putting a ribbon round 
 its neck. Boy of Thasian marble. New: r. arm, part of legs, nose. 
 Swan only fastened to boy’s body, but of one piece with plinth and 
 lower part of boy’s 1. leg and also his 1. arm : his r. foot being also of 
 same piece as plinth. All this of different marble, yet to all ap- 
 pearance antique, so perhaps an antique restoration. New: swan’s 
 head and neck, and piece of 1. wing ; these parts of another different 
 marble. The group stood in a temple of the Villa d’Este, from 
 whence it was bought. H. 0-70. [*CJV J 
 
 46 (36. T). Statue of a Roman boy. Clarac, v. 877, 2236 
 
 B. Engr ., 27. Enveloped in the toga, doubtless the toga praetexta 
 appropriate to his age, holding with both hands a pet bird to his 
 breast; perhaps it is a duck. New: back of boy’s head, neck and 
 nose (face antique), a small portion of the shoulders, both feet, with 
 corresponding piece of drapery, pedestal, bird’s head and neck. 
 Ordinary work. From the Villa Mattei. H. o’62. [*] 
 
 47 ( 53 )- Statuette of fisherman. Clarac, v. 881, 2243 A. 
 Engr., 28, 2. A fisherman sits on a block of rock in a short working- 
 man’s tunic (e£ wp. A); close to him a basket of fish. New: whole 
 upper part, head, neck, arms, with upper part of breast. H. 043. 
 
 48 (6. T). Statue of a Roman in the toga. Clarac, v. 892, 
 2278 A. Engr., 6 , “Consul, by many called a Cicero.” Mon. Matth., 
 1. 73. An indifferent figure with a toga arranged in not very graceful 
 folds. R. hand holds a corner of the toga before the breast. L. hand 
 holds a roll. By 1 . foot stands the scrinium. The head bears no 
 
'■ 
 
 rp) 
 
 f 1: 
 
 5 6 
 
 
 
 354 
 
 INCE BLUNDELL HALL 49 — 5 2. 
 
 resemblance to Cicero. Hair cut short. Lower part of face recedes. 
 On the nape of the neck a piece of marble has been left projecting. 
 Preservation quite perfect; but the statue is probably modern or at 
 least entirely worked over. H. about 160. [*BW] 
 
 49 (24. G). Statue of a youth (“Marcellus”). Clarac, v. 923, 
 2344 A. Engr., 20, 2. A nude youth stepping forward slightly, with a 
 small cloak which covers 1. shoulder and the hips, and falls down 
 over the 1. forearm. R. arm raised. New : r. leg, lower part of 1. 
 leg, r. arm, 1. forearm with corner of cloak. Head fixed on and 
 scarcely its own (new : nose). Has long hair, and certainly belongs 
 to no Marcellus. Indeed it is doubtful whether it be a portrait at 
 all. Found in some ruins near the Forum of Rome. H. o\S5. [*_Z?] 
 
 50 (G). Portrait Statue (“M. Aurelius”). Clarac, v. 952, 
 
 2446 B. Engr., 35. Youthful figure, rather good, nude except for 
 cloak which covers hips and thighs, and falls down over advanced 
 1. arm. On the modern neck is placed a youthful head crowned 
 with ivy, with budding beard. It is too small for the statue. It is 
 in any case not Marcus Aurelius, but perhaps a portrait of his period. 
 New : r. arm, 1. with shoulder and part of breast, parts of cloak, feet, 
 probably also the lower part of 1. leg. “ It was met with in a sculp- 
 tor’s yard at London ; but how it came or from whence, could not be 
 discovered.” H. 1-83. \*B W\ 
 
 51 (515. G). Statue of the elder Faustina. Clarac, v. 955, 
 
 2458. Engr., 37. The figure is quite enveloped in the long stola 
 and wide palla which also veils the head and entirely covers the r. arm. 
 These parts are of black marble, the feet, 1. hand, head and neck of 
 white marble. The treatment of the hair and the features portray 
 that empress, though the somewhat sunken eyes do not quite suit a 
 woman who died so early. Nose injured. Head certainly antique, 
 so also apparently the rest of the figure. Bought at Lord Cawdor’s 
 sale. H. 170. [*7?] 
 
 52 (7. P). Female draped statue, with the head, it is sup- 
 posed, of Julia Pia. Clarac, v. 965, 2482 A. Engr., 7. Of elegant 
 but not good work, with long drapery and a cloak which covers all 
 the lower part of the body and the r. forearm, as well as the shoulder. 
 The statue has been converted into an Urania by the restoration 
 of both forearms with a globe in the r. hand and a style in the 1. 
 Head including neck put on but not modern. It has only a general 
 resemblance to Julia Pia or to the so-called Crispina of the British 
 Museum (Graeco-Roman Sculpt., no. 34), and displays a beautiful 
 countenance with a slightly aquiline nose somewhat too sharply 
 
1 
 
 f 
 
 INCE BLUNDELL HALL 53 — 59, 
 
 355 
 
 restored at the tip. The arrangement of the hair is not that of 
 Julia Pia. It is worn in artificial waves in front, and gathered up 
 behind into a small plait, a loosened tress of hair falling down about 
 the neck. Beautiful Parian marble. Found in Hadrian’s Villa and 
 bought from the Villa d’Este. H. 1-98. [LZ>£ 7 ] 
 
 53 ( 59 - P)- Female Statuette in the Egyptian style. 
 
 Clarac, v. 987, 2588 A, “Isis.” Engr., 33, 3. A stiff little figure 
 in ungirdled drapery clinging close to the body, both legs and both 
 arms in similarly close connection. The fastening of the drapery 
 leaves the r. breast free. Of basalt. H. 0*43. [*] 
 
 54 (n. S). Statue of a priest of Isis. Clarac, v. 988, 
 2588 B, “ Isis.” Engr., n. Mon. Matth., 1. 87, “ Sabina Augusta.” 
 When in the Villa Mattei the upper part of the body was still without 
 any Egyptian attributes and without the vase, both hands were 
 crossed before the paunch. Hence Winckelmann following the pre- 
 valent opinion of his time took the statue fora “woman far advanced 
 in pregnancy, probably a patroness of women in pregnancy and 
 child-birth,” and assigned it to the oldest Etruscan style ( Gesch . d. 
 Kunst , 111. 2, 12. 22. 3, 5). But the head was modern, the body is 
 decidedly male, and there was a hollow for the vase made in the front 
 of the paunch. Consequently the statue was restored afresh for 
 Blundell under the advice of E. Q. Visconti ( Mus . Pio-Clem., in. p. 
 46 Mil.), founded on a relief ( Mon . Matth., 111. 26, 2. Mus. 
 Chiaram., 1. PI. 2) and a painting {Pitt, di Ercolano , 11. PI. 60). 
 The treatment of the drapery is of affected simplicity. Greek 
 marble. H. 173. [*] 
 
 55 (27. S). Statue of a priestess of Isis. Clarac, v. 991, 
 
 2574 D. Engr., 21, “Isis.” The statue presents altogether the usual 
 treatment of drapery, the cloak fastened together before the breast. 
 New: head and both forearms with sistrum and situla. Mediocre 
 execution. Greek marble. From the Villa Mattei. H. i’o7. [*] 
 
 56 (58. P). Egyptian Statuette, female. Engr., 33, 1. 
 
 Small figure, certainly female, holding the crook before the breast. 
 Of basalt. A counterpart to no. 53. FI. 0-46. [*] 
 
 57 (78). Kynokephalos, in a kind of grey spotted marble, from 
 the Villa Mattei. Engr., 33, 2. Mon. Matth., 11. 68, 1. Cavaceppi, 
 Raccolta, in. 53. 
 
 58 (548). Statue of Egyptian priest, with a broad skirt 
 about the hips. Engr., 40. Red granite. Nearly the size of life. 
 Bought at Lord Mendip’s sale. 
 
 59 (86, in front of the T). A cock. Engr., 43, 1. New: tail 
 
INCE BLUNDELL HALL 60 — 64 . 
 
 356 
 
 and legs. The figure has turned quite green. H. 0-45. Plastic 
 representations of cocks are rare, see Mus. Pio-Clem., vii. 26, 2. [*] 
 
 60 (77). A sparrow-hawk. Engr., 43, 2. On the front of 
 the pedestal there are hieroglyphics. Of black basalt. Found with 
 no. 30 by La Piccola ; bought from the sculptor Gionelli. 
 
 61 (191). Upper part of an Egyptian idol. Engr., 45, 1. 
 The figure wears the calantica and carries the crook before the 
 breast. Small half-length figure in red granite ; found in a well at 
 Trastevere in Rome, when emptied to be cleansed. 
 
 62 (33S and 435. P). A cista mystica, with a snake which 
 has lifted the lid and pushed it a little on to one side and is peeping 
 out. Head and neck of snake new. Also 
 
 Lower parts of the two legs of a statue (colossal scale), 
 probably of Dionysos, with cloak. Engr., 45, 2. The fragment being 
 very heavy and unwieldy in one piece, the cista and the feet were 
 separated ; thus in two separate pieces they are now both in the col- 
 lection. Thasian marble. H. 0-53. L. of cista 0-35. [*] 
 
 63 (545. P). Torso of Aphrodite. Engr., 145, 2. This 
 
 excellent fragment recals the composition and the fulness of form of 
 the Capitoline Venus (cf. the replicas in Stark’s article in the Berichte 
 d. sacks. Gcs. d. IViss., i860, pp. 55 ff. Bernoulli, Aphrodite , pp. 226 
 ff.). It comprises the body from above the navel downwards and the 
 greatest part of the thighs. On the 1 . thigh remains of a junction 
 indicate the vessel with the drapery; a retouched place on the 1. side 
 of the stomach may offer a trace of the forearm. The fragment, found 
 near the Pantheon at Rome, was formerly much admired in the 
 museum of the celebrated Baron Stosch (there is a drawing of it in 
 a volume of drawings once belonging to Stosch in the Grand-Ducal 
 Museum at Brunswick). Afterwards it was reckoned the most 
 valuable piece of sculpture in Lord Bessborough’s collection. Dalla- 
 way, p. 385. Parian marble. H. 04.9. [*£ 7 ] 
 
 63^ (P). Similar torso of Aphrodite. Body from above the 
 navel downwards. It is on a somewhat smaller scale than the last 
 specimen, but more of the legs is preserved, the 1. to just above the 
 knee. Traces of junction of 1 . arm are visible on hip and in front 
 of r. thigh, besides two large relics on the 1 . thigh. Very good work. 
 Parian marble. H. 047. [*] 
 
 64. Statue of a man, seated. Engr., 146, 2. On a lounging 
 chair without arms is seated a man whose legs, back and 1. arm are 
 covered by a cloak, the rest of the upper part of the body is nude. 
 Missing: head, three quarters of lowered r. arm, 1 . hand in the lap 
 
INCE BLUNDELL HALL 65 — 70. 
 
 357 
 
 and the advanced r. foot. There is a hole through the middle of the 
 paunch. “This curious fragment of ancient sculpture was found in the 
 river Thames, in its present mutilated state. It is supposed to have 
 belonged to the Arundel Collection, now at Oxford, and being very 
 unwieldy, to have been lost in the river at the unloading of it, one of 
 that collection being missing. It was frequently bare at low water, 
 and the boatmen finding a heavy stone, got a hole drilled through it, 
 and by fastening a ring to it with melted lead, it served as a moor- 
 ing for their small craft. The ring is taken away; but the hole 
 through the body and the lead remain. The late Mr Banks, sculptor, 
 hearing of it, and finding it a fragment of ancient sculpture, removed 
 it to his yard at a great expense. At his death it was bought for this 
 Collection.” The story is related with a little variation by J. Th. 
 Smith, Nollekens and his times, 11. p. 201. 
 
 65. Statuette of Osiris. Engr., 147, 1. A very small figure 
 of the god seated with a large disk on his head. H. abt. o - i2. 
 
 66. Bronze Statuette of Aphrodite. Engr., 147, 2. 
 Quite nude. L. hand before the breast, r. on the tail of a large 
 dolphin, which is moving away with a Cupid within its coils. H. abt. 
 o°2 1 . The style as given in the engraving conveys a thoroughly 
 modern impression. 
 
 67. Bronze Statuette of “Hygieia.” Engr., 147, 3. Fully 
 clad in chiton, and behind the back with a cloak ; head adorned 
 with a stephane. She holds a cup in lowered r. hand. H. o - 2o. 
 “Said to have been cast in the Cinque cento age.” 
 
 The Account does not notice nos. 64 — 67, but describes the 
 following specimens which are passed over in the Engravings. 
 
 63 (21. S). Statuette of Hygieia. She rests on r. leg; wears 
 the chiton and is quite enveloped by the fine transparent drapery 
 which covers the body and r. thigh and is drawn down from the 1. 
 shoulder to the 1 . hand, but generally clings to the body. New: 
 lowered 1. hand with snake, all the upper part of the body down 
 from the waist, 1 . shoulder, head, r. arm with cup. Bought from 
 Cavaceppi. FI. 077. [*] 
 
 69 (25. S). Statuette of Paris. He stands in repose in chiton 
 and cloak. Pavonazetto marble. Inserted : head and hands of 
 white statuary. Bought from Antonio d’Este. H. 0-85. Whole figure 
 unquestionably modern. [ # ] 
 
 70 (26. S). Similar Statuette. Paris leans on a trunk in 
 chiton and trousers, without Phrygian cap. Near r. foot lies a hound 
 looking up at his master. Put together of the same kinds of marble 
 
358 INCE BLUNDELL HALL 7 1 — 82 . 
 
 as no. 69 and equally modern. Bought like no. 69 from d’Este. H. 
 0-83. [*] 
 
 71 (35. P). Statuette of“Hygieia.” A woman in chiton ; 
 
 cloak fastened on r. shoulder runs down slantwise over breast and 
 covers body as far as below knee. New: both forearms with cup and 
 snake, half lower part of legs, and neck. Head an old Roman por- 
 trait of first century a. d. New: nose. H. 0^7. [*] 
 
 72 (50). Statuette of a Consul seated, with modern head of 
 Trajan. In composition the figure answers to the statue in Petworth, 
 no. 1 5, except that the cushion is less deeply quilted. Found on 
 the Monte Mario and bought from d’Este as a companion to no. 44. 
 
 w 
 
 73 (61). Bronze Statuette of Bacchus, with a vase in one 
 hand, and grapes in the other. Said to be antique. 
 
 74 (72. P). Statuette of a sleeping Cupid. Head supported 
 
 on 1. hand, r. on the torch. A lizard at the feet. Along the top of 
 the crown the head is brushed up into a sort of plait. New: 
 Cupid’s r. foot, lizard’s head. Greek marble. L. o'48. [*] 
 
 75 (79). An Egyptian idol, in form of a bird. Grey basalt. 
 From Egypt. 
 
 76 (80). Figure of Isis, as appears from the drapery usual 
 to her, and from the attitude which the figure stands in, with one 
 foot before the other. It holds to its breast, what appears to be corn, 
 or some kind of fruit. In good preservation; bought out of the 
 Capponi palace. 
 
 77 (85). Tigress lying down ; in a very hard grey spotted 
 granite. Found with two Egyptian vases ( E/igr ., 146, r. 3), in a 
 vineyard near the Porta Portese. 
 
 78 (87. P). A hare ; bought from the Villa d’Este. 
 
 79 (88). A four-legged griffin (“chimera”); bought from 
 the Villa Borioni. 
 
 80 (89). Figure of a soldier, singular on account of his 
 arms and attitude. Bought from the Villa Borioni. 
 
 81 (160. P). Statuette of Diana, in the character of Hecate, 
 
 with a veil behind her, holding a lighted torch in her hand. Antique : 
 only the upper part of the body and almost the whole of the drapery 
 floating in an arch behind the back. New : head and neck, r. fore- 
 arm with torch, 1. with corner of drapery and all the lower part of 
 the statuette. Bought from Cavaceppi. H. o'56. [*] 
 
 82 (517. P). Statue of “Nemesis,” i.e. of Artemis originally. 
 A very long stiff figure, 1. leg slightly advanced. She wears a long 
 
INCE BLUNDELL HALL 83—89. 
 
 359 
 
 chiton, which in front falls down before the legs in two points with 
 zigzag folds. New: lower parts of legs, lowered r. forearm with a 
 staff, r. arm bent upwards before the breast, r. breast and 1. shoulder. 
 Head old (nose new) and worked in a similar stiff style of affected 
 archaism. It had a crown (o-re^aros) on the brow ; still it cannot 
 originally have belonged to this body, because the tresses of hair 
 on the two parts are worked quite differently. Bought at Lord 
 Cawdor’s sale. H. i - 24. [*] 
 
 83 (541. T). Fragment of a Nereid, the legs without the feet 
 covered with drapery, sitting sideways on a hippocampus which is 
 badly restored on the head. Much broken. Decorative work. 
 “Venus sailing on a sea-horse,” bought out of the Bessborough col- 
 lection. Original L. abt. i - oo. [*] 
 
 Busts. 
 
 The Engravings contain the following busts. 
 
 84 (90. T). Hadrian. Engr., 46 (and 55, from a bad drawing). 
 Mon. Matth., xi. 16, 2. A beautiful bust, with paludamentum on r. 
 shoulder; the sword-belt is wanting in the latter drawing. Query, is 
 only the head antique? From the Villa Mattei. 
 
 85 (91. T). Septimius Severus. Engr., 47. Mon. Matth., 11. 
 30, 1. Pupils indicated. From the Villa Mattei. 
 
 86 (92. T). “Otho.” Engr., 48. Mon. Matth., 11. 14, 1. This 
 head encircled by a wreath is explained by Venuti as Elagabalus, 
 by Amaduzzi as Otho. It excites in Bernoulli suspicion of a modern 
 origin. From the Villa Mattei. [A?] 
 
 87 (93. T). “Claudius Albinus.” Engr., 49 (very inac- 
 curate). Mon. Matth., 11. 27, 2. A good bust, wrongly named, 
 although of his period. From the Villa Mattei. [A?] 
 
 88 (94. T). “Cicero:” falsely so called. Engr., 50, 1 (bad). 
 The bust is draped with a toga, and hardly belongs to the head, of 
 which the profile, unfortunately, is mostly new. Still a very interest- 
 ing head : the elderly eyes very vividly represented; abundant hair. 
 Found in some ruins in Rome by an adventurer in canvas, from 
 whom it was bought. [A>] 
 
 89 (97. P). Augustus. Engr., 50, 2 (bad). A good head to 
 which it is doubtful whether the breastplate bust belongs. It por- 
 trays the Emperor as somewhat more youthful than the celebrated 
 Vatican statue from Prima Porta (Mo//, dell ’ Inst., vn. 84). Bought 
 from Volpato, who found it in one of his excavations. [A?] 
 
360 
 
 INCE BLUNDELL HALL 90—99. 
 
 90 (105. P?). “Antoninus Pius.” Engr., 51, x. Judging 
 from the drawing the name is incorrect. Beard slightly curly, 
 hair falling in curls on the brow. The head turned a little r. rests 
 on a nude bust with the junctions of the arms. Found in some 
 ruins near Albano. [A] 
 
 91 (108. T). “Marciana.” Engr ., 51, 2. The hairdress 
 forming a truncated cone constructed of plaits, places the bust in the 
 time of Trajan, but it is not Marciana. Fine Greek marble. Found 
 at Ostia, and bought from Cavaceppi. [A 1 ] 
 
 92 (165. P). Seilenos. Engr., 52, x. The bald-crowned head 
 with an ivy wreath is singularly softly treated, mouth opened. 
 New: 1 . ear, nose, smaller details. Bought from the Capponi 
 palace. [C] 
 
 93 (107. T). “Didia Clara.” Engr., 52,2. Very well pre- 
 served head of the beginning of the third century having the hair 
 arranged nearly like that of the lady whose name it bears. Pupils 
 expressed. Bought from the Villa Borioni. [A] 
 
 94 (130. P). Omphale. Engr., 52, 3, “ Iole.” Female head 
 with mouth slightly opened. The lion’s skin serves as a veil. 
 
 95 (109. P). Portrait of a Roman Lady, with a fillet on the 
 hair and a stephane ornamented with relief work. Engr., 53, 
 “Ariadne” (gives a thoroughly false impression). [A] 
 
 96 (iro. Piet. Gall.). Terminal bust of Dionysos. Engr., 
 54, 1. Youthful with long hair, thick wreath of grapes and broad 
 fillet on brows. The head, especially valued by Blundell on account 
 of its softness, belonged to Gavin Hamilton ; it was bought from 
 Volpato. [*] 
 
 97(126). Terminal bust of Herakles. Engr., 54,2. Bearded, 
 adorned with wreath of vine-leaves and broad fillet. “ There is a 
 peculiar dignity and something inspired in the features. The ears, 
 formed like those of an athlete, stand off from the head. The execu- 
 tion of the flesh parts is careful, while the hair and beard are little 
 more than expressed. Modern : a part of the nose, the bust part 
 almost entirely ; some of the curls are knocked off.” Found on the 
 Lavinian road ; bought from Carlo Albaccini. [ W ] 
 
 98 (549. T). Marcus Aurelius. Engr., 55, 2 (very bad). 
 A good portrait. Bought at Lord Mendip’s sale. [A’] 
 
 99(117. T). “ Scipio.” Engr., 56 (pretty good). Head en- 
 
 tirely bald, without representation of a wound, has a mouth quite 
 different from the usual heads of Scipio (cf. Castle Howard, no. 31), 
 yet has some relation to them. [A] 
 
INCE BLUNDELL HALL IOO— I IO. 36 1 
 
 100 (118. T). “Cicero,” wrongly so called. Engr ., 57, 2. 
 
 This head, also quite bald except for a faint delineation of the roots 
 of the hair by the chisel, equally reminds one of the heads of Scipio 
 even in the wrinkles at the back of the neck, without however being 
 identical with them. Found near Naples, and privately brought to 
 Rome with no. 152. [i?] 
 
 101 (115. P). “Caesar.” Engr., 57, 3, This head, with 
 powerful straight nose and fairly thin cheeks, recals Augustus rather 
 than Caesar, but has the eyes too hollow and hair too thin. Bust 
 completely preserved, but of doubtful genuineness. [i>] 
 
 102 (114. T). “Sappho.” Engr., 58, 1. Spiral curls fall down 
 all round the neck. Found on the Via Praenestina. [i?] 
 
 103 (179). Portrait of a young man. Engr., 58, 2. Beard- 
 less, with earnest expression. 
 
 104(120. P). “Julia.” Engr., 59,1.66, 1. Portrait of a Roman 
 lady of the time of Vespasian. The hair forms a kind of high diadem 
 of curls above the brow, behind it forms a wide mass of plaits. 
 
 I0 5 (171. P, ante-room). The “ Grecian Youth.” Engr., 
 59, 2. An ideal head with hair in long curls, taken up over the 
 ears through a broad fillet. Bought from Cavaceppi. 
 
 io 5 (152. P). Hermes. Engr., 60, 1. This pretty, delicate 
 head represents the god as very youthful, with curly hair and a 
 winged cap. The expression of shrewdness is excellent. New: 
 bust. Bought from the sculptor Boni. [C] 
 
 107 (129). “Flora.” Engr., 60, 2. The head, which is crowned 
 with flowers, is like well-known heads of Muses. It came out of the 
 Villa Negroni, and was bought from Jenkins. 
 
 108 (150. P). Isis. Engr., 60, 3. A good replica of the 
 
 Vatican head ( Mas . Fio-Clem., vi. PI. 17, 2), with a pleasing inclina- 
 tion of the head ; over the brow the lotus-like knot of hair ; otherwise 
 without attributes. New: nose and bust. Found in the ruins of a 
 magnificent villa in the Tennta di Salone (compare no. 30). [C] 
 
 iog (132). The elder Faustina. Engr., 61, 1, “Sabina,” a 
 false description. New: lower part of face, and bust, [i?] 
 
 no (192. P). “ Seneca.” Engr., 61, 2. This beardless head 
 
 with somewhat coarse but not distorted features has nothing in 
 common with the ordinary so-called heads of Seneca (cf. Holkham, 
 no. 36). It belongs to a man about sixty years old; with hair still 
 abundant and fairly smooth, stern look, brow lightly furrowed, mouth 
 somewhat opened and with its corners tending downwards. A cer- 
 tain general similarity in character to such heads as that of Pompey 
 
362 
 
 INCE BLUNDELL HALL III — 1 1 8 . 
 
 in the Spada palace (Visconti, Iconogr. Rom., i. Pl. 5, 1. 2) or of 
 Cicero in Madrid (cf. London, Apsley House) seems to indicate a 
 Roman of the last century of the Republic, a statesman or author. 
 Other replicas of the head are not known. New : nose, 1. eye-ball, 
 part of chin, ears and bust. Of good, somewhat feeble work- 
 manship. [_Z>] 
 
 hi (146. P). Double terminal bust. Engr., 62, 1. A 
 bearded and a youthful head each with a curious round helmet 
 decorated with horns ; before the ears towards the youthful head a 
 ram’s head at each side. This unpleasing specimen (cf. Gerhard, 
 Ant. Bildwerke, PI. 318) aroused no suspicion in Conze’s mind. 
 New: bust. Found in some ruins at Tivoli; bought from Pacetti. 
 
 [C] 
 
 1 12 (226. T). Double terminal bust of a man and a woman, 
 the latter with a raised crown of curls over the brow. Engr., 62, 2. 
 Its present position forbids an accurate examination. Bought from 
 Cavaceppi. [A’] 
 
 1 13 (143. P). Sleeping boy, in a cowl ( cucullus ). Engr., 63, 1, 
 “ Telesphorus.” A most charming head, on a modern bust, probably 
 belonging to a statue such as that given by Clarac, iv. 882, 2247 D. 
 One often comes across similar specimens in museums. Found at 
 Albano; bought from the Borioni Palace. [CIV] 
 
 1x4 (156. Piet. Gall.). Youthful Herakles. Engr., 63, 2. 
 The boyish head with long curls is covered by the lion’s skin. Greek 
 marble. 
 
 115 (151. P). Terminal bust of Homer, small scale. Engr., 
 64, 1. The blind minstrel is represented with bald forehead and 
 a small fillet round his head. Too narrow and high in the pro- 
 portions. Conze describes nose and bust as modern. Bernoulli 
 doubts the genuineness of the whole. [EC] 
 
 xi6 (144. P). Vitellius. Engr., 64, 2 (rather bad). Ber- 
 noulli thinks this little head less suspicious than most other copies. 
 “ Very animatedly conceived and careful.” [B JV] 
 
 1 17 (128. P). Head of a youth, small scale. Engr., 64, 3, 
 “ Hercules.” This little head with a fillet entwined in the hair which 
 seems to designate a victor, recals in expression and style of art 
 the sons of Laokoon : eyes deeply sunk. New: bust, back of head, 
 tip of nose. Found at Lunghezza on the Anio. Cf. no. 163. [C] 
 
 118(145). Portrait of a female. Engr., 65, “Iphigenia.” 
 The head dress is distinguished by an extraordinary abundance of 
 tresses. Bought by Mr Thorpe. 
 
INCE BLUNDELL HALL I IQ — 1 24. 
 
 363 
 
 119 (P). Terminal bust of a woman. Engr., 66, 2, “Isis.” 
 Double row of curls and stephane over the forehead, hair falling far 
 down on the shoulders. New : back of head and bust. [C] 
 
 120 (147. P). Aphrodite. Engr., 66, 3. Pretty little head, 
 inclined sideways, with yearning expression; carefully executed. 
 New: nose, hair for the most part and bust. Found at Lunghezza. 
 Bought from Volpato. [CIV] 
 
 121 (172. P). Poseidon. Engr., 67, 1 (unusually bad). Mon. 
 
 Matth., 11. PL 1,1, “Jupiter Pluvius ” (still worse). The small eyes 
 (eyebrows not indicated) are deep sunk. The forehead more broad 
 than high, very prominent towards the temples, reveals the capacity 
 for wrathful excitement, but the whole effect is noble, and appropriate 
 to the brother of Zeus. The cheeks are somewhat drawn in. The 
 flowing hair falls down a long way behind. The rendering of the 
 madida barba is of particularly good character. New: nose, lips, 
 part of mustaches, hair over forehead with two fishes, which are as 
 yet absent from the engraving in the Mon. Matth., and were there- 
 fore no doubt added by Cavaceppi. Breast and shoulders antique, 
 cut away to make the bust. From the Villa Mattei ; bought from 
 Cavaceppi. H. o - 4o. L. of face about o - 2o. [*£7] 
 
 122 (149. P). “ Commodus.” Engr., 67, 2, “Aelius Caesar.” 
 
 Mon. Matth. 11. PI. 26, 1, “Commodus.” The head resembles that 
 of the Vatican statue in the Braccio nuovo, no. 1 [Mils. Chiaram., 11. 
 PI. 41), the reference whereof to Commodus Bernoulli thinks open to 
 doubt. Pupils indicated. [B] 
 
 12 3 ( I S7- S). Terminal bust of a water-god, colossal scale. 
 
 Engr., 68 (bad). The head of noble design, though of tolerably 
 broad decorative execution, is very effective owing to the tangled 
 hair, erect over the forehead, the opened mouth, and the exaggerated 
 expression of the features. Scales cover the junction of the flowing 
 beard with cheeks and chin. Satyr-like ears indicate the connection 
 of the train of Neptune with that of Bacchus. Brows and pupils not 
 rendered. New : nose, breast with lower part of beard : 1. cheek is 
 patched. Marble with grey spots seems to be from Lower Italy. 
 From the Villa d’Este, where the head is said to have served as an 
 ornament to a fountain, but a water-spout through the mouth has 
 never been perforated. H. of head about o-go from top of fore- 
 head to bottom of beard. W. of head o-6o. H. i - i7. [*JF] 
 
 124 (158. T). “ Claudius,” colossal scale. Engr., 69, 1. The 
 
 head certainly does not represent that emperor. So much renovated 
 that identification is difficult. Found in some ruins near the Pala- 
 
3<54 
 
 INCE BLUNDELL HALL 1 25 — 131. 
 
 tine Hill. This and no. 125 were bought from Ant. d’Este. 
 
 [*] 
 
 125 ( I 59 - T). “ Domitian.” Engr., 69,2. Dimensions, state 
 
 of renovation, seller, same as for no. 124. [i>] 
 
 126 (163. S). Terminal bust of Ammon. Engr., 70. Head 
 encircled with Bacchic fillet has a gloomy indolent expression, and 
 belongs to the class of heads with ram’s horns “ which have never 
 dreamt of Olympus and long for nothing better than license to move 
 in the Bacchic thiasos” (E. Braun, Kunstvorstellungen d. gefliig. 
 Dionysos, p. 5. Jahn, Arch. An/s., p. 82. Lauersforter Phalerae, 
 p. 10, cf. Overbeck, Griech. Kunstmythol., 11. p. 282). Work rather 
 superficial. New: nose, ears, curves of horns, neck, and breast. It 
 was found at Nettuno and once belonged to Cardinal Alex. Albani. 
 It was procured by Cavaceppi in exchange for some other marble, 
 and was bought from him. H. 0-45. L. of face o - i8. 
 
 127 (189. P). Bearded Bacchus, in hieratic style. Engr., 
 
 71, 1, “Jupiter.” As the upper part of the head with the modius 
 and also the bust are new, there remains a crowned Dionysos of 
 stiff, affected style. Guattani found the bust in possession of the 
 sculptors Alessandroni and d’Este and published it with a short 
 notice in his Monumenti Inediti, 1788, Nov., PI. 2. [C] 
 
 128 (336. P). Sun dial. Engr., 71, 2. Guattani, Mon. Incd., 
 
 1787, Apr., PI. 22. Below the cavity a sort of medallion portrait 
 bust is introduced, said to represent Berosos, which certainly 
 belonged originally to the dial ; as in Guattani’s work, neither in the 
 plates nor in the accompanying text is there a trace of this bust to be 
 found, he probably had in mind another copy. The long bearded 
 head is covered with a cap. Found in Palestrina (Praeneste). For 
 other examples, cf. Marquardt, Handb. der rbm. Alterth., v. n. p. 373. 
 (The pedestal with inscription and relief is new ; the latter is taken 
 from the Corsini silver vessel, Winckelmann, Mon. Incd., PI. 151. 
 Michaelis, Das Corsin. Silbergefdss, PI. 1.) [* C ] 
 
 129 (190). Ariadne? Engr. 71, 3, “Juno.” Guattani, Mon. 
 Ined., 17SS, Nov., PL 3; he found the head with no. 127 which it 
 resembles in the studied simplicity of archaistic style. Female head 
 with smooth hair falling down a long way on the forehead and 
 neck and a stephane. 
 
 130, 131 (212, 213). Two tragic masks, colossal scale. 
 Engr., 72, 1. 2. The first is female with long, smooth hair without 
 onkos ; the other female as well with curls at the sides and a thick 
 wreath of flowers entwined by a fillet which comes low down towards 
 
INCE BLUNDELL HALL I 32 — 141. 
 
 365 
 
 the middle of the forehead in garland fashion, and has an end hanging 
 down on each side. From the Villa Negroni ; bought from Jenkins. 
 H. o - 9i. 
 
 132 (3°S)- Mask of a river-god. Engr. 72, 4. Beard and 
 hair in curly waving tresses, scales fringe the cheeks and the upper lip 
 against the beard. 
 
 133 (182. T, in the pediment of the portico). Mask of Medusa, 
 colossal scale. Engr. 73. Mon. Matth., 11. 85, 3. Powerful head 
 with pupils and slightly opened mouth, encircled by abundant hair, 
 with a top-knot on the crown; no snakes. Found in the artichoke 
 grounds of the gardens of the Mattel Villa, whence it was bought. 
 Parian marble. H. about 0-90. 
 
 134 (209). Tragic mask. Engr. 74, 2. Mouth opened 
 wide, pupils very deeply cut, a wig formed of parallel tresses hangs 
 down over the forehead and by both cheeks. From the Villa Altieri. 
 
 H. about ego. 
 
 134# (2x0). Tragic mask, companion to no. 134, from the 
 same villa. 
 
 135 ( 3 °°)- Mask of Medusa. Engr. 75, 1. Snakes are 
 entwined in the hair and surround the cheeks; the mass of wide- 
 spread hair is of so singular a shape that a doubt of the genuineness 
 of the whole or a suspicion of serious renovation is unavoidable. 
 
 136 (211). Comic mask. Engr., 75, 2. The bearded mask 
 has an open mouth and is peculiar for the singular depth to which 
 the brow is drawn down between the eyes. From the Villa Mattei. 
 
 137 (525. l 1 )- “ Sokrates.” Engr., 76, 1 (unsatisfactory, 
 
 over-compressed in the proportions). Certainly not Sokrates, but an 
 unknown philosopher with long beard, with thin hair, hardly more 
 than indicated by scratches with the chisel, so that he appears 
 almost bald. Mustaches cover the whole mouth. Pupils expressed. 
 Purchased at a sale at Mr Christie’s (see on no. 221). [i>] 
 
 138 (229). “Euripides.’’ Engr., 76, 2. Bearded, curly-haired 
 head which has as little to do with Euripides as with Pertinax to 
 whom it has been ascribed by others. The head is not finished. In 
 many places on beard and hair can be still observed the points and 
 chisel-marks which have been left during the working out of the head 
 from the marble. [x5] 
 
 139 (98. T). Vespasian, colossal scale. Engr., 77, 2. Head 
 unfortunately much restored. Bought from Volpato. [i>] 
 
 140, 141 (T). Two heads with long beards. Engr., 77, 
 
 I. 3. Brow lofty, eyes deep sunk, cheeks thin, expression earnest. 
 
3 66 
 
 INCE BLUNDELL HALL 142— 150. 
 
 On the whole the features rather convey the impression of late 
 Roman portraits than of barbarians. “ It is ascertained from good 
 authority [?] that these two ancient heads were taken off Constan- 
 tine’s arch at Rome, and that they belong to statues of some of the 
 kings of the captive slaves on that arch. They were bought at 
 London.” 
 
 142 (not identical with no. 102). Female portrait. Engr ., 
 145, 1, “ Sappho.” The long roll of hair is encircled once behind by 
 a broad fillet. 
 
 143 (164). “ Livia.” Engr., 145, 3. Head with abundant hair 
 and a stephane adorned with relief-work. From the Villa Mattel. 
 
 144 (122). “Julius Caesar.” Engr., 149, 2. The desig- 
 nation is false. On a modern draped bust of white marble stands 
 the red porphyry head with flat, bald crown and large back of 
 head ; nose aquiline. In perfect preservation, but according to 
 Bernoulli probably entirely modern. “Bought in London at a sale of 
 the Duke of Buccleugh’s effects many years ago ” (see Dalkeith). 
 [BW] 
 
 The following busts given in the Account are not represented in 
 the Engravings. 
 
 145 (95)- Apollo. The hair is dressed in a singular manner, 
 forming a kind of diadem. In the features there is a mixture of 
 female grace and softness. 
 
 146 (96). “ Muse,” so called from the chasteness of the drapery. 
 Formerly in the Barberini palace; bought from Cavaceppi. 
 
 147 (104). “ Augustus,” in fine Greek marble. The head was 
 
 found near the Via Appia, and the bust near the tomb of Caecilia 
 Metella. Both of them fitted together so well in all parts, as to 
 be thought to have originally belonged to each other. Found by 
 Volpato, from whom they were bought. 
 
 148 ( 106. S). “ Claudius,” or more likely a portrait not of 
 
 Claudius himself but resembling him. Profile restored. “Found near 
 Lacus Gabinus,” i.e. presumably in Lunghezza (cf. no. 1 1 7 ). 
 
 W 
 
 149 (iii). Terminal bust called Pompeius, small scale. 
 Modern face fixed on to an antique back part of head. [Z?] 
 
 150 (112). “ Cato,” small scale. Flead of an old beardless man 
 with eyes sunk in, a broad tightly -shut mouth and thin hair on fore- 
 head. An affinity in character with the so-called Cato of the Capitol 
 is undeniable. The terminal piece however with the scarcely legible 
 inscription M. CATO does not belong to the head. [A] 
 
INCE BLUNDELL HALL I 5 I, I 52. 
 
 3 67 
 
 15 1 (113). Serapis ; a head of great dignity, with a modius on 
 it. Found in some ruins on the Appian Road. 
 
 152 (116. P). An athlete. Arch. Zeit., 1874, PI. 3. This 
 remarkable head has been already noted by Waagen, who 
 describes it as a Greek production shortly previous to the time of 
 Pheidias, or, if not that, a very good imitation ; Conze has added 
 several particular criticisms. The shape of the skull is unusual. It 
 is long but very narrow, forming a long slope on the top and thence 
 falling off on both sides. With this shape the very high and narrow 
 oval of the face corresponds. Short curly hair, rather carelessly 
 executed above, carefully in front, reaches down to the neck and 
 covers the skull and makes the already very low forehead still 
 narrower. The lower half of the forehead projects a little. The 
 lower line of the forehead is sharp, and underneath it the long narrow 
 eyes lie deep sunk especially as to their inner corners. The lids are 
 sharply worked out, the lower one traversed by a shallow furrow. 
 Nose very long. Space between nose and upper lip narrow, the 
 length being given to the tolerably pointed chin ; this is a genuine 
 archaic trait. The outline of the cheek is sharpened to a correspond- 
 ing oval. The lower part of the face considerably overbalances the 
 upper, if not in width, at least in height. A slight contraction of 
 the brow, creases at the wings of the nose, and a similar line round 
 the mouth give the expression of a somewhat morose character such as 
 in a far higher degree is peculiar to the Farnese Hera {Mon. dell. 
 Inst., viii. PL 1 ). The head would appear not to belong to Attic 
 art, rather to Peloponnesian ; but, compared with the heads of 
 Polykleitos’ Doryphoros (Friederichs, Der Doryphoros de Polyklet , 
 Berlin, 1863), it is more likely an older type. Kekule, however, 
 observes {Kopf des praxitelischen Hermes , p. 12 note 1) that there 
 is a greater similarity between this head and those of Myron ; 
 unfortunately there exist no casts of the Massimi Diskobolos. 
 There is another nearly allied head in Florence, in the Palazzo 
 Riccardi (Dutschke, Antike Bildwerke in Oberitalien , 11. p. 76, no. 
 163). Conze referred to a head in the Louvre, which however 
 according to the engraving given in Froehner’s Les Mus'ces de France 
 (PL 37) shows no great resemblance; cf. also Cavaceppi, Race. 11. 
 PL 2, and Petworth, no. 17. The bruised and swollen ear of the 
 pankratiast comes out a great deal. New : nose, part of r. ear, bust. 
 The dimensions, with which those of the Doryphoros can be com- 
 pared (Kekule, Jahrb. f. Philol ., 1869, pp. 83 f.), are as follows : 
 L. of forehead 0-045, °f nose 0-07, of face 0-18. W. of eyes, inner 
 
368 
 
 INCE BLUNDELL HALL I 53 — 1 64. 
 
 0-03, outer o - o93. L. from nose to chin 0-07. B. between wings of 
 nose o - o33. B. of mouth 0-045. B. from root of nose to ear 0-133. 
 H. of head abt. 0-26. Pentelic marble. Found near Naples, and 
 privately brought to Rome, with no. 100. Bought from Volpato, the 
 engraver. [*CIV] 
 
 153 (119). “Telemachos.” “ Visconti pronounced this to be 
 a head of Telemachus; which he pretends to prove from a medal of 
 Winckelmann’s [ Gesch . de Kunst, pref.], and confirms it by a print 
 from another antique medal of Telemachus, which is singular on 
 account of its having, as this has, a round close-knitted cap.” 
 Bought from Cavaceppi. 
 
 154 (123. T). Augustus. “ It is doubtful whether it be, or be 
 not, a portrait of that Emperor” {Account). Bought from Cavaceppi. 
 Probably identical with a pretty little head of the youthful Octavian, 
 similar in age to the other one from Ostia in the Vatican {Mus. 
 Chiaram., 11. PI. 26), or the Castellani head in the Brit. Museum 
 (Graeco-Roman Sculpt., no. 3. Newton, Castellani collection). New: 
 nose, lips and chin. [A] 
 
 155 { 12 7 - P). Bust of a boy, about 7 years old, with restored 
 snub nose. Good work. [A] 
 
 156 (131). A Satyr. 
 
 157 (133). Hermes, with the petasos. Half life size. The 
 character is delicately conceived, the profile very beautiful, every 
 part, especially the curls, carefully rendered. New : a portion of the 
 throat and bust. Bought from Cavaceppi. [ IV\ 
 
 158 (136). Nero ; a small head. 
 
 159 ( T 37 )- Serapis, with modius ; small alabaster bust. 
 
 160 (139. T). Double terminal bust, probably of the 
 bearded Dionysos and Ariadne. Bought from Cavaceppi. 
 
 161 (140). Satyr, with a grinning countenance and erect ears. 
 Rosso antico. Bought by Mr Thorpe. 
 
 162 (141). “A Grecian priestess,” with hair tied up with 
 a fillet, of serious character. Bought from Cavaceppi. 
 
 163 (142). “ Herakles,” small scale, very like the sons of 
 
 Laokoon. Greek marble. Found at Lunghezza. It seems to be a 
 companion piece to no. 1 1 7. 
 
 164 (148. P). Terminal bust of Sokrates, with name in- 
 scribed on the antique terminal shaft. The lofty bold forehead is 
 rounded in bullet fashion ; the long beard falls down on to the breast 
 in two separate divisions. Nose somewhat higher than usual, re- 
 stored tip not snub enough. [A] 
 
INCE BLUNDELL HALL 165 — -1 76. 
 
 369 
 
 165 (153). Terminal bust of the bearded Dionysos? “A 
 
 Philosopher. Such figures are often called Plato; sometimes Hercules 
 Terminalis.” Rosso antico. 
 
 166 (154). Similar bust, in Giallo antico. 
 
 167 (155). “Juno,” so called from the diadem. In good preser- 
 vation. Greek marble. Bought from Cavaceppi. 
 
 168 (166. T). Homer. Mon. Maith., 11. PI. 9, 4. The poet is 
 blind, with aquiline nose, wearing a narrow fillet on the head, and 
 less advanced in age than most of the portraits of that poet. Accord- 
 ing to Waagen the action of singing is excellently expressed in the 
 mouth. New: nose. Bernoulli is doubtful about the genuineness. 
 [B IV] 
 
 169 (167). Dionysos, bronze. Bought from the Villa Negroni. 
 
 170 (168). Ganymedes, so called on account of the beauty of 
 the figure. Bronze. From the Villa Negroni. 
 
 171(169). Portrait, bronze. Found at Orvieto; belonged to the 
 Negroni collection. 
 
 172 (170). Trajan. Face has suffered much by accidents. 
 
 Bought from Pacetti. Probably identical with a head on a mailed 
 bust in the Picture Gallery, the genuineness of which Bernoulli doubts. 
 For the rest cf. no. 214. [i>] 
 
 1 73 ( 1 73 )- Hera. Bought from Ant. d’Este. 
 
 174 (174). Poseidonios. “Visconti maintains this to be a 
 portrait of P.” (Account.) Visconti does not mention the bust when 
 treating of the portraits of Poseidonios, Iconogr. Grecque, 1. PI. 24. 
 
 175 ( I 7 ^) > “Ariadne.” Has suffered much from the injuries of 
 time. 
 
 176 (177. T). Pompeius. “As soon as Visconti saw this head 
 he declared it to be a testa rarissima di Pompcio Magno; but it seems 
 to have much stronger features than what are visible in the Crreek 
 medals of him.” (Account.) The bust is at any rate allied to the Pom- 
 peius in the Palazzo Spada (Visconti, Iconogr. row., 1. PL 5) and gives 
 the same growth and cut of the hair, and in general the same shape 
 of head; still the lower part of the face is more pointed towards the 
 chin, the eyes less open, the whole character more youthful. (Cf. also 
 no. 110.) Consequently, though the identity of the person is not in- 
 deed barred, still it is not certain. One may for instance very well 
 compare the Menander of the double terminal bust at Bonn (Mon. dell 
 Inst., v. PL 54. Welcker, A He Denlzm., v. PL 3. Kekule, D. akadcm. 
 Kunstmuseum zu Bonn, PL 2, 1). New: nose and bust. Bought from 
 the Villa Borioni. \B ] 
 
 M. C. 
 
 24 
 
3/0 INCE BLUNDELL HALL 1 77 — 1 79. 
 
 J 77 ( I 7^)- A philosopher, with a long beard, called a Dio- 
 genes. 
 
 178 (180. P). Portrait. Arch. Zeit ., 1874, PI. 4. Called Apollo 
 on account of several holes, in which gilded rays were supposed 
 to have been fixed. There can be no doubt that the head is a por- 
 trait, and one not earlier than the time of Lysippos, as is shown 
 especially by the expression of individuality and the treatment of 
 the forehead. The forehead is not particularly high, traversed by two 
 slight furrows and projecting a good deal at the lower part. Be- 
 neath the sharply defined brow-line shrewd eyes glance forth a little 
 askance, framed in sharply cut lids. The lower lid is traversed by a 
 slight furrow, the pupils are slightly expressed. The cheeks form 
 in front a beautiful oval, from the side they seem tolerably broad. 
 Upper lip very delicate, the slightly opened mouth very expressive. 
 Expression of face delicate and spiritual. It is that of a man who 
 notwithstanding his youth has done and suffered much and is aware 
 of his importance. Hair somewhat thrown up above the forehead 
 and falling down on each side in slight curls as far as the ears ; cut 
 fairly short behind. Behind the coronal of curls a slightly twisted 
 narrow riband encircles the hair. Between forehead and riband 
 six deep holes are introduced at regular intervals ; behind the ears 
 against the neck below the riband there are on each side two similar 
 holes, and besides these four smaller holes irregularly placed. These 
 can scarcely point to anything else than the former presence of a 
 large metal wreath, which suggests a victory, or the honour of a crown 
 won in some other way. A general resemblance to Alexander the 
 Great is as unmistakeable as are many divergences, in the hair and 
 in the bent pose of head. The head in Erbach by which Stark (in 
 Bursian’s Jahresbericht , i8J~|, p. 1595) believed the nomenclature of 
 Alexander could be supported is essentially different, as Stark him- 
 self has subsequently conceded ( Zivei Alexanderkopfe , 1879, P- 19). 
 Most probably some distinguished personage of the Alexandrian 
 or the early Hellenistic period. New : nose, under lip and chin, 1. 
 ear, piece of r. cheek near ear, piece of crown of head, neck and 
 bust; however a slight inclination of the head to its own r. seems to 
 be established by an original piece of neck under 1. ear. Injuries 
 on both cheeks. Good, free work, but not delicately executed. 
 Parian marble. L. of face 0-175. 
 
 179 (187). “Alexander,” a bust of open countenance and fine 
 character. Found near the tomb of Caecilia Metella. Bought from 
 Jenkins. 
 
INCE BLUNDELL HALL l8o — 1 95. 
 
 371 
 
 180 (188). “Proserpine,” the head-dress, with a close cap, 
 very singular. Identified as the goddess from the authority of an 
 ancient Sicilian medal. Bought from Cavaceppi. 
 
 181 (193). A small head, called a Venus, in Peperino. 
 
 182, 183 (r94, 195. P). Two boys’ heads, with smooth hair 
 falling on to the face, explained as Gaius and Lucius Caesar. Coarse 
 work. Bought from Jenkins. “They were found at Lunghezza, in 
 some ruins of a magnificent building. The Bacchus and Faun pur- 
 chased by Mr Campbell, were found with these two heads. ..It is not 
 known where they were found.” (Account.) [A] 
 
 184, 185 (196, 197. P, portico). Two Satyr heads, with small 
 horns, laughing; exactly corresponding to the so-called Faun of 
 Winckelmann in Munich. Found in some ruins near the Via Prae- 
 nestina. [*] 
 
 186 (198). “Marcus Aurelius.” Mon. Matth ., 11. PL 21, 2? 
 Represented in his youth, with his first beard. This bust has been 
 much fractured; but the parts are mostly its own. Bought from the 
 Villa Mattei. 
 
 187 (199). A portrait, unknown, of good sculpture. 
 
 188 (200). Aphrodite. “This head once stood on that noted 
 statue of Venus, now in the Chigi palace [with the name of Meno- 
 phantos, Mus. Capitol ., iv. PI. 68. Miiller-Wieseler, 11. 25, 275]. It 
 was a patched-up head by Volpato, but not being adequate in merit 
 to the rest of the statue, another head, more suitable, was found for 
 it.” 
 
 189 ( 201). Faustina. Bought from Cavaceppi. Probably iden- 
 tical with a modern head of the younger Faustina in the Picture 
 Gallery. 
 
 190 (202). “Hestia,” with a veil. 
 
 191 (203). A portrait, bearing a strong resemblance to Mr 
 Thorpe [cf. pp. roo, 334]. 
 
 192 (204). A portrait, of youthful, open countenance. 
 
 193 (205. P). Eros. Head of a statue of Eros stringing his 
 
 bow, of which there are many replicas extant. A pretty, tender head 
 with hair dressed into a plait along the parting of the hair. New: 
 nose, lips, bust. Otherwise in very good preservation. Parian 
 marble. Found at Lunghezza. L. of face o' 165. [*C] 
 
 194 (206). Female portrait, by some called a Venus; has 
 suffered much by time and accidents. 
 
 195 (214). Lion’s head, found in taking down some ruins of 
 the mausoleum of Augustus. Bought from Piranesi. 
 
 24—2 
 
37 2 
 
 1 NCE BLUNDELL HALL 1 96 — 214. 
 
 196(215). “Philippus.” “This head is remarkable for having 
 on the right cheek some Greek letters, denoting it to be a head of 
 Philipp, king of Macedonia, and father of Alexander”! Bought 
 from Cavaceppi. 
 
 197 (216). Satyr, having a cap or pouch on his head. Bought 
 from the Capponi palace. 
 
 ig8, 199 (217, 218). Castor and Pollux. On each of their 
 heads are bronze stars. Found near the Lacus Gabinus [at 
 Lunghezza?], and at the time desired in purchase by Poniatowsky. 
 
 200 (219). Satyr, a small head, remarkably fine. 
 
 201 (220). A portrait, unknown. 
 
 202 (221). Portrait of a boy, with a good open countenance. 
 Perhaps identical with a head, with hair cut quite short, in the 
 Pantheon. [A] 
 
 203 (222). “Mars.” 
 
 204 (223). “Ptolemy,” with a helmet; so called from the 
 likeness to other heads of Ptolemy. 
 
 205 (225). Two lions’ heads, used as key-stones in two arches. 
 Found near the Palatine hill. 
 
 205 a (269. S). Lion’s head, of good sculpture; fixed over the 
 back door of the staircase. 
 
 206 (227). Double terminal bust, female, below life-size, 
 one head of which is named Sappho. Bought from Cavaceppi. 
 
 207 (228). “Vestal virgin,” with a veil. 
 
 208 (230). Terminal head of a Greek poet or philoso- 
 pher. Very like the supposed Hesiodos in the Brit. Mus. (Gr.- 
 Rom. Sculpt., no. 119. Mus. Marbles , 11. PI. 44). The hair stands 
 out round the brow beneath a tolerably thick fillet, somewhat longer 
 before the ears, [i?] 
 
 209(231). “Ariadne.” “ This head has suffered so much from 
 the injuries of time and accidents, that it scarcely deserves that 
 name” ! 
 
 210 (232). A portrait, unknown. Bought from the Villa 
 Borioni. 
 
 21 1 (233). “Ptolemy, so called on account of the helmet, 
 usual to those heads.” 
 
 212 (234). Small head of a boy, in bronze. Bought from 
 the Villa Negroni. 
 
 213 (235). Portrait, unknown, in bronze. 
 
 214 (410. P). Small bust of Q. Aristaeus, with head fixed 
 on, and probably not belonging to it, and the following inscription : 
 
Ujc* , , 
 
 . .. A <e~~ \ ~ ~ . . a. ■«.» _ \( <jP, iWYvft * - ^ "• \ 
 
 ( rv ^4i'. ftWU) ' ^ 
 
 A/^ /V V }•* 
 
 1 % 
 
 V 
 
 INCE BLUNDELL HALL 215—218. 
 
 373 
 
 D. M. | T. F. Qu. Aristaeo | Antesforus domino suo \ benenierenti de 
 suo | unaginem consacravit. (Genuine?) [ 7 ?] 
 
 215 (522). “Trajan,” “represented in his military habit. Both 
 
 the head and chest seem to have suffered by time and accidents. 
 Bought at Lord Cawdor’s sale.” Presumably identical with the head 
 of an older thin Roman, in the kitchen ; hair as with Trajan 
 combed on to the face, but the proportions of the head more lofty than 
 with that Emperor. For the rest cf. no. 172. [T?] Waagen, p. 246, 
 
 notices in the hall a “Bust of Trajan, of animated conception, but 
 moderate workmanship; the point of the nose, upper lip, bones round 
 the eyes, and a part of the ears, are new.” 
 
 216 and 216 a (542. P. T). Two porphyry heads, on 
 mailed busts of coloured marble, executed as pendants. By no means 
 “Marius and Sulla,” but emperors or generals. Ridge of each nose 
 broad and depressed. Hair short, not polished. From the Bess- 
 borough collection, [i?] 
 
 217(552). Caracalla. Bought at Lord Mendip’s sale. Seems 
 to be modern. [i>] 
 
 The following busts cannot be identified with those enumerated 
 in the Account. 
 
 217 a (T). Beardless Roman, with gloomy look. Hair lying 
 towards the front and cut off short over the forehead. [i>] 
 
 217 b (T). Otho, on a bust in one piece with the head, with a 
 sword belt. Outline of head flat at top and falling towards forehead: 
 hair combed in this same direction forming waves round forehead. 
 Profile quite straight. New: the powerful nose. The head seems to 
 agree with that of the Vatican ( Sala dei busti, no. 277 [31 1]). [i>] 
 
 217 r(T). Plead of Philippus Junior (?), colossal scale. New: 
 1. side. [Z-’j 
 
 217 d (G). Portrait of a Roman, unknown, with smooth shaven 
 head, large nose and mouth. Very animated. [i>] 
 
 217 e (G). Seneca, so called, of the usual type (cf. Holkham, 
 no. 36), bronze. Antique? [i?] 
 
 Under sundry tables in the ante-room of the Pantheon as one 
 comes from the Picture Gallery stand seven busts, and among them : 
 
 217 f Beardless old man, with hair like a wig and restored, 
 coarse nose. [ 7 ?] 
 
 Reliefs. 
 
 The Engravings contain the following specimens. 
 
 218 (S). Let into a tall pillar are two figures in high relief, 
 
374 
 
 INCE BLUNDELL HALL 219— 221. 
 
 sawn out of one relief, Engr., 27. (a) Youth stepping r., enveloped 
 in cloak which leaves r. arm and breast free. L. hand laid on cloak, 
 r. advanced ; forearm and roll restored, as also feet and ground. 
 (/>) Woman dancing 1., enveloped so 'thoroughly in a wide cloak 
 that only face and feet are visible: r. arm lowered, 1. supported on 
 the side. It is a beautiful figure and proportionately popular, being 
 repeated both in terra cotta statuettes and marble reliefs {Ann. 
 dell ’ Inst., 1863, PI. L. x, Cod. Pigh., no. 99 Jahn = Cod. Coburg., 
 no. 77 Matz). — Both figures are prettily and freshly treated. H. 0*41. 
 Relief raised from field o'c6. Pentelic marble. [*] 
 
 219 (207). Tragic mask, Engr., 72, 3. Corner of lid of a sar- 
 cophagus. An actual mouth is visible through the cavity of the 
 opened mouth of the mask. (Antique?) 
 
 219 a (208). Fellow mask from same sarcophagus. 
 
 220. Front of a cinerary urn, as it seems. Engr., 74, 1. 
 Large wreath, into the space enclosed by which a Medusa head 
 furnished with snakes and wings is introduced to avert evil influence 
 
 ( d-rrOTpOTTCUOV ). 
 
 221 (523. P). Front of a sarcophagus, “The Winds.” 
 Engr., 78. Somewhat 1. of the middle of the relief the Sun-god sits 
 on a rock, quite nude but for a cloak which covers breast, 1. forearm 
 and part of 1. thigh ; he rests 1. arm on the rock, holding the r. 
 before the breast (forearm with staff restored). Head, with long 
 curly hair and antique attachments for a (restored) coronal of rays, 
 is put on, but is apparently original. At the feet of the god lies 
 a bearded Water-god of lesser stature, his lower parts cloaked, 
 leaning on his r. arm, holding a snake (?) in his lap with 1. hand ; 
 probably Okeanos. Behind the Sun-god 1. follow the four Seasons 
 in female form (cf. Ovid, Met., 11. 23 ff). First comes Spring in 
 chiton and cloak, with long curls, r. breast bared, r. arm raised, 
 holding in 1. arm a large stalk of flowers (head and r. hand 
 missing). Then comes Summer, sitting averted, with nude body, 
 the cloak covering the legs, back, and 1. arm, on which the figure 
 is supported ; with the 1. hand she holds in her lap a bunch of 
 ears of corn. New: lowered r. forearm, also the head, which is now 
 turned towards the Sun-god. At her feet lie an ox and a sheep 
 (head missing). Behind Summer stands Autumn fully draped (head 
 not her own); in her 1. arm a branch laden with clusters of grapes. 
 New : almost all raised r. arm. The figure of Winter brings up the 
 rear, entirely enveloped by the wide cloak which even covers the 
 head, and allows the long chiton to be seen beneath. Face much 
 
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INCE BLUNDELL HALL 221. 
 
 375 
 
 mutilated. R. arm is hidden under cloak, in 1. she holds a stalk of 
 reeds. The suite of the Sun-god is completed by a female figure on 
 his 1., which occupies about the middle of the relief. She wears a 
 chiton, which is slipping down from the 1. shoulder, and a cloak ; the 
 restorer has treated the r. forearm as raising a large corner of the cloak 
 (still absent in the Engravings ), without it being said whether this 
 restoration was indicated by the remnants. As the head is also new 
 and there are no attributes, the identification of the figure is uncer- 
 tain. (“ Isis,” according to the explanation in the Engravings.) R. 
 half of relief occupied by chariot and four fiery horses of Sun -god, 
 the latter each held at the bridle by a man who is about to look after 
 the harnessing. Outside of chariot adorned with reliefs : a Victory 
 hurries 1. with raised r. arm, and behind her lies a female with her 
 upper part nude resting her head on the r. arm (a local goddess). Of 
 the four grooms the first, third, and fourth are. of Herculean frame, 
 bearded and long-haired, quite nude but for a skin which is thrown 
 over the advanced 1. forearm ; the first and fourth moreover carry a 
 club on the arm ; as for the third the club is restored, presumably cor- 
 rectly. Their heads are connected with the background of the relief 
 by supports ; there is, however, no certain trace of wings. On the 
 other hand, the second groom, who is for the most part hidden by 
 the horses, is furnished with conspicuous wings on his head; he is 
 beardless and youthful, and would be taken for Hermes if the curly 
 hair did not fall down in such abundance on his neck. On men and 
 horses are sundry renovations, but nothing to affect their purport. 
 
 ( According to Visconti’s explanation in the Engravings and in Mus. 
 Pio- Clem. , vi. p. 45 note, Mil., these “four figures of men with 
 wings on their heads ” are called the Winds ; with regard to which 
 Matz cites the opening of a hymn to Helios : ’Aepoc/jomjrw dveguDv 
 irrogo v/xeros avpais, "lLVie -gpvaoKofxa k.t.X., cf. Miller, Melanges de 
 litter, grecque , p. 442, Dilthey, Rhein. Mus., xxvii. p. 405 f.) Quite 
 at the r. end is Tellus lying on the ground, with upper part nude, 
 legs and abdomen enveloped in cloak, r. hand lying on a cornucopiae 
 from which ears of corn hang down. The subject is bounded on 
 both sides by thin Corinthian columns, between which a tapestry is 
 stretched over the whole background to indicate the interior of the 
 palace of Helios, the regia Solis. Greek granular marble. Relief 
 mostly very high, so that the several figures stand out almost to 
 full rounding; only the youthful groom and Tellus are in low re- 
 lief. “The history of this bas-relief is rather curious. It was 
 found at Tivoli. There it was placed in a niche, to ornament a 
 
s;6 
 
 INCE BLUNDELL HALL 222 — 224. 
 
 fountain in the garden of the Villa d’Este, from whence it was 
 bought, 1790. By the continual lapse of tartarizing water, from the 
 Anio, over it for many years, it was so incrustated that it appeared 
 no better than an irregular surface, a single figure on the left hand 
 being the only one distinguishable. When it was brought to Rome, 
 and cleared of the incrustation, it turned out a very curious poetical 
 subject, and was so much admired, that the Pope Pius VI. expressed 
 a wish of its not being taken from Rome, which was a kind of pro- 
 hibition. In consequence of that wish it was presented to his Holi- 
 ness [see Visconti, Museo Pio-Clem ., vi. p. 45], and in return several 
 handsome presents were made. The Pope was so partial to it, as to 
 keep it in his private apartments ; yet, strange to tell ! this identical 
 bas-relief, a very few years after, was brought to Liverpool on sale, 
 with forty-five cases of marbles, tables, &c., all pillage and plunder out 
 of the Pope’s palace by the French. These cases, consigned from 
 Italy to a merchant in London, whose agent had purchased them 
 from a Frenchman, with the ship, had been taken and retaken in the 
 passage four times, and at last brought to Liverpool, where the cases 
 being opened, and not meeting with sale, they were re-shipped for 
 London, and sold by Mr Christie, in May 1800, when Mr Blundell 
 gave 260 guineas to obtain again this bas-relief, which did not cost 
 him ten pounds, when bought out of the Villa d’Este ” ( Account ). 
 To the same purchase belong nos. 137, 393, 412 and four mosaic 
 tables (Account, nos. 526, 527). L. 2 - o. H. 0-63. [AfW; the latter 
 erroneously calls to mind the story of Phaethon.] 
 
 222 (186). Sepulchral monument. Engr. , 78, 2. Five 
 portraits in high relief shown as far as the waist, (a) A woman, 1. arm 
 round shoulder of ( b ) a boy with the bulla on his neck; (c) a man; 
 (d) a girl round whose neck again ( e ) a woman is laying her r. arm ; 
 c has a little bird in either hand, a in the r., d in the 1. ; two others 
 are flying in symmetrical positions close to r’s head. Inscription 
 illegible. Bought from the Villa Borioni. 
 
 223 (240. G). Front of a child’s sarcophagus. Engr., 
 79, 1. Two winged youths floating, with cloaks, hold symmetrically 
 the medallion ( clupeus ) with portrait of a boy. Beneath, two horns 
 of plenty with fruits, crossed, and on each side a panther lying 
 down with a bunch of grapes in its fore-paws. At each end stands a 
 winged boy playing on a syrinx, the burning torch turned towards 
 the ground. L. half beginning from the medallion, now missing 
 (once restored ?). Extremely coarse. [M] 
 
 224 (249. S). Slab of a sarcophagus. Engr., 79, 2. A 
 
INCE BLUNDELL HALL 225 — 229. 
 
 377 
 
 vase filled with fruits, grasped by the handle on either side by a 
 winged youth who lies down, representing a season, with a bundle of 
 ears of corn on the arm. New : in great part r. arm of 1 . figure and 
 its ears of corn. Bad work. L. 078. H. C23. [d/] 
 
 22 5 (332. G). Lid of a sarcophagus. Engr ., 79, 3. On a 
 lion’s skin lie two wreathed Bacchic masks, the one bearded, the 
 other youthful : close to the latter stands a vase on a pedestal. The 
 youthful Bacchus lies r., with wreath, half wrapped in cloak; r. arm 
 lies on his head, in 1 . rests the thyrsos. A nude Satyr with thyrsos 
 and syrinx lies 1 . At each corner a bearded mask of a Pan with 
 brutish ears hanging down considerably. [M ] 
 
 226 (41 1). Sepulchral monument. Engr., 80, 1. Three 
 portrait busts with inscriptions. Quite 1 . a beardless man ( C . Efcl- 
 vius E[crmes \ patronus) pointing with r. hand to a curly-headed man, 
 also beardless, the founder of the monument (Asclepiades | lib. fecit), 
 who stretches out r. hand to his wife, a lady with artistic coiffure 
 ( Arronia Restituta | coniunx Asclepia[dis\). Apparently of Trajan’s 
 time. The patron’s pupils are expressed. 
 
 22 7 (331- Pj pediment of portico). Sepulchral monument. 
 Engr., 80, 3. Four portraits close to each other, cut out in bust 
 fashion, (a) Man with beard cut short, ( b ) woman with Plotina’s 
 coiffure, (c) older beardless man, ( d ) woman with hair dressed in 
 Marciana’s style. Time of Hadrian. No pupils. [*] 
 
 228 (S). Sarcophagus. Engr., 81. In front in the middle 
 a slab with the modern inscription D. M. Portiae Iustae \ C. Octavius 
 Firmus (borrowed from Mon. Matth., hi. 54, 1). On each side of 
 this a garland hung on bulls’ heads, in the semicircular fold thereof 
 a bacchic mask, 1 . of a Satyr, r. of a Seilenos. Beneath, four panthers 
 lying down, the two in the middle symmetrically grouped round 
 a basket of fruits. On each of the ends a garland. On the lid 
 wreaths of foliage and at each corner a tragic mask. Bought at the 
 Duke of St Albans’ sale. [ M ] 
 
 229 (341. G). Large oval sarcophagus, seriously renovated. 
 Engr., 82. A man clad in toga in the middle is modern, except the 
 legs from the knees downwards and the lower half of the bundle of 
 books near his 1 . foot. Next him stands a man with short hair, simi- 
 larly clad, in 1. hand a roll with the name canteni | vs (pupils ex- 
 pressed). Then comes a low quadrangular pillar on which stands 
 a square box shut ; above this a bearded attendant is visible in the 
 loose tunic (e£ oj/xis) supported on a staff and with head lying on 
 1 . hand. Near r. leg of principal figure stands a child (new: head) 
 
378 
 
 INCE BLUNDELL HALL 230 — 232. 
 
 with girdled drapery and boots, holding a semi-cylindrical chest 
 before his breast ; next a fully-draped matron (new : head, 1. shoulder 
 and hand), most likely the wife of the principal figure, with a roll in 
 r. hand on which the letters emilianvs are preserved, but anvs is 
 inscribed on a joined-on piece (probably modern). Quite 1 ., next to 
 an olive tree, stands a matron in ungirdled stola, cloak over head and 
 back, both arms raised with outspread hands (attendant ?) ; near her 
 a sheep. Both wreaths near head of principal figure are new. On 
 either side, where the rounding of the sarcophagus begins, a powerful 
 lion, with head in high relief, is throttling a horse which it has thrown 
 on the ground ; a half-moon, an ornament serving for an amulet (cf. 
 Jahn, Berichtc d. sdc/is. Gcs. d. Wiss., 1855, p. 42) hangs round the 
 horse’s neck. Behind each of the lions a beardless man in a tunic 
 with short sleeves, with one hand lying on his head while the other 
 holds a curved trumpet, which the man blows. Of the fourth cen- 
 tury. L. 1 "95. H. 0-91. \M ] 
 
 230(372). Quadrangular cinerarium. Engr., 83,1. Two 
 bearded masks with ram’s horns holding a garland of fruit, in the 
 semicircular field of which, above two birds pecking, is the tablet for 
 the inscription. Below at each of the cornel's is an eagle and another 
 smaller bird. The inscription D. M. Acellio , &c., was not yet exist- 
 ing when the urn was in the Villa Mattei {Mon. Matth., in. 71, 6); 
 no more were the lid with a wreath on it and the youthful masks at 
 the corners. 
 
 231; (365). Quadrangular cinerarium. Engr ., 83, 2. Mon. 
 Matth ., in. 58, 3. On either side an Ionic column with spiral fluting. 
 In the middle the tablet, with the inscription D. M. Sestilia D (i.e. 
 Sestiliae) l{iberta ) Secunda ; over it two birds pecking from a basket 
 of fruit, on each side a burning torch, beneath a pediment and a 
 wreath (?). Lid, in pediment whereof pecking birds are seen round 
 a basket, not yet to be seen in Mon. Matth. 
 
 232 (342). Oval Sarcophagus. Engr., 83, 3. The field for 
 relief work is divided into five compartments by six columns with 
 spiral flutings. In the middle a pair of folding doors with lions’ 
 heads (without rings) ; one of the folding doors is somewhat open. 
 In each of the two nearest compartments, a bearded man in tunic, 
 pallium, and shoes, stretches out one hand towards the door of the 
 sepulchre ; the one to the r. seems to be carrying something in his 
 hand, the one to the 1 . wears a bulla on his neck. In each of the 
 remaining compartments is a woman blowing the flute, on the 1. with 
 a head-cloth and the cloak gathered into a skirt about the hips; on the 
 
INCE BLUNDELL HALL 233—238. 
 
 379 
 
 r. with long curls and clad merely in the stola. They are the neces- 
 sary accessories of a funeral celebration. The roof-shaped lid is 
 furnished at its edge with masks, two bearded, four beardless, as 
 coping tiles (i)y e/roves, personae)-, only the third line of the four- 
 lined inscription, hie situs est, is still clearly intelligible. The unusual 
 ornaments on this sarcophagus caused some difficulty in getting 
 permission to take it out of Rome. L. i - o. [M] 
 
 233 (343). Child’s sarcophagus. Engr., 84, 1. In the 
 middle the portrait bust of a boy framed in thick rolled ribbons. On 
 either side stands a winged boy with chlamys, the one on the 1. with 
 a branch of blossoms in his r. arm and a small fillet (v-n-odv/x is) in 
 1. hand between two flowers shooting up from the ground; that on 
 the r. with ears of corn in r. hand and a sickle on 1. arm between a 
 basket with ears of corn standing on the ground and some growing 
 corn. These two representations of spring and autumn stand for the 
 full round of seasons which are so popular on sarcophagi. On either 
 side a Dioskuros clad in chlamys, with pointed hat and spear each 
 leading by the bridle a plunging horse ; these figures encroach some- 
 what on the sides of the sarcophagus. On the lid two Cupids 
 riding on dolphins from each side up to a trident which occupies the 
 middle. At each end a tragic mask. L. 0-84. LI. of sarcophagus 
 0-32, of lid o'ii. Bought from Cavaceppi. [M] 
 
 234 (355). Quadrangular cinerarium. Engr., 84, 2. From 
 two masks hangs a festoon which frames the field for the inscription 
 D. M. | Pholoe vernae \ bene merenti \ Rasinia Glypte f( ecit ). | vixit 
 ann. XVI. d. VII. Beneath each mask a bird. 
 
 235 (397). Quadrangular cinerarium. Engr. ^84, 3 = 143, 
 r. 2. Shaped like an edifice built of square stones, with the inscrip- 
 tion D. M. | lappiae Primae f(iliae) | vix. a. XX XX I II, which being 
 copied from a different urn (Mon. Matth., in. 68, 1) is evidently 
 modern. 
 
 2 36 (354)- Quadrangular cinerarium. Engr., 84, 3. Un- 
 important ornaments surround the tablet with the inscription D. M. | 
 ClaudI Rufi | v(ixit) a. XXX di. II. 
 
 2 37 (407)- Quadrangular cinerarium. Engr., 85. Within 
 a rich border of wreaths of foliage is the table with the inscription 
 Dils Manibus \ Iuniae M. f Marccllae | quae vixit ann. XX \ sancte\ 
 Iunia Iuniae l. Privata | patronae pilssimae \ b. in. de suo. Beneath 
 an altar of incense (dvfxiarijpLov), entwined by garlands with two 
 Cupids ; over each garland an owl. 
 
 238 (4°8)- Cippus. Engr., 86. The inscription reads D. 
 
3§o 
 
 INCE BLUNDELL HALL 239—243. 
 
 M. | T. Aurelia Man\suetino eq{uiti) singfulari ) | Aug(usli) tur(ma) 
 Lucania\na , nat(ione) Noriats, | vixlfi ) au(nis) XXV \ mil(itavit) \ 
 annis VII. \ P. Aelius Lucanus centurio | legtfonis ) VII Clfaudiae) 
 her(es) fadfendum) cur{avif). Below, the dead man in short coat 
 with spear, going behind a horse with long saddle-cloth, which he 
 leads by the bridle. Below, two boys bearing a garland, in the 
 semicircular field thereof a Medusa’s head. 
 
 239 (409). Gravestone. Engr., 87, 1. Girl lying on bed 
 fully draped, close to her a pet dog; next stands a Cupid offering her 
 a wreath. In lower part of field a low table with two vessels (?), 
 and the inscription Valeria M. f. Prlsca , | vlxit delicatissima an?i. 
 XX III ] mater jiliae fecit. 
 
 240 (376). Double cinerarium. Engr., 87, 2. 3. Two swans 
 standing each on a balaustium hold at the corners two festoons laden 
 with fruit, which are being grasped in the middle by an eagle. Eight 
 smaller birds disposed symmetrically. On the tablet to the 1 . is 
 Claudiae Aug. 1 . \ Quietae, \ hie sit a est, on that to the r. Ti. Claudius 
 Qulr(ina) | Plolo filio , [ situs est. (The inscriptions are presumably 
 spurious.) On the sides a garland held by the swan and a bearded 
 mask with ram’s horns; below the latter, an eagle; inside the garland, 
 a swan. On the lid a wreath and unimportant ornaments. From 
 the Villa Mattei {Mon. Matth., 11. p. 131). 
 
 241 (237. P). “Candelabrum.” Engr., 88, x. 2. Mon. Matth., 
 
 ir. 75, 76, where however the lowest part and the top piece are still 
 wanting. A baroque enough composition of akanthos flowers and 
 grapes, bordered on one side by a youthful tragic mask crowned 
 with ivy, on the other by a Seilenos mask with a wreath. The utensil 
 seems antique, though seriously renovated. From the Villa Mattei. 
 H. 0-78. [*] 
 
 242 (289). Side of a cinerarium. Engr., 88, 3. Medusa’s 
 head above a rich garland of fruit. 
 
 243 (238. G). Lid of a sarcophagus. Engr., 89, 1. Bacchic 
 
 figures, seven lying down, one kneeling; on the 1. three half-draped 
 Maenads, first two rvith thyrsos, the third glancing round after a 
 youthful Satyr who holds a syrinx (?) in his r. hand. Then comes 
 a bald-headed long-bearded Seilenos lying on his belly, with a cup 
 in his 1. hand, into whose mouth a kneeling female is about to pour 
 wine from a drinking horn ( pvrov ). To the r. a half-draped woman 
 lying opposite a nude Satyr, who holds a goblet and a cup in his 
 hands. Elegant sculpture. I.. 1 • 1 5. PI. 0U15. Procured at 
 
 Rome by Mr Thorpe, in exchange for a microscope. [*M] 
 
INCE BLUNDELL HALL 244 — 246. 
 
 381 
 
 244 (246). Lid of a sarcophagus. Engr., 89, 2. Hunting 
 
 scene. From the 1. three attendants carry on their shoulders a 
 mighty net rolled up, the two hinder men carry stakes, the foremost 
 leads a large baying hound in leash. Before them goes a bearded 
 man with a stake, the master or an overseer, and seems to beckon 
 them on. Then follows a double fence with nets stretched round it, 
 therein are 1. two boars, r. two stags with heads reaching out over net. 
 R., a figure similar to that of the overseer; face rubbed away. At 
 either end a wall. L. 2 '05. H. C23. [A/] 
 
 245 (404. S). Lid of a sarcophagus. Engr., 89, 3. The 
 Seasons. In the middle a tablet with the inscription D. M. | L. 
 Aurdil Aitfidi \ M. f. (i.e. perhaps Aufidi\ani as Wilmanns conjectures), 
 vixit annis \ septuaginta. On either side a mask. In the two fields 
 thus bounded lie four winged boys as representatives of the seasons 
 with a small winged boy each as companion. L. : Summer, upper part 
 nude, with a sickle (?) on r. arm, 1. hand resting on a basket full of 
 ears of corn, which the smaller boy holds; opposite is Spring, partly 
 restored, with a basket of flowers (?), and on 1. arm a shoot full of 
 leaves. R. : Autumn in half-loosened tunic, a shoot with vine-leaves 
 on r. arm, and with a basket full of fruits; opposite is Winter with 
 sleeved tunic, cloak and Phrygian cap, likewise with fruit in his basket, 
 and a stalk of reeds on his 1. arm. Rough work. L. 2 '07. H. o - 2i. 
 
 w\ 
 
 246 (239. P). Front of a sarcophagus. Engr., 90. L. end of a 
 Kalydonian boar-hunt (not given in Matz, Ann. delP Inst., 1869, p. 76). 
 In background rich foliage-work indicates a forest. Quite 1. a youth 
 with chlamys and spear; next a second youth with sword on arm 
 leading a horse by bridle. Before him a youth in the usual attitude of 
 Meleagros, nude but for a small chlamys over 1. shoulder and boots, 
 hastening forward with brandished spear (spear, 1. hand and r. arm 
 correctly restored) ; between his legs a hound. Before him a youth 
 in chlamys, the sword in 1. hand, once probably brandishing a stone 
 with r. hand (new : head and r. forearm). Further r. a mounted man 
 in tunic and chlamys, treated as principal figure, pretty extensively 
 restored; a hound at his feet. Underneath the horse lies a wounded 
 man (Ankaeos), nude, lifting cloak with 1. hand (cf. Zoega, Bassir., 
 PI. 51); near him a figure with short drapery, apparently female 
 (Atalante) with bow ; lastly remains of a youth in background, the 
 greater part of whom together with the rest of the relief is restored. 
 Probably the boar came here. Below the relief a rich decoration of 
 foliage. The sarcophagus in its whole character recalls the I lip- 
 
382 
 
 INCE BLUNDELL HALL 247 — 249. 
 
 polytos sarcophagus of the Campana collection, now at St Petersburg 
 {Mon. deir Inst ., vi. 1 — 3), and that at Girgenti. Bought from the 
 Villa Borioni. [ 'Ll/] 
 
 247 (241. S). Front of a child’s sarcophagus. Engr., 91, 1. 
 Cupid’s chariot-race. Four bigae, moving r. Under second pair of 
 horses a Cupid lies on the ground, while another on a single horse 
 rides close by; horses of third chariot in confusion, the driver 
 stoops over them. R. and 1. in background very flat indications of 
 an architectural design. Rough work, apparently not finished. [M] 
 
 [247 a (248. S). Lid of a sarcophagus. Engr., 91, 2. Boys 
 playing at nuts and ball. Modern copy, as Account states and as 
 Brunn also, Ann. dell Inst., 1857, p. 142, correctly recognised, of a sar- 
 cophagus in the Mattei collection {Mon. Matth., in. 36, 1, Annati, l. 
 cit., PL BC). Pentelic marble. L. 0-67. H. 0-23. [*MIV]] 
 
 248 (242. S). Birth of Dionysos. Engr., 92, 1 (reversed 
 copy), “Birth of Hercules.” The latter interpretation rests on Vis- 
 conti’s explanation of the very similar relief, Mus. Pio-Clcm., iv. PI. 
 37, which however is very doubtful (cf. Zoega in Welcker’s Zcitschrift 
 f. alte Kunst, p. 402); it is rather to be corrected by our relief, the 
 interpretation of which is supported by the companion piece no. 249. 
 Semele lies on a bed, with closed eyes, the nude arms hanging down 
 limp, no mere newly-delivered woman but a corpse. Near her a 
 vessel perhaps meant for a bath. Behind the bed three females 
 busied with the new-born Dionysos. The middle one holds him in 
 her arms, a second on the 1. lays her hands on him protectingly, 
 the third on the r. shows by a gesture her astonishment at the 
 babe. Behind her, quite at r. end, Hermes enters with winged 
 petasos and caduceus to carry away the babe and bring him to his 
 father Zeus (cf. the relief in the Pio-Clementine Museum and Ste- 
 phani, Compte-Rcndu, 1861, pp. n ff., Muller-Wieseler, 11. 34, 392). 
 In the background a tapestry hangs up to indicate the interior of the 
 chamber. Quite 1. in the front at foot end of bed a woman hurries 
 out, richly draped in chiton and cloak with diadem on forehead 
 (c TT((j)avr ) ), looking back at Semele with a proud, scornful expression ; 
 no doubt Hera, who triumphs over the death of her rival. Her 
 raised r. arm with the whole 1. end of the relief has been cut off and 
 entirely lost. The companion piece is the following : 
 
 249 (243. S). Triumph of Dionysos. Engr., 92, 2, “Triumph 
 of Ariadne.” In this also a curtain hangs up in the background. 
 From the 1. comes Dionysos, standing on a chariot, with long curls 
 and wreath, in long sleeved chiton with fawn-skin girt over it slant- 
 
INCE BLUNDELL HALL 250 — 253. 
 
 383 
 
 wise, stout thyrsos on r. arm. Holding reins in 1 . hand he drives the 
 two lionesses or panthers which draw the chariot. By the god stand- 
 ing on the chariot a young Satyr with thyrsos and the winged Nikb 
 with palm branch. Near the chariot a Maenad moves r. with thyrsos 
 and tambourine (tvij.tto.vov) ; 1. three female companions, of whom the 
 first, next the chariot, plays on the double flute, the second shakes 
 what are probably castanets (KporaXa) or cymbals, the third seems to 
 carry a cista with phallus. Before them goes the goat-legged Pan 
 with pedum. Remains of at least one more female figure are still 
 distinctly preserved; r. end of relief totally lost. Upper r. corner has 
 been broken off but is genuine. Both pieces, nos. 248 and 249, are 
 remains of larger compositions. They are now 0^64 high, 0^57 
 broad. Composition generally very noteworthy, and in some par- 
 ticulars excellent, though not of specially good execution. Bought 
 from the Capponi palace. [*CMW\ 
 
 250 (245. S). Nike. Engr., 93, 1. Amalthca , hi. PL 5 (C. O. 
 Muller). Only lower r. corner antique : legs of goddess as far as 
 up to the swell of the nates, tip of wing, lowest end of snake, greatest 
 part of coat of mail and shield. All the rest new. The fragment, in 
 hieratic style and low relief, belongs to a votive relief dedicated by a 
 victorious warrior. Pentelic marble. The antique fragment is 0^43 
 long, C32 high. [*Af] 
 
 251 (244. S). Woman by a candelabrum. Engr., 93, 2. 
 
 Antique : only body of fully-draped female in stiff hieratic style. 
 New: feet, corner of cloak hanging down before r. leg, r. forearm, 
 neck and head, and the whole candelabrum. Fairly coarse, decorative 
 work. Pentelic marble. The whole composition resembles the 
 Athene of a pasticcio in the Villa Albani (Raffei, Dissert. 11., sofira 
 un bassoril. Albani , cf. Arch. Zeit., 1871, p. 138 note 6). [*] 
 
 252. Fragment of a frieze. Engr., 94, 1. Between rich 
 scrolls of foliage a stag, a panther and a second stag flee 1 . L. and 
 r. of panther a boy on either side with chlamys, raising one arm to 
 beckon on other companions, the one on the r. holds a javelin. A 
 similar specimen is drawn in Cavaceppi, Race., in. 19, 1. 
 
 253 (247). Lid of a sarcophagus. Engr., 94, 2. In the middle, 
 bearded head of the god of a spring with crab’s claws in his dishevelled 
 hair, similarly to the so-called bocca della veritd in S. Maria in Cos- 
 medin in Rome (cf. O. Jahn, Berichte d. sacks. Ges ., 1851, pp. 141 ff.). 
 On either side, turned toward the middle, a sea-tiger and a hippo- 
 campus ; waves below. On each corner a youthful mask with long 
 hair and Phrygian cap. L. 2 '07. H. o - 28. [d/] 
 
3§4 
 
 INCE BLUNDELL IIALL 254 — 258. 
 
 254 (311). Fragment of a frieze. Engr., 94, 3. The piece 
 
 seems perfect on the 1. It begins with two sea-hares (?), on one of 
 which a Cupid with whip rides; before them a winged sea-griffin and 
 a sea-stag; before these a bearded Triton with staff in r. hand. So 
 far the movement is from 1. to r., the other half moves in the reverse 
 direction. The Triton seizes with 1. hand a mighty winged sea-griffin 
 by one horn; then come two sea-lions, the hinder one bridled by a 
 Cupid. Of the further extent of the procession only the forelegs of a 
 hippocampus are still preserved (whose head and neck are restored 
 in the engraving). The fragment most likely belongs to a very long 
 frieze of which other very extensive pieces are preserved in Cod. 
 Pigh., no. 36 (cf. Cod. Coburg., nos. 21, 22). [M] 
 
 255 (283. G). Front of a sarcophagus. Engr., 95, 1. Cupids 
 racing in the circus 1. to r. Four bigae, each with a Cupid as driver, 
 while the three foremost have besides a second Cupid on 1. horse. 
 This one looks round on victorious chariot at the driver who still 
 brandishes the whip. Horses of second chariot in confusion with 
 rider thrown on the ground, the driver looking round anxiously at 
 the following chariot, the third, whose driver again looks round at 
 the last chariot (without postillion). The spina represented in the 
 background by scratched lines ; on it three semicircles are visible. 
 Quite 1. rises the conical meta tapered towards the top. Behind the 
 last chariot a scaffolding is to be seen with two dolphins and a semi- 
 circle between them, behind the second chariot a substructure with four 
 ova. Below third and fourth chariots there lies on the ground a two- 
 handled basket (cf. Visconti, Mus. Pio-Clem ., v. on PI. 38 ff. ). [Tf] 
 
 256 (250. S). One end of a child’s sarcophagus. Engr., 
 95, 2. A Cupid rides on a horse prancing r., reins in advanced 1. 
 hand, palm branch on r. arm. New: right end of slab. L. o'3o. FI. 
 0-23. [M] 
 
 257 (251. S). The other end of the same sarcophagus. 
 
 Engr., 95, 3. The same subject turned 1. New: 1. end and a large 
 piece of the palm branch. Measurements same as those of no. 256. 
 [M] 
 
 258 (253. S). Fragment of an altar or of the mouth of a 
 
 well. Montfaucon, Diar. Hal., p. in “( Romae ) in Villa Ursinia ” 
 (near the church of S. Croce in Gerusalemme), A?iiiq. Expl. , 1. PI. 
 32, 1, Engr., 97, 1, “bought out of the Borioni Palace.” Poseidon 
 sits 1. on a block of rock with his body held straight, but his head, 
 encompassed by waving hair and adorned with a fillet, turned r., so 
 that clearly the composition once extended further in that direction. 
 
INCE BLUNDELL IIALL 259. 
 
 385 
 
 New: nose, also two fingers of 1. hand, with which the god supports 
 himself on the rock. R. arm rests on thigh, a short little cloak 
 envelopes hips and hangs down between legs. Close to him the 
 trident stands straight up, the prongs whereof are connected with 
 the shaft by two dolphins in decorative style. At feet of god a 
 sea-dragon (kt/tos); quite 1. above Poseidon’s r. foot the fin of a second 
 shows that the relief extended also on this side. Below, a raised 
 moulding (torus) entwined with leaves. Very high relief. Roman 
 work after a Greek original. Unfortunately completely worked over. 
 H. 0-84. [*M] 
 
 259(263. P). Archaic Relief. Engr., 97, 2. Arch. Anz., 1864, 
 PI. A. 3. Arch. Zcit., 1873, PI. 5, and see fig. 3 below. On a throne 
 with high back, the thin arms of which end off in an unrecognisable 
 ornament (head of animal according to Conze; according to the 
 
 Engravings , wrongly, a branch), sits a man without any attribute 
 (Zeus?). Hair falls far down over his back in carefully dressed plaits, 
 and forms above the forehead a broad roll of small curls arranged 
 in several rows. Beard long and pointed. Opening of eyes very 
 narrow, a feature made still more prominent by the strongly-marked 
 cheek-bones. Small, straight nose, very pointed. Mouth slightly 
 opened with a smile. On the neck one hardly notices border of long 
 chiton which reaches down to feet, forming delicate parallel folds. 
 
 M. C. 25 
 
JNCE BLUNDELL HALL 260 
 
 386 
 
 Upper r. arm covered by chiton, over it lies a close sitting cloak, the 
 folds of which are only visible on breast and back, reaching to below 
 the calves. R. hand rests on arm of chair. It is extraordinarily long 
 and rather clumsy, without proper discrimination and combination of 
 the several joints. L. hand little better, slightly raised as if to give a 
 blessing with the fingers held in finnicking fashion. The huge length 
 of legs bears no proportion to the upper part of the figure and to the 
 very small head. The great length of feet corresponds with it. Feet 
 rest on a stool. The relief exhibits genuine archaic style and most 
 careful execution. Contour of figure sharp and slightly rounded 
 (rising above the field about 0-015), the upper surface rather flat 
 and faintly modelled, evidently with the intention that details should 
 be expressed in colour. Unfortunately the upper surface is much 
 abraded. Relief enclosed in a plain rectangular frame of which two 
 little pieces below the stool and on the upper margin are missing, 
 otherwise entire. Greek marble of fine grain, apparently Parian. 
 Probably it is identical with the relief “of the earliest Etruscan 
 style” noticed by Winckelmann ( Gesch . der Kunst, in. 3, 5) in the 
 court of the Casa Capponi in Rome. Waagen and Conze assume 
 for this relief a position next to that of the Harpy tomb in the British 
 Museum and the so-called Leukothea relief in the Villa Albani. 
 For the treatment of the relief, those examples from Northern Greece 
 also may be compared (Pharsalos : Heuzey, Mission scientifique en 
 Macedoine , PI. 23, — Thasos : Ann. dell' Inst., 1872, PI. L). H. 0-46. 
 L. 0-33. [*CW] 
 
 260 (254. S). Greek sepulchral relief. Engr., 98, x. In the 
 middle, facing front, stands a beardless man of about fifty years, with 
 energetic, self-conscious features (new: nose), in chiton and cloak, r. 
 arm in cloak before breast, 1. arm lowered. L. hand hidden in cloak, 
 a corner of which hangs down and effects a fairly artistic arrangement 
 of folds. In several places are marked the creases in the cloak, 
 which arise in consequence of its having been laid folded up a long 
 time: a refinement which is not rare with later sculptors. The man 
 wears shoes. On either side stands a little boy in chiton, an at- 
 tendant, the one on the 1., en face , supporting chin on r. hand; the 
 one on the r. with arms folded before the body looking up at his 
 master, leaning the while on a high pedestal. On this stands a 
 terminal image of Herakles, bearded, quite enveloped in the lion’s 
 skin, which even covers both arms. It probably indicates a con- 
 nection of the principal figure with a gymnasium. Figures all raised 
 in bol l, high relief (0-12) from the very uneven field. Size and style 
 
INCE BLUNDELL HALL 26 1 — 263. 
 
 387 
 
 of work are considerably above the average of the large number of 
 sepulchral reliefs derived from the Greek islands, to which the com- 
 position is most closely allied. The marble seems to be coarse- 
 grained Parian. H. o - go. L. o - 56. [ # C] 
 
 261 (266. T). Greek sepulchral relief. Engr., 98, 2. On a 
 
 cushioned couch lies a bearded man with noble Zeus-like features, 
 upper part enveloped in wide cloak. R. arm rests on somewhat 
 raised r. thigh. He supports himself on his 1. elbow. New: a cup 
 in 1. hand and greater part of snake which drinks out of cup ; still a 
 piece on the 1. arm is antique, which cannot be an edge of drapery 
 but can only be a piece of snake, so the restoration must be con- 
 sidered correct. Before couch a three-legged table with pieces of 
 pastry. At head of bed sits a woman in chiton and cloak on a chair 
 with cushions, feet resting on a stool. She lays 1. arm on head pillow 
 of couch, supporting r. elbow on 1. hand and letting chin rest on back 
 of r. hand. Her eyes meet the man’s. As she is unveiled she can 
 scarcely be taken for the wife, whose place moreover would be by 
 foot end of couch; her youthfulness rather suggests a daughter. At 
 foot end of couch there stands by a high mixing-bowl (KpaW/p) a 
 serving boy in chiton, 1. hand lowered, right arm raised over vessel. 
 New: boy’s curly head and greater part of r. hand, also upper 1. 
 corner of relief, including r. foot of principal person. The relief is 
 distinguished above many similar specimens by freshness of senti- 
 ment, especially by the graceful movement of the woman. Unfor- 
 tunately much effaced. Man in low, woman in higher, indeed in 
 some parts of her figure in quite high, relief. Lower margin is cut 
 away on under side with slope downwards towards back, but the two 
 ends are left so as to look like the two feet of a chest. Coarse- 
 grained Greek marble with large micaceous lumps, apparently from 
 the islands. H. o'qo. L. o - 53. [*] 
 
 262 (256. S). Right end of a sarcophagus. Engr., 99, 1. 
 Account , Plate to p. 88. Aphrodite in long chiton, cloak, shaped 
 like a shawl, floating behind back, with stephane on hair, hastens 
 r. with lively step, holding a large palm-branch on 1. arm, in r. hand 
 holding out the apple to be displayed in Olympus o t her vic- 
 torious return from the contest of beauty. Before her hastens little 
 Eros, looking back at his mother, nude and winged, torch on 1. arm, 
 lifting up a wreath in r. hand. There is a drawing of it already in 
 Cod. Coburg., no. 202. Low relief. Poor work. Marble with 
 black veins. H. 0-56. L. C49. Cf. next number. \M J 
 
 263 (255. S). Left end of the same sarcophagus. Engr., 
 
 2 cj 2 
 
388 
 
 INCE BLUNDELL HALL 264 — 266. 
 
 99, 2. Account , Plate to p. 88. Paris sits in sleeved chiton, trousers 
 and Phrygian cap, r. on a rock, holding crook {pedum) on r. 
 arm ; with 1. hand raising syrinx to mouth. Before r. foot on the 
 ground lies the apple. By him sits a dog, r. a pine tree. Restored : 
 small piece of r. margin. Clearly the moment before the arrival of 
 the goddesses is represented. Cod. Coburg., no. 201. No doubt 
 the front of the sarcophagus contained the judgment of Paris itself. 
 It may be the relief which was built into the wall high up in the 
 casino of the Villa Pamfili (Matz-Duhn, Ant. Bildw. in Rom, n. no. 
 3342) and is best drawn in the Amiali dell' Inst., 1839, PI. H. At 
 least the Cod. Coburg, likewise contains a drawing of it (no. 200, 
 Matz). Measurements same as for no. 262. [vRT] 
 
 264 (258. S). Right end of a sarcophagus. Engr., 99, 3. 
 Account, Plate to p. 89. A nude youth with fillet in hair, the fat face 
 resembling that of the Emperor Nero, turned to the spectator, 
 hastens 1. leading a prancing horse by bridle. L. hand holds a club, 
 over 1. arm hangs a lion’s skin. (Dioskuros ?) New: upper, 1. and 
 lower border, also a piece of r. border; still, except half 1. foreleg 
 and half head of horse, only unimportant parts are restored. H. 0-57. 
 L. o’5o. Cf. the following number, [d/] 
 
 265 (257. S). Left end of the same sarcophagus. Engr., 
 
 99, 4. Account, 1. cit. A bearded man of Herakles’ type leads his 
 horse r., club in 1. arm. Counterpart of no. 264 in every respect, 
 except that the lion’s skin is absent. (Dioskuros?) New: all four 
 borders including upper half of man’s head and all that part which 
 extends r. above the outline of the horse’s neck. H. o - 59- L. 0-49. 
 
 m 
 
 266 (286). Child’s sarcophagus of oval shape. Engr., 
 
 100, 1. Bacchic scene. Quite 1. a pine. By it a Maenad in long 
 ungirdled chiton, clashing large cymbals, and before her a nude boy 
 (Eros ?) with torch. Separated from this group by a second pine- 
 tree comes Dionysos, nude but for cloak, which covers back, 1. arm 
 and part of legs. With r. hand he rests a long sceptre on the 
 ground, while the 1. hand, holding a cup carelessly, lies on the 
 shoulder of a young Satyr, who serves to support the god, and whose 
 eyes meet the god’s. At the feet of the group lies a panther. 
 Further r. a mystic cista stands on ground, out of which a snake is 
 wriggling. A bearded Pan plants his r. goat’s foot on the lid of the 
 cista, a skin (vefSpis) on r. shoulder, swinging in r. hand a curved 
 pedum and with the 1. hand dragging along a refractory buck which 
 lies on the ground. In background between the Satyr and the Pari 
 
INCE BLUNDELL HALL 267. 389 
 
 appears a Maenad in long drapery, playing flute. Quite r. a pine 
 tree concludes scene. Rough work. [M ] 
 
 267 (264. P). Relief representing a Centaur. Engr., 
 100, 2. Arch. Zeit ., 1874, Pl. 6, and see fig. 4 below. A bearded 
 Centaur gallops r,, swinging a branch with mighty effort over his 
 
 Fig. 4 . 
 
 head, apparently meaning to hit a tiny panther which sits quietly in 
 the lower r. corner turning up its head to its assailant. It is strange 
 that 1. upper corner of relief is left quite bare, while the Centaur’s 
 tail, which might have so conveniently filled it up, is tucked between 
 hind legs. This feature in the composition is of a piece with the 
 clumsiness in the connection of the equine and human halves of 
 the semibrute. A strange protuberance as well as a piece of mane 
 at the withers emphasises the contrast between the two natures more 
 than it conceals or at all facilitates their union. Human torso much 
 too short. Face, seen quite full, surrounded by dishevelled hair 
 and beard, presents characteristic but ignoble features. Eyelids 
 sharply expressed. Legs clumsily designed. In fine the whole 
 figure is angular and unwieldy. Although, however, the impression 
 produced by the whole work is of so little interest, still it has not the 
 roughness and carelessness of late Roman work turned off wholesale, 
 but rather of an art not yet fully developed. This incapacity may be 
 partly due to the general standard of art at the time when the relief 
 was produced, partly to the feeble powers of the individual author. 
 
390 
 
 INCE BLUNDELL HALL 268— 272. 
 
 It is probably, as Matz recognised, the production of an Attic 
 workman of the fifth century b.c. We find kindred traits of defec- 
 tive capacity on several of the less successful metopes of the Parthe- 
 non, though by no means to such a conspicuous extent as in this 
 case. Very low relief (o'oa), the flat treatment answering to the 
 Attic style. The marble again is Pentelic. H. o - 4i. L. C35. 
 [*CM] 
 
 268 (324). Fight with lions. Engr ., 100, 3. A youthful 
 man in tunic and short cloak, holding a short hunting knife in his r. 
 hand, lies on the ground by his dead, prostrate horse. He looks 
 anxiously at a large lion, which, though mortally wounded by a spear 
 in the breast, springs upon him and has already laid his forepaws on 
 his shoulder. A second lion lies dying in the background. New : 
 upper third of relief including shaft of spear, and almost the whole 
 head and tail of attacking lion, also 1. border. L. about roo. 
 [M] 
 
 269 (278. S). Mask of a Sea God. Engr., 101, 1. Above 
 a rich festoon of fruit, the head of a sea god appears in front, with 
 flowing hair and beard (new : nose). A wreath of large leaves of 
 an aquatic plant adorns the head; ornamental leaves sprout from 
 cheeks and chin and cover them in phantastic fashion. Cf. the 
 following numbers. Judging from the engravings, one may suppose 
 these reliefs to be ends of sarcophagi, like nos. 275 or 278. Ac- 
 cording to Waagen “the admirable decorative workmanship may 
 belong to the time of Trajan;” Matz seems to have doubted its 
 antique origin. [MW] 
 
 269 a (279). “This, a companion to the above, is much in 
 the same style ; but being without a beard, it is conjectured to be a 
 female figure.” Account. 
 
 270 (265. S). Female mask. Engr., 101, 2. Similar relief. 
 
 Head surrounded by long hair has a tragic expression, but no onkos. 
 Perhaps a female marine deity; according to Matz a Medusa, cf. 
 no. 220. [M] 
 
 271, 272 (272, 273. P, portico). Two Dioskuri. Engr., 102. 
 The two youths stand opposite to each other in similar attitude, only 
 reversed, by their horses ; small cloak over one shoulder ; hat and 
 spear new. Of the first relief indeed only body of horse including 
 half hind legs, and body of Dioskuros from neck to knees, are an- 
 tique; of the second only body of Dioskuros from neck to above feet 
 and the whole of the arms, except 1. shoulder, also body of horse 
 and neck up to bridle. Workmanship good. Bought from the Villa 
 
INCH BLUNDELL HALL 273 — 276. 39 1 
 
 Aitieri, where they were much noticed for their size and sculpture. 
 
 [* IV] 
 
 273 (345. T, portico). Fragment of an oval child’s sar- 
 
 cophagus. Engr. , 103, 1. A few vertical flutings of the front 
 remain. On the rounded 1 . end a tolerably quiet lion, facing r., 
 decorated with a broad ribbon round neck, stands over a roe 
 thrown on the ground. H. 0-39. \_*M ] 
 
 274 (543. S). Fragment of an oval sarcophagus. Engr., 
 103, 2. A powerful lion springs forward 1 . and mangles a horse 
 overthrown on the ground. Horse wears round barrel a band en- 
 riched with ornament (of precious stones?) and a smaller collar band 
 round neck with a half-moon depending, which serves for an amulet 
 (fre/Vi/i'/a fir]v[<TKu>v els <xTTOTpov:i.a(Tfxov, cf. O. Jahn, Berichte der sacks. 
 Gesellsch. d. JViss., 1855, pp. 42 f.). In background there looks on in 
 terror a youth with long curly tresses, in cloak, raising r. hand briskly, 
 in 1 . hunting spear with barbed point {spams'). Found in neighbour- 
 hood of Smyrna. From the Bessborough collection. H. 075. 
 [-W] 
 
 2 75 (277). Front of a sarcophagus. Engr., 104, 1. Ac- 
 count, Plate to p. 89. Three charmingly drawn boys, the middle one 
 lifting a sheep by the tail, carry two especially rich festoons of 
 fruit (cf. nos. 269, 270). In 1 . field above festoon the inebriated 
 Herakles, head encircled by fillet, is led forward 1 ., supported r. by a 
 wreathed youth (Satyr?) who has in r. hand a lowered burning torch, 
 1 . by a Pan between whose feet a wreath lies on the ground. On 1 . 
 an olive tree, r. bearded terminal figure of a Priapos-Lordon. In 
 r. field a sleeping nymph lies in a rocky cave with upper part of 
 body nude (about it a small girdle passes); near her a Cupid, ap- 
 parently asleep, stands leaning against the rock in pleasing pose. 
 The bearded Pan approaches from r. in wanton mood, advancing 
 his hand towards the sleeping nymph’s drapery. New : merely a 
 small piece of upper border. Good sculpture. L. about 1 ‘20. This 
 I suppose to be the relief which E. Q. Visconti mentions a propos of 
 the nymph’s girdle, Mus. Pio-Clem. in., p. 47 Mil., as to be found 
 ora in Inghilterra nella scelta collezione del signor cavaliere Blondell, 
 gia presso gli scultori Lisandroni e d' Este. [M ] 
 
 276(260?). Two reliefs, apparently ends of a sarcopha- 
 gus. Engr., 104, 2. 3. Account , 1 . cit. On each slab a griffin 
 standing with one fore-claw lifted on to a ram’s head which lies on 
 ground; one looking r., the other 1 . (cf. Stephani, Compte-rendu, 1864, 
 P- ' 39 )- 
 
39 2 
 
 INCE BLUNDELL HALL 277— 280. 
 
 277 (280). Roman sacrifice of a bull. Engr., 105. The 
 movement of the sacrificial procession is from 1. to r. Quite r. stands 
 the acolyte (camillus) in long tunic with casket of incense ( acerra turis 
 plena ) in his hands. Next, a beardless sacrificer in tunic and toga, 
 velato capite, with sacrificial bowl ( patera ) in lowered r. hand. On 
 altar ornamented with a garland and narrow-necked jug (guttus) in 
 relief burns the fire. On 1. side of altar stands a sacrificial slaughterer 
 ( popa ), bearded and wreathed, skirt girt up about loins, with high 
 boots, shouldering on 1. arm the axe with long handle, with r. hand 
 he grasps a corner of the woollen fillet (pitta, inf ul a), which adorns 
 the large bull. Behind bull two more attendants garlanded and high- 
 girt (succincti), the foremost of whom holds the bull by one horn. Be- 
 hind them a second popa, accoutred like the first, carrying axe over 1. 
 shoulder. The scene is closed at 1. end by a group of three youths 
 in tunic and toga, of whom two at least carry a branch in their 
 hands. 
 
 278 (284. T). Front of a child’s sarcophagus. Eng?-., 106. 
 
 An eagle in the middle and a boy at each end support a rather 
 tightly stretched festoon, above which in each field two Bacchic 
 masks set opposite each other. A youthful ivy-crowned mask of ideal 
 features is placed 1. in each field. Opposite to it in 1. compartment 
 a bearded Satyr’s head with dishevelled hair and large brutish ears, 
 in r. a bearded long-eared Pan’s head with very long horns. Work 
 flat and rough. Cf. nos. 269, 270. [M] 
 
 279 (285). Fragment of the front of a sarcophagus, 
 right end. Eng?-., 107, 1. Achilleus in full armour, shield on 1 . 
 arm, spear in r. hand, drives r. on a biga, looking round. New : 
 greater part of cloak, r. foot and end of chariot ; Hektor’s corpse 
 was undoubtedly once fastened thereto. Beneath chariot lies a 
 youthful male deity (so says Matz), torso exposed, with long curled 
 hair, raising r. hand in mourning (Skamandros or some other local 
 god). The horses are led by Victory, winged, in Doric chiton, which 
 lets 1. leg become nude when advanced ; in lowered 1. hand she holds 
 whip. For composition compare strip X of the Capitoline Tabula 
 Iliaca (O. Jahn, Gi'iecli. Bilderchroniken, Taf. A*) and the corre- 
 sponding piece of the Capitoline Achilleus relief, where also the 
 Victoria appears {Mas. Capitol., iv. 37, Overbeck, Gallerie heroischer 
 Bildw., PI. 19, 5). \M ] 
 
 280 (333). Amazonomachia. Eng?-., 107, 2. From the r. 
 a youthful warrior with long hair, a so-called Corinthian helmet on 
 head, on r. arm a large round shield (device : a winged Medusa’s head), 
 
TNCE BLUNDELL HALL 28 1, 282. 
 
 393 
 
 gallops at an Amazon sinking to the ground, who advances her 
 target (pelld) against him. R. breast not covered by chiton ; on head 
 a Phrygian cap. R. forearm broken away. Above her appears on 
 horseback a female comrade in chiton and cap who, with a view to 
 protect her, brandishes her axe (bipennis) against her assailant. Quite 
 1., below, the remains of a horse’s leg. This apparently fine relief is 
 broken on all sides. 
 
 281 (318. P). Fragment of the front of a sarcophagus. 
 
 Engr., 107, 3. Fragment of a representation of the rape of Perse- 
 phone. Antique: chariot, lower part of Pluto’s body, and Persephone 
 whom he holds in his arms, Athena with aegis, shield and helmet 
 (new: face and r. forearm), Artemis, who flees 1. (new: head, 1. hand, 
 r. arm and r. leg). Between Artemis and Athena an altar is partly 
 visible, an indication of the sanctity of the place where the rape took 
 place. Cf. Forster, Der Raub der Persephone, Stuttg., 1874, pp. 140, 
 154. [M] 
 
 282 (287. P). Nymphs imploring (“Prometheus”). Engr., 
 108. Account, Frontispiece. Arch. Zeit., 1858, PI. 114, 4. Three women 
 standing and two kneeling, all with bodies nude and legs covered 
 with cloak are turned 1. The last at r. end stands upright and bends 
 up r. hand towards shoulder, while with 1. she holds cloak on hip. 
 Before her a dolphin plunging into the waves to be seen on both 
 sides of him. Behind dolphin stands a second nymph, bending for- 
 ward and stretching out r. arm in entreaty. By her in the foreground 
 kneels the third nymph stretching forward both hands (new: 1. arm 
 from middle of upper arm). The fourth stands in the background, in 
 similar attitude to the second. A fifth nymph kneels, like the third, 
 in the foreground; of her, head, torso and most ofl. leg antique, the 
 rest including whole 1. arm new. Besides this, upper border of relief 
 is restored from 1. end as far as over head of second nymph, as well 
 as the whole figures of Flephaestos sitting, and of Prometheus lying 
 chained to the rock, together with the eagle above the latter, by 
 which the relief has been turned into an illustration of a scene in 
 Aeschylos’ Prometheus (cf. Welcker, Alte Denkmdler, in. 197, Jahn, 
 Arch. Zeit., 1858, p. 186). The real state of the case, after Jahn had 
 extended his doubts to the genuineness of the entire relief, has been 
 stated by Conze, who also took the two figures on the r. to be 
 modern, and more accurately by Matz (Arch. Zeit., 1873, p. 32). 
 The antique part, in Italian, slightly-veined marble, displays good 
 Roman work. From the Villa Altieri. L. 1-42. H. about 0-69. 
 \*CMW] 
 
394 
 
 INCE BLUNDELL HALL 283 — 29O. 
 
 283 (292). Sepulchral relief. Engr., 109, 1. A garland hung 
 on two bucrania; below two dolphins with tails twisted together. All 
 round a kymation. 
 
 284(291). Companion piece to the above. Engr., 109, 2. 
 Similar design; under garland sacrificial implements, ladle ( simpulum ), 
 bowl ( patera ) and jar (guttus). 
 
 285 (312). Akroterion. Engr., in, 1. Composed of akan- 
 thos and helix. Lower border cut away to fit the ridge of a pedi- 
 ment. 
 
 286 (327). Akroterion. Engr., in, 2. Broader than no. 285. 
 Straight low border. 
 
 287 (328. T). Herdsman and herd. Engr., 112, 1. Between 
 two trees a herdsman in exomis, with boots and mallet at side, stands 
 facing r. leaning on staff, and looks at his herd. Below, a bull, above 
 it a sheep lying down, quite at the top a sheep leaping up which is 
 browsing on the foliage of the middle tree, there being a third tree 
 quite r. Flat and bad. [M\ 
 
 288 (313. P, on external frieze). Bacchic scene. Engr., 112, 
 
 2. Quite r. a Maenad with head thrown back dancing with ecstatic 
 movement, back and 1. leg mostly bare (face and arms missing). Fur- 
 ther 1. follows a youthful Satyr, en face, dancing with crossed legs, a 
 pedum on 1. arm, holding in r. hand a syrinx before his breast. Then 
 a Maenad in cloak, which leaves upper part of body partly nude, 
 playing on a kithara. Quite 1. the bearded Seilenos, tipsy, legs covered 
 by a cloak, kept from falling by a young attendant, while he stoops 
 after an object like a small plank. Very much mutilated but ap- 
 parently free from restorations. The style seems to indicate the so- 
 called neo-Attic art. L. about o'5o. [*] 
 
 289 (322. P). Hygieia. Engr., 113, 1. Facing 1. stands the 
 goddess with long curls hanging down, in ungirdled chiton, encircled 
 by a large snake. She holds in 1. hand a shell-shaped cup. An- 
 tique: only the oblong piece of which the upper margin passes 
 through the goddess’ eye, the lower through the middle of her thigh, 
 the 1. is cut off just before the shell, on the r. side the genuine 
 piece comes to the end of the relief. In lower 1. corner the greater 
 part of body and head of a cock, which looks up near the snake, is 
 antique. Rocks and tree all modern. 
 
 290 (314. T). Orpheus amongst Satyrs. Engr., 113, 2 
 (inaccurate). Arch. Zeit., 1877, PI. 12, 2 (Michaelis). Before a 
 gnarled tree quite at 1. border sits facing 1. on a block of rock a 
 beardless youth (Orpheus) with short hair, playing on the lyre; a 
 
1NCE BLUNDELL HALL 2Q0, 
 
 395 
 
 cloak covers his legs. Close before him and facing him in middle 
 of relief stands a group of three boys half grown up, of whom at 
 least the hindermost is plainly to be recognised as a Satyr by a small 
 tail. All three quite nude and in pretty quiet attitude. The foremost 
 is speaking to the musician and gesticulating with r. hand. The 
 middle one with snub nose, curly hair, and open mouth is only indi- 
 cated in the background in quite low relief. Further r. a second 
 tree follows, before which a little boy sits on a block of rock. His 
 whole attitude strongly recalls the Capitoline Boy looking for a 
 thorn; probably this lad also is conceived as in the same occupation, 
 Near him, half hidden by tree, a larger boy with upper part of body 
 visible ; he looks curiously at the principal part of the scene and 
 stretches out his opened 1. hand above the sitting lad. From the r 
 advancing a larger youth, presumably a Satyr, r. arm raised in won- 
 der, in 1. a pedum; a cloak flutters back from 1. arm. Behind him 
 rocks conclude the scene. Above the group of three Satyr boys 
 the upper parts of two figures are visible on raised edge of rock 
 which starts abruptly from the field of the relief. They are only 
 a little covered by cloak, arms laid round one another’s backs. The 
 figure on r., which rests 1. hand on rock, seems to be male, that on 
 1. is female. She advances her r. hand and seems to have held 
 with it a staff or something of the kind to which a large round flat 
 disk was attached (tympanon? mirror?); of the presumed staff there 
 is a trace recognisable on the disk itself, another between it and 
 the woman’s hand. Quite 1. above the stem of the tree a male 
 figure, likewise half-draped, looks with curiosity over a piece of rock 
 at the scene below. There is a trace still extant of a similar ledge 
 of rock also on the r. over the youth with the pedum. Upper r. 
 corner missing. The whole relief, in part quite low, is in part raised 
 more than o'oi, indeed in a few places the figures are quite detached 
 from the field. It is extremely damaged by water and moreover 
 broken in several places. New: only part between tree on 1. and 
 the player on the lyre. The kind of representation of landscape is 
 as remarkable as the rest of the conception. It is as unusual to 
 find Orpheus among Satyrs, as it is common to see him taming 
 wild beasts by his musical art. Prof. Wilamowitz however calls my 
 attention to the liber monstrorum i, 6 (Haupt Opuscula ii. p. 224): 
 Fauni enim silvicolae . . .qnos poeta Lucanus (no doubt, in his lost 
 poem on Orpheus) secundum opinionem Graecorum ad Orpliei lyram 
 cum innumerosis ferarum generibus cantu dedudos cecinit ; comp. 
 Horace, De art. poet., 391. Besides, a Satyr listening to Orpheus 
 
396 
 
 INCE BLUNDELL HALL 291 — 295. 
 
 appears on a Greek vase {Arch. Zeit. , 1868, PL 3); less certain is 
 the name of Orpheus given to the musician of another Bacchic vase 
 (. Annuli 1845, PI. M) ; cf. Knapp Wiirtcmberg. Correspondenz-Blatt , 
 1880. H. 0-32. L. o‘47- [*M] 
 
 291. Fragment of a votive relief. Engr., 114, 1. L. a 
 stout pine tree entwined by a snake. Two woollen fillets ( infulae ) 
 pass through the foliage and from one bough hangs a pair of 
 cymbals. Before it an altar adorned with garlands which depend 
 from a bucranium. By the altar stands a nude youth with long hair, 
 of Apolline type, emptying a cornucopiae on altar, advancing 1. arm 
 behind which a cloak is visible. On 1. and r. it is imperfect. On 
 upper border remains of an inscription of two lines . . .in. aniiquii... 
 (?) j ...is pretest...-, on lower border the legend de sua pecun(ia). 
 
 292 (84). Votive relief to Silvanus. Engr ., 114, 2. In an 
 aedicula formed by two Corinthian columns and a pediment, which 
 contains a crown as decoration, stands Silvanus in his usual style of 
 representation (cf. Reifferscheid, Annali dell' Inst. 1866, pp. 210 ffi). 
 He is bearded, bears fruits in skirt of cloak and in 1. arm branches of 
 a pine tree, in r. the curved garden knife, with high boots on feet. 
 By him sits his dog. Below, the inscription Sil{vano ) sal(utari) 
 Cell Cortos (?) et Herm(es). Cf. C. I. L., vi. 1, 3715, where 
 under no. 593 is a copy of the same inscription communicated to 
 E. Q. Visconti by d’Este and Lisandroni, which gives sac(rum ) in- 
 stead of sal. and Hermes instead of Herm. 
 
 293 (316). Ploughman. Engr., 114, 3. A man in ungirdled 
 tunic, with a pileus on head, guides with 1. hand a plough of the 
 primitive pattern, which survives even to this day in Italy, drawn by 
 two oxen, and pricks the ox with a short goad {stimulus). Small relief 
 with plain border. Cf. Jahn, Arch. Zeit., 1861, p. 146. 
 
 294 (316). Roman architectural design. Engr., 114, 4. 
 A low basement story decorated with six Tuscan half-columns, the 
 spaces between which are alternately occupied by an arch resting on 
 two pillars (three times) and a quadrangular ornament (twice). In the 
 upper story, which is higher, two large, similar half-columns support 
 the cornice ; between them two arches resting on pillars and, 
 inside these, small facades of temples, the one having four columns 
 with an arch over door, the other having two columns. The relief 
 seems to be imperfect. 
 
 295 (320. P). Relief in imitation of the Egyptian style. 
 Engr., 1 1 5. An Egyptian with long hair, drapery reaching down to 
 knees, offers with both hands a large bowl or basket to an owl which 
 
INCE BLUNDELL HALL 296—298. 
 
 397 
 
 sits solemnly on a high pedestal. Antique: only man’s body from 
 neck to knees, arms and vessel. Apparently a work of the time of 
 Hadrian. [* IV ] 
 
 296 (323. T). Cupids gathering quinces. Engr., 116. Mon. 
 Matth ., hi. 18. Two Cupids busy knocking the fruit with long sticks 
 off a quince tree on which a bird sits. Very rich border of leaf 
 sprays, which belonged to the relief originally, as it is all of one 
 piece. Restorations very trifling. There seems to be no doubt 
 about the antiquity of the work. Very high relief. The relief was 
 fixed in an alcove in the garden of the Villa Mattei. H. i'53. 
 L. o - 89. [*] 
 
 297 (325). A wild boar. Engr ., 117. The powerful brute 
 runs 1. The field contains indications of rushes (antique ?). From 
 the Villa Borioni. 
 
 298 (326. T). A vintner’s sign or sepulchral relief. Engr., 
 1 18 (inaccurate). Arch. Zeit ., 1877, PL 13 (from a new drawing), 
 with letterpress by H. Bliimner. An older drawing is in the collec- 
 tion of A. W. Franks, Esq. (see London). On the 1., on a rock above 
 which appears a vine, stands a woman fully draped, lifting a corner 
 of her cloak with 1. hand and shaking hands with a bearded man 
 in ungirdled tunic with a small cloak over 1. arm ; in 1. hand there 
 seems to be a roll. At woman’s feet a vat lowered into the ground 
 and covered with a flat wooden lid. The comparatively large propor- 
 tions point out this pair as the principal persons, the owners of the 
 wine-shop to which the relief may have served as a sign (for similar 
 signs cf. Jahn, Berichte d. siichs. Ges. d. Wiss., 1861, pp. 353 ff., 
 Jordan, Arch. Zeit., 1871, pp. 65 ff.); unless it were supposed rather 
 to be a sepulchral relief, as is Blumner’s opinion. Further r. leafy 
 shoots of several vines overrun the field, between which are six 
 vats with upper rim projecting, two sets of three one above the 
 other apparently, five of them shut by wooden lids. Above 
 goes a slave in short tunic, carrying on 1. shoulder an amphora cased 
 in wickerwork, which he seems to have emptied into the topmost 1. 
 vat. To the middle vat of 1. row a slave brings a similar wicker- 
 covered amphora, into which another slave kneeling on edge of vat 
 seems to be pouring must from the open vat by means of a flagon 
 (rubbed away) ; this is however not quite clear. Behind lowest vat 
 of r. row stands a man in ungirdled drapery, holding in 1. hand a long 
 staff furnished with a knob at the top, probably a ladle with a long 
 handle. Before him stands on the far side of the tree an appa- 
 rently bald-headed figure in ungirdled tunic, the 1. hand lowered, 
 
398 
 
 INCE BLUNDELL HALL 299, 300. 
 
 r. raised thoughtfully to chin. Quite r. below are to be seen two 
 more vats, the lower apparently open, the upper closed with a 
 wooden cover. By it there stands at the very edge of the relief a 
 comparatively large youth in ungirdled tunic, bending up r. hand to- 
 wards shoulder, in 1. hand a roll. According to Bliimner’s plausible 
 conjecture the larger proportions of the figure indicate the son of the 
 married couple represented at other end, not a person employed in 
 the scene represented. Above his head the upper corner of the relief 
 is occupied by a strongly projecting tiled roof, under cover of which a 
 man in short tunic sits leaning very far back holding an open book 
 on his lap. With 1. hand he turns leaves of book, the r. rests on a 
 low counter of usual shape, on which some indistinct objects are 
 visible. Between lower end of counter and the two vats stands a 
 little figure in ungirdled tunic holding in 1. arm an opened book, with 
 r. hand laid on an oval plate, which stands on counter, with two round 
 flat objects on it. At upper end of counter stands a similar figure 
 unrolling a roll (volumen) in conversation with the sitting figure. The 
 whole scene seems not so much concerned with traffic as with the 
 reckoning up of the yield of the vintage. On the upper border two 
 square tablets are to be seen, perhaps sign-boards; next the roof one 
 with a snake rearing itself (as genius loci}) and above it eight pun- 
 telli , next the middle of the scene one divided into four square 
 fields, each of which exhibits a very deep circular cavity surrounded 
 by a rim. Bliimner conjectures that it is a window. I should rather 
 suppose a bird’s-eye view of vats, as on the sepulchral relief of M. 
 Vergilius Eurysaces before the Porta Maggiore at Rome. At the bot- 
 tom a strip about 0-14 high is left bare, very likely for the inscription; 
 a narrower border goes round the top and r. side, on 1. side it is want- 
 ing, instead of it appears a tolerably smooth join. As the vine more- 
 over appears 1. of the married couple as well as r., Bliimner’s con- 
 jecture, that this couple originally occupied the middle and then a 
 similar scene to that on the r. followed on the 1., and lastly quite on 
 1. border a second child of the couple may have concluded the scene, 
 is more than probable. Work rather coarse and not very distinct. 
 H. o - 6o (field of relief by itself o - 42). L. 0^93 (field of relief 
 0-87). [*M] 
 
 299 (3 29). Leaf-work. Engr ., ri9, 1. Quadrangular slab, 
 presumably from a cinerarium. Two vine-shoots rise symmetrically 
 from broad akanthos leaves. In field four birds pecking, one with a 
 butterfly in beak. 
 
 300 (330). Leaf-work. Engr., 119, 2. From a vase on which 
 
INCE BLUNDELL HALL 301— 304. 
 
 399 
 
 is a lizard chasing a snail, spring up quite in ornamental style a 
 palmette and four vine-shoots. L. a butterfly, r. a grasshopper. 
 
 301 (334). Corner of the lid of a sarcophagus. Engr ., 120, 
 3. Medusa’s head with wings on temples. 
 
 302 (402). Cippus of Passienia Gemella. Engr., 121. Mon. 
 Matth., hi. 67, 1. On front within a border stands the inscription 
 Dips') M(anibus ) \ Passieniae Gemct\lae coingi et lib(ertae) \ suae 
 carissimae \ obsequen tissi\ mae et L. Passie\nio Doryphoro | filio et 
 Passienio \ Sabino filio et libiertis) | sanctissimis. Above, L. Passienius 
 Saturninus fecit. Above inscription between two pillars busts of 
 Passienia Gemella and both her sons, the one on her 1. fully draped, 
 the one r. nude but for a cloak lying on shoulder, l. side. In prin- 
 cipal field the mother veiled embraces eldest son clad in short drapery 
 who stands on a somewhat higher step. Above, an eagle between 
 two pillars. R. side. Similar scene in principal field. Mother not 
 veiled. Younger son on higher pedestal up to which a small flight of 
 steps leads. Above, eagle between two pillars. From the Borioni 
 collection. 
 
 303 (520. P, pediment of portico). Front of a sarcophagus. 
 Engr., 122. Fight with barbarians. At each corner a tropaeon with 
 a nude barbarian at its foot, sitting on the ground with hands bound 
 behind back. From 1. to r. : a mailed horseman fully armed gallops 
 over a draped corpse lying on the ground at a nude foot-soldier with 
 helmet and sword turned in flight, who is threatened from the r. 
 with a sword-cut from a similar horseman. On the ground a bar- 
 barian, nude but for cloak, having been wounded in breast rolls over 
 his shield. Near by, on the back of his prostrate horse, lies another 
 barbarian, clad in tight trousers and cloak : over him a bearded foot- 
 soldier, with large shield ornamented with branches, raises his 
 short sword against the second horseman. Hard by, towards the 
 middle of the whole scene, a noble youth stands sinking backwards, 
 nude but for chlamys and shield on 1. arm, with r. hand grasping 
 the spear which has pierced his breast. Further r. a fully-armed 
 horseman draws his sword against a foot-soldier in tunic, boots 
 and helmet and with a shield adorned with branches, who is pressing 
 on. On the ground lies a nude corpse on its back, the breast 
 transfixed by a spear, shield close by. Quite r. a fully-armed Roman 
 trumpeter is blowing the long tuba. Romans all beardless. A clear 
 and orderly composition. Restorations unimportant. H. 075. 
 L. 2-28. Bought at Lord Cawdor’s sale. [*MW] 
 
 304 (521. P). Girl with garland. Engr. 123. Fea, Storia 
 
400 
 
 TNCE BLUNDELL HALL 305, 306, 
 
 delle arti, hi. PI. 18 , p. 495. A richly-draped girl in chiton and 
 cloak, her hair encircled with a fillet, moves r. in dancing step and 
 carries before her with both hands a garland, which hangs a good 
 way down. New : half r. forearm, an important piece of garland 
 and most of the feet Behind her a flat architectural design of 
 pilasters. To r. a circular temple with roof running up to a point. 
 The Corinthian columns standing on a high stylobate have dolphins 
 on the capitals instead of volutes : of the intercolumnar spaces 
 one is filled up with trellis work, in the other is a door orna- 
 mented with a lion’s head and bosses (now only one fold, modern 
 remainder as copied by Fea is now wanting). A flight of steps 
 leads up to door. Brilliant execution, especially in girl’s figure, 
 which is accurately repeated in a celebrated Borghese relief in the 
 Louvre (S. Bartoli, Admiranda , PL 64 (75). Bouillon, Mus. des 
 Antiques, n., rel. , PI. 4, 2. Clarac, n. 163, 258, the middle figure). 
 Bought from the Villa Negroni by Jenkins, sold by him to Lord 
 Cawdor, at whose sale it was purchased for 1x3 guineas, cf. Dallaway, 
 
 p.388. [*tr] 
 
 305 (533. P). Round ara. Engr., 124. Gal. Giustin.,11. 152? 
 An old drawing as early as in Cod. Coburg., no. 87. Movement 
 from 1. to r. A small statue stands on a pillar, a nude figure with 
 lowered r. arm, supporting chin with 1, hand (Eros?). From 1. a youth- 
 ful Satyr walks up to it, with waving nebris, thyrsos in 1. hand, raising 
 r. hand and looking round after a Maenad with long drapery, dancing 
 ecstatically, who with head thrown back wields thyrsos in 1. hand, tym- 
 panon in r. Between the two a panther following the Satyr. Pan 
 follows the Maenad, with flying nebris, holding syrinx to mouth. Be- 
 hind him an ecstatic Maenad with cloak in waving folds, holding out 
 a wreath in r. hand. Fairly high relief (0-04) inclining to rectangular 
 treatment. Execution coarse, in part rough. Tolerably rubbed 
 and here and there retouched, especially round about the statue- 
 its motive however is certainly old. New: lowest part of plinth, 
 and kyma at the top. H. of old part 0-74, of field of relief 0-59. 
 From the Bessborough collection. [ ;f C] 
 
 306 (534. P). Round Ara. Engr., 125. On a square basis 
 (without garland) rises a candelabrum or thymiaterion. Next on r. 
 stands en face Persephone, fully draped and with back of head veiled, 
 long torch in r. hand, and Pluto, whose cloak leaves upper part of 
 body free, long sceptre with pointed top in 1. hand. Then comes 
 rocky ground on which the three-headed Kerberos sits, and by him 
 on a higher block of rock a bearded man, legs covered with cloak, 
 
INCE BLUNDELL HALL 307. 
 
 401 
 
 both hands in lap and with head facing the spectator (almost 
 the whole head new). It cannot well be Herakles, but only Aeakos, 
 the later gate-keeper of Hades and closest companion of Kerberos. 
 Behind him stands Hermes, the conductor of souls and messenger 
 of the under world, with modern wings on feet, chlamys, hat (wings 
 modern) and winged caduceus on 1. arm, r. arm extended to- 
 wards Aeakos. Low, coarse relief without restorations, but com- 
 pletely worked over and seriously disfigured. The parts of the 
 ara above and below relief mostly new. H. of antique part 072, 
 of field of relief 0-65, of relief from field o'02. From the Bessborough 
 collection. A similar ara from tire Giustiniani Palace {Gal. Giustin. 
 11. 126, 3) is now in the Rondanini Palace in the Corso in Rome, two 
 others with kindred subjects in the Vatican ( Mus . Pio-Clem., iv. 35, 
 36); cf. Petersen, Bullett. dell' Inst., 1861, p. 83. \*CJV] 
 
 3°7 ( 539 - P)- Lid of a sarcophagus. Engr. 126. Front. 
 Return from hunting; movement from 1. to r. Furthest r. a bearded 
 and a youthful hunter, both in exomis and with boots, the first with 
 a stout stick forked at the top, carry on their shoulders a long pole to 
 which the body of a large bear is tied with straps. Between them a 
 large hound. There follows a group quite similar, only an ibex is 
 carried instead of a bear; also the younger bearer has a stick. Then 
 comes a bearded man with tunic, cloak and boots, two hunting 
 spears in 1. hand, leading with r. a mule, on whose saddle lie two 
 hares. The fourth group consists of a bearded man in tunic and a 
 youth in exomis, both barefooted and with a stick forked at the top 
 in 1. hand, carrying on shoulders, apparently on boughs with many 
 branches, a large heavily filled net, at the contents of which a dog which 
 is between them sniffs. The procession closes with a two-wheeled cart 
 {plaustrum) laden with a boar, two bears, an ibex, nets and branches, 
 drawn by two oxen, which bend their necks beneath the heavy yoke. 
 A bearded man in boots, exomis, and cloak, walks quickly before it, 
 driving on the beasts with a stout staff. Behind the beasts is visible 
 the upper part of a figure hurrying 1. in tunic and small flying cloak, 
 r. hand lying on head to denote terror, 1. advanced. Quite 1. a stout 
 pillar with an arch over it, under which the cart is passing. At r. end 
 there never was a corresponding structure. At corners tragic masks, 
 to which on the opposite ends of the side gables akroteria with 
 single palmette ornaments correspond. L. side : a youthful hunter 
 in exomis thrusts with a long pole at the snout of a large boar lying 
 on the ground, presumably to rouse it up. On the 1. lies an ibex. 
 In background two trees. R. side: between two trees a bearded 
 M. C. 26 
 
402 
 
 INCE BLUNDELL HALL 308 — 310. 
 
 man wearing the exornis sits on a block of rock holding a staff. On 
 the ground lie apparently asleep, on 1. a stag with magnificent horns, 
 on r. a panther. Pretty, animated composition, well executed. 
 H. o ’2 1 . L. 2 -i 6. From the Bessborough collection. “At Roe- 
 
 hampton is said to remain the sarcophagus from which it was taken 
 with an inscription: D. M. | C. Tutilio Rufino \ venatore (sic) | T. 
 Claudius Secuiido (? presumably Secundio or Secundus ) | amico b(enc) 
 m(erenti ) p(osuit)." [*MJV] 
 
 308 (319. P). Satyr. Engr., 128, 1. A nude youthful Satyr, 
 pedum in r. arm, holding in advanced 1. hand the thyrsos, with 
 taenia hanging from it, steps r. New: r. foot, lower part of 1. leg, 
 and 1. hand. Beautiful and animated in forms of body. Large 
 relief (measurements could not be taken). Greek work. Greek 
 marble. [*C] 
 
 30g (321. P). Satyr. Engr., 128, 2. Beardless Satyr, skin 
 hanging down over back, pedum on 1. arm, steals off 1. half stooping, 
 a deep cup in advanced r. hand full of honeycomb. Beside him an 
 altar. Above, garlands hanging from bucrania, which are fastened 
 to pillars. New: terminal bust of Pan to 1., and in general the 1. 
 half from a line which runs through cup, altar, lower part of Satyr’s 
 r. leg in a slanting direction. Not originally a companion piece to 
 no. 308, but equally large relief, considerably higher. Very good art. 
 
 m 
 
 310 (519. P). Three youths. Engr., 129, Arch. Zeit., 1877, 
 PL 12, 1 (Eug. Petersen). In the middle on a block of rock sits a 
 youth facing 1., with a cloak spread under him, 1. hand laid on a staff, 
 r. arm laid on 1. hand, and holding in advanced hand an unrecognisable 
 object, most like a sword-hilt (new : head, 1. forearm, upper part of 
 staff and r. wrist). Before him 1. stands a second youth, whose 
 chlamys appears behind his back and on 1. arm; on neck remains of 
 a petasos ; he is prepared to depart, but still leans on a staff fixed 
 under 1. shoulder; his only antique parts are the legs (about half r. 
 foot and 1. knee new), with part of torso to a line which goes up in a 
 slanting direction from r. hip to just below 1. shoulder, a piece of 
 petasos, upper part of 1. arm and fingers of 1. hand. Behind the 
 sitting youth, in similar attitude to that just described, a third youth 
 whose chlamys hangs down from both shoulders and covers body 
 equally before and behind, leaving both arms free. With r. hand 
 (partly new) he holds up a long stick resting on the ground, 1. arms 
 lowered. New : head and 1. shoulder, 1. forearm with hat or bag and 
 part of 1. leg. L. hand seems originally to have held a similar object. 
 
INCE BLUNDELL HALL 3 I I — 314. 
 
 403 
 
 The head was originally turned outwards, obviously towards a fourth 
 figure, of which a staff held slantwise near legs of third youth is still 
 visible. Thus the relief is a fragment of a larger composition, which 
 apparently represented travellers. Petersen conjectures that we have 
 spectators of a scene which originally passed further 1., and com- 
 pares the design on a vase at Munich, Arch. Zeit., i860, Pl. 139. 
 Pentelic marble. The fine Greek style, the tolerably round relief and 
 the scene itself remind one strongly of a relief in the Villa Albani 
 (Zoega, Bassiril. , 11. 103), which Petersen has explained as the 
 expedition of Theseus to Hades {Arch. Zeit., 1866, p. 258, cf. 
 1877, p. 122). From the Cawdor collection. According to the 
 Account the quarter whence the relief is derived is not known ; ac- 
 cording to the Engravings it came from Greece. [*M ] 
 
 The following plates of the Engravings, 130 — 143, possess 
 neither accompanying text nor lettering on the Plates, nor indication 
 of the corresponding numbers of the Account. In the copy in the 
 Gottingen library, presented by Blundell’s heir, and again in the 
 copy at Ince Blundell Hall, one single plate is marked in writing, PI. 
 140 and 141. These plates contain almost exclusively cinerary 
 urns, mostly derived from the Villa Mattei ; such cinerary urns are 
 meant where nothing else is stated with respect to the following 
 numbers, 31 1 — 372. As to the inscriptions, which I have not been 
 able to compare, I am not in a position to guarantee either their 
 reading in details, or their genuineness ; certainly there are many 
 spurious legends amongst them. 
 
 31 1 (368). Engr. 130, 1. Two boys holding a garland of fruit; 
 
 three birds. On field for inscription : T. Cam\deni Eutuchi. 
 
 (Genuine?) Cf. Mon. Matth., 111. p. 164, no. 15. 
 
 312 (358). Engr., 130, 2. Mon. Matth., in. 71, 2 (different lid). 
 Two spiral-shaped fluted columns, from which a garland hangs 
 down with an eagle. Below, two birds. Inscription : C. Julius | 
 Hirmaiscus (i.e. Hermaiscus) | visit arm. XXI. 
 
 313 (344). Double cinerarium. Engr., 130, 3. Mon. 
 Matth., hi. 65, 4 (different lid). Two bearded masks with ram’s 
 horns like an Ammon ; below two eagles and between them a gar- 
 land. Inscription I: Lepidia M{arci) j (i.e. mulieris ) l{iberta ) | Prl- 
 vata. | vlxit arm. XV. Inscription II: M. Lepidius | Epigonus. 
 
 314 (361). Engr., 130, 4. Mon. Matth., in. 69, 5 (different lid). 
 Rich mouldings and frame to the field for the inscription : El/io 
 Rufo | S. /. Habra fecit \ et sibi et suis | Sempronia \ P. !. Auge \ 
 
 26 — 2 
 
404 
 
 INCE BLUNDELL IIALL 3 I 5 — 320. 
 
 Sempronius \ 01 . Vrbanus (spurious, still absent in the Mon. 
 Matth.). 
 
 3 1 5 (3S 1 )- Engr. 131, 1. 2. Two rams’ heads support a gar- 
 land, over it a butterfly, below, two birds. On side a palmette. 
 Inscription : D.M. \ Have Euphrosyne \ et vale. | Aemilia Cantria | 
 filiae dulcissimae | posuit infelix. The whole field for the inscription 
 and rest of upper part of cinerarium is new. [C] 
 
 316 (394). Double cinerarium. Engr., 131, 3. 4. On front 
 three pilasters, on rounded lid an eagle, on side two arcades between 
 pilasters. Inscription : T. Peducacus T. f. Quir{ina) Floras viixit) 
 a{nn.) XXI. ; in field on 1.: T. Peducacus | T. /{ibertus ) Faustus \ Pc- 
 ducdea T. l(ib.) \ Daphne uxor; in field on r. : T. Peducaeo | T. f. 
 Quir. [ Severo filio | vix. an. VIII. 
 
 317 (352). Engr., 132, 1 — 3. Pilasters at the corners; between 
 them on front a door with inscription above, and on each side of it a 
 cypress (ears of wheat according to Mon. Matth.)-, on the sides, 1. a 
 jar ( guttus ), r. a cup {patera). In field of pediment two females 
 fonnosae superne , desinentes in piscem hold a wreath. Round bolsters 
 serve as akroteria, those on 1. and r. furnished with a Medusa’s head, 
 that on the top with a flower, with a dolphin on each side. Inscrip- 
 tion : Dips) M{anibus) S{acnun) | Q. Curiati \ Zosimi. Cf. Mon. 
 Matth., hi. p. 164, no. n. 
 
 3 18 (393)- Engr., 132, 4—6, the front repeated 139, 4. At 
 corners of front, spiral Corinthian columns, from the capitals whereof 
 a garland of fruit hangs down, partly covering a door, the panels of 
 which are adorned with Medusa heads to ward off harm. On each 
 side of door a griffin. On each of the sides between a pilaster and 
 the corner column an eagle setting both feet on a snake, in the back- 
 ground a tree. On the lid two masks at the corners, in the field of 
 the pediment between them a wreath. Inscription over the door : 
 DIs Manilas Sacrum \ M. Burrio Felici tairon (i. e. patrono) \ bene 
 merenti fecit \ M. Burrius Hermes \ M. Burrius Curias | et Burria 
 inbumini (perhaps Filumene or Diadumene) | M. Burrius Vannius | 
 M. Burrius Aliicus \ M. Burrius Abascanus (i.e. Abascantus). 
 
 319 (39^)* Engr., 133, 1. Mon. Matth., in. 73, 2. Without 
 special ornaments. Inscription : D. AI. \ Liviae P. f. \ P. Livius 
 Fortunatus \ libertae. (Spurious.) 
 
 320 (385). Engr., 133, 2. Mon. Matth., in. 68, 3 (somewhat 
 deviating in lid and ornamentation). Inscription : Q. laelius | Pri- 
 migenius \ vix. annis XX. Is the inscription copied from the speci- 
 men in Mon. Matth. ? 
 
INCE BLUNDELL HALL 32 1 — 329. 
 
 405 
 
 321 (353). Engr., 133, 3. Mon. Matth ., hi. 68, 5 (different 
 lid). On either side four flutings, in the middle the inscription : D. 
 M. Numi\siae \ Primi\geni\ae. 
 
 322 (392). Engr. 133, 4 — 6. Mon. Matth., m. 61, 5 (different 
 lid). Surrounded by insignificant ornaments, the inscription : D. M. \ 
 T. Publiliu{s ) Severianu(s) \ fecit \ Publilio Severiano | patri b(ene ) 
 vi(erenti). On ends jar and cup. 
 
 3 2 3 (37 1 )- Engr. 134, 1. Mon. Matth., hi. 73, 5 (different 
 lid). Two bearded heads with ram’s horns like an Ammon support 
 a garland, in the curve of which a swan walks. Below, two 
 eagles at the corners, between them two birds pecking at a lizard. 
 On the lid a laden basket and two birds. The field for the inscrip- 
 tion contains in the Mon. Matth. only the letters D. M., to which 
 has been subsequently added T. Elavi A ng. lib. \ Zmaragdi, borrowed 
 from Mon. Matth., in. 73, 6. 
 
 324 (373). Engr., 134, 2. Mon. Matth., in. 71, 4. Bucrania 
 supporting a garland. Below at the corners, swans. Inscription : 
 Els manibus \ Cn. Pompei | Cn. f. Iusti j v(ix). a(nn.) XVI miens'). 
 VI III. On the lid a vase with fruits (?); on either side a pan- 
 ther (?). 
 
 325 (381). Engr., 134, 3. Mon. Matth., in. 68, 6 (different lid). 
 From a vase, on the rim of which two birds sit, spring two sprays of ivy 
 {area hederacia , Orelli-Henzen, 7359) surrounding the inscription : Els 
 Manib{us) \ T. Elavi Sp. f. | Eutyche | vlx. ann. V m{ens.) \ d{ieb.) 
 XXIX. fec{it) | Flavia Peloris mater. 
 
 326 (356). Engr., 134, 4. Folding doors with two rings, with 
 a tree at each side, from which a garland hangs slantwise before the 
 door. Above door a basket with fruits (a butterfly according to the 
 Account) at which two birds peck. At the corners Corinthian spiral 
 columns. On the lid a wreath. 
 
 327 (357). Engr., 135, 1. From two bucrania a spray of ivy 
 hangs down at which two birds peck. Above the inscription : E. 
 M. | Cornelia I. lib. | Staphyle | ben. (spurious or incomplete). On 
 the lid a double pediment with two birds in each. 
 
 328 (398). Engr., 135, 2. Mon. Matth., 111. 69, 1 (without in- 
 scription and with different lid). Two eagles hold a garland of fruit. 
 Spurious inscription: Eis Manibus \ Fulvano Arch.; apparently 
 copied from the cista, in other respects different, Mon. Matth., in. 
 
 65, 1. 
 
 3 2 9 (383)- Engr., 135, 3. Pilasters with architrave and pedi- 
 ment-shaped lid. In the middle inscribed on tablet : Q. Mllasius 
 
INCE BLUNDELL HALL 330 — 335. 
 
 40 C 
 
 M. f Am. | Bassus miles \ coh. VII pr[aetoriae) j (i.e. centurid) | C. 
 Petili Bassi. | vix. ann. XXX V. 
 
 33 ° (3 7°)- Engr., 135, 4. Mon. Matth., 111. 69, 2 (different 
 lid). Two swans supporting a heavy garland sitting on two spiral- 
 shaped fluted pedestals of stout proportions ; above the garland 
 two birds, below the same. On lower rim of lid the inscription 
 D. M., on the tablet L. Cornelia Iasoni \ et Laeliac Char it i | paren- 
 tib(us) sitis | b{enc) m{erentibus) fecit | L. Cornelius Clemens. 
 
 331 (359). Engr., 136, 1. Mon. Matth., in. 60, 2 (different lid). 
 Between two upright torches stands a bed on which a woman (face 
 destroyed) lies in stola and palla, a fillet in 1. hand, with r. hand letting 
 a cloth fly loose. Below the inscription : P. Etrilius Abascantus j 
 Etriliae Danae uxori \ karissimae. H. 0-24. L. o'35. [M ] 
 
 332 (369). Engr., 136, 2. Mon. Matth., in. 58, 4 (different 
 lid). At the corners two dolphins diving down, snapping after two 
 little fishes. A heavy garland hangs down from their twisted tails; on 
 it stands a bird. Above it, inscribed on tablet : Pis Man. | Flaviae- 
 Nysae \ Astectus (probably A st ictus') Aug. lib. \ a cognitionibus | li- 
 bei'tae bene de se meritae. 
 
 333 (364). Engr., 136, 3. Between two singularly bare sprays 
 stands a candelabrum with a griffin sitting on each side. Above, the 
 tablet with the surely spurious inscription : D. M. | Rutilia | Ro- 
 mana | animae | bene merenti. The lid, which is not its own, dis- 
 plays in the pediment a lion tearing its prey, and on either side a 
 tragic mask. The whole urn conveys a suspicious impression. 
 
 334 (366). Engr., 136, 4. Mon. Matth., ill. 65, 6 (without 
 inscription, with different lid). At each of the corners a spiral column. 
 The inscription on tablet encircled by a garland : D. M. \ Iuliae 
 Meroe \ coniugi | karissimae | q{itae) v(ix). an. XX V m(ens ). II 
 dfeb). XI | Rufinus L. f. | fecit b(ene) m(erenti). (Spurious.) On 
 lid an owl, on either side a palmette. 
 
 335 (36°). Engr., 137, 1 — 3. Front: two Cupids grasping each 
 other’s hands for the purpose of wrestling; between them, on the 
 ground, a palm branch. On 1 . a third Cupid stands looking at them, 
 clutching at two palm branches. Before him on the ground an over- 
 turned pitcher; above him on a pedestal a larger pitcher, and in back- 
 ground three palm branches. On r. a fourth Cupid, holding an unrecog- 
 nisable object before his body, is leaning as spectator on a table, on 
 which stands an amphora. Behind it a beardless terminal bust, with 
 fillet on hair. Before this a heavy wreath. Over principal group is 
 inscribed on tablet : D. M. | C. Minicius | Gelasinus \ sibi posuit. 
 
INCE BLUNDELL IIALL 336 — 343. 
 
 407 
 
 Cf. Mon. Matth., hi. p. 163. L. side: a wingless Cupid blowing 
 tuba, r. hand lying on head. On 1 . a beardless terminal bust with 
 fillet on hair, by it two palm branches. On r. a palm tree. R. side : 
 the prize table with lion’s feet supports a large amphora and two 
 small vessels or wreaths. On r., a palm tree laden with fruit. 
 [M] 
 
 336 (363). Engr., 138, 1. Bust of a child framed in a muscle 
 shell; on either side a swan. Next on either side a tripod adorned 
 with masks. Inscribed on tablet : D. M. C. Q. F Ian. \ Carpidi et 
 Q. | C. Q. F. Insto C. | Amaryllis | mater fecit. Inscription cer- 
 tainly spurious, probably also the whole urn. 
 
 337 ( 379 )- Round urn, shaped like a band-box. Engr., 
 138, 2. On either side a Dioskuros with egg-shaped hat, chlamys 
 and spear, by his horse. Below, a river-god, half covered in cloak, 
 lying on 1 . arm, holding a bundle of reeds in r. hand. Above him 
 inscribed on tablet: D. M. | C. Iulifo) Iuli\ano coin, j mil. urb{anae)\ 
 XII b . m. \fec(it ) Iuli\a mater \filio suo \ bene mer\enti. (Spurious.) 
 
 338 (412). Engr., 138, 3. Two boys bearing a rich festoon of 
 fruit. Above them inscribed on tablet : D. M. \ I. Iulio Basso 
 Domitia Nice | coniugi pientissimo | b(ene) m(erenti) f{ecit). On the 
 lid a double pediment, each part with a portrait, with a bird on each 
 side ; bearded masks on ends. 
 
 339 (3 78). Engr., 138, 4. A garland hangs down from two 
 rams’ heads; above, an eagle with extended wings ; below two butter- 
 flies. Inscription : D. M. \ A. Plautius Gallns \ Hermeti liblprto). | 
 vix. an. XII m(ens). III! On lid a wreath. 
 
 340 (401). Cippus. Engr., 139, 1. Below, inscribed on 
 tablet : FIs Manibus \ T. Flavi Eutacti | vixit annis XXXV \ Flavia 
 Folia | coniugi karissimo fecit. Above, bust of deceased, beardless, 
 between flutings. From the Borioni collection. 
 
 341 (367). Engr., 139, 2. A heavy garland hangs down from 
 two richly decorated candelabra, within it an eagle with extended 
 wings. Inscribed on tablet: D. M. \ Priscae | Augustor(um servae) \ 
 vix. an. XVII. On lid a crown and two masks at corners. 
 
 342 (382). Round urn shaped like a cista. Engr., 139, 3. 
 Curved flutings running round it. In front two dolphins diving 
 down into the waves. A heavy garland hangs down from their tails. 
 Inscribed on tablet : D. M. \ Antoniae | Gemellae j Diadumenus | 
 pientissimae | fecit. \ vixit annis XXX II. 
 
 343 ( 39 1 )- Engr., 140, 1. Mon. Matth., nr. 73, 3. Within a 
 frame the inscription (spurious) : Rnbria Prima | Albaniesis | P. 
 
408 
 
 INCE BLUNDELL HALL 344 — 353. 
 
 Ruhr ins Rev ilis (? Reutilis is given in Mon. Matth.). \ amice have et | 
 vale : ego hie | situs sum. 
 
 344 (399). Engr., 140, 2 = 143, 5 - 6. On a field in a frame 
 the inscription : D. M. | et | cincribus Q. C. \ P. F. (Spurious.) 
 
 345 (384)- Engr., 140, 3- Mon. Matth., 111. 61, 1. In a field 
 with rich border the inscription: DIs Manibus sacru{m). \ Ti. Claudio 
 Onesimo Acies | lib. Claudia Felicula confugi suo bene merenti \ fecit, 
 vixit cum eo ann\is XXI. (Suspicious.) 
 
 346 (389). Double urn. Engr., 140, 4. Three roses both 
 on r. and 1 ., in middle a spiral-shaped ornament. Inscription on 1 . : 
 D. M. | Calidiae Ursiliae (i.e. Ursillae) \ v(ix.) a(nn). XXXII m(ens). 
 VI d{ieb.) X | L. Calidius Buculus \ libertae pientissim\ae et incompara- 
 bili \ fecit ; on r. : D. M. \ Telesphori Primitivi \ vixit an. VIII men. 
 Ill | diebus X VI horis X. | posuit Onesimus ] pater. (Spurious ?) 
 
 347 (3^6)- Engr., 140, 5. Mon. Matth., in. 61, 3 (different 
 lid). Inscribed on tablet : D. M. [ Aurelia Hermio\ne fecit Aurelio 
 In\genuo coniugi \ karissimo. item Au\relius Philander \ libertus patro\no 
 ■merenti. (Suspicious.) On the lid the official cap (apex) of priests. 
 
 348 (380). Engr., 140, 6. Two boys holding a festoon of fruit. 
 Inscribed on tablet : I). M. | M. Ulpio Eutyche \ M. Ulpius \ Philo- 
 calus | fratri b(ene) m(erenti) f(ecit). The urn is besides richly de- 
 corated. On the lid a wreath, and at the comers palmettes. 
 
 349 (388). Round vase. Engr., 142, 1. The body decorated 
 with slanting (lutings. Inscribed on tablet : Hyla | vix. a(nn). I 
 m(ens). Ill | Ti. Claudius ] Epaphra | filio fcc(it). 
 
 35 ° ( 39 °)- Engr., 142, 2. On either side a column and a spray. 
 Inscribed on tablet : D. M. \ M. Rufrius M. 1 . Philapfiphus | 
 Rufia (sic) M. 1 . Iucun(da ) soror | argundi. (Spurious.) 
 
 35 1 (387)- Round vase: slim form. Engr., 142, 3. Not 
 ornamented with any representation of figures, but mere decorative 
 designs. (Genuine ?) 
 
 352 (375). Engr., 143, 3. 4. Two bearded heads with horns of 
 Ammon support a double garland raised in the middle over a button. 
 Below, at each corner a swan, in the middle two smaller birds. 
 Above them inscribed on tablet : Sevennae Procillae \ ossa hie sita 
 sunt. | I. Severinus I. f. matri fecit. (Spurious ?) On sides a 
 palmette, on lid two birds pecking at a twig. 
 
 353(537). Round vase : cup-shaped. Engr., 144, 1. 2. On 
 front a thick border of vine-leaves round a tablet with the inscription 
 Ossa | Q. Licinii Felicis ; back entirely covered with branches of 
 ivy. In place of a handle on each side a bearded mask crowned 
 
INCE BLUNDELL HALL 354 — 363. 
 
 409 
 
 with ivy, with broad ribbon on forehead, of elegant hieratic style. 
 From the Bessborough collection. 
 
 The following Cineraria from the Mattei collection are not 
 copied in the Engravings. 
 
 354 (348). Mon. Matth ., in. 61, 2. In a field with a frame 
 the inscription Ossa | L. Antoni \ Felicis. 
 
 355 ( 349 )- Double cinerarium. Mon. Matth ., hi., 71, 1. 
 Two inscriptions on fields with frames ; I. : 1 ). M. \ L. Manlio \ 
 Philargyro | fee. Larcia Rufi\na coniugi suo \ b(ene) m(erenti ), v(ix). 
 a(nn). XXXX V, et sibi; r. : D. M. \ Lai'cia Rufi\na coniu\gi suo 
 b. m. 
 
 356 (350). Mon. Matth., in. 65, 3. Two bearded heads with 
 horns of Ammon support a garland ; below it at each corner a vessel 
 full of fruits. Inscribed on tablet : D. M. \ M. Clodio Casto ri mater 
 fecit | filio fientissimio). 
 
 357 (362). Between two griffins a tablet with the inscription 
 M. Saburius Ligus \ Fal{erna ) Albintimili (i.e. from Albintimilium, 
 now Ventimiglia) | evoc(atus) Aug(iisti) sal{ariorum) VI | vix. ann. 
 XXXVIII \ prof ecit ex cohlprte) V \ prfietoria). Cf. Mon. Matth., 
 hi. p. 125. 
 
 358 (395). Mon. Matth., in. 69, 3. On a field within a border : 
 Dis Manibus [ M. Terenti\us Stephani liberties | Restitutus et Crocale 
 li\berta eius Carviliae | mammae suae be\ne meritae \d~\e se. (Sus- 
 picious.) 
 
 359 (416). Inscribed slab. Mon. Matth., in. p. 139. Dils 
 Manibitis) | Atiliae Phlegusae | M. Herennlus Felix | fecit coniugi \ 
 bene merenti. 
 
 The following sepulchral monuments derived from other pur- 
 chases are likewise not copied in the Engravings. 
 
 360 (346). Cinerarium. Inscription within a frame : Paeti ] 
 M. Claudi | Paeti , in three adjoining fields. 
 
 361 (347). Double cinerarium. Inscription, 1 . : Aninia 
 Asterio sibi et fratri suo ; r. : C. Iulius Speratus. 
 
 362 (374). Double cinerarium. Inscription, 1 . : D. M. Fes- 
 tivae feclft ) Hermes pater ; r. : D. M. Flaviaes Onesimes, vix. ann. 
 XXVII. 
 
 363 (377). Cinerarium. Cupids at the corners leaning on 
 torches. Two hovering Cupids hold the tablet below them, 1 . a bow, r. 
 a quiver. Above, horns of plenty. Inscription : Oppiae Thisbe | coniugi 
 incon\parabili, frugi , | integrae fidei \ C. Oppius Eutych\es mar it us 
 b(ene) m(erenti) f(ecit ). ] vix. a(nn). L V m(ens). I d(ieb). III. Cf. 
 
4io 
 
 INCE BLUNDELL HALL 364 — 375, 
 
 Engr., 155, 6. On each side a griffin. H. 0-20. L. 074. From 
 the Bessborough collection. [4/] 
 
 364 (403). Sepulchral monument. Three busts, which 
 appear to be of a husband and his two wives. The inscription is 
 given as follows : Mallia Mifprofula nata aim. X totidem m. II. v. 
 a., L. Mallius L. 1 . Clemens , Perpernea M. L. 1 . Prima. (Spurious.) 
 
 365 (405). Sepulchral inscription, bulky ; on a field within 
 a rich border : Ti. Claudius Rufus , vixit mensibus XXX. 
 
 366 (406). Sepulchral monument, with the inscription : 
 
 fyXaovtav Ai’l prfXlav Ma|/cajOiav <$>l\av\l>pov yvvaxKa. | AilpifAios 'YyetViaro? 
 yXvKvWaTr] wp-filo). (C. I. Gr ., 3347-) Cf. Engr., 155, 5. Probably 
 from Smyrna. From the Bessborough collection. 
 
 367 (413). Relief, given out to belong to a sarcophagus. The 
 ornaments and sea-horses are curious ; between them on a square 
 tablet : D. M. Q. Quintio Eutycheii (i.e. Eutycheti) Quintii Euty- 
 chianus et Victoria ex testamento fecerunt nutritori suo. vixit aim. CV 
 m(ens). V d(ieb). XXVII. 
 
 368 (414). Inscribed slab : D. M. Aur. lobinus mil(es ) 
 
 coh(ortis) III pr(aetoriae ) \centuria\ Q. Rufini. vix. an. XXX, iniKfta - 
 vit) an. VI, nat(ione ) Bcssus. Aur(elius) Martians eq(ues ) singularis 
 hei\es) et Iulius Marcianus secundus her(es ) et contubernales b(ene) 
 inherent i) f (acienditni) c(uraverunt). 
 
 369 (415). Inscribed slab : D. M Verriae Nicopolini Ti. 
 Iulius Epitynchanus coniugi b(ene ) m(erenti), cum qua vixit annis 
 XXX V sinae ulla querella, fecit et sibi. 
 
 370 (417). Inscribed slab. D. M. Ulpiae Sabinae coniug(i) 
 optimae et dulcissimae et bene merenti P. Rufinas Ephestion locum con- 
 cessum et donatum ab heredibus Elavi Libani, quae posita est infra hanc 
 tricliam in long(um) p(ed). VII, in lat(um) p(ed). V. (Suspicious.) 
 
 371 (551). Cinerarium, with rams’ heads and two Cupids 
 with inverted torches. Inscription : Dils Multibus C. Munii Screni 
 sacrum. Bought at Lord Mendip’s sale. 
 
 The Account further enumerates the following reliefs : 
 
 371 a (267. P). Modern copy of a so-called Choragic Re- 
 lief. [*] 
 
 372 (269. S). A lion’s head. 
 
 373 ( 2 74)- A charioteer in the Circus running full speed in 
 his quadriga. There appear also the metae. 
 
 374 ( 2 7S- S). Fragment of an oval sarcophagus. A lion 
 
 walking 1. : on his neck a ribbon with a bulla. H. o-6o. [*M] 
 
 375 (276. T). Front of a sarcophagus. Two hovering 
 
INCE BLUNDELL HALL 376 — 391 - 
 
 411 
 
 Victories hold a medallion ( 'clupeus ) with half-length portrait of a boy. 
 On both sides a Cupid with torch. Below the Victories horns of 
 plenty, also on 1 . a bow, on r. a quiver. [A/] 
 
 376 (281. T). Fragment of sarcophagus. Aphrodite or a 
 Nereid sits on a sea monster, 1 . hand supported, looking r. On the 
 beast’s tail sits a Cupid with a garland. Above, a dove (?). The 
 Account further mentions a boy with inverted torch. [M ] 
 
 377 (282. T). Fragment of a child’s sarcophagus (oval). 
 A Cupid sits on a rock asleep, leaning on the inverted torch, by him 
 a quiver. On r. stands a Cupid with crossed legs holding be ore 
 him slantwise a staff (? torch ?) with both hands. On 1 . a third Cupid 
 retires with a garland in his hands. [A/] 
 
 37 8 (288. S). Slab of a sarcophagus. Two hovering Cupids 
 support a shell with the portrait of a woman, head-dress in style of 
 third century a.d., who holds a roll. Under her a nude female figure, 
 recumbent, with high stephane, a swan in her bosom (Leda ?), sur- 
 rounded by four Cupids. On her 1 . first Oceanus, semi-nude, with a 
 steering paddle ; then a sea monster ; on her r. first Tellus, draped, 
 with a cornucopiae ; then a Cupid frightening two companions by 
 a large mask which he holds before him. Of the two latter one 
 covers his face with r. hand and advances 1. to protect himself, the 
 second falls on his back with fright. (Cf. Pitture di Ercolano , 1. PI. 
 34.) At ends trees, from which quivers are suspended. Very rough 
 work, [A/ ] 
 
 379 (290). Medusa’s head, probably from a piece of archi- 
 tecture. 
 
 380 (294). Satyr’s head, with pointed ears, of savage ex- 
 pression. Bought from Volpato. 
 
 381 (296). Eagle, standing within a wreath of foliage, with 
 expanded wings. 
 
 382 (297). A face. 
 
 383 (300). Medusa. 
 
 384 (301). A boar, lying down, and having a dog at each end 
 of it. 
 
 385 (302). A head in porphyry, small. 
 
 386 (303). Medallion in alto relievo, called Sappho. 
 
 387 (305). A comic mask. 
 
 388 (306). A mask of Dionysos. 
 
 389 (310). Two Medusa’s faces. 
 
 390 (317). Seven masks, which are all singular in their kind. 
 
 391 (335. T). Relief from a sarcophagus. A herdsman 
 
412 
 
 INCE BLUNDELL HALL 392 — 396. 
 
 sits in exomis and boots, facing r., leaning on his staff, at his side the 
 herdsman’s wallet. Beneath his seat a sheep, before him on r. three 
 more sheep in two planes one above the other, and three trees. 
 From the Villa Borioni. [A / ] 
 
 3g2 (340). Discus, with three masks. 
 
 393 (S 2 4- Portico of P, above the main entrance). Front of a 
 large sarcophagus. In the middle a powerful lion, pursued by a 
 hound, bounds 1. towards a bearded horseman in tunic and cloak, 
 whose raised r. arm belongs to the restored piece of the relief. 
 Under the same a second bearded horseman with sleeved tunic and 
 cloak bounds towards the lion ; before him a bear and an ibex lie 
 on the ground killed. Above the lion a third horseman with waving 
 chlamys brandishes his sword. A fourth horseman and a helmeted 
 warrior further r. raise their swords against a panther springing 
 r. behind the lion, while below in the r. corner a bearded man in 
 sleeved tunic and cap cowering on the ground holds his shield 
 before him for protection from the danger. Very large dimensions. 
 The relief is derived from Hadrian’s Villa. For the purchase, cf. 
 on no. 221. 
 
 394 ( 535 )' A small sarcophagus. “ In the front is a Greek 
 inscription in verse ; on each side of it is a curious bas-relief.” From 
 the Bessborough collection. (In the Engravings , PI. 153, 154, 
 besides no. 366, are four Greek inscriptions given as derived from 
 this collection, but there are no verses among them. They seem 
 all to have come here from Smyrna, see C. I. Gr ., 3318, 3385, 
 3337 , 3349 -) 
 
 395 (54°. P). “ A square altar; doubtless of the time when the 
 worship of Serapis and Isis had spread into the Roman empire, for both 
 of these divinities are represented on it in the forms of Roman art. 
 The head of Serapis is wanting. [According to the Account , “ Isis, 
 with a sistrum and inverted cantharus (situ/a) ?, and a male figure 
 with a spear in his hand, and a serpent springing up at his feet.” 
 One might therefore suppose it to be a priestess of Isis, as they 
 often occur with a man also at their side on Greek sepulchral 
 monuments.] Besides this, each side contains, in strict architectural 
 arrangement, two torches, a nilometer [a sistrum according to the 
 Account], and a patera. Opposite is the colossal mask of Jupiter 
 Ammon, of common workmanship.” From the Bessborough collec- 
 tion. The specimen serves as pedestal for no. 43. [IF] 
 
 396 (546. S). Slab of a sarcophagus: of unusually large size; 
 in the middle, folding doors with Corinthian columns on both sides 
 
INCE BLUNDELL HALL 397 — 404. 
 
 413 
 
 which support a pediment, doors somewhat opened ; on each door a 
 lion’s head in the upper panel, in the lower a Cupid leaning on the 
 inverted torch. On both sides curved flutings. On each end the 
 figure of the good shepherd on a pedestal. From the Bessborough 
 collection. [CM] 
 
 The two following specimens are not in the Account : 
 
 397(G). Front of a sarcophagus. Two hovering Victories 
 hold a medallion with the bust of a boy. Below this a block of 
 rock, on either side of it a snake attacking a recumbent lion. At 
 the corners Cupids with a garland. Cf. no. 375. [4/] 
 
 398 (S). Middle piece of a fluted child’s sarcophagus. 
 Bust of a boy. Below, two tragic masks. [M] 
 
 Miscellaneous Objects. 
 
 399 ( 307 ). Support for a table slab (trapezophoron), 
 consisting of the fore part of a recumbent lion with 1. paw laid on an 
 animal’s head. Eugr ., no, 3. 
 
 400 (308). Support for a table slab (trapezophoron), 
 
 consisting of the fore part of a winged griffin ; below, ornament of 
 vine branches. Engr., no, 3. 
 
 401 (507). Shallow cup ; with two handles, on a square foot. 
 Engr., no, 2. Richly ornamented, but apparently, at least for the 
 most part, work by Piranesi, from whom the cup was bought, 1777. 
 
 402 (440). Helmet. Eugr., 120, 1. Of round shape with a 
 sphinx on the crest, a griffin on the curved sides. The very large 
 front piece is decorated with a ram’s head. The emblems are 
 suitable to Athena; the helmet is supposed to have been broken off 
 from a head of that goddess. 
 
 403 (442). Boot. Etigr., 120, 2. It seems to be a fragment 
 of a statue of a warrior ; the boot has an overfold of leather at the 
 top and is very richly ornamented (imitating embroidery?). 
 
 404 (270). Vase showing Bacchic figures, in different 
 attitudes. It was found in a cava near Monticelli, not far from 
 Tivoli, and was so much decayed and corroded, that it was necessary 
 to re-work several parts, and new polish the figures ; this gave it the 
 appearance of being modern. The repairs were made by Piranesi. 
 Bought from Volpato. 
 
 I pass over a number of fragments ( Account , nos. 420, &c.), 
 columns (nos. 449, &c.), tables and miscellaneous objects (nos. 473 ff); 
 still the following may be briefly noticed : 
 
414 
 
 INCE BLUNDELL HALL 405 — 41 I. 
 
 405 (400). Antique glass urn. “ When it was first found, it 
 contained ashes and bones, with some lachrymatories, and a lamp, as 
 may now be seen in it. Some ancient money was also found in it.” 
 
 406 (418). Small glass urn, found in a Columbarium, near 
 Naples. “ It contained two lachrymatories, which are now in it, 
 and some ashes.” 
 
 407 (494). Three painted Greek vases, with various figures 
 on them, bought at Naples, in 1777. 
 
 408 (495). Twelve small Greek vases, of different sizes 
 and forms ; some are ornamented, others plain. Bought from Cava- 
 ceppi. 
 
 409 (498). A bronze lamp, hanging by a chain which is 
 curiously wrought. Bought from Mr Clarke, at Naples. 
 
 Mosaics. 
 
 410 (252. S). Thetis before Zeus? Engr., 96. From the 
 1. a female figure with arms advanced (“Juno”), fillet in hair, with 
 white chiton, red cloak and blue shoes approaches Zeus, who sits on 
 a throne with a high back standing on two steps. Near his 1. foot sits 
 the black eagle. Hair and beard of the god brown. A gray cloak 
 covers his legs and upper part of 1. arm. Zeus supports his 1. hand, 
 which raises the sceptre, against his head. In r. hand he holds the 
 thunderbolt with which he points out the female suppliant to Nike, 
 who is turned away facing r. and writes something with a stylus 
 on a yellow shield standing on a pedestal ; quite corresponding in 
 attitude to the Victory of Brescia. She wears a white chiton and 
 red cloak; 1. foot resting on a helmet which lies on the ground. 
 Large gray wings visible on her back. The effect of the colouring 
 is very simple ; the work tolerable. The representation agrees well 
 with the scene in the first book of the Iliad (495 ff.j, where Thetis 
 entreats from the Father of the gods honour and fame for her sorrow- 
 stricken son. Found in the ruins of an old villa near Torre Pignatara 
 on the Via Labicana. H. o'6S. L. o '63. [* W ] 
 
 41 1 (448). Six pieces of mosaic, being part of the floor of a 
 large room. “ In the centre of each piece are some curious figures: 
 on one is a jay looking into a mirror, on another is an ibis holding in 
 its bill a serpent, Nc. [According to Waagen : in the centre a bird 
 and three fruits and a rabbit alternately, all enframed in tendrils of 
 the same pattern.] Found in the ruins of an ancient house near 
 Tivoli ; bought from La Piccola [cf. no. 17]. Near i‘6o square 
 each piece.” [ IF] 
 
KETTERINGHAM HALL. KINGSTON HALL. 
 
 415 
 
 412 (529). An antique mosaic, which now forms the slab of 
 a table. According to Waagen a naked slave is strewing fodder 
 before two oxen ; behind is an ass looking upward. According to 
 Account: buildings and cattle. Bought together with no. 221. [IF] 
 
 413 (S). A female head in profile, of colossal scale ; com- 
 posed of very coarse pieces, but still imposing in effect from the 
 grandeur of the forms. [IF] 
 
 Gems. 
 
 Engr. 151 and 152 contain twenty-four gems belonging to the 
 collection, for the most part of such suspicious appearance, or indeed 
 so absolutely modern, that I do not describe them in detail. 
 Waagen, p. 259, describes five specimens, while at the same time he 
 states that there are several hundred intaglios, many of them of great 
 interest and value. 
 
 KETTERINGHAM HALL (Norfolk). 
 
 Waagen, Treas., hi. pp. 427 f. 
 
 Not far from Wymondham, between Ely and Norwich, is situated 
 this country seat of Sir John Boileau. Waagen enumerates the 
 following marbles : 
 
 1. “Marble relief found at Nimes : a female figure with one 
 foot on a vase holds to a woman opposite to her a mirror consisting 
 of two circles attached together at one part, so that they could be 
 folded together. The workmanship is moderate, but the action of 
 the figures is very good.” 
 
 2. “ Small statue in marble, pronounced by Visconti to be the 
 statue of a Roman prince, presented under the form of a young 
 Hercules. Very good style, delicate execution ; well preserved in 
 the principal parts.” 
 
 3. 4. “ Two busts of Emperors, one of them a Nero.” 
 
 KINGSTON LACY (Dorsetshire). 
 
 In this residence of W. J. Bankes, Esq. there were in 1835 when 
 the second volume of Specimens op Antient Sculpture appeared, the 
 undermentioned specimens. I have been lately informed that they 
 
41 6 KINGSTON HALL I, 2. KNOLE PARK. 
 
 are still there, in the possession of the present owner of the estate, 
 Walter Ralph Bankes, Esq. They are placed upon the staircase 
 of the house. 
 
 1. Marble bust of Arsinoe, found in Alexandria, brought 
 from Egypt by Consul Baldwin and sold by auction 1828. Spec., 11. 
 PL 40, 41. Hair parted, flowing down in rich folds on both sides 
 and leaving the open brow free. Head crowned with a stephane 
 pierced with several holes by way of embellishment. Lobes of ears 
 also pierced. Back of head missing ; it was worked from a separate 
 piece, perhaps of different marble, and was very likely veiled. The 
 bust was evidently intended to be let into a statue. Features of ideal 
 beauty. “ The style of sculpture is broad and grand, and the execu- 
 tion of the face and throat remarkably fleshy; it is also in good con- 
 dition, and has no other part restored excepting the tip of the nose.” 
 H. 0-46. 
 
 2. Bust of “Augustus,” in green basalt, life size, found near 
 Canopus in Egypt about 1780, bought from Mr Baldwin’s collection. 
 Spec., 11. PI. 46. The lineaments of this narrow face, the very large 
 nose, the arrangement of the hair, differing from what is seen in all 
 portraits, both of the youthful and the aged Augustus, make the 
 traditional nomenclature most improbable. Beautiful bust, in a high 
 state of preservation, with the same kind of hard delineation and 
 perfect polish as in the bust of Caesar carved in like material in the 
 Berlin Museum. 
 
 KNOLE (Kent). 
 
 Dallaway, pp. 382 f. (11. pp. 134 f.). Spiker, 11. p. 285. Waagen, 
 Treas., iv. pp. 337 f. 
 
 In Knole, near Sevenoaks, the ancient seat of the Dukes of Dorset, 
 there are a few antiques which John Frederick, third Duke of 
 Dorset (acc. 1769, d. 1799), had collected in Italy. The more exact 
 date of the Duke’s purchase has lately been yielded by the records 
 which the Pope’s chamberlain office has kept of the exportation of 
 works of art (see Gori, Archivio storico della Citta e Provincia di 
 Roma, 11. pp. 267, 268). Among them occur the two following 
 entries : 1770, 7 Agosto. Duca di Dorset: 4 colonne antiche di giatlo 
 di palmi 11 ; un busto imperials buono ; 2 teste parimente antiche ordi- 
 narie incognite ; una piccola statuetta antica di marmo di donna idcale 
 a/ta palmi 5... 28 Agosto. II Duca Dorset: busto di Marco Aurelio 
 antico or dinar io ; altro di marmo di giovane incognito con altro consimile 
 
KNOLE I. 
 
 417 
 
 di detto , incognito cd antico ; an' crma di Socrate antica marmorea ; una 
 testa di marmo antica incognita; un Amorino addormentato [no. 5]; 
 an Bassorilievo antico... The specifications are too vague for one to 
 attempt an identification of the several specimens with the marbles 
 at Knole, yet it seems that some of the above-mentioned specimens, 
 such as the small female ideal statue, are no longer to be found. 
 Knole was, in Waagen’s time, in the possession of Lady Amherst, 
 the eldest daughter of the collector, and is now the property of Lord 
 Sackville, the collector’s grandson. I visited the collection in the 
 year 1877. 
 
 Hall. 
 
 1. Statue of Demosthenes, from the Columbrano Palace in 
 Naples. Visconti states that it was found in his time in Campania 
 (Mas. Pio- Clem., hi. p. 63 Mil.). Drawings of it are given in Fea, 
 Storia, 11. PI. 6. Schroeder, Abbildungen des Demosthenes , Brunsw. 
 1842, PI. 2, 6. G. Scharf, Trans. R. Soc. Litt., New Series, iv. 
 fig. 5. Cf. Fea, /. cit., 111. p. 458, Visconti, Iconogr. Gr., 1. p. 356, 
 
 0. Jahn, Zeitschr. fitr die Alterthums-Wiss., 1844, p. 238, Scharf, 
 
 1. cit., p. 13, Michaelis, Arch. Zeit., 1862, p. 239. As the drawing 
 in Fea is from a cast in the possession of Jenkins, who had also 
 bought other antiques from the Columbrano Palace, this dealer was 
 doubtless concerned in its purchase. The statue is a fairly exact 
 replica of the Vatican statue from the Villa Aldobrandini ( Braccio 
 Nnovo, no. 62, Mas. Chiaramonti, n. PI. 24, Pistolesi, Vaticano , iv. 
 PI. 19), only that the stomach is rather more prominent and that the 
 very realistic reproduction of all external minutiae is not so tho- 
 roughly carried out. In general the work is not very delicate and 
 detailed, but in recompense for this the statue has remained almost 
 free from any retouching. In excellent preservation, with the excep- 
 tion that the upper part of the body, especially the upper parts of the 
 arms, have evidently been for a long time exposed to the rain, and 
 are in consequence much corroded ; the lower parts, especially the 
 drapery from the belly downwards, are preserved in unimpaired polish 
 and freshness. The head has never been broken off. Pupils are not 
 expressed in sculpture ; a trace of colour in their place is probably 
 of modern origin. New : merely nose, toes of 1 . foot, two first of 
 r. foot, and lastly, the hinder part of the irregularly-shaped pedestal. 
 Presumably in consequence of a fall, to which we must also ascribe 
 a crack in the 1. forearm, both hands with the roll, the 1. from above 
 the wrist, the r. with half the forearm, have been broken away just 
 
 M. C. 27 
 
4i 8 
 
 KNOLE I. 
 
 where these parts stand clear of the bulk of the statue. The parts 
 broken off are however, Waagen’s testimony notwithstanding, un- 
 doubtedly antique, and have been put on again by dint of smoothing 
 the fractured joints and of sundry small patches. The quality of 
 the marble, as well as the condition of the surface, which accurately 
 corresponds to that of the adjacent parts as to the destructive effects 
 of the rain, testifies to the genuineness of these parts. Unfortunately, 
 however, the restorer has found it necessary to work over seriously 
 the under sides of the hands, especially in the finger joints (the latter 
 as in the case of the Arroti?to in Florence or the dying Gaul in the 
 Capitol); the veins are also more prominently marked. This retouch- 
 ing extends to the neighbouring part of the 1. forearm. The result of 
 this investigation, in which I quite agree with Scharf’s conclusions, 
 is of some importance, as the roll is thus established as an original 
 element of our replica. In the Vatican replica the forearms with 
 the roll are, as is well known, restorations, and Martin Wagner has 
 endeavoured to prove from the pose of the genuine portions of the 
 arms that the restoration is wrong, and that the hands were originally 
 folded ( Anna/i , 1836, p. 161). In this way the statue would corre- 
 spond to the bronze statue of Demosthenes, which was executed by 
 Polyeuktos and erected in the agora of Athens at the public cost 
 about b.c. 280, also with folded hands (Plut. Demosth ., ch. 31). 
 Visconti had already conjectured that the statues were identical ; 
 subsequently, however, he abandoned this conjecture, but it has since 
 been taken up again by others. The statue at Knole is calculated to 
 prove that Wagner’s view respecting the restoration of the Vatican 
 statue, considering their complete agreement in all other points, is 
 more than doubtful ; and further, that these statues are at least no 
 direct copies of the statue of Polyeuktos. Perhaps, however, there 
 is something to be said in favour of their being only a slight variation 
 on this statue, the main features of the composition being retained. 
 With regard to this view I should not lay much stress on a terra 
 cotta statuette in the late Campana collection, now presumably in 
 Paris, which, while agreeing with our statues in all other points, 
 has the hands folded ; for the specimens in that collection are 
 seldom free from tampering. The peculiar mixture, however, of a 
 pregnant representation of the inward life with a vigorous naturalism 
 in the treatment of all externals indicates an original of the Hellenistic 
 period such as that of Polyeuktos. The fact that all extant portraits 
 of the orator go back to a common original is a further proof of its 
 celebrity. In fact this statue, so far from being of simply ideal 
 
KNOLE 2. 
 
 419 
 
 beauty, offers us a speaking portrait of the man who, though en- 
 dowed by nature with a frail body, developed his powers by dint of 
 iron energy and the most strenuous intellectual toil, and who amid 
 the storms of perplexing and sinister conjunctures stood his ground 
 unflinchingly in the face of rancorous foes r t home and abroad. 
 The face furrowed by wrinkles, and the almost gloomy earnestness 
 of the features, find a complement in the scantiness of the drapery, 
 which is far different from the flowing drapery of the Lateran 
 Sophokles, or the rich profusion of folds in the Neapolitan Aeschines. 
 Exactly thus is Demosthenes depicted in the well-known epigram 
 which stood beneath his Athenian statue (Plut. Demosth., cli. 30) : 
 “ had the piercing intellect and the strenuous will been supported 
 by proportionate strength, they might have rescued his fatherland 
 from Philip.” While, consequently, the impression conveyed by this 
 statue is in harmony with our idea of the portrait by Polyeuktos, the 
 supposition also seems to be justified that in a later period, when De- 
 mosthenes had come to be admired more as the great author than as 
 the afflicted patriot, the motive of folded hands was changed for the 
 less significant, but more easily intelligible, attribute of a half-opened 
 roll of manuscript, while the statue remained essentially unchanged in 
 other respects. In matters of detail we may mention a hole pierced 
 in front through a comer of the drapery which hangs down under the 
 1. hand ; for what it served is not clear. The sandals, with their 
 straps, are rendered with especial care in all details. The marble 
 seems to be Pentelic, and indeed of a fine-grained quality, similar 
 to that of the Florentine group of Niobe. H. i - 95, with pedestal 
 2 '08. [*JV] 
 
 Staircase. 
 
 2: Statue of sleeping Nymph. She lies on her back with 
 
 legs crossed. L. arm rests on a block of rock, the hand touching 
 the rim of a large urn which lies on the ground. R. arm, adorned 
 with an armlet, lies slantwise across the breast, hand on 1. shoulder. 
 Head sunk back ; the abundant hair traversed by a ribbon. A wide 
 drapery covers legs, back, and 1. arm. New : half lower parts of 
 legs, rock under 1. arm, a great part of back and hips, probably also 
 the 1. hand, possibly the face and several minutiae besides. This 
 statue had been broken into several pieces, and in piecing them 
 together the surface has been so much smoothed away as to present 
 an appearance of polish. Consequently the impression conveyed, 
 which can never have been pleasing, has become quite disagreeable. 
 
 27 — 2 
 
420 
 
 KNOLE 3—7. 
 
 The antique part of the r. leg has taken a brilliant gold-brown hue 
 owing to oxidation or to contact with some metal. Otherwise of 
 very white marble. Found at Roma Vecchia by Gav. Hamilton. 
 L. 143. [*] 
 
 3. Head and neck of a youth. Hair curly. Shows cha- 
 racteristics of Lysippos. Coarse work, and moreover very much 
 rubbed away and spoilt. New: nose; lips injured. Back of head 
 and of neck broken off. [*] 
 
 4. Bust of “ Brutus.” Similar in character to the late Roman 
 heads with hair and beard close-shaved, scarcely more than indicated 
 by punctures. Eyebrows rendered in a somewhat artificial style. 
 New : nose. R. arm covered by a vague piece of drapery, neither 
 tunic nor cloak. A button on r. shoulder holds up the fringed cloak 
 which covers breast and 1. shoulder. Below this shoulder near the 
 breast there appears the upper part of a round staff furnished with a 
 knob, beneath which the hilt and sheath of a small sword or dagger 
 is visible ; this extraordinary appendage is all the more strange as 
 it is outside the cloak. As moreover the very thick pedestal, which 
 on account of its shape can scarcely be antique, is of one piece with 
 the bust and head, the entire specimen is more than suspicious. It 
 may indeed have been the intention of the artist to represent a 
 “ Brutus with a dagger” (Dallaway). H. i - oo. H. of head 0^23, of 
 pedestal 0-28. [*] 
 
 5. Statue of sleeping Eros, with attributes of Herakles. 
 Legs crossed ; head resting on 1. hand, 1. arm on 1. wing. R. hand 
 lies on a small club. A lion’s skin serves the winged god to lie 
 upon. By his foot creeps a little lizard. New : only tip of nose. 
 Broken off : great toe of r. foot, part of 1. wing and head of lizard. 
 Coarse-grained Greek marble. L. o - 8o, of Eros about 070. [*] 
 
 Antechamber to Private Apartments. 
 
 6. Bust of Antinous, from Hadrian’s Villa, found 1769 by 
 Gav. Hamilton, sold to the duke by Jenkins (Dallaway, p. 370). 
 Head looks down somewhat sideways. Hair very thoroughly worked ; 
 brows slightly indicated. In place of pupils a slight flattening of the 
 eyeball is noticeable. New: nose, head and bust. Antique parts 
 seriously worked over. Very white marble of fine grain. L. of face 
 about o'23. [*] 
 
 7. Head of a bearded Greek : colossal scale. It may 
 perhaps belong to the fourth or third century b.c. The fillet which 
 
KNOLE 8 — 12. 
 
 421 
 
 traverses the abundant hair denotes a distinguished personage. 
 Lower half of forehead strongly developed, whole form of face broad 
 and powerful ; expression calm and clear. This remarkable head is 
 in excellent preservation. New: merely neck, bust, part of tip of 
 nose and details in hair. H. of genuine portion about 0-39. L. of 
 face o'2j. [*] 
 
 8. Roman portrait head. Thin beard and thick, tolerably 
 smooth hair. Bust covered with a drapery, the button of which on 
 1. shoulder is ornamented with the bust of a warrior. Nose restored. 
 The whole piece very suspicious. Pedestal certainly modern, pretty 
 much like that of the so-called Brutus, no. 4. H. 073, without 
 pedestal 0-54. L. of face 0-16. [*] 
 
 9. Roman portrait head of a youth. Beardless; with 
 
 curly hair much undercut with the drill. Pupils indicated. Late 
 period. New : nose, breast with drapery, pedestal. L. of face 
 on 8. [*] 
 
 10. “ Marcellus,” bust including part of body (- rporo/uf). 
 
 Pleasing, pretty, youthful head, inclined somewhat towards r. 
 shoulder. Mouth finely cut ; eyes somewhat veiled by the lids. 
 Hair cut short in front, combed over forehead, falling down deep on 
 the neck. The strange mannerism of the hair, which is treated as 
 though it were straw, strongly suggests modern retouching. H. 0-62. 
 L. of face on 8. [*] 
 
 xi. Head of “Caesar,” colossal scale: doubtless representing 
 in truth a man of the latest period of the Roman republic, but 
 certainly neither Cicero nor Caesar. The latter name is perhaps due 
 to the likeness of its pendant (no. 12) to Pompey. A distinguishing 
 feature is the lofty forehead traversed by a furrow. Hair short and 
 beginning to get scanty. Deep eyes. Strong creases extend from 
 the nose downwards. Finely modelled lips. Expression calm, 
 earnest, almost melancholy, goodnatured and benevolent. The 
 impression conveyed is that of a noble, thoughtful, but not very 
 energetic man, somewhere between fifty and sixty years of age. 
 New: nose, three quarters of upper lip, ears, bust and pedestal. 
 Coarse workmanship. H. of genuine portion 040. L. of face o’29- 
 The head was presumably discovered with no. 12. [*] 
 
 12. Head of “Pompey,” colossal scale. Found 1769 by 
 Gav. Hamilton in Hadrian’s Villa, sold to the duke by Jenkins 
 (Dallaway, p. 370). Apparently a companion to no. 11, being of 
 similar dimensions and treatment. It has in fact some resemblance 
 to the statue in the Spada Palace, though not strong enough to 
 
422 
 
 KNOLE 13 — 1 6. 
 
 justify the traditional nomenclature. Hair full and curly. Low 
 forehead much furrowed, eyes in shadow. Eyebrows slightly in- 
 dicated. The lower part of the face has calm features and conveys 
 the impression that the man leads a contented existence. New: half 
 the nose, the edge of the ears, bust and pedestal. H. of genuine 
 part C38. L. of face 0-25. [*] 
 
 13. Roman portrait head. Of singular, wicked expression. 
 Lower part of face projects in an extraordinary manner; this has all 
 the stronger effect as the upper teeth seem to be wanting. Lips 
 closely pressed together. Nose aquiline, but the tip quite obtuse. 
 Brows wrinkled. The expression of energy is intensified by the turn 
 of the head to its r. Antique : head, except 1. ear, and neck. Very 
 fine-grained white marble. H. of genuine portion o - 33. L. of face 
 0'2 0 . [*] 
 
 Garden. 
 
 On the outside of the house, near the state drawing-room, there 
 is built into the wall : 
 
 14. Fragment of a child’s sarcophagus. Five Cupids in 
 
 procession moving r., coming from a banquet. All wear little cloaks. 
 The first (a) looks round at the second (b) who is emptying a cup on 
 the shoulder of a, and holds a drinking-horn in r. arm. The third 
 Cupid, c, raises 1. hand and with r. lowers a torch towards d who lifts 
 up a wreath with his 1. hand and is tumbling back into the arms of a 
 companion e, of whom only the hand supporting d is left. The 
 slab is imperfect on both ends. L. 075. H. about o'i8. [*] 
 
 Conservatory. 
 
 15. Fragment of a relief. Towards 1. stands Zeus, full face, 
 with cloak thrown over legs and 1. arm, r. hand resting on hip, 
 r. arm leaning on a stout staff. In consideration of this attribute 
 one might suppose Asklepios to be intended, only that the goddess 
 at whom he gazes seems to be assuredly Hera. She sits on the r. 
 on a square block, draped in a chiton and cloak, which she airs in the 
 well-known manner with r. hand as if it were a veil. Head adorned 
 with a stephane. The fragment is broken off towards 1. At the top 
 a projecting border seems to be chiselled away to the level of the 
 plane of the field. Apparently a Greek original is copied in this 
 Roman relief. Treatment of relief angular. H. o - 42. L. 043. [*] 
 
 16. Relief of Orpheus. In the middle in rocky scenery sits 
 a man, of almost childish smallness of stature, in short chiton and 
 
KNOLE 1 7 . LIVERPOOL I, 2. 
 
 4^3 
 
 with Phrygian cap, playing on a curved flute. He would be taken 
 for a herdsman, did not the scene rather suggest an Orpheus. For 
 about him are placed a boar listening very attentively, a goat, a ram, 
 a lion or panther mangling a horse (?), and so evidently not yet fully 
 tamed by the art of the musician, a bear (?). On the 1. remains of a 
 tree. On the 1., and perhaps on the r. also, imperfect. Very rough ; 
 merely sketched. H. o - 2 7- L. o'34. [*] 
 
 17. End of a child’s sarcophagus. On the 1. stands a 
 herdsman in exomis, leaning on his staff, r. hand laid against head. 
 Further to the r. two trees, then two cows and a sheep, lying down. 
 Everything seems in repose. Rough work. H. o - 28. L. 0-40. [*] 
 
 LANSDOWNE HOUSE, see London. 
 
 LIVERPOOL. 
 
 Conze, Arch. Anz ., 1864, pp. 218 ff. I inspected the Museum, 
 1S7 7. 
 
 The public museum possesses an abundance of the most varied 
 kinds of art treasures, owing to the bequest of Mr Jos. Mayer (Introd. 
 §97), and to many additions besides; still it cannot boast of many 
 antiquities of great consequence, and in particular owns only a few 
 marbles. The multifarious connections of Liverpool trade with the 
 Levant, give promise that the Museum will receive further additions 
 in this department. 
 
 1. Bronze statue of Apollo. He rests on r. leg, which is 
 crossed by the 1. On the crown the hair forms a top-knot (Kopiyi/3os) ; 
 long, stiff locks fall down on the shoulders ; pupils hollowed out. 
 Lowered r. arm without doubt held the plectron ; 1. arm rests on 
 the lyre which with the piece of rock beneath it is modern. The 
 broad proportions of the body are singular in connection with 
 Apollo. Roman bronze from Arles. Not bad. H. o'69- [*] 
 
 2. Marble statue of Herakles. The hero is seated leaning 
 back on a rock on which the lion skin is spread. Bow and quiver 
 as well as cuirass and shield are leaning against the rock. Herakles 
 sets 1. foot on another shield, the advanced r. foot on a coat of mail. 
 
424 
 
 LIVERPOOL 3 — 7. 
 
 Both arms missing. In front, on the quadrangular pedestal, remains ' 
 of an inscription : 
 
 HERCVLI invicto (?) 
 sa Crum 
 clavd ius 
 
 Perhaps identical with C. I. Lett., vi. 1, 322, Herculi invicto sacrum | 
 M. Claudius Esychus d. d. “ sub parva statua LIcrculis cum clava et 
 exuviis Very commonplace work. H. 0-45, with pedestal 0-58. [*] 
 
 3. Statuette of a female figure, in ungirdled chiton, the 
 cloak wrapped round lower part of body. She rests on r. leg behind 
 which she crosses the 1. and leans with 1. arm on a column in easy 
 pose. Missing : head, raised r. arm, fingers of 1 . hand, front half of 
 r. foot. Superficial workmanship. The low plinth seems to in- 
 dicate that this figure was carved in Asia Minor (cf. Oxford, no. 9). 
 H. 076. [*C] 
 
 4. Torso of a boy, or youth, including r. thigh and upper 
 part of lowered 1 . arm. Missing : raised r. arm, head and the greater 
 part of the legs. On the 1 . of the paunch is a trace which shows 
 that the arm went along this part; there are moreover traces of a 
 support behind the r. shoulder-blade and r. thigh. Good sculpture. 
 H. 0-51. [*] 
 
 5. Terminal figure of a youth with long curls (Apollo?), 
 mutilated in the region of the virile emblem. The Term is placed 
 against a pilaster which is somewhat expanded at the top, and has a 
 hole in its upper surface. Dry, mean workmanship. H. of pilaster 
 0-85, of figure 078. [*] 
 
 6. Sepulchral stele of Merodotos. The slab is furnished 
 at the top with a cornice, only a little decorated. Below, the 
 inscription 'HpoSoros 2 kuAAi<wos. j 17 rpo(f>o<; eTrlo-Ttjcrev. In the relief 
 stands Herodotos, apparently beardless, in cloak, holding out r. 
 hand to an unveiled woman sitting to the r. On the 1 . behind 
 Herodotos the faithful nurse, who has dedicated the sepulchral monu- 
 ment to her charge, stands in full face, veiled, head supported on 1. 
 hand. Common style of the second or last century b. c. Coarse marble. 
 H. o-66. L. 0-31. From the mouth of the aqueduct at Ephesos. 
 Brought from Smyrna. Presented by E. Bibby, Esq., 1875. [*] 
 
 7. Sepulchral stele with pediment. A beardless man lies on 
 a bed with a thick fillet or wreath about his hair, draped in chiton, 
 and with cloak round his legs. He holds a cup in 1 . hand and 
 with r. is throwing something into a low three-footed incense-burner 
 
LIVERPOOL 8 — II. 
 
 425 
 
 (dv/jua-njpLov, turibulum ), which stands on a table supported by three 
 lion’s legs. At the foot of the bed sits the wife, veiled, both hands 
 in cloak, turned away from the body of the man, her face turned 
 back towards him ; feet resting on a broad footstool. On the 1. 
 a diminutive attendant crowned with a wreath enters holding in 
 lowered r. hand as it seems a spoon (-rpmjAts, tntlla ), rather than a 
 rhyton or a strigil. Above in the field a horse’s head, a round shield 
 with a Medusa’s head, a corslet, collectively emblems of deceased’s 
 rank. The monument is in good preservation. Style unusual ; archi- 
 tectural design and relief very sharply cut, precise but dry ; though 
 not in style, yet perhaps in the purely external technicalities of the 
 working of the stone, the relief may suggest Cyprian sculptures. 
 Perhaps this is partly the effect of the quality of the stone, which is 
 of very fine grain but quite full of tiny prints of shells (Ai$os /coyxn-ijs), 
 of yellowish colour. The specimen is derived from Egypt, and 
 belongs to the last centuries b.c. H. CV70. L. o - 53. [*C] 
 
 8. Fragment of a Cyprian sepulchral stele. All that is 
 preserved is a piece of the border on the 1. and the upper part of the 
 body of a woman sitting facing r. in fine chiton, veiled, with a neck- 
 lace and a ring on forefinger of raised 1. hand ; the r. hand is grasped 
 by the hand of a second figure, of which only r. forearm is preserved. 
 An interesting imitation of the Attic composition so common in 
 sepulchral reliefs of the fourth century ; about life size, in the pecu- 
 liarly dry, frigid style of Cyprian sculptures. Nude parts especially 
 quite devoid of life (cf. Oxford, no. 127). Very high relief. Cyprian 
 limestone. H. 0-96. L. 0-46. Presented by Captain Fothergill, 
 S.S. Thessalia, 1872. 
 
 9. Sepulchral monument of Epaphroditos. Round 
 column with clumsy, curious articulations at top and bottom, 
 furnished with a hole on the top for fastening on an ornament or a 
 vase. On the pillar the late inscription ’ETra^poStrat (at = e) | xP y l (JT * I 
 Xat pe. From Cyprus, of native limestone. H. o - 68. Diameter at 
 base 0-22. [*] 
 
 10. Terra cotta sarcophagus, quite plain, with projecting 
 flat border at the top. On the front is painted the inscription 
 nA.07rA.e1as /cal /cat ’A-ya'^cojcos. The first name is presumably a mis- 
 spelling for no7rAetas (no7rAias, Publiae ) ; /cat is repeated by an 
 oversight. H. 0-27. L. 1-89. B. o’5o. Found near Karatash, the 
 ancient Mallos in Cilicia, on the gulf of Scandaroon, Dec. 1872. 
 Presented by Capt. Pernie, S.S. Ararat, 1873. [*] 
 
 11. Sepulchral monument of Picaria Tertia. Above, a 
 
426 
 
 LIVERPOOL I2—I9. 
 
 portrait head of a girl framed in a shell ; on either side a dolphin. 
 Below the inscription : Hits Manib(us ) \ Publicia Tertia | Picariae 
 Tertiae \ filiae suae bene | merenti fecit. | vixit ann(os) X. \ hlfc ) s(ita) 
 eft). H. o - 56. L. o - 34. [*C] 
 
 12. Large Etruscan urn ; Oedipus and Laios ? Oedi- 
 pus (?) presses forward from 1., in armour and with shield and 
 drawn sword, against a chariot, one horse of which is rearing high, a 
 second lies on the ground. In the background two Furies with 
 torches. Laios (?) covered by his shield is falling over the chariot, 
 to the r. of which three more horses are visible, one springing up, 
 one springing at “ Laios,” one thrown on to the ground. Quite r. an 
 armed attendant of “ Laios ” is fleeing off, looking at the scene of 
 disaster. Prof. Koerte considers the subject to be rather the death 
 of Hippolytos. Apparently alabaster. H. o - 6o. L. o - 8o. The lid, 
 showing a man with a cup in his r. hand, does not belong to the 
 urn ; it is too large. [*C] 
 
 13. Small Etruscan urn; Eteokles and Polyneikes. 
 
 They are killing each other. On either side a Fury. The colours, a 
 dull red and a greenish blue, are very well preserved. A female 
 figure on lid. Terra cotta. FI. 0-26. L. 0-40. [*C] 
 
 14. Bronze relief of Athene, full face. Cat. Hertz , PI. 3, r, 
 
 p. 129, no. 5 ( Cat. Mayer , no. 142). The goddess is represented 
 en face, head covered with a round helmet, the vizor of which stands 
 upward over the forehead. The aegis with gorgoneion covers the 
 breast ; 1. arm holds the large round shield, r. hand raised (to grasp 
 the spear). Good bronze intended for an antefixum, broken at the 
 feet. H. CC13. [*C] 
 
 15. Small medallion of bronze, silver-plated. Head of 
 Drusus. Found at Xanten (Castra Vetera) on the Rhine. [C] 
 
 16. Etruscan mirror. Nude female winged figure with 
 Phrygian cap, hovering towards the 1. ; in r. hand a ball (? apple ?). 
 Cf. Gerhard, Etr. Spiegel, PL 32 ff. [C] 
 
 17. Etruscan mirror. Nude woman between two seated 
 youths; in the background an architectural design. Cf. Gerhard, 
 
 /. cit., PL 59. [*] 
 
 18. Etruscan mirror. A youth, leaning on a staff or thyrsos, 
 to whom a panther holds out its paw. The freedom of the delineation 
 arouses suspicion of the genuineness. [C] 
 
 19. Mirror-case with a relief. Paris kneeling on an altar, 
 
 a palm branch in 1. hand, in r. a sword, on the 1. a warrior, on the 
 r. a winged female figure with double axe raised to strike. Cf. 
 Gerhard, l. cit., PL 21, 1. [C] 
 
LIVERPOOL 20 — 26. 
 
 427 
 
 20. Mirror with drawing in raised outlines. Perseus ( Ferse ) 
 and Minerva ( Menerea ) looking at the reflection of the gorgo- 
 neion in the water. Even in the ornaments of the border an accurate 
 imitation of the mirror in Gerhard, /. cit ., PI. 123, with the sides 
 reversed (so that Perseus holds the harp in his 1. hand) and with 
 the error menerea for menerfa ; the inscriptions besides running 
 from 1. to r. Undoubtedly a modern imitation. [*C] 
 
 21. Eros sitting on a large dolphin, which he guides with 
 reins. Small Greek terra cotta figure. [C] 
 
 22. Fragment of a terra cotta relief. Upper parts of a 
 
 veiled bride and her pronuba, the latter with stephane on hair. 
 Exact replica of the relief in Guattani, Monum. hied., 1785, April, 
 PI. 3, 3. Campana, Opere di plastica, PI. 64. Arch. Zeit . , 1851, 
 PI. 26, 2. [ C ] 
 
 23. Terra cotta relief. Five gods, from 1. to r. ; Apollo 
 standing in repose with a lyre of modern shape ; Tychb standing 
 with cornucopiae ; Hephaestos seated, in exomis, with round cap 
 and boots, hammer in r. hand, tongs in 1.; Athene standing, with 
 helmet, aegis, shield with gorgoneion, and cloak, r. arm raised high ; 
 an owl on her shoulder. Hermes standing, with a cock on his 
 shoulder; he holds a purse in 1. hand, and lays his r. on the herald’s 
 staff". Not restored, broken across once. Certainly modern. PI. 
 °'33- L - °’44- [*C] 
 
 24. Vase with large body, from Canosa, with three open- 
 ings carried up like necks (similar shape to that in Pleydemann, 
 Vasens. in Neapel , PI. 3, no. 168). In front a Medusa’s head, above 
 it two Cupids ; on either side of the principal opening the fore part 
 (tt poTOfxrj) of a galloping Centaur. On the top three small statues, 
 Dolon between Odysseus and Diomedes, exactly answering to a 
 vase-painting from Pisticci ( Bullett . JYapol 1. PI. 7. Overbeck, 
 Bildwerke , PI. 17, 4). On the handle there slinks Dolon, beardless, 
 clad in chlamys and hood, both arms raised (without weapon). 
 On the lid of the 1. opening Odysseus advances, with pointed beard, 
 in chlamys and pointed cap (71-1X05), without a weapon in his hands ; 
 similarly on the lid of the r. opening advances Diomedes, bearded, 
 with high helmet, boots, and floating chlamys, now without a weapon. 
 The vase seems to have been considerably restored, though it is hardly 
 possible to judge accurately to what extent. H. o - 65- [*C] 
 
 25. Smaller vase from Canosa, with a Nikfe and other figures 
 on it. [C] 
 
 26. Pitcher (shape: Heydemann, PI. 3,110. 137, only broader). 
 
428 
 
 LIVERPOOL 2J, 28. LONDON. 
 
 A youth in chlamys pursues with drawn sword a bearded old man 
 draped in chiton and cloak, holding a sceptre, who looks round at 
 him. Red figures. Good style. [*] 
 
 27. Kantharos (shape: Heydemann, PI. 1, no. 43). Red 
 figures. Front. Boy with chlamys, a strigil (?) in 1 . hand, stands 
 before a dog ; behind him a plant. Over him the inscription 
 Xfjva-L-mros, not however painted on the background, but left in the 
 original colour of the clay, as are also the figures ; still, in spite of 
 the thoroughly unusual technical process, the inscription seems 
 genuine. Back. A bearded man in cloak, leaning on a staff, stands 
 before a grave, on which is a stele with the inscription Aa'i[os], In 
 spite of many peculiarities and of the neighbourhood of several 
 modern forgeries, there seems to me to be no definite ground for 
 suspicion. [*] 
 
 28. Lamp with a head, perhaps antique; fastened as a pro- 
 
 jection on to a cubic die, the three other sides of which are orna- 
 mented with figures of deities in relief ; by one is incised TXrjawv o 
 N€apx°(v), by another x a f e Ka ' L two inscriptions often repeated 
 
 on painted vases. This is naturally a forgery. [*] 
 
 Besides the above, the collection further contains a quantity of 
 unimportant painted vases, terra cottas, lamps, Samian 
 vessels, bronzes, weights, leaden missiles for slings, gold 
 ornaments, glass objects, amphora handles, Roman sepul- 
 chral inscriptions, &c. &c. Of especial value is the collection of 
 ivory diptychs, once belonging to Gabriel Feje'rvary, subsequently 
 bought by Jos. Mayer, and presented to the Museum. See Catalogue 
 of the Fejervary ivories in the Museum of Jos. Mayer. Preceded by an 
 essay on antique ivories by Francis Pulszky , Liverpool, 1856. The 
 most beautiful and celebrated specimen is the diptych with Asklepios 
 and Hygieia, well known through Raf. Morghen’s engraving (Miiller- 
 Wieseler, 11. 61, 791). 
 
 LONDON. 
 
 The existence of private collections in London is perhaps still less 
 generally known to the public than is the case with those in other 
 parts of the country. Since the Flope collection was removed to 
 Deepdene, the Rogers collection sold, the Guilford collection com- 
 pletely lost sight of, the only large private collection still left is that 
 
LONDON, APSLEY HOUSE I. 
 
 429 
 
 in Lansdowne house, which is in truth one of the best of all. In 
 addition there are the Soane Museum, the antiquities exhibited from 
 time to time in the South Kensington Museum, and several smaller 
 collections. No doubt many omissions in this section will at once 
 strike persons who possess fuller information, and it is to be hoped 
 they will be supplied. 
 
 Antiquaries, Society of, see Burlington House. 
 
 Apsley House (Hyde Park Corner). 
 
 In the Duke of Wellington’s town house there are in a vestibule, 
 which leads to the small staircase, adorned by Canova’s famous 
 colossal statue of Napoleon, sundry Roman busts. 
 
 1. Bust of Cicero; the celebrated bust from the Mattei col- 
 lection, which was a short time in possession of Cardinal Fesch 
 (1815 : cf. Urlichs, Glyptothek, p. 58). Drawings in F. Ursinus, 
 Imagines , PI. 146. Mon. Matth ., 11., PI. 10, ix. Visconti, Iconogr. 
 Rom., 1. PI. 12, 1. The bust closely resembles that in Madrid, the 
 identification of which is established by its inscription (Huebner, Ant. 
 Bildwerke in Madrid, Frontispiece) ; being similarly inclined a little 
 to the 1., and furnished, below the breast, with the antique inscrip- 
 tion Cicero, which Marini ascribes to the third century. The value 
 of this bust is, however, much diminished by the serious, though 
 well executed, restorations; not only chin, mouth, and nose, that is to 
 say, just the especially characteristic parts are restored, but also the 
 whole r. half of the forehead upwards from the middle of the eye to 
 pretty high up on the head, 1. eyebrow with upper eyelid, a piece of 
 1. part of forehead, half the ears, and lastly both shoulders. The 
 rest has been broken in several places. Very life-like are the creases 
 which extend downwards from the nose along the mouth, so also are 
 the creases on the neck. The deep sunk, not very large, eyes also 
 have an animated effect. Workmanship not very careful; curly hair 
 only a little worked out. The bald part of the head is pretty ex- 
 tensive. Pupils and brows not expressed. The bust, the tablet 
 (H. o - o4) with inscription and the low round pedestal (H. o - o8) in 
 the form of an Attico-Ionic base are all unbroken and form one 
 
LONDON, APSLEY HOUSE 2—Q. 
 
 430 
 
 piece. Greek marble, apparently Parian ; the restorations are made 
 partly in Thasian, partly in coarse-grained Parian marble. Total 
 
 H. o' 62. L. of face 0*24. [*] 
 
 2. Bust of Athene, somewhat bent 1 . A so-called Corinthian 
 
 helmet covers the hair, which is simply combed in waves to the sides, 
 as in the case of the Amazons, and falls down on the neck tied up into 
 a knot of moderate dimensions. Shape of face oval, but not so 
 much so as in great part of the later heads of Athene ; similarly the 
 expression is thoughtful, but not sentimental. New : whole neck 
 and breast, tip of nose and part of helmet. The rest has been much 
 broken. Beautiful Parian marble. H. of genuine parts, 0-41. L. 
 of face o - 1 8. [*] 
 
 3. Bust of Lucius Brsus. Visconti, Iconogr. R0711., 1. 
 PI. 9, 3, 4. A bald crown with rather scanty hair at the sides and 
 behind. Head looks r. somewhat. Forehead wrinkled, lips thin, 
 expression of mouth energetic. New: nose and ears as well as 
 shoulders, the bust has never been broken. Below this, a low tablet 
 (H. o'o6) ; the inscription runs L. Vrsum cos. Ill | Crescens lib. (C. 
 
 I. Lat., vi. 1, 1432). L. Julius Ursus Servianus, husband of Ha- 
 drian’s sister Paulina, was consul for the third time in the year 
 a.d. 134, being the last private citizen who held the office. Two 
 years afterwards, when 90 years old, he was put to death by the 
 order of his brother-in-law, the Emperor (cf. Visconti, /. cit ., pp. 
 303 ff.). The expressive, but by no means delicate execu- 
 tion, is far removed from the laboured elegance of the busts of 
 Hadrian. Pretty seriously worn. Italian marble. Total height 
 0-55. L. of face 0-20. Formerly in Rome, in Visconti’s time in 
 Paris. [*] 
 
 4- Bust of Septimius Severus, of little merit. Pupils 
 expressed. New : nose, breast and pedestal. L. of face o'2 2. [*] 
 
 5. Bust of Lucius Verus, still worse. New: nose, upper 
 
 lip, neck, breast and pedestal. L. of face 0-19. [*] 
 
 6. A bust of a warrior with helmet, eyebrows wrinkled, 
 and (7) a bronze bust of Vitellius are new, as also is (8) 
 Alexander the Great, a copy of the bust at Blenheim (no. 1), 
 which is exhibited in the Hall. [*] 
 
 9. Statue of Eros as a child. He sits on a rock and lets 
 the r. leg hang down, having drawn up 1. foot and set it on the rock ; 
 both hands rest on the knee. Curly hair arranged along the parting 
 in a sort of plait. He looks down in the direction of r. leg, at some- 
 thing which fixes his attention. Pleasing conception. New: greater 
 
LONDON, ATKINSON— CRICHTON. 
 
 431 
 
 part of wings, parts of feet, of hands and of 1. knee, pieces of the 
 pedestal. H. 0-64. [*] 
 
 Mr Atkinson. 
 
 Mr Atkinson, residing in the neighbourhood of St John’s Wood, 
 is said to have a number of Athenian works in marble, among which 
 are named several Fragments from the Parthenon, as a gift of 
 Lord Elgin’s. I have not hitherto been able to learn anything more 
 specific about the matter; it seems extraordinary that Lord Elgin 
 should himself have made his collection of sculptures from the Par- 
 thenon incomplete. 
 
 C. S. Bale, Esq. 
 
 The choice collection which Waagen found in the house of Mr 
 C S. Bale (Treas., 11. p. 332) was sold at Christie’s in June, 1881. 
 It consisted of antique gems; Greek and Roman coins, espe- 
 cially in gold; gold ornaments; Etruscan candelabra, and 
 painted vases. 
 
 Burlington House (Piccadilly). 
 
 The Society of Antiquaries possesses, with the exception of 
 Anglo-Roman remains, no Greek or Roman antiques of particular 
 value. Cf. A. Way, Catalogue of antiquities , coins, pictures, and mis- 
 cellaneous curiosities, in the possession of the Soc. of A tit. of London, 
 1847. Some Attic vases are perhaps worth noticing (Waagen, 
 Treas., 11. p. 326), and the gold ornaments from Ithaka given by Dr 
 Lee. 
 
 Colonel Maitland Crichton. 
 
 Colonel Maitland Crichton, 29, St James’ Place, possesses a 
 beautiful female portrait bust, formerly in the possession of the late 
 Andr. Coventry, Esq., of Edinburgh, who wrote a paper on it (Trans. 
 R. Soc. Edinburgh, xx. P. 3, 1852, p. 417). It is under life size, very 
 delicate, especially in the shape of nose and mouth and in the 
 virginal expression. The curly hair which surrounds the head in 
 waving masses and forms a small knot on the neck is prettily treated. 
 The resemblance to the “ Clytia” of the British Museum (Graeco- 
 
432 
 
 LONDON, LORD ELCTIO. 
 
 Roman Sculpt., no. 149. Huebner, Bildniss einer Roemerin, Berlin, 
 1873) is unmistakeable, only our head is more youthful and it has 
 not the long curled tresses falling down on the shoulders. These 
 very points increase the likeness to the portraits on coins of An- 
 tonia Augusta, younger daughter of M. Antonius and Octavia, 
 wife of Drusus, mother of Germanicus and Claudius, which Mr R. 
 S. Poole has recognised in the “ Clytia” (Encycl. Brit., 8th ed., 
 Numismatics, p. 385 no e 1. Huebner, p. 9). New: tip of nose 
 and details on r. ear and hair. The head is of Parian marble. It is 
 placed upon a draped bust of Carrara marble which is a little too 
 large for it. H. C49. L. of face o'i4- Found in Tusculum by 
 Lucien Buonaparte (1818?), sold by Capranesi to Mr J. Rhodes 
 and thus passed to Mr Coventry, uncle of the present owner. [*] 
 
 De Mauley, see Mauley. 
 
 Devonshire House (Piccadilly). 
 
 The Duke of Devonshire keeps in his town house a collection 
 of Gems containing 546 specimens, some of them of the greatest 
 value, see Waagen, Treas., 11. p. 78 (1. p. 95). For the rest cf. Chats- 
 worth. 
 
 Lord Elcho. 
 
 At Lord Elcho’s residence, 23, St James’ Place, Waagen, 
 (Treas., iv. p. 64) saw the marble head of a youthful Dionysos 
 with a large bandeau round his head. “ The ideal conception of 
 this god is here rendered with uncommon beauty, and, with the 
 admirable workmanship, displays the hands of a Greek artist of no 
 ordinary skill. The greater portion of the nose, and almost the whole 
 lower lip, are modern.” As the neighbouring house once belonged 
 to Lord Guilford, and as I know from certain sources (cf. Introd., 
 p. 1 6 1, note 432) that on leaving the house he left behind him 
 several fragments of Greek sculpture that had been built into the 
 wall, it is not impossible that this Dionysos is derived from the 
 
LONDON, FORD, FRANKS. 
 
 433 
 
 Guilford collection. At any rate among the many and divers an- 
 tiques which Brownlow North, Lord Bishop of Winchester, son of 
 the first Lord Guilford and brother of the minister, Lord North, had 
 collected in Italy and displayed in the episcopal palace in Chelsea 
 (Introd. § 59), there is mentioned, as an especial ornament to the 
 entrance hall, “ an antique juvenile bust of Bacchus, much admired ” 
 (Faulkener, History of Chelsea, 1. p. 294). The bishop died in 1820, 
 Winchester House was pulled down and its contents dispersed. 
 At that time the bishop’s nephew, Frederick, 5th Earl of Guilford, 
 himself a zealous collector (Introd. § 88), lived in the house 24, 
 St James’ Place, so that the bust may have been taken thither. 
 
 Richard Ford, Esq. 
 
 At the residence of Rich. Ford, Esq., Waagen ( Treas . , n. p. 
 226) saw “the torso of an Aphrodite in Greek marble, excavated 
 at Rome in 1840. The goddess is youthfully conceived, of very 
 noble and slender proportions, and of decided Greek workmanship.” 
 
 Augustus W. Franks, Esq. 
 
 Aug. W. Franks, Esq., F.R.S., keeper of the Department of 
 British and Mediaeval Antiquities and Ethnography in the British 
 Museum, possesses two collections of old drawings from Antiques 
 (see Matz, Arch. Zeit ., 1873, p. 34). 
 
 I. A collection derived from Ch. Townley. It now fills a 
 very large portfolio, the drawings however have for the most part 
 been detached from two parchment volumes (designated on the 
 backs as Bassirilievi diversi ), which in their externals fully corre- 
 spond with Yols. xiii. — xvi. of the collection at Windsor. The 
 green edging of the sheets still observable in many places, the 
 consecutive numbering, the kind of paper, and the whole character 
 of the drawings make it quite certain that they constitute fragments 
 of the collection of the Commendatore Dal Pozzo (see on Windsor), 
 though intermingled with foreign elements. With this view, more- 
 over, a ms. notice of Townley’s falls in — “ From Macgowan’s Sale, 
 Feb., 1804. Formerly in the Albani collection, and sold at Dalton’s 
 Sale at Greenwood’s about 1790 ’’(more accurately, 1791, as another 
 M. C. 28 
 
434 
 
 LONDON, GUILDHALL, HAMILTON. 
 
 notice of Townley’s shows). George III. had bought that collection 
 of drawings, now in Windsor, from Cardinal Albani (Introd. § 50); 
 in what way two volumes of it may have got into the private posses- 
 sion of Dalton, who died as Royal Librarian at Windsor Castle, is 
 not known. Mr Franks’ collection is singularly rich in drawings of 
 Sarcophagus reliefs. The contents- will not be individually 
 enumerated in this place ; a more exact account is left to be given on 
 another occasion. [*M ] 
 
 II. A Folio Volume in Red Morocco with gilt edges. These 
 drawings are all in pencil and crayon and contain with many other 
 specimens for the most part vases in marble. The collection was 
 made by Don Gasparo d’ Haroeguzman Marchese del Carpio e 
 Helicce, Spanish ambassador in Rome 1676 — 1682, subsequently 
 viceroy of Naples ; it comprises his purchases at Rome on the sale 
 of the collection of Cardinal Camillo de’ Massimi (cf. Fea, Miscel- 
 lanea , 1. p. cclxii.), and was meant to be published. There are in all 
 105 leaves. ['"' 4 /] 
 
 Guildhall. 
 
 In the library of the Guildhall is a Roman lamp with a relief 
 of the enthroned Serapis (cf. Sante Bartoli, Lucerne a?it., 11. PI. 
 6), several fragments of red Samian pottery ware, &c., & c. [C] 
 
 W. R. Hamilton, Esq. 
 
 At the residence of the late W. R. Hamilton, Esq., Waagen 
 ( Trcas., 11. p. 333) admired, among various antiquities of Grecian 
 art, the fragment of a glass vessel, which surpassed in beauty every- 
 thing of the kind that he had seen. 
 
 In the Specimens of Antient Sculpture , the following marbles were 
 engraved and described as belonging to this gentleman : 
 
 1. Head of Berenike, colossal scale, in marble, of fairly 
 ideal character. Spec., n. PI. 39. Brought from Egypt by consul 
 Baldwin (cf. Kingston Hall). H. o - 39. 
 
 2. Head of Nike with mask of Medusa. Spec., n. PI. 44, 
 “Perseus.” Annali, 1839, PI. K. “Minerva Gorgolopha” (Abeken). 
 Braun, Vorschule zur Kunstmythologie, PI. 59. Arch. Zcit., 1857, PI. 
 
LONDON, HOLLAND HOUSE, LANSDOWNE HOUSE. 435 
 
 97, “Aphrodite Parakyptusa” (Welcker). The correct interpreta- 
 tion is given by Helbig {Rhein. Museum , xxiv. p. 303), by his com- 
 parison of a Vatican statuette ( Mus . Pio-Clem ., n. PL 11. Clarac, 
 xv. 636, 1442 ; better, Piranesi, Vasi e Candelabri, 11. PL 64, 65) : it is 
 Nike who has conquered the foe by holding before her face the mask 
 of Medusa, and now pushes up the horrible object so as to view the 
 field of victory with her owrrcountenance. Found in Rome towards 
 the end of the last century, brought to Canova by a peasant, and 
 given by Canova to Mr Hamilton. The slab on which this very 
 beautiful head is fastened is presumably a modern addition. 
 
 Holland House (i, Addison Road, Kensington). 
 
 In Holland House Heydemann saw in 1873 a child’s sar- 
 cophagus, which he described as follows ( Berichte d. siic/is. Ges. d. 
 Wiss., 1878, p. 133, note 1). Front: In the middle are two Cupids 
 holding a shield with the inscription : D(is) M(anibus ) | Sextio 
 P{ubli) f(ilio ) | Cornelio \ Pali at in a) \ Neptili\ano, q(ui ) v(ixit annum) 
 I | m(enses ) V Below the shield stands a helmet. On the 1. three 
 Cupids; one sits holding a piece of iron on the anvil; the second, 
 standing opposite to him, is hammering at it with upraised arms 
 (forearms and hammer broken off ) ; the third stands behind the 
 first and looks on. Behind the anvil the forge with blazing fire. 
 On the r. two Cupids, lifting up a long spear. Ends : a sitting griffin 
 on each. Wretched workmanship. In good preservation. 
 
 Lansdowne House (Berkeley Square). 
 
 Dallaway, pp. 340 ff., 36 8 f. (11. pp. 86 ff., i2of.). His very scanty 
 notices are valuable because they rest on the statements of the 
 librarian of Lansdowne House [see Goede, England , Dresden, 1806, 
 iv. p. 43], and therefore are perhaps derived from the records of the 
 purchases, which, however, are now better known from the letters 
 published by Lord Edmund Fitzmaurice (see below). Iv. O. Muller 
 in Bottiger’s Amalthea, 111. pp. 241 ff. ( = Muller, Kunstarchdolog. 
 Werke, 11. pp. 74 ff.) whom I denote by m. Waagen, Treas ., 11. pp. 
 143 ff. (11. pp. 70 ff). Clarac, hi. p. 176. Mrs Jameson’s Companion 
 to the private galleries of art in England , London, 1844, pp. 332 ff. 
 
 28 — 2 
 
LONDON, LANSDOWNE HOUSE. 
 
 435 
 
 Michaelis, Arch. Anz., 1862, pp. 333 ff. Arch. Zcit ., 1874, pp. 35 ff. 
 I have been allowed to inspect the collection, 1861, 1873, and 1877, 
 pretty much at leisure. 
 
 The collection of antiques at Lansdowne House, formerly called 
 Shelburne House, is one of the most beautiful and valuable in 
 England, and also one of the most admirably arranged. Its founder 
 was the celebrated statesman, William, second Earl of Shel- 
 burne (family names Petty-Fitzmaurice), created 1784 first Mar- 
 quis of Lansdowne, who built the house (Introd. § 60). During a 
 stay in Rome, 1771, he purchased the first specimens, which were 
 principally derived from Gavin Hamilton’s successful excavations of 
 1769 (Introd. § 48), in the Pantanello (Hadrian’s Villa). He also 
 entered into correspondence with Hamilton with a view to the 
 extension of his gallery and appointed him his agent in chief. 
 Hamilton indeed projected the scheme of the whole collection and 
 had a plan of the Sculpture Gallery made by Panini, which was how- 
 ever eventually abandoned. He writes to Lord Shelburne (Jan. 18, 
 1772) : “ The use of this gallery is to be a receptacle of fine antique 
 statues. I should therefore advise throwing our whole strength on 
 this point. I don’t mean a collection such as has been hitherto 
 made by myself and others. I mean a collection that will make Shel- 
 burne House famous not only in England but all over Europe.” He 
 has kept his word. His letters of the years 1771 — 1779, lately 
 published by Lord Edm. Fitzmaurice ( Academy , 1878, Aug. 10, 17, 
 24, 31, Sept. 7), give instructive disclosures about the first stage of 
 the formation of the collection ; the statements of fact given therein 
 have been used in the following notices in their several places with 
 citation of the particular letter 1 . Up to 1779 the greatest stress was 
 laid on the adornment of the Ball Room, called also the Sculpture 
 Gallery, a most peculiar room with a large semicircular recess like 
 an apse at each end. Large niches offered positions for magnificent 
 statues. Most of these were in their places about the year 1779, by 
 which time the manifold other adornments of the gallery were also sub- 
 stantially complete. Besides this room the Library and the Garden 
 are mentioned in the letters as requiring or adapted for adornment 
 by sculptures. It appears that about that time there came a pause in 
 
 1 I observe that no letter is missing before Letter iv., that Letter xxx. is 
 dated wrong or else placed out of order, that no. xxxi. should come next after no. 
 xxxvi., that no. xxxil. manifestly belongs, not to 1777 but to 1774, and that the 
 note of “July the 12th,” no. xxxv., should be placed in the year 1776, as an 
 enclosure belonging to no. xxvm. 
 
LONDON, LANSDOWNE HOUSE I, 2. 
 
 437 
 
 the purchases ; they were however taken up again subsequently (cf. 
 no. 61). None of the statues, for instance, in the Dining Room, 
 belong to the older purchases managed by Hamilton, so that the 
 scheme of adorning this room also with sculptures seems not to have 
 been originated until a later period, when it is probable that other 
 additional purchases were also made. It would be a good thing if 
 communications on this point could be disinterred from among the 
 archives of Lansdowne House. In the year 1805, Lord Lansdowne 
 died ; his eldest son and successor took over the collection of 
 antiques for ,£8000 (or ,£7000 according to Payne Knight, whose 
 own valuation amounted to ,£11000, cf. Report from the Elgin 
 Committee , p. 99). He left them to his widow (1809), who again 
 transferred them by sale to her brother-in-law, Henry, the third 
 Marquis of Lansdowne (1780 — 1863). This competent connoisseur 
 added several works to the collection, including no. 57, and some of 
 the busts (Mrs Jameson, pp. 287, 334, xi.). 
 
 The description follows the order of the present arrangement. 
 
 ENTRANCE HALL. 
 
 1. Fragment of an Attic sepulchral relief, of the most 
 beautiful style. Arch. Zeit. , 1880, PI. 9, pp. 81 ff. A piece of the 
 pediment is preserved, and below it on the epistyle the inscription 
 y Scma... ]o/xeVo(i;)s 6vya\jrjp ; below this the veiled head of a seated 
 female, a little bent down with slightly painful expression. A triple 
 fillet traverses the soft wavy hair. In the lobe of the 1 . ear a hole for 
 an ornament. Nose somewhat impaired. This very notable relief 
 belongs to the first half of the fourth century b.c. Pentelic marble. 
 H. 0-67. L. 0-49. L. of face ouS. The head projects 0-155 from 
 the field of the relief. [*C ] 
 
 2. Relief. Welcker, Alte Denkmaeler, 11. PI. 11, 19, “Homer.” 
 Jahn, Griech. Bilderchroniken , PI. 3, 1. A man sitting on a chair 
 covered with a cushion under a tree, in the foliage whereof a nest 
 with birds is introduced. A snake is wound round the tree, menacing 
 the birds. The man is in a cloak, his 1 . arm supported on his 
 knotty stick, which he holds with the r. hand. Under the chair sits a 
 griffin. This as well as the nest and the snake (cf. Homer, II. B. 312) 
 has caused the subject to be interpreted as Homer meditating the 
 Iliad ; still it is questionable whether it is not rather meant generally 
 for a sepulchral monument in memory of a poet (cf. Michaelis in 
 Jahn, l. cit., p. 58, 123). The relief is seriously broken in the upper 
 
438 
 
 LONDON, LANSDOWNE HOUSE 3—5. 
 
 part. A fracture runs over the r. shoulder through the hollow of the 
 throat slanting across the 1. upper arm and cutting off half the 1. fore- 
 arm ; the piece above this fracture is new. The head (new : nose, 
 parts of hair and trifling patches) is old and, like the bulk of the 
 relief, of Pentelic marble ; as however the veins of the marble in the 
 head run vertically, in the body horizontally, it is clear the head did 
 not originally belong to the relief (cf. Dallaway, p. 343). It is 
 assuredly a head of Hades ; a hole on the top possibly may in- 
 dicate a rnodius, of which however no other trace survives. Nest 
 and birds mostly antique, only the lower half of the snake, the 
 remainder is modern. R. hand and 1. arm of the man with a piece 
 of the cloak make up a distinct fragment, but it is antique and 
 belongs to the relief. Enough of the knotty stick is antique to 
 determine its right to be there. Of the chair the 1. corner of the 
 cushion and the lower half of the 1. foot, the griffin’s forelegs and 
 other trifles besides are new. Good Attic high relief. Relief very 
 round, but treated somewhat superficially. Found by Hamilton 
 in Roma Vecchia (Dallaway, p. 3 79); he mentions it as “Aesculapius” 
 in a letter to Lord Shelburne, July 13, 1776. H. i^. L. 0-93. 
 Relief is in some places raised as much as 0^25 from field. 
 
 3. Statue of a “boxer.” Clarac, v. 851, 21 So A. A youth 
 
 resting on r. leg ; r. arm lowered, 1. raised. Antique : only the torso 
 (exclusive of the r. shoulder), the 1. leg to just above the knee, r. leg 
 to half-way down the calf, together with the upper part of the stem of 
 a tree. The neck is inserted as a patch. Head, very much effaced, 
 of Pentelic marble, while the torso is of Thasian. The youth may 
 have originally been pouring oil into his r. hand. Bought from 
 Hamilton for £ 20 (letter of May 30, 1775). H. i'49- [*] 
 
 4. Statue of Apollo, “ of the gardens of Sallust.” Clarac, 
 m. 476 A, 906 A. The god is draped with the chlamys, and extends 
 the 1. arm so that a distant resemblance to the Apollo Belvedere is 
 produced. The head, with hair in a top-knot, is re-set and much 
 effaced, but appears to be original. New : both arms from the 
 shoulders, lower half of chlamys, 1. leg, lower part of r. leg, and stem 
 with quiver. Poor, bad workmanship. Thasian marble. Bought 
 from Hamilton for ^25 (letter of May 30, 1775). H. i'So. ['*] 
 
 5. Fine torso of a powerful man, in attitude of repose. 
 The r. arm was lowered, the 1. raised. Greek marble. Chisel marks 
 visible all over it. The impression from a little distance is highly 
 effective. The back also is very good. H. from hollow of throat to 
 pubis o" 62. [ if ] 
 
LONDON, LANSDOWNE HOUSE 6—12. 
 
 439 
 
 6. Statuette of a warrior. Clarac, v. 972, 2510 B. The 
 bearded man in coat of mail with a cloak on 1. shoulder and round 1. 
 arm, extends his r. hand as if for an adlocutio , and lets the 1 . hand rest 
 on a shield, which stands on a low pedestal. The sword hangs at (he 
 1 . side. New : neck, r. arm, the front of the rim of the shield. The 
 Commodus-like head, with a thick wreath, perhaps its own (nose 
 new). Coarse work. Presented by Hamilton (letter of July 13, 
 1776). H. 073. [*] 
 
 7, 8. Double terminal heads of the bearded Dionysos 
 and Ariadne, archaistic style ; two copies. All noses new. Bought 
 for 18 crowns (more than 4 guineas) from Hamilton (letter of July 
 12, 13 ; H76). H. 07.2 and 0-43. [*] 
 
 STAIRCASE. 
 
 9. Statue of Artemis as a huntress. Clarac, iv. 565, 
 1217 A. The goddess hastens forward with r. leg advanced, short 
 drapery, a small cloak thrown like a shawl over 1. shoulder and 
 round the waist. The 1 . arm was extended straight out in horizontal 
 direction, the r. arm probably always somewhat raised. The torso 
 however, exclusive of r. shoulder, and the legs to below the knees, 
 are all that is antique. The antique mask of the face (nose new) 
 does not belong to the statue. But that there is no trace of a quiver 
 one would be reminded of the motive of the Artemis of Versailles. 
 Careless decorative sculpture, yet not without effect. H. 2-05. 
 I* Cm] 
 
 10. Statue of Hygieia. Clarac, iv. 552, 1172 B. A slender 
 
 figure, resting on r. leg, and draped with a chiton and a cloak, which 
 covers thighs, body, 1 . breast and 1 . arm. Both arms are lowered, r. 
 forearm and 1 . hand missing. The head, somewhat bent, with a head- 
 cloth ( K€Kpv(jiaX.o<s ) is antique and belongs to the statue ; nose injured. 
 The large snake is preserved as far as before the breast, and more- 
 over on r. thigh are traces of hand and snake. The statue is a 
 replica of that at Deepdene (no. 7), but much inferior in dimen- 
 sions, proportions and execution ; there is a similar torso in the 
 British Museum (Clarac, iv. 552 B, 1186 F). H. 0-96. [*] 
 
 11 (placed under no. 10). Ara. In front: a Fortuna seated, 
 seen full face, veiled, with a large cornucopiae in 1. arm, a cup in r., 
 an ewer in 1 . hand. H. C63. L. oqo. D. o - 27. [*] 
 
 12. Statue of Hermaphroditos. Clarac, iv. 750, 1S29 B, 
 “ Nymphe.” The Hermaphrodite reclines in repose on the rocky 
 
440 
 
 LONDON, LANSDOWNE HOUSE 1 3 — I 5. 
 
 ground with his drapery under him, head supported on 1. hand and 
 1. leg drawn up under him. The r. hand rests on r. thigh. A 
 cloak covers the greatest part of the r. leg and a piece of the 1. 
 shin. New : 1. leg below knee, and knee-cap, r. leg from half 
 down the thigh and almost the whole drapery, r. arm from below 
 the elbow, 1. forearm. There are patches on the breast. The 
 head is antique (nose and upper lip restored), but does not belong 
 to the body. Body, inclining to stoutness, fine ; hips broad, effemi- 
 nate. There are clear indications that the whole figure should recline 
 more on its 1. side. Workmanship not bad. Fine Greek marble, 
 apparently Parian. Bought from Hamilton for jQ 40 (letter of May 
 30, 1775). L. 1-49. [*] 
 
 13. Statue of a sleeping Nymph. Clarac, iv. 750, 1829 
 A =1829 U (inaccurate). The pose is in general similar to that of 
 no. 12, only the Nymph supports herself on the 1. forearm, which rests 
 on an urn, and the r. hand is laid slantwise across breast on to 1. 
 shoulder. New: the whole rocky ground, the whole of the legs 
 with the drapery covering them, part of the rest of the drapery and 
 a piece of the urn. On each arm is an armlet which gets broader in 
 the middle. A fillet in the hair. Ordinary decorative work. Thasian 
 marble. Can this be the “ statue of the Nymph Egeria turned into 
 a fountain” which Lord Shelburne bought of Hamilton, 1771, for 
 ,£65? (Memorandum no. II.) L. 1-07. [*] 
 
 14. Bust of Zeus. Overbeck, Atlas zur Kunstmyth . , PL 2, 
 13, cf. Kunstmyth ., 11. p. 79. The forehead is very low, towards the 
 temples the brows project considerably over the deep sunken 
 eyes. The expression is mild, and indeed somewhat unintellectual. 
 Mouth slightly opened. Head a little inclined to its own 1. Hair 
 rising up over forehead hangs down dankly; the curly beard too hangs 
 considerably. A fillet traverses the hair. It may be in fact a ques- 
 tion as to whether Poseidon is not intended. Certainly antique and 
 apparently original is the bust with rich folds of the cloak on the 
 1. shoulder. New : nose, under lip, a piece of the neck and hair, a 
 few patches on the bust. Top and back of head have been broken 
 off, but are apparently antique. Good workmanship, but unfor- 
 tunately much rubbed away. The marble seems to be Greek. 
 Bought for 45 crowns (about ^11) from Hamilton (Memorandum 
 of July 12, 1776). H. 0-70. L. of face o'2o. [*BC/uTV] 
 
 15 (placed under 14). Cinerary urn of Nicostratus. Cava- 
 ceppi, Race. in. PI. 12. Front. In the middle a niche rounded at 
 the top, its edge surrounded by eight small holes which must have 
 
LONDON, LANSDOWNE HOUSE l6 — 20. 
 
 44I 
 
 served to fasten on a metal border. In the niche the nude bust of a 
 youth with curly hair. Pupils expressed. On either side of the niche 
 a figure in relief : on the 1. a nude youth in lively movement, with 
 upper part of body thrown back and upturned gaze ; with the out- 
 stretched 1. arm he has tossed up a shield of a peculiar shape (see 
 below), and seems to wish to catch it again. In his lowered r. hand 
 he holds a short sword. On the r. a second youth stands in repose, 
 draped in the short tunic ; on his lowered 1. arm he carries a shield 
 similar to that of his companion ; in the r. hand lie holds up his 
 sword (?). Below, the inscription : Dils Manibus Nicostrat\f\ \ 
 
 Neronis Claudl Cae[sa]ris Augus\ti\ \ . . ven (or vin) Right 
 
 side. A double flute and a short sword in the sheath. Left side. 
 A shield as above, of the following shape 
 
 with a boss; and a syrinx. Lid Front. Two reclining figures 
 turned away from each other. On the 1. a bearded Pan with a 
 pedum on his 1. arm, over the goatish legs hang two flutes crossed, 
 one straight, the other curved. On the r. a draped girl (legs, hand 
 with wreath restored). Both sides are modern. H. 0-34, with lid 
 0-44. L. 0-46. D. o’45. [* CM ] 
 
 16 (placed under 15). Sepulchral ara of T. Flavius 
 Sedatus. It is adorned with rams’ heads which support garlands ; 
 below, at the corners griffins, behind, eagles. In the field made 
 by the garland in front an eagle and the inscription : T. Flavio 
 A ugiusti) l(iberto) \ Sedctto \ Antonicino \ P. Cornelius \ Iaso patri | 
 pilssimo ; on each side a bird and above them on the r. an ewer, 
 on the 1. a cup. H. o - 94. L. 0-64. D. o’5i. [* C ] 
 
 17. Sepulchral ara of Vicanus. At the corners, spiral- 
 shaped twisted columns on each of which stands a Cupid holding a 
 garland. Over the latter the apparently modern inscription : D. M. \ 
 Vicano incop\arabili ac dut\ci jilio Nedimus | et Sintyche p(arentes) 
 
 f(eccrunt). \ v{ixit ) a(nnum ) I misuses) V d(ies) XVIII. Below this 
 a tripod between two griffins. Above on the lid two birds and an 
 overturned basket of flowers. On the sides, 1. a cup, r. an ewer, above, 
 birds. H. 0-55. L. 0-36. D. 0-33. [*C] 
 
 18, 19. Two modern round sepulchral vases, the one with 
 the inscription : D. M. | Pis Manibus \ L. Maori \ Fuelpisti (for 
 Euclpisti). [*] 
 
 20. Marble throne consecrated to Apollo. Mon. dell 
 
442 
 
 LONDON, LANSDOWNE HOUSE 21 — 25 . 
 
 Inst., v. 28; cf. Annali , 1851, p. 102 (E. Braun). The seat is 
 cushioned and covered over with a drapery, and is supported on four 
 very richly ornamented legs, the tops of which terminate in eagles’ 
 heads. On the seat and the high back, which is framed by pilasters, 
 and above by a pretty ornament, are represented in very high relief a 
 bow (strangely, as it seems, cracked, the one half leaning towards the 
 back, the other half lying on the seat) entwined by a large snake, and 
 a quiver of which the broad strap is richly decorated with a palmette 
 pattern. Elegant work; much broken, but antique, as it seems, in 
 essentials; the dark position makes an accurate investigation difficult. 
 H. i’54. L. 0-63. D. 047. [*CV/z] 
 
 21. Roman sepulchral monument. Five busts (belonging 
 to three generations) close together; an elderly man, a young 
 woman, a young man (nude), a very old woman and a very old 
 man. The grandam (no. 4) exhibits a head-dress not uncommon in 
 the Augustan period, a small roll projecting over the forehead 
 (cf. Mongez, Iconogr. Rom., PI. 19), though broken. Noses 
 wholly or partially restored, missing on no. 5. H. 074. L. i - 8x. 
 
 [**] 
 
 22. Roman sepulchral monument. Three busts over 
 life size, of the period of the Claudian Emperors; father, mother 
 and son. The woman’s hair is arranged in the style of the elder 
 Agrippina. Noses restored. H. o - 66. L. 1-27. [*Z?] 
 
 23. Roman sepulchral monument. Busts of a man and 
 his wife in high relief, well executed, apparently somewhat retouched ; 
 noses new. Between them the inscription : Hanc talem \ coniugem, 
 quam | praefestinas | Fat us peremit, | quarn Fors tribuit, | Fortuna 
 ademit. \ casus dominatur. [ quapropter hos\pes, spera, pau\ca adpete , 
 vive | quietus, teque ho\mmem cocuoscas : | omnia despicies. \ Deum 
 Manium | sacrum, parce, \ Ita te deis superis | atque inferis \ parcant. | 
 vale. H. 040. L. 0-50. For praefestinas Fatus (cf. Petronius, ch. 
 42, 71, and frequently on inscriptions) also an inscription in Castle 
 Ploward may be compared : L. Pituani Salvi. quoniam te Fatus 
 praecucurrit, ossa tua bene adquiescant. [*] 
 
 24. Sepulchral ara of M. Carienius Venustus. Above, 
 the bust of a boy in a semicircular field. In the field the inscription: 
 Pis Manifbus) | M. Carienio M. f. | Venusto \ q{ui) v(ixit) audios) 
 VIII mienses) X \ M. Carienius Felix | et Carienia Venusta \ in - 
 
 felicissimi parentes fedcrunt). On the sides, 1. the ewer, r. the cup. 
 PI. 0^87 . L. o'fiq. D. C29. [*C] 
 
 25 (on the staircase). Bacchic frieze. Cavaceppi, Race., n. 
 
LONDON, LANSDOWNE HOUSE 26. 
 
 443 
 
 PL 58. The upper border with ovolo pattern proves that this is 
 not the slab of a sarcophagus, though the subject suggests it ; 
 but the distance also between the several figures is contrary to the 
 style of sarcophagus reliefs. The procession moves from 1. to r. ; 
 whether it is quite complete cannot be said as the 1. end is restored. 
 Here stands a Satyr with a skin over the 1. shoulder, and holds out a 
 drinking-horn ( rliyton ) in his r. hand to receive the precious draught 
 from the bowl of the Dionysos. The god crowned with ivy (new: 
 neck and 1. shoulder) lies in easy attitude in a car of strange shape, 
 rounded in the form of a tray, and only two-wheeled ; the cloak 
 covers only the legs. He holds a wreath in the 1. hand, the out- 
 stretched r. arm, with the bowl ( kantharos ) carelessly held, rests on 
 the shoulder of a female lying in the car by the god; she wears a 
 girdled chiton, which has slipped from the r. shoulder. Two Centaurs 
 draw the car, one bearded, playing on the cithara (new : head, pro- 
 bably also the upper part of the body, and the cithara), and the other 
 younger, blowing the double flute (new: head, r. arm, r. leg); on 
 their backs a Cupid stands as driver, but of this figure only the torso 
 with the thighs and the fore part of the 1. foot are antique. Below 
 the car lies a syrinx, a tympanon and a pedum. Before the Centaurs 
 dances Pan, with a skin over his 1. shoulder, with his r. foot treading 
 on a krupezion. He stretches the r. hand forward (holding nothing), 
 the 1. up ; his head he turns back, because a youthful Satyr 
 dancing before him, with the nebris over his breast, flourishing the 
 pedum in his 1. hand, is hitting him in the face with the r. hand. 
 Beyond, a Maenad, in chiton, dancing and striking the tympanon 
 (new : head and lower part of r. arm). Next comes a dancing Satyr 
 (not a Maenad) who is blowing the double flute, seen from back ; 
 then a Maenad, nearly nude, in full face, striking the tympanon. 
 Lastly, a bearded Ijan with man’s legs but goat’s horns, a cloak 
 on his back. Though the whole has a good effect, still the work is 
 rough, and might here and there arouse suspicion of modern 
 origin, though scarcely with justice. Pretty seriously restored and 
 much blackened, having probably indeed been coated with black 
 paint. H. o'5o. L. 2 '15. [Miii\ 
 
 26 (over a door on the first floor). Greek sepulchral relief. 
 On the r. a throne with high square back and very artistically turned 
 legs ; the arms supported in front by an eagle. On it sits a stately 
 woman in sleeveless chiton ; a cloak covers her legs and falls down 
 with a corner over her 1. arm with which the woman supports herself 
 on the arm of the throne. She holds out the r. arm, adorned on the 
 
444 
 
 LONDON, LANSDOWNE HOUSE 27 — 30. 
 
 upper part and the wrist with armlets (ipiXia), towards a flat casket 
 with open lid, which a little serving-maid hands her. Two holes on 
 the casket prove that metal ornament of some kind was introduced 
 here, perhaps ribbons, or at least some article of the toilet which the 
 woman is about to take from the casket. The relief is excellent in 
 its kind, rounded and raised very high (more than o - i6), and with 
 the principal figure about half the size of life. It seems to be a 
 good Roman imitation of an older Greek original ; the place where 
 it is let into the wall is so situated as to make close examination 
 difficult. H. 0-93. L. 1-04. [*Af ] 
 
 ante-room (on the right next the Entrance Hall). 
 
 27. Small relief, in a frame. Four hippocampi, led to the r. 
 by a Triton ; the Poseidon on the 1. is restored. High relief. 
 H. o*2 1. L. of genuine part o - 37. [*] 
 
 DINING ROOM. 
 
 28. Statue of “ Tiberius.” Clarac, v. 925, 2356 C. Ahead 
 of Tiberius in Pentelic marble (new : nose and chin) is connected 
 by means of a modern neck with a heroic statue of Thasian marble. 
 The powerful, almost coarse, frame steps slightly forward with the 1. 
 leg. A cloak lies on the 1. shoulder and winds round the 1. arm 
 which is set akimbo. New : lowered r. arm, some fingers of 1. hand, 
 lower parts of legs, the support by the 1. leg and a great part of the 
 drapery. The 1. thigh has been broken at the top but is joined on 
 again. Coarse work. H. i'93. [*] 
 
 29. Statue of a Roman in the toga. Clarac, v. 894, 
 
 2284. This statue is broken across the middle, but is nevertheless 
 very well preserved except the modern neck, on which is set a 
 coarse portrait-head (a replica of the “Sulla” in the Vatican, Braccio 
 Nuovo , no. 60; new: nose, pupils expressed), and except the greater 
 part of the r. arm. L. hand with roll worked over. IT. 2 '05. [TZ?] 
 
 30. Statue of “Traian.” Clarac, v. 942, 2415 A. The 
 head of Trajan (new : nose; lips, chin) does not belong to the statue, 
 which in its main attitude corresponds to no. 28, only that the 1. 
 arm is not akimbo. New : r. arm with sword, 1. forearm and con- 
 siderable portions of the cloak, lower part of r. leg, 1. foot, pedestal 
 and a large portion of the support. Ordinary work. H. 1-93. [*B] 
 
LONDON, LANSDOWNE HOUSE 3 1— 34. 
 
 445 
 
 31. Statue of Dionysos in repose. Clarac, iv. 695, 1568. 
 
 The torso is antique in essentials, with the nebris girt from the 1. 
 shoulder slantwise across the breast, and so are the extremities so far 
 as to determine the movement. New : head, r. arm lying thereon 
 and the 1. arm leaning on the stem of a tree, the stem itself, the 
 lower part of 1. leg and three quarters of r. leg on which the body 
 rests. The merit of the sculpture is not in proportion to the size of 
 the work. Greek marble. H. 2 '30. [*] 
 
 32. Statue of Apollo. Clarac, hi. 476 A, 906 C. The 
 figure quite nude, both arms lowered, steps forward just a little 
 on the 1. foot. The head, never broken off, is a head of Apollo, 
 with wreath of laurel which lies very gracefully on the hair ; the 
 fillet falls down on the shoulders (new : nose, lips, r. cheek). The 
 r. arm with arrow, all fingers of 1. hand with staff, r. leg entirely, 
 1. leg from half way down thigh, the greatest part of the support are 
 restored. Common-place work. Coarse-grained Greek marble. H. 
 179 - [*■#] 
 
 33. Statue of Tyche. Clarac, hi. 454 B, 839 B, “Sabine 
 ou Plotine en Fortune.” It is a noble figure in double chiton; such 
 as is usual in the older Attic sculpture. It rests on r. leg. Note- 
 worthy is the strong delineation of the folds of the upper portion that 
 flow slantwise down towards the r. hip. R. hand with steering- 
 paddle is restored, and there is no indication of it in the figure itself, 
 but the cornucopiae in the 1. hand is antique except the lower point 
 and the hand; hence in fact an early (Attic?) type of Tyche seems 
 to lie before us, perhaps belonging to the first half of the fourth 
 century n. c., unless we are to suppose that a favourite early motive 
 in drapery carving has here been at a later date transferred to 
 Tyche. The unknown portrait head with huge wig (belonging to the 
 beginning of the second century, but neither Sabina nor Plotina) 
 may be its own, though the neck is a modern insertion ; still it is 
 doubtful. A few toes and various folds are restored. Drapery 
 rather drily, but not badly treated. Pentelic marble. H. 176. [*2?] 
 
 34. Portrait Statue. Clarac, v. 971, 2510 A. A youth, 
 furnished with the chlamys, in which the body is rather framed than 
 covered, steps forward with the r. leg by which is a large quiver 
 serving as a support. New : only the greater part of 1. arm. The 
 lowered r. arm, though broken in different places, is nevertheless 
 probably entirely antique. The cheerful head with agreeable 
 features (pupils expressed) represents neither M. Aurelius nor Geta ; 
 it is unknown. Ordinary work. Thasian marble. H. 1*57. [*7?] 
 
44-0 LONDON, LANSDOWNE HOUSE 35 — 38. 
 
 35. Statue of Hermes. Clarac, v. 946, 2436 A, “Antinous” 
 (wrongly without doubt). The god rests on the 1 . leg, r. arm 
 lowered, with the chlamys over 1 . arm. The statue is in perfect pre- 
 servation except the 1 . hand. Two large marble blocks or puntelli (be- 
 tween the calves and between the r. hip and the r. hand) as well as 
 two smaller ones (between thumb and forefinger of the r. hand, and 
 between member and scrotum) have contributed to its preservation. 
 This youthful head in the style of Polykleitos, to which the “Idolino” 
 in Florence is allied (Clarac, iv. 680, 1591), is small in proportion 
 to the slim body of the youthful figure. The treatment of the 
 chlamys vividly recalls that of the bronze Hermes in the British 
 Museum (Spec., 11. 33. Clarac, iv. 666, 1515. Muller-Wieseler, n. 
 34, 314). Altogether the entire statue conveys the impression of 
 being a conglomeration of divers reminiscences. Pentelic marble. 
 Very good execution. H. 175. [*] 
 
 36. Statue of an Athlete. Clarac, v. 856, 2180. Cavaceppi, 
 Race., 1. PI. 2i. The figure rests on r. leg with tolerably strong 
 inclination of the body, the 1. leg being somewhat drawn back ; by r. 
 leg the stem of a palm tree ; both arms have always been outstretched. 
 One might suggest the motive of an diro£v 6 fi<ivos, destringens se, which 
 is so popular, for both arms with the caestus are new, as also the foot 
 and the pedestal. The head a little recalls the head of an athlete in 
 Ince, no. 152, but it belongs to a younger development of art. 
 New: the top of the head, tip of nose, lips. Very good work. 
 Marble seems to be Greek. H. 173. [*-#] 
 
 37. Female head, of colossal scale. Spec., 1. PI. 27. The 
 face is seriously restored; new: nose, lips, chin. Hair parted and 
 twisted behind into a kind of roll ; a thick twisted ribbon, such 
 as often occurs in the case of Asklepios, goes round the head. It is 
 a Roman copy of an older original, the severe proportions of 
 which and the sharp treatment of the edge of the brow and of the 
 eyelids are still slightly indicated, though the effect of the copy is 
 not happy. The bust, trimmed to a terminal shape, is new. L. 
 of face o*2 x. Bought of Gavin Hamilton for ^43 as “Erma of 
 Berenice” (letters of July 16, Dec. 26, 1772). [*_&’] 
 
 38. Bust of Antinous ; in Egyptian costume, with the calan- 
 tica, which suits the character of the head admirably. The glance 
 of the eyes goes straight forward rigidly, and is less gloomy than 
 usual. Eyebrows expressed. New : the greater part of the calan- 
 tica from above the band over the forehead, the tip of the nose, 
 neck and breast. On the top of the head a dowel-hole (modern?). 
 
LONDON, LANSDOWNE HOUSE 3 Q — 41. 
 
 447 
 
 H. C59. L. of face o‘i9. Found in Hadrian’s Villa, 1769, bought 
 from Hamilton for ^75 (letter of Dec. 15, 1771). [*] 
 
 BREAKFAST ROOM. 
 
 39. Statue of Paris. Clarac, in. 396 E, 664 L, “Atys.” 
 The beautiful youth rests the r. hand on a low stem of a tree, so that 
 the shoulder is somewhat forced up. The r. leg is crossed in front 
 of the 1. on which the body is supported. The 1. hand lies on the 
 back. The curly head, with Phrygian cap, is gracefully bent ; the 
 curls treated similarly to those of the Vatican Eros {Mus. Pio-Clem ., 1. 
 PI. 12). The head is certainly re-set, but, according to the view of 
 Clarac, Bernoulli and myself, is without doubt original, while Dallaway 
 remarks (p. 340) that it is “ not its own.” Unhappily the statue is 
 much mutilated. New : nose, lips, chin, peak and most of the cap, 
 considerable pieces on the neck, and r. forearm ; 1. arm patched, but 
 apparently quite antique ; 1. thigh patched ; the lower parts of both 
 legs, broken, r. above, 1. below knee, are doubtful; the 1. foot, toes 
 of r. and part of pedestal certainly antique. The name “ Paris ” is 
 not indisputably correct; the addition of an eagle, for example, would 
 at once make it quite as suitable for a Ganymedes (cf. Mils. Pio- 
 Clem ., 11. PI. 35). The beauty of the statue, which is with justice 
 highly praised, lies more in the fine movement and generally in the 
 conception than in the execution, which is not excellent. The 
 marble seems to be Greek. H. 1-56. Found by Hamilton, 1769, 
 in Hadrian’s Villa (Dallaway, p. 368), then for a long time in pro- 
 cess of restoration (Hamilton’s letter of Jan. 18, 1772), and sold to 
 Lord Shelburne for jQ 200 (letter of Dec. 26, 1772). \ ;: 'PC] 
 
 40 (inserted into the pedestal of no. 39). Fragment of an 
 ornament of branches, very delicate. [*] 
 
 41. Statue of Apollo Sauroktonos. Clarac, in. 476 B, 
 905 D. Antique : torso, r. thigh to above the knee, half 1. thigh, 
 half upper part of r. and whole upper part of 1. arm (attached to the 
 stem of a tree). Work soft and very good, though not excellent. 
 On the modern neck a pretty Apollo’s head (antique) is set, with a 
 top-knot above the forehead and a fillet (new : half the nose) ; it 
 does not belong to the statue and also has not the right pose, as it 
 does not look at the tree, but down before him. The restorer, to be 
 sure, had not recognised the original motive of the torso, and had 
 changed it into a Narkissos. After Hamilton had long busied him- 
 self to no purpose to find as pendant to the Paris (no. 39) a Venus 
 
44§ 
 
 LONDON, LANSDOWNE HOUSE 42—5 r. 
 
 of corresponding dimensions, as Lord Shelburne wished, he sent him 
 this “ sweet pretty statue representing a Narcissus, of the exact size 
 with the Paris, and I imagine will suit it for a companion, without 
 waiting for a Venus, which are very rare to be found of that small 
 size. The price of it is ,£150 including all charges at Rome and 
 Leghorn” (letter of Aug. 9, 1775). Italian marble. H. 1-46. [ *PC] 
 
 42 (inserted into the pedestal of no. 41). Ornament of 
 branches, pendant to no. 40. 
 
 LIBRARY. 
 
 The busts almost all stand very high on the bookcases. 
 
 44. Head of beardless Roman with short hair, [A] 
 
 45. Small head of “ Sappho,” corresponding to that in the 
 Louvre (Clarac, vi. 1114, 3520 A), in the Vatican [Mas. Pio-Clem., 
 vi. PI. 4, 2), in Wilton, no. 12S, and elsewhere. A cloth is wound 
 several times round the head ; curls hang down on the sides. 
 New : tip of nose and bust. [V#] 
 
 46. Female head of Antonia probably. Bernoulli observes, 
 “This portrait corresponds more to the pleasing type of the Roman 
 bronze coins and to the noble picture given by historical tradition 
 than any single bust of the Italian Museums. Cf. Wilton, no. 25.” 
 
 [**\ 
 
 47. Head of a youthful Roman, beardless, with full, curly 
 hair. The paludamentum on the 1. shoulder. Below life size, [A] 
 
 48. Colossal head of a Roman, beardless, somewhat of the 
 character of the so-called Marcellus in the Capitol (Mas. Capitol ., 11. 
 
 PI- 3). [B] 
 
 49. Fragment of a female statue, upper part, in the treat- 
 
 ment of the Pudicitia, broken below the breast. The r. hand covered 
 by the drapery, is raised towards the neck. The virginal expression 
 is extraordinarily noble and thoughtful, the hair is smooth and 
 encircled by a fillet. This fragment, found in Hadrian’s Villa 1769, 
 is one of Lord Shelburne’s earliest acquisitions ; he bought it of 
 Hamilton for ^50 (Memorandum, no. 11). [*-5] 
 
 50. Female portrait-bust of the period of the Flavian 
 emperors, with a raised structure of curls pointed in the style of a 
 tragic onkos. The face is that of a woman past her prime of youth, 
 and is pretty plump and of proud expression. The brows are 
 lowered towards the nose. Life size. [*A] 
 
 51. Bust of Antoninus Pius (?). [A] 
 
LONDON, LANSDOWNE HOUSE 52 — 57. 449 
 
 52. Ideal bust of a female, with fillet and top-knot. [ 7 >] 
 
 53. Female head. Spec., 1. PI. 7. Bernoulli writes, “It has 
 smooth, wiry hair, which is twisted round a fillet along the some- 
 what flat forehead, and behind forms a roll which stands out some 
 way, and is combed upwards. This peculiar treatment of the hair, 
 which scarcely ever recurs in any other head, makes it probable that 
 it is a portrait ; the simple, sharp, almost dry sculpture, renouncing 
 all picturesque effect, indicates a rather early period, and the wire-like 
 character of the hair suggests a bronze original. According to Payne 
 Knight’s letterpress to the Specimens , the hair is indeed for the most 
 part modern ; the restoration however seems to be established by 
 replicas at Richmond (no. 53), in the Vatican (Chiaramonti, no. 363), 
 in the British Museum (Graeco-Roman Basement Room). The 
 head, according to Payne Knight in excellent preservation, rests 
 on a bust with a gathered chiton, hemmed round on the neck, a 
 piece of cloak running obliquely across the 1 . shoulder.” Found by 
 Hamilton in the neighbourhood of Rome. [*Z?] 
 
 54. Head of a beardless Roman, turned somewhat 1 ., re- 
 calling Modius Asiaticus (Wilton, no. 78), but not identical therewith. 
 Life size. [ 7 ?] 
 
 55. Portrait bust of an elderly Roman lady with wavy hair, 
 gathered behind into a tolerably peaked knot, little ornamental curls 
 in front of the ears ; the hair is treated very much like that of Lucilla 
 in Mongez, Iconogr. Rom., PI. 42. Life size. [* 7 >] 
 
 56. Porphyry bust of Vitellius. Face uninjured. It 
 corresponds to the coins better than the ordinary busts, therefore 
 Bernoulli holds an antique origin to be at least possible ; I doubt this, 
 for example on account of the thoroughly unantique rendering of the 
 pupils by a roundish hollow. On the back of the head a bald patch. 
 Corslet and cloak of bronze. Over life size. [* 7 ?] 
 
 SCULPTURE GALLERY (Ball Room). 
 
 The numbering begins with the easterly apse and then goes 
 round the wall. 
 
 57. Statue of a boy; travesty of Herakles in repose. 
 
 Clarac, iv. 650 D, 1478 A, “Amour.” Exactly in the attitude of the 
 Farnese statue of Glykon ; the lion’s skin with the claws tied in front 
 of the neck covers the head and the 1. arm ; the club is wrongly 
 restored. Whether Eros is meant is not quite certain ; no wings. 
 The whole figure is pretty, the expression of the face roguish, as 
 M. C. 20 
 
450 
 
 LONDON, LANSDOWNE HOUSE 58, 59. 
 
 becomes the motive. New : the whole stem, 1. hand with club, parts 
 of skin, lower parts of both legs. H. 0-98. Bought by Henry, 3rd 
 Marquis of Lansdowne. [*m JV] 
 
 58 (under no. 57). Round altar with Bacchic relief. On 
 the r. side of an altar adorned with a garland (without figure-sculpture), 
 on which burns a small pile of wood, stands Dionysos in a long 
 doubled chiton (the under part, of finer material, is only visible at the 
 feet) and with a nebris which is tied round the waist with a girdle. On 
 his feet he wears pointed shoes. The stiff pose and archaic drapery 
 correspond to the pointed beard and to the arrangement of the hair 
 in long stiff curls. In his lowered 1. hand he carries a vessel with 
 handles, shaped like half an egg, and in the r. hand an ewer with 
 handles from which he pours a libation on the altar. A Maenad 
 follows with her sword over her head, and the hind half of a kid in 
 her 1. hand (exactly like Broadlands, no. 5, fig. 2. Zoega, Bassir., 
 
 PI. 83, fig. 2, PI. 84, fig. 2. Miiller-Wieseler, n. 48, 602, fig. 6). 
 Opposite Dionysos, next the altar, stands a second Maenad in chiton 
 and fluttering cloak, with a wreath in the 1. hand and a corner of her 
 drapery in the r., her head thrown back (like Zoega, PL 84, fig. 5). 
 
 A third companion follows her, likewise with head thrown back on 
 neck, with an upright thyrsos in the r. hand and a half kid in the 1. 
 
 (like Broadlands, no. 5, fig. 3. Zoega, PI. 83, fig. 3, PL 84, fig. 6. 
 Clarac, 11. 135, 135). The combination of full freedom of movement, 
 in the figures of these enthusiastic women, with archaic stiffness in 
 that of the god, is characteristic of the eclecticism of the so-called 
 New Attic School in Rome, to which corresponds also the angular 
 style of the execution. Below, an ovolo and other mouldings. 
 Pentelic marble. 41.0-55. Diameter 0-38. [*CmW] 
 
 59 (under no. 58). Attic relief of Athene Nike. Athene V 
 stands facing r., draped in a rich doubled chiton, which is opened on 
 
 the r. leg and forms two rows of beautiful zigzag folds ; the 1. knee is 
 a little bent. A simple cloak falls down behind the back (as on the 
 Eirene in Munich) ; the goddess wears no aegis. The hair falls down 
 far on to the nape of the neck. The r. arm is akimbo. The goddess 
 gazes at the lofty (Corinthian) helmet with magnificent plume which 
 she holds on her 1. hand (cf. Harpocration v. Ni/07 ’Adijid). A 
 large round shield stands by her 1. leg, close to it a pillar on which 
 sits the owl. On extreme r. a tree, manifestly the olive, entwined by 
 a snake (oNovpd 5 d'^ts). This excellent piece of the noblest style, 
 apparently belonging to the first half of the fourth century b.c., is 
 executed in low relief, only the r. forearm in high relief. Pentelic 
 
LONDON, LANSDOWNE HOUSE 60, 6 I. 
 
 451 
 
 marble. H. 072. L. o - 46. As Muller does not mention the relief, 
 it is probably one of the purchases of the third Marquis. The 
 Archaeological Institute in Rome possesses a drawing of it. [* C W ] 
 
 60. Bust of Hadrian, New: nose, neck and breast. 
 
 H. 072. L. of face o - 20. [*] 
 
 61. Statue of Herakles. Spec., 1. PI. 40. Clarac, v. 788, 
 1973. This beautiful statue, always rightly considered one of the 
 choicest ornaments of the collection, exhibits the hero as of youth- 
 ful age. He /ests on r. leg, holding club over 1. shoulder ; the 
 lowered r. hand clasps the lion’s skin, which hangs down to the 
 ground and is adroitly used as a support for the r. leg. In spite of 
 the powerful square-built frame, which befits a Herakles, the statue 
 is unmistakeably in the spirit of I.ysippos. The head, through 
 the freely-treated, short, curly hair of which the fillet of a victor 
 is drawn, displays sharp forms, especially in eyes and brows, and 
 is of characteristic smallness. The shortness of the neck is still 
 more remarkable in contrast with the mighty shoulders. The legs are 
 long in proportion to the thick-set torso, the feet somewhat flat, as in 
 all statues of the school of Lysippos (cf. Ince, no. 43). The style of 
 this master is especially evinced in the noble unconstrained freedom 
 of the whole movement, the freshness and elasticity of the slightly 
 twisted pose./^’The cirgutiae operwn custoditae in minimis quoqne 
 rebus (Plin., "34, 65) show themselves, for example, in the naturalistic 
 rendering of the soft folds of skin between thumb and finger of the 
 r. hand. Without doubt the statue offers one of the finest specimens, 
 if not absolutelyUhe best, of a Herakles according to the conception 
 of Lysippos. The workmanship is first-rate, the marble Pentelic 
 (not Carrara), the preservation remarkable. The head has never 
 been broken off. New : only the tip of the nose, parts of 1. forearm 
 and club, a piece inserted on the r. forearm and the r. thumb, the 1. 
 shin between knee and ankle. H. 1-95. Found in 1790 in Hadrian’s 
 Villa, in the grounds belonging to the Marefoschi family, originally 
 owned by the Conte Fede; purchased by Jenkins (Dallaway, p. 3 4 1 ) 
 Payne Knight’s account, doubtless based on Townley’s statements, 
 is as follows: “Found with the Discobolus [Townley, found 1791 : 
 Spec., 1. PI. 29. Mus. Marbles , xi. PL 44. Clarac, v. 860, 2194 B] 
 in the neighbourhood of Rome : and the late Mr Townley, to whom 
 the choice of them was immediately offered was induced, by the 
 drawing and description sent to him, to prefer the latter; though, 
 when he saw them, he instantly changed his opinion ; this Hercules 
 being, with the exception of the Pan or Faun at Holkham [no. 19], 
 
 29 — 2 
 
452 LONDON, LANSDOWNE HOUSE 62 . 
 
 incomparably the finest male figure that has ever come into this 
 country.” Zoega (in Welcker’s Alte Denkmaeler , 1. p. 422) affirms 
 that both statues came from Hadrian’s Villa, and were only bought, 
 not exhumed, by Jenkins. Another more dramatic but less trust- 
 worthy version was given by Townley’s biographer, Dallaway (in J. 
 Nichols’ Illustrations, &=c., hi., p. 727): “Upon the receipt of a letter 
 from Jenkins, at Townley, promising him the first choice of some 
 discovered statues, Mr Townley instantly set off for Italy, without 
 companion or baggage, and, taking the common post conveyance, 
 arrived incognito at Rome, on the precise day when a very rich cava 
 was to be explored. He stood near, as an uninterested spectator, 
 till he perceived the discovery of an exquisite statue, little injured, 
 and which decided his choice. Observing that his agent was urgent 
 in concealing it, he withdrew to wait the event. Upon his calling at 
 Mr Jenkins’ house in the Corso, who was not a little surprised by his 
 sudden appearance, the statue in question was studiously concealed, 
 while the other pieces were shared between them with apparent 
 liberality. Mr Townley remonstrated, and was dismissed with an 
 assurance that, after due restoration, it should follow him to England. 
 In about a year after, Mr Townley had the mortification to learn that 
 the identical young Elercules had been sold to Lord Lansdowne at an 
 extreme, yet scarcely an equivalent price.” Lord Lansdowne paid 
 £6 00, the same as for no. 65, and ^100 less than Townley paid for 
 the much inferior Diskobolos, cf. Payne Knight in the Report from 
 the Elgin Committee , p. 95 ; Knight himself set the value of the 
 Herakles at ^iooo (ib. p. 99). \*m W ] 
 
 62. Bust of a victorious youth ; by Waagen wrongly 
 named Antinous, of whom the head reminds one less than the broad 
 breast. The portrait character is modified, and fused with the 
 traits of Hermes, only the forms are softer and broader, the lips 
 fuller. The mouth is slightly opened. The angle of the brow is 
 sharply accentuated ; above it the lower portion of the forehead 
 projects slightly. Hair short and curly, minutely divided but not 
 detached very freely from the head. Through it is twined the 
 remains of a wreath of laurel, the tiny leaves of which are chiselled 
 out delicately and with animation. Below it a broad groove for the 
 reception of a bronze fillet, not a bronze wreath (as has been some- 
 times repeated on Dallaway’s authority). The type is not that usual 
 in the school of Lysippos, but can hardly be earlier. New : tip of 
 nose and part of 1. brow; hair over forehead is re-worked; the bust 
 is broken but is antique in essentials. H. o - 6i. L. of face o - i8. 
 
LONDON, LANSDOWNE HOUSE 63—64. 
 
 453 
 
 Found by Hamilton, 1769, in Hadrian’s Villa; bought, 1771, by 
 Lord Lansdowne for ^75 (Memorandum, no. n.). [*Z>W\ 
 
 63. Marcus Aurelius. Clarac, v. 950, 2445 A. The emperor, 
 almost nude, rests on the r. leg, 1. being somewhat drawn back ; a 
 chlamys covers breast, shoulders, and back. In his lowered r. arm 
 he holds a sword, the raised 1. hand grasps the sceptre at the upper 
 end. By the r. leg is a leathern corslet hung over a support. The 
 idea of the statue is founded on a type of the god Mars (cf. Dilthey, 
 Rheinliind. J ahrbitcher, liii., pp. 27 ff.). New: greater part of 1 . 
 foot and of the sceptre, of which however both ends are antique ; 
 the 1. arm is broken and worked over, but is antique; the r. arm 
 between shoulder and wrist seems new, and so too a great part 
 of the sword; the hand is old but patched. The youthful head of 
 M. Aurelius, with slight down on upper lip and chin (new : nose and 
 half the chin), is re-set and, according to Hamilton, who found the 
 statue in 1771 at Tor Colombaro, properly belongs to it: “The head 
 is its own, though wanting part of the neck, as I found it near 
 where I found the statue, as likewise both the hands, though one of 
 them is much corroded by the nitre of the earth” (letter of March 4, 
 1 7 73 )- According, however, to Hamilton’s communications to 
 Townley there was found close by our statue a replica of poor work- 
 manship, broken into many pieces, and the head was said to belong 
 to one of the two statues (Dallaway, p. 372). In Waagen’s opinion 
 the head is fine, but has been placed on an inferior statue. I have 
 found no reason for doubting that the two belong together ; the 
 whole statue is more impressive by its size than by its artistic value. 
 Hamilton sent it to Lord Shelburne, although aware that he was 
 not fond of portraits in general. The price came to ^3 00. It does 
 credit to the taste of the Marquis, that he was somewhat dissatisfied 
 with the statue (letters of March 4, May 7, July 1, 1773, March 
 13, 1774). Really it does not deserve the place of honour, in the 
 central niche of one of the two apses, which has been given to it on 
 account of its unusual size. H. 2-20. [* W ] 
 
 64. Bust of Antinous, of Bacchic character. The head is 
 somewhat inclined over to the 1., the expression more thoughtful than 
 sullen. Through the luxuriant hair runs a wreath of ivy, very 
 much undercut, so that the several leaves are almost detached. The 
 eyebrows are expressed in the carving. New : nose, lips, part of 
 chin, many pieces of ivy-leaves, lastly the bust. Good, powerful 
 sculpture. LI. 044. L. of face o'22. The head was found by 
 Hamilton, 1769, in Hadrian’s Villa. As the Papal licence for expor- 
 
454 
 
 LONDON, LANSDOWNE HOUSE 65. 
 
 tation was not granted, Hamilton had to smuggle the head away, 
 which was managed by means of an “ additional present to the 
 under antiquarian.” As to the price cf. on no. 85 (letters of July 
 16, Aug. 6, 1772). \*B~\ 
 
 65. Statue of Hermes. Spec., 11. PI. 37. A replica of 
 the Belvedere Hermes (formerly named Antinous or Meleagros), 
 in which, since the discovery of the Hermes in the Heraeon at 
 Olympia, we recognise the characters of the style of Praxiteles (cf. 
 Treu, Hermes mit dem Dionysosknaben , Berlin, 187S, pp. 8 f.). The 
 head reminds us especially of the Hermes of Andros in Athens 
 (Kekule, Thescion , no. 368) ; it exhibits the same delicate arching of 
 the nose, the same shape of eyes and brows, the same prominence 
 of the forehead over the nose, which disappears towards either side, 
 so that the forehead quite recedes at an angle on the temples, lastly 
 a similar expression of mild but earnest thought. G. Hamilton 
 found our statue in Tor Colombaro, 1771, and at once reported 
 to Lord Shelburne that it was of the same size and equal preserva- 
 tion with the Vatican statue, with head untouched. “There is as yet 
 wanting one hand, a knee with part of the thigh, and a small part of 
 one arm.... As yet I cannot fix a prize upon it, as I am still in hopes 
 of having it quite complete. As it is, I rank it with the one at the 
 Belvedere” (letter of Jan. 1, 1772). The hope of finding further frag- 
 ments seems not to have been fulfilled. The head is in fact unbroken, 
 but the tip of the nose is restored, so too are part of 1. arm and some 
 fingers of 1. hand, r. hand (r. arm broken off but antique), r. leg from 
 half way down the thigh and the stem, half lower part of 1. leg, 
 pedestal, lastly borders and corners of chlamys. The remainder, 
 of beautiful Parian marble of yellowish colour, is in excellent preser- 
 vation, the surface of the whole body is executed with very delicate 
 feeling, the treatment throughout soft and animated ; the upper part 
 seems to bear on the legs less heavily than in the Vatican copy; with 
 all the breadth and power the contours are yet softer, the muscles of 
 the breast not too massive. Not a trace has been preserved of the 
 kerykeion in the 1. hand, as in the Farnese copy in the British 
 Museum (Graeco-Roman Sculpt., no. 171. Braun, Kunstmyihol., PI. 
 91). This really exquisite copy is said to have been praised by 
 Ganova as finer and more perfect than that of the Vatican, which 
 has been seriously impaired by modern polishing (Mrs Jameson, 
 p. 335). Similar judgments were expressed in Rome soon after the 
 discovery ; therefore the Pope was urged to forbid the export, but 
 the replica already in the Vatican seemed to him to be sufficient, 
 
LONDON, LANSDOWNE HOUSE 66, 67. 
 
 455 
 
 so that the new copy was secured for Lansdowne House at the 
 price of £600 (not 700 as Payne Knight states, himself valuing it 
 at ^1400, cf. Report from the Elgin Committee , pp. 95, 99). The 
 Diskobolos in repose which was found a few steps away from this 
 Hermes ( Mus . Pio-Clem., in. 26. Arch. Zeit. , 1S66, PI. 209, 1, 2), 
 would have quickly followed it, but it was bought for the Vatican 
 and forms a conspicuous ornament of the Museum there. (Cf. 
 Hamilton’s letters of Jan. 1, 18, Feb. 18, Aug. 6, Sept. 30, Dec. 26, 
 1772, March 4, May 7, July 7, 1773.) H. D99. [*mJV] 
 
 66. Bust of Marcus Aurelius. New: nose, r. eyebrow, 
 
 breast. PI. o'39. L. of face 0*21. [*] 
 
 67. Statue of Artemis. Clarac, iv. 564 A, 1213 A. The 
 goddess is draped with the Doric chiton, open at the 1. leg, and its 
 upper fold not girdled. She steps forward a little with the 1. 
 leg, whereby the folds of the drapery are determined ; they are 
 simply treated, tolerably rich on the upper part of the body. The 
 whole impression of the figure is grand and lofty, yet this lies more 
 in the motive than in the execution. R. arm raised, 1. lowered ; the 
 nude parts however of both are new. The breadth of all parts of the 
 figure made Muller suggest Demeter, Waagen Hera ; but a strap 
 which runs from the r. shoulder slantwise over the breast is continued 
 on the back (which is but slightly worked) in the shape of a shallow 
 furrow with a peg of metal in it, which was meant to hold a quiver. 
 This establishes the interpretation of the figure as an Artemis. 
 Moreover the figure itself is not as broad as it looks owing to the 
 arrangement of the drapery, especially near the r. arm ; the hips are 
 fairly narrow, the stomach fiat ; the breast indeed is strongly de- 
 veloped. The statue doubtless represents a somewhat early and 
 severe type of the goddess designed for a temple, perliaps of the 5th 
 century b. c., and related to the later types somewhat as the Parthe- 
 nos of Pheidias to the later and slenderer statues of Athenh (cf. no. 
 33). The neck is modern, and so a doubt as to the head being 
 original may be entertained, all the more readily as, though it is of 
 Pentelic marble like the statue, yet it displays a finer quality. This 
 is however not a strong objection in the case of draped statues, as 
 the head and neck were often worked separately and inserted, not 
 seldom also consisting of better material, e.g. on the Demeter of 
 Knidos in the British Museum (cf. also Petworth, no. 5). Our 
 head matches the statue thoroughly; we have in it an older, broader 
 and more powerful forerunner of the heads of those statues of which 
 the most beautiful example is the Colonna Artemis in Berlin (Muller- 
 
456 
 
 LONDON, LANSDOWNE HOUSE 68— yo. 
 
 Wieseler, n. 16, 167), and most nearly resembles the head of the 
 Vatican example (ibid. 11. 15, 162 a. Mus. Pio-Clem., 1. PI. 29); 
 the hair is drawn back sideways in detached waving masses, by 
 which treatment the impression of breadth is enhanced. This head 
 may be said to stand to those in a similar relation as does the whole 
 statue to those more animated figures, the conception of which 
 certainly pertains to Attic art of the 4th century b. c. Moreover a 
 bronze pin on the top of the head, a little to the 1. of the parting, 
 can hardly be explained otherwise than as serving to fasten a half- 
 moon, as an attribute of Artemis-Selene. New: nose and pieces of 
 lips and chin. H. 2 - o6. [' *mJV ] 
 
 68. Statue of a boy. Clarac, iv. 763, 1877, “ Harpokrates.” 
 Antique : torso, curly head, lowered r. upper-arm, 1. upper-arm which 
 lies before the breast, also 1. thigh and lastly both feet and pedestal. 
 Head re-set, but original ; new are nose, parts of upper lip and 
 of curls ; a pin over the forehead held a top-knot there, of which the 
 join is still preserved. No sufficient evidence exists for the restora- 
 tion of the characteristic motive of Harpokrates, namely the fore- 
 finger laid on the mouth. H. 1U5, with pedestal i‘23. Bought 
 from Hamilton, 1771, for ^30 (. Memorandum , no. n.). [*] 
 
 69 (under no. 68). Circular ara of Apollo and Dionysos. 
 Four upright thyrsi, from which hang four different garlands, divide off 
 four fields, which follow each other thus from 1. to r. : (a) from a gar- 
 land of vine-leaves hang a pedum and a small round discus on which 
 is represented Eros dancing, with torch in lowered r. hand, and a 
 cup (? a bunch of grapes ? much defaced) in 1. Below, a Bacchic 
 panther drinking out of a large krater. (b) Under a garland of laurel 
 stands the tripod of Apollo, entwined by a snake; above, a swan 
 swimming with out-spread wings (head and neck missing) ; on r. by 
 the tripod the bow and quiver, (c) Under a garland of ivy a pine 
 tree, on the branches of which hang a Bacchic drinking-horn with 
 an animal’s head ( rhyton ) and a double flute, straight and curved. 
 (d) Under a garland of laurel sits the griffin of Apollo. All in low 
 relief. The mingling of the symbols of Apollo and Dionysos on the 
 same ara is interesting (cf. Cambridge, no. 50. Stephani, Compte- 
 Rendu , 1861, pp. 5S ff). H. 1-09. Diameter, 0-48. [*] 
 
 70. Group of Eros and Psyche. Clarac, iv. 653, 1501 A. 
 Psyche is represented as a half-grown girl. She stands in quiet atti- 
 tude, resting principally on r. leg, and is draped with a doubled chiton 
 which has slipped down from the r. shoulder, and with a cloak 
 which covers the middle of the body and the r. thigh, and is thrown 
 
LONDON, LANSDOWNE HOUSE 7 1, 72. 
 
 457 
 
 with its corners round the 1 . arm. Of her butterfly-wings the stumps 
 are antique, as is the advanced 1. forearm with a butterfly, and the r. 
 arm with small torch lowered. Both attributes are in themselves 
 appropriate to Psyche, but still in the position and combination here 
 found are scarcely explicable ; they would be more easily explained 
 if held by Eros. Psyche’s neck is new, the head encircled by a 
 broad cloth is antique (new: nose); it seems to me after repeated 
 examination to be original, and so too thought Clarac and Prof. G. 
 Hirschfeld, who studied the group with me, while Conze leaves it 
 undecided and Bernoulli has strong doubts. If the head originally 
 belonged to the figure, the peculiarly melancholy expression of the 
 lowered face would suggest that an object held in the 1. hand, 
 perhaps something broken, attracted her regretful attention. Close 
 to Psychh, though not absolutely leaning on her, stands Eros with 
 his r. arm round her back ; r. leg advanced. His glance is also 
 directed towards Psyche’s 1 . hand, and no doubt his 1 . arm was 
 always extended in this direction. New are lower parts of both his 
 legs, 1. arm, the greater part of his wings, besides the whole of the 
 upper part of his head including eyes and nose (the lower part of the 
 head broken off but antique) ; lastly r. hand, r. shoulder and piece 
 of breast, while the arm itself is antique and in one piece with 
 Psyche’s back. That the two figures belong to each other and have 
 been rightly put together again in their present position is indubi- 
 table. The group conveys an impression of elegance, though not to 
 compare with the Capitoline group. 1 should ascribe its invention 
 to Alexandrine rather than to Roman art. Conze conjectures that 
 the group may originally have pertained to the decoration of a grave, 
 representing two deceased children under the ideal figures of Eros 
 and Psyche, which figures are so often found on sarcophagi. Execu- 
 tion fair, but on the other hand not remarkably good. H. i , o3 > The 
 group was found, 1769, in Hadrian’s Villa by Hamilton, who at 
 first offered it to Mr Anson for ^300 and thereupon sent it to 
 Lord Shelburne for the same price ; Hamilton thought very highly 
 of it (letter of Dec. 15, 1771). \*JBCm\ 
 
 71 (under no. 70). Cippus. On front the inscription: Dils 
 Manibus \ Claudio Hyllo, | vixiit) anu(is) IIII mens(ilms) VII \ dieb(us) 
 V, Claudius | Tauriscus pater jilio | karisshno. Over it a lunette with 
 winged Eros, sleeping, on a rock ; the r. hand laid on head which is 
 leaning on 1. arm. On the sides, 1. the ewer and r. the cup. H. 0-92. 
 L. 0-65. D. 0-42. [*BC ] 
 
 72 (on a modern pedestal under no. 71). Modern copy of a 
 
45 8 LONDON, LANSDOWNE HOUSE 73 — 75. 
 
 relief from the Rondanini Palace, now in the Lateran Museum, no. 
 245, representing an actor and a Muse (Winckelmann, Mon. Incd., 
 11. no. 192, Museo Lateran., PL 42, 4). A thoroughly accurate 
 copy, of dry workmanship, well preserved even in the parts most 
 delicate and liable to breakage. Carrara marble. \*C\ 
 
 73 (under no. 71). Sepulchral monument, with the inscrip- 
 tion \Quint\ilia A. /( ib .) Secunda, A. Quintilius A. (lib.) Ero... Above 
 it two small busts, facing each other, the woman with hair arranged in 
 the style of the first century a.d., with fillet and plait, the man 
 beardless ; between the two a dog (?) with collar. On the field 
 behind the man a Y (modern?). H. o - ig. L. o - 36. [*A] 
 
 74 (under no. 71). Relief with six figures. From 1. tor: (a) 
 
 Herakles, youthful, full face, quite in the attitude of the Farnese statue 
 in Naples, (b) Aphrodite in chiton and cloak, unveiled, going r., 
 carrying with both hands a small cup with fruit, (e) Eros, winged, full 
 face, raising r. arm to Aphrodite and lowering the 1. arm. (d) Bacchic 
 female, full face, in chiton and cloak ; on r. arm rests a thyrsos (?), 
 1. arm akimbo. ( e ) A female figure (Hebe?), turned a little 1., in 
 chiton with sleeves and cloak, holding a cup in lowered r. hand, with 
 1. grasping a corner of the drapery (?). (/) Zeus (?), bearded, facing 
 
 1., in long chiton and cloak, carrying on 1. arm a large cornucopiae, in 
 the r. hand raising a small thunderbolt (?). The figures b, d, e, f 
 wear fillets round their heads. Graceful composition ; delicate work- 
 manship; a somewhat suspicious appearance seems to arise only 
 from retouching. Greek marble. H. o - 24. L. 045. [*BM] 
 
 75 (on the wall). Front of a sarcophagus : the Muses. 
 
 Cavaceppi, Race., 11. PI. 58, 1. From 1. to r., adopting the common 
 nomenclature ; (a) Polyhymnia, enveloped in her drapery, leaning 
 on a pillar ; in the background a sun-dial on a high pillar, (b) 
 Euterpe in long chiton, with two long flutes, of which one has five 
 holes, the other none, (c) Thaleia in chiton, cloak and shoes, with 
 a perforated staff in the r. hand and a comic mask in the 1. (d) 
 
 Melpomene, in broad-girdled chiton and cloak, planting with the r. 
 hand a pedum (not a club) on a bull’s head (indistinct), on 1. arm 
 the bearded tragic mask, (e) Erato, in the pose of the Aphrodite 
 of Melos, but with chiton, resting her lyre on a pillar. (/) Hermes 
 with petasos (wings indistinct), chlamys and herald’s staff, setting r. 
 foot on a pedestal, on which stands a comic mask, (g) The de- 
 ceased, apparently beardless, with hair cropped short, in tunic and 
 pallium, a roll in 1. hand. (//) Athene, fully armed except for the 
 shield, holding up a branch of olive in the r. hand (apparently 
 
LONDON, LANSDOWNE HOUSE 76. 
 
 459 
 
 antique). (/) Kleio with the roll in her hands, and a bundle of 
 rolls by her on the ground. In the background (k), the upper 
 part of the figure of a young girl, full face, probably a relative of 
 the deceased. (/) Terpsichore with the cithara and the plectron. 
 (/«) Urania with the globe and stylus, on the ground a comic mask. 
 (;/) Kalliope with the diptychon. All the Muses are adorned over 
 their foreheads with the plumage of the Seirens. In the back- 
 ground is a hanging. Late, rather bad work in half-round relief. 
 Restoration unimportant. L. 2 - i 6. [CM/// IV] 
 
 76 (over the chimney-piece). Relief of black marble or 
 basalt. Mon. dell' I/ist., iv. PI. 29, cf. Annali , 1846, pp. 155 ff. 
 (H. Keil). At the bottom runs a narrow strip enlivened by Tritons, 
 dolphins, hippocampi and other fabulous sea-monsters. Twice also 
 a little winged Eros is seen amongst them ; in one place he hovers 
 over a fish behind a bird which holds an eel in its beak. The 
 principal field above contains four deep semicircular niches termi- 
 nating in the form of an arch at the top, with plain smooth border ; 
 they were no doubt meant for the reception of statuettes. At each 
 end an ornament of climbing branches ; composition almost the 
 same on each side. Below these a figure (1. female, r. male) emerges 
 from a calix of acanthus, above these a boy with a pedum (1. a shoot) 
 in one arm ; above, a girl, lightly draped, in ungirdled chiton which 
 leaves one breast exposed ; quite on the top the upper part of 
 a boy’s body springing from a calix of leaves, holding up a wreath 
 in either hand. Between the four niches there are three rather 
 broader fields, (a) In the first field, 1. a ship with four oars moves 
 1., on the stern a ^tjvio-kos, at the prow the figure of a dolphin; a 
 sail is set, but a mast is not visible. In the ship sit two nude men, 
 apparently with arms tied (at least the one on the r.), and between 
 them stands a third, turning up his head with the 1. arm laid upon it. 
 Above, three winged females sit on rocks, their legs covered by 
 cloaks ; the one on the 1. holds a cithara, the one on the r. pro- 
 bably held in the r. hand (arm missing) a ilute, the third is almost 
 hidden by her. Obviously a reference is intended to the adventure 
 of Odysseus with the Seirens. ( b ) In the centre field moves a ship, 
 at the stern a panther’s head, at the prow a behind at the 
 
 steering paddle a man sits with raised 1. hand (head missing), opposite 
 him on the right another with advanced r. hand. In the waves swims 
 a dolphin. This can scarcely mean the transformation of the Tyrrhe- 
 nian pirates into dolphins by Dionysos. Above the ship a large D 
 in relief. Quite at the top is a tasteful spray of ivy. (c) In the field 
 
460 
 
 LONDON, LANSDOWNE HOUSE 761Z— 77. 
 
 on the r. again a ship adorned with x^vuncos and human mask 
 (Medusa’s head?); in it remains of a mast with a sail (?), and two 
 nude sailors raising the r. arm briskly. The one looks up where 
 two birds are hovering, the one downwards, the other upwards. In 
 the water a dolphin and another fish. Keil discerns herein the ad- 
 venture of the Argonauts with the arrow-feathered birds near the 
 island of Aretias (Apollonios Rhod., 2, 1031). At the top runs a 
 narrow frieze, adorned with animal and hunting scenes. In one part 
 wild beasts tear each other; in another boys or youths, here nude 
 there lightly draped, here on foot there on horseback, take part in the 
 struggle, or are seized by the beasts, or stand between the scenes. 
 Here and there an isolated tree, in the middle a small wood. 
 The representation is very animated ; more graceful than the princi- 
 pal reliefs. Above it an ovolo ornament. The whole monument is 
 highly polished, the reliefs raised very high and delicately worked out. 
 The original intention of the monument is as little evident as is the 
 meaning of the letter D. H. 0-54. L. 1-84. Found by Hamilton, 
 1769, in Hadrian’s Villa, and sold for ^50 to Lord Shelburne. [*] 
 
 If I am not mistaken there are still on the chimney-piece 
 
 76 a. Two pseudo-Egyptian idols of Hadrian’s time, and of 
 similar material, found at the same time and sold for ^150 ( Memo- 
 randum , no. 11.); probably also 
 
 76 b. A genuine Egyptian terminal bust, in green basalt, 
 sold for ^30 (letter of Aug. 6, 1772). 
 
 77 (on the wall). Front of a sarcophagus : rape of Perse- 
 phone. The representation is divided into three scenes (cf. Soane 
 Museum, no. 26). First scene (Demeter looking for her daughter). 
 In her two-horse chariot comes Demeter, in girdled chiton, with an 
 over-fold, a torch in her 1. hand ; in the r. it is now missing ; head 
 new. Before her in the chariot the wings and head of a small 
 figure, according to Matz perhaps an Eros, according to the analogy 
 of other replicas very likely a Hora. Above, in the background, is 
 visible the winged Iris holding a flying drapery with both hands. 
 The heads and necks of the horses are turned backwards in strange 
 fashion (apparently modern). Below the horses is Tellus, half sitting, 
 half reclining on her r. elbow. She directs her head and 1 . arm up- 
 wards. Second scene (Persephone gathering flowers). Persephone, 
 apparently not quite finished, kneels under the forelegs of the horses, 
 looking up 1. ; she raises her r. arm and lays her 1. hand on a basket 
 of flowers standing by her. On the 1 . stands an Eros, holding an 
 inverted cornucopiae with both hands. Third scene (the rape). 
 
LONDON, LANSDOWNE HOUSE 78. 
 
 461 
 
 Behind Kora we perceive a group of two females. The one, 
 Artemis, whose nude 1 . leg is partly visible, hastens 1 ., but turns her 
 face back and grasps the other, Aphrodite, below the elbow. The 
 latter, whose chiton has slipped down from the r. shoulder, hastens 
 r., looking back after Artemis, and laying her r. hand on the shield 
 of Athena, who speeds in the same direction and in her turn lays 
 her hand on Pluto’s shoulder. Pluto, with his back to the spectator, 
 is already mounting his chariot ; r. arm broken off, 1. forearm re- 
 stored. Persephone, of very small proportions, lies in his arms ; 
 especially striking is the up-raised r. arm. Remains of the legs of 
 Pluto’s horses are still preserved ; all besides missing. The slab is 
 unusually large, the relief very high, the composition of the several 
 parts not clearly discriminated, the work unpleasantly mannered. Cf. 
 Gerhard, Akad. Abh., n. p. 484, no. 35. Forster, Raub der Persephone, 
 p. 198. Overbeck, Kunstmythol., m. p.633. Hamilton had formerly 
 bought the slab from Adams for 100 Roman crowns and got it restored 
 for 60 crowns ; for the latter price (about ^14. 12s.) he made it over 
 to Lord Shelburne (letter of July 12, 13, 1776). [CMm] 
 
 78. Group of Leda and the swan. Clarac, in. 410 B, 
 1715 A. A replica of the often repeated group, which represents 
 Leda half sitting and pressing the swan to her embrace, while the 
 cloak held up with her 1. hand is to protect him from the threatening 
 eagle (cf. Oxford, no. 28). The chiton is very delicately and thinly 
 worked, the deep folds of the cloak are very much undercut ; the 
 body too is not bad. New : 1 . arm with cloak, r. arm as far as the 
 wrist, sundry pieces of drapery, head and neck of swan. For the 
 head of Leda cf. Hamilton’s letter, below. Pentelic marble. H. i'26. 
 The specimen was found, 1775, on the Palatine in the Villa Magnani 
 and offered by Hamilton to Lord Shelburne for ^100. “For excel- 
 lence of sculpture it surpasses every other ; the head though found 
 with the statue and of the same marble, yet is doubtful whether it be 
 its own. It is beautiful and fits it. I can affirm nothing more. The 
 r. arm and some of the 1. with some of the drapery are restored ” 
 (letters of Aug. 8, 1776, May 26, 1 7 7 S, no. xxxi.). It seems that 
 Lord Shelburne was not contented with it, and negotiations were 
 entered into with the Bishop of Derry (cf. Ickworth, and Introd., 
 § 62) with regard to its purchase. Ultimately Hamilton made over 
 the piece to Lord Shelburne for ^65, as a pendant to no. 70 (letter, 
 1779, Nov. 10). Another replica came into the possession of the 
 Duke of Buccleuch (cf. Dallaway, p. 337. Fea, Osservaz. sui monum. 
 che rappr. Leda , p. 10). [*CM] 
 
462 
 
 LONDON, LANSDOWNE HOUSE 79— 83. 
 
 79 (under no. 78). Sepulchral ara of Terpolia Procilla. 
 
 On the front is represented a sleeping female figure with upper part 
 of body nude, the hair arranged high in front. L. hand rests on an 
 urn with water flowing out of it. By it flies an Eros with wreath. By 
 it the inscription DIs Manibus sacrum. | Terpoxliae (after the 0 is a 
 cancelled /) Procillae \ P.flfliae ), vixit annis XIIII diebus LI I I II, \ 
 Ti. Iulius Heraclides \ uxori carissimae | fecit aram et \ monimentum 
 (the two last words are a later addition) 3 quite at the bottom : ct 
 libcrtis libcrtabus [ fosterisque eoruvi. On the sides, 1. the ewer, r. the 
 cup. H. 1 ’20. L. 079. D. o - 5o. \fC~\ 
 
 80 (above in the wall). Slab of a sarcophagus. In the 
 middle an Eros growing out of the calix of a flower, the hands resting 
 on the back of the head, at each corner stands an Eros ; all three 
 bear garlands. Within each of the garlands two masks facing each 
 other; 1. of two Maenads crowned with vine-leaves and between 
 them a thyrsos ; r. of two Satyrs, one with a ragged moustache, and 
 between them a pedum. Low, poor relief. [M ] 
 
 81. Terminal bust of a girl. Clarac,w. 779, 1933 B. The 
 terminal pillar, draped towards the upper part with a double chiton, 
 gradually passes into the girl’s body, which however remains very 
 square up to the neck. The head is intentionally kept in severe 
 style, the hair, brushed off the face on both sides and twisted 
 round a fillet, falls down the shoulders in a few stiff tresses. In 
 style the figure reminds one of the archaistic statues in the Villa 
 Ludovisi and the Villa Borghese (cf. Schreiber, Villa Ludovisi, no. 
 29). New: almost the whole r. arm with a key, half the 1. arm 
 with an ewer, besides the greater part of the terminal pillar. The 
 genuine part is 078 high. This “terminus of Isis, very elegant,” 
 was found by Hamilton in Hadrian’s Villa and presented to Lord 
 Shelburne (letter of Aug. 9, 1775). [*] 
 
 82 (under 81). Sepulchral ara of Serenus. Above, a 
 Medusa’s head between two rams’ heads, all symbols for averting 
 evil. Below them the inscription : D(is) M (a nib us) | Sereni \ Au- 
 g(usti) lib(erti) | a sacris \ fecit [ Coclia Amanda | marito \ carissimo\ 
 ct sibi. On each side a tree with a bird. H. 077. L. oqjfi. D. 073. 
 
 m 
 
 83. Statue of a wounded Amazon. Spec., 11. PL 10. 
 
 Clarac, v. 833 B, 2032 C. One of the finest and best preserved speci- 
 mens of that type of wounded Amazon, which is on good grounds 
 referred to Polykleitos (cf. Kliigmann, Rhein. Mas., xxi. p. 322. 
 Ivekule in the Commentationes in Jwnorcm Th. Mommseni scr., Berlin, 
 
LANSDOWNE 83 
 

 
 
LONDON, LANSDOWNE HOUSE 83. 
 
 463 
 
 1877, p. 481); there is a torso of the same type in Oxford, no. 24. 
 The leading motive of languid repose is expressed with especial 
 clearness in the weary eyes and slightly opened mouth. It is in 
 keeping with the wound near the r. breast consisting of a sharp cut 
 with ten drops of blood below it. The Amazon, then, young and 
 strongly built, leans with her 1. elbow on a pillar ; the weight of 
 the body rests in part also on the r. leg, the 1. is somewhat drawn 
 back. The r. hand lies on, or rather a little above, the head, so 
 that the hand remains in good view from below. The head is con- 
 siderably inclined sideways. It is as like the head of the Doryphoros 
 by Polykleitos as sister to brother. It is not so sharp in its contours 
 as are, for example, the heads on similar statues in Berlin {Mon. 
 dell' Inst., ix. PI. 12) and in the Sciarra Palace at Rome (Matz-Duhn, 
 Ant. Bildw. in Rom , 1. no. 942), or as the head in the British Museum 
 (Graeco-Rom. Sculpt., no. 150. Mus. Marbles , x. PI. 5), all of which 
 belong to the same type. The waving hair flows very softly; the 
 whole is an excellent translation into marble of the characteristics 
 of a bronze original. The broad breast recals the figures of the 
 pediment of the Parthenon. Knees and thighs excellent. The 
 arrangement of the woollen chiton is characteristic of this type. 
 In consequence of the unfastening on the 1. shoulder it leaves both 
 breasts free, and forms in front of the stomach a strong mass of 
 vertical folds. The buckle of the girdle is represented in detail 
 with great care, the whole statue being generally very well executed. 
 The preservation of the surface is excellent. Unfortunately the 
 marble, which is Pentelic and is in other respects very beautiful, 
 contains rather strong micaceous strata. These have been the 
 main cause of the statue being damaged. However the head, r. 
 arm and r. hand for example, though broken, have been accurately 
 joined together again; the head is quite certainly antique. New: 
 half the nose, half of r. arm turned towards the spectator to wrist, 
 tip of thumb and the four fingers of r. hand, half 1. forearm with 
 hand, the column from just below the piece that connects it with 
 the figure, both legs from below knee. (Cf. Michaelis, Arch. Anz., 
 1862, p. 335. Arch. Zeit 1874, p. 38. Kliigmann in Lutzow’s 
 Zeitschr. f. d. bi/d. Kunst , v. p. 73 note.) PI. 1 '95. According to 
 Dallaway, pp. 342, 373, the statue was found in Tor Colombaro by 
 Hamilton (1771). In reality Hamilton mentions as found there 
 a “fine Amazon large as life” (Jan. 1, 1772), which he subsequently 
 offered to Lord Shelburne; when he designated it as “one of the best 
 of that kind ” and praised the head especially (March 4, May 7, 
 
464 
 
 LONDON, LANSDOWNE HOUSE 84, 85. 
 
 1 773 )- The Earl closed with the offer for £200 (Sept. 12, 1773), 
 but on the receipt of this and sundry other specimens (nos. 63, 87) 
 was “somewhat dissatisfied, in particular with the Amazon” (March 
 13, 1774). This is scarcely comprehensible in reference to our 
 statue, but is probably in part explained by the fact that Lord Shel- 
 burne, as he went on to inform Hamilton, already possessed an 
 Amazon (thus clearly from another source, perhaps Jenkins or Cava- 
 ceppi), whereupon Hamilton expresses the hope “that in all pro- 
 bability Mr Grenville (presumably one of the Prime Minister’s 
 brothers) will take it;” he is willing to send another statue in its 
 stead (May 1, 1774). Mr Grenville was in fact prepared to take 
 it, but not immediately (Apr. 16, 1775); however more than a year 
 later Hamilton again writes : “I hear that Mr Barry (of Marbury 
 Hall?) is arrived in England. I shall desire him to take a look of 
 the Amazon and hope he will find a place for it” (July 13, 1776). 
 It is certain that there is no Amazon in Marbury Hall, and only 
 one in Lansdowne House, and that to tins the characteristics of 
 Hamilton’s specimen correspond ; still there remains some obscurity 
 about the whole affair. If Lord Shelburne really altered his estimate 
 of the Amazon of Tor Colombaro at a later period and kept it, 
 then where is the one which he possessed before? \*Cm JV]. 
 
 [84. Modern copy of the beautiful head of a youth in the 
 British Museum (Graeco-Rom. Sculpt., no. 151), found by Fagan, 
 once in the possession of Samuel Rogers. Spec., n. PI. 18. *] 
 
 85. Statue of Hermes. Clarac, v. 814, 2048 A, “Jason.” 
 A replica of the statue from the Villa Negroni, now in the Louvre, 
 which was formerly called Cincinnatus and restored accordingly. 
 From the time of Winckelmann and Visconti it kept the name Jason 
 until lately, when the comparison of coins ( Mus . Class. A?itiq., 11. 
 p. 292) and other considerations have led to its recognition as a 
 Hermes (cf. Lambeck, De Mercurii statua. Thorn, i860). It is in 
 fact the most speaking illustration of those Homeric verses in which 
 Zeus gives a commission to the messenger of the gods : 
 
 cos ^(par\ ovd' airiOrjae ScaKropos * Apyec(j)6vT7)s‘ 
 clvtLk ’ ^7ret0’ ii7 ro ttovgIv id-rjaaro Ka \ a Tr£5i\a, 
 aixppocca, xpucreia, /c.r.A . 
 
 (V., 2 4,339. Od.,5, 43.) 
 
 Christodoros describes a bronze statue representing Hermes at this 
 very moment ( Aut/10 1. Palat., 2, 297 — 302): 
 
 ■qv St Kal 'Ep/im'as xpticro'ppa iris' iarapevoi St 
 SeJiTfpj} TTrepoevTos dvelpve Seer pa ireSiXov, 
 
LANSDOWNE 8b 
 

LONDON, LANSDOWNE HOUSE 85. 
 
 465 
 
 els 65ov at£ai \e\trifj.^os‘ etx e 7“P 
 Se^iov 6i<\d£ovTa Oobv Troda, Tip h tl \airp> 
 
 X ( tp a TaOels aviirepnrev is aidipa kvk\ov onwirps, 
 old re Tra.Tpbs avaKTos iiriTpwirwvTos aKovwv. 
 
 This description agrees on the whole so well with our statue that 
 first Heyne, and subsequently Muller and others, connected the two. 
 The slender god stands on the 1. leg ; he has set his r. foot on a 
 piece of rock and his r. hand is occupied in tying the sandal ; the 
 1. arm rests on the r. knee, enveloped in the rich folds of the chlamys. 
 The whole upper part of the body is bent far forward ; the head 
 is raised upwards with a forcible expression of strained attention. 
 The replica before us deviates from the other copies (in the Louvre, 
 in Munich, and in the Vatican, cf. Clarac, in. 309, v. 814) in this 
 respect, that the 1. arm is not extended to the sandal like the r., 
 but rests idly on the thigh (cf. Visconti, Opere Varie , iv. PI. 21). 
 The artist has meant by this to make it evident that Hermes leaves 
 off tying his sandal for the moment, so as to be better able to listen; 
 letting the r. hand rest meanwhile among the straps. This feature 
 deviates from the description of Christodoros, and must therefore be 
 regarded as an innovation, while the other replicas have preserved 
 the original motive. The artist gained by this deviation a greater 
 variety in the pose of the arms, and a richer development of the 
 folds of the chlamys ; on the other hand he impaired the clearness 
 of the action and the close compactness of the composition. For 
 this comparative inferiority the statue in Lansdowne House presents 
 a full compensation in the preservation of the original head, while to 
 the copies in Paris and Munich alien heads of Parian marble have 
 been added, the figure in each case being of Pentelic marble. Our 
 head, however, proves plainly that the strained attention pertains 
 to the character of the whole figure. This is thoroughly appropriate 
 to a Hermes in the situation indicated ; but just as inappropriate if 
 the statue be interpreted as a youth of the palaestra, in the familiar 
 action of tying on his sandal (cf. Konr. Lange, Das Motiv des 
 aufgestiitzten Fusses, Leipz. 1879, pp. 2 — 12). For the criticism of 
 the composition it is essential to observe that the original work was 
 in bronze, which accordingly did not need the heavy support, but 
 allowed the whole pose to look freer and lighter. LTnfortunately 
 the whole statue has been much restored. New: r. forearm, r. foot, 
 rock, sandal, ploughshare (suggested by the “Cincinnatus” in Paris), 
 the support, the greater part of the plinth, 1. arm from shoulder to 
 elbow, the 1. hand, parts of chlamys, 1. half of nates, lower part of 
 
 30 
 
 M. C. 
 
466 
 
 LONDON, LANSDOWNE HOUSE 86. 
 
 1. leg between knee and ankle ; the 1. foot with a portion of the 
 plinth is antique. The head is connected with the body by a narrow 
 modern strip, but is antique (restored : nose and part of the back of 
 the head), and to judge by the quality of the marble and the work- 
 manship obviously belongs to the statue ; the expression too is 
 thoroughly appropriate. Its resemblance to the head discovered by 
 Fagan (no. 84) is complete, and it is very nearly allied to the Borghese 
 Gladiator; thus Gavin Hamilton remarked, “of the same artist that 
 made the Gladiator at the Villa Borghese ; the head is almost the 
 same;” again Visconti, Clarac, K. O. Muller and others compare 
 the two statues (Lange, op. cit., p. 12). The “meagre treatment of 
 the muscular body, which is not altogether noble in its modelling” 
 (Muller in the “Amalthea”), is common to both statues, though in 
 the Gladiator, which is moreover in part reworked, the anatomical 
 detail is much more strongly accentuated, by reason of the strained 
 attitude. The style of both statues alike is founded upon that of 
 Lysippos (cf. Brunn, Glyptothck , no. 151), but the realism has ad- 
 vanced a step further: the treatment of the body is still “dryer” 
 {corpora sicciora), the elastic covering of skin still more accentuated, 
 the details generally more developed. The character of the head 
 corresponds to the body. A head of Hermes by Lysippos would 
 have more ideality and poetry than this meagre, sinewy head, the 
 animation of which is, so to speak, purely of a physical, material 
 sort. The hair is much less separated and less minutely made out 
 than is the case with Lysippos. Lastly, the 1 . foot, although broad, 
 is not so long and flat as with Lysippos (cf. no. 61, Ince no. 43). 
 I recognise with Muller in the original of this statue — which is 
 excellent of its kind — the work of a school of art of the Hellenistic 
 period derived from Lysippos, presumably Asiatic (of Ephesos?). 
 The workmanship is good, very true to nature ; the surface has been 
 largely reworked by the restorer. Pentelic marble. H. i'54. The 
 statue was found by Gavin Hamilton in 1769 in Hadrian’s Villa; 
 according to him “the same as that at Versailles (that is the above- 
 mentioned replica, now in the Louvre), of better sculpture, though 
 not so well preserved.” He feared that it would have to go to the 
 Vatican, but as the Pope declined the high price of ,£500, Hamilton 
 sent it to Lord Shelburne, including also no. 64 under that price 
 (letters of Jan. 28, July 16, Aug. 6, 1772). 
 
 86. Head of an Ariadne, with fillet over the forehead, 
 crowned with ivy. New : top of head, a great part of the wreath, 
 nose, neck. Poor head enough. L. of face 0-19. Probably the 
 
LONDON, LANSDOWNE HOUSE 87—89. 
 
 467 
 
 “head of a woman” bought of Gavin Hamilton for n crowns = abt. 
 £2. 14-r. (letter of July 13, 1776, Memorandum, no. xxxv.). If the 
 “head of Bacchus” were meant (letter of Dec. 26, 1772), the price 
 £$° for this paltry head would be enormous. [* IV] 
 
 87. Female figure, seated. Clarac, hi. 420 B, 748 A, 
 “Juno.” She is sitting with 1. foot somewhat advanced, draped 
 in a girdled chiton, a wide cloak covering 1. arm and legs ; the 
 veiling of the back of the head is a modern addition. New also : 
 1. forearm with staff, the whole r. arm, r. foot, 1. leg with the folds 
 between the legs, other portions of the drapery. The graceful head, 
 without indications of the characteristics of Juno, does not belong to 
 the body, which is of rather small value (overrated by Waagen). 
 Lord Shelburne had good grounds for being “somewhat dissatisfied” 
 with this statue, which Hamilton had sent him for ^230 as a “sitting 
 Juno” (letters of July 16, Sept. 30, Dec. 26, 1772, March 13, 1774). 
 It still less deserves the place of honour in the middle of an apse 
 than does no. 63. H. 172. W] 
 
 88. Head of Hermes. Spec., 1. 5r. Muller- Wieseler, 11. 28, 
 
 304. Braun, Kunstmythol. , PI. 88. This fine head, inclined to the 
 1. shoulder, is distinguished for its delicate, soft forms, for the beau- 
 tiful mouth, and the intelligent eyes, the upper lids of which project 
 rather decidedly. The brow is smooth and free, the curly hair not 
 very much detached. A round felt hat of the shape of a petasos 
 (cf. Yates, Textrinum antiquorum ) covers the very youthful head, 
 which does not so much represent the crafty Hermes as patron of 
 trade and gain (/<ep8dos, as Braun interprets), nor again the overseer 
 of gymnastic exercises (iva yoivios), but the ideal type of well-bred 
 Attic youth, not indeed devoid of a touch of sentimentality, so far 
 from suggesting cunning. It is easily understood that the beautiful 
 head has become probably the most popular specimen among the 
 antiques of Lansdowne House. New : half the nose, parts of the 
 ears, almost the whole brim omthe hat, and the bust. Excellent 
 workmanship. Pentelic marble. H. o‘29- L. of face o‘i7. Found 
 by Gavin Hamilton, 1769, in Hadrian’s Villa, and bought by Lord 
 Shelburne, 1771, for ^55 (Memorandum, no. 11.). [* Cm IV] 
 
 89. Statue of a Diskobolos after Myron, restored as Dio- 
 medes with the palladion. Clarac, v. 829, 2085 A. Antique : only 
 the torso, with the junction of the 1. arm, and also the r. thigh and 
 the (patched) 1. leg as far as half-way down the shin. Following an 
 indication given by the muscles of the neck, the restorer, though so 
 decidedly mistaken in other respects, has given the head the proper 
 
 30—2 
 
468 
 
 LONDON, LANSDOWNE HOUSE 90, 91. 
 
 turn backwards, as in the Massimi copy of the Diskobolos (Miiller- 
 Wieseler, 1. 32, i39 b ). The body, of coarse-grained Parian marble, is 
 of good workmanship, though not positively excellent. On the pubes 
 the style of Myron’s work is well preserved in the small, close-lying, 
 slightly rounded curls (Plin. 34, 58). The head is antique (new: 
 nose), but did not originally belong to the statue. It is connected 
 with the body by a modern neck, has whiskers, and is of a somewhat 
 barbaric type, in some degree resembling the so-called Perseus of 
 the British Museum (Graeco-Roman Sculpt., no. 161. Mas. Marbles, 
 xi. PI. 14); at any rate it belongs to the Hellenistic epoch of art. 
 
 H. i *75. The torso was found by Gavin Hamilton, 1772, at Ostia 
 (Dallaway, p. 377). The restoration, which made a Diomedes of it, 
 looks very like Cavaceppi’s work. It seems to have taken a long 
 time, and to have been conducted in profound secrecy; for not 
 earlier than 1776 did Plamilton mention the statue to Lord Shel- 
 burne as one of the finest things he had ever had in his possession, 
 and sent it to him as a pendant to the “ Cincinnatus” (no. 85), 
 which indeed resembles it sufficiently in style and size. He especially 
 draws attention to the fact that the statue is beautiful looked at from 
 every part, and that, though the legs and arms are restored, still the re- 
 storation is perfectly certain, “because it would be to the last degree 
 absurd to suppose it anything else”! It should be borne in mind 
 that the Massimi Diskobolos, which disposed of many wrong guesses 
 and solved the enigma, was not discovered before 1781. The price 
 came to £ 200 (letter of March 25, 1776). For other replicas and 
 for an estimate of the worth of the statue cf. Welcker, A lie Denkm., 
 
 I. pp. 417 — 429. [*mW] 
 
 go. Head of a girl, described by Hamilton as “head of a 
 Muse in the antient Greek taste.” It really is a Greek sculpture, 
 fresh and pretty, though not executed with minute delicacy. She 
 looks down before her. The face is rounder than that of the beautiful 
 virgin’s head in the Glyptothek in Munich (no. 89, Liitzow, Miinchner 
 Antiken , PI. 19), the eyes small and rounded, the cheeks broad, the 
 mouth small with very beautiful lips, the chin high and round. A 
 very broad fillet encircles the plain, wavy hair, which forms on the 
 nape of the neck a loose, overflowing roll. New : nose, a piece of 
 upper lip, bust. Greek marble. H. C33. L. of face 0-17. Found 
 by Gavin Hamilton, 1769, in Hadrian’s Villa, and sold for £15 
 (Dallaway, p. 369, Hamilton, Memorandum, no. 11.). [* 5 ] 
 
 91. Terminal figure of Dionysos, of human form down to 
 the hips. Clarac, iv. 676, 1560. The head of the youthful god is 
 
LONDON, LANSDOWNE HOUSE 92—95. 
 
 469 
 
 encircled by a fillet, and crowned with vine-leaves and grapes. It is 
 of delicate but ordinary type, with very narrow eyes, and much de- 
 faced. Though re-set, it belongs to the figure. New: nose and part 
 of under lip, both arms with cup and grapes, and the terminal shaft 
 from the virile emblem downwards. In my opinion it is very ques- 
 tionable whether this was originally a terminal figure. Tolerable 
 workmanship. H. o‘66. Found by Gavin Hamilton in Hadrian’s 
 Villa and presented to Lord Shelburne as a pendant to no. 81 
 (letter of Aug. 9, 1775). [* JV] 
 
 92 (under 91). Sepulchral urn of Pompusidia Eutychia, 
 merely furnished with an inscription. [C] 
 
 93. Bust of Athene, colossal scale, fragment of a statue of 
 the type of the Pallas from Velletri in the Louvre (Clarac, in. 320, 
 851), but of more perfect art, though not so good as the head from 
 the Villa Albani in Munich (Glypt., no. 92, Mtiller-Wieseler, n. 19, 
 198), exactly corresponding. On the high Corinthian helmet there 
 are still the remains of a snake, but otherwise it is without orna- 
 ment. The face displays a powerful oval. All the forms of the face, 
 though pretty much retouched, give unmistakeable glimpses of the 
 sharpness of a bronze original. The outer edge of the lips is de- 
 fined by a line, the eyelashes and the brow-line are very sharp. 
 The wavy hair, equally in the style of a bronze, is gathered on the 
 nape of the neck into a roll which falls a long way down. The 
 conception undoubtedly belongs to the best age of Greek art. Of 
 the bust the r. shoulder is antique, with parts of the chiton and of 
 the scaly aegis with the fringe of snakes, and a hole for the insertion 
 of the raised arm. It is much patched about the snakes. New : 
 fore part of bust, with aegis and gorgoneion, and 1. shoulder with 
 cloak ; also half the nose and small portion of the lips, the extreme 
 tip of the roll of hair, the front points of the helmet. Greek marble, 
 apparently Pentelic. H. i'o8. L. of face C25. Found in Roma 
 Vecchia, bought of Gavin Hamilton, 1771, for ^104 (Memorandum, 
 no. 11. Letter of Dec. 15, 1771). [*CmlV] 
 
 SIDE GALLERY OF THE BALL ROOM. 
 
 94. Bust of Antoninus Pius. [*/>] 
 
 95. Terminal bust of a Greek poet, a replica of the so- 
 called Llesiodos in the British Museum (Graeco-Roman Sculpt., no. 
 1 19. Mus. Marbles, ir. PI. 44), with however a more picturesque 
 treatment of the beard. New : nose and terminal shaft. [*A] 
 
470 
 
 LONDON, LANSDOWNE HOUSE, 96 — IOO. 
 
 96. Candelabrum. On a pedestal are four boys with garlands 
 of fruit. Connected with this by a modern piece is a tall column 
 with a pretty relief of scrolls of foliage. The surmounting ornament 
 is again modern. H. abt. 240. Probably the “fragment of a 
 candelabrum” which Gavin Hamilton presented to Lord Shelburne 
 (letter of July 12 and 13, 1776). [*t 5 ] 
 
 cellar. 
 
 Here are provisionally deposited the following marbles: 
 
 97. Statuette of Serapis, enthroned. Clarac, iv. 758, 
 1851 A. Quite the common type, with Kerberos by the r. leg. Face 
 full and thick. New : nose, a portion of the hair and modius, the 
 raised 1. arm from the cloak upwards, the r. forearm, the middle 
 snout of Kerberos. Ordinary sculpture. H. o - 75. [*] 
 
 g8. Child’s sarcophagus : Cupids as armourers. At the 
 extreme 1 . a Cupid sets in motion a pair of bellows to enkindle a fire 
 which burns on the forge with a vaulted roof. On his r. a seated 
 Cupid holds with a pair of tongs an indistinct piece of armour 
 (greave ?) on an anvil ; two Cupids are hammering at it. In the 
 centre two Cupids, symmetrically disposed, hold a large helmet over 
 a corslet which lies on the floor ; then a similar pair holding a shield, 
 which a comrade, half-kneeling, bears up with both hands. The 
 lower part to about the height of the knees is restored. On each a 
 sitting griffin. Pretty motives, poorly executed. H. 0-35. L. 1-24. 
 [*CM] 
 
 gg. Child’s sarcophagus : boys playing with nuts. 
 On the extreme 1 . is indicated the door of a house. Then come 
 three groups, (a) A boy stands bending forward to the r., grasping 
 the bosom of his tunic with the 1 . hand and advancing the r. Facing 
 him comes a boy, with 1. hand before his breast, his r. hand laid on 
 the head of a weeping friend. On the ground two nuts. ( b ) A boy 
 kneeling facing 1 ., his r. hand, full of nuts, on the ground. A second 
 hurries up from the r., advancing r. arm and making a signal of 
 warning with the 1 . hand, (c) A boy hurries to the 1 ., with three nuts 
 in r. hand, holding the 1 . before his breast. Behind him stands a 
 companion with a nut in his r. hand and an amphora in the 1. arm. 
 (The same subject otherwise treated Ince, no 247% Newby, no. 31.) 
 On each side a barbarian’s shield, in incised outlines. H. 0-31. 
 L. 0-90. [*M] 
 
 100. Front of a child’s sarcophagus of Zotice. Above 
 two crossed horns of plenty, two Cupids hold a shield with the 
 
LONDON, LANSDOWNE HOUSE, IOI — 1 10. 
 
 471 
 
 inscription : Trophi\ma 9 Zo\ticeni | fdiae \ b{ene ) mierenti). The 
 mark after the first name perhaps serves as a stop. Next come both 
 1 . and r. the group of Cupid and Psychb, embracing each other, 
 and by them a tall vase ; at the end a Cupid with apron, supporting 
 a staff on the ground with one hand. Bad workmanship. H. o - 4i. 
 L. 1-69. [*M]. 
 
 101. Small sepulchral ara of Cornelia Briseis. Above, 
 
 a bust, much corroded. Below it the inscription, which looks very 
 suspicious : T>(is) Mianibus). | Corneliae | Briseidi | Corn(elius) The- 
 seus | Corn(elius) Autolycus | coniugl bienc) mierenti) \fecerunt. On 
 the sides ewer and cup. H. 0-63. L. 0-24. D. on 7. [*C] 
 
 102. Bearded head, much impaired. [*] 
 
 103. Head of a youth, much mutilated. [*] 
 
 COURT AND GARDEN. 
 
 104. Two fragments of a long, low frieze, with Tritons 
 
 and other marine creatures. H. o'29> L. 2'3o. ["'] 
 
 105. Female figure belonging to the lid of a sarcopha- 
 gus. A female figure in the stola, with the head-dress of Julia Titi, 
 lies on a couch, her head laid on 1 . hand. The r. hand holds a 
 bunch of poppies. [ if Af] 
 
 I cannot find out in Lansdowne House, besides the second 
 Amazon mentioned on no. 83, the following specimens, which are 
 mentioned in Gavin Hamilton’s letters as having been sent there. 
 
 106. “Fountain nymph, holding an antique vase upon her 
 knee with both hands; a very sweet figure,” intended as a pendant 
 to no. 70, for which purpose the Leda, no. 78, was subsequently 
 determined on. It cost ^200 (letters of March 4, May 7, 1773. 
 Memorandum, no. xix.). 
 
 107. “ Erma of two faces,” valued together with several 
 other pieces at j£6 o; distinct from nos. 7, 8 (letters of May 6 
 and 30, 1775). 
 
 108. Statue of a Bacchus, ^15 (letter of May 30, 1775). 
 
 109. Venus, ^15. (Ibid.) 
 
 no. Sleeping Cupid, presented by Hamilton (letter of July 
 13. H 76 )- 
 
 The four last pieces were meant for a summer-house or for the 
 garden. Can they be at Bowood, the favourite country seat of Lord 
 Shelburne ? 
 
472 
 
 LONDON, LORD LEICESTER — MELLHUISH. 
 
 Lord Leicester. 
 
 Lord Leicester kept in 1877 in his town house, 19, Gros- 
 venor Square, two antique busts, which are described under Holkham 
 nos. 59, 60. 
 
 Geo. M c Leay, Esq. 
 
 See South Kensington Museum, nos. 1 — 17. 
 
 Lord De Mauley. 
 
 Among the amateurs of antique sculpture, Waagen ( Trcas . 1. p. 37) 
 mentions William Francis Spencer Ponsonby, first Lord de 
 Mauley (1787 — 1855), the third son of the celebrated collector, 
 Lord Bessborough (Introd. §§ 35, 71). Of his antique marbles he 
 specifies the following (Treason, p. 83). 
 
 1. “ A female head, above the size of life, in marble, with 
 widely open mouth, of the noblest character, of excellent style, and 
 broad and careful in treatment. It would be difficult to decide the 
 subject of the head, though I believe it to be a genuine Greek work 
 of a very good period.” Evidently it is the head in South Kensington 
 Museum, no. 18, now in the possession of Lord de Mauley’s second 
 son, the Hon. Ashley G. J. Ponsonby. 
 
 2. “Head of a muse, decorated with grapes; small, but lovely 
 in character, and tender in workmanship.” 
 
 Besides these pieces Waagen mentions a cammeo, a small bust of 
 chalcedony, and a vase. This last is probably the great bronze 
 krater from Southern Italy now in the South Kensington Museum. 
 
 Mr Mellhuish. 
 
 Mr Mellhuish, statuary mason, Lower Tooting, S.W., possessed 
 in 1873 a child’s sarcophagus with Bacchic Cupids. The 
 procession moves from r. to 1. First of all goes a Cupid of relatively 
 large size, striking cymbals or a tympanon. Then comes a car 
 drawn with strong effort by a Cupid and a little Pan, on which stands 
 a Cupid, personating Dionysos, leaning back somewhat, with each 
 arm round the neck of a companion. By the car in the background 
 a Cupid clashing cymbals. There follows a second car drawn by a 
 Cupid-Centaur playing the lyre. A Cupid reposes in the car, reclining 
 
LONDON, SOANE MUSEUM I. 
 
 473 
 
 on a cushion, legs covered with a cloak. He seems to be embracing 
 and drawing towards him an indistinct figure. L. side. A quiver 
 with opened lid. ( M , after a photograph.) 
 
 The Hon. Ashley G. J. Ponsonby. 
 
 See South Kensington Museum, nos. 18, 19. 
 
 Soane Museum (13, Lincoln’s Inn Fields). 
 
 [J. Soane], Descriptio?i oj the House and Museum on the North 
 side of Lincoln' s Inn Fields , the Residence of Sir John Soane. London 
 (1835. Only 150 copies and 100 of a French edition). A general 
 description of Sir John Soane's Museum. London (latest edition, 
 1876). Waagen, Treas. 11., p. 320 (1. p. 450). Conze, Arch. Anz., 
 1864, p. 163. I examined the Museum, 1877. 
 
 Sir John Soane, the architect, devised in 1833 his house and 
 collection to the nation, which entered on possession at his death 
 (1837). The collection, formed during a long life and consisting of 
 the most heterogeneous curiosities and objects of art that can be 
 conceived (Introd. § 90), is distributed over the rooms of the house, 
 which are mostly very small and connected with one another in a 
 strange way. A number of very narrow passages, very dark corners, 
 and the like, impedes a steady investigation equally with the over- 
 crowding of the rooms and the incredibly inconvenient mode in 
 which a great part of the contents are arranged, so that the sculp- 
 tures are scarcely within reach of the eye. It is not too much to say 
 that some of the better specimens can only be seen from the back. 
 Then again the impression conveyed by so wild a confusion of pro- 
 miscuous fragments is necessarily bewildering and fatiguing to the 
 visitor, and I am therefore not sure whether I have been fortunate 
 enough to discover the principal examples during my repeated 
 searches through all the rooms. The numbers in brackets appended 
 to the consecutive numbers of the following catalogue are those of 
 the collection itself, so far as they could be ascertained. 
 
 STATUES. 
 
 1 (603). Statue of Asklepios, in composition closely related 
 to the Vatican statues (Clarac, xv. 549, 1157). The cloak, the border 
 
474 
 
 LONDON, SOANE MUSEUM 2—5. 
 
 of which is turned over, covers the legs and 1. arm : the god rests 
 on the r. leg, the 1. being advanced sideways. The 1. arm is lowered 
 (new : hand with roll), the r. hand rests on a staff entwined by a 
 snake (new: upper part of staff, hand and arm, lower half of staff 
 antique). The head, which is re-set, and connected with the body 
 by a modern neck, seems to belong to the statue ; it has character- 
 istics of a Zeus, only the hair falls more heavily. Pupils expressed. 
 New : nose and part of the tresses. Moderate decorative work. H. 
 o - S7, with pedestal 0-92. [*] 
 
 2 (220). Fragment of a Herakles, quite enveloped in the 
 
 lion’s skin, r. forearm raised, 1. before the body. It may be derived 
 from a terminal figure of Herakles. Black marble. H. 0-53. [*] 
 
 3 (613). Statue of Ephesian Artemis. New: head, neck, 
 
 1. arm including shoulder, r. forearm, the feet and all below the 
 lowest strip of figure sculpture (nude parts of black marble) ; the 
 torso is restored to an unusual degree, the single pieces being sepa- 
 rately let in. On the upright disk behind the head three griffins, on 
 the upper part of the arm a lion. On the breastplate two Victories 
 holding up a wreath together, under which is a crab ; above each 
 Victory an animal running (r. new, 1. a cow?). The breastplate is 
 encircled by a wreath of immortelles and a narrower border. Under- 
 neath the numerous breasts come six strips of relief (much restored) 
 with five fields on each, of which the first corresponds with the fifth, 
 the second with the fourth, so that I only mention the third (the 
 foremost), the fourth and fifth. First (uppermost) strip: three deer; 
 upper part of the body of a winged female figure ; a stag. Second 
 strip: three griffins; bee; griffin. Third strip: two oxen, rose; ram. 
 Fourth strip: roe (new); bee; hare (?new). Fifth strip: eagle (new); 
 flower; 1. eagle, r. griffin (both new). Sixth strip : hare (new); bee; 
 flower. H. i'i6. [*C] 
 
 4 (769). Statue of Cupid, as a figure for a fountain. Cupid 
 
 sits asleep on a large urn, on which he has set his 1. leg ; arms and 
 head rest on 1. knee. The r. foot rests on the ground. The wings 
 are partly broken off, the 1. foot is missing. The urn is perforated. 
 (For the motive cf. Clarac, iv. 644 A, 1459 D, E.) FI. o'S2, with 
 pedestal o’62. [*] 
 
 5 (A). Upper part of the body of a youth, with 1. shoulder 
 strongly raised, shewing that he must have supported himself on his 
 1. arm (cf. Clarac, in. 476 B, 906 D, or rather iv. 585, 1265). The 
 torso is preserved almost to the navel, and a piece of the 1. arm. 
 Good sculpture. Pentelic marble, much corroded. H. 0-43. [*] 
 
LONDON, SOANE MUSEUM 6— 1 5. 475 
 
 6 (B). Male torso, much damaged. The back is beautiful. 
 H.o-34. [*] 
 
 7 (1015). Male torso, powerful; of very good style. Small 
 
 scale. H. o - 35. [*] 
 
 8 (322). Torso of a man standing in repose, with a pun- 
 icllo on the body to support the r. forearm. Very animated work. 
 
 H. o-43- [*J 
 
 There are besides a great number of torsos and fragments which 
 it would be idle to enumerate. 
 
 BUSTS. 
 
 9 (968). Bust of a sleeping Pan, with open mouth, quite 
 
 turned over towards 1. shoulder. Hair and beard very curly. The 
 stumps of the horns antique. New : nose, part of cheeks, of hair, &c. 
 Highly exaggerated work. H. 0-30. [*] 
 
 10 (974). Pretty head of a youth, with curly hair lying close 
 on it, looking down toward its own r. The sober character recals a 
 fine head in the British Museum (Campanari bust, Phigaleian Saloon). 
 New : nose and bust. L. of face 0-15. [*] 
 
 11 (1174). Fragment of a female head, with low stephanfe, 
 of fine, simple Greek work, the eyes and broad cheeks in particular 
 recal the style of the best period. L. of face, if perfect, abt. on 2. [*] 
 
 12 (1175). Fragment of a head, apparently male, of similar 
 style. A ribbon is wound several times round the head. Much 
 abraded. [*] 
 
 13 (969). Bust of a girl, with reticulated head-dress, of pretty, 
 
 good-humoured expression. Much restored. L. of face o - i 1. [*] 
 
 14 (779). Female portrait-bust, of the period of the Claudian 
 
 Emperors, in some degree resembling the “Clytie” of the British 
 Museum (cf. London, Crichton), but older. The rich hair, daintily 
 curled, formed a knot (korymbos, now missing) on the top of the head, 
 and falls down in long curls on the neck ; at the back a roll. The 
 glance is a little lowered towards the r. The sleeve drapery leaves 
 the 1. shoulder free, and here rests on the bosom. This extremely 
 pleasing, well executed bust, which is quite entire, is, however, some- 
 what abraded. Restored : only nose and a piece of hair along the 
 parting. H. o - 53. L. of face on 6. \*J 3 ~\ 
 
 15. Bust of Felicitas, an old woman with bony face. The 
 hair, parted in front, is drawn up from the back in a broad, flat plait 
 as far towards the front as the parting. The neck is broken, but 
 
476 
 
 LONDON, SOANE MUSEUM l6— 20. 
 
 the draped bust belongs to the head. Below it is the inscription on 
 a small tablet : ®eoyj/a)cr|Tos $i7|Auceira(i) | 1-77(1) crw the re- 
 
 mainder missing. (For the form of the name <h^At/ara = Felicitas cf. 
 C. /. Gr., 1986, 5634, 6292.) On the modern pedestal stands the 
 inscription “ Iulia Livia Augusta.” New: tip of nose. H. o - 4i. 
 L. of face o - i4. [*] 
 
 16 ( 775 )- Head of a beardless, lean man, with bony 
 cheeks and protruding mouth. A distant resemblance to Caesar. 
 The hair, which lies close to the head, forms one mass, the details 
 being only indicated by strokes. Nose mutilated. On the bust, 
 which does not belong to the head, are illegible remains of a Latin 
 inscription. L. of face o - i6. [*A] 
 
 17. A large number of portrait busts, partly of Emperors, 
 of no considerable importance. 
 
 reliefs, &c. 
 
 18 (75 5 )* Fragment of an Amazon, Greek work. She 
 
 hastens r. in lively movement, so that the folds of the chiton flutter 
 lightly about the thigh and behind the back. Both breasts are free, 
 the chiton being drawn up between them in narrow gathers to the 1. 
 shoulder. The stump of the r. arm, which was stretched out back- 
 wards, is preserved. Missing : head, 1. arm, all from the abdomen 
 downwards. Nude parts treated powerfully, drapery delicately and 
 effectively. The effect of the whole is rich. The fragment recals 
 vividly the sculptures of the Mausoleum, and like them belongs to the 
 best period. A cast of it is exhibited in the British Museum. H. 
 abt. C24. [*] 
 
 19 (1043). Fragment of Attic votive relief, 1 . end. The 
 
 anta on the 1. is preserved. By it stands a female figure in chiton, 
 covered rather closely in her cloak which leaves the r. arm free ; the 
 r. hand holds slantwise before the breast a long staff (torch ?), the 
 upper end of which rests on the raised 1. hand. Head missing. 
 Presumably one of the two Eleusinian goddesses. Pentelic marble. 
 H. o'4i. L. o - 25. [*] 
 
 20 (936). Greek sepulchral relief, r. end. The anta on the 
 r. and a piece of the architrave with tiles on the top are preserved. 
 On a couch lies a male figure with modius on head, in r. hand a cup 
 on the lap. At his feet on a stool sits a female figure, not veiled, 
 holding a cup or a small box in the raised 1. hand. By the couch a 
 table with food and a goblet. To the 1., behind the female figure, 
 
LONDON, SOANE MUSEUM 21 — 26. 
 
 477 
 
 are remains of an attendant with a flat cup on the 1 . hand. Pretty 
 careful work ; low relief. H. abt. 0-30. L. abt. o’30. [*] 
 
 21 (1150). Fragment of Greek sepulchral relief, lower 1 . 
 half. On a pillar to the 1 . leans a nude boy (much mutilated). 
 Further r. a female figure on a throne facing r., only preserved from 
 the abdomen downwards. On her chair leans a female attendant on 
 a smaller scale (head and breast missing). Figures larger than usual, 
 relief very high. From Asia Minor or the Greek Islands. H. 0-29. 
 L- 0-35. [*] 
 
 22 (1126). Small sepulchral relief. In the niche-shaped 
 field, somewhat arched at the top, sits a female figure on a folding 
 seat (8i<£pos d/cAa8tas), her feet placed on a high footstool, extending 
 her r. hand to a child who stands before her on a high pedestal, 
 wearing an ungirdled chiton and offering something to the mother. 
 Rough, provincial style, scarcely more than sketched in outline. 
 Detail difficult to recognise. H. C36. L. o'zj. [*] 
 
 23 (104). Fragment of Greek sepulchral relief, surrounded 
 
 by a flat border; broken at the top. On a couch a beardless man 
 sits in full face, in chiton and cloak, playing on a large cithara. On 
 the r., at the head end of the couch, stands an attendant in short 
 chiton, with his legs crossed, holding his arms before his stomach. 
 Late, bad style. H. 0-42. L. 0-42. [*] 
 
 24. Altar of Herakles. In front, lion’s skin and club; on 
 the r. side a goblet (skyphos), with sprays of ivy in relief; on the 1. 
 an ewer; behind a cup. Roman work. H. o - 6i. L. 0-37. D. C37. 
 From the Bessborough Collection. [*] 
 
 25 (1446). Fragment of a votive relief to Fortuna. The 
 goddess, fully draped, sits facing 1. on a throne by which stands a large 
 wheel ; the r. hand rests on the tiller of the steering-paddle, which is 
 decorated below with a sphere. All from abdomen upwards missing. 
 Below her the inscription ( C. . /. La/., vi. 3174) : P. Aelius Annins 
 eq {ties') | sing(u/aris ) Angiusti) Palmy renu(s) \ \ d. d. Fortutiae s(anc- 
 t ae ? salutari}). [*] 
 
 26. Front of a sarcophagus with the Rape of Perse- 
 phone. Engraved in Soane, Description , p. 43, Overbeck, Kunst- 
 mythologic , Atlas , PI. 17, 23. An old drawing in the Cod. Coburg., 
 no. 170 M. = Cod. Pigh., no. 182 J., “in aedibus Card. S. Florae ”, 
 another in the collection of Mr Franks in London (cf. above). Cf. 
 Gerhard, A bad. Abhandl., 11. p. 4S3, no. 34. Forster, Raub der Per- 
 sephone, p. 187. Overbeck, /. cit., hi. p. 627. First scene (in 
 chronological sequence the last): Demeter searching for her lost 
 
478 
 
 LONDON, SOANE MUSEUM 2 6 . 
 
 daughter. From the 1. Demeter advances on a car drawn by a pair 
 of horses. Her drapery is long and the cloak waves behind her 
 back. In her lowered r. hand she holds a torch, of which only 
 the handle is yet remaining ; the 1. hand, raised and advanced, held 
 a second torch, which, together with the hand, has disappeared all 
 except the flame. Of an Eros hovering over the horses only the 
 wings are preserved (in the old drawings he is still perfect, except 
 the arms and the r. leg). Hard by the horses floats Iris, with long 
 drapery and wings, looking back at Demeter ; her r. arm and 1. hand 
 missing, the latter appearing to have held a cloak, a piece of which 
 is seen before the 1. wing. Below the horses lies Tellus, seen from 
 behind, with upper part of body nude, holding in 1. arm a long 
 cornucopiae and advancing the r. arm towards the heads of the 
 horses. — Second scene (chronologically the first) : Persephone sur- 
 prised by Hades while she is gathering flowers. Immediately in 
 front of Demeter’s horses a female figure (Aphrodite) kneels on the 
 ground, draped with long chiton, cloak floating over the head, and 
 with a stephane on the head. She looks back towards the first 
 scene. Near by her stands a basket filled with flowers; by it slight 
 but unmistakeable traces of an Eros, who laid his 1. hand on the 
 basket. At their backs stands Hades (head re-set but antique), with 
 a fillet running through the hair ; a chlamys flows down behind his 
 back. His gaze is also turned towards the first scene. He holds his 
 r. hand before his breast, the 1. arm (partly broken) is somewhat 
 raised. Thus he approaches the back of the kneeling Persephone, 
 whose appearance is very like that of Aphrodite, only that she wears 
 no stephane, her long tresses being tied up into a knot over the 
 forehead. She lays her r. hand on a basket filled with flowers which 
 lies on the ground and raises the 1. forearm perhaps to grasp her 
 cloak. Her glance also follows the same direction to the 1. On 
 the r. of this figure the slab is broken right through, but there is 
 nothing missing. — Third scene (chronologically the second) : the 
 rape of Persephonb. Next appears Artemis, hastening 1. briskly, 
 in short hunting dress, with her quiver on her back ; more than half 
 of both forearms is missing, as well as the whole of the r. leg. The 
 glance of Artemis is directed towards Athene, who is on the other 
 side of a tree, hastening rapidly r. (lower part of 1. leg missing). She 
 is in long drapery, and wears the high helmet and the round shield 
 on her arm ; the r. arm she advances to succour Persephone, who . 
 has just been seized by Hades and lifted on to his chariot. Perse- 
 phone is represented in the act of swooning; her figure is extended 
 
LONDON, SOANE MUSEUM 27 — 29. 
 
 479 
 
 at full length, so that her head hangs down from the chariot ; the 
 r. arm (broken off) lies on the back of the horse, the 1. arm rests 
 on the rim of the chariot. Hades has seized her round the body 
 with his r. arm, and with his 1. hand he manages the reins of the two 
 horses as they both spring off. The cloak floats behind his back, his 
 head (re-set, but antique) is inclined towards Iris beauteous prey. 
 Above the horses hovers Eros, with a little cloak over his 1 . arm, 
 looking down on Persephone ; his r. leg and half of both his arms 
 missing, yet the remains of an object (torch?) which he held in his 1. 
 hand are still preserved on the forearm of the adjacent Hermes. 
 Hermes steps out before the horses, with a chlamys flung around 
 him, the herald’s staff shouldered on his 1. arm ; his r. hand is laid 
 on the head, which is covered with a winged hat. The 1 . half of his 
 head is broken off, the 1 . leg restored. A much-defaced remnant at 
 his feet is all that remains of Kerberos. On the ground lies a 
 bearded Water-god (Okeanos, or the representative deity of Lake 
 Pei'gus) ; the raised 1 . hand (now missing) may have held an attribute. 
 Very fair but not remarkable sculpture. L. 2-10. [*CMW] 
 
 27 (744). Fragment of a sarcophagus, 1 . end. On a 
 chariot drawn by Centaurs (only one equine hinder-part being pre- 
 served) stands Dionysos, his legs covered in his cloak (head and 
 r. forearm missing); his r. arm rests on the neck of a small bearded 
 Satyr with an apron, the 1 . on that of a youthful Satyr who looks up 
 at the god. In his hand the god holds in careless fashion a kantharos 
 which one of the Satyrs supports underneath. Below the Centaurs 
 remains of a lion. H. 0-59. L. C32. 
 
 23 (482). Fragment of a sarcophagus, imperfect both on 
 the 1 . and the r. The god Dionysos, crowned with ivy, only slightly 
 covered by his cloak, with a thyrsos in his 1. hand, sits turned r. on 
 a rock with his head turned round and supported on the r. hand. 
 At his feet a panther. From the 1 . comes a Maenad in chiton, the 
 cloak flying behind her back ; in the 1. hand she holds a lowered 
 torch, laying the r. hand on the breast of the god. On the 1 . remains 
 of other figures. Coarse sculpture. II. o - 26. L. 0*25. [*] 
 
 29 (923). Fragment of the front of a sarcophagus, r. 
 end. On the extreme r. a small statue of the bearded Dionysos with 
 long hair and a small modius on the head. He wears a long girdled 
 chiton with sleeves, and holds a sceptre on his 1. arm, the r. being 
 lowered. At the foot of the statue is an altar, on which pine-cones 
 are burning; close by a goat lies on the ground. A Maenad steps 
 up to the altar, in long drapery, the cloak disposed about her like 
 
480 
 
 LONDON, SOANE MUSEUM 30 — 36. 
 
 a shawl, and is casting a roll (?) into the flames. On the 1 . above, 
 near her head, the flame of a torch is preserved, which was borne by 
 another figure now lost. H. o - 65. L. o’3o. [*M] 
 
 30(1125). Fragment of a sarcophagus. All that is pre- 
 served is a youth in Phrygian costume, sitting facing r. on a high 
 chair ; the chlamys covers the seat as well. The r. leg is raised up 
 high; on the knee rests the 1. elbow; on the 1. hand the thoughtful 
 head, which is turned back, rests ; the r. arm lies on the lap. Pro- 
 bably Paris, whom Eros is telling of Helenb (cf. Overbeck, Bildwerke, 
 PI. 11, 12; PL 12, 1; also Brunn, Urne Etrusche, 1. PI. 19, 6). H. 
 abt. o'4o. [*2!/] 
 
 31 (472). Fragment of a sarcophagus. Remains of a 
 
 female figure lying dead or asleep, with upper part of body exposed, 
 the legs, which are for the most part missing, covered. The r. arm 
 lies in the lap ; 1. arm and head hang down over a piece of rock on 
 which the back reclines. Presumably Klytaemnestra, from a similar 
 sarcophagus to that given in Mus. Pio-Cleni., v. PI. 22; or one of 
 Niobe’s daughters (cf. Stark, Niobe , PI. 4, in the middle of the lid ; 
 PI. 19, 1). L. 0-25. [*CM\ 
 
 32 (99). Fragment of a child’s sarcophagus. Remains 
 of a chariot race in the Circus contested by Cupids. The horses of 
 a chariot ; close to them an overturned chariot and a Cupid thrown 
 out on the ground. In the background two Corinthian columns 
 bearing an architrave with six ova. [d/] 
 
 33. End of a sarcophagus. A griffin sits facing the 1 ., with 
 the claw of r. fore-leg on a ram’s head. H. 042. L. 043. [*] 
 
 A large number of square cinerary urns with inscriptions 
 and merely decorative reliefs (e.g. nos. 404, 410, 419, 421 — 426, 429, 
 460), as well as round vases with similar adornment, are not of 
 sufficient importance to be enumerated individually here. 
 
 34 (1132). Fragment of a relief. Hermes, almost full face, 
 
 with the herald’s staff in his 1. arm, grasps with his r. hand the 
 chlamys, which covers back and arm. Plead and greater part of 
 r. leg missing. Rather pretty. H. abt. 040. [*] 
 
 35 (1121). Large flat mask, intended fora fountain, or for 
 
 use in a vapour bath. The face is surrounded by wet, waving hair. 
 The eyes and mouth are perforated. H. o - 62. L. o - 65. [*] 
 
 36 (413). Relief, with flat frame. To the 1 . an actor with 
 comic mask, in sleeved chiton and with cloak (shoes restored), sits 
 on an altar hung with garlands, on which the r. arm rests ; the 
 1 . hand lies in the lap. A fracture runs through the thigh, to the 
 
LONDON, SOUTH KENSINGTON MUSEUM I. 
 
 481 
 
 r. of which it is all modern (a female figure with tragic mask speak- 
 ing to him). For the genuine piece cf. the statues in Wieseler’s 
 Theatergebdu.de , PI. n, 8 — 11; PI. 12, 5. H. 0-33. L. 0-37, of 
 genuine piece o'2t,. [*] 
 
 37 (24). Foot of a marble seat, consisting of a slab which is 
 finished off in front by a winged leg of a lion (head broken off), and 
 is further adorned all over with pretty sprays. On one side is a goat 
 in the middle of the ornamental work. [*] 
 
 Of the various painted vases, for the most part unimportant, 
 the finest is the following : 
 
 38. The “ Cawdor vase,” more celebrated than actually 
 known. Conze gives a description, p. 165; the front, the principal 
 scene of which relates to the sacrifice of Pelops and Oenomaos be- 
 fore the chariot race at Olympia, is engraved, though unsatisfactorily, 
 in the General Description , p. 5, and in Moses’ Collection of antique 
 Vases, PL 23. This large and rich vase, about o'So high, found in 
 1790 near Lecce, was for a long time in the possession of the King 
 of Naples, was then purchased by General Oudinot, sent to England, 
 and sold there for 1000 guineas to Lord Cawdor; it then passed to 
 J. Edwards the bookseller in Pall Mall, and from him to Sir J. Soane 
 (Introd. §§ 54, 90). 
 
 39. Lastly, I must not leave unmentioned the chief pride of the 
 whole collection, the Egyptian sarcophagus of alabaster, 
 disinterred in 1817 by Belzoni in the neighbourhood of Thebes. It 
 is covered inside and out with figure sculptures in very low relief 
 and is in excellent preservation. It is thought to be the coffin of 
 the father of Ramses II. 
 
 South Kensington Museum. 
 
 The Museum possesses no antique marbles of its own, but speci- 
 mens belonging to private persons are often exhibited here, and they 
 naturally vary from time to time (cf. Conze, Arch. Anz., 1864, p. 167; 
 Huebner, ibid , 1866, p. 301. Michaelis, Arch. Zeit., 1874, p. 41). 
 In the autumn of 1877 the following works in marble were exhibited 
 by two owners ; 
 
 I. Lent by George M c Leay, Esq., for the time resident in India, 
 nos. 1 — 17, all derived from the west coast of Asia Minor. 
 
 1. Statue of a female, in long chiton, and over it the cloak, 
 which covers the head and the whole body as far as below the knees. 
 
 M. C. 
 
 31 
 
482 LONDON, SOUTH KENSINGTON MUSEUM 2—12. 
 
 The treatment and fall of the folds resemble those in the terra-cotta 
 figure, Clarac, v. 890 B, 2267 F, only the cloak is not thrown back 
 over the 1. shoulder, but covers the 1. breast and thence falls down. 
 The lowered 1. arm is quite covered in the cloak, the upper part of 
 the r. arm is likewise lowered, the forearm is missing, as is also the 
 head. The figure rests on the r. leg, on the outside of the shin is a 
 square puntello which suggests an attribute (torch ?) or some other 
 accessory. H. abt. 170. Cf. the remark on no. 2. [*] 
 
 2. Statue of a female, in doubled chiton and over it a cloak, 
 
 completely corresponding to four of the statues of the Loggia de’ 
 Lanzi in Florence (Cavalieri, Aniiq. stat. 1 . I. et II. PI. 81 ; cf. Clarac, 
 iv. 767, 1894; v. 978 B, 2524 F). She rests on the r. leg. Missing: 
 head, r. arm, 1. forearm with the folds of the drapery below it. 
 H. abt. 1 70. Both the statues, nos. 1 and 2, stand on low irregu- 
 larly shaped plinths. They are very slender in their proportions, 
 slim in the upper part of the body, becoming broader below, with 
 not quite common motives of drapery. Ordinary execution. They 
 are exact counterparts of the statues at Oxford, nos. 1 — 9 (cf. 
 Oxford, after no. 9). [*] 
 
 3. Group of Ganymedes and the eagle. The youth, nude 
 
 except for a Phrygian cap and boots, stands with 1. knee bent by a 
 pillar which is partly covered by his chlamys ; the outstretched 1. 
 arm lies on the pillar; of the lowered r. arm with the pedum only 
 remnants are preserved. Ganymedes looks up at the eagle, which 
 sits above his 1. arm on the pillar (cf. Monum. dell Inst., 1856, PL 
 18). The pose of Ganymedes is somewhat stiff and affected. The 
 whole group is backed with a pillar, and was therefore most probably 
 meant for architectural decoration (cf. Cambridge, no. 4, Wilton, no. 
 144) ; the moderate execution falls in with this view. H. 076. [*] 
 
 4. Statue of Pan. The god stands by a tree on which hangs 
 the syrinx. A leather apron full of fruit hangs slantwise from the r. 
 shoulder ; in the 1. arm he holds a pruning-knife (blade missing). 
 These attributes remind one of Silvanus. Plead of unpleasantly 
 brutish expression. Goat’s legs. Lowered r. arm and part of 1. leg 
 below the knee missing. Late, ordinary Roman work. H. roi. [*] 
 
 5 — 12. Eight heads, of bad, late workmanship, and rather 
 damaged ; from Smyrna, Rhodes, &c. The following may be parti- 
 cularly mentioned : 5, a head over life-size, perhaps of Zeus, though 
 of a gloomy aspect, which suggests Pluto rather than Zeus ; 6, a 
 head of Herakles with curly hair and beard ; 7, a pretty good 
 female head. [*] 
 
LONDON, SOUTH KENSINGTON MUSEUM 13 — 1 7. 483 
 
 13. Relief. On a field surrounded by a frame there sits 
 enthroned in the middle, Zeus, turned 1., his legs covered by his 
 cloak, the 1. hand high up on the sceptre, the r., perhaps with a cup, 
 on the thigh. To the 1. before him stands, very nearly in full face, a 
 noble female figure in chiton and cloak, with a long sceptre on her 
 r. arm, the 1. hand lowered; a high ornament on the head (modius?) 
 may designate her as Hera or Demeter, or again as the tutelary 
 goddess of a town. Behind the throne of Zeus stands Anubis, 
 with the head of a dog, draped in a chlamys. Very coarse and much 
 abraded. Below the relief a large empty space. H. o - 65. L. o - 36. 
 From Erythrae. [*] 
 
 14. Votive relief, Hanked by two antae which carry an enta- 
 blature furnished with roofing tiles. On the 1. stands a youth in 
 chlamys beside a horse; before him, in about the middle of the relief, 
 stands a female figure, in chiton, the 1. arm and the lower part of 
 the body enveloped in cloak, offering the youth a cup. Both figures 
 are on a much larger scale than those at the r. end of the scene : a 
 male and two female figures, and in the foreground three children 
 (apparently two boys and a girl). These six persons approach in 
 adoration; before them a boy, quite small, leads a ram to the altar 
 which stands between the two principal personages. The relief is 
 moderately low and reminds us of Attic reliefs. H. o - 4i- L. 0-56. 
 From Smyrna. [*] 
 
 15. Sepulchral stone of Sandioklos, broken into two frag- 
 
 ments. On the r. sits a female figure completely veiled (head missing). 
 In the background a tree, entwined by a snake. To the 1. stands 
 in full face the deceased, a bearded man, in cloak, the 1. hand 
 lowered, the r. before the breast ; for his somewhat self-conscious 
 attitude cf. Oxford, no. 89. By him a diminutive attendant, with 
 crossed legs, the head supported on the 1. hand. Below, the inscrip- 
 tion, in characters indicating the Roman period : x a T e SavSio/oXe. 
 (For the name cf. 2w8tW, the 2 ,avSios A.o'<£os near Myus, Thuk. 3, 19, 
 SavSwK-Tjs of lvyme, Her. 7, 194.) Rather high relief. H. abt. o - 6o. 
 L. 0-44. [*] 
 
 16. Fragment of a sepulchral relief, broken both at top 
 and bottom. On the 1. stands a youth, full face, almost nude, hold- 
 ing the chlamys on the r. shoulder with r. hand, the 1. lowered. 
 Beside him a nude boy, who turns up his face and r. hand to him ; 
 in the lowered 1. hand he holds the strigil (frrAeyyts) and the ala- 
 bastron. Lively execution. H. o - 32. L. 0-30. From Smyrna. [*] 
 
 17. Relief in a frame. A man in very short chiton and with 
 
 31—2 
 
484 LONDON, SOUTH KENSINGTON MUSEUM 1 8, 1 9. 
 
 boots, flourishing a whip in his r. hand and hoiding out a cloth in his 
 1., advances against a tiger which springs at him from the r. Coarse 
 stone. H. 0-51. L. o - 66. From the amphitheatre at Pergamon. [*] 
 
 II. Lent by the Hon. Ashley G. J. Ponsonby, nos. 18, 19. 
 
 18. Female head, called quite inappropriately “Juno Sospita,” 
 evidently the head mentioned above (London, De Mauley, no. 1). 
 Engraved: Sophoclis Elect ra, ed. O. Jahn, frontisp. ; better, Arch. 
 Zeit ., 1880, PI. 8 (Michaelis). This beautiful head of large, broad 
 forms is powerfully and yet softly treated. It is covered by a cloak or 
 cloth of very thick material, which forms soft folds over the forehead. 
 The wavy hair is simply brushed off the face and falls far down on 
 both sides ; a few tresses hang on the forehead, a larger one comes 
 forward from the ear far on to the 1. cheek. The hair is not very 
 much finished; where the drapery and the hair meet, the several 
 marks of the drill can still be seen in the hollow. The highly 
 tragic intensity of expression which pervades the features appears 
 much more striking if the head, in conformity with the pose of the 
 neck and the fall of the hair and drapery, is set up a little more in- 
 clined forward towards its own r. than it is now. New : tip of nose. 
 On the top and at the back the head presents level surfaces, which 
 are apparently part of the original surfaces of the block. A brown 
 coating grievously spoils this beautiful work, and makes it impossible 
 to determine the quality of the marble. In my opinion it is a good 
 reproduction of a distinguished original, belonging to the Hellenistic 
 epoch of art. The older interpretations as “ mother of Hercules ” or 
 as “Omphale” are little better than that of “Juno Sospita.” The 
 common opinion now-a-days inclines to see a barbarian woman in the 
 head, though there are no particularities able to support this inter- 
 pretation ; if nevertheless it be right, the head would be of great 
 interest as representing an ante-Roman type of female barbarian. 
 I am rather inclined to recognise in the head the remains of a statue 
 of a mourning woman, which may have served as the decoration of 
 some sepulchral monument. The head is said to have been dis- 
 covered at Ostia; casts made in Rome are common. The original, 
 after having passed through the hands of a Mr Jones and of Lord 
 de Mauley into the possession of the present owner, attracted well- 
 merited attention at the Manchester exhibition of 1857. H. o^o. 
 L. of face o’2i. [*] 
 
 ig. Female head, colossal scale, called “Hera,” but much 
 rather representing an Aphrodite. It is very decidedly inclined to 
 
LONDON, STAFFORD HOUSE. 
 
 435 
 
 its own r. The wavy hair, which is brushed up on the 1 . side and from 
 off the neck, once formed a top-knot on the parting. Now, the 
 whole top of the head is missing on the 1. side, from the lower 
 margin of the hair and the ear. Nose and lips restored. A poor 
 copy of an apparently good original, the details of which however 
 are quite lost in this version. Owing to the brown coating the 
 quality of the marble is unrecognisable. H. 0-42. L. of face o - 2 7. [*] 
 
 Stafford House (St James’ Palace Court). 
 
 Waagen, Treas., 11. p. 73 (11. p. 69). 
 
 In this town house of the Duke of Sutherland I found the 
 following antiques : 
 
 1. Statuette of Lucius Papirius. He is draped with the 
 pallium, and holds the r. arm in the cloak before his breast, the 1. arm 
 being lowered, with a box (?) in the hand. The youthful head and 
 the r. hand seem to be modern ; however the dark corridor in which 
 the work stands does not permit a certain judgment on the point. 
 The same must be said as to the genuineness of the inscription on the 
 pedestal, L. Papirius , which seemed to me free from suspicion (the 
 lower end of the semicircle of the P does not in either case come 
 up to the vertical stroke). However, the name L. Papirius is too 
 celebrated, and the youthful head suggests the young Papirius Prae- 
 textus (Gellius 1, 23) too closely for it to be possible to absolve the 
 inscription from all suspicion. H. o'pq. [*] 
 
 2. Head of the bearded Dionysos, of very accurate hieratic 
 style, over life-size. This good head, on a modern draped bust, has 
 surely been originally part of a terminal figure. [* W ] 
 
 3. Modern copy in bronze of the bust in Paris of M. Modius 
 Asiaticus, cf. Oxford, no. 238. Wilton, no. 78. The copy seems 
 to be carefully executed. [* W ] 
 
 The servant assured me (in 1877) that there were no other 
 antiques in the house. Waagen saw there, among other antiques, 
 
 4. “ Bust of a young Hercules.” 
 
 5. “ Bas-relief of a woman walking, with a child on her arm ; 
 before her an older child. Simple and pleasing in invention, and 
 delicately finished.” This description seems to indicate a Greek 
 sepulchral relief. 
 
 For other antiquities in the possession of the Duke of Sutherland 
 cf. Dunrobin Castle ; Trentham Flail. 
 
4 86 
 
 LONDON, LORD WEMYSS, WESTMACOTT. 
 
 Lord Wemyss (Stratford Place). 
 
 The Earl of Weymss is, as Doran states (“ Mann ” and 
 )nanners at the Court of Florence, i. p. 220), the present owner of the 
 celebrated eagle, which during a century adorned the gallery of 
 Strawberry Hill (Introd. § 41, Dallaway, Anecd ., pp. 293, 384). The 
 eagle had been dug up in the garden of Boccapadugli, near the Baths 
 of Caracalla (in 1742, according to Dallaway), a short time before 
 Cardinal Albani introduced it to the notice of Mr Chute, a friend 
 of Horace Mann’s, the British minister in Florence. Through the 
 mediation of Horace Mann, Mr Chute induced Mann’s friend, 
 Horace Walpole, to purchase the eagle together with its pedestal, 
 a marble cippus with an inscription, for 100 zecchini (^(50), in the 
 summer of 1745 (cf. Doran, /. cit.). How much Walpole admired 
 the “ glorious fowl ” when it arrived in England two years later, is 
 evident from several passages of his letters to Mann, e.g. in the 
 letter of June 26, 1747 : “There never was so much spirit and fire 
 preserved, with so much labour and finishing.” Unfortunately, “the 
 lower part of the beak had been broken off and lost ” (letter of July 
 28, 1747). At the sale at Strawberry Hill in 1842, this marble was 
 sold for £ 210 , as is stated in an annotated copy, to Lord Leicester; 
 but this, according to a statement of Lord Leicester himself, is an 
 error. Doran mentions Earl Fitzwilliam as the next owner, and says 
 that he bought it at a far higher price; from this nobleman “the 
 grand weird-looking bird” came into the possession of Lord Wemyss. 
 I am unfortunately not in a position to give an accurate description of 
 this interesting antique, as I have neither seen the original nor a 
 print which Walpole mentions in a letter to Mann (Dec. 5, 1760). 
 
 The late Sir Richard Westmacott. 
 
 At the residence of Westmacott, the sculptor, Count Clarac, 
 in the year 1833, found a number of marbles with regard to the 
 actual whereabouts of which I have no information to give. Clarac 
 has published the following statues or statuettes, apparently for the 
 most part rather seriously restored. 
 
 1. Statuette of Serapis, restored as Zeus. Clarac, in. 
 410 A, 669 B. 
 
LONDON, LORD YARBOROUGH. LOWTHER CASTLE. 487 
 
 2. Melpomene, setting the r. foot high on a rock. Clarac, 
 in. 506 B, 1045 A. 
 
 3. Statuette of a drunken Satyr, with nebris, in a rather 
 strained attitude. Clarac, iv. 710 A, 1708 A. 
 
 4. Group of three nude boys, lying pressed close to each 
 other on the ground. Clarac, v. 875, 2236 C. Antique? 
 
 5. Small girl in girdled chiton holding a little bird in the 1. 
 hand (antique?). Clarac, v. 878, 2236 D. 
 
 6. Statue of “ Marcus Aurelius, when young.” A 
 youth in chlamys, by him a dog. Clarac, v. 950, 2445 C. 
 
 In the Specimens of Antient Sculpture , 11. PI. 48, is given and 
 ascribed to the same ownership : 
 
 7. Bronze Statuette of Athene, with chiton and cloak, so- 
 called Corinthian helmet and aegis, both forearms advanced. The 
 eyes of inlaid silver. 
 
 Lord Yarborough. 
 
 In Lord Yarborough’s town house, 17, Arlington Street, may 
 presumably be preserved those specimens of the Worsley collection 
 which are not to be found in Brocklesby Park ; cf. Brocklesby, nos.- 
 1 10 — 1 13. 
 
 LOWTHER CASTLE (Westmoreland). 
 
 Ancient Sculpture at Lowthcr Castle. Penrith. (Short notices 
 with sundry statements about the acquisition.) Matz, Arch. Zcit., 
 1873, pp. 27 ff. Michaelis, ibid., 1874, pp. 41 ff. I visited the 
 collection in the year 1873. 
 
 The collection, which is exhibited in the beautifully situated and 
 very fine Castle, three miles south of Penrith (Cumberland), was 
 formed by William, second Earl of Lonsdale (family name 
 Lowther), beginning about 1848, and seems to have received no 
 additions since the founder’s death (1868), cf. Introd. § 96. The 
 materials were furnished principally by the sales of the Bessborough 
 Collection, the Duke of Buckingham’s (Stowe) Collection, the Marquis 
 of Hertford’s, &c. Thus it was possible, though so late as the year 
 1850 Waagen ( Treas. , in. pp. 260 ff.) mentions no antiques in Lowther 
 Castle, to form the considerable collection which worthily fills two 
 well-lighted galleries, specially erected in 1866 for this purpose by 
 
438 
 
 LOWTHER CASTLE I. 
 
 the architect, Mr Mawson, which project towards the park on the 
 south side of the Castle. The incompleteness of my own notes and 
 of those by Matz, together with the laconic brevity of the cata- 
 logue, are the reasons why I have not been able to give a fuller 
 description, though I can scarcely have passed over anything of 
 consequence. In the case of the specimens which are noticed 
 merely on the authority of the catalogue I naturally cannot offer 
 any guarantee for their genuineness or for the correctness of their 
 nomenclature. Unfortunately I had not the leisure to inspect 
 the book mentioned by Matz, with photographs and notices on 
 the acquisition of the several specimens. I have consulted the sale 
 catalogue of the Stowe Collection (by Henry Rumsey Forster, 
 London, 1848); that of the Bessborough Collection (July, 1850) 
 proved too poor to be of any use. 
 
 EAST GALLERY. 
 
 I. Statue of the Knidian Aphrodite. Among the many 
 copies of this celebrated masterpiece (cf. Bernoulli, Aphrodite , 
 p. 206. Michaelis, Arch. Zeit., 1876, pp. 145 ff. ), this example 
 most nearly resembles the beautiful statue in Munich (no. 131. 
 Liitzow, Miinchn. Antiken , PI. 41. Clarac, iv. 618, 1377). As in 
 that case, so here, the goddess lifts up the drapery from the vase, 
 while other copies let it fall down thereon, as certainly did the 
 original by Praxiteles; the pose of the head too seems to have 
 originally corresponded, although the re-set and clearly modern head 
 is rather more decidedly raised than that of the Munich statue. 
 The figure is extraordinarily broad in the region of the hips, flatter 
 in the breast. New: head and neck, r. arm entirely, 1. almost en- 
 tirely including the armlet, the legs from below the knee ; toes 
 and portions of the pedestal seem old. The antique parts of the 
 body are of beautiful Thasian marble slightly tinged with yellow; 
 the drapery, on the other hand, which is very much worked over, 
 together with the vase, similarly worked over, are of I’entelic. 
 These parts, separately let into the pedestal, appear to belong to 
 another copy, and are joined to the torso, presumably under 
 Hamilton’s direction, by an iron rivet, which fastens the drapery to 
 the hip. A marble puntello left rather further back on the hip, 
 the prolongation of which would not meet the present drapery, 
 proves that the drapery was originally held somewhat further back, 
 and perhaps also a little further from the body ; now, in fact, it too 
 
LOWTIIER CASTLE 2, 3. 
 
 489 
 
 much veils, from the principal point of view, the beautiful movement 
 of the outlines of the body. This is not the case in the other copies. 
 Good Roman work, equally finished in all parts. H. i - 96. From the 
 Stowe Collection ( Catal. , p. 269, no. 91), bought for 13 guineas. 
 “ The statue was found at Rome under a church now added to 
 St Peter’s [probably in 1776, when the churches of Santa Maria della 
 febbre and Santo Stefatio degli Ungari were destroyed in order to make 
 way for the present Sacristy]. Bought by Mr George Grenville from 
 Gavin Hamilton for Stowe, and restored like the Venus of Cnidus” 
 (G. Scharf). [*M ] 
 
 2. Torso of Venus, from the Marquis of Hertford’s collection. 
 
 3. Statue of Artemis. Cavaceppi, Race., 1. PI. 5. Clarac, 
 iv. 599) I 3 11 - -l h e goddess wears a long chiton with an over-fold 
 which is doubly girdled, once by a ilat band close under the breast, 
 then low down round the hips. The drapery has slipped down from 
 the r. shoulder and leaves part of the bosom bare. On the 1 . 
 shoulder lies a small cloak, which falls down over the arm. The 
 figure rests on the r. leg, the 1., which is a little bent, treads on a 
 quiver which lies on the ground, a bow lying by it (certainly 
 antique). Through this adjunct we may interpret the motive. It 
 might be imagined that the head was originally a little lowered, 
 the glance perhaps directed in calm admiration on the sleeping 
 Endymion, just as the same conjecture has been made with respect 
 to the Artemis of the Vatican [Braccio nuovo, no. 50. Mas. Chiaram ., 
 11. PL 7. Clarac, iv. 577, 1244. Braun, Zivolf Basreliefs , p. 12), 
 which statue is unquestionably of far greater beauty and of more 
 animated movement. The facts that the weapons have been let fall 
 and that the bosom is exposed accord well with this idea. The 
 very beautiful, but much rubbed head, in the character of a Muse, 
 does not belong to the statue, as is proved by the material, which is 
 Parian marble. New : nose and chin, neck, r. arm from the elbow 
 downwards, 1. forearm with elbow, and the part of the cloak which 
 hangs down. Thasian marble. H. 1 '90. The statue is derived 
 from the Spada Palace (Winckelmann, Kunstgesch., v. 2, 6 ; vi. 1, 22. 
 Mon. Ined ., 1. p. 37, “Venus”; cf. Bernoulli, Aphrodite , p. 104). 
 It came through Cavaceppi’s hands to Petworth, where Dallaway 
 enumerated it (p. 279, no. 6 [11. p. 14]); in this century, however, 
 no one has seen it there. It appears accordingly to have passed 
 from Lord Egremont to the Duke of Buckingham (cf. Petworth, 
 introduction), and then from Stowe {Catal, p. 269, no. 92) to 
 Lowther for the sum of 17 guineas. [*M] 
 
49 ° 
 
 LOWTHER CASTLE 4 — 1 3. 
 
 4. Statue of “ Hygieia.” This very interesting statue, rest- 
 ing on the 1. leg, wears a fine close-fitting chiton, which is girdled 
 very low down on the hips. The cloak goes slantwise on the 1. 
 shoulder, laid behind the back as far as the middle of the r. thigh, 
 and is then thrown over the 1. forearm. The expression of the face 
 is amiable, the hair in maidenly fashion tied together on the crown, 
 while tresses fall down on the shoulders. A snake, of which the 
 greater part is antique, curls itself round the lowered r. arm. An 
 uncommon feature in representations of Hygieia is offered in the 
 winged boy sitting on her 1. arm, whose legs (exclusive of the 1. foot), 
 nates, and the lower part of the stomach, as also the under part of 
 his r. wing, are antique. The boy is undoubtedly Eros, who appears 
 in company with Hygieia on the famous ivory diptych in Liverpool 
 (p. 428; Miiller-Wieseler, 11. 61, 792 b). New: the other parts of 
 the boy; of the female figure the 1. hand from the drapery, with the 
 cup ; the head, though broken at the neck, belongs to the statue. 
 Parian marble. Moderate workmanship. H. i'52. From the Bess- 
 borough Collection. [*M\ 
 
 5. Statuette of Euterpe, from Fould’s sale at Paris. 
 
 6. Statuette of Flora. 
 
 7. Statue of Ares, colossal scale, according to Matz perhaps 
 a statna Achillea. The figure is nude except for the cloak, which falls 
 down far behind from the r. shoulder. On the 1. arm rests the sword 
 in its sheath, by the r. leg is a marble support covered with a leathern 
 corslet. New : head and neck, r. arm which is raised up sideways, 
 trilling portions of the 1. arm. [*4/] 
 
 8. Figure of Pan, standing upon an altar. 
 
 9. Bronze Statue of Hercules. 
 
 10. Fragment of a group : on some stones rests a cauldron, 
 
 from which there protrudes the carcase of a boar; a hand is still to be 
 seen on the rim of the cauldron. Replica of a well-known group 
 in Naples (Clarac, iv. 742, 1786). H. 0-46. [*M] 
 
 11. Julius Caesar, sitting in a consular chair. From the 
 Bessborough Collection. 
 
 12. Statue of Augustus. The figure is nude, and heroically 
 treated, the cloak only falling down from the 1. shoulder over the 
 lowered 1. arm. The head belongs to the statue. New: almost 
 the whole r. arm, 1. hand, lower parts of both legs, much unim- 
 portant detail. A good statue, over life size. Thasian marble. From 
 the Stowe collection ( Catal ., p. 265, no. 29). Bought for jQ 22 . is. [*] 
 
 13. Statue of an Emperor, restored as M. Aurelius. 
 
LOWTHER CASTLE 14 — 29. 
 
 491 
 
 Antique : only the torso, with corslet (of which the front and back are 
 decorated with Nereids on sea-horses, who bear the arms of Achilles ; 
 the one carries a helmet, the second a greave, the third a shield) for 
 the most part covered by the paludamentum. Colossal scale. Found 
 in the Villa of Alexander Severus, near the Via Ostiensis. From the 
 Stowe Collection ( Catal . , p. 264, no. 19), bought for ^38. 17^. [*M] 
 
 14. Statue of a Roman in the toga. Bought for ^21 from 
 the Stowe Collection {Catal., p. 47, no. 742, “A Roman Senator, 
 found in Herculaneum”). H. abt. i'5o. 
 
 15. A seated female figure. The motive is similar to that 
 
 of the “Penelope” of the Vatican (Clarac, v. 834, 2090. Miiller- 
 Wieseler, 1. 9, 35) or the Oxford “Clio” (Oxford, no. 32). The 
 head rests on the r. ann, the elbow of which is supported on the r. 
 leg which is crossed over the 1. ; the 1. foot stands on a stool. The 
 1. arm is supported on the fringed cushion of a chair with twisted 
 legs. Chiton and cloak as on the statues just mentioned. New : 
 r. foot. The elegant head, which is that of a maiden, and is 
 carved in Thasian marble, does not belong to the statue, which is of 
 Pentelic. Ordinary Roman work. H. i - i6. Bought for ^47. 5.5-. 
 from the Stowe Collection {Catal., p. 264, no. 18, “Agrippina as 
 the Muse of History”). This and similar figures are probably 
 sepulchral monuments, a statue in place of the usual relief; cf. 
 Conze, Arch. Anz., 1867, p. 94*, no. 704. [ # J/] 
 
 16. Female figure. 
 
 17. Draped female figure. 
 
 Thirty-one busts are enumerated by the Catalogue in this part of 
 the gallery, but the notices are generally so short that nothing is to 
 be learnt from them. Among them the following names occur : 
 
 18. Plato, 
 
 19. M. Pompeius, 
 
 20. Matidia, colossal scale, all three from the Bessborough 
 Collection. 
 
 21. M. Aurelius, from the Stowe Collection. 
 
 22. C. Caesar, 
 
 23. Agrippina, 
 
 24. Faustina, all three from the collection of the Marquis of 
 Hertford. 
 
 25. Janus. 
 
 26. Sulla. 
 
 27. Cato, probably. 
 
 28. 29. Jul. Caesar. 
 
492 
 
 LOWTHER CASTLE 30 — 42. 
 
 30. Livia. 
 
 31. Nero, as a youth. 
 
 32. Galba. 
 
 33. Vitellius. 
 
 34. Trajan. 
 
 35. Seneca. 
 
 36. Corbulo. 
 
 Among the reliefs by far the foremost place is occupied by the 
 pearl of the whole collection, which is the following : 
 
 37. Fragment of an Attic sepulchral stele, large size, of 
 choice Pentelic marble, from Acharnae, of the fourth century b. c. 
 Fr. North, afterwards Earl of Guilford, found the stele, and brought it 
 to England. The engraving by Stackelberg (Grater der Hellenen , 
 PI. 1, 3. Schnaase, Gesch. d. bi/d. Ki/nste, 11. 2 ed., p. 224), in its 
 feeble polish, gives but a weak idea of the abundant power and 
 animation of the original, the peculiar Attic grace of which, met with 
 as it is in the far north, close to the borders of Scotland, exercises a 
 double charm. With inclined head, a slight touch of melancholy in 
 the features, sits the deceased, a female figure, her head and body 
 quite enveloped in the wide drapery, the r. hand near the chin, while 
 the r. elbow rests on the lap. Two fillets run through the curly 
 hair; two holes below the ear prove the original presence of a 
 metal ornament. In the flow of the lines, the delicate treatment of 
 the drapery, and the tenderness of the expression, the figure, which is 
 over life size, ranks with the best of its kind. A Sphinx supports the 
 arm of the high-backed chair, which is furnished with a cushion. 
 Missing : legs from over the knee. New : nose, the two last fingers 
 of the r. hand, details of the edges of the drapery, neck and edge of 
 wing on the sphinx, which is restored as a griffin. Very full relief. 
 H. 1-19. L. 0-69. An engraving of the fragment, from successful 
 photographs, will appear in the collection of Greek sepulchral reliefs 
 which is to be published by the Vienna Academy. [*M ] 
 
 38. Sculptured marble tablet, in frame, brought from Athens 
 
 1763- 
 
 39. Medallion head of Homer, in carved frame. Bess- 
 borough Collection. 
 
 40. Head surrounded by a garland. Bessborough Collection. 
 
 41. 42. Two Roman sepulchral reliefs, which form a pair, 
 each framed by two pilasters surmounted by an arch adorned with 
 medallions. On the one there stands a female figure, full face, com- 
 pletely enveloped in her cloak, which even covers her head ; the 1. 
 
LOWTHER CASTLE 43—45. 
 
 493 
 
 arm is lowered, the r. hand holds a corner of the cloak near the 1. 
 shoulder. (For the motive compare e.g. the daughters of Balbus, 
 Mtis. Borb., 11. PI. 41, 42. Clarac, v. 921, 2349. 923, 2349 C.) 
 
 On the other relief, the arch of which is decorated with a garland, 
 stands a female figure, whose high-towering head-dress seems to 
 belong to Trajan’s time ; her attitude, representing Venus, is not rare 
 on gems and coins (Bernoulli, Aphrodite , pp. 184 ff.). Almost nude, 
 with a cloak thrown round the thighs, she supports herself with the 1. 
 arm on a pillar. In the 1. hand she holds a palm branch ; the r. arm 
 is half raised. By the r. foot a dove. Both reliefs were already 
 known in Rome in the middle of the 16th century; cf. Cod. 
 Coburg., no. 99, Matz = Cod. Pigh., no. 115, Jahn. They came to 
 Lowther from the Bessborough Collection. [*A/] 
 
 43. Child’s sarcophagus. Cupids hunting. On the front 
 
 a bear throttling a horse, next to them an ibex ; a Cupid with two 
 dogs about to transfix a boar; next another ibex; a Cupid with four 
 dogs chasing a stag. At each end a tree. — R. side : two panthers 
 mangling an ox. — L. side : a panther throttling a horse. Very much 
 re-worked. L. iuo. PI. o - 26. Bought from the Stowe Collection 
 ( Catal ., p. 45, no. 722) for^(i6. 6s. [*M] 
 
 44. Oval child’s sarcophagus. Condamatio. On the 1. a 
 griffin. Then an old man seated, by him a female figure standing 
 with a raised MS. roll. On the r. of a doorway stands a female 
 figure weeping and leaning on an arm-chair in which sits a man, com- 
 pletely enveloped in drapery. Next a lectus with a beardless man in 
 tunic and pallium lying on it ; behind, the heads and hands of 
 two wailing professional mourners ( praeficae ) are visible. At the head 
 end of the bed sits a shrouded female figure behind whose chair 
 two more mourners are seen. Then the remains of the arch of a 
 doorway, and a modern female figure seated. Bad work. L. 1 -oo. 
 H. 0*2 2. Discovered by the Marquis of Chandos on the Via Appia, 
 near the tomb of Caecilia Metella, in 1817 ; bought from the Stowe 
 Collection (Catal., p. 48, no. 748) for £\6. 5.?. 6 d. [*M] 
 
 45. Child’s sarcophagus. Cupids racing. Front : four 
 bigae with a Cupid as driver and another Cupid on horseback near 
 each chariot race towards the r. The foremost Cupid holds the 
 wreath of victory, the second falls down head over heels, as one of 
 his horses rears ; below the first and fourth chariot a Cupid lies on 
 the ground. In the background are descried the spina of the Circus, 
 with four ova, one obelisk, two dolphins, two metae. — Sides : on 
 each a Cupid on horseback, that on the 1. side with a wreath. — Lid, 
 
494 
 
 LOWTIIER CASTLE 46— 50. 
 
 from 1. to r. : four empty chariots; four boys hurrying with sacks on 
 their backs and goads in their r. hands ; four boys full face, the 
 first three with wreath and palm-branch, the fourth with palm- branch, 
 holding a horse by the bridle ; three boys with staves breaking-in 
 wild horses. L. i - 2o. H. C35. [4/] Either this or the next 
 
 sarcophagus is derived from the Stowe Collection, but is not to be 
 found in the Catalogue. 
 
 46. Front of a child’s sarcophagus. Cupids racing. Four 
 
 bigae, with drivers and companions on horseback, answering to those 
 on no. 45 ; the foremost has no wreath ; Cupids lie on the ground 
 below the first, the last but one and the last chariots; a Cupid is 
 helping to raise up again the horses of the second chariot which 
 have fallen. On the spina there are visible two pointed columns, 
 a building with four columns and a pyramidal roof, fourteen dolphins, 
 seven ova, a Victory with a wreath, another building with four 
 columns, and another pointed column. L. 1-35. H. C30. [4/] 
 
 Cf. on no. 45. 
 
 47. Front of a child’s sarcophagus. Four Cupids on 
 
 chariots, which are respectively drawn, in the following order, by 
 panthers, roebucks (?), dogs, roebucks. L. 0-91. H. o‘2o. [4/] 
 
 48. Front of the lid of a sarcophagus. Boys in the 
 palaestra. The 1. end is broken off. The first boy is bending for- 
 ward and holds in his hands a thick stick, probably the handle of 
 a hoe with which he turns up the earth. Then comes a boy with 
 jumping weights (uA.r?;pes), at the moment of springing off the 
 ground ; then a boy running with a shield on his 1. arm ; after him 
 three runners, each with one arm stretched forward. The following 
 double inscription : T. Aelio Maximo and Inn. Aelia Rufina f., 
 indicates the middle of the relief ; the lost r. half may be presumed 
 to have contained either the rest of the Greek exercises, or, possibly, 
 those of boxing and of wrestling, which, together with running, 
 enjoyed the greatest favour with the Romans. [ *M ] 
 
 49. Front of a sarcophagus. Two Victories and two 
 Cupids (one with his feet on a sea-ox, the other on a hippocampus) 
 bear a garland ; in the semicircular fields which it frames a Medusa’s 
 head and two tragic masks are introduced as symbols to avert evil 
 (dTroTpoTraLa). Below the middle of the three fields the upper part of 
 the body of a Cupid with outspread arms, in a wreath. Below, a 
 richly ornamented zoccolo. L. 2 - 2o. FI. 1*27. Probably from 
 the Bessborough Collection. [4/] 
 
 50. In the catalogue there are enumerated besides, five marble 
 
LOWTHER CASTLE 5 1 — 53. ' 495 
 
 sepulchral urns from the Bessborough Collection, one of them 
 with a cover. 
 
 51. Sun dial. 
 
 PASSAGE LEADING FROM THE EAST GALLERY TO THE 
 BILLIARD ROOM. 
 
 The walls of this narrow passage are covered with inscribed 
 stones and sundry sculptures, which give it the character of a galleria 
 lapidaria. The most important specimens are seven Greek sepulchral 
 reliefs, though without exception of later style, probably all derived 
 from Smyrna, and, to all appearance, all bought from the Bess- 
 borough Collection. 
 
 52. Stele of Posideos and Herophanta, from Smyrna, 
 
 superficially sketched in P. Lucas’ Voyage an Levant, 1. p. 152. In the 
 field of the pediment a shield. On the stele itself in a field stands 
 to the 1. a beardless man (Posideos), quite covered in his cloak, the 
 hands joined before the body; by his r. leg a diminutive attendant, in 
 short chiton, with an ewer in his lowered r. hand. To the r. stands 
 a veiled female (Herophanta), in cloak and chiton, holding in the 
 r. arm a large torch which occupies the middle of the scene. Her 
 cloak shows the folds impressed on the fabric by its having been 
 laid up a long while, a peculiarity which recurs, for example, in 
 the Artemisia of the Mausoleum, the so-called Juno Cesi in the 
 Capitol, etc. By the torch a diminutive female attendant. Below the 
 relief are the names of the two persons, in the accusative : noo-tScov | 
 A7;fAo«/\eious and ’llf)ocf)avTav | Ttjuovos ; the accusatives depend on 
 the twice repeated inscription d Sij/xos above the relief, in each case 
 enclosed in a wreath, by the conferring of which the community has 
 honoured the two personages ( C . /. Gr., 3245). Good, careful 
 style of the third or second century b.c. H. 1-52. [*] 
 
 53. Stele of Theudotos, badly engraved in Tollius, Epist. 
 ilinerar ., p. 20. Two pilasters which carry a straight architrave flank 
 the field of the relief. On the r. sits a young man (Theudotos) in 
 chiton and cloak, the 1. hand in his lap, the r. raised as though he 
 were accompanying his speech by gesture. On the 1., opposite to 
 him, sits a female figure, in chiton and cloak, which last envelopes 
 her entirely, even her head. Leaning against her knee before her 
 stands a boy in a short chiton, with a roll in his hands from which 
 he seems to be reading. Below the relief an epigram of eight lines 
 of rather inelegant style, the interpretation of which has evoked 
 
496 LOWTIIER CASTLE 54 — 56. 
 
 a whole literature (C. I. Gr., 3328, quite correctly, cf. Kaibel, Epigr. 
 Gracca, no. 240): 
 
 "HXu 0 es ovk apoaros evl rpiirtrcus deKaSaraiv, 
 
 Get 'tSore, rdv ftiots olpov oepeikopevav , 
 
 Kai tj h tov ev (TirovSdiai yeyadora 7rouXi) per axrruiv 
 P-6.T'qp aidipei pvpopiva irpuraviv. 
 trlrpos o' 5 e jJetj'Ottrt fiodaercu, ws cu'SaXos 
 da<pa\h dvdpunrOLS ovOku dveipe Tir^a. 
 tips toi <rvp irarpi Kexa.pp.dvos, 6<pp av es aiiS 
 ZunTTparos ev tpOipdvois pvplov alvov dxy- 
 
 (L. 8 : EXH, not EXHI.) Style of relief careful but dry. Grayish 
 marble. H. o - 47. The stele was formerly in the possession of G. 
 Ulenbroek, then of the learned Dorville, both in Leyden. [*] 
 
 54. Stele of Apollonios and Artemo. In the pediment 
 
 a cup. Below, two wreaths and between them the inscription IIov7n?ta 
 Xpvcrdpiov £o~o-a to p.vt) ppov brorjaev ; below the wreath on the 1. 
 ’AttoWiovlos I M^yoc^tAou, below that on the r. ’Apre/rofs | ’AttoAXwviov. 
 These are demonstrably Smyrnaean names {Arch. Zeit., 1874, p. 43). 
 In the field Apollonios stands on the 1 . in chiton and cloak, Artemo 
 on the r., veiled, both full face, quite like the figures on the reliefs at 
 Oxford, nos. 89, 205. Artemo’s 1 . forearm was originally put on 
 separately, but has been lost. She has a diminutive female attendant 
 on each side of her, of whom the one on the r. carries a large box ; 
 on the extreme 1. a diminutive male attendant leans against the edge 
 of the field of the relief. In the background a wall, which is 
 finished at the top in a projecting listel at the height of the 
 shoulders of the principal personages. Rather good style, probably 
 of the second or first century b.c. H. 0-98. [*] 
 
 55. Stele of Menekrates and Bias. Below the pediment, 
 
 between two pilasters in the field a comparatively old beardless man 
 (Menekrates) lies on a bed, completely draped, holding a cup in 
 the 1 . hand and extending the r. hand to the youthful Bias, who 
 wears only a cloak, and who seems to wish to withdraw. Before the 
 bed a table with three feet on which food is set. At the head of 
 Menekrates in the background a young attendant. Below the relief 
 the inscription M Btavro?. | Bias MereKpaVou. Rather rough 
 execution. H. 0-53. [*] 
 
 56. Stele. On the 1 . sits a completely draped man, with his 
 feet on a stool, holding out his r. hand to a standing female figure 
 in chiton and cloak. To the 1 . by the stool stands a diminutive 
 attendant, to the r. a female attendant leaning against a pillar, on 
 
LOVVTHER CASTLE 57 — 63. 
 
 497 
 
 which stands a basket. Ordinary work. The upper half of the 
 stele is missing. H. o'48. [*] 
 
 57. Stele, broken away at the top. A completely draped, beard- 
 
 less man, with a roll in his lowered 1. hand, stands in the middle, full 
 face. To his r. stands a diminutive attendant leaning against the 
 edge of the field, to the 1. a nude little boy sits on the ground, 
 stretching up his arms. Rather careful execution. H. o - 6o. [*] 
 
 58. Square sepulchral relief, of a coarse stone, lamentably 
 corroded. Two figures lie on a couch at a table, of which the one 
 holds out his hand to a female figure sitting at the foot end of the 
 couch. Before the couch stands a three-legged table. H. 0-52. [*] 
 
 59. Five more sepulchral reliefs with Latin inscrip- 
 tions, from the Bessborough Collection. 
 
 60. Eight sepulchral urns, five from the Bessborough Col- 
 lection, one from Lord Northwick’s, one from Barnes’, one from 
 Fould’s sales in Paris ( Q. Gellius Chrcstus , &c.). 
 
 61. One hundred and twenty-three Roman sepulchral 
 inscriptions, from the Bessborough Collection. All the Latin 
 inscriptions have been copied by Matz and myself for the Corpus 
 Inscriptionum Latinarum. 
 
 In the last section of the passage are displayed native an- 
 tiques from various localities in the north of England ; cf. also 
 C. I. Lett., vii. pp. 77 ff. 
 
 WEST GALLERY. 
 
 62. Statue of Dionysos, similar to the Vatican statue, 
 Clarac, iv. 681, 1595. New: r. forearm and three-quarters of 1. 
 arm. The head, from which long curls fall down, is inclined towards 
 the r. shoulder ; from the 1. shoulder there hangs down a piece of 
 drapery, another end of which, drawn slantwise across the back, falls 
 down from the r. elbow to the ground. On his feet the god wears 
 high laced boots (evSpopiScs). The 1. arm is raised, the hand was 
 originally grasping a thyrsos. Ordinary Roman work. H. 1 "44. 
 [*M\ 
 
 63. Group of Dionysos and Pan. The god leans with 
 his 1. hip against the stem of a tree, the 1. leg crossed over the r. In 
 the r. arm a piece of the thyrsos is preserved, the 1. forearm rests on 
 the shoulder of an ithyphallic Pan, not particularly youthful, modelled 
 on a considerably smaller scale as a subsidiary figure. He is bending 
 forward the upper part of his body and looking up at the god, whose 
 
 M. C. 
 
498 
 
 LOWTHER CASTLE 64— 68. 
 
 back he embraces as though he wished to pull him along with him. 
 Thasian marble. H. 1-25. [*J/] 
 
 64. Statue of Asklepios, from Lord Anson’s Shugborough 
 
 Collection. The god stands on his r. leg, with his r. arm akimbo 
 and his 1. arm-pit pressed heavily on the snake-entwined staff. 
 Unimportant work. H. 1-50. [ *M ] 
 
 65. Statue of Paris, from the Shugborough Collection. 
 Probably identical with the “Adonis” named by Dallaway, p. 385 
 (n. p. 137). 
 
 66. Figure of Eros as god of sleep, winged. He lies sleep- 
 ing on his back with crossed legs, at full length on his chlamys. 
 The head rests on one arm ; with the other hand he holds some 
 poppy heads ; by him lies his bow, at his feet crawls a lizard. In 
 front the inscription Hercult sancto | Eutychianus. From the Bess- 
 borough Collection. [ # J/] 
 
 67. Figure of Eros, similar to the last, with the attributes of 
 Herakles, lying on a lion’s skin, the 1. hand on the club, by which a 
 lizard is visible. From the Bessborough Collection. [*Af ] 
 
 68. Female portrait statue. Mon. Matth ., 1. PI. 23, “Cybele.” 
 Clarac, in. 396 A, 664 E. On a throne sits the richly draped lady, 
 in whose features, as Matz rightly observes, one can recognise a 
 portrait, perhaps of the first century a. d. (pupils not expressed). She 
 unites the attributes of different matronly goddesses of high rank ; 
 the mural crown under the veil and the lion by her r. leg suggest 
 Rhea or Ivybele, a bunch of ears of corn and poppies in the r. 
 hand Ceres, the large cornucopiae (with pineapple, apples, poppies, 
 ears of corn, grapes) by the 1. leg and the upright steering paddle 
 on the blade of which the 1. hand rests, Fortuna. So was Livia 
 (Julia Augusta) deified as Juno, Vesta, Ceres, Diana, Isis, &c. (cf. 
 Eckhel, Doctr. Numm., vi. p. 155; Letronne, Inscr. de /’ Egypte, 1. p. 
 230). Only a closer examination of the features than I was able to 
 undertake can determine whether perchance the likeness of this 
 Empress is to be recognised in the present statue. Armlets adorn 
 the exposed r. arm, bracelets both wrists. A high narrow puntello, 
 which rises from the cornucopiae, serves to secure the fingers of the 
 1. hand. The preservation is wonderful. Only the lower end of the 
 cornucopiae is restored. Thasian marble. Rather coarse Roman 
 work. FI. i'5°- Formerly in the Mattei Collection, then in Gavin 
 Hamilton’s hands, sold by him to the first Marquis of Buckingham, 
 and bought from the Stowe Collection (Cat., p. 264, no. 21) for 
 Lowther for ^3 1. ro.r. [' *M ] 
 
LOWTHER CASTLE 6g — 99. 
 
 499 
 
 69 — 93. The catalogue enumerates 22 busts, among them a 
 series of busts of the Caesars, which at once rouses suspicion by 
 its completeness. 69. Julius Caesar, 70. Augustus, 71. Tiberius, 72. 
 Caligula (from the Marquis of Hertford’s Collection), 73. Claudius, 
 74. Nero (Hertford Collection), 75, 76. Galba, 77. Otho, 79, 80. 
 Vespasian (one of these busts, once the property of the Right Hon. 
 Edmund Burke, stood in his library), 90. Titus (Hertford Collection), 
 91. Domitian (Hertford Collection), 92. Nerva (Hertford Collection), 
 93. Geta. One of the other busts, placed in 1873 near the entrance 
 to the garden, is a fine, exceedingly well preserved portrait of a 
 beardless Roman, not unlike Cicero (cf. London, Apsley House, 
 no. 1), but of a nobler and firmer countenance. 
 
 The catalogue gives besides the following miraculous item : 
 
 94. “The Olympian Meta, brought from Greece by the 
 Emperor Nero, and placed in the Circus at Rome. It was purchased 
 for a large sum by the Marquis of Hertford.” 
 
 95. Four sepulchral urns, three from the Bessborough 
 Collection, one with reclining figure. Probably among these are 
 comprised the two following specimens : 
 
 96. Etruscan urn, of alabaster (?), with particularly well 
 preserved remains of colouring. Battle-scene, grouped round a 
 warrior who has sunk down on to his knee. A friend tries to make 
 him rise from the ground, but is himself menaced by the conqueror ; 
 on either side a warrior hastens up to succour the respective com- 
 batants. Lid. Reclining female figure, draped, with a leaf-shaped 
 fan in her r. hand. Below her the remains of an Etruscan inscrip- 
 tion. [J/] 
 
 97. Etruscan urn, of alabaster. At the 1. end remains of a 
 female figure with torch. Then a quadriga, on which there stand 
 besides the driver two men in long drapery, the one with a shield, 
 the other with a helmet, and a girl. A servant with a hatchet leads 
 the horses. From the r. two men in long drapery advance to meet 
 them, the one with a hood, the other, who is bearded, with a small 
 round shield. Lid. Reclining figure of a man, very short, with 
 diptychon and apple, [d/] 
 
 PASSAGE LEADING TO THE WEST GALLERY. 
 
 Here the catalogue mentions, presumably all as antique — 
 
 g8. Statuette of Hercules. 
 
 99. Bust of Epaminondas. 
 
 3 2 
 
500 LOWTHER CASTLE IOO— 1 10. MARBURY HALL. 
 
 100. Bust of Otho. 
 
 101, xo2. Two antique Sarcophagi (cf. nos. 43 — 49, 96, 
 97 )- 
 
 EATH ROOM AND PASSAGE TO CONSERVATORY. 
 
 103. Statue of Cicero. 
 
 104. Statue of Aristides. 
 
 105. Draped female statuette, name unknown. 
 
 106. Five busts, four male, one female. 
 
 From the Catalogue of the Stowe Collection I add moreover the 
 following specimens bought by Lord Lonsdale at the sale there, 
 which I am unable to identify with definite numbers of the Lowther 
 Collection. 
 
 107. “ An oval cistern, of grey marble, with lions’ heads 
 and grapes.” Bought for ^30. gs. {Cat, p. 269, no. 89.) 
 
 108. “A Roman marble sarcophagus, inscribed D. M. G. 
 Messis qui vixit aiuiis XVII mesis I III. Found by the late Duke of 
 Buckingham in an excavation made by him at Rome, in 1828, near 
 the tomb of Caecilia Metella. It then contained the skeleton of the 
 Roman youth whose name it bears. It recently stood in the flower- 
 garden at Stowe, and in it were deposited the remains of the late 
 Duke’s favourite dog, who died of extreme old age in 1837.” Bought 
 forpC8. {Cat., p. 271, no. 115.) 
 
 109. “Three marble busts.” Bought for £11. {Cat., p. 
 271, no. 124.) Probably a Roman sepulchral monument. 
 
 no. “A male and female marble bust.” Bought for 
 £\. 15.?. {Cat., p. 272, no. 137.) See on no. 109. 
 
 MARBURY HALL (Cheshire). 
 
 Dallaway, pp. 354 ff. (11. pp. 103 ft'.). A Catalogue of Paintings, 
 Statues, Busts, etc., at Marbury Hall, London, 1814, and Warring- 
 ton, 1819 (privately printed; only a short indication of the articles). 
 Spiker, 1. pp. 407 f. Clarac, in. p. 22 note 2. Waagen, Treas., iv. 
 pp. 406 ff. Conze, Arch. Anz., 1864, pp. 223 f. 235 ff. Michaelis, 
 Arch. Zeit., 1874, pp. 43 ff. I visited the collection in the year 1873. 
 
 This house, the country seat of the Irish family of Smith Barry, 
 is situated nearjSNorthwich. The collection of antiques was made in 
 Rome, with the assistance of Gavin Hamilton and Jenkins, by the 
 
MARBURY HALL I, 2 . 
 
 501 
 
 Hon. J. Smith Barry, about 1776, as in a letter to Lord Shelburne 
 of July 13, 1776, Hamilton mentions “Mr Barry’’ as having lately 
 returned to England ( Academy , Aug. 31, 1878, p. 220). Several of 
 the principal pieces were got from the Villa Mattei and the Villa 
 d’Este at Tivoli. Unfortunately the statues and busts are very un- 
 favourably disposed in the dark Sculpture Gallery, which is more 
 like a cellar. Two colossal statues (nos. 2 and 17) which formerly 
 stood in two niches in the Entrance Hall, have been placed in the 
 court, a few smaller pieces (nos. 8, 11, 14) in the saloon. Others 
 are secluded in other rooms, to which I had not access. The 
 printed catalogue enumerates 21 statues, 19 busts (several modern), 
 10 “stone vases” (several modern, others without sculpture), 6 
 relievos, and 9 “altars,” i.e. cinerary urns, &c. The statues are one 
 and all engraved in Clarac, so I give his order in numbering. 
 
 Statues. 
 
 1 . Statue of Zeus on a throne. Clarac, hi. 396 D, 666 A. 
 
 On a seat without a back but with two transverse beams (xavoVes), 
 sits the god, his legs and back covered by a wide cloak, a corner of 
 which lies on the 1. shoulder; breast and stomach nude. The 1. arm 
 is raised, the r. hand rests in the lap, the head is slightly bent. The 
 state of preservation is unusually good. New : nose, both eyebrows, 
 upper lip, the ends of several tresses, the 1. forearm (which, to 
 judge by a large puntello on the cloak, was once placed nearer to 
 the head), the r. hand with the thunderbolt, some small pieces of 
 drapery, and part of the seat. Head, feet, and plinth have never been 
 broken. The rather decided slope of the thighs towards the knees 
 is well adapted for a large statue in a lofty position. As the back 
 part is cut off straight, and the depth of the seat is so small that the 
 god cannot sit comfortably, it is plain that the statue was meant to 
 be set up against the wall of a somewhat confined room. The 
 workmanship is merely decorative, and is best on the cloak, the 
 deep round folds of thick, soft material being well rendered. The 
 most insignificant part is the head with its good-natured expression 
 (not correctly given in Clarac). The tresses of the head, which 
 are traversed by a fillet, and of the beard are much separated from 
 each other and mechanically curved. Coarse-grained Parian marble. 
 H. 2 '07. From the Villa d’Este. Cf. Overbeck, Kunstmyth., 11. p. 
 1 18. I* CIV, Scharf] 
 
 2 (Court). Draped female statue, colossal scale. Clarac, 
 111. 438 A, 774 C, “C6res.” Mon. Malth., 1. PI. 29, “Ceres.” 
 
502 
 
 MARBURY HALL 3, 4. 
 
 Dallaway, no. 7, “ Sabina.” This female figure stands in a quiet 
 attitude with the weight on the r. leg, draped in a long, girdled, 
 doubled chiton. A head of Sabina (eyeballs expressed), of earnest 
 expression and with careful treatment of the hair, is set on. The r. 
 arm is akimbo, the lowered 1. hand holds ears of wheat and pop- 
 pies. According to Scharf the hands are antique, the whole statue 
 being very perfect ; though Clarac was of opinion that the whole 
 r. arm and the piece of the 1. between armlet (antique) and wrist 
 are modern. In this case we may be supposed to have before us 
 an empress (Sabina ?) as Ceres. The bunch in the 1. hand and 
 indeed much besides seemed to me, upon only a cursory view, to be 
 restored. The colossal statue is of pretty good work ; the general 
 effect is not bad. H. abt. 2 - 2o. From the Villa Mattei. \* Scharf] 
 
 3. Statue of Apollo. Clarac, in. 476 A, 906 B. Mon. Matt/i., 
 i. PI. 5. Dallaway, no. 5. The torso only is antique. It exhibits, 
 only with the sides reversed, the movement given in the Apollo 
 Belvedere ; the r. shoulder is remarkably raised, the pose of the 
 arms indicated by their stumps. The workmanship is not distin- 
 guished, but rather animated. Marble probably Pentelic. By means 
 of a modern neck an antique head, of a different kind of marble, has 
 been set on. It is crowned with a wreath of laurel; its expression 
 empty and insignificant, the forms effeminate, the surface re-worked. 
 New : chin and tip of nose ; besides the whole r. arm, three quarters 
 of the 1., the whole cloak, which is riveted on, the member, the lower 
 parts of both legs, the stem of a tree with quiver and snake by the 1. 
 leg. For the restorations the Vatican statue may have served as a 
 model. The cloak was not yet in existence when the statue was in 
 the Villa Mattei, but has been subsequently put on. H. without 
 pedestal 177. [*C] 
 
 4 (not in the Gallery). Statue of a Nymph of Artemis? 
 
 Clarac, iv. 564 A, 1208 C. In the Catalogue the figure is called “a 
 Diana, imperfect.” The chiton is buttoned along the upper parts 
 of the arms, and reaches down a little below the knees ; a cloak, 
 folded double, is fastened on the 1. shoulder and envelops the body 
 to the knees, except the r. breast and shoulder. The figure rests on 
 the r. leg ; by the 1. is the stem of a tree. The lowered r. arm is 
 almost entirely modern, as also the 1. hand with wrist, and the feet. 
 Antique, but set on and not belonging to the statue, is the head, which 
 is encircled above the brow by a twisted fillet or a roll of hair, while 
 the back of the head is covered by a smooth cloth like a hood. 
 II. 1 '68. [Mom a sketch by Scharf ] 
 
MARBURY HALL 5, 6. 
 
 503 
 
 5. Statuette of an astragalizusa. Clarac, iv. 564 D, 
 
 1 248 A. This statuette, much broken and patched, is entirely modern ; 
 it is made of a soft kind of marble much like alabaster. The r. leg 
 is more completely exposed than in the antique examples, except 
 the copy in the Louvre (Clarac, in. 323, 1425) ; the knuckle-bones 
 are missing. H. 0-26. [*] 
 
 6. Statue of “ Elektra.” Clarac, iv. 594, 1449 B, “ Ve'nus 
 arnree.” Dallaway, no. 3, “Venus Victrix.” The antique portions 
 resemble the Elektra of a group in Naples, in which she is repre- 
 sented in conjunction with Orestes (Clarac, v. 836, 2093. Jahn, 
 Berichte d. sacks. Gcs., 1861, PL 4, 1, pp. 1 1 9 f. Kekule, Gruppe d. 
 Menelaos , PL 2, 1). It does not of course follow for a certainty 
 that our statue should be named in accordance with this likeness. 
 Antique : the torso as far as the knees, three quarters of the r. arm, 
 1. arm except the hand which is missing ; a puntello on the corner of 
 the drapery which hangs down (of which the lower half is new) 
 suggests that the 1. hand originally held some long object. New : 
 lower parts of the legs and half the 1. forearm with the arrow. 
 Antique, but not originally belonging to the statue, is the head of 
 Venus with fillet and a large knot of hair on the crown. The head 
 is of Greek marble, the body of marble with blackish spots, perhaps 
 from Lower Italy ; a tress in the nape of the neck on the torso, 
 answering to one on the Elektra in Naples, is not continued in the 
 hair of the head. The remarkably deep girding of the chiton about 
 the hips allows the whole body to shew through the fine Coan 
 drapery ; between breast and girdle it lies close on the form with 
 scarcely a fold, the abdomen and thighs also are hardly concealed 
 by the thin folds ; a deep hollow on both sides of a vertical fold 
 which falls down from the stomach displays the shape of the legs very 
 clearly. The style is like that of the Venus Cenetrix (cf. Holkham, 
 no. 23) ; the exposure of the 1. breast also displays a similar taste. 
 The latter trait, and also the pose of the arms and neck, completely 
 deviate from the Elektra in Naples, and therefore suggest that out 
 statue, detached from the group, has as a single figure received 
 another meaning. A similar increase of refinement finds expression 
 in the other extant copies enumerated by Jahn (/. cit.). The nude 
 parts exhibit rather poor workmanship ; the back is quite carelessly 
 treated. H. 171. The statue was found by Gavin Hamilton in 
 1771 during a very productive excavation near Tor Colombaro (at 
 the ninth milestone on the Appian road), and restored as Venus 
 Victrix (Dallaway, p. 373 [11. p. 126]). [*CJV] 
 
504 
 
 MARBURY HALL 7—9. 
 
 7. Statue of Eros. Clarac, iv. 650 A, 1469 A. Dallaway, 
 no. 16. The youthful god stands on the r. leg, close to which the 
 stem of a tree has been introduced ; the 1. leg is a little drawn back. 
 The r. arm was originally raised, the 1. lowered. The head is some- 
 what inclined towards the r. shoulder and is richly covered with curls. 
 It seems to belong to the statue, though re-set. No trace of wings. 
 New : the r. arm, the 1. forearm with arrow, the lower parts of both 
 legs, the stem of a tree except a junction above the knee; no part of 
 the bow, which is to be seen on the stem, is antique. Excellent 
 Parian lychnite. H. i - o8. [*] 
 
 8 (Saloon). Group of Dionysos and a Bacchante (rather 
 than Ariadne). Clarac, iv. 694, 1634. Dallaway, no. 12. The 
 Bacchante strides forward in lively movement. She has on a short 
 chiton which leaves the !. breast and shoulder exposed. A nebris 
 girt slantwise from the 1. shoulder over the breast holds up the 
 chiton, its corners hanging down lower. She winds her r. arm round 
 the back of the youthful god, who, heavy with wine, has laid his 1. 
 arm round her neck and leans heavily on her, while his legs move 
 forward with difficulty. To his condition corresponds his unusual 
 envelopment in the wide cloak, which entirely covers the whole body 
 and the r. arm ; the legs on the contrary are for the most part left 
 free. His 1. hand holds a corner of his companion’s drapery. The 
 group is much restored, still the restorer seems in essentials to have 
 hit upon the right treatment. This is certainly the case as to the 
 pose of the two heads, which are turned towards each other. New : 
 both heads, and besides, of the god, half the 1. forearm with the hand 
 and the greater part of the corner of drapery held in it, 1. leg, and r. 
 foot ; of the female figure, three-quarters of the 1. arm, a piece of the 
 r. arm behind the back of the god, the lower part of the 1. leg, the r. 
 foot with a piece of the drapery ; lastly the plinth. The engraving in 
 Clarac is much less clear and of less favourable effect than the original. 
 The group is full of tipsy Bacchic jollity ; its conception may pertain 
 to the Alexandrine rather than to the Roman period. Greek, pro- 
 bably Parian, marble. H. o - 8i. For a similar group recently found 
 in Rome, now in the Berlin Museum, which is better preserved 
 and executed, cf. Dressel, Bullett. delV Inst., 1872, pp. 222 ff. ; it 
 would appear from this copy that the 1. hand of the Bacchante 
 originally lifted up part of her drapery near the 1. leg. [*] 
 
 9. Statue of boy with grapes. Clarac, iv. 694 A, 1637 A, 
 “Genie bacchique.” Dallaway, no. 11, “patrician boy.” This Roman 
 portrait head of a boy is by means of an inserted neck set on a body 
 
MARBURY HALL 10, II. 
 
 505 
 
 of a different marble from that of the head. Nose new. Pupils 
 expressed. Of the body are new : only the r. hand and the feet 
 with part of the pedestal, but the whole figure is re-worked, and in 
 particular the ring on the fourth finger of the 1. hand was first 
 brought into being by a modern paring of the finger. In general 
 the work is fresh, the gentle movement in the 1. hip well rendered. 
 The powerfully made boy steps out on to the r. foot ; the r. arm 
 hangs straight down. An ample cloak, fastened on the r. shoulder, 
 covers the back almost down to the feet, also the 1. arm and the 
 breast. The 1. hand holds a large bunch of grapes before the 
 breast. The width and length of the drapery, which is strange for 
 an ordinary boy, leads to the suggestion that the figure is a repre- 
 sentative or genius of vintage, akin to the “Vertumnus” at Ince 
 (no. 6); the r. hand may have held a pruning-knife or the like; cf. 
 Muller-Wieseler, 11. 75, 964^; 965, and on the absence of wings, 
 Petersen, A nnali, 1861, pp. 215 ff. H. 1T4. [*] 
 
 10. Statue of a Bacchante. Clarac, iv. 694 B, 1623 A, 
 “Ariane.” Mon. Matth., 1. PI. 68. Dallaway, no. 8? The figure rests 
 on the r. leg, with the 1. drawn back. A long, sleeved chiton with a 
 considerable mass of fold about the hips covers the figure ; a nebris 
 is girt slantwise from the 1. shoulder and partly hangs down far; a 
 broad girdle keeps all together round the waist. Long tresses fall 
 down on the shoulder. The upper parts of both arms are lowered, 
 the 1. forearm advanced. New : almost the whole of the 1. fore- 
 arm with tympanon, three-quarters of the r. arm (which, when in the 
 Villa Mattei, held a bunch of grapes), the front corner of the nebris. 
 The neck with the tresses by it is inserted. The head (nose new), 
 which is crowned with ivy, does not belong to the statue. Coarse 
 work, calculated for strong effect, especially in the deeply undercut 
 heavy folds. Apparently Pentelic marble. H. 1*72. From the 
 Villa Mattei. [*C] 
 
 11 (Saloon). Group of a Satyr on an ass. Clarac, iv. 
 696, 1610 A. Mon. Matth., 1. PI. 13. Dallaway, no. 13. (Accord- 
 ing to all of them “ Bacchus.”) The ass steps out with lowered 
 head, with a bell round his neck. On his back is spread the skin of 
 an animal, on which sprawls a young Satyr, the 1. leg lowered, the 
 r. raised; the 1. elbow resting on a leather bottle, the opening of 
 which his 1. hand grasps. The head of Bacchus, which the figure 
 wore when in the Villa Mattei, has been appropriately changed 
 for the head of a Satyr. New: of the Satyr, the head, almost all 
 the r. leg, the 1. foot, the r. arm with the pedum, and smaller patches 
 
506 
 
 MARBURY HALL 12, 1 3 . 
 
 in various places ; of the ass, ears, tail, parts of the legs, plinth and 
 pieces of the stem which underprop the body of the ass. Unhappily 
 the group is everywhere re-worked to such an extent that even the 
 genuineness of the whole piece may seem doubtful, though scarcely 
 with reason. In the course of the re-working the little tail of the 
 Satyr may very likely have disappeared. Italian marble. H. with 
 plinth o - 54. L. 0-46. From the Villa Mattei. [*] 
 
 12. Torso of an Apollo, restored as a Satyr. Clarac, iv. 
 704 A, 1683 C, “Faune.” Dallaway, no. 10, “Faunus.” The 
 genuine parts belong to an Apollo of that not yet sufficiently under- 
 stood type in which a swan sits at the feet of the god, who holds the 
 lyre high above the 1. shoulder (cf. Clarac, 11. 479, 918. 4S3, 928 A. 
 489, 948 A. 490, 954 A. Miiller-Wieseler, 11. 12. 131, cf. Dilthey, 
 Rhein. Jahrb., lii. p. 51, n. 2). The placing of the 1. leg before the 
 r., the gentle flow of the elegant torso and its slender proportions, 
 fall in exactly with that type. The work does not quite answer to 
 the delicacy of the conception. The marble is of a very fine grain 
 and of a yelloAvish tint with grey spots. There is naturally no trace 
 of a little tail, the god having been first degraded into a Satyr in 
 restoration. The Satyr’s head, wreathed with pine, and with goat’s 
 warts (< prjpea ) on the neck, is of Thasian marble, but is antique ex- 
 cepting the nose and under lip. Entirely new: neck, both arms, 
 the flute, both feet, the whole support with nebris and pedum, the 
 pedestal. H. i m og. [*C] 
 
 13. Statue of a Nymph, a figure for a fountain. Clarac, 
 iv. 750, 1831 A. Mon. Matth ., 1. PI. 51. Dallaway, no. 17. Half 
 sitting on, half raising herself from a piece of rock is a girl, the 
 lower part of her body surrounded by an ample drapery, a narrower 
 part of which descends from her 1. shoulder. Both knees are bent ; 
 the 1. foot is somewhat raised on a piece of rock. Thus the 1. thigh 
 serves to support an urn which the Nymph holds with her two 
 lowered hands. From this, water originally was to flow into a basin. 
 On the lower part of the body there are only trifling injuries to be 
 remarked ; the upper part too, though much broken, seems to be 
 antique in essentials. New: r. arm, three-quarters of the 1., almost 
 the whole urn inclusive of the comic mask, and the neck. The 
 head no doubt originally looked down at the urn. The much more 
 simple head which the figure had when in the Villa Mattei, and 
 which the drawings show, has subsequently been inappropriately 
 replaced by a head of a bacchante crowned with ivy, of Satyr-like 
 forms and with rich head-dress, which also looks away to the side 
 
MARBURY HALL 14, 1 5. 
 
 507 
 
 (cf. the subsidiary drawing in Clarac). The deeply undercut folds 
 by the legs, and especially those which run slantwise across the 
 lap, are of good effect. Greek marble. H. 1-27. From the Villa 
 Mattei. [*C] 
 
 14 (Saloon). Group of Herakles and Antaeos. Clarac, 
 
 v. 804, 2015 A. Dallaway, no. 14. Herakles has advanced the 
 
 r. leg and steps back on the 1., while he lifts up Antaeos, whom he 
 has gripped round the stomach from behind, and presses his back 
 tightly against himself. Antaeos writhes under the mighty hug of 
 his opponent, and tries in vain to grasp his arms with his hands ; 
 both legs are bent up at the knees, the 1. thigh lowered, the r. raised. 
 The artist has very skilfully arranged the group so that both bodies 
 have their fronts turned towards the spectator. Powerful, somewhat 
 coarse forms. The restorations are considerable. New: of Herakles, 
 head and neck, 1. forefinger, three last fingers of r. hand, 1. knee and 
 1. foot (the shin seems antique), r. leg from above the knee down- 
 wards, the support covered with the skin except the junction at the 
 top, the club, the plinth ; of Antaeos, head and neck, almost the 
 whole r. arm between shoulder and wrist, a small patch inserted on 
 the 1. wrist, r. foot, and 1. leg. Ordinary execution. Pentelic 
 marble. H. 077. [*] 
 
 15. Group of a male figure on horseback. Clarac, v. 
 810 B, 2028 C, “ Amazone,” after an erroneous conjecture hazarded 
 by Millin, who rightly objected to Dallaway’s designation, “ Paris 
 Equestris” (no. 2); in the letter-press Clarac himself points out the 
 absence of the female breast, without however altering the nomen- 
 clature. The youthful rider, whose antique parts show no trace of 
 Phrygian costume, sits on a prancing horse, bending down to the 
 r., only clad in an exomis, conceived as at a hunt rather than as in 
 battle. While the 1. hand holds the reins, the r. arm was originally 
 raised as now, obviously to deal a thrust or blow. The head of the 
 horse is turned r. The genuine parts are pretty well executed, and 
 are very different from Clarac’s bad engraving. The motive is more 
 animated than that of the so-called Commodus of the Vatican [Mon. 
 Matth. 1. 93. Mils. Chiaram 111. 25. Clarac, v. 962, 2475), an( l 
 more like the bronze Alexander from Herculaneum (Ant. di Ercol., 
 
 vi. 51. Clarac, v. 840, 2105. Miiller-Wieseler, 1. 40, 170). There 
 is a similar figure in Turin (Diitschke, Ant. Bildw., iv. no. 81. 
 Wieseler, Nachrichtcn von der Gottingen Ges. d. Wiss., 1877, p. 661, 
 no. 7). New : the head with a strange kind of Phrygian cap, the r. 
 arm, lower parts of both legs ; of the horse, head with part of neck, 
 
5°8 
 
 MARBURY HALL 1 6 — - 1 8 . 
 
 legs, and tail. Pentelic marble. Present height to the point of the 
 cap i-i8. L. of the rider’s body abt. ro 4 . The statue was found 
 together with no. 6 in 1771, by Gavin Hamilton, at Tor Colombaro, 
 and passed through J enkins’ hands to Smith Barry (cf. Dallaway, p. 
 372 [11. p. 124]). Hamilton speaks of it in a letter to Lord Shel- 
 burne of Aug. 6, 1772 {Academy, Aug. 17, 1878, p. 168) in the 
 following terms: “I have likewise sold him [Jenkins] a young 
 figure with a Phrygian cap on horseback, but considering it was so 
 much fragmented, and well knowing what nice judges we are in 
 England in horse flesh, I declined sending it.” [*C] 
 
 16. Statue of a herdsman. Clarac, v. 833, 2077 A, “Paris.” 
 Leaning towards the r. on the stem of a tree stands the youth, his 
 r. leg set slightly before the 1. The chlamys surrounds breast, 
 shoulders, and part of the back, and falls down over the r. arm, on 
 which rests the pedum ; the 1. arm was probably always akimbo. 
 New: head with Phrygian cap and 1. arm with apple, by which 
 symbols the conversion into “ Paris ” has been effected ; also the 
 r. hand, the larger, lower part of the pedum, the lower parts of the 
 legs, and the pedestal. Decorative style of workmanship. Thasian 
 marble. H. 1-74. [*C] 
 
 17 (Court). Statue of Helios, colossal scale. Clarac, v. 
 839, 2x04, “ Alexandre le Grand.” In complete nudity the youthful 
 figure steps forward with the 1. foot foremost. The body is very 
 powerfully made. The youthful head, which shews well-rounded 
 forms, is surrounded by rich, long, curly hair, not, however, arranged 
 in the manner characteristic of heads of Alexander, which by its 
 inclination towards the 1. shoulder it otherwise resembles. New: 
 nose and parts of the lips, both arms with globe and sword, lower 
 parts of both legs, the stem of a palm, the weapons, and the pedestal. 
 The hair is to a great extent hollowed out with the drill ; the treat- 
 ment of the nude is coarse and clumsy, yet not out of keeping with 
 a colossal figure. The shoulders are unusually broad. The name 
 Helios is due to Scharf, who compares the head on coins of Rhodes; 
 we might also call to mind a Dioskuros such as those on the steps of 
 the Capitol. H. abt. 2‘8o. \* Scharf] 
 
 18. Statue of a poet or philosopher. Clarac, v. 844, 
 2125. Dallaway, no. 15, “Homer.” The figure rests on the r. leg. 
 The cloak is disposed similarly to that of the Demosthenes at 
 Knole (no. 1), only that the r. hand draws the corner, which hangs 
 down from the 1. shoulder, somewhat slantwise in front of the breast, 
 and thus brings some life into the drapery. The 1. arm is lowered ; 
 
MARBURY IIALL 1 9 , 20 . 
 
 509 
 
 by the 1. foot stands a bundle of rolls strapped together. It is a 
 prettily designed statue, and is executed in good decorative style, of 
 better effect than the engraving leads us to suppose. New: feet and 
 pedestal, the lowest piece of the bundle, the 1. forearm with the 
 volumen , the r. forearm and part of the drapery. The figure is of 
 Pentelic marble, likewise the head, which is set on, but with a clean 
 cut, and is perhaps original; at any rate it suits the figure well. 
 The head is bearded, the hair entwined by a twisted ribbon, the face 
 (new: tip of nose) of dignified aspect. It certainly has no connec- 
 tion with either Euripides, as Conze proposed, or Zenon, as Scharf 
 thinks ; for Homer, too, the characteristic traits are wanting. The 
 head a little recals the so-called Hesiod of the Braccio Nuovo, 
 no. 89, in the Vatican (Pistolesi, Vatzcano, iv. 23, 1). H. 1*14. 
 [* C, Scharf] 
 
 19 (not in the Gallery). Statue of a boy with a bird. 
 
 Clarac, v. 878, 2236. A half-grown boy, standing in repose, with 
 a small cloak flung round him, which covers the loins and part of the 
 1. arm, holds in the 1. hand a bird, which is apparently dying (an- 
 tique?). He raises the r. arm. The head, with a wreath of oak on 
 the smooth hair, is borrowed from another statue. According to 
 Clarac’s letterpress this would be the only alien addition ; the 
 engraving represents the r. hand also as restored. H. 073. Can 
 this be Dallaway, no. 9, “A statue of Trajan, when young”? 
 
 20. Statue of Antinous, colossal scale. Clarac, v. 946, 
 2430 A. Dallaway, no. r. It is a fairly exact replica of the Vatican 
 statue, Braccio Nuovo, no. 14 ( Mus . Chiaram. n. 39. Clarac, v. 
 947, 2430). Both statues, which are of about the same size, come 
 from Ostia. The Vatican copy was discovered in 1798 at Tor Bovac- 
 ciano (Fea, Viaggio ad Ostia , p. 48) ; the English example had been 
 found considerably earlier by Gavin Hamilton, and indeed not, as Fea 
 says, in 1788 near the Capanna de’ Bassi, but, according to Hamil- 
 ton’s own account, in the year 1772 near Porta Marina (Dallaway, 
 p. 377 [11. p. 129], cf. Lord Edm. Fitzmaurice, Academy , Aug. 10, 
 1878, p. 142, notej:). New on our statue : r. arm, 1. hand with the 
 bunch of ears of corn and poppies, the greater part of the lap full of 
 fruits, the feet, the lowest part of the support, and the pedestal. The 
 neck is inserted and the greater part of the head modern ; a piece, 
 however, comprising the chin with the 1. jaw, the under lip, the r. 
 cheek and a great part of the tresses, is antique and, as I believe, 
 originally belonging to the statue. (According to Dallaway and 
 Waagen the whole head would not belong to the statue.) While in 
 
5io 
 
 MARBURY HALL 21 — 24. 
 
 the Vatican statue the lap of the cloak, so far as it is antique, con- 
 tains roses, narcissuses, bell-shaped lotus and pears (Mus. Chiaram., 
 11. p. 86), and therefore suggests different seasons, in the antique 
 parts of the English statue only autumn fruits are contained, grapes, 
 plums, apples, quinces, a vine leaf. Both suit the conception of 
 Antinous as Vertumnus. The body exhibits the usual merely ex- 
 ternal polish of the sculptures of the period of Hadrian ; a polish 
 admired by a generation which saw true ideal art in this academic 
 elegance. Greek marble. H. 2 ’40. [*CIV] 
 
 21. Male torso, rightly compared by Conze with the Borghese 
 boxer in the Louvre. The torso, both thighs nearly to the knees, 
 a stump of the r. arm, which was considerably bent back, are pre- 
 served. The 1. arm with the whole of the shoulder is broken off, but 
 was presumably once stretched straight forward ; for the whole of the 
 upper part of the body is strenuously urged in this direction ; of the 
 legs, on the other hand, the r. is advanced, the 1. drawn back. A 
 chlamys is fastened on the r. shoulder, covers breast and back in a 
 narrow strip, and seems to have been bound round the arm instead 
 of a shield ( bracchium clupeatum cJdamyde). The development of 
 muscle is very powerful, especially on the beautifully curved back. 
 Pentelic marble. IT. ro6. [*C] 
 
 22. Torso of a Satyr. Only the torso with a tail, inclusive 
 
 of the shoulders and the stumps of both thighs, is preserved. This 
 however is sufficient to enable us to recognise in this specimen a 
 replica of the Satyr stamping the krupezion of the Florentine Tribune 
 (Clarac, v. 715, 1709. Muller- Wieseler, 11. 39, 462). For other 
 replicas cf. Matz-Duhn, Ant. Bildw. in Rom , no. 416; cf. also 
 Richmond, no. 42. Very good work. Apparently Italian marble. 
 H. 0-56. [*CW] 
 
 23. “A statue of Bacchus with a Faun.” Dallaway, no. 
 4. In the Catalogue there is no entry of the kind. Can there have 
 been a confusion made with no. 8 ? 
 
 24. “A statue of Vespasian.” Dallaway, no. 18; not in 
 the Catalogue. The statue is also mentioned in the Townley papers 
 (Bodleian Library, Oxford) as having been bought from Jenkins for 
 ^30 : “A Statue of Vespasian in a Consular Habit.” 
 
MARBURY HALL 25 — 36. 
 
 511 
 
 Busts. 
 
 I was not able to take more than a cursory survey of these 
 busts, which are for the most part of life size and of good or mode- 
 rate workmanship. Scharf’s notices too, which lie before me, give 
 but few details. 
 
 25. Hadrian. Modern. [*] 
 
 26. Antoninus Pius ; large life size. Dallaway, no. 20. 
 H. o 1 96. \fScharf~\ 
 
 27. Antoninus Pius ; very fine. [Schatf] 
 
 28. Marcus Aurelius. Dallaway, no. 19. About the same 
 size as no. 26. Bought from Jenkins for £ 80 (Townley Papers, 
 Oxford, Bodleian Library). \*Scharf~\ 
 
 29. Lucius Verus. Dallaway, no. 23. \* Sc harp \ 
 
 30. Aelius Verus. Dallaway, no. 20. According to Scharf, 
 
 more likely Commodus. \f Scharf ] 
 
 31. Septimius Severus. Dallaway, no. 22. Not quite so 
 large as no. 26. \*Scharf~\ 
 
 32. Unknown. Dallaway, no. 24. With short cut beard. [*] 
 
 33. ‘‘Pindar.” Dallaway, no. 27. It reminds me of Metro- 
 
 doros. [*] 
 
 34. Empress. Small size. Dallaway, no. 26, “Juno.” The 
 head-dress is peculiar. Stephanb over forehead. New : nose. 
 
 Scharf] 
 
 35. Satyr. Dallaway, no. 25. 
 
 Reliefs. 
 
 36. Puteal, representing Paris and Helena. Orlandi, 
 Le nozzc di Paride ed Elena , Rome 1775, Fol. Tischbein, Homer , 
 PL 5, 2. Millin, Gal. Myth., PI. 159, 541. Spec., n. 16. Miiller- 
 Wieseler, 11. 27, 295. Dallaway, no. 29. Cf. Jahn, Per. d. sacks. 
 Ges., 1850, pp. 184 f. Overbeck, Bildwerke, pp. 269 f. Stephani, 
 Compte-Rendu, 1861, p. 122. According to a letter from a Neapo- 
 litan in the Townley papers at Oxford (Bodleian Library) the relief 
 stood during two centuries and a half “ Neapoli in domo M. Comitis de 
 Matalona i?i ore puteiP In fact, an old drawing in the collection of 
 Mr A. W. Franks, Brit. Mus., London, shows the relief still enclosed 
 by a simple cornice at the top and a narrow listel at the bottom. 
 Dallaway observes : “ Formerly in the Columbran Palace at Naples. 
 The cup at the bottom and the cornice at the top, by which it 
 becomes a vase, were added when in the possession of Mr Jenkins 
 
512 
 
 MARBURY HALL 36. 
 
 about the year 1772.” Thus the marble became famous under the 
 name of the “Jenkins vase.” The genuine piece is 076 high, its 
 upper circumference measures 2 -46. Italian marble, spotted with 
 grey. Helena sits on a seat without a back, draped with chiton and 
 cloak, in the typical attitude of a modest bride, supporting the 
 lowered head on the r. hand, while the 1. holds a corner of the cloak 
 in the lap; her feet rest on a stool. (New: head, r. shoulder, 
 greater part of the r. forearm, the 1. hand and the wrist.) Beside her 
 sits Aphrodite, draped in a chiton, which has slipped down from r. 
 shoulder and breast, and a cloak, which also veils the head. She 
 looks at Helena, round whose neck she has laid her r. arm, and 
 points with her outstretched 1. hand to Paris. (New: nose, both 
 thumbs, and r. foot.) Opposite these two approaches Paris-Alex- 
 andros, in chlamys and Phrygian cap, under which rich curls issue 
 forth. His glance is fixed in admiration on Helena’s beauty ; the 
 1. hand laid on the breast gives expression to the same feeling of 
 lingering wonder. (New : face, r. forearm with hand, 1. hand partly, 
 a piece of 1. thigh and knee.) His r. hand is grasped by Eros, who 
 with wings outspread is striving with both hands to lead forward to 
 Helena the hesitating youth, at whom he looks up. (New : head, r. 
 arm and shoulder, 1. hand, and the two first toes of the 1. foot.) The 
 action of the Eros is considerably coarser than in a relief in Naples, 
 which exhibits essentially the same group, interpreted by inscrip- 
 tions, but throughout much more delicately, less unreservedly treated 
 (Winckelmann, Mon. Ined., PI. 115. Ahts. Borb., 111. PI. 40. 
 Millin, Gal. Myth., PI. 173, 540). Instead of the Peitho, who in 
 the Neapolitan relief sits on a high pillar behind Helena, in the 
 English relief are grouped three Muses together behind Helena’s back, 
 facing r. Next to Helena stands “ Polyhymnia ” leaning on a low 
 pillar in the attitude of well-known statues, quite enveloped in the 
 fine cloak. (New: nose, and 1. hand with roll.) “Euterpe” comes 
 after her, draped in chiton and cloak, blowing a straight and a curved 
 flute. (New : nose, little finger of r. hand and a great part of the 
 forearm, and the r. knee.) “ Terpsichorh ” or “Erato” comes last, 
 playing on an instrument, which in size resembles the lyre rather 
 than the cithara, but in shape and the way it is handled is more 
 like the latter. (New : nose, r. forearm with lower half of hand, and 
 half the r. foot.) The presence of the Muses is explained by the 
 similarity of the whole representation to a marriage ceremony : they 
 are raising the hymenaeal chant. Still they seem to be a later addi- 
 tion to the original composition (cfi, besides the relief in Naples, the 
 
MARBURY HALL 37. 
 
 513 
 
 Vatican relief in Guattani’s Mon. ined., 1785, Giugtio , PI. 1). In 
 a marble vase recently discovered in Rome, which repeats the same 
 scene, the group of the Muses is due to the restorer, who was 
 induced by a very faint remnant of a draped female figure to 
 introduce the three musical sisters of the Jenkins vase ( Bullett . della 
 commiss. arch, comun. di Roma , vm. PL 6 — 8, pp. 119 ff). Un- 
 happily our whole relief (it may be presumed, when being conformed 
 to the shape of a vase) has been considerably re-worked, so that 
 there is probably little of the original surface left. The draperies are 
 more dryly treated than the nude parts. Nevertheless it is a good 
 Roman work, of unusually high projection and considerable effect. 
 Between the heads of the figures there runs in thick, rough, and clumsy 
 letters, not however of bad shape, the following inscription, which 
 is presumably a later addition: GRAECEIA- PF- (head of Aphro- 
 dite) RVFA (wing) POMPON (wing, into which the N is partly cut, 
 and head of Paris), DIANAE (head of Terpsichore) LOCh (head of 
 Euterpe, whose knot of hair has caused the smaller figure of the H) 
 S- P- S* C- P- S. The interpretation of the inscription is difficult, 
 cf. Gruter, no. ion, 3. Orelli, no. 1450. Mommsen ( I.R.N. , no. 
 2589 and Ber. d. sacks. Ges., 1850, p. 1S5 note) gives the following 
 explanation: Gi'aeccia P(ubli) /(Ilia) Rif a Pompon(i ) Dianae , loc(o ) 
 h(oc) s(lhl) p(ennisso) s(ena 1 us) c(onsulto), p(ccunia) s(ua) ; where the 
 order loco hoc for hoc loco and the absence of a stop before H remain 
 strange. The late Prof. Wilmanns regarded the whole piece as a 
 sepulchral ara dedicated by Graeceia Rufa to Pomponia Diana, in 
 which her remains were to be laid (cf. Wilmanns, Exempla laser. 
 Lai., no. 315, 1 . 9, araque ponatur ante id aedificium ex lapide 
 Lunensi qnam optinio sculpta qnam optume, in qua ossa mea re- 
 ponantur. Janssen, Inscr. Mas. Lugd., p. 108, cuius ossa in ara 
 monumenti sunt, etc.). He knew no certain explanation of the 
 abbreviations. [*C IV, Scharf J 
 
 37. Attic sepulchral hydria, originally with three handles ; 
 foot and lid modern. In front a scene of leave-taking, in low relief, 
 carelessly executed. On a comfortable chair with back and curved 
 legs sits, facing r., the bearded Smikrias of Aphidnae (^MIKPIA^ 
 A 4 >IANAI 0 Z), with leg and back covered by the cloak, his feet set 
 on a stool. He holds out his r. hand to Theophile (® bD<t>IAH), 
 who, in chiton and cloak, stands before him ; she is not veiled. 
 Behind Smikrias, leaning on his chair, stands a female figure, also 
 unveiled, in chiton and cloak, in attitude of grief, her chin supported 
 in her 1 . hand ; behind Theophile a diminutive attendant in chiton 
 
 3 a 
 
 M. C. 
 
5H 
 
 MARBURY IIALL 38—40. 
 
 only, a small box on her raised r. hand and another in her lowered 
 1. hand. Pentelic marble. H. of genuine piece 0-46, of figures o' 20. 
 It is very likely that this is the piece of which the Catalogue says, 
 “A Grecian Vase, by Apollonius”; as to this name, cf. Petworth, 
 no. 6. [*C] 
 
 38 (not in the Gallery). Fragment of an Attic sepulchral 
 
 stele ; only the upper half preserved. A female figure sits facing 
 r., Phanodike the daughter of Agatharchos. Relief not high. On 
 the upper border the inscription <I>ANOAIKHArA©APXO, the final O 
 standing for OY ; the stele therefore belongs to the first half of the 
 fourth century b. c. Breadth of the fragment 0-38. [C] 
 
 39 (not in the Gallery). Marble discus, on either side a well- 
 
 composed relief of ordinary workmanship. A. A slender, youthful 
 Satyr dances with light step to the r., the pedum in the lowered 1 . 
 hand, swinging in the raised r. hand apparently a torch ; a nebris 
 hangs over the r. arm. He looks back. Below the nebris, near 
 the 1. edge of the relief, a goat jumps up, turning back her face to 
 him. B. The Satyr, kneeling, with r. hand stretched out behind 
 and 1. hand raised, futuit capram, which stands quietly before him 
 looking round at him. To the 1. behind the Satyr a leafless tree, to 
 the r. a rock. Diameter o - 37- Thickness o'025. [C, Scharf ] 
 
 40 (not in the Gallery). Marble medallion, with the bust of 
 Menandros; MENANAPOC on the lower border. Dallaway, no. 
 28. Engraved and described by G. Scharf, Trans. R. Soc. Lit., Vol. 
 iv., new series. From the round frame the bust stands out quite in 
 full face. The breast is covered with a chiton, the shoulders also 
 with a cloak over it. Over the r. shoulder there is in the field an 
 open scroll meant for an inscription, but not inscribed. “The head 
 is the size of life and in very high relief. The face is delicate and 
 somewhat effeminate, the hair rather full and curled, the eyebrow 
 strongly marked, and the mouth full and pleasing. The nose is 
 delicate and the nostrils rather small, for although the tip of the nose 
 has been broken off and restored, enough remains to satisfy us on 
 these points.” Eyeballs indicated. Scharf takes this medallion to 
 be identical with that which passed from the possession of Fulvio 
 Orsini ( Imagines , PI. 33. Gallaeus, Jllustrium imagines, PI. 90) to the 
 Farnese family, and which Visconti got drawn in the Farnesina be- 
 fore the collection was brought, in 1787, to Naples (Visconti, Iconogr. 
 Gr., 1. PI. 6, 3, p. 1 1 7, note 3 Mil.). The work in cpiestion certainly 
 is not in Naples, but has disappeared, like the similar medallion of 
 Sophokles. Although, then, it is conceivable that it may have found 
 
MARBURY HALL 41 — 45. 
 
 515 
 
 its way from the Farnesina to Marbury Hall, still the difference in 
 the entire pose of the head, in the draping, in mouth and brow, in 
 age, and the absence of the pupils and the roll in the Farnese 
 medallion, are sufficiently remarkable to make its identity at all 
 events questionable. H. 0-55. L. 048. D. o’ 2 3. \Scharf\ 
 
 41. Circular pedestal. A fine round altar with two Centaurs, 
 one with syrinx, and the other playing the double flute ; a lighted 
 candelabrum between them. H. 1-07. Diam. 074. \_Schaif 1 \ 
 
 42. A round altar with pretty boys and garlands. On a round 
 shield the inscription : Apollini | sacrum. The whole monument 
 seems to be modern. \fScharf\ 
 
 43. Square Cippus, with the inscription Dis Manibus | M. 
 Iunio Phoebo , vix{it) ann(is ) xxv, \ Dps) M(anibus) \ M. Iunio 
 Anopteni (?), | vixit annis xxx \ m{ensibus) iiii, fecit \ Iunia Artemisia \ 
 coniugi suo | carissimo b(ene ) m(erenti). Below, a candelabrum be- 
 tween two griffins. [C] 
 
 44. Square Cinerarium. Inscription written in lines: DIs 
 Manibus | Iuniae Corintliidi | M. lunius Satyrpis ) | lifbertae) suae 
 benemerenti. Below, a female figure lying on a rock ; by her a boy 
 blowing on the syrinx, on the 1. a bird, on the r. a sleeping goat. 
 Quite low down a Cupid on the 1. seizes an overturned basket of 
 grapes, at which a hare nibbles, but is seized from behind by another 
 Cupid on the r. [ C ] 
 
 45. Square Cinerarium. Inscription : Dips') M{anibus) \ M. 
 VIpio Aug{usti) libprto) \ Clementi Vlpia M. /{ilia) | dement ina 
 
 filia | patri pilssimo fec(it). On each side of the inscription a winged 
 lion which has caught hold of on one side a ram’s head, on the other 
 a bull’s head. At the corners masks with large ears and horns of 
 Ammon, and below each a cornucopiae. [C] 
 
 “ Among the altars of quadrangular form are some of agreeable 
 and rich decoration.” Waagen. Conze mentions swans, Cupids, 
 rams’ heads, as ornaments of such sepulchral monuments. 
 
 On the proposition of Mr Scharf, the owner generously pre- 
 sented, in 1850, to the British Museum a Fragment of the frieze 
 of the Parthenon, which was then in his collection, namely the 
 upper 1. corner of slab xxxn of the North frieze (Michadis, Par- 
 thenon, PI. 13). 
 
 I leave unmentioned a number of miscellaneous antiques, 
 seen by Waagen and Scharf, mostly unimportant ; Conze notices 
 indeed a good mosaic with a mask. 
 
 UJ - 
 
5 16 
 
 MARGAM I, 2. 
 
 MARGAM (Glamorganshire, Wales). 
 
 Dallaway, pp. 346 ff. (11. pp. 93 ff.). Michaelis, Arch. Zeit., 1874, 
 pp. 48 ff. 
 
 The mansion of Margarn is situated in the middle of a beautiful 
 wood of oaks, above the picturesque ruins of the old Margam Abbey, 
 not far from the sea, and near two railway stations, Pyle (2 m.) 
 and Port Talbot, near Aberavon (3 rn.). The property has long 
 been in the possession of the old family of Mansel, since the middle 
 of the last century in that of the Mansel-Talbot branch. The 
 collection of antiques was made in the latter half of the last century 
 by Thomas Mansel-Talbot, Esq., having been entirely, or for the 
 greater part, bought from Gavin Hamilton and Jenkins. It was how- 
 ever, I know not why, left in the packing-cases during the greater 
 part of Mr Talbot’s life (Dallaway, Of Statuary , p. 344). The 
 marbles were at first placed in the Conservatory erected in 1787 
 (. Beauties of England and IVates, xvm. p. 706) ; lately, however, they 
 have been brought into the fine mansion built about thirty years ago, 
 and there disposed in “the Tower” (a staircase-hall proportioned 
 and roofed like a tower, and hence so called), on both sides of the 
 principal flight of stairs. The light is unfortunately insufficient, and 
 comes too much from above. Only two colossal statues (nos. 1 
 and 4) still stand in front of the Orangery; four busts (nos. 10, 11, 
 
 14, 15) have received a place of honour in the Library. The 
 
 numbering of the following catalogue is Dallaway’ s. Since his time 
 the collection had been quite lost sight of by antiquarian writers, 
 until I visited it in the autumn of 1873. 
 
 1 (Garden). Statue of Lucius Verus, colossal scale; cor- 
 responding to some extent to the Lansdowne statue, no. 63. The 
 head, which looks straight forward, has never been separated from 
 the trunk. The work, though not bad, still is rather empty, the 
 drapery especially poor. New: nose and upper part of head with 
 the hair, both arms, the stem of the tree by the r. leg for the most 
 
 part, the r. leg from below, the 1. from above the knee downwards ; 
 
 the cloak is considerably patched. Thasian marble. H. without 
 pedestal i - 96. [*] 
 
 2. Statue of a Roman in the toga (Tiberius). A good 
 statue of Carrara marble, with deeply but somewhat sharply carved 
 drapery, and with a sinus hanging down as far as below the knees. 
 The feet are clothed with soft shoes, of which the fastenings are 
 
MARGAM 3, 4. 
 
 517 
 
 indicated by light incisions. The toga, to judge by the absence of 
 the so-called umbo (a small bunch of folds near the waist) and by 
 the direction of its upper folds, was originally drawn over the head. 
 Conformably to this, a veil has been in modern times attached to 
 the beautiful, youthful head of Tiberius, of Greek marble, which is 
 connected with the body by an inserted neck. New also: nose, 
 many details of drapery, the 1. hand, the r. forearm with a cup, in 
 the interior of which is a copy of the celebrated Rondanini head of 
 Medusa. H. r88. From the Caraffa Collection in the Colum- 
 brano Palace, Naples; then in Jenkins’ possession. [*] 
 
 3. Statue of a Satyr boy, with the 1. arm supported on 
 a tree, holding the 1. leg before the r. (cf. Clarac, n. 296, 1670; 
 1671. iv. 703, 1673. 704 D, 1683 A. 705, 1676). New: r. arm, 
 half the 1. forearm with syrinx, nose, and a few trifling details. In 
 other respects the whole figure is in excellent preservation, the head 
 having never been broken off. It is a slender boy of full, soft 
 forms, near the age of adolescence ; the face, more childlike than 
 that of the so-called Periboetos, with full outline and free expression, 
 looks complacently with a slight inclination forwards, at the hands, 
 which probably have always held a flute. The disordered hair and 
 the brutish ears denote the Satyr, a tail is not to be found. The 
 treatment is decorative, but good and broad ; the thick skin, which 
 is tied in a knot on the 1. shoulder and passes slantwise over the 
 breast and 1. arm and then hangs down and covers the greater part of 
 the tree, is indeed of very good, picturesque effect. The boy, i’28 
 high, stands on a piece of rock, o - n high, by which is the stem of 
 a tree which reaches quite down to the pedestal. This, o - io high, 
 has a moulding in front. Fine, yellowish Thasian marble. FI. of 
 whole 1 -49. Purchased from the Barberini Collection through 
 Hamilton. [*] 
 
 4 (Garden). Statue of the drunken Herakles. With the 
 
 upper part of the body very much bent over backwards, and head 
 inclined forwards, he staggers with uncertain step. Both knees are 
 bent, r. leg advanced. The whole weight of the heavy body bears 
 on 1. leg. It is only with difficulty that the hero preserves his 
 equilibrium. The forms, always heavy, seem bloated by the wine ; 
 the feeble glance and protruded under lip admirably support the 
 impression of deep intoxication. The motive indicated by Dalla- 
 way, Hercules ebrius et ureticus , is so plainly expressed that the figure 
 might almost be thought to be meant for a fountain. Obviously the 
 conception was originally designed for bronze, cf. the bronze figure 
 
MARGAM 5. 
 
 5 18 
 
 in Parma {Mon. ined. dell' Inst., 1. PI. 44) and other similar monu- 
 ments (Stephani, Compte-Rendu, 1869, p. 158; 1872, p. 155. Archdol.- 
 epigraph. Mittheilungen aus Ocstcrreich, 1. p. 25, no. 84). In the 
 marble copy the effect is very much spoilt by the stem, covered 
 over with the lion’s skin, which has of necessity been joined on to the 
 1. leg as a support. The hair forms short, crisp curls, the beard is 
 equally crisp but longer. The face shows the influence of the 
 Farnese type, only that the expression is coarser and more powerful. 
 Though the execution is not uniformly delicate, the general effect is 
 good. New : top and back of head, nose (the front half of the 
 head had been broken off, but is antique), half the r. foot, and 
 both arms. The r. arm seems to be correctly restored with the 
 club (cf. Brocklesby, no. 112, and the statuette in Parma), the 1. 
 arm was always lowered and somewhat bent back, presumably in a 
 pose which served to facilitate the equilibrium of the body. A 
 puntcllo , of which a trace is visible on the 1. thigh, may have served 
 for the securing of the 1. hand or of an attribute. Pentelic marble. 
 H., without pedestal, iqjo. [*] 
 
 5. Statue of a youth. According to Dallaway, “ Dioscuros,” 
 or “ one of the Ptolemies.” The statue belongs to the series of 
 figures lately so much discussed, of the school of Pasiteles, one of 
 which in the Villa Albani is the work of Stephanos (cf. Kekule, 
 Gruppe des Menelaos, pp. 21 ff.). The motive and the characteristic 
 details correspond so thoroughly to those of the youth by Stephanos 
 {Annali del! Inst., 1865, PL D, Kekule, /. cit. , PI. 2, 3; Overbeck, 
 Plastik, 11. 2nd ed., p. 342) and to the Orestes in Naples (R. 
 Rochette, Mon. ined., PI. 23. Overbeck, l. cit., p. 343. Kekule, 
 /. cit., PL 2, 1), that a description is unnecessary. Particularly 
 characteristic are the small high head, with the face of a singularly 
 long oval, the deep hollow of the throat, the square shoulders, the 
 broad and very projecting breast, the flat but not archaically narrow 
 stomach, the slender thighs with neat knees, and lastly the powerfully 
 rounded back with a very deep hollow along the spine and with the 
 loins decidedly sunk in. Of equally powerful design are the nates 
 (cf. Conze, Bcitrdge zur griech. Plastik, PL 4 ; 6). The head had 
 been broken off, but it certainly belongs to the statue. New : nose, 
 under lip and chin, half the r. ear, sundry patches on the neck, 
 besides both arms from a little below the elbow, the private parts, 
 the 1. leg from a little above, the r. from a little below the knee, 
 the support, and the pedestal. In the other parts the preservation is 
 excellent ; the polish seems, to judge by some slight spots and corro- 
 
MARGAM 6, 7. 
 
 519 
 
 sions on the surface, to be antique; if modern, it has at any rate not 
 gone very deep. Only the eyes, which are small but not sunken, are 
 deeply corroded. The example is undoubtedly one of the best of 
 its kind, and is worthy of the place of its discovery : it was found in 
 1769 by Gavin Hamilton, together with nos. 9 and n, in Hadrian’s 
 Villa (Pantanello). The proportions (Arch. Zeit ., 1874, p. 50) agree 
 pretty well with those of the other copies (Ivekule, l. cit., pp. 22, 
 26 f.). Worked in very fine-grained Parian marble, apparently lych- 
 nite. H. i - 46. [*] 
 
 6. Statue of a boy, corresponding in general with the statues 
 
 in the Louvre (Clarac, in. 317, 1506) and in the Vatican (Clarac, v. 
 876, 2236 A. 878, 2239). The little lad stands in the most natural 
 awkwardness equally on both legs, and with an air of embarrassment 
 grasps with the r. hand the border of his thick shirt before the breast ; 
 the 1. forearm is bent forward, and the hand must always have held 
 something (the restorer has given it a bunch of grapes). It quite 
 gives the impression that the boy has been stealing ; in capital con- 
 formity with this idea is the head, which is a little bent down (the 
 whole neck, to be sure, is an insertion), with the half anxious, half 
 puzzled smile on the wide-stretched mouth. A ribbon runs through 
 the thick, curly hair. The whole motive is exceedingly pleasing and 
 expressive. The disposal of the little shirt is very neat ; it has slipped 
 down somewhat from the 1. shoulder, and at the same time is drawn 
 up from the r. thigh towards the 1. elbow, so that its lines all converge 
 to the 1. hand. By the r. leg is a support ; on both shoulders a 
 button on the shirt. New : nose, neck, 1. hand with the grapes, lower 
 part of 1. leg, r. foot, and pedestal. Greek marble. H. 0-82. [*] 
 
 7. Statue of a youth (“Ganymede”). Torso of a powerful 
 
 youth, of rather poor workmanship, with both shoulders lowered 
 (arms missing) ; half of the thigh of the 1. leg, on which the figure 
 rests, of the r. leg almost all the thigh, preserved. The head is 
 peculiar ; it is re-set, but certainly belongs to the statue. The 
 round forms and cheerful expression would suit a fresh young girl 
 far better ; the long hair is brushed up, and forms a top-knot on the 
 crown, and behind, a fairly long plait, of which the extremity is of 
 one piece with the torso. The glance is a little raised towards 
 the 1. The combination of this effeminate head with the powerful 
 body of a youth has a disagreeable effect. On thighs and shoulders 
 traces of modern restoration. New : nose, lips, chin, part of the 
 r. brow, and small patches. Thasian marble, very much polished. 
 H. 0-98. [*] 
 
520 
 
 MARGAM 8 — 13. 
 
 8. Fragment of a statue of Pan, the upper part of the body 
 of which is bent forward; the 1. arm was raised, the r. lowered; the face 
 has a crudely brutish expression. The whole fragment, which is much 
 broken, and patched and scoured to such an extent that the original 
 motive is hardly to be determined, conveys an unpleasing impression. 
 
 H. o-6o. [*] 
 
 9. Bust of Hadrian, head and neck. New : tip of the nose. 
 
 Corroded, but of good workmanship. Pentelic marble. Found in 
 1769 by Gavin Hamilton in Hadrian’s Villa; cf. Dallaway, p. 369 
 (11. p. 1 21). [*] 
 
 10 (Library). Bust of a noble Roman, a beautiful speci- 
 men, with lofty brow and short-cut hair, strong upper lip, and very 
 energetic mouth. Dallaway’s designation of “Solon” rests, as Millin 
 conjectures, on the likeness — a very slight one indeed — to a portrait- 
 head on a gem, the inscription on which (So'Xwvos) once used to be 
 erroneously referred to the original of the portrait (“Maecenas”) in- 
 stead of to the artist who engraved the gem (Visconti, Iconogr. Rom., 
 
 I. PL 13. Bernoulli, Rom. Ikonogr., 1. pp. 239 ff.). The breast- 
 
 piece, draped in tunic and toga, is cut away in the shape of a bust 
 and bordered below all along the front with a row of small acanthus 
 leaves ; below is the foot in the shape of an Attic pedestal (cf. 
 E. Pluebner, Bildniss direr Roemerin (Clyde), Berlin, 1873, p. 26. 
 Arch. Zeit., 1874, p. 138. 1877, p. 14). This splendid work of 
 beautiful Parian marble bears no trace of modern polishing, and is 
 quite uninjured excepting the nose, the chin, and the r. eye near 
 the eyebrow. It seems, according to Dallaway, to have come from 
 Hadrian’s Villa. H. 0-64. L. of face o - 2i5. [*] 
 
 11 (Library). Head of Sabina, with roundish indented 
 
 stephane, somewhat over life size ; much corroded and of common- 
 place workmanship. New: tip of nose, neck, and bust. Found at 
 the same place and time as no. 9. [*] 
 
 12. Bust of Antoninus Pius, a good specimen, of Pentelic 
 marble, with hair much undercut with the drill. Rather abraded. 
 New : tip of the nose and many details. From Hadrian’s Villa. [*] 
 
 13. Head of Athene, elegant, but rather insipid, of a latish 
 type, though the oval is not overdone ; a long plait of hair on the 
 neck. New: nose, upper lip, half of the under lip. The top of the 
 head missing. An antique bronze helmet of the high, so-called 
 Corinthian shape, ornamented in front with two rams’ heads, covers 
 the head. The nerk is antique and belongs to the head. Antique, 
 but not belonging tc head and neck, is the bust, with a very effectively 
 
MARGAM 14 — 1 6. 
 
 521 
 
 treated segis. The soft fleece covered with scales is arranged in folds 
 and bordered with snakes, the border on the 1. side being turned 
 over so as to show the back ; the gorgoneion is drawn up towards 
 the r. shoulder and from it the folds start, as though the skin were 
 held together by it as by a clasp. H. of the whole, to the girdle, 
 o'86. L. of face dp. [*] 
 
 14 (Library). Heroic head, of strongly exaggerated pathos, 
 allied in style to the Laokoon. Pose, eyes, and mouth recal the 
 so-called Dying Alexander in Florence, yet it is wrath rather than 
 pain which finds expression in the highly excited features with the 
 mouth slightly opened. The treatment of the hair is very much 
 ruffled. The eyebrows, which are much knit, are expressed in sculp- 
 ture ; on the cheeks is a slight down. It suggests the wrathful 
 Achilleus, though the excitement is more marked than in the well- 
 known picture from Pompeii with the leading away of Briseis (no. 
 1309 of Helbig’s catalogue): if the head does not appear to be 
 youthful enough, this may be due to the extravagance in the ex- 
 pression of character which is peculiar to this style. At any rate 
 the original belonged undoubtedly to the Hellenistic period, and 
 perhaps to the Rhodian school. It must have been a masterpiece of 
 the virtuoso style. New: nose and upper lip, and pieces of both 
 ears. Pentelic marble. H. of head and neck, o - 35. L. of face, 
 o - 205. It appears to be the so-called Hercules Agonistes, mentioned 
 by Dallaway, of the Mattei collection, purchased through Gavin 
 Hamilton. In fact the bust, A [on. Matth., 11. PI. 35, 1, “Incognitas” 
 seems identical with our head ; though, to be sure, the engraving 
 would be unusually mistaken even for that publication. The head 
 has actually no bust. [*] 
 
 The following specimen is not mentioned by Dallaway : 
 
 15 (Library). Head of a Roman child, roundish and 
 pretty, with long hair ; of commonplace workmanship. Pupils and 
 eyebrows expressed. The bust shape seems to have been arranged 
 subsequently. New: tip of nose. Life size. [*] 
 
 For the sarcophagus mentioned by Dallaway, no. 18, cf. under 
 “ Penrice Castle.” 
 
 In the Tower there stand, in addition to the sculptures, two 
 painted vases (Arch. Zcit., 1874, p. 51) : 
 
 16. Hydria, C44 high, with black figures. On the principal 
 field the departure of a youth on a quadriga ; on the neck a battle 
 scene ; below, a Seiren between two figures in cloaks. 
 
522 
 
 NARFORD HALL. NEWBY HALL. 
 
 17. Amphora with red figures, of beautiful style, but ordinary 
 execution. On both sides a procession (ku/j-os) of four men in all, 
 one of whom plays the flute. 
 
 NARFORD HALL (Norfolk). 
 
 The apparently inconsiderable collection of antiques which is to 
 be found at this country seat of the Fountaine family appears to owe 
 its origin to Sir Andrew Fountaine, the celebrated connoisseur 
 (1675 — 1753), who travelled in Italy at the beginning of the last 
 century (cf. Introd. § 33). Pulszky {Arch. Anz., 1854, p. 472) de- 
 scribes a consular diptychon, of the middle of the fifth century, 
 a.d., unedited. 
 
 NEWBY HALL (Yorkshire). 
 
 Dallaway, pp. 349 ff. (n. pp. 97 ff.). Clarac, hi. p. 62. Matz, 
 Arch. Zeit., 1873, PP- 22 ff* Michaelis, ibid. , 1874, pp. 51 ff. 
 Athenaeum , Nov. 16, 1S7S, pp. 630 f. (The author of this article 
 has partly made use of a memorandum written by me and sent to 
 Lady Mary Vyner.) I visited the collection in the autumn of 1873. 
 
 Newby Hall is one of the estates belonging to the Grey family 
 and is situated nearly three miles south of Ripon. The collection 
 was made by William Weddell, Esq., who visited Rome about 
 a.d. 1765, and employed his leisure there in collecting antiques. In 
 the export warrants {lettere di /asso) from the papal chamberlain’s office 
 are specified under dates March 27, April 15, and May 17, 1765, 
 19 chests full of antiques and besides them the Venus (no. 20) as 
 exported by Giov. Dick, British consul in Genoa, and Guglielmo 
 Weddell (Gori, Archivio Storico etc. di Roma, 11. p. 216). Towards 
 the close of the last century Weddell died and left the collection 
 to a nephew, Lord Grantham, who was then a minor. From him 
 it came to the Earl Grey, and then to the present possessor, Lady 
 Mary Vyner, the daughter of Lord Grey. The antiques are 
 placed in three rooms built especially for them ; a square room at 
 either end with a small cupola room between, which opens with a 
 little portico into the garden. These rooms are decorated in the 
 taste recognised as antique towards the close of the last century. 
 The sculptures are still nearly all in their original positions. Lbifor- 
 
NEWBY HALL I, 2. 
 
 523 
 
 tunately, Mr Weddell, dying suddenly, left no memorandum as to 
 how he obtained the individual specimens. I am indebted to the 
 kind information of the present owner for the completeness of the 
 following catalogue, which gives the antiques as they are exhibited 
 now. 
 
 FIRST ROOM. 
 
 I (on the r. near the entrance). Statue of Seilenos. Clarac, 
 iv. 730 B, 1765 A. Dallaway, no. 4. The old Seilenos, with a dig- 
 nified expression, a fillet in his hair, stands resting his r. leg (beside a 
 pillar which serves only as a material support) on a mass of rock ; a 
 large wine-skin well filled rests on the 1. leg, and is sustained by the 
 god with his r. arm, while his 1. grasps the opening of the wine-skin. 
 The statue is a graceful composition, probably intended originally 
 to decorate a fountain. New: only the nose, 1 . hand with the 
 extreme edge of the wine-skin, both shins from the knees to the 
 ankles. H. roo. Similar statues are very common (see Schreiber, 
 Arch. Zeit., 1879, p. 68, note 7); one such, now in the Villa Albani 
 (no. 924), stood about the middle of the sixteenth century in the 
 garden of the Cesi Palace, in the centre of a colossal marble bowl 
 (now in the Torlonia Museum, no. 274; cf. Schreiber, ibid., p. 65). 
 ^M] 
 
 2. Statue of Priapos, of Pentelic marble. Clarac, iv. 
 710 B, 1729 B. Dallaway, no. 3. Clarac thought this was a “ jeune 
 Fannesse ,” Dallaway and Matz were nearer the mark in suggesting a 
 Satyr. Already Winckelmann, who saw the statue at Cavaceppi’s, 
 had hit on the right idea, cf. his letter to Bianconi of April 30, 1763 
 in Pea’s Storia dellc arti del disegno, hi. p. 258 ( Miscellanea , 1. p. 
 clxxxix.) : “ U11 Fauno , 0 Priapo giovane vagamente vestito da donna , 
 e in atto di ballare, alzando alquanto la lunga veste talare con ambedue 
 le mani, come usano le zitclle, die modestamente ballano. Ma ncl pin 
 bello di volere smentir il sesso principia a rizzarsi un Priapo smisurato, 
 die spinge in fuori la veste. La figura b di tre palmi incirca. (Cf. the 
 letter to Riedesel of April, 1763. Fea is in error in thinking that the 
 statue was ever at the Villa Albani, and there ridotta alia modestia 
 spianandogli la veste.) We may see that the designation Priapos is 
 more suitable than Satyr, or Faun, whether we look at the feminine 
 drapery (cf. Jahn, Bench te der siichs. Gesellschaft d. Wiss., 1855, pp. 
 236 ft. Rheinische Jahrbucher, xxvii. pp. 45 ff), or at the enormous 
 dimensions of that part of the body which is most characteristic in 
 the demi-god of Lampsakos, and which here strongly distorts the 
 
524 
 
 NEWBY HALL 3 — 6. 
 
 folds of the drapery. Nor does the head, which Clarac and Matz 
 considered as belonging to the figure, though decidedly of the Satyr 
 type, belie the explanation ; as the whole neck is an insertion, and 
 the head, although it is also of Pentelic marble, shows a somewhat 
 different quality (having blackish stripes), and is rather too large for 
 the body. New : both arms and both legs from below the drapery. 
 H. abt. o'6o. [*J/] 
 
 3. Group of Dionysos and a young Pan. Clarac, iv. 
 693, 1632 A. Modern. [*] 
 
 4. Statue of a Roman youth. Clarac, v. 966, 2486 A, 
 “ Geta pretendu.” Dallaway, no. 10. The youth wears a tunic and 
 toga and round his neck a bulla. There is no foundation for the 
 title Geta. New : both arms from the drapery onwards. [M] 
 
 5. Statue of Ganymedes. Clarac, hi. 410 B, 704 A. Dalla- 
 
 way, no. 1 1. This is a modern copy of a beautiful torso in Florence 
 which Benvenuto Cellini has restored as a Ganymedes, Uffizi, no. 
 308, copied with sides reversed in Clarac, in. 408, 704. [*] 
 
 6. Statue of Aphrodite, the so-called “ Galatea.” Clarac, 
 iv. 628, 1364 A. Dallaway, no. 12. The figure, which is very 
 delicate and graceful in movement, is balanced on the r. foot, 
 while the 1. is drawn somewhat far back. With her 1. arm she 
 supports herself on a dolphin, which has a small Eros on its back 
 and is plunging in the sea, holding a fish in its mouth. This accessory 
 and the undoubtedly Venus-like character of the head, which in the 
 copy at Ince (no. 36) is crowned with a stephane, convince us that 
 this is an Aphrodite, in spite of numerous other suggestions (Galatea, 
 Nereid, etc., cf. Bernoulli, Aphrodite , pp. 375 ff.). The arrangement 
 of the drapery is a little too artificial, it covers the whole of the 
 lower part of the body, is held fast under the hollow of the 1. 
 shoulder and then drawn up over the head, from which originally 
 an end of the drapery fell down again to the r. breast (cf. Ince, 
 no. 36). The numerous copies of the statue testify to its celebrity 
 (Bernoulli, pp. 372 ff.) ; in none of them unfortunately is the r. arm 
 preserved. In the copy at Ince the snout of the dolphin is per- 
 forated, showing that the whole piece was intended for the adorn- 
 ment of a fountain : undoubtedly that was the original intention. 
 The lissom form of the goddess inclined gently forward, her head 
 bent down, and a smile on her face that is rather at delight in her- 
 self, than of a sensual character, combined with the artistic arrange- 
 ment of the drapery — all perfectly suit the goddess of gracefulness 
 looking at herself in the water and rejoicing in her own charms. 
 
NEWBY IIALL 7—9. 
 
 525 
 
 The invention does much honour to the Hellenistic period (cf. Frie- 
 derichs, Baustebie , no. 596. Hettner, Bildw. zu Dresden , no. 88). 
 That the head belongs to the statue is shown by the direction of the 
 folds on the back of the neck. New : nose and chin, all the r. arm 
 and shoulder, r. breast and the corner of the veil grasped by the 
 hand, the 1. forearm and a part of the dolphin’s tail, the r. foot with 
 part of the pedestal, and finally Eros’ nose, great part of both wings, 
 his r. foot and the lower part of his 1. leg. The preservation of the 
 rest is good ; the execution rather commonplace. Coarse-grained 
 Parian marble. H. i’2$. [*M] 
 
 7. Portrait statue (“Epikuros”). Clarac, v. 844, 2128. The 
 motive is similar to the Demosthenes in the Vatican (cf. Knole, no. 
 1), but the statue is certainly not the great orator. The antique 
 head, which no doubt belongs to it, has a long beard, elderly features, 
 and a calm expression, not at all resembling the well-known counte- 
 nance of Demosthenes. The designation Epikuros current at Newby 
 is also very doubtful, but not so improbable as Clarac’s suggestion 
 that the statue represents Chrysippos. New : the whole of the r. 
 forearm, half the 1. forearm with the roll, the feet from below the 
 drapery, the scrinium. H. n8. [*Af] 
 
 8. Triangular pedestal. Cavaceppi, Race., in. PI. 53. This 
 pedestal was early copied by draughtsmen; in Cod. Coburg., no. 76 
 Matz = Cod. Pigh., no. 96 Jahn ; on two sheets at Windsor (Dal 
 Pozzo collection, vol. vii. 54, 55), the sides a and b are drawn. On 
 each of the three sides is a figure moving to the r. : (a) a Maenad, 
 nearly nude, with a tympanon ; (b) a Satyr blowing a flute ; (c) a 
 Satyr with pedum and outspread nebris. These figures as well as 
 the other ornaments often reappear on such decorative monuments. 
 It is a specimen of the so-called Neo-Attic art, with unusually flat 
 treatment of the relief. Pentelic marble. [*Rf] 
 
 9 (on no. 8). Colossal head of Herakles. Dallaway, no. 14. 
 It is of the Farnese type, most nearly related to the head at Basle 
 {Mon. delV Inst., vm. PI. 54; cf. Anc. Marbl. in the Brit. Mas., 1. 
 PI. n), but belongs apparently to a somewhat earlier period: the 
 expression is calmer, more moderate, with a look of thoughtfulness 
 rather than of pain ; the beard is rounder, the curly short hair lies 
 closer to the head. Nose and forehead are powerfully developed, 
 the ears resemble those of a pankratiastes. The original movement of 
 the head cannot be determined, as the head itself has been broken 
 short off near the beard, and the neck is new. A narrow, plaited, 
 rather flat fillet passes through the hair. New : upper part of head, 
 
526 
 
 NEWBY HALL 10— I 5 . 
 
 tip of nose, parts of r. ear and of r. eyebrow. L. of face, including 
 the beard, 0-28, from the part where the hair begins to tip of nose, 
 0-155. Greek (Parian?) marble. Good, but not particularly fine 
 work. [*M] 
 
 IN THE DOORWAY. 
 
 10, ix. Two urns. 
 
 SECOND ROOM. 
 
 12 (by the garden door). Head of Minerva, in Parian marble, 
 the casque and back part of the head restored. Dallaway, no. 16. 
 
 13. Female draped statue. Clarac, v. 888, 2274 O. Dalla- 
 way, no. 9, “ Faustina.” In all essential parts the statue is antique : 
 so is the head with the wavy hair that has been joined on to it, but it 
 is not at all certain that this head originally belonged to the figure. 
 Over life size ; conscientious but uninteresting work. [*] 
 
 14. Colossal bust of Zeus. The most striking point about 
 
 this most peculiar head— which deserves that a good copy should 
 be made of it — is that it conveys the impression of mild resignation, 
 verging on sadness. The lips are gently parted ; the small eyes are 
 very deep set, particularly at their inner angles, and framed in 
 strongly marked lids (the lower lid resembles that of the Farnese 
 Hera, Mon. dell. Inst., vm. PI. 1) ; on the lower part of the forehead 
 are broad and somewhat strong protuberances ; the hair over the 
 forehead, an interlacing, tangled mass of curls, slightly shades the 
 brow. The hair, which once fell on the shoulders, the mustaches, 
 and the beard, which gets narrower towards the bottom and then 
 ends straight, hang down heavily and so serve to strengthen the 
 above-mentioned impression. Right across the forehead is a narrow 
 furrow. A fillet passes round the hair. The peculiarly beautiful 
 original, which was the source of this clearly modernised copy, can 
 hardly, to judge by the character of the expression and the very 
 free treatment of the hair and beard, belong to a period anterior to 
 the fourth century, n.c. ; in fact the development of the forehead with 
 its marked protuberances might seem to indicate an epoch even 
 later than the younger Attic school, did not the general expression 
 militate against the assignation of so late a date. New : neck, nose, 
 part of mustaches, the back of the head and the curls on it. Pen- 
 telic marble. H. of the antique part 0-36. L. of face 0-22. [*M ] 
 
 15. A bust. 
 
NEWBY IIALL 1 6 — 20. 
 
 52 7 
 
 16. Statue of a nude male figure. Clarac, v. 869, 2210 A, 
 “ Gladiateur.” Dallaway, no. 8, “Brutus.” New: neck, r. hand with 
 dagger and 1 . arm. The thin head of true Roman type, with short 
 hair and beard, is antique but does not belong to the body. 
 Evidently it is this statue to which refers the sarcasm of H. Blundell, 
 Engravings of Statues , etc. at Ince, vol. 1., preface: “a Torso .... by 
 placing on it an austere head, and restoring the arms with a dagger 
 in one hand, became a Brutus, which was artfully contrived by Mr 
 Jenkins to suit certain people.” [*Af ] 
 
 17. Bust of Caracalla. Dallaway, no. 17. “A good, but 
 rather roughly finished sculpture, remarkable for the energy of the 
 expression. New: nose.” [Athenaeum] 
 
 18. Statue of a Muse. Clarac, in. 503, 1002 = 538 A, 
 1002 A. Cavaceppi, Race., 1. PI. 30. Dallaway, no. 5. The grace- 
 ful figure, robed in a chiton with sleeves and a cloak which conceals 
 the 1. arm and the legs, is sitting in a simple attitude of repose, rest- 
 ing her foot on a footstool. The body is of Pentelic marble. The 
 head, of Parian marble, has been re-set, but is no doubt that of a 
 Muse. The hair is encircled with a fillet and gathered up into a 
 knot. New: 1 . hand and forearm from the drapery, r. forearm and 
 elbow, with the llute, a piece let in to the 1. knee, the four larger toes 
 of the 1 . foot. Work of decorative style, but not bad. H. 1-22. 
 [*M] 
 
 19. Bust of Septimius Severus. “An expressive and 
 characteristic work, and a good specimen of its time. New: nose 
 and fore-locks.” [Athenaeum] 
 
 20. Statue of Aphrodite. Clarac, iv. 622 B, 1394. Spec., 
 11. PI. 13. Dallaway, no. 1. “The Venus” is rightly regarded as 
 the grandest specimen of the collection: it is one of the best ex- 
 amples of the type of the well-known Medici Venus (see Bernoulli, 
 Aphrodite , pp. 222 ff.), and therefore requires no description. The 
 peculiar ornaments of this copy are an armlet on the upper part of 
 the 1. arm, adorned all round with dolphins, and a slender vessel in 
 the form of an alabastron, on the top of which lies a flat shell. This 
 vessel is entwined by a heavily laden vine, about which two little 
 Erotes are climbing gracefully, plucking grapes, and a third (much 
 smaller) is collecting apples into a basket at the foot of the vine. 
 Grapes are hanging above over the edge of the vase. The history 
 of the statue is very remarkable ; it is given by Dallaway (/. cit . , 
 cf. J. Nichols, Illustrations of the Literary History , in. p. 278. 
 Dallaway, Of Statuary , p. 345) after the accounts of Pacili and 
 
528 
 
 NEWBY HALL 20. 
 
 Hamilton ; by Heyne ( Antiquar . Aufs., I. p. 140) after that of Casa- 
 nova ( Discorso sopra gli antichi , p. xxi.) ; and is alluded to by 
 Winckelmann in many parts of his works (cf. Werke, 11. p. 205 -- 
 Nachrichten , p. 38, and the letters to Wiedewelt of May 24, 1764, 
 to Riedesel of June 23, 1764, to Fuessly of June 19, 1765, to 
 Schlabbrendorf of June 22, 1765). Winckelmann calls the statue 
 the “Jenkins Venus.” From these authorities it appears that Gavin 
 Hamilton discovered the statue in the cellars of the Barberini Palace, 
 and in point of fact, an inventory of the Barberini Collection com- 
 piled in 1738 enumerates among the marbles placed in the ground- 
 floor of the palace “ una statua al naturale rappresentante una Venere 
 mida con tronco a! piedi, con diversi putti di bassi rilievi uva e frutti... 
 stimata scudi trecento ” {Do cum. ined. per servire alia storia dei 
 Musei d' Italia, iv. p. 48). Hamilton gave the statue to the sculptor 
 Pacili in exchange for some other marble. By Pacili it was re- 
 stored ; a head was added, and unfortunately the whole body was 
 smoothed over, and it was then sold to Jenkins for 1000 scudi. Ac- 
 cording to another account, Jenkins bought the statue for a hundred 
 sequins of Hamilton direct, while it was still without a head, and 
 had it restored by Cavaceppi. Any way Jenkins brought the statue 
 to light with its new head in 1764, without stating where it had been 
 discovered ; and asserted, as we learn from Winckelmann’s first 
 letters, that it had been found intact. In 1 765 Weddell bought the 
 statue of Jenkins according to Casanova for 16,000 scudi (about 
 £3,500), according to Heyne for £6,000; Dallaway gives the 
 purchase money at a different figure, and makes it, including the 
 cost of transmission to England, more than £1,000, or, as he says 
 in another place, ,£1,500. A story is current at Newby, that with 
 regard to the price inviolable silence was promised and observed 
 on both sides ; this circumstance would account for the enormous 
 difference of the above-given sums. In Winckelmann’s last two 
 letters the King of England is spoken of as the purchaser, but such a 
 statement was only a blind of Jenkins, or of Mr Weddell’s agent, to 
 ensure the export of the valuable specimen from the papal govern- 
 ment. Last, not least, it is a fact that according to the characteristic 
 Roman way of carrying on this trade in art, the custom-house au- 
 thorities were conscientiously informed of all repairs so carefully 
 hidden from the buyer, so as to lessen the duty on the permission 
 to export the treasure ; the value of which was then only assessed at 
 300 scudi, the same figure which had been set on it in the Barberini 
 inventory (cf. the entry in the Chamberlain’s Office registers as pub- 
 
NEWBY IIALL 21—2 
 
 529 
 
 > 
 
 lished in Gori’s Archivio storico &=c. di Roma , 11. p. 216: “1765, 
 17 viaggio. Gio. Dick per una staiua di mar mo alta pal mi 7, 
 figurante Venere del tutto nuda , di ottima maniera greca , con testa 
 riportata tion sua, braccia, gamba dritta, e piede sinistro , con I'intiera 
 base di moderno lavoro ; stimata scudi 300”). Parts really new: a 
 small portion of the curls, the r. arm from above the armlet, the 
 1 . forearm with the elbow, a piece of the 1 . half of the nates, the 
 lower half of the r. leg, the two first toes of the 1 . foot, small de- 
 tails on the Erotes, the outer edge of the pedestal. The head, of a 
 decidedly Venus-like character, but of less coquettish expression than 
 the Medici Venus, is of a whiter marble than the body • the face 
 is much rubbed down, so that the eyes have almost lost their 
 form (tip of nose new). The hair, even beyond the ribbon, has 
 been left nearly untouched, but almost all the rest has been en- 
 tirely worked over, which fact confirms Dallaway’s assertion that 
 a veil was originally over the head, and has been chiselled away. 
 There are holes in the ears as if for an ornament. The torso 
 with its fresh, virginal bosom and neck is the most beautiful part of 
 the statue ; the hips, not too prominent, quite suit the body ; the 
 back and the legs are graceful, but they have not the same finish. 
 There is a fine contrast between the yellowish, smooth body of the 
 goddess (though it be now somewhat too smooth) and the dull sur- 
 face of the marble vase. This is not at all re-worked ; the assertion 
 at page 17 of the Specimens that the front of this vase has been 
 restored, is quite a mistake. The marble is Parian of the most 
 beautiful quality. H. 1 *63 ; without the pedestal 1 '55. [*Jf] 
 
 21. Bust of a Roman lady, “having a fine portrait 
 like aspect. Very good. New: cranium, and back of the neck.” 
 \Athenaeum.] 
 
 22. Bust of Caligula as a boy, tolerably good. 
 
 23. Statue of Athene. Clarac, hi. 462 A, 888 B. Spec . , 11. 
 PI. 38. Dallaway, no. 2. The slender form of the goddess rests on 
 the r. leg ; a cloak which lies on her 1. shoulder falls round her 
 hips and thighs in handsome folds ; only at their upper edge, 
 especially on the 1 . hip, the folds are too crowded. The narrow 
 aegis, which has too formidable a complication of snakes, goes 
 slantwise from the r. shoulder across the r. breast down to the 1 . hip. 
 The r. arm, adorned with a bracelet, is advanced, and although it 
 has been broken in two places, it is undoubtedly antique (not new, 
 as has been asserted in the Specimens). In her outstretched palm 
 the goddess holds a pretty little owl. The statue is carefully and 
 
 34 
 
 M. C. 
 
530 
 
 NEWBY HALL 24. 
 
 freshly, though not very delicately, executed ; it is of Thasian marble 
 of very beautiful quality, whilst the head, which is too small for the 
 figure, is of Parian marble. A story, characteristic of Nollekens and 
 related by him, proves that in fact the head did not originally belong 
 to the body (J. Th. Smith, Nollekens and his times , 1. pp. 11 f.) : 
 “ Jenkins... had been commissioned by Mr Locke, of Norbury Park, 
 to send him any piece of sculpture which he thought might suit 
 him, at a price not exceeding one hundred guineas ; but Mr Locke, 
 immediately upon the receipt of a head of Minerva, which he did 
 not like, sent it back again, paying the carriage and all other ex- 
 penses. Nollekens, who was then also a resident in Rome, having 
 purchased a trunk of a Minerva for fifty pounds, found, upon the 
 return of this head, that its proportion and character accorded with 
 his torso. The discovery induced him to accept an offer made by 
 Jenkins of the head itself ; and two hundred and twenty guineas 
 to share the profits. After Nollekens had made it up into a figure, 
 or, what is called by the vendors of botched antiquities, ‘ restored 
 it,’ which he did at the expense of about twenty guineas more for 
 stone and labour, it proved a most fortunate hit, for they sold it for 
 the enormous sum of one thousand guineas ! and it is now at Newby 
 in Yorkshire.” (Dallaway, Of Statuary , p. 346, says £700.) The 
 head is superior to the body ; the delicate, sharply chiselled face has 
 not been touched, but the hair has been entirely worked over. On 
 the helmet are two holes for the plume. In the body the marked 
 projection of the r. hip strikes us as unusual for Athene, as also are 
 the very long legs, the upper part of the body seeming rather small 
 and insignificant. New : neck, 1. forearm and spear, some of the 
 snakes of the aegis, the forefinger on the r. hand and the tips of the 
 two next fingers, and finally part of the 1. wing of the owl, which is 
 very nice with its full head. The r. hand is pretty, but Clarac is 
 extravagant in his admiration when he styles it “ la plus belle main 
 antique que je connaisse.” H. i - 8o, with the pedestal i‘88. An 
 exact replica in bronze, about o’ao high, is to be found at Erbach in 
 the Odenwald, Hesse ; it has a similar head, with the so-called 
 Corinthian helmet ; the 1. arm is lowered and holds no lance, but the 
 fingers of the hand are bent in a right angle and directed towards 
 the thigh, as if something had been held in the hand. [*11 / ] 
 
 24. Head of Alexander, of pavonazzetto marble. Dallaway, 
 no. 18. Modern, [d/] 
 
NEWBY HALL 25 — 28. 
 
 531 
 
 PORTICO FACING THE GARDEN. 
 
 25. Colossal female head, akin to heads of Aphrodite, 
 reminding one a little of the colossal head, Brocklesby, no. 15. There 
 is much in it to suggest good though already partially degenerate 
 Attic art. Forehead high, and surrounded by simple but beautiful 
 wavy hair (like that of the Amazon statues), cheeks and chin round 
 and broad, eyes comparatively small, lips unpleasantly full, neck 
 powerful. Nose only restored. [*J/] 
 
 26. Colossal female head. Not in such good preservation 
 as no. 25, for only the neck and face are old, and the rest of the head 
 new; the nose also is new. It has, like no. 25, large cheeks and 
 chin, but the mouth and the expression of the eyes are more grave, 
 and this harmonises well with the form of face, which is better defined 
 and less indistinct than the other. The effect is heightened by a 
 turn to the r. given to the head. I cannot venture to suggest any 
 certain designation. [*M ] 
 
 IN THE DOORWAY BETWEEN THE SECOND AND THIRD ROOMS. 
 
 27. Statue of a boy. Chirac, v. 877 A, 2240 B. Dallaway, 
 
 no. 7. Leaning the 1. arm on the trunk of a tree, stands a boy, with 
 his legs crossed, a small cloak thrown over his arms and back ; the 
 restorer has probably been right in putting a flute in his hands. An 
 insignificant work. New: head and neck, both hands with the flute, 
 r. leg, three parts of the 1. leg, the lower half of the trunk of the tree, 
 and the pedestal. H. 0-64. [*] 
 
 28. Terminal figure of Eros. Cavaceppi, Race., 1. PL 40. 
 Clarac, iv. 639, 1448 B. M filler- Wieseler, 11. 56, 719. The body of 
 the boy is so effeminate in form, particularly about the r. breast, that 
 the figure was mistaken either for that of a female (Winckelmann, 
 Mon. ined., 11. p. 264, Cavaceppi), or of Hermaphroditos (Winckel- 
 mann’s letter to Bianconi of March 26, 1763 in Fea’s Storia, in. p. 
 256 = Miscell., 1. p. clxxxviii., Clarac, Wieseler); Matz was quite 
 right in recognising in it an Eros. New : head and neck, both arms 
 with their respective attributes, the wings excepting a stump of the 
 r. one, and part of the terminal pillar. A tolerably large skin is 
 thrown from the 1. shoulder slantwise across the breast. The torso, 
 which is antique, is delicate and pretty, and the free turn of the 
 body as it springs out of tire pillar, which shows an indication of 
 the two legs, is particularly graceful; the r. hip projects strongly 
 
 34—2 
 
532 
 
 NEWBY HALL 29—33. 
 
 backwards and outwards, the 1. shoulder is elevated and comes some- 
 what boldly to the front, the r. shoulder inclines backwards in an 
 analogous manner. The usual practice of giving terminal figures 
 a quiet pose and accommodating them, as it were, to their stiff shafts 
 is here abandoned, in consequence of a freer handling which would 
 suit the time of Tauriskos of Tralles, whose Hermerotes stood in the 
 park of Asinius Pollio (Plin. 36, 33), though it is not quite un- 
 heard of in more ancient monuments {Mon. ined. del! Inst., x. PI. 
 57, 1). A somewhat kindred character is shewn by an androgynous 
 terminal figure in the British Museum (Graeco-Rom. Sculp., no. 167. 
 Anc. Marbl., x. PI. 30. Miiller-Wieseler, n. 56, 708), which is how- 
 ever by no means so fine. According to Winckelmann’s letter the 
 marble appears to have been discovered in the year 1763 (“ Un altro 
 inglese domiciliato in Roma [Jenkins? Hamilton?] ha avuto la sorte 
 di trov are un Ter mine ,” &c.). H. from the crown of the head to the 
 pubes 0. 58. [*M] 
 
 THIRD ROOM. 
 
 29. A bust. 
 
 30. Bust of Augustus. Dallaway, no. 15. 
 
 31. Child’s sarcophagus. Dallaway, no. 22. A room is 
 
 represented by means of a curtain, and in it seven boys, all draped, 
 are playing with nuts (cf. Ince, no. 247 a). Two of them have just 
 fallen out, and a third is going to interfere in the quarrel; the others 
 are looking on, except one, who is still playing alone. On the 
 extreme r. is a terminal figure. R. end. One boy has his lap 
 already very full of things, and another boy is trying to put some 
 
 large object into it. To the r. is an arch of freestone. L. end. 
 
 A nude boy, looking round, is trying to rob another boy clad in a 
 tunica of eggs or nuts from his apron. On the 1. is ari arch. The in- 
 vention is almost throughout most graceful and simple, and except for 
 a general polishing, the whole is in an excellent state of preservation. 
 Below, a Lesbian kymation runs along. L. 0-96. H. 0-30. D. 0-44. 
 [. From a drawing made for the German Archaeological Institute .] 
 
 32 (on no. 31). Statuette of a barbarian. Clarac, v. 854, 
 2161 B. Black marble, nude parts of white marble. Modern. [*] 
 
 33. Statue of Apollo. Clarac, hi. 476 B, 906 D. Dallaway, 
 no. 6. The youthful god is standing with his legs crossed, his left 
 arm leaning on the trunk of a tree, his r. hand behind his back. 
 
 New : nose, part of 1. leg, almost the whole of the arms, and nearly 
 
 the whole of the trunk. The head has been re-set, but Clarac 
 
NEWBY HALL 34. 
 
 533 
 
 considered that it belonged to the statue. Much broken and 
 touched up. Very ordinary work. H. 1*16. [*] 
 
 34. Oval child’s sarcophagus, with Bacchic scenes sculp- 
 tured all round in the following order. 
 
 In the front between two lions’ heads is a representation that 
 reminds one strongly of the celebrated Casali sarcophagus (Vis- 
 conti, Mus. Pio-Clem., v. PI. C. Miiller-Wieseler, 11. 37, 432). 
 (a) Dionysos and Ariadne are sitting together on a rock. Dionysos, 
 half draped, holds in his left hand the thyrsos, and his right on his 
 head ; a panther lies at his feet. Ariadne, in cloak and chiton 
 and the nebris across her breast, has a tympanon, ornamented with 
 the head of Seilenos, in her left hand. Both are looking down at a 
 wrestling match in which Eros is getting the better of Pan (cf. 
 Welcker, Zeitschr. f alte Kunst, 1. pp. 475 ff. Friedlander, Annali, 
 1856, p. 34). Beside Ariadne is a Satyr with his right hand upraised; 
 beside Dionysos old Seilenos and a second Satyr. Below the lions’ 
 heads may be seen, (/) to the 1. a youthful Satyr extracting a thorn 
 from Pan’s foot, (b) to the r., Eros, playing with a lion; then on 
 each side comes a pedestal with a mask on it. There follow to the 
 r. (c) two Satyrs and a Maenad in lively motion ; on the ground is a 
 mangled fawn, a cista, two panthers; (e) to the 1. two Maenads and a 
 Satyr, who has rough hair and beard, a wreath round his breast, 
 and is dancing over a cista, out of which a snake crawls forth. 
 (d) In the middle of the back is a procession moving 1., in the van 
 of which we see an elephant, led by a Satyr ; the first of the panthers 
 mentioned above (c) is playing with its trunk. Then comes a dancing 
 Maenad; then a carriage drawn by a young and an old Centaur, the 
 old one defending himself with a torch against an Eros who has 
 sprung on his back with a torch and is teasing him ; a panther is 
 running along below the Centaurs. Dionysos lies at full length in 
 the carriage ; at his feet stands a woman nearly nude, with a sceptre, 
 to whom an Eros is talking. A tree forms a barrier here to the 
 bearded Satyr (e). This sarcophagus is very rich in excellently in- 
 vented scenes. Unfortunately it has been injured by water and 
 much restored in details. L. i’5o. H. o - 43. [From a drawing 
 made for the German Archaeological Institute .] 
 
534 
 
 NEWBY HALL 35 — 43. 
 
 35. Statue of a poet or a philosopher in sitting pos- 
 ture. Clarac, v. 903, 2304 A, “ Marius prctendu He sits as 
 comfortably in his chair as does the Menandros of the Vatican 
 (Mus. Pio-Clem., in. PI. 15), and only differs from him in the 
 movement of the 1 . arm and the want of a chiton. New: head 
 and neck, three parts of r. arm, half the 1. lower arm (a small portion 
 of the roll is old), r. foot from the ankle, three of the legs of the 
 chair. Fresh, but not delicate work. Pentelic marble. H. o - 53. 
 [* 4 /] 
 
 36. Bust, of basalt. 
 
 37. Large tub, of pavonazzetto marble, with fluted (modern ?) 
 cover shaped like an inverted basin of the usual double curvature. 
 
 Probably a bath. Dallaway, no. 21. Cf. Athenaeum, Nov. 16, 1878, 
 p. 631. [ M ] 
 
 38. Bust, of basalt. 
 
 39. Tripod with a cauldron. In the inside of the cauldron 
 may be seen a flat omphalos wrapped round by the usual woollen 
 fillets and entwined by the Pythian snake. The omphalos is almost 
 entirely new, but the restoration is certain. Under the cauldron is 
 a round, massive support, richly ornamented, on which four feet are 
 executed in relief. On Mr Weddell’s tombstone in the cathedral at 
 Ripon is represented this four-footed tripod, which he appears to 
 have considered as a conspicuous ornament of his collection. [ *M ] 
 
 40 (on no. 39). Ibis, the size of life. Cavaceppi, Race., 1. 
 PI. 50. Dallaway, no. 13. «■ 
 
 41. Triangular pedestal. Cavaceppi, Race., 1. PI. 4; drawn 
 already in Cod. Coburg., no. 70 Matz. (a) Woman with stephane, 
 holding sceptre and shield, sitting ; upper part of body nude. (b) 
 Victoria placing a helmet on a tropaeum. (A drawing of b is also 
 in the Dal Pozzo collection at Windsor, vol. 1. fol. 88.) (c) Victoria 
 with a palm branch and her r. hand upraised. The style of b and c 
 is an unpleasant, artificial archaism, the work not nearly so good as 
 that of no. 8. Pentelic marble. On this pedestal is placed Weddell’s 
 bust by Nollekens. [*M] 
 
 42. Bust of Lucilla. 
 
 43. Bust of a negro, of basalt. 
 
NEWBY HALL 44—49. OSBORNE I, 2. 
 
 535 
 
 PICTURE GALLERY. 
 
 44. Head of a Roman boy. Dallaway, no. 19. [ 4 /] 
 
 45. Head of a Greek maiden, connected with the so-called 
 Sappho heads. Inferior work. Dallaway, no. 20. [M] 
 
 PASSAGE. 
 
 46. 47. Two statuettes of barbarians. Clarac, v. 854, 
 2161 A, C. Two barbarians in chiton, hose, and cloak, standing. 
 No. 46 is o-8o high; — new: head and 1 . forearm. No. 47 is 0-84 
 high ; — new : head and both forearms. 
 
 ENTRANCE HALL. 
 
 48, 49. Two small reliefs, mentioned by Matz, p. 24. They 
 are modern. [*Af] 
 
 OSBORNE (Isle of Wight). 
 
 Catalogue of the Paintings, Sculpture and other works of art at 
 Osborne, London, 1876. 
 
 I have to thank Mr Doyne C. Bell, the author of the above- 
 mentioned Catalogue printed for the private use of Her Majesty 
 the Queen, for the information about the following antique sculp- 
 tures in Osborne, and for the permission to examine the photographs 
 which have been taken from them. The marbles were collected 
 within the years 1848 — 1854. 
 
 principal corridor. 
 
 1 (no. 379). Bust of “ Marcellus.” Life size. “Purchased 
 in 1854 from the Hertz collection.” \Pell.\ It is not to be verified 
 in the catalogue of this collection (1851). The head, which appears 
 to be the only antique portion, has very curly hair which nearly 
 covers the forehead and falls low down on the neck. The glance 
 is directed straight in front. Eyebrows expressed. New: nose and 
 bust with the sword-belt and drapery. Nomenclature by no means 
 certain ; the head looks rather like a Satyr’s head. H. o - 8i. [From 
 a photograph.\ 
 
 2 (no. 380). Statue of Aphrodite Anadyomene. Poor 
 woodcut in The Stowe Catalogue, by Henry Rumsey Forster, London, 
 
536 
 
 OSBORNE 2. 
 
 1848, p. 44, no. 697. The goddess, who is quite nude, rests on her 1. 
 leg, by which a dolphin serves as a support; her r. foot is somewhat 
 drawn back. She is arranging her long hair with both hands ; her r. 
 shoulder is a good deal elevated and the 1. lowered, the 1. forearm 
 however is raised. The head glances away towards the r. side of the 
 figure. The hair is even too abundant. The movement of the 
 figure is graceful and refined, but the work is said not to be of cor- 
 responding beauty. Unfortunately it is not easy to pronounce with 
 certainty on the restorations from the photograph. Both legs have 
 been broken close under the knees and the 1. leg a second time 
 through the calf; the lower parts of the legs are pjrobably modern. 
 There is a fissure across the upper part of the body just above the 
 bosom, which has the effect of making the head, the r. shoulder and 
 the r. arm and a considerable piece of the 1. shoulder, form a 
 separate piece ; whether this is only a fracture, or whether the parts 
 named are new, I cannot say. A great part of the 1. arm appears to 
 be new. One can only say decidedly that the part of the figure from 
 above the breast to below the knees is antique. “Found in ex- 
 cavating the baths of Agrippa at Rome, and brought to England by 
 the Marquis of Chandos [afterwards Duke of Buckingham]. After 
 having had the injuries it had sustained by the lapse of ages carefully 
 repaired, it was placed in an alcove prepared for it in the Music- 
 room [at Stowe]. Her Majesty the Queen, when visiting Stowe, in 
 January, 1845, expressed her admiration of its beauties in very warm 
 terms; indeed, the impression it made upon the mind of the Queen, 
 may be gathered from the fact that, when the melancholy news of 
 the fall of Stowe became known, Her Majesty commissioned Mr 
 Gruner to purchase the statue for her Royal Consort. The lot was 
 knocked down to Mr Gruner at 157 guineas. A curious story is 
 told of the manner in which the Prince first became "acquainted with 
 his possession of the statue. In the Morning Post of the day 
 succeeding the sale, the lot was described as purchased by Mr 
 Gruner for Prince Albert. The announcement being observed by 
 the Queen, Her Majesty handed the newspaper to the Prince, and 
 congratulated him on having made so valuable an addition to his 
 collection. His Royal Highness, having taken no step in the 
 matter, expressed his entire ignorance of the affair ; upon which the 
 Queen declared her knowledge of the circumstances, and requested 
 her Royal Consort to accept the work as a birthday present from 
 herself (26th August, 1848).” [Forster.] II. 1 ‘37. [ From a photo- 
 
 graph . ] 
 
OSBORNE 3 — 5. 
 
 537 
 
 3 (no. 485). Statue of Antinous, represented as an Egyp- 
 tian, standing in repose, his 1. leg in advance, both arms hanging 
 down by his sides. In either hand he holds a short staff. Round 
 Iris loins is an apron, the striped calantica conceals his hair and falls 
 down over both shoulders on to his breast. AVe recognise the Bithy- 
 nian youth by the mighty proportions, particularly of his breast, 
 while his features seem to be less characteristically expressed. Be- 
 side his r. leg is the trunk of a palm tree. It would be very 
 difficult to tell from the photograph whether there have been any 
 restorations. The statue is very like one from Hadrian’s Villa (Mus. 
 Capitol., hi. PI. 86. Re and Mori, Af us. Cap., 11. Sala grande, PI. 
 30). “Captured in 1806, by the ‘Imperieuse’ frigate, under the 
 command of Lord Cochrane, from a French vessel which had on 
 board a collection of curiosities belonging to the Emperor Napoleon 
 and King Jerome Bonaparte. This vessel was taken into Gibraltar, 
 and the cargo sold by auction. Some Gibraltar merchants, who were 
 under obligations to Mr George Ward, of Northwood Park, Isle of 
 Wight, purchased it and sent it over to him as a token of their 
 gratitude. At his death it became the property of his son, at the 
 sale of whose property, in 1850, it was purchased by the Queen.” 
 [Bell.\ Grey marble (bigio). H. 170. {From a photograph i\ 
 
 4 (no. 488). Female head, probably Bacchic (“Flora”). New : 
 
 nose and bust ; in fact the whole work is not free from suspicion. 
 A broad fillet passes across the forehead and disappears in the hair, 
 which is very curly and all brushed back. The hair is divided by 
 several deep partings, and in these partings have been left, unusually, 
 numerous pieces of marble to hold them together. On the very top 
 of the head is a wreath of flowers. Pupils expressed. The face is 
 feeble and much rubbed down. Purchased by the Prince Consort 
 in 1854. H. 0-50. [ From a photograph .] 
 
 5 (no. 516). Statue of crouching Aphrodite, in the well- 
 known attitude. The r. arm is elevated high, the 1. lowered but 
 then raised from the elbow-joint, and both hands are grasping her 
 abundant hair. The figure does not appear to be a particularly good 
 copy. The whole of the pedestal, both feet, r. arm, 1. forearm, and 
 even a portion of the hair are certainly new ; the head appears to 
 belong to the body but is by no means remarkable as regards ex- 
 pression. Purchased by the Queen in 1854 from the Hertz collection 
 ( Hertz Catal., p. 152, no. 8, “Parian marble”). II. 072. {From a 
 photograph .] 
 
53 § 
 
 OSTERLEY PARK. OXFORD. 
 
 LOWER CORRIDOR. 
 
 6 (no. 884). Bust of Lucilla. Small life size. The name 
 appears to be correct. Hair very wavy. Pupils expressed. Pretty 
 little head ; nose and bust have apparently been restored. Purchased 
 in Rome by Mr Gruner in 1854. H. 0-38. [From a photograph .] 
 
 OSTERLEY PARK (Middlesex). 
 
 Waagen, 2 Yeas., iv. p. 270. 
 
 Osterley is a country seat of Lord Jersey, near Hounslow and 
 north-west of Richmond. In the Entrance Hall of the mansion 
 Waagen found the following specimens: 
 
 1. “A Torso of an Athene, in Parian marble. Originally of 
 tolerably good workmanship, but now defaced by retouches and 
 restorations.” 
 
 2. “Torso of another female figure, also in Parian marble, 
 and of good workmanship, but in no better preservation than the 
 foregoing.” 
 
 OXFORD. 
 
 H. Prideaux, Marmora Oxoniensia, Oxf. 1676, fol. (Maittaire,) 
 Marmora Arundelliana, Lond. 1732, fol. (R. Chandler,) Marmora 
 Oxoniensia , Oxf. 1763, fol. (cited by the numbers, not by the plates; 
 wherever no Roman number is prefixed, the reference is to the first 
 part). Catalogue of the several pictures , statues and busts in the Picture 
 Gallery, Bodleian Library, and Ashmolean Museum, at Oxford, 
 Oxford, 1779. Volkmann, Reiseti durch England, <11. pp. 27 ff. 
 Dallaway, Anecdotes, pp, 245 — 263 (1. pp. 272 — 295). Spiker, Rcise 
 durch England, 1. pp. 22 ff. Waagen, Treas., in. pp. 50 ff. Conze, 
 Arch. Anz., 1864, pp. 167 ff Huebner, Arch. Zeit., 1866, pp. 302 f. 
 I examined the collections in 1S73 and 1877. 
 
 The University of Oxford owes the first elements of its collection 
 of antiquities to the famous John Selden (d. 1654), who bequeathed 
 to it his library and nine sculptures, which came mostly from 
 Smyrna and of which eight are ornamented with figures. Then fol- 
 lowed the gift of Henry Howard, afterwards Duke of Norfolk, who 
 in 1667 presented all the inscribed marbles still remaining of the 
 Arundel Collection (Introd. §21). Most of these came in like manner 
 
OXFORD. 
 
 539 
 
 originally from Smyrna and the adjacent islands and towns ; an 
 account of an important portion of them had already been pub- 
 lished in 1628 by Selden ( Marmora Arundclliana , Lond. 1628, 4to). 
 Smaller gifts of individual specimens, especially of inscribed stones, 
 were afterwards added by different persons connected with the Oxford 
 University. An account of the collection as it stood in 1676 was 
 published by Prideaux, and the sketchy treatment of it by Maittaire 
 (1732) was limited to the same specimens, although in the mean 
 time the well-known traveller, George Wheler, soon after his re- 
 turn from Greece (1676), had presented some inscriptions that he 
 had brought back with him, and had afterwards added to these a 
 considerable number of reliefs. Most of these marbles came from 
 Athens, where they had in fact been already collected by Consul 
 Giraud (Wheler , Journey, pp. 399 — 407). A further addition to this 
 division of the Oxford antiquities was made by Henry Dawkins, 
 who presented the collection made abroad by his brother 
 James Dawkins, the companion of Rob. Wood in his journey to 
 Palmyra; then by Thomas Shaw, who had travelled in Africa and 
 the Levant, and finally by Rawlinson, who had formed his collection, 
 in which there was certainly a good deal of rubbish, principally at the 
 Kemp sale (1721, Introd. § 28) and the Oxford sale (1742, Introd. 
 § 30), cf. Chandler, p. v. Other specimens had come to the 
 University by gift or purchase, of which the origin was not known. 
 All this collection was placed in the vicinity of the Bodleian Library 
 and of the Sheldonian Theatre, for about a century in the open air, 
 afterwards in one of the Schools. At the present day the greater part 
 of the inscribed marbles, either with sculptures or without, have been 
 let in to the walls of the Schools; the other specimens have been 
 placed in the basement of the Ashmolean Museum, which is close 
 at hand. Quite lately some marbles from Ephesos and Syracuse, 
 presented by Hyde Clarke, Esq. (1866), and a relief from Perga- 
 mon, the gift of the Rev. J. W, Burgon (1858), have been added 
 to the latter Museum. 
 
 Meanwhile the Countess Dowager of Pomfret, Henrietta 
 Louisa, had presented to the University in the year 1755 all, or 
 nearly all, the statues, busts and reliefs which her father-in-law, Lord 
 Lempster, had purchased in 1691 at Arundel House (Introd. §§ 22, 
 24). Lord Pomfret had employed an Italian sculptor, Guelfi, to 
 restore all the marbles which had not already been restored by the 
 direction of Lord Arundel (cf. below on no. 3), and Guelfi had done 
 it abominably. After this restoration they had been placed at Lord 
 
540 
 
 OXFORD, UNIVERSITY GALLERIES I. 
 
 Lempster’s country seat of Easton-Neston, where G. Vertue saw 
 them in 1734 (A Description of Easton-Neston, cf. above, art. Easton- 
 Neston). These sculptures, 135 in number, found a scanty home in 
 a small room of the Schools, till they were lately removed to the 
 magnificent University Galleries, built by Cockerell. In pursuance 
 of Mr Newton’s advice, Guelfi’s restorations have been done away 
 with for the most part, and therefore many specimens look essentially 
 different from the illustrations in Chandler’s work, which were drawn 
 and engraved by J. Miller in a style not always true to the original, and 
 published by the University in 1763 as a kind of catalogue of its 
 entire collection of antiques. Only a few specimens in the University 
 Galleries have been obtained from other sources, some from the 
 Rev. J. W. Burgon (1858) from the collection of his father, who had 
 been long resident in Smyrna, and some from Chambers Hall, Esq. 
 
 In the following catalogue come first the University Galleries with 
 the larger Arundel antiques of the Pomfret presentation (AP.), then 
 the Schools and the Ashmolean Museum, with the marbles specially 
 styled Arundel, bequeathed by Howard (AH.), and with various 
 other antiques, to which the names of the donors are affixed when- 
 ever they are known. Quite at the end follows the notice of a few 
 isolated specimens preserved in different places at Oxford. 
 
 University Galleries. 
 
 Handbook Guide for the University Galleries , Oxford, 1862, 1S65. 
 
 I have not taken the specimens in the order in which they are at 
 present exhibited, for the arrangement is so unworthy of the treasures 
 that it cannot exist long, but have placed the statues first, then the 
 busts and heads, and finally the reliefs. If in enumerating the re- 
 storations, I have omitted anything or made mistakes, my excuse 
 must be the darkness of the apartments, particularly of the basement 
 rooms, and the deep dust lying on great part of the marbles. 
 
 statues. 
 
 I will begin with a number of statues, some of which are certainly 
 and some probably of Greek origin, and which appear to have 
 formed part of W. Petty’s booty from Asia Minor (Introd. §§ iL i 5 )- 
 
 1 (AP.). Female draped figure. Chandler, 25. Clarac, iv. 
 560 B, 1294 C, “Venus.” The figure, draped merely in the simple 
 chiton, girdled under her bosom, is stepping with the r. foot forward, 
 
OXFORD, UNIVERSITY GALLERIES 2 — 5 . 
 
 541 
 
 so that round the r. leg the drapery falls in perpendicular folds. 
 The head is also inclined to the r. ; a broad fillet is passed through 
 the wavy hair. Both arms are lowered. Above the girdle a fissure 
 runs across, showing that the statue has always been put together 
 from two pieces. New: the advanced r. forearm and the elbow; the 
 1. arm is missing. Neck and head appear to be antique; tip of nose 
 broken off. H. i'47. [*] 
 
 2 (AP.). Female draped figure. Chandler, 28. Clarac, 
 v. 978 D, 2524 J. The figure rests on the 1. foot; the ample chiton 
 falls in rich folds about her feet. A large cloak of stuff so fine that 
 the chiton can be seen through it, and trimmed with fringe, almost 
 envelopes the whole body. The 1. arm is lowered, the r. rests on her 
 bosom. The hair is very wavy in front ; it is encircled by a tolerably 
 wide fillet, and forms a plait at the back. The shoulders and neck as 
 well as the head have been at one time sundered from the body, but 
 they are antique and belong to it. Missing : tip of nose, r. forearm, 
 1. hand and r. foot. H. 1-82. [*] 
 
 3 (AP.). Female draped figure. Chandler, 29. Clarac, v. 
 978 D, 2524 K. She steps slightly forwards on the r. leg, and the 
 head turns in the same direction. On the powerful form is a girdled 
 chiton, and over that an ample cloak, which covers the back and the 
 greater part of the legs, and falls double over the stomach. The r. 
 arm was raised and the 1. lowered ; the hand may have held the 
 cloak by the thigh. Almost the whole of both arms and the r. breast 
 are missing ; the feet are new. The head, which has a poor expres- 
 sion, is quite intact, and with the neck has been let in to the drapery; 
 it seems to be an addition of the restorer employed by Lord Arundel 
 (Introd. § 15, no. 36), and is at any rate far superior to Guelfi’s 
 restorations ; on the head-dress must be noticed an imitation of 
 enchased gems, a favourite device of Renaissance and Rococo 
 art. In parts much scoured away. H. 217. [*] 
 
 4 (AP.). Female draped statue. Chandler, 30. Clarac, v. 
 978 D, 2524 L. The figure rests on the 1. foot; the chiton has ample 
 folds, and the cloak is wide, thrown back over the 1. shoulder ; it is 
 carved so as to show the peculiar creases which are caused by the stuff 
 lying by for some time (as in the so-called Juno Cesi of the Capitol, 
 Mus. Capitol ., 111. 8). Surface in good preservation. The 1. arm 
 formed a right angle, the r. forearm was probably raised ; both are 
 now missing. Neck and head, with a stephane of unusual form, may 
 be ascribed to the same restorer as in the case of no. 3. IT 2 - i2. [*] 
 
 5 (AP.). Female draped statue. Chandler, 31. Clarac, v. 
 
54 2 
 
 OXFORD, UNIVERSITY GALLERIES 6 — 9. 
 
 978 C, 2425 B. The figure rests on the r. leg in somewhat self- 
 conscious pose, the 1. foot steps forward. The folds of the cloak, 
 through which the chiton may be seen (cf. no. 2), conceal the r. arm, 
 which is resting in front of the body, but the 1. forearm is freed from 
 the drapery and is raised towards the r. shoulder. Much corroded. 
 New: head and neck, 1. forearm. H. 2-03. [*] 
 
 6 (AP.). Female draped statue. Chandler, 32. Clarac, v. 
 
 978 C, 2402 A. The only portion that is certainly antique is the part 
 of the body below the bosom, which is much like no. 4. The upper 
 part of the body has been much broken, and seems to be quite new ; 
 there ■ is no doubt that this is the case with the long neck and 
 wretched head. Arms missing. H. 2-05. [*] 
 
 7 (AP.). Female draped statue. Chandler, 45. A woman 
 
 with her drapery girdled high up, her r. foot somewhat drawn 
 back. Her cloak conceals her back and legs, but not her bosom and 
 waist, below which it forms a twisted roll. A hollow has been 
 chiselled out for neck and head, but they and both arms are missing. 
 Cf. no. 12. Execution coarse. H. 0-84. [*] 
 
 8 (AP.). Female draped statue. Chandler, 46. This figure 
 
 is remarkable for its graceful movement and the web-like trans- 
 parency of the chiton (Coa vestis), which however is treated without 
 any exaggeration ; the 1. shoulder and the part of the bosom nearest 
 to it is quite nude. The cloak covers the back and legs, but leaves 
 the breast and greater part of the body exposed ; it is drawn up from 
 the r. thigh to the 1. hip, which stands out very much and on which 
 the 1. arm holds the drapery, thus forming a right angle. The r. arm 
 was raised. R. foot is somewhat drawn back. Missing : head, 1. 
 forearm, half the 1. foot; the rest has been much broken. New: 
 r. shoulder and stump of the arm. H. 1-24. [*C] 
 
 9 (AP.). Female draped statue. Chandler, 47. She stands 
 on the 1. leg and the r. is much bent. The cloak conceals her 
 back, all the r. side of the body from below the shoulder to below 
 the knee, including the r. breast ; from those points it is drawn in 
 converging lines towards the 1. hip, forming thus a triangle in front 
 of the body, and is there fastened under the 1. arm. Thus it can be 
 seen that the chiton has an over-fold which falls down as far as the 
 1. hip. The folds of the chiton can be seen through the cloak, the 
 material of which is fine (cf. no. 2). The arms were lowered, but 
 they and the head are missing. Coarse work, like that of no. 7. 
 H. no. [*] 
 
'OXFORD, UNIVERSITY GALLERIES 9. 
 
 543 
 
 These nine female figures all belong to the same style of art, 
 and correspondingly, are all made of the same species of Greek 
 marble. The workmanship of them is superficial, but the treatment of 
 the drapery, sometimes delicate and always fresh, is most pleasing, and 
 forms a strong contrast to the insipid uniformity of Roman decorative 
 sculptures. The different character of the perpendicular folds of the 
 ample chiton and of the slanting folds of the fine, transparent cloak, 
 which are treated in such an effective manner, is particularly well 
 carried out (cf. the terracotta figure in Naples, Chirac, m. 420 A, 
 727 A). The proportions are mostly somewhat long, the middle part 
 Of the body very massive, the upper part short and narrow ; in com- 
 pensation the postures are easy and good. There is a peculiarity 
 about the pedestal, which is an exceedingly low, irregular plinth, 
 following in shape the edges of the drapery and the position of the 
 feet, and is not smoothed ; the statues were evidently intended to be 
 placed on some separate pedestal with architectural mouldings. We 
 observe the same peculiarity in statues from Asia Minor (London, 
 South Kensington Mus., nos. 1, 2), whence I suppose Petty may 
 have obtained our statues too (cf. Introd. § n). They are examples 
 of the later Greek art (possibly of the last centuries B.c.) of Asia 
 Minor and her adjacent islands, more akin to Greek terracotta figures 
 than to Roman marble statues ; though Dallaway (p. 260) simply 
 mentions them as “ Roman Ladies ” (see the note referring to nos. 
 43 — 45). Exactly similar in composition and feeling for style are 
 the women on the reliefs of certain sepulchral monuments from 
 Smyrna (cf. nos. 89, 90, 204, 205). At one time there seem to 
 have been more statues like these belonging to the Arundel Collec- 
 tion, for on the occasion of Lord Petre’s excavation on the bank of 
 the Thames in Kennington (Introd. § 22), “they discovered six 
 statues, without heads or arms, lying close to each other ; some of a 
 colossal size, the drapery of which was thought to be exceeding fine. 
 When they were taken up, I was surprised to find sticking to some 
 of them a small sort of conical Babani, which convinced me they 
 must have formerly lain in the sea [cf. Introd. § 11].... These 
 trunks of statues were soon after sent down to Worksop, the seat 
 of his present Grace the Duke of Norfolk, in Nottinghamshire, where 
 they at present remain.” Thus writes, in 1757, James Theobald in 
 Ch. Howard’s Historical Anecdotes, London, 1769, pp. 104, 105 ; the 
 mansion of Worksop Manor was burnt to the ground with all its 
 contents in 1761 (Volkmann, Rcisen , in. p. 423). 
 
544 
 
 OXFORD, UNIVERSITY GALLERIES IO — 1 3. 
 
 Somewhat resembling these statues, yet differing from them in 
 many points, are a number of other statues (10 — 15) all of which 
 we may also consider with tolerable probability to be of Greek origin. 
 
 10 (AP.). Female draped figure, from a fountain. Chandler, 
 5. Clarac, iv. 634 D, 1294 A, “Venus.” The figure, resting on the 
 1. foot, with the r. leg drawn back, is robed only in a chiton of 
 the finest, most transparent stuff, which almost entirely clings closely 
 to the body. The few folds which come forth on the projecting parts 
 of the body, thus seem all the sharper and higher, rising as they do 
 to sharp ridges. The chief motive of the folds is caused by the 
 drapery having once been raised by the lowered r. hand in the 
 neighbourhood of the thigh. It would be difficult to find a better 
 example of effective treatment of transparent drapery. All the upper 
 part of the body from below the breast and the upraised mass of 
 drapery by the r. thigh are missing. The simply moulded pedestal 
 is however preserved, and on it is by the 1. foot the remains of a 
 square block, bored through perpendicularly for the reception of 
 a water-pipe, which may have discharged its contents through the 
 jaws of a dolphin, or some such object. Were not this figure some- 
 what too freely draped for such a personage, we might take it for the 
 nymph of the fountain. H. 0-97, with the pedestal, i - o4. [*IF] 
 
 11 (AP.). Female draped figure. Chandler, 10. Clarac, in. 
 
 410 H, 802 B, “ Flora.” The figure is standing, resting the 1. elbow 
 on the high trunk of a tree, with the 1. knee slightly bent. The 
 chiton is girdled very high under the bosom ; the cloak hangs from 
 the 1. shoulder and arm far down in front, is then drawn round 
 behind the back, and conceals the legs, the upper edge slanting from 
 the r. hip towards the 1. thigh, without being touched by the hands. 
 New: head and neck, and perhaps all that remains of the r. arm; 
 the 1. hand missing. The rest is not broken ; the round pedestal has 
 a rough moulding. The figure is altogether not delicately executed, 
 but has more freshness and individuality than the common Roman 
 specimens. H. 1*16. [* IF] 
 
 12 (AP.). Female draped figure. Chandler, 44 (too slim). 
 
 Same subject as no. 7; missing: head, three parts of the lowered 
 r. arm, half the 1. arm. Commonplace work, but still perhaps of 
 late Greek art. H. o - 66. [*] 
 
 13. Statue of a lady, in girdled chiton, sitting in a chair, 
 of which the legs are missing ; the support of the chair has the form 
 of a high basket ( kalathos ), like those which are often seen under 
 the chair of the mistress of the house. The r. foot rests on a 
 
OXFORD, UNIVERSITY GALLERIES 14 — 19. 
 
 545 
 
 footstool, the 1., further advanced, on the ground. Head, lowered 
 arms and r. knee missing. Very simple, but good, soft treatment ; 
 almost certainly Greek. Much corroded. H. 0-76. [*] 
 
 14. Sitting female figure. She is robed in a girdled chiton, 
 her thighs and the lower parts of her legs are concealed by her cloak; 
 both feet rest on a footstool. Head, arms, front parts of both feet 
 missing. Work much stiffer and less good than in no. 13, also more 
 injured. H. o - 8i. [*] 
 
 15 (AP.). Statue of a Roman in the pallium. Chandler, 
 
 38 (not slender enough). The r. arm, hidden in the cloak, is raised 
 in front of the breast, the 1. is lowered. Head and r. hand, also 
 the outer portion of the 1. forearm were put on separately, as the 
 dowel holes show; they, and the feet are now missing. Very simple 
 style, probably Greek. H. 1 - 6o. [*] 
 
 16 (Burgon). Statuette of a youth, in a cloak, standing on 
 the 1. leg, resting his 1. hand on his hip as Asklepios usually stands. 
 Head, r. arm and feet are missing. Much corroded. H. o'qo. [*] 
 
 17 (Burgon). Fragment of a crouching lion, only pieces 
 
 of the legs. H. 0-19. [*] 
 
 The following statues belong all, or nearly all, to Lord Arundel’s 
 Italian purchases : 
 
 18 (AP.). Statue of Zeus. Chandler, 1. Clarac, 111. 404, 
 
 692 A. The god is sitting on a rock, the upper part of his body quite 
 nude, his legs covered by his cloak ; the 1. arm is lowered, the r. 
 raised. The statue is insignificant and has been badly broken and 
 patched up. New probably : head, both arms excepting the junctions 
 with the shoulders, the feet and the pedestal. H. C94. [*] 
 
 19 (AP.). Statue of Athene, colossal scale. Chandler, 2. 
 Clarac, in. 472, 898 C. The chiton, which is girdled and has an 
 overfold, reminds us in the chief features of its arrangement of the 
 Parthenos (Michaelis, Parthenon , PI. 15). The goddess stands on the 
 r. leg, r. arm lowered, 1. raised. The aegis, composed of two parts, 
 is small; it hardly covers both breasts. New: the helmeted head 
 and the neck, upper half of r. breast and the r. arm, the 1. arm, 
 which was always raised ; both arms bear traces of supplementary 
 patching; spear and shield have recently been removed. The 
 Medusa, with raving mouth, and other parts of the aegis have been 
 re-worked ; the folds of the chiton have been patched in many 
 places. The work is purely decorative ; the r. leg is quite lost sight 
 of in the paltry management of the folds, the perpendicular folds 
 
 M. C. 35 
 
546 OXFORD, UNIVERSITY GALLERIES 20 — 23. 
 
 standing out only between the legs. On the outside of the leg are 
 two rows of zigzag folds, as in the Parthenos statue, but between 
 are perpendicular folds as if there were another garment under the 
 chiton. This appears to have been caused by a misconception of 
 the original idea on the part of the Roman workman who executed 
 this figure. H. 270. [*] 
 
 20 (AP.). Statue of Athene. Chandler, 3. Clarac, 111. 
 
 474 A, 899 E. Episcopius, Signorum vderum iconcs , PI. 91. Kraus, 
 Sign. vet. icones, PI. 48 (sides reversed). The composition is ex- 
 cellent, like the similar figure in Castle Howard, no. 4, and is neatly 
 and well executed, though without particular delicacy. The aegis is 
 without Gorgon’s head or scales, but on its edge are the remains of 
 snakes. On her back the plait of hair is visible. R. arm, neck and 
 head are now missing ; the head had been restored by Guelfi, and 
 already before that, according to Episcopius’ engraving, it had been 
 restored in a somewhat different way. The statue may be a Greek 
 work. H. 1 '32. [*C] 
 
 21 (AP.). Statuette of Athene. Chandler, 43. Clarac, 
 
 in. 474 A, 860 D. The goddess is very slender; her chiton, which 
 has an overfold, is girded very high ; it falls on the ground for a good 
 way round the feet, so that the lower part of the body preponderates 
 still more over the upper part. R. foot somewhat drawn back. R. 
 arm was raised, 1 . lowered. The aegis, divided, has a Gorgon’s head 
 and a slight indication of scales. Missing : head, nearly the whole of 
 both arms, r. foot. H. o '66. The figure stands on a pedestal of 
 elegant Renaissance style, cf. Chandler, 156. [* CIV] 
 
 22 (AP.). Statue of Artemis. Chandler, 9. Clarac, iv. 
 
 560 B, 1201 A. The goddess has her chiton girded twice, so that it 
 is lifted above her knees ; a peculiarity of this arrangement is that 
 the lower girdle passes, as the folds show, below the stomach, round 
 the hips (cf. Clarac, v. 809, 2029). A skin, which hangs from the r. 
 shoulder across the breast, is also confined by the upper girdle. On 
 her back is the quiver. On her feet high boots. The goddess is 
 very slender. The enormously long neck is new ; the head old, but 
 scarcely belonging to the statue ; of both lowered arms only a small 
 portion is preserved ; the dog by the 1. leg and the stout support are 
 new. H. 1 '45. With regard to composition, compare the statuette 
 in Dresden, no. 80, that has been so much restored (Clarac, iv. 562, 
 1203). [*] 
 
 23. Pedestal of a statuette of Artemis, about half life size. 
 Only the feet of the goddess, in the position of walking, are preserved; 
 
OXFORD, UNIVERSITY GALLERIES 24—27. 
 
 547 
 
 near the r. foot sit a boar and a dog, and in front of the 1. is the 
 remains of an animal whose species cannot be recognised. [*] 
 
 24 (AP.). Torso of an Amazon. Chandler, 17. Clarac, v. 
 
 808, 2038 A. The torso, now cleared from Guelfi’s abominable re- 
 storations, is all that remains. It is of the same type as the similar 
 statue at Lansdowne House (London, Lansdowne House, no. 83), 
 which is usually ascribed to Polykleitos. The wound, made with 
 one incision and about which are many drops of blood, may be 
 seen near the r. breast. Missing : head and neck, both arms, lower 
 parts of both legs, the r. from the drapery, the 1. somewhat deeper. 
 The work is ordinary, but it has not been re-worked ; all the details 
 in the construction of the several parts of the girdle, particularly the 
 clasp, are carefully imitated. H. it>4. [*C] 
 
 25 (AP.). Statue of Aphrodite. Chandler, 4. Clarac, iv. 
 
 634 D. 1392 C. Pricaeus, Notae in Apuleii apologiam , Paris, 1635, 
 p. 93. Torso of a statue in the position of the Medici Venus, of very 
 common-place work. Restorations by Guelfi : head and neck, r. aim 
 with the small piece of drapery in the hand, 1 . forearm. The legs 
 below the knees and the unusually plump dolphin are attributable to 
 an earlier restorer ; for they already existed, together with a different 
 head and different r. arm, in Arundel House, long before Guelfi’s 
 time, as is shown by Price’s engraving. H. 1-34. [*] 
 
 26 (AP.). Statue of Aphrodite. Chandler, 6. Clarac, iv. 
 
 634 D, 1392 D. The legs are concealed by the cloak, which is 
 arranged in a broad mass round the hips, then gathered into a 
 kind of knot before the lower part of the abdomen, falling then 
 between the legs in a richly composed mass of folds. The upper 
 part of the body is bent slightly forwards. Head and arms are now 
 missing ; in the back of the neck are remains of hair that once fell 
 there, but there is none on the shoulders, and there is just as little 
 trace of hands on the drapery. Sculpture good, life-like and fresh, 
 though not very refined ; the body is treated with feeling ; in some 
 parts the folds of the drapery are very deeply chiselled out. Surface 
 much corroded. Greek marble, apparently Parian. H. i’09. [*] 
 
 27 (AP.). Statue of Aphrodite. Chandler, 26. Clarac, iv. 
 
 634 D, 1294 B. Statue in the taste and composition of the Venus 
 Genetrix (Holkham, no. 23), draped in a transparent, ungirdled chiton, 
 which leaves the 1. breast and shoulder free, with a cloak which 
 falls over the lowered 1. arm, and was perhaps held by the uplifted r. 
 arm. Missing : head, r. arm and 1 . forearm. Ordinary sculpture. 
 H. o-8o. [*] 
 
 35 — 2 
 
548 OXFORD, UNIVERSITY GALLERIES 28 — 32. 
 
 28 (AP.). Statue of Leda. Chandler, 18. Originally this was 
 not a bad specimen of the oft repeated group (Overbeck, Kunst- 
 mythol., xi. p. 491), representing Leda, rising from her rocky seat and 
 pressing the fugitive swan against her body, while with her 1. hand 
 she holds her wide cloak as a shield from the pursuing eagle. (Cf. 
 London, Lansdowne House, no. 78.) Missing: Leda’s head and 
 neck, three parts of the 1. arm with pieces of the cloak, the r. arm, 
 and swan’s neck; the rest is much broken. H. i*io. [*] 
 
 29 (AP.). Statuette of Tyche. Chandler, 40. The figure, as 
 she sits enthroned, resembles in general the statue at Ince, no. 7. 
 A large portion of the cornucopiae in her 1. arm is preserved, but 
 nothing of the steering paddle. Missing : head and both hands ; 
 perhaps the r. forearm is new. Decidedly decorative sculpture. 
 H. o- 44- [1 
 
 30 (AP.). Statue of Hygieia. Chandler, 27. Clarac, v. 978 D, 
 2524 I (not good). The figure, resting on her r. leg, wears a simple, 
 girdled chiton with an overfold ; the small cloak, which hangs down 
 from her 1. shoulder, covers her back and r. thigh, and is then 
 drawn up in a narrow stripe towards the 1. hip. Noticeable is the 
 somewhat affected arrangement of the cloak, a piece of which is 
 drawn up by the r. thigh, and then laid over the edge of the cloak. 
 On the upper part of the r. arm the tail end of a snake is visible, 
 which guarantees the interpretation of the statue as Hygieia; cf. the 
 similar statues in Florence and Brescia (Clarac, iv. 553, 1x72. 560 A, 
 1174 A). On the front of the r. hip there remains a puntello for 
 securing the r. forearm, which held the snake: the 1. possibly held 
 the cup, from which the snake wished to drink. Missing: head, 
 r. arm from above the elbow, and half the 1. forearm. H. I'oa. [*] 
 
 31 (AP.). Statue of a Muse, sitting. Chandler, 7. Clarac, 
 111. 519, 1063 A. This is a replica of the Vatican “Terpsichore” 
 (Afus. Pio-Clem., 1. PI. 20. Clarac, in. 517, 1056), of decorative 
 work, back very slightly treated. The edge of the cloak, going across 
 the lap, is bunchy. Missing: 1. hand and half the 1. foot. Neck and 
 head, latter adorned with a stephane, have been let in and are per- 
 haps old (nose restored) but do not belong to the statue; the r. arm 
 appears to be new, on the 1. knee there has been some patching. 
 H. x- 3 2. [HP] 
 
 32 (AP.). Statue of a Muse, sitting (Kleio?). Chandler, 8. 
 Clarac, in. 498 A, 990 A. Episcopius, leones , PI. 98 (sides reversed). 
 Kraus, leones , PI. 47. On a chair that has no back and almost 
 perpendicular legs sits the Muse in girdled chiton and a cloak that 
 
OXFORD, UNIVERSITY GALLERIES 33. 
 
 549 
 
 conceals her 1 . arm and legs. The 1 . arm is supported stiffly on the 
 chair, and holds the roll which is a common attribute of Kleio: the 
 r. leg is thrown over the 1 . The upper part of the body leans to 
 its r. side and the neck is considerably inclined in the same direction, 
 showing that once the r. elbow must have rested on the r. thigh and 
 the r. hand have supported the head; the present arm, which is new 
 and has all the fingers in perfect preservation, does not touch either 
 the thigh or the head. New: r. foot and a piece of the drapery, also 
 the neck ; the head appears to be antique, but it cannot have origi- 
 nally belonged to this figure because the hair, unbound, now lies 
 horizontally instead of falling down. The 1 . foot stands 011 a foot- 
 stool, the whole figure, including chair and footstool, on a pedestal 
 with mouldings. The execution of the statue is only decorative, but 
 by reason of the motive the effect is good (cf. the “ Penelope,” 
 Clarac, v. 834, 2090). The figure was intended not only to be 
 placed against a wall, for the back is perfectly smooth, but in a 
 sloping corner, or against a sloping object, for only this supposition 
 can explain the extraordinary design of the pedestal. The engravings 
 
 a, chair ; b y footstool ; c, pedestal. 
 
 do not render this correctly, and they also do not give the legs of 
 the chair, which are almost perpendicular. The whole surface has 
 suffered much from rain. H. 1*23, with the pedestal, 1 '35. [*CJV] 
 33 (AP.). Statue of Skylla. Chandler, 132. Fragment of a 
 group. Upper part of Skylla’s body missing; behind we see the 
 remains of entwined fishes-tails which served her as legs. Below her 
 hips, vandyked, there issue forth, from the covering of leaves, the 
 foreparts of the bodies of three animals ; in the place of the r. leg is 
 a dog, in place of the 1. a panther, and in front between the two 
 a third with head and neck destroyed. Each animal is seizing a 
 nude man (a good deal injured). The ground is rocky. The exe- 
 cution of this very peculiar sculpture is only moderately good. Our 
 fragment has hitherto not received any notice at the hands of writers 
 
550 
 
 OXFORD, UNIVERSITY GALLERIES 34 — 37. 
 
 on the Skylla myth (see particularly Vinet, Amiali dell' Inst., 1843, 
 p. 1 99) ; for other representations in statuary of this subject cf. 
 Schone, Arch. Zeit., 1870, p. 57. (The Albani fragment treated by 
 Schone is now in the Torlonia Museum, no. 165, absurdly restored 
 as a Milon attacked by a wild beast, cf. Schreiber, Arch. Zeit., 1879, 
 p. 63.) Frohner, Musces de France, PL 28, 3. The description of 
 a bronze group, once in the Hippodrome at Constantinople, which 
 perished in 1204, may be compared, as it is given by Niketas 
 Choniates, p. 861 ed. Bekker, xai to dpxdiov xaxov, Trjv 2xv Wav, p-expi 
 plkv l^vos yvvaLxdiov eTSos Trpo(f>lpovcrav, xal tovto Trporevis xal VTrtpp.a'l<?>v 
 Kali p.eurov aypior^TO?, ra d cktotc Stecr^ic rp-ivov eis 6rjpa$ ipTrr/SiZvTaq 
 Trj to v OSucr crews vyl xai crv^vovs TtZv erat pu)v xaraf3po)(0 lt,ovTa%. H. 
 0-38. L. 073. [*] 
 
 34 (AP.). Statue of Hermaphrodites. Chandler, 34. The 
 torso corresponds exactly to the figure in Deepdene, no. 26. R. arm 
 was lowered. Missing: head, both arms, r. leg from the knee, 1. from 
 the middle of the thigh. The proportions of the figure are slender, 
 the bosom virgin-like, the waist narrow, the hips like those of a 
 woman, the distinctive male feature poor. Work soft, but not par- 
 ticularly good. H. 070. [*] 
 
 35 (AP.). Statue of Eros ? Chandler, 14. Clarac, iv. 763, 
 1876 A, “Harpocrates.” The boy is without wings and has a small 
 piece of drapery on his back; he is supporting his 1. shoulder on 
 an inverted torch which stands on a mass of rock; the r. arm is bent 
 upwards in front of the breast. New: head and the r. hand; the 
 fore-finger is laid on the mouth. It is possible that at one time the 
 eyes were closed and the head rested on the hand, so that the figure 
 represented Sleep or Death, cf. no. 36. Insignificant work. H. 075, 
 the pedestal (with mouldings) 0U2. [*] 
 
 36 (AP.). Statue of Eros. Chandler, 15. Clarac, iv. 650 B, 
 
 1504 A. In the well-known motive: the god supports himself on 
 his torch and rests his r. hand on his 1. shoulder, toward which his 
 head is inclined. Antique : body, without wings, the r. arm, both 
 legs, excepting the feet, the inverted quiver and bow fastened to it, 
 which serves as support to the r. leg, the chin, and part of the r. 
 cheek. New: the greater part of the head, the 1. arm and the torch, 
 both wings which are made out of one piece and let in, and the 
 feet. The poverty of the work is specially felt because the dimen- 
 sions are so big. H. 173. [*] 
 
 37 (AP.). Statue of Eros sleeping. Chandler, 49. Clarac, 
 iv. 644 B, 1459 F. He lies on rocky ground with flowers about him ; 
 
OXFORD, UNIVERSITY GALLERIES 38 — 41. 55 I 
 
 a lizard and a snail are crawling near his outstretched 1. leg. At 
 Eros’ head lies the quiver ; the head rests on the 1. wing. The 
 drapery by the shoulder belongs to a restored piece of the pedestal. 
 Missing: r. hand, a piece of the 1. arm, 1. foot. Very coarse sculpture. 
 L. 070. [*] 
 
 38 (AP.). Group of Herakles and the lion. Chandler, 13. 
 
 Clarac, v. 792, 1977 A. Herakles stands upright with his legs far 
 apart, and his 1. foot in advance. With both hands he presses the head 
 of the lion that confronts him, and is grasping the hero’s arms and 
 leg with his fore paws and r. hind paw. New: Herakles’ head and 
 neck, the 1. foot which is treading on the 1. hind paw of the lion, this 
 paw and half the leg belonging to it ; the lower part of Herakles’ 
 r. leg is missing. On the rock behind Herakles sits the nymph 
 of the locality, Nemea, in chiton and cloak. Her 1. hand is supported 
 on the rock, and in it she holds a wreath intended for the victor ; all 
 the upper part of her body is missing (cf. the same scene on the 
 large Albani marble cup, Zoega, Bassir., PI. 62). The work is 
 decorative, but not so bad as one might think from the engravings. 
 PI. o'8i, the pedestal (with mouldings) o - o7- [*] 
 
 39 (AP.). Statue of Herakles ? Chandler, 12. Clarac, v. 790, 
 
 1970 A. A pretty good youthful torso, resting on the 1. leg, with a 
 lion’s skin over the 1. arm, which is held so as to form a right angle. 
 The r. arm was raised. It has been very badly restored by Guelfi. 
 New: head, r. arm, 1. shoulder, lower part of the legs, and pedestal. 
 H. 1-25. [*] 
 
 40 (AP.). Statue of “Dionysos.” Chandler, n. Clarac, 
 iv. 678, 1580. The torso, completely nude, is certainly antique. The 
 god rests on his r. leg in a sinuous attitude, so that his hip projects 
 far out ; r. shoulder is lowered, 1. raised. (The movement may be 
 compared with that of the Satyr pouring out wine at Petworth, no. 6.) 
 The statue is placed so high that it is difficult to decide whether the 
 youthful upward-looking head, which is more like the head of a 
 young athlete than Dionysos, belongs to it or not; it appears however 
 to be unbroken. Already Winckelmann (Mon. Ined., 1. p. lviii) 
 was led by this head to doubt the correctness of the title Dionysos. 
 New : the uplifted 1. arm with the bunch of grapes, almost the whole 
 of the lowered r. arm with grapes and bowl, three parts of the r. leg 
 and the trunk of the tree, and the lower part of the 1. leg. Insigni- 
 ficant work, exaggeratedly praised by Vertue (p. 57). H. i - io. [*] 
 
 41 (AP.). Statue of a Roman in the pallium. Chandler, 
 19. Clarac, v. 900 E, 2312 C. The manner in which the 1. arm is 
 
552 
 
 OXFORD, UNIVERSITY GALLERIES 42, 43. 
 
 supported on the hip, is well known in statues of Asklepios, but the 
 arrangement of the cloak is different. The r. breast is bare. The 
 lowered r. arm is missing. New: head and neck, r. foot, and the fore 
 part of the 1 . foot. H. 1*47. [*] 
 
 42 (AP.). Male statue, nude. Chandler, 21, “ Antinous.” 
 
 Clarac, v. 970, 2438 B. A powerful man rests on his 1 . leg; beside 
 this a support covered with a chlamys ; the r. leg is slightly bent, 
 both arms lowered. Head very small and badly disfigured ; probably 
 new. It is difficult to decide whether more than the stump of the 
 1. arm and whether any part of the r. arm (in the hand remains of 
 an instrument, quite unrecognisable) is antique or not. The greater 
 part of the legs seems to be antique. The statue is completely 
 ruined. H. x'69. [*] 
 
 With regard to the discovery of the three following statues (43 — 
 45) Dallaway, p. 256, writes as follows : “ Lord Arundel, when at 
 Rome, procured permission to dig over the ruins of several houses, 
 and is said to have discovered, in subterraneous rooms, the following 
 statues, all of which are presumed to be portraits of a consular 
 family, and not of the distinguished characters to whom they have 
 been attributed, without enhancing their merit.” As Dallaway fur- 
 ther speaks of “so many” statues found together, he seems to suggest 
 that also “five Roman ladies, the size of life” (p. 260) were found 
 at the same place. These statues can scarcely be other than nos. 
 1, 2, 8, 9, 11. I have explained my reasons in the note on nos. 1 — 9, 
 why, in this case, I cannot think Dallaway’s statement to be exact. 
 
 43 (AP.). Statue of a Roman in the pallium. Chandler, 
 
 22, “Archimedes.” Clarac, v. 848 A, 2143 C. The statue is 
 much better than the engravings would lead one to suppose. The 
 position of the body, which inclines strongly to the r., gives life to 
 the figure ; the cloak, arranged in broad folds, is soft and ample, 
 executed in good decorative style. The upper part of the body, 
 from the cloak, is made of a separate block, to which genuinely be- 
 longs the youthful head (unbroken ; nose broken). The curly hair 
 is very superficially treated, in fact little more than suggested. The 
 features of the face give us the idea of a portrait, but they do not 
 resemble Chandler’s engraving at all. New : 1 . arm from the cloak, 
 with the square (yviop.un/, norma, which has procured for the statue 
 the name Archimedes, cf. Vertue, p. 58), which Chandler says is of 
 different marble, but that cannot be decided without cleaning; new 
 also the feet and the pedestal. PI. 2 - 2i. [ # ] 
 
OXFORD, UNIVERSITY GALLERIES 44 — 47. 
 
 553 
 
 44 (AP.). Statue of “ Marius.” Chandler, 23. Clarac, v. 
 900 E, 2304 B. Episcopius, Sign. vet. icones , PI. 74. The statue is 
 in excellent preservation ; head and neck have not been let in, but 
 put on with a sharp line of division; they appear to be antique, but I 
 cannot vouch for it. The face has no beard, the features are elderly. 
 The working of the drapery is very superficial and remarkably fiat, 
 not soft and rounded. Much extolled by Vertue (p. 58) ; also by 
 Horace Walpole, who writes July 21, 1753: “The Cicero (no. 45) 
 is fine and celebrated; the Marius I think still finer.” H. i - 82. [*] 
 
 45 (AP.). Statue of “ Cicero.” Chandler, 24. Cicero , ed. 
 Oxon., 1783, frontisp. This is a statue in a toga of very fine effect, 
 not executed perhaps very delicately, but powerfully and well, and 
 above all not done according to the received model, but having 
 larger masses of folds and many peculiarities in individual details. 
 Particularly striking is the fact that the so-called battens does not lie 
 horizontally in front of the body, and the toga does not rise from 
 it perpendicularly in a right angle to the 1. shoulder, but that the 
 toga, in the fashion of a pallium, goes from the r. hip slanting directly 
 to the 1. shoulder, and that in consequence in the place of that right 
 angle the small round bunch of folds (umbo) is missing, which other- 
 wise only is left out when the togatus is represented velato capite (cf. 
 the beautiful Vatican statue, Mas. Pio-Clem in. PI. 19; altogether 
 our statue bears a general likeness in style to this example). Just 
 as noticeable is the length and breadth of the sinus, which hangs half 
 way down the shin. New: half the r. forearm with the small piece 
 of drapery in the hand, the 1. hand with the roll, neck and head 
 (with closely shaven whiskers, but without beard and mustache; nose 
 restored). A wart (cicer) on the right cheek has been added by the 
 restorer in order to make the figure a portrait of Cicero. G. Vertue 
 (p. 57) observes naively, “Marcus Tullius Cicero, bigger than life, 
 
 with his handkerchief in his right hand ’Tis exquisitely fine ; my 
 
 lord [Pomfret] hath been bid three thousand pounds for this noble 
 figure.” Cf. also Horace Walpole to G. Montague, May 20, 1736. 
 July 22, 1751. H. 2 - o 8. [* fE] 
 
 46. Statue of a Roman in the toga, with many unusual 
 
 details in the arrangement of the toga, the folds of which are very 
 deeply undercut. R. knee much bent. Head that of an elderly 
 man, but with long curly hair. Nose restored, hands missing. Work 
 very effective, but the whole statue seems to be new. PI. 2 - 20. [*] 
 
 47. Statue of a Roman in the pallium, in similar style, 
 
554 
 
 OXFORD, UNIVERSITY GALLERIES 48 — 54. 
 
 but coarser execution. The material of the cloak is very thick, the 
 flow of the folds ample. R. hand lies before the breast, 1. arm is 
 lowered. The fingers of the 1. hand with a piece of the roll have been 
 restored, head and neck are let in. According to all appearance 
 this is likewise the work of a very clever modern imitator. H. abt. 
 2 'OO. [*] 
 
 48 (AP.). Statue of a barbarian. Chandler, 20, “Paris.” 
 
 Clarac, v. 834 B, 2161 J, “young Dacian.” A barbarian in a short 
 chiton, twice girdled, chlamys, and hose, stands leaning against the 
 trunk of a tree, his 1. leg crossed over his r. The youthful head in 
 Phrygian cap (nose restored) might possibly be antique, but is to be 
 attributed with greater probability to the older restorer (cf. on no. 3). 
 New : r. arm (at any rate the forearm), 1. forearm, legs from half way 
 down the shins. The interpretation as a barbarian is confirmed by 
 statues such as Clarac, v. 848 B, 2161 L. 854, 2161 C. 2162. Our 
 figure is certainly of coarse execution, but is better than one would 
 think from the engravings. H. 1 '30. [*] 
 
 49 (AP.). Torso of an Aphrodite. Chandler, 33. The same 
 tvpe as the Medici Venus. Missing: head, r. arm, 1. hand, lower 
 parts of both legs. Poor work. H. o - 53. [*] 
 
 50 (AP.). Male torso. Chandler, 35. The upper part of the 
 
 body is bent far forward and the 1. thigh is lifted high while the r. 
 stands upright; the position- therefore suggests a Satyr stamping a 
 krupezion, but there is no little tail at the back, and the body is too 
 powerful, too like Herakles. Missing: head, arms, legs, of which 
 only the stumps of the thighs are preserved. H. 075. [*] 
 
 51 (AP.). Torso of a youth. Chandler, 36. He is standing 
 very straight, resting on the r. leg, both arms lowered. Preserved: 
 torso, stumps of both arms, and both legs to the knee. Tolerable 
 work. H. o'6i. [*] 
 
 52 (AP.). Male torso. Chandler, 37. He is standing in a 
 pose similar to that of no. 51, but the 1. arm was more raised. 
 Preserved : torso, stumps of both arms and of r. thigh. The whole is 
 ruined. PI. C82. [*] 
 
 53 (AP.). Torso of a Roman in the pallium. Chandler, 39. 
 
 Noticeable is the very large three-cornered fold of the cloak in front 
 of the stomach. The breast is almost entirely bare. Missing : head, 
 arms and feet. Common-place work. H. 0-63. [* W ] 
 
 54 (AP.). Male torso. Chandler, 42. The torso is completely 
 draped ; a girdled chiton with an overfold reaches to the knees (not 
 lower) ; on the r. shoulder a chlamys is fastened, which leaves both 
 
OXFORD, UNIVERSITY GALLERIES 55 — 59. 
 
 555 
 
 arms bare, but covers breast and back. On the cloak in front just 
 above the girdle may be seen two holes intended to hold some 
 metallic object. The r. arm was lowered, the 1 . advanced horizon- 
 tally. By the r. knee are the remains of a support. The torso may 
 have belonged to the statue of a barbarian (cf. no. 48). H. 0-63. [*] 
 
 55 (AP.). Terminal figure. Chandler, 16. Clarac, hi. 542, 
 1136C, “Apollon en hermes.” Body of a youth with the chlamys 
 round his breast and back, his thighs disappear gradually in a square 
 pillar tapering towards the base where it has a border ; below this 
 the feet, placed close together, peep forth (this lowest piece is broken, 
 but old). The youthful head, apparently a portrait, seems to be 
 antique, and belonging to the body (nose new). New: r. forearm 
 with the syrinx ; 1. arm is missing, and no traces of a stump are to 
 be seen. Probably Greek marble. H. 172. [*] 
 
 56. Statue of a sphinx. Chandler, 167. The sphinx, with- 
 out the foot-slab, is high. H. 0-54. L. of slab 113. [*] 
 
 57. Statue of a sphinx, quite similar. H. 0-59. L. no. [*] 
 
 I have not seen the following specimen : 
 
 58. Statue of “ Apollo.” Chandler, 162. On a high column 
 (no. 130), as it had already been placed at Easton-Neston (Vertue, 
 p. 55), stands a male statue, without definite characteristics of an 
 Apollo. Legs and r. side of the body hidden by the cloak. The 
 figure leans against the stump of a column ; broken across the sto- 
 mach, without arms. If. 1 ' 59 - 
 
 busts. 
 
 In Chandler’s plates nearly all the busts are very badly repre- 
 sented, some of them so much so as to be quite beyond recognition. 
 
 59 (AP.). Female bust, “the Oxford Bust.” Chandler, 53, 
 “Sappho” (abominable). An engraving of it exists by W. Hollar of 
 the year 1645 (Vertue, v. 88. Parthey, no. 590). This bust is the 
 fragment of a statue, cut off below the girdle ; half the lowered upper 
 parts of the arms preserved. It is hollowed out behind to make it 
 lighter for transport. Unfortunately it is badly mutilated; not only is 
 the neck severed right through, but the head itself has been broken 
 in pieces. However all these pieces fit on to each other, only the 
 nose and a piece of the 1 . half of the forehead are missing. The 
 head is inclined gently towards the r. shoulder and the face is a 
 beautiful oval, with slightly sentimental expression. The lips, now 
 much corroded, were soft and round, the mouth beautifully formed, 
 the cheek broad. Unfortunately the eyes are badly worn; the lines 
 
556 
 
 OXFORD, UNIVERSITY GALLERIES 60. 
 
 of the brows are rather sharply defined. The rounded forehead is 
 beautifully framed in the wavy hair, which is encircled by a fillet 
 three times and then gathered into a plait at the back. Neck and 
 shoulders are treated in a simple, life-like manner, so is the bared 
 breast, which is strongly developed; all this part however is wanting 
 in details. It is very noticeable that the upper hem of the chiton, 
 which is drawn somewhat tightly from the 1. shoulder down- 
 wards straight under the r. breast, does not alter the form of the 
 breast ; it makes no indentation in the flesh, nor does it press up 
 the breast. The drapery is treated in a masterly way ; the small, 
 light folds on the upper hem, and the large loose folds which fall 
 partly over the girdle and also where the drapery falls unconfined, 
 are worked with equal skill ; the hollows are strongly rendered ; 
 the whole drapery is of most artistic effect and suitable to the 
 material of which the same is made. On the upper part of the 1 . 
 arm the chiton is fastened together with a number of small buttons. 
 The surface of the marble is now rough and granulous, the whole 
 statue having been much injured, and in parts much corroded. No 
 doubt many details have been lost, but the character of the sculpture 
 was always broad ; it is earlier than the period of Lysippos. The 
 great beauty of the fragment, which is probably a reproduction of a 
 design of the fourth century, has only lately been brought into notice 
 once more by Newton. Wieseler however exaggerates its merits 
 when he supposes it to be an original work of Praxiteles himself, 
 and I do not think he is right in declaring it to be a portrait of a 
 hetaira [Arch. Anz., 1859, p. 121); it appears to me at least that 
 the sensual allurement of such a portrait is wanting. The marble is 
 undoubtedly Greek, probably from Asia Minor or from the Islands. 
 H. o-66. L. of face o-i8. [*CW] 
 
 60 (AP.). Colossal head. Chandler, 81, “Apollo” (un- 
 recognisable) ; it appears to me questionable whether it is not rather 
 a female head. Unfortunately chin, mouth, nose, greater part of the 
 forehead, and much of the hair are new ; one can now only see that 
 a peculiar, comparatively early original is the foundation of the 
 design ; there is a preponderance of the lower part of the face, and 
 a line of the jaw which is peculiar to Peloponnesian sculptures. A 
 fillet passes round the hair, which bristles up over the forehead on 
 both sides and is then drawn back from the temples and wound 
 round the fillet (cf. R. Rochette, Mon. Incd., PI. 33, 5), falling at 
 last in a large heavy plait at the back of the neck. The exceedingly 
 poor execution of details shows that it was meant to be placed far 
 
OXFORD, UNIVERSITY GALLERIES 6l— 70. 
 
 557 
 
 from the eye. Chandler states that the statue belonging to this 
 head is probably buried under a house in Arundel Street, London 
 (cf. Introd. § 21). H. o'68. L. of face o - 46. [*C] 
 
 61 (Burgon). Terminal head of Dionysos, in hieratic style, 
 
 with rows of curls and a long beard, cut off straight at the bottom. 
 Pretty well executed. H. o - 27. [*] 
 
 62 (AP.). Head of Niobe. Chandler, 54. The hair is not 
 
 arranged in curls, but falls in a wide mass down the back of the neck. 
 The bust is intended to be let into a statue. Nose and upper lip 
 restored. To me the whole head appears very suspicious. L. of 
 face o 1 2 2. [*] 
 
 63 (AP.). Head of a son of Niobe, of the one who has sunk 
 on his knees (Welcker, Alte Denkm ., 1. p. 227). Chandler, 55. To 
 me the head appears modern. [*] 
 
 64 (AP.). Bearded head. Chandler, 50, “ Faunus.” Modern. 
 
 [*] 
 
 65 (AP.). Bust of an infant Satyr. Chandler, 51, “Fauna” 
 (unrecognisable). A child’s head with fat cheeks, brutish ears, rough 
 hair with wreath, and with a fillet falling down behind. The mouth 
 is slightly opened, showing the teeth. Tip of nose missing ; new be- 
 yond doubt is the nude, feminine bust, and the head itself is very 
 suspicious. Life size. [*] 
 
 66 (AP.). Beardless head. Chandler, 58. The beardless 
 head has a wreath of ivy in the rough hair ; can it be “ the busto of 
 Pindar the poet” which was shown to Vertue at Easton-Neston 
 (. Dcscr ., p. 59)? The head was not bad originally, but it has been 
 frightfully disfigured. New : great part of the forehead, nose, under 
 lip and chin, and the drapery. Life size. [*] 
 
 67 (AP.). Bearded head. Chandler, 59. The beard is 
 shaved short, the hair is less like a wig than would appear from 
 Chandler’s print; the expression is morose. Pupils expressed. New : 
 nose, and various restorations. Life size. [*] 
 
 68 (AP.). Bearded head, perhaps of Pupienus. Chandler, 
 60. The head very high, the long beard slightly parted. New: tip 
 of nose and bust. Much effaced. Over life size. [*] 
 
 69 (AP.). Head of Agrippa. Chandler, 98. In spite of the 
 coarse execution the characteristic features of the face, which is 
 turned sharply to the r., are net to be mistaken. Nose battered. 
 Over life size. [*] 
 
 70 (Rawlinson). Head of Domitian. Chandler, 99. Badly 
 injured, nose battered. Over life size. [*] 
 
553 
 
 OXFORD, UNIVERSITY GALLERIES 7 1 — 82. 
 
 71 (AP.). Head of a youth. Chandler, 56 (quite a failure). 
 
 Only the head with its rough curls, which reminds us a little of a head 
 at Madrid (no. 123, “Ares,” engraved in the Berichte d. sacks. Ges. 
 d. Wiss., 1864, Ph i)> is antique. New: nose, neck and breast. 
 Not bad sculpture. L. of face 0-17. Cf. on no. 113. [*] 
 
 72 (AP.). Head of a youth. Chandler, 62 (bad). Nose and 
 mailed bust new, all the rest so much worn as to be past recognition. 
 Life size. [*] 
 
 73 (AP.). Head of a youth. Chandler, 63. A poor head." 
 Head and neck only antique ; nose new. Small life size. [*] 
 
 74 (AP.). Female head. Chandler, 64. The hair, parted on 
 the forehead, falls down in rich curls by the cheeks, and low down in 
 the neck behind. The whole is badly rubbed. New : nose and 
 draped bust. Small life size. [*] 
 
 75 (AP.). Female head. Chandler, 65. A stout lady, well 
 advanced in years, with wavy hair that is plaited in a round coil at the 
 back. Pupils and eyebrows expressed. Much broken. New: part 
 of the hair, nose and upper lip, draped bust. [*] 
 
 76 (AP.). Female head. Chandler, 105. The hair has been 
 adapted for the introduction of a veil, which we may suppose was 
 new, and which is now missing ; so is the nose. Insignificant work. 
 Below life size. [*] 
 
 77 (AP.). Head of a girl. Chandler, 106. The head shows 
 a good design. Missing now : the 1. half of the back of the head ; 
 forehead and nose have been injured. The hair is drawn back from 
 the forehead and confined under a ribbon (not a plait) ; it is brushed 
 sideways over the ears. Over life size. [*] 
 
 Neither in the University Galleries nor in the Ashmolean Museum 
 have I observed the following busts belonging to the Pomfret Col- 
 lection. 
 
 78 (AP.). Bust of Aphrodite. Chandler, 52. 
 
 79 (AP.). Bust of an elderly man, with thin whiskers and no 
 beard or mustaches. Chandler, 57. New. 
 
 80 (AP.). Bust of a bearded man, with drapery on the 1 . 
 shoulder. Chandler, 61. 
 
 81 (AP.). Terminal bust, youthful, with long curls. Chandler, 
 9 1 - 
 
 82 (AP.). Bust of bearded old man, with bald head. 
 Chandler, 96. 
 
OXFORD, UNIVERSITY GALLERIES 83. 
 
 559 
 
 RELIEFS, &C. 
 
 We will take first those reliefs which are of undoubted Greek 
 origin. 
 
 83 (AP.), Greek measure. Chandler, 166. Annali dell' 
 Inst., 1874, PL Q, p. 192 (Matz). In a framed field in the shape of 
 a pediment, with corners truncated, is represented the upper part of 
 the body of a youth down to the muscles of the breast, both arms and 
 hands, which are stretched out to the utmost, and the head turning to 
 the r., so that the spectator sees the profile. The form of the head is 
 high ; the hair is little more than blocked out and looks something 
 like a cap ; the lower part of the face is disproportionately heavy, 
 especially the high chin ; a smile may still be seen on the mouth ; 
 the eye (much rubbed) seems to have been originally shaped as 
 though it were seen in full face ; finally the decided though not hard 
 expression of the muscular body, and the excellent and skilful treat- 
 ment of the low relief — all this shows us that our relief, as Matz first 
 recognised, belongs to the 5th century b.c., possibly to the first half of 
 it. The representation is completed by the relief of a 1. foot, seen 
 from the sole, over the r. upper arm. Two holes in the upper edge 
 show that this relief slab must once have been fastened somewhere, 
 presumably in some public place where the relief may have served as 
 a figured standard measure, a conjecture which has been made already 
 long ago, probably by Lord Arundel’s learned friends (cf. Vertue, p. 
 55). We may therefore suppose with certainty that the measure of the 
 foot and of the fathom (Jpywd) must be exact. According to my 
 measurements, which, considering the importance of the matter, I am 
 sorry not to have taken with still greater exactness, the length of the 
 foot is o'295, that of the fathom 2‘o6 (according to Conze, 2-07); the 
 latter consequently contains exactly 7 such feet ( ^2 - o65). Nowit is 
 known that a fathom was generally reckoned equal to 6 feet. More- 
 over, our foot is considerably shorter than the foot-measures which 
 were most in use in Greece (the Attic foot being = o - 3o8, the Samian 
 = o - 3i5, the larger Olympian foot = o - 32i, the Philetaerian = 0-35). 
 On the contrary, our foot shows a striking similarity with the Roman 
 foot of o' 296, the direct application of which however is excluded by 
 the epoch of our monument. The double problem thus stated has 
 been acutely solved by Fr. Hultsch, who first {Arch. Zeit., 1879, pp. 177 
 ff.) recognised in the foot of our marble a modulus used by architects. 
 He has since {Arch. Zeit., 1880, pp. 91 ff., Heraion und Artemision , 
 Berlin, 1881, pp. 21 ff.) pointed out that the recent excavations of 
 
56 o 
 
 OXFORD, UNIVERSITY GALLERIES 84. 
 
 Olympia have brought to light as the fundamental measure of most 
 of the Olympian buildings a “smaller Olympian foot” of 0-298 (of. 
 Dorpfeld in Die Ausgrabungen von Olympia, hi. pp. 26, 28 f.). This 
 foot, which is evidently identical with the foot of the Oxford relief, is 
 equal to two-thirds of the smaller Egyptian ell, which stands to the 
 larger or royal Egyptian ell in the proportion of 6 to 7 ; thus 7 of our 
 feet = 4 royal ells, i.e. one fathom, while the latter measure con- 
 tains also 6 larger feet. The chief interest of our relief lies in the 
 fact that it unites the fathom (which is the foundation of nearly all 
 antique foot measures) but slightly reduced (2-06 instead of originally 
 2 '10) with the smaller foot of 0 295 (similarly reduced from the 
 original 0-30). These two measures were already used together in 
 architecture in very early times ; the dimensions of the most ancient 
 of all the Olympian temples, the Heraion, for instance, are based on 
 a foot of 0-298 and a fathom of 2-084. The striking coincidence of 
 our foot with the later Roman foot is thus explained : the Romans 
 did not invent a new foot but merely adopted a measure long used 
 by the Greek architects. Unfortunately we know nothing of the 
 origin of our relief. We see by the marble that it certainly does 
 not come from Attica ; more likely from Asia Minor. (Mr Fisher, 
 curator of the University Galleries, called my attention to the fact 
 that, measuring only from the root of the fingers, or with arms and 
 hands outstretched but with the fingers closed, “from palm to palm,” 
 the exact length obtained is equal to six smaller feet, 6 x 0-295 = 1-77 
 m.) The relief is a good deal abraded and also broken by the r. 
 end, but the piece that is broken off has been preserved. Total 
 length 2 "io. H. 0-62. [*C] 
 
 84. Fragment of a frieze. Chandler, 149 (without style 
 and inaccurate). The relief is finished off above with a roundish 
 moulding (Ku/xartov), below by a square border; it is broken on the 
 1. end and terminated on the r. by a perpendicular joint. To the 1. 
 lies a dead man, nude, on the ground, and over him a youth, in chiton 
 and chlamys, with high boots and a “ Phrygian ” cap, gallops 1. on 
 his prancing charger. Then follows a nude youth, who has sunk on 
 his knees ; another youth standing behind him in flowing chlamys, is 
 seizing violently with both hands the upraised r. arm and the head of 
 his adversary, and is pushing his r. knee forcibly into his back, while 
 the adversary is trying with his 1. hand to free himself from the 
 1. hand of his assailant. No arms are visible in either of these 
 groups. Further to the r. a youth in a chlamys is pressing with 
 drawn sword upon a horseman, and he appears to be seizing his 
 
OXFORD, UNIVERSITY GALLERIES 85 — 88. 
 
 561 
 
 adversary’s prancing steed by the head ; the horseman, apparelled in 
 chiton and chlamys, cap and boots, is bending far forwards to 
 defend himself, so that a great portion of the upper part of his body 
 is hidden by the neck of his horse. The subject is evidently a fight 
 between Asiatics (in caps), some of whom are mounted, and Greeks. 
 The composition is lively and is divided into smaller groups, remind- 
 ing us of the frieze from the Athenian temple of Athene-Nike, which 
 is only a little higher in relief. The style is more like that of the still 
 lower reliefs of the frieze of the Lysikrates monument, but it is harder, 
 less interesting, and more affected. Relief not flat but rounded ; marble 
 yellowish, certainly not Attic. The fragment may belong to the 
 fourth, possibly the third century b.c. H. 0-41. L. iui. [' *CMW ] 
 
 85 (Burgon). Fragment of a relief. Above, the terminal por- 
 tion of a skirmish ■ a nude man lying on the ground, and the lower 
 part of a man in a chiton pressing him hard ; between them the 
 lower edge of a large shield, belonging possibly to a defender of the 
 fallen hero. Lower is a moulding (ky nation), and below that 
 again faint remains of a Greek inscription in two lines ; the first line 
 appears to end with the letters NA, and the second with A (Roehl, 
 Schedae epigraph., Berlin, 1876, p. 4, no. 8). The palaeographical 
 character suggests a good period. H. o - 42. L. C28. [*] 
 
 86 (AP.). Kybele. Chandler, 114. Square relief, simply framed. 
 
 The field is very deeply chiselled out, and on it is represented a 
 long bench, on which sits a veiled female figure, in full face, with 
 a lion (described by Huebner, Arch. Anz., 18 66, p. 303, as a suck- 
 ing child) right across her lap. One end of her cloak lies in broad 
 smooth folds across her body and falls sideways on the bench. The 
 feet rest on a footstool. It is a very rough variation of the Attic 
 reliefs of Kybelfe (nos. 131, 132, 159)- H. C51. L. o - 53. [*C] 
 
 87 (AP.). Votive seat of Archidamos. Chandler, 11. 13. 
 Marble arm-chair with high back, on the inside of which at the top 
 is the inscription : 0 ufjtvs Ap^iSa/xos | inXcuidrov | IcriSt | ’OtripiSi 
 ’Avovj3l8i I ^apicrr/ypiov (C. I . Gr ., 6841). Right and left in relief 
 is a griffin, or winged lion walking, of which the front part is missing. 
 Grey marble. H. op 6 . [*] 
 
 88 (AP.). Right half of an Attic votive relief. Chandler, 
 
 1 1 6. The pillar to the r., and the architrave with the remains of 
 tiles on the top, are preserved. To the 1. moves a procession of 
 seven grown-up figures and two children, the men in cloaks, the 
 women and a girl in chitons and cloaks. Quite in advance is a boy 
 in an apron, who is bringing the flat basket (kwow) for the sacrifice. 
 
 M. C. 36 
 
562 
 
 OXFORD, UNIVERSITY GALLERIES 89 — 9 1. 
 
 Then follow a female figure, a man, a female figure, all with their r. 
 hands upraised in adoration ; beside the last female figure is a girl, 
 and further on three female figures, all holding their r. hands con- 
 cealed in their cloaks before their breasts. A female attendant with 
 a very large box (ki/Toto's) on her head closes the procession. The 
 heads are nearly all knocked off. Cf. no. 203. Execution rather 
 superficial, probably of the fourth century. Pentelic marble. H. 
 0-69. L. 0-62. [*CJV] 
 
 89 (AP.). Greek sepulchral relief. Chandler, 145. Only 
 
 the lower part preserved. A beardless man, in chiton and cloak, 
 with his r. hand before his breast, holding a roll in his lowered 1. 
 hand, is standing by a female figure. She wears a chiton and cloak ; 
 the back of her head is veiled, she is raising her r. hand to her 
 face. Their figures are nearly full face, rather turned away from 
 each other, while their faces are turned towards each other in a 
 life-like manner. This peculiar motive, which is almost a little 
 coquettish, often recurs on sepulchral monuments from Smyrna (cf. 
 below, no. 205. Lowther, no. 19. Rokeby, no. 3), and our relief 
 also will have come from that locality. Below, to the 1 ., is a servant 
 in a short chiton, on either side of the female figure a girl in a 
 chiton, the first two with their legs crossed, the latter carrying some 
 object in the hand ; all these figures are of much smaller proportions. 
 In the background is a shelf and on it three objects, either boxes, 
 or caskets (not given in Chandler). The head of the man has been 
 re-set but is probably antique ; the head and 1. forearm of the female 
 figure are missing now, but they have at one time been restored. 
 Much abraded. H. o-6i. L. o'6i, [*] 
 
 90 (AP.). Greek sepulchral relief. Chandler, rqq. Again 
 only the lower part is preserved. A female figure stands in full face, 
 in long chiton and fine cloak, which serves her also as a veil ; her 
 r. arm lies across her body and she supports her 1. elbow on her r. 
 hand. The 1 . hand holds a part of the border of her cloak very grace- 
 fully in front of her 1 . shoulder. Head somewhat bent. On either 
 side of her stands a high pillar; on the one to the 1. is a trunk with 
 an arched lid, on the one to the r. a round cista. Against each pillar 
 leans a diminutive female attendant; the one to the 1. holding a fan 
 made of leaves and an alabastron (?), the one to the r. a round 
 mirror, the cover of which she is folding up. Heads of both attend- 
 ants missing. The relief is a good deal abraded ; it comes presuma- 
 bly from Smyrna or the neighbourhood. PI. o'8o. L. o - 46. [*CIF] 
 
 91 (AP.). Sepulchral relief of Menelaos. Chandler, 11. 66. 
 
OXFORD, UNIVERSITY GALLERIES 9 2, 93. 
 
 563 
 
 Above is an oblong field hollowed out and enclosed by two pillars ; 
 within this field are three busts in very high relief. To the 1. is a 
 beardless man in chiton and cloak ; to the r. a female figure veiled 
 and quite concealed by her drapery ; between them a nude boy, or 
 youth, who wears a fillet falling down on his shoulders. The in- 
 scription below refers to him : Meve'Aae MeveAdou x a ~ L P e (£• I- Gr., 
 6962), but of the first word only traces are now visible. Below is 
 a square field with a relief that is not so high. On a bed, beside 
 which is a three-legged table with food on it, lies the father Menelaos, 
 full dressed, holding in his 1. hand a cup and in his r. some round 
 object. He lays his r. hand on the neck of his half-grown son 
 Menelaos, who forms the central figure of the relief. He is draped 
 in a cloak and leaning against his father’s couch. To the 1. sits the 
 mother, veiled, her r. hand raised and laid on her cloak ; near her 
 stands a little girl in chiton and cloak. There is a very similar 
 sepulchral monument in the Louvre (Clarac, 11. 157, 291). Greyish- 
 yellow marble. The style is not delicate. H. o - 88. L. o'6 7. [*C] 
 
 92 (A.P.). Sepulchral relief. Chandler, 135. Three men, 
 draped, are resting on one couch ; the two to the r. have no heads, 
 the one to the 1. has had his head re-set (antique ?). The two to 
 the r. hold each a goblet with handles, the one to the 1. is pointing 
 to a youth who stands by him, in full face, leaning against the couch. 
 This youth wears a chiton and a cloak which falls in fairly ample 
 folds. Evidently this one to the 1. is the dead man (cf. no. 91). 
 Beside him, by the couch, stands a three-legged table with a vessel 
 on it and two cakes in the form of pyramids. On either side sits a 
 veiled female figure, in a cushioned chair, with her feet on a foot- 
 stool; their faces are turned towards the main scene and their 
 r. hands are raised towards their faces. Beside the lady on the r. is 
 a diminutive female attendant with a box. At the top of the field 
 is a coiled snake ; in the r. hand top corner is in a special frame a 
 horse’s head, the badge of rank of the dead man as Imrevs. The 
 relief is treated somewhat hardly and is simply framed. From its 
 style it seems to have come from Asia Minor or the Greek Islands. 
 
 H. 0-48. L. o'63- [*] 
 
 93 (Burgon). Fragment of a sepulchral relief from the 
 Island of Tenos. A bearded (?) man, with a small modius on his 
 head, lies on the bed pouring a libation out of a cup; before him is 
 a table (quite rubbed away) and a mixing vessel (Kparrjp). To the 1., 
 remains of a seated female figure, unveiled, with a small box in her 
 
 I. hand. In the background between the two figures a snake rears 
 
 36—2 
 
564 OXFORD, UNIVERSITY GALLERIES 94—105. 
 
 itself up. Tolerably low relief. Much abraded. Dark grey marble. 
 H. o - 2 3. L. o'28. [*] 
 
 94 (Burgon). High stele, rounded at the top in the shape of a 
 
 palmetto ornament, which however is not expressed, either in sculp- 
 ture, or, apparently, in colours. The only ornament of the stele is 
 the representation of a full-bodied lekythos in round relief. Marble 
 unrecognisable; the work looks Attic. H. 075. L. o - 26. [*] 
 
 95 (Burgon). Sepulchral lekythos. Fluted. Neck, handle 
 and foot broken off. H. o - 36. [*] 
 
 96 — 104 (AP.). Nine round altars or pedestals, of marble, 
 such as are found particularly at Rheneia, the island which served as 
 a necropolis to the neighbouring island of Delos; they are all pro- 
 vided at the top with a square hole, which shows that a statue, or 
 some other object, must have stood on them. There is no doubt 
 of their being connected with sepulchres (cf. no. 209). 
 
 96. Chandler, 157. Three heads of oxen support a garland orna- 
 mented with ribbons ; on the front side we see instead of the bull’s 
 head, a youth, in chiton and cloak, r. arm before breast, 1. arm 
 lowered ; beside him a diminutive attendant in a chiton with his 
 legs crossed. H. o'6 6. [*] 
 
 97 — 101. Chandler, 158. Four heads of oxen, adorned with 
 
 fillets, wear garlands ; in each entwining of the garlands is a cup 
 {patera). H. o - 8S; 079; 077; 074; 071. [*] 
 
 102. The same ; but the cups are missing. H. 075. [*] 
 
 103. The same; with two shields instead of cups. H. 
 
 o - 82. [*] 
 
 104. Four heads of oxen, with only rich garlands of flowers and 
 grapes. H. o'66. [*] 
 
 105 (AP.). Fragment of a Greek sarcophagus. Chandler, 
 1 18. It appears to be the 1. end of the front, injured below and on 
 both ends, but having on the top a rich, sculptured moulding. On 
 a mass of rock sits facing r. a bearded chieftain, of somewhat bar- 
 baric appearance, with a fillet in his long hair; he wears a chiton 
 girdled twice and a long cloak. Behind him stands a bearded com- 
 panion (8opu<£opos), in chiton, chlamys and Phrygian cap, his 1. hand 
 holding the spear, in his lowered r. hand the sword. On the other 
 side of the chief stands a youth with long curls, perhaps his son, 
 draped in the same way as the companion in arms, but without 
 weapons, his hands being laid one over the other; he is looking 
 back to the warrior. It is uncertain whether these three wear hose; 
 the teet of them all are broken off. The chief is stretching out one 
 
OXFORD, UNIVERSITY GALLERIES I06— 108. 565 
 
 hand towards a dish laden with fruit that is held with both her arms 
 by a young girl in a girdled chiton (face destroyed). Over her head 
 we see to the r. a nude arm, holding out a wreath or branch to the 
 chief; the arm very likely belongs to a Victory, and perhaps the dish 
 full of fruit refers to a sacrificial offering after a victory which may 
 have come next (cf. for example Guattani, Monum. hied., 1784, 
 Giugno, PI. 2). Only here of course the victor is not a Roman 
 general, as we see on the specimen I have cited and other sar- 
 cophagi ; but a barbarian prince, probably from the realm of mytho- 
 logy, for whom however I cannot find a name. H. 076. L. 078. 
 [*CM \ | 
 
 106 (AP.). Fragment of a Greek sarcophagus. Chandler, 
 
 120. Pretty group of two boys. One of them staggering; the other, 
 
 quite nude, clasps him in his arms from behind to support him. 
 The former is partly covered with a little cloak ; he lays his 1. hand 
 on the arm of his helpful companion ; his r. he holds near his head. 
 The upper half is broken, but I think it belongs to the rest ; ac- 
 cording to Matz it would be probably new. Very high relief. 
 Above and on both sides the piece is incomplete. H. 076. L. 0-46. 
 Cf. no. 107. [*M ] 
 
 107 (AP.). Fragment of a Greek sarcophagus. Chandler, 
 
 1 2 1. Similar scene. One boy, with a nebris, very tipsy, is falling 
 
 backwards insensible. The second, nude, with long curly hair, is 
 clasping him in his arms. The movement of the group is to the r., 
 where a r. hand with a torch is visible. The fragment, also incomplete 
 above, and both to the r. and the 1., is not in such high relief as no. 
 106, and looking at the marble, execution, and size is not a part of 
 the same sarcophagus. For similar scenes on sarcophagi of Greek 
 origin cf. Stephani, Der ausruhende Herakles, pp. 95 ff. Matz, Arch. 
 Zeit., 1872, p. 16. H. o'6c). L. o - 64. [*J/] 
 
 108 (AP.). Fragment of a Greek sarcophagus. Chandler, 
 133. From a similar scene. A drunken boy, with a fillet round 
 his head, on which he lays his r. hand, is stumbling along with 
 his 1. (not r.) foot advanced, his drapery fluttering round him. His 
 body is falling backwards and is held by a companion whose 1. hand 
 and forearm, with which he supports him, alone is preserved. To 
 the 1., a boy is stepping forward, with a pedum in his 1. arm and his 
 r. hand on his head. He is looking back at his companions. More 
 superficially treated than the two foregoing fragments; relief tolerably 
 low and badly injured; incomplete on both sides. H. 071. L. 0-32. 
 
556 OXFORD, UNIVERSITY GALLERIES IO 9 — III. 
 
 It may be asserted with tolerable certainty that the following 
 reliefs are all of Italian origin. 
 
 109 (AP.). Fragment from an oval Bacchic sarcopha- 
 gus. Chandler, 1x9. On a square altar or pedestal lies the head of 
 a goat ; to the 1 . of it is visible the r. leg of a skipping Pan ; over it 
 a hand, with a pedum ; further up still a tympanon and an arm. To 
 the r. of the altar, in the middle of the fragment, a Maenad, only to 
 a small extent covered by her fluttering cloak, is dancing in the most 
 lively manner ; in her 1. hand she holds a long staff, probably a 
 piece of a thyrsos. Further to the r. a man (Satyr?), with drapery 
 over his r. shoulder and holding in his r. hand a large mask of 
 Seilenos, with the mouth open, is dancing opposite to her ; he has 
 turned his head backwards so that only the flowing curls at the back 
 of it are visible (Chandler’s draughtsman mistook it for a badly- 
 formed profile). Between the two dancers in the background is a 
 bald-headed, bearded man, turning r., at his feet an altar with a 
 flame. Near the altar we see the remains of a draped figure lying 
 on the ground, over which a lion’s skin (?) hangs down, held by the 
 dancing man or by a figure now lost. The fragment is broken 
 below and on both sides. Coarse high relief. H. 070. [*M] 
 
 no (AP.). Fragment of a Bacchic sarcophagus. Chand- 
 ler, 126. Pricaeus, Notac in Apuleii Apologiam , p. 47. To the r. 
 we see the back of a woman almost entirely nude. A stout, strong 
 man has lifted her drapery almost to her shoulders, while his r. arm 
 is in a position as if he had raised it to strike her. His only drapery 
 is an apron round his loins ; near his r. hip is the piece of a flat 
 staff which, however, he cannot have held. The heads are missing. 
 The relief is very roughly executed and is badly injured; broken 
 above, and on both ends. It is easily understood how Price came 
 to explain that the subject is the chastisement of a female slave who 
 has run away, or committed some other fault, the gesture of the man 
 being too violent for the simple inspection of a slave whom he may 
 be going to buy; Chandler also thought of genus aliquod supplicii. 
 1 conjecture however that rather the plump Seilenos is intended, who 
 in exuberant sportiveness has uncovered a dancing Maenad (cf. 
 Miiller-Wieseler, 11. 40, 473; 48, 601, and for the uncovering of the 
 Maenad AIus. Pio-Clem., iv. PL 29). The staff would belong to a 
 figure that has been lost. There is something humorous in the fact 
 that this relief should have been among the first published from all 
 those in the Arundel Collection (in 1635). H. 075. L. o'39. [*] 
 
 hi (AP.). Cover of a sarcophagus with Trojan scenes. 
 
OXFORD, UNIVERSITY GALLERIES III. 
 
 567 
 
 Chandler, 147 (very bad). Heydemann, Iliupersis , PI. 2, 3, p. 31 
 (cf. Conze, Gottinger gel. Anz., 1867, p. 599). Chandlers publication 
 of this relief, which is by no means exact, has called forth many wrong 
 explanations of it. The long frieze is divided into three scenes. 
 I. From the arched gateway of the town of Troy, on the extreme 1 ., 
 comes the wooden horse, standing on a base provided with wheels ; 
 on its side hangs a shield, and on its head is a helmet-like head-piece, 
 as though it had been deemed necessary to make the warlike engine 
 itself resemble a warrior, or to symbolize the nature of its contents. 
 Four Trojans, wearing chitons with sleeves, hose and caps, are 
 occupied about the horse ; one stands beside him, looking back at 
 the gate and signing to those of his companions who stand outside it; 
 the three others are drawing the horse forward with a cord ; one of 
 them is evidently exerting himself with great pains to set the horse in 
 motion. (Cf. the Berlin fragment of a similar sarcophagus cover in 
 Heydemann, PI. 3, 2.) Before the Trojan goes a woman in cloak 
 and chiton, with a branch in her 1. arm, greatly excited (her upraised 
 r. arm and her head are missing); no doubt it is Kassandra, the pro- 
 phetess of ill-luck, who in vain warns her countrymen (cf. the 
 so-called tabula Iliaca , in Jahn’s Griech. Bilderchroniken , PI. A*, 
 p. 32). — II. The massacre of the Trojans as they are feasting fol- 
 lows the taking of the town (for the feast cf. Proklos’ extracts from the 
 poems of Lesches and Arktinos, also for the connecting of both 
 scenes Brunn, Rilievi delle urne etrusche, i. t PI. 68, 2). On rocky 
 ground lie three Trojans in Phrygian dress, the middle one youthful, 
 the two others bearded ; each has a drinking vessel. To their 1 . 
 stands a bearded Trojan, putting his hand to his head and showing 
 that he is frightened ; behind the first of the recumbent carousers 
 stands another Trojan (upper part of his body destroyed); behind the 
 next is a Greek with his sword uplifted (chief part destroyed); into the 
 neck of the third a Greek warrior in a helmet and fluttering chlamys 
 is thrusting his sword. (Older interpretations considered this to be 
 either the sacrifice offered by Achilleus for Patroklos, or the murder 
 of Priamos at the altar.) — III. The fall of Troy was the consequence 
 of the death of Hektor : ademptus Hector Tradidit fessis leviora tolli 
 Pergama, Grais (Hor., Od., 11. 4, 10). To the r. Pelides’ chariot 
 drawn by a pair of horses and guided by a fully armed warrior 
 (Achilleus ? Automedon ?) gallops fast, dragging Hektor’s corpse, 
 beyond which stands a warrior (Achilleus?), also in breastplate and 
 chlamys, boots, helmet, shield and spear. Under the horses two 
 Trojans lie on the ground ; beside them two Greeks are visible, one 
 
568 OXFORD, UNIVERSITY GALLERIES 1 1 2, 1 1 3. 
 
 nude, with helmet and lance. — On each corner is a youthful head 
 with long curls and a Phrygian cap.— Very rough sculpture, but with- 
 out any restorations. H. 0-28. L. 1 'i 2. [*CJf] 
 
 112 (AP.). Amazonomachia. Chandler, 148. A horseman 
 in corselet, with cloak and helmet, whose horse has been overthrown 
 and whose shield lies on the ground, is seizing an Amazon, who 
 is attacking him, by the head, and holding his sword ready in his r. 
 hand. The Amazon wears a short chiton, partly loose, high boots, 
 a helmet, and on the 1. arm a small shield ( prita ), and wields the 
 sword with her r. hand. This very high relief is broken in several 
 pieces and seems to have been much restored; particularly suspicious 
 is the piece with the upper part of the horseman’s body, and the head 
 of the Amazon, whose r. arm the restorer has quite omitted. Rough 
 and unskilful; perhaps the side of a sarcophagus. H. CC58. L. 0-72. 
 [*M] 
 
 113 (AP.). Sarcophagus called “ Germanicus’s Tomb.” 
 Chandler, 150. There is an older drawing from the Dal Pozzo collec- 
 tion in Mr Franks’ possession in London. Front. In the centre are 
 two Cupids holding a large round shield with a Medusa’s head on it, 
 and below them lie two four-footed animals (heads missing). To the 
 r. a Cupid hurries away, putting a colossal helmet on his head ; oppo- 
 site him another Cupid is trying to lift a breastplate that stands on 
 the ground ; further still to the r. a third is hurrying off with a greave. 
 To the 1 . of the central group two Cupids are trying to lift up a lance 
 (greater part of it missing); finally there is one with the greave of the 
 other leg. All the Cupids have wings, and all, except the second from 
 the left, wear the chlamys. Parts of their arms and legs, once 
 restored, are now missing. — L. side. Two boys, one of whom has 
 wings, with short walking-sticks in their hands, carry on a yoke on 
 their shoulders a large breastplate. — R. side. Two winged boys, in 
 chlamys, are making great efforts to lift up a long lance. H. C50. 
 L. 2-15. D. o'6i. The origin of the strange name of this sarcopha- 
 gus is the fact that when it was in Arundel House a bust, supposed 
 to be of Germanicus, was placed on it (cf. Chandler, and Dallaway, 
 p. 256), probably that bust which Sir Thomas Roe had obtained 
 from Ankyra (Introd., App., p. 197); perhaps it is no. 71, or 72, 
 hardly Wilton, no. 123. The name thus arbitrarily given stuck to 
 the sarcophagus, and even after the bust no longer stood on it, in- 
 vested it with such peculiar glory that in Easton-Neston it was made 
 the centre piece of a large architectural erection, described in the fol- 
 lowing manner by G. Vertue (Dcscr., p. 55): “At the end of the 
 
OXFORD, UNIVERSITY GALLERIES I 1 4 — Il6. 569 
 
 terrace on the left hand of the house, joining to the garden wall, is 
 Germanicus’s tomb ; it is formed thus, viz. an alcove or arch is in 
 the middle, and upon a large oblong pedestal stands the Sarcophagus, 
 or tomb of Germanicus, which is long like a coffin, only strait and 
 square; it is of marble, and basso rilievos on the outside ; upon the 
 tomb is set a round pedestal [Chandler 156?], and on that a marble 
 statue of Jupiter less than the life [no. 18]; on each side of this 
 pedestal are fine bustos of two women, and on each side of this arch 
 or alcove are doric pilasters, which support a pediment, in which 
 there is in basso relievo [no. 83] the figure of a man as big as the life 
 with his arms extended as if he was crucified, but no lower than 
 about his paps is seen, the cornice cutting him off as it were ; and 
 this extension of his arms is called a grecian measure, and over his 
 right arm is a grecian foot ; on the top of the pediment stands the god 
 Terminus [no. 55], and likewise on each side of this alcove are two 
 smaller niches, with two trunks of body in them [no. 49 &c.]. On 
 the outside of both these niches are dorick pilasters, which go up and 
 support the cornice, and at the top on each side two pedestals with 
 each a statue, very fine and perfect.” [*M ] 
 
 114 (AP.). Oval sarcophagus. Chandler, 151. Front. In 
 the centre two Cupids are carrying a medallion ( clipeus ) with the bust 
 of a Roman in the pallium, who has a roll in his 1. hand; the head is 
 merely sketched. Below the medallion, two tragic masks ; between 
 the feet of each of the Cupids lies a basket with flowers. To the 1. 
 stands a Cupid with a basket (not a cornucopiae) on his r. hand, and 
 two geese (necks missing) in his 1. hand. The corresponding Cupid 
 on the r. has lost his r. hand, and traces of two stumps only remain 
 of some long object that he held; in his 1. hand he also has a basket. 
 All four Cupids are winged and wear the chlamys. — At either side a 
 lion mangling a horse. Very bad work. 11.0-48. L. 1-56. D. 0-50. 
 [*M] 
 
 1 15 (AP.). Child’s sarcophagus. Chandler, 152. Front. 
 
 In the centre field a Roman (child?) in the pallium, with a square 
 box lying near him on the ground, is standing before a curtain. On 
 either side an oblong field with twisted flutings. In each of the two 
 end fields stands a Cupid in a chlamys, having on one arm a staff and 
 holding up a garland in the other hand. The upper part of the body 
 of the Cupid on the r. is new. — On each side a palm tree, near 
 which a Cupid, in a chlamys, is driving a hoop ( trochus ) with a stick. 
 II. 0-42. L. 1-24. D. C42. [*d/] 
 
 1 16 (AP.). Child’s sarcophagus. Chandler, 153. Only the 
 
570 OXFORD, UNIVERSITY GALLERIES II/ — 1 2 I. 
 
 front is sculptured. In the centre a medallion with the bust of a 
 boy ; below it two horns of plenty crossed. On either end twisted 
 fluting, in the corners ornamentation of vine-tendrils. Relief and 
 fluting very flat. According to Matz the sarcophagus is “ perhaps 
 not Roman” (Christian? modern?). H. C30. L. 072. D. o - 34. 
 [*M] 
 
 1 17 (AP.). Fragment of a relief, perhaps of a sarcophagus. 
 Chandler, 122. A female figure in girdled chiton and cloak, back of 
 her head veiled (head and upraised r. hand missing), holds in her 1. 
 hand the handle of a sword (blade broken off). Beside her an altar 
 with a flame, in the background on a basis of freestone a round 
 temple with Tuscan pillars and Doric triglyphs. It may be a frag- 
 ment from a representation of Iphigenia in Tauris, rather than of 
 Medea. The relief is tolerably high, but unfortunately much in- 
 jured ; it is however far better than the engraving would lead one to 
 imagine. H. o - 52. L. o - 42. [*Af ] 
 
 1 18 (AP.). Relief, perhaps the side of a sarcophagus. 
 Chandler, 123. A shepherd, in a chiton ( exomis ), is standing with his 
 legs crossed, leaning on his staff. By his feet a sheep and a dog. To 
 the 1. a tree, to the r. a rock with a tree and two more sheep. The 
 upper r. corner is new. Bad, flat sculpture. H. 0-62. L. 0-29. [*] 
 
 1 19 (AP.). Square cinerary urn. Chandler, 155. Ox-skulls 
 
 in the corners support garlands ; in front a slender spray issues from 
 an ornamentation of vine-tendrils. On the tendrils sit two birds. 
 Pretty work. H. o'45. L. o‘38. D. o‘3S. [*] 
 
 120 (AP.). Relief representing a Nereid. Chandler, 129. 
 
 A large sea-panther is swimming to the 1., guided by a small boy who 
 has thrown the bridle round his own body and is gracefully pushing 
 against the withers of the animal with his feet. On the back of the 
 panther sits a Nereid, the upper part of her body nude; her cloak 
 covers her legs, and originally it fluttered in an arch over her head, 
 as we see by the way in which a corner of it is held in her r. hand, 
 which is supported on the body of the animal, and by another 
 fragment which is visible near her r. shoulder. The pose of the 
 Nereid, particularly the turn of her head, is very graceful ; the whole 
 subject is skilfully and well executed in very high relief. Matz con- 
 sidered the whole relief to be new, but I think he w'as wrong. The 
 upper 1. corner is missing now. H. to the crown of the Nereid’s 
 head 0-50. L. 0-85. [*d/] 
 
 121 (AP.). Fragment of a relief. Chandler, 104. A 
 female head, veiled, rises from the field in very high relief ; it is of 
 
OXFORD, UNIVERSITY GALLERIES 122 — 1 29. 
 
 571 
 
 late but not bad sculpture ; a great many rivets have been left between 
 the curls, which are deeply undercut with the drill. Life size. [*] 
 
 122 (AP.). Masks. Chandler, r34* A perfect mask, half 
 of one, a piece of one; all three but roughly sketched. Eyes and 
 mouth are hollowed out deeply, but not perforated. H. 0-53. 
 L. 072. H. of relief ou8. [*] 
 
 123, 124 (AP.). Two reliefs, perhaps the fronts of capitals 
 of pilasters. In the corners a dog’s head with large ears, and a lion’s 
 head wearing garlands of oak-leaves, over them a horse’s head looks 
 out in full face. Both specimens are like one another, only the 
 heads in corners are transposed, as is natural in counterparts. 
 High relief, in perfect preservation ; coarse marble. H. 0-26. 
 L. 1 -04. [*] 
 
 Besides these reliefs are to be seen here : 
 
 125, 126. Two Assyrian reliefs, 
 and the two following specimens deposited as the property of Mr 
 Rusk in : 
 
 127. Cyprian sepulchral stele, shaped at the top like a 
 
 pediment. Below, a low relief-field (h. 0-33, 1. o - 53): a bearded 
 man, completely draped, recumbent, his head supported by his 1. hand ; 
 at his feet stands a diminutive attendant in a short chiton. Below 
 again is a higher relief-field (h. 1U5, 1. 073) : a female figure, nearly 
 life size, is sitting to the r. in a chair; she is veiled ; her r. hand lies 
 in her lap, her 1. hand raised to her face ; although the body is placed 
 in profile, the feet are placed as though it were in full face. This 
 stele is highly interesting because it combines the standard types of 
 two different periods side by side, and so illustrates for us the 
 eclecticism of the Cyprian plastic art ; the lower relief has been 
 suggested by similar Attic works of the best period (cf. Liverpool, 
 no. 8), the upper one by the most favourite subject for sepulchral 
 monuments of the later periods of the art in Asia Minor and the 
 Islands. Native limestone. H. i - 88. L. o - 66. [*] 
 
 128. Cyprian monument. Two lions crouching on one 
 
 pedestal, their backs turned to each other. L. abt. 1 ’40. [*] 
 
 The University Galleries also possess the following specimens. 
 
 129. A painting from Pompeii. Museo Borbonico, ix. PI. 3. 
 Zahn, Ornamente und Gemdlde aus Pomficji , 11. PI. 62. A female 
 figure in a red chiton, with a white cloak over it, is sitting with her 
 legs crossed, her chin supported on her 1. hand. In front of her 
 stands Eros, opening a small box, which he holds before his breast. 
 
572 
 
 OXFORD, SCHOOLS 130 — 133. 
 
 From the so-called Casa di Meleagro. Cf. Helbig, Wandgemdlde, 
 no. 1430. Presented by Chambers Hall, Esq. [*] 
 
 A collection of terra cottas, vases, and bronzes has been 
 lately purchased from Mr Castellani for the Museum. 
 
 I have not paid attention to the following : 
 
 130 (AP.). Corinthian column. Chandler, 163, 164. The 
 column is broken in two pieces; h. with the pedestal and without the 
 capital 5 ’55, the square area measure of the pedestal is 078, the 
 diameter of the column is, at the base, 0-56, at the top, 0-50. The 
 capital does not belong to it; it is formed of a double row of 
 acanthus leaves, and above them some reed-like foliage, without 
 volutes ; its lower diameter is 0-52, h. 0-67. Its origin in Delphi is, 
 I am afraid, very doubtful ; perhaps Delphi is a mistake for Delos. 
 [C] 
 
 The Schools. 
 
 The majority of the inscribed marbles, which were presented 
 by Henry Howard from the Arundel Collection (AH.), are let into 
 the walls of one of the rooms below the Bodleian Library. Some of 
 them are placed so high that it is very difficult to examine them 
 closely. With these are placed a considerable number of other 
 marbles, presents from Seldeii and Wheler. I only mention here 
 those specimens which have figure ornaments. 
 
 131 (Wheler). Kybele. Chandler, 113. Wheler, Journey , 
 
 p. 405, “ Ceres.” Within the little temple (vouo-ko?, aedicula ) sits 
 Kybelb, clothed in chiton and cloak ; her hair falls down in long 
 plaits ; on her head is a kalathos. A lion crouches in her lap ; in 
 her 1. arm she holds the large tympanon, in her r. hand a cup. Pen- 
 telic marble. H. 0-31. L. o'i8. [*C] 
 
 132 (Wheler), Kybele. Chandler, 1 15. Similar, but incomplete 
 
 above. The goddess holds the cup in her r. hand and below it 
 crouches the lion ; in the 1. arm are the remains of the tympanon. 
 L. hand, head, and pediment missing. Very superficial sculpture. 
 Pentelic marble. H. o - 2o. L. o' 15. [*] 
 
 133 (Wheler). Relief with Nymphs. Chandler, 124. The 
 r. half is preserved. The relief is bordered on the top and on the 
 right by the rocky margin of a grotto, on which a piece of an 
 animal, presumably of a goat, is visible. Two Nymphs in chitons, 
 holding out their hands to each other, and dancing to the 1., where 
 one may see the remains of the drapery of a third. Probably 
 
OXFORD, SCHOOLS 1 34 — I 36. 
 
 573 
 
 Hermes was the conductor of the Nymphs to the god Pan, cf. 
 Brocklesby, no. no. Pentelic marble. H. o - 3o. L. C15. [*] 
 
 134 (Wheler). Selene ? Chandler, 103. Round medallion 
 
 with a female head, seen full face ; the hair is entwined with a 
 fillet on the head, and flows down in rich curls on either side. The 
 eyes are hollowed out. A chiton without sleeves is buttoned on botli 
 shoulders, below it a border is visible, also going round the shoulders, 
 which might possibly have been intended as a half-moon. Late 
 sculpture, somewhat coarse. Apparently Pentelic marble. H. o'2S. 
 L. o - 27. [*] 
 
 135 (AH.). Votive Relief to Herakles. Chandler, 11. 57. 
 
 Prideaux, no. 15. Maittaire, no. 36. Montfaucon, Antiq. Exp/., 
 Suppl., 1. PL 54, 2. Two antae bearing an architrave flank the 
 relief field ; the 1. corner of the architrave is broken off. The rocky 
 ground is covered with the lion’s skin and Herakles reclines on 
 it, supporting himself on his 1. arm (forearm missing); his r. arm 
 (hand missing) rests on his thigh. To the 1. a tree on which the bow 
 and quiver hang and against which the club leans. On the archi- 
 trave is written : [koct/x]^t6vovtos 7 $to.(ti'ov) SepctTriWos XoX/WSov, | 
 [tti'Ti]KO(rp,v;Tei;o!'TOS Karri(ov) ’AiroWwviov Sretpiea)?, | [<xo>]<)>pov{<TTr;9 
 ’ASrjvaLos 2,7rtv8ovTos EAeucmVio? | [to]Ts rov 'HpaxAea a7ro 
 
 t f/9 tv EAeixreivi vtLKrjs. Below the relief : 7raiSoTpi/3oui'T09 \A/?a- 
 ( TKO.VTOV | TOV Ev/XoA.7 TOV l\7]<ptL(TLt(l><; CTOS Ky ( C. I. Gt’., 2 7 I. C. I. At/., 
 
 iii. 1 19). It belongs to the middle of the second century a.d. Pen- 
 telic marble. H. 0-67. L. o-jS. [*C] 
 
 136 (Selden). Bull hunt ( Taurokathapsia ). Chandler, n. 58. 
 Prideaux, no. 130. Maittaire, no. 37. The movement is from r. to 
 1 . The foremost rider gallops forward with his r. hand upraised; 
 he is followed by a second, who as he sits on his horse is seizing 
 a bull by the horns; then comes a third whose horse is prancing 
 very high ; the fourth has thrown a bull down on his back and 
 seizing his horns is pressing his head against the ground ; his 
 horse stands quietly beside him. The fifth again is sitting on his 
 horse and seizing a bull by the horns, but his movements are so 
 violent that it would appear as if he meant to throw himself on 
 the bull’s back. All the riders have broad cloths wound several 
 times round their bodies after the manner of chariot drivers in the 
 circus, or of gladiators. Below is the inscription : TavpoKa 6 a.il/Lwv 
 rjpepa / 3 ' ( C . I. Gr., 3212). The whole incident is explained by 
 Suetonius, Claudius ch. 21, Thessa/os equites, qui feros tauros per 
 spatia circi agunt insiliuntque defessos et ad terrain cornibus trahunt 
 
574 
 
 OXFORD, SCHOOLS I 37 — 140. 
 
 (cf. Plin., 8, 182). We have ample testimony especially from Asia 
 Minor as to the spectacle of the TavpoKa 6 di{/La (cf. Prideaux, and 
 Hermann, Gottesdienstl. Alterthiimer, 64, 34) ; our relief comes from 
 Smyrna. Rough work. H. o - 49. L. 1*58. [*C] 
 
 J 37 (Selden). Relief. Chandler, 127. Prideaux, no. 44. Mait- 
 taire, no. 38. The relief has three divisions, one over the other. 
 Upper strip. One man is leading by a long cord, which is wound 
 round their necks, two other men, nude except for a narrow apron. 
 The leader is very completely draped; he has a jerkin with sleeves 
 and over that a very broad cloth round his body, a cap falling 
 down on to the back of his neck, and hose of a reticulated pattern ; 
 he is most like certain classes of gladiators ( Samnites , Threces ). — 
 Middle strip. Almost exactly the same scene. —Lower strip. 
 A lion (only in part preserved) is strangling a bull ; close by two 
 rams are butting each other. As the engravings here show a bull, 
 a ram, and a pig, suovetaurilia have been suggested ; but it is more 
 probable that some reference is intended in this very remarkable 
 relief to circus games. Coarse, rough sculpture. H. C99. L. 0-59. 
 Supposed to be from Smyrna. [*C] 
 
 138 (Wheler). Fragment of the Attic sepulchral relief of 
 
 Glauketes. Chandler, 11. 62. A bearded man, with a sad expres- 
 sion, in a cloak, supporting his head in his r. hand, leans against 
 the pillar which finishes off the relief on the r. ; only the upper part 
 of his body, down to the stomach, preserved. In front of him are 
 the remains of a second figure, apparently the bust and raised 1. 
 forearm of a boy. The r. half of the pediment is preserved ; on 
 the architrave is written rAaWT^s ( C . I . Gr ., 929). Fragment of a 
 large and handsome stele of the fourth century, in high relief. Much 
 abraded. Pentelic marble. H. o - 65. L. o - 45. [*C] 
 
 1 39 (Wheler). Fragment of an Attic sepulchral relief. 
 
 Chandler, 136. A bearded man lying on a couch, his body and legs 
 covered by his cloak, raising his r. arm a little; in his 1. hand he 
 holds a cup. Missing : r. hand, legs, and the rest of the relief. 
 Good low relief of the fourth century. Pentelic marble. H. 0-27. 
 L. o' 1 8. [*] 
 
 140 (Wheler). Attic sepulchral stele of Philodemos. 
 
 Chandler, 11. 63. A youth, Philodemos, in a chiton, girded very low 
 down, the chlamys on his 1. shoulder, holding his horse by the 
 bridle with his 1 . hand. He gives his r. hand to a lady, Lysimache, 
 completely draped, who is putting her hand to her cheek. Missing : 
 the feet of the figures and all the lower part of the stele. Low 
 
OXFORD, SCHOOLS 141 — 143. 
 
 575 
 
 relief, not very delicately executed. Over it is the inscription in 
 good characters [<I>]iAd8^/ios (the A, not N, is added over the 
 
 O) | XoAAetSr/s, and then after an interval have been but slightly 
 scratched in the lines below, which are evidently of later date, Awi- 
 IJLa\r) T</xoy 67 rovos (written by mistake for Ti/zoyaVovos) | i'peapplov 
 (C. I. Gr., 800, inaccurate). Over that a moulding and then the 
 remains of a Siren, which formed the conclusion of the upper end 
 of the sepulchral monument (cf. Brocklesby, no. 40. Wilton, no. 
 109). The monument is certainly Attic, of the fourth century b.c , 
 but it is remarkable that it is not of Pentelic but of some grey mar- 
 ble ; it may therefore come perhaps from a place outside Attica, 
 where Athenians had settled and introduced Attic art. H. C67. 
 L. 0-38. [*C] 
 
 141 (Wheler). Attic sepulchral stele of Diodora. Chand- 
 ler, 11. 93. The stelfe is now finished off at the top with a straight 
 moulding, but above this may be observed traces of a top ornament 
 (hrldepa, dvOipiov). Below is the inscription AioSwpa | Nu<?;<£opou | 
 ’Ai'Tio'xMro-a (C. /. Gr., 825), perhaps of the second, or the first 
 century b.c. Below, two large rosettes ; under them a square relief. 
 A lady, completely draped and veiled, with a small napkin in 
 her lowered 1. hand, is offering her r. hand to a beardless man in 
 chiton and cloak. The relief is coarser than those of the common 
 Attic stelae of the same composition. Pentelic marble. H. o - 7S- 
 L. 0-44. [*C] 
 
 142 (AH.). Greek sepulchral relief. Chandler, 140. Pri- 
 
 deaux, no. 76 (restored). Maittaire, no. 143. Montfaucon, Ant. 
 Expl., Suppl., v. PI. 8, 2. A man, fully draped (head missing), is 
 lying on a couch holding a cup in his 1. hand, his r. hand is laid on 
 his knee. Before the couch stand two three-legged tables ; on one 
 is food, on the other vessels, and near this on the ground is a bucket ; 
 quite to the r. is a diminutive attendant in a short chiton, who holds 
 in both hands in front of him a fan shaped like a leaf. At the foot of 
 the bed sits a veiled female figure, her chin supported on her r. hand ; 
 her chair and footstool very high. Behind her is a diminutive female 
 attendant with a similar fan in her 1 . hand. The upper part of the 
 monument is missing. Grey marble ; coarse style ; considerably 
 rubbed. Probably from Asia Minor or the Islands. H. 0-36. L. 
 °‘5 I * [*C] 
 
 143 (AH.). Greek sepulchral relief. Chandler, n. 67. Pri- 
 deaux, no. 73. Maittaire, no. 142. Montfaucon, Ant. Expl., Suppl., 
 v. PI. 7, 2. The relief, incomplete below, is simply framed ; on the 
 
576 
 
 OXFORD, SCHOOLS 1 44 — 1 46. 
 
 upper edge is an inscription, difficult to read, of which 1 think I have 
 deciphered NIK- 2 - OS - • • - 020 <I>A- • -(C. I. Gr., 6975, inaccurate). 
 On a couch lies a man (his head battered), fully draped, holding in 
 his 1. hand a cup and with the r. hand helping himself to food from 
 the table. Of the table only the top is left. On the border to the 
 r. is an indistinct remnant. To the 1 . an attendant (only in part 
 preserved) is holding up a cup towards which a snake is wriggling 
 from above to drink out of it. In the background a wall, or a shelf, 
 on which to the r. lies a helmet of unusual shape; above, hangs a 
 shield; to the 1 . a horse’s head is visible. Yellowish marble; late, 
 coarse style ; very much effaced. H. 0-29. L. 0-35. [*C] 
 
 i44(Wheler). Attic sepulchral relief. Chandler, 138. Wheler, 
 journey, p. 406. The relief is incomplete at the r. end. On a couch 
 lies a bearded man (upper part of his body rubbed away) with a 
 modius on his head and in his upraised r. hand a drinking-horn 
 (1 pvrov ). On the foot-end of the couch sits a female figure fully 
 draped, who holds a small box in her 1. hand and stretches out her r. 
 hand towards the table. From the 1 . worshippers are approaching 
 bringing to the dead man, now translated among the heroes, their 
 sacrifice; a bearded man and a woman of larger scale, and a man 
 and a woman of smaller scale, all making gestures of adoration ; be- 
 sides these comes a sacrificial servant with a pig and in his 1. hand a 
 basket («ai'ow). In the upper corner to the 1 ., on a slightly raised 
 square surface, is a horse’s head (cf. on no. 92). Low relief of in- 
 significant work, very much injured. Grey marble. H. o - i8. L. 
 0-27. [*] 
 
 145 (Wheler). Attic sepulchral relief. Chandler, 137. An 
 architrave is supported on two antae: it has seven tiles on the top. 
 On a couch, provided with cushions and hung with tapestry, lies a 
 bearded man with the modius on his head. His cloak leaves his 
 breast and r. arm exposed. With his r. hand he raises the drinking- 
 horn to pour wine into the cup in his 1 . hand. On the couch there 
 also sits a female figure, fully draped, holding in her 1. hand a small 
 open box from which she seems to have taken frankincense which 
 she is throwing on a low altar (Ov/juaTyjpiov), that stands on the table; 
 beside it on the table are several kinds of food. To the 1 . stand 
 a bearded man and a veiled female figure, also three boys enveloped 
 in cloaks, all with their r. hands raised in adoration. Very good 
 work, tolerably high bas-relief. Pentelic marble. H. 0-28. L. 0-41. [*] 
 
 146 (Wheler). Attic sepulchral relief. Chandler, 139. The 
 architrave is supported by two antae, provided with remains of tiles 
 
OXFORD, SCHOOLS 1 47. 
 
 577 
 
 on the top. On a couch lies a bearded man, exactly as in no. 145, 
 only that there is no modius; in front of him a dish with food. The 
 female figure sits on a chair, holding with both hands a fillet (more 
 likely than a wreath). On the extreme r. stands a nude attendant, 
 raising an ewer in his r. hand, near by a mixing bowl ( Kparrjp ) on a 
 draped stand. To the 1 . stands a worshipper, bearded, in a cloak, 
 raising his r. hand. Style like that of no. 145. Pentelic marble. 
 
 H. o - 26. L. C36. [*] 
 
 147 (Selden). Sepulchral relief of the brothers Hikesios 
 and Hermippos. Chandler, n.' 71. Prideaux, no. 7. Maittaire, 
 no. 40. Montfaucon, Ant. Expl.. Suppl. , v. PI. 4, 2. In the centre 
 sits, facing r., an elderly lady (Metris) with a wrinkled face, veiled; 
 she is looking sadly up at a youth (Hermippos) clothed in chiton, 
 cloak and shoes, to whom she gives her r. hand. A second youth 
 (Hikesios), in a cloak only, is standing behind the mother, his hands 
 folded before his stomach. On either side a diminutive attendant in 
 a short chiton; the one to the 1. is looking round the youth, the one 
 to the r. in a posture of grief, his legs crossed, his head laid on his 
 
 I . hand. All the upper part of the stele above the relief is missing 
 now; below the relief, the inscription (C. I. Gr., 3333. Kaibel, 
 Epigr. Gr ., no. 241), 
 
 Ot Surcrol arvv6p.cup.01, la) feie, rcuiS vtto TVfi.j 3 i.in 
 aif/avcrroi, reKvwv KeiptOa Kovpi8uov' 
 iKecrios Kuyoj veapav rrX'ifpovfievo^ r/f 3 av 
 "EpfUTnros Kpvepov tov S e egopev OaXn.fj.ov. 
 
 5 "AiSav eyKapowTes aXapireroV evyeve.TVf\ s ] Se 
 ©eiiSoros ov crrvyepdv rreV0os e<pelSe irar-pp. 
 p.rjT7fp Se if SvcrTTfvos oSvpeTai ola Tis aKTous 
 (IXkvovI 5 yoepoTs SaKpvcrt p.vpop,eva, 
 
 M^rpls rj XiiraStXjjjo^' [t]p7]p.u)6A(Ta. Se tGvidv 
 10 [yj^paiop. /IiOTas Teppta eVe7rA.7j<re KaK[oj]v. 
 
 Line 5 E stands instead of 5 , line 9 2 instead of E, line 10 l 1 instead 
 of r, and O instead of O. Boeckh has emended KaKwv, and de- 
 fended e’<£elSe, line 6, as signifying the same as e7mSe. The inscription 
 belongs most likely to the first century b. c. ; the palaeography is 
 rather irregular (A and A, II and F, F , 2 , (jj). As to the names, cf. 
 the Smyrnaean inscription C. I. Gr.. 3141, 1 . 27 — 31. Our stele 
 also comes from Smyrna; Selden obtained it from a Mr Vernon in 
 Essex. H. 0-94. L. 0-59. [*C] 
 
 M. C. 
 
 37 
 
578 
 
 OXFORD, SCHOOLS 1 48 — 150. 
 
 148 (AH.). Sepulchral stele. Chandler, 146. Prideaux, no. 
 67. Maittaire, no. 141. Montfaucon, Ant. Exp/. , Suppl., v. PI. 6. 
 A youth in chiton and cloak, turning r., is giving his r. hand to a 
 beardless man or youth who is sitting, also in chiton and cloak. 
 He has shoes on his feet which rest on a footstool. Behind each of 
 the two men stands a diminutive attendant in chiton ; the one to the 
 1. has his legs crossed and supports his head in his hand ; the one to 
 the r. folds his hands in front of his body. In the background is 
 a shelf with four boxes. Above the relief the marble has been 
 roughened, apparently to obliterate an inscription that may once 
 have been there. Above, a pediment, with a rosette in the field ; it 
 is quite peculiar that the lower geison of the pediment should not be 
 horizontal; it is arched instead, somewhat in the form of a low pedi- 
 ment, and not round as in Chandler’s engraving. II. 079. L. o - 45. 
 
 [*C] 
 
 149 (Selden). Sepulchral stele of Apollonia. Chandler, 11. 
 90. Prideaux, no. 10. Maittaire, no. 34. Montfaucon, Ant. Exp/., 
 Suppl., v. PI. 5, 2. In the pediment is a shield. Below, between 
 two rosettes, in a hollowed square a wreath surrounding the words 
 o SrjiJLO 1 ? ; below again, in larger characters, ’A7roA.\amav Krjcjna-o^mvTog 
 (C. I. Gr., 3219); thus is immortalised on the sepulchral monument 
 the crowning of the dead lady by the community (cf. Lowther, no. 
 19. Wilton, no. 109). Apollonia, who is apparently a priestess, 
 perhaps of Demeter, is clothed in chiton and cloak, the latter richly 
 arranged ; in her 1. hand she holds a bunch of ears of corn and a 
 wide fruit or flower (in form something like a broad whitewashing 
 brush, according to Conze a poppy-head). She raises her r. hand 
 and touches with it the top of a very long torch (cf. Lowther, no. 19) 
 which is held in both hands by a diminutive female attendant. A 
 second attendant, on the r. border, holds an alabastron in her 1. 
 hand, while with her r. hand she seems touching the cover of it. 
 The monument is broken below. Probably from Smyrna. IT. C97. 
 L. 0-51. [*] 
 
 150 (Selden). Sepulchral stele of Akesteime. Chandler, 11. 
 92. Prideaux, no. 9. Maittaire, no. 32. Montfaucon, Ant. Exp/., 
 Suppl. , v. PI. 5, 1. In the pediment is a shield. In the hollowed 
 relief field sits the veiled Akesteime (head missing), supporting her 
 head on her 1. hand. She sits in a chair in full face and has a foot- 
 stool. To the 1. stands a female attendant with a box in her upraised 
 1. hand ; to the r. a second attendant with a fan in the form of a leaf 
 in her r. hand. Above her, in the field, is a serpent. High up in 
 
OXFORD, SCHOOLS I 5 I — I 54 
 
 579 
 
 the corners, to the 1. are two cymbals and to the r. a tambourine 
 (rvfjLTravov); this might suggest a relation of the lady to the rites of 
 Kybele, or of the mother of the gods. Below, the inscription 
 ’A K«TTetp.rj Arjp.ayopov, \ yvvrj Se ’Apre/uSojpov, x“<p[e] ( C. I. Gr., 3262). 
 Coarse style, mediocre work. Presumably from Smyrna, though the 
 marble appears fnore yellowish than most of that used for Smyrnaean 
 monuments. H. 0-44. L. 0-27. [*C] 
 
 151 (Wheler). Fragment of a sepulchral stele. Chandler, 
 
 125. A female figure standing, completely draped, of which the lower 
 half is preserved ; on either side is a diminutive female attendant in 
 chiton, each holding a box with the lid open. The ste.e tapers 
 very much. It is hardly Attic; the marble and the style point rather 
 to the Islands or Asia Minor. H. o - 2i. L. o - 36. [*] 
 
 152 (Selden). Sepulchral stele of Nikephoros. Chandler, 
 
 11.68. Prideaux, no. 8. Maittaire, no. 31. Montfaucon, Ant. Expl., 
 Suppl ., v. PI. 4, 1. The stele tapers a great deal, the pediment is 
 severely injured. The little Nikephoros, in ungirdled chiton and a 
 small cloak, holds in his 1. hand a little box (?); with the r. he offers 
 a bunch of grapes to a bird, which is pecking at them from the 
 ground. Below, the inscription N LKrj^ope xpyo-Tt | x a T e (C. A Gr., 
 3360). Possibly from Smyrna, or from the Islands. Coarse style. 
 H. o'5o. I,. o - 26. [*C] 
 
 153 (Wheler). Upper part of a sepulchral stele. Chandler, 
 
 11. 65. The pediment still has preserved the uppermost palmette as 
 akroterion. On the frieze (£a)<£jpo$) is the skull of an ox, on either 
 side a lion or panther, turning towards the centre. At each end is 
 half a palmetto, as a top ornament. Below, an architrave in two 
 divisions, and in the lower of the two the inscription Ai o^avre 
 Alo^iIvtov x a T e (C. I. Gr., 6915). Of the field for a relief which 
 was below there remain only the Corinthian capitals of the two 
 columns that framed it at either end ; all the rest missing. The 
 material is coarse limestone, the whole composition very unusual, 
 certainly not Attic. H. o'6o. L. C57. [*] 
 
 154 (AH.). Sepulchral relief of Diophantos. Chandler, 
 11. 64. Prideaux, no. 75. Maittaire, no. 33. Montfaucon, Ant. 
 Expl., Suppl., v. PI. 8, 1. Square relief, simply framed. A nude 
 youth, in full face, stands in a graceful posture : his lowered 1. hand 
 seems to hold a wreath, the r. hand holds his head. Beside him an 
 attendant in a chiton. On the upper edge the inscription Ato^avros 
 At ocfxxvTov (C. I. Gr., 6914; besides no. 153, cf. C. /. Gr., 748 h, 
 Ato^jarros Atot^aVrov llaXA^i'etl';). The relief, belonging perhaps to 
 
 37—2 
 
580 
 
 OXFORD, SCHOOLS I 55. 
 
 the second century b.c., was once apparently good; now it is effaced 
 all over. Coarse, yellowish marble. H. 0-24. L. o'2g. [*C] 
 
 155 (AH.). Sepulchral monument of Claudius Agathe- 
 merus and of Myrtale. Chandler, n. 70. Prideaux, no. 4. Mait- 
 taire, no. 39. Montfaucon, Ant. Expl., Sitppl., in. PI. 9, 1. Visconti, 
 Iconogr. grecque, 1. PL 33. Two life-size busts side by side, to the 1. 
 an old lady with a high curled wig, veiled, to the r. a beardless man 
 in a toga. Below, the inscription (C. I. Gr., 6197. Kaibel, Epigr. 
 Gr., no. 554), 
 
 KXauSios Irjrrjp 'Aya dq/jbepos evOdSe Kepxai, 
 
 TravToiy]^ SeSacls Kpaarvov d.Kecrp.a vocroV 
 £vvov tovto S’ iji.ol kou Muprd/Yp elcra crwevva) 
 p.vrjjux ' per ewe/3ecov 8 ecrpev iv HAucrioji. 
 
 The style of the lady’s hair suggests the second half of the first cen- 
 tury a. d., and with that agrees well the palaeographic character of 
 the inscription. Hence the suggestion of Reinesius ( Sy/it . mscr., p. 
 610) is a very probable one, namely, that our physician is identical 
 with the friend and fellow-pupil of the poet Persius, of whom it is said 
 in the vita Persii: nsus est apud Cornutum duornm convictu doctissimo- 
 rum et sanctissimorum virorum acriter time pliilosophantium , Claudii 
 Agathemeri medici Lacedaemonii et Petroni Aristocratis Magnetis, 
 quos unice miratus est et aemulatus, cum aequales essent , Cornuti mi- 
 nores et ipsi. The monument comes from Rome, where it was once 
 in the possession of the sculptor Chr. Status, near the church of 
 S. Andrea delle Fratte. H. o - 83. L. 0-89. [*] 
 
 Ashmolean Museum. 
 
 The basement room of this Museum conceals a tolerably large 
 collection of various sculptures ; among which the worthless element 
 preponderates and the spurious is strongly represented. In many 
 instances the names of the donors are unknown ; some specimens 
 have been separated from the pieces in the Schools to which they 
 belong, from want of space there. Many of the sculptures are placed 
 very high ; all are covered thickly with dust ; the difficulty of judging 
 with certainty about the restorations is therefore rather great. To 
 facilitate our survey, I will again classify the specimens into statues 
 and statuettes, busts, reliefs, etc. 
 
OXFORD, ASHMOLEAN MUSEUM I 56 — 1 6 1 . 
 
 581 
 
 STATUES AND STATUETTES. 
 
 156. Group of Aphrodite with Eros and Psyche (?). 
 
 The figure of the goddess repeats in all essentials the motive of the 
 Venus of Melos. It exhibits also a particular correspondence in the 
 drapery, the tip of which is laid over the 1. thigh ; the 1. foot is set on 
 a tolerably high pedestal. The r. arm is missing from the breast, the 
 1. shoulder is restored, arm and head are missing, on the shoulder 
 traces of curls are visible. Beside the 1. thigh stands a pillar on 
 which is a cithara. This may prove that some restorer had an idea 
 of making the statue a Muse (cf. the Erato on the Lansdowne sarco- 
 phagus, no. 75). In front of the pillar, beside Aphrodite’s 1. foot, 
 stands a boy (Eros) quite nude, with his hands on his back ; his 
 head is missing. Further round the corner is the lower half of some 
 one enveloped in a cloak, the waist bare, apparently that of a female 
 (Psyche), but the restorer has stuck on a male breast, arms and head. 
 Both children are about half the size of the principal figure. For the 
 association of the three figures cf. the Dresden group, Clarac, iv. 640, 
 1451. FI. 0-58, with the pedestal 0-64. [*] 
 
 157. Statue of Aphrodite, the same motive as the Medici 
 
 Venus. New : head, r. arm, half the 1. forearm; legs badly broken, 
 but for the most part antique. Beside her is Eros riding on a large 
 dolphin ; his 1. arm is missing, and his r. hand, which lies on his 
 head, new. Very rough sculpture. H. 074. [*] 
 
 158. Torso of a statue of Aphrodite, in similar position. 
 
 Only her body and thighs are preserved. FL o - 28. [*] 
 
 159 (H. Clarke). Statue of Kybele, sitting in her shrine, 
 which has a pediment ; she has a rnodius on her head, below which 
 long curls fall down ; in her r. hand she holds a cup, and in the 1. 
 hand raises a tympanon ; her feet rest on a very high footstool, and 
 in her lap the lion crouches. H. 073. L. 0-27. From Ephesos. 
 [* 
 
 x6o (IF. Clarke). Torso of a statue of Eros, including the 
 r. thigh. His r. arm went down slantwise in front of his breast, the 
 1. was advanced horizontally. Traces of wings are perceptible on 
 the back. H. 0-36. From Ephesos. ['*] 
 
 161. Statue of Eros riding on a dolphin. Head, r. arm, 
 1. forearm, lower part of r. leg missing. The dolphin’s mouth has 
 been perforated, from which we infer that the whole piece was 
 intended for the adornment of a fountain. IF. o'2g. [*] 
 
58 - 
 
 oxford, ASHMOLEAN MUSEUM 1 62 — 1 69. 
 
 162 (Rawlinson). Statue of Eros sleeping. Chandler, 48. 
 
 Clarac, iv. 644 B, 1459 G (the sides are reversed in both drawings). 
 The boy is reposing on his cloak. Putting aside the restorations there 
 are now missing the arms, 1. leg, r. lower leg, bow and quiver ; only 
 pieces of the wings are left. The only remarkable point about the 
 specimen is its unusually large size ; from the crown of the head to 
 the knee it measures o - 8o. [*] 
 
 163 (Wheler). Statue of Silvanus. Chandler, 80. The god 
 is standing, bearded and crowned, an apron of fruit before his breast, 
 a large branch of a pine tree in his 1. arm ; on his feet are boots. 
 Beside his 1. foot sits a dog. R. arm missing. Rough sculpture. 
 H - °' 2 5 - [*] 
 
 164 (Rawlinson). Statue of Neilos. Chandler, 73. The god 
 
 is bearded and recumbent ; he leans his 1. arm on the Sphinx, his r. 
 on his thigh ; his legs are covered by his cloak. His head is crowned. 
 Coarse work. H. o’25- L. o'36. [*] 
 
 165 (AH.). Statue of a recumbent Nymph. Chandler, 
 141. Prideaux, no. 126 (p. 263). Maittaire, no. 145. Upper part of 
 the body nude. The 1. arm rests on the rock, the r., which had at 
 some time been restored, missing. The head has wavy hair and has 
 been joined to the body with a new neck. Insignificant sculpture. 
 
 H. o’46. [*] 
 
 166 (AH.). Statue of a recumbent female figure. Chand- 
 ler, 142. Prideaux, no. 126 (p. 264). Maittaire, no. 145. Montfaucon, 
 Ant. Expl. , Suppl., hi. PI. 10. She wears a chiton and cloak, her 
 
 I. arm is supported on a cushion, her r. laid on her 1. shoulder. In 
 
 her 1. hand she holds a thick wreath ( vtto 6 v/us ). Her head is 
 crowned ; it has been badly battered about, but probably belongs to 
 the statue. The figure is bad and broken in many places. It was 
 most likely the lid of a cinerary urn. H. 0-37. L. C73. [*] 
 
 167. Modern statuette of a sleeping female figure ; nude, 
 but crowned and holding a wreath of roses over the lower part of her 
 body. [*] 
 
 168. Upper half of a female draped statue, over life-size, 
 
 extending to the navel ; the lower half once formed a separate piece. 
 The arrangement of the drapery is the same as in Wilton, no. i d . A 
 hole has been cut to receive the head and neck, but they are missing. 
 Rough work, in bad preservation. H. o'5i. [*] 
 
 169. Upper part of a female draped statuette, preserved 
 
 down to below the 1. hand ; same motive as the Vatican “ Pudicitia ” 
 (Clarac, iv. 764, 1879). Pretty. H. ab. o - 3o. [*] 
 
OXFORD, ASHMOLEAN MUSEUM l JO -I JJ. 
 
 583 
 
 170 (Dawkins). Fragment of a female draped statue. 
 
 Chandler, 41. She wears a girdled chiton and a cloak before the 
 lower part of her body and her legs. Preserved from above the 
 girdle down to the r. knee. Much battered. H. 074. [*] 
 
 171 (H. Clarke). Upper part of the statue of a Roman 
 in the pallium, his r. arm in front of his breast. From the neck to 
 the middle of the thigh is preserved; a hollow has been prepared for 
 the head and neck. Work flat, back quite rough. H. o - 44. From 
 Ephesos. [*] 
 
 172. Torso of a nude warrior, with belt for the sword, 
 
 resting his 1. hand on his hip. His head with the helmet has been 
 put on ; r. arm, legs, and the support have been restored. Insignificant 
 work. H. o’68. [*] 
 
 173. Statuette of a youth, sitting on a mass of rock on which 
 
 he supports his 1. hand, his r. is before his breast ; his head is missing. 
 Lower down on the rock are the remains of a group, representing 
 perhaps some local deities ; one figure reposes in the lap of another 
 that is sitting ; the upper part of the body of the latter has been re- 
 stored. Insignificant work, very much broken. H. 0-42. [*] 
 
 174. Statuette of a youth, draped, with his legs crossed; he 
 
 supports his 1. side against a pillar, on which is introduced at the 
 bottom a comic mask with the mouth bored far through. Apparently 
 quite modern. H. 074. [*] 
 
 175. Statuette of a boy with a bird. A boy, standing on 
 
 his r. leg, had lowered his r. hand (arm missing) and is holding a 
 little bird in his 1. ; a cloak hangs from his 1. arm down to the 
 ground. A plait goes along the whole length of his hair at the 
 parting. H. 0-51. [*] 
 
 176. A foot, covered with a sandal, the straps of which may 
 be very distinctly seen. Chandler, no. The upper surface of the 
 marble where the foot is broken and a piece of the pedestal under 
 the foot show that it belonged to a statue of life size, and that it is 
 not a votive foot. [*] 
 
 177 (Dawkins). Terminal figure of Polydeukion, without 
 a head. It comes from a church, fallen into ruins, at Kephissia, 
 where Herodes Atticus had an estate. It is one of the numberless 
 monuments erected by Herodes in honour of the favourite whom he 
 prematurely lost (Philostr., Vitae sophist ., n. 1, 12. C. I. Gr., 989 ff. 
 C. I. Att., hi. 810 ff.). The inscription, which I have not compared, 
 and which is written on two sides, is given thus in the C. I. Gr ., 
 989 
 
5 S4 
 
 OXFORD, ASHMOLEAN MUSEUM 178 , 1 79 . 
 
 "Hpws IIoAvSevKiajv, ] 
 
 raurSe 7 tot iv TpiojSois crvv <to'l eVc | (TTpecfiopr/v. | 
 
 Hpo? 6e Kai ?yp(utu[i'], | otrng et o eyov tov ^utpov, | payVore pera- 
 K€U/-^(Tp[s] | TOVTOiV Tl" Kai TCtS TOT)TO)[v] | TUI/ dyaXpaTO)V eiKOVa[s] 
 Kat Tei/xas ocrrt? ?/ Ka0eA[oi] | 7 } peraKeivoir/, tovtu) /x[t/] ! t€ yrjv Kapirdv 
 (f>ep€LV, /x[^]|7e ddXacraav 7 tAg utt)i/ cijrai, KaKius re a7roAe(r0a[i] | avTOi/g 
 Kat yeVos. octt([?] | Se Kara ydpav </>iAarT(o[i'] | Kat reipCiv ra etco^ora | 
 Kat av£wv Siapevoi, 7roAA[d] | Kat dyaOd etrat tovtio Kat | airrai Kat 
 (Kyovo ts. | Xvpr/vacrOaL Se pr/Se Aa)|[/3?;]frao'0at pr/ SeV, 7) a7ro|[K]povcrat »/ 
 ( TvvOpavcrai, i) | crui'^eat pop<f>rj<; K-[at] | roC ay// p.u.Tos' el Se Tts 
 
 o[{!jjro) iroir/creL, 1 / a inrj Kat c|7rt toutois dpd. 
 
 II. ’AAA’ eav ra re eV[i ] | Oepara t/ov po[p] <£tov daivy Kat aK[e]|paia 
 Kat ra i'7rocr[T>/]|/xaTa ras ySdaeis oj[s] J eiroii/9 i/aav’ Kat e[i'] ] Trpojro) ye 
 Kai eiri 7r[poijjrois, tarns 7 } 7rpotrr[a / jf]etev ereptu 17 yx/ujp.7y[s] | dp^eiev rj 
 yvopr/ crt>[|a]!/3aAorro 7repi ro[u] r<av Tt 7 } Ken/7y07;i'a[i] 7 } ovvyvdr/raL 
 Pentelic marble. H. D55. [*] 
 
 178 (Dawkins). Terminal figure of Aurelius Appianus 
 Chrestus. Chandler, it. 61. Found at Athens, not far from the 
 “Tower of the Winds,” which is situated somewhat to the west of the 
 former Gymnasion Diogeneion mentioned in the inscription below. 
 The term has no head ; drapery (^Aatj/a, see below) lies round the 
 neck and on the 1. shoulder. Below the neck is the inscription 
 (C. I. Gr ., 427. C. I. Att., hi. 751) which I have not compared: 
 rpTy^icrapeViys rf/s | [e]£ ’Ape/ov ndyov (3ov\Xr/<; tov uoV tov \ Koapi/Tov 
 Aup^Aiov) | ’Aefxjuavov XpTycrroV | Alapaddviov ot | irepl to Aioyej/eior/ | 
 crvvapxovTes j aperf/s eveKev. Below the distinctive mark of male 
 terms follow the verses : 
 
 "Oaris Kai tiVos eipti, ra [ irpocrOev ypa/x/xara <£pa£e[i]' | 
 dpcf/i S’ eprjs po/pr/s 7ras | iSixKpvcre Aeols, | 
 ovveKev ovk eefadr/v j /(Xalvav rrepl avyevi 6eaQo\i\ | 
 
 Kcd/xu) ev r/yadeu) \ iravaa.pevo<; /3iotou 
 
 The third verse refers to the cloak, which was put on too late, in fact 
 first put on the terminal representation. The term belongs to the 
 second century a. d. Pentelic marble. H. 1 -44. [*] 
 
 BUSTS. 
 
 179 (Rawlinson). Bust of Zeus. Chandler, 87. Head not 
 bad • the hair does not encroach too much on the forehead, and it 
 
OXFORD, ASHMOLEAN MUSEUM l8o— 1 96. 585 
 
 falls low clown on to the neck behind. New : tip of the nose and 
 all the bust. Below life size. [*] 
 
 180 (Wheler). Small head of the youthful Dionysos, 
 crowned. Chandler, 82. Insignificant and much bruised. [*] 
 
 181 (Wheler). Small head of the bearded Dionysos. 
 Chandler, 77. With a fillet in his hair, that falls low down on 
 his neck. Hieratic style. [*] 
 
 182. Small head of a Satyr, with rough hair. Chandler, 84. 
 New : bust and nebris. [*] 
 
 183. Head of a laughing Satyr, with ruffled hair. Chandler, 
 86. New. [*] 
 
 184. The same. Chandler, 85. New. [*] 
 
 185. Head with long hair and Phrygian cap, on an unusual 
 pedestal ; nose battered. Chandler, 88. New. [*] 
 
 186 (Rawlinson). Head of a youth. Chandler, 109. The 
 peculiar arrangement of the hair and the whole character remind us 
 of the so-called heads of Ptolemy. Broad fillet through the hair. 
 New : neck and bust. Below life size. [*] 
 
 187. Bust of an elderly Roman. Chandler, xoo. The 
 small head, which is not bad, resembles Claudius. [*] 
 
 188 (Rawlinson). Bald-headed Roman. Chandler, 94. He 
 wears a wreath. New : nose, back of the head, and bust. The rest 
 is so injured that the only thing we can say about it with certainty is 
 that it is not a portrait of Caesar. [*] 
 
 189 (Rawlinson). Bust of a Roman, in corslet. Chandler, 
 93. He looks wild, and his hair is disordered. Quite new. [*] 
 
 190. Bust of a Roman old man. Chandler, 97 (bad). He 
 has a bald head, and half the back of it is missing. Bad work. [*] 
 
 191. Small bust of a Roman old man. New. [*] 
 
 192. Remains of a head of a Roman old man. Veiled. 
 Face only preserved, and that badly knocked about. Life size. [*] 
 
 193. Modern head, on a modern mailed bust of dark stone. 
 [*] ' 
 
 194. Small head of a boy. Chandler, 83. The nude bust is 
 new, and a ribbon goes right across the breast. [*] 
 
 195. Child’s head, of bronze, on a bust of giallo antico. 
 New. [*] 
 
 196 (Rawlinson). Youthful head. Chandler, 90. Round the 
 smooth hair and the forehead a narrow ribbon is drawn. The head 
 is smooth, the mouth so deeply cut as to give the impression of a 
 mask. Life size. [*"] 
 
586 
 
 OXFORD, ASHMOLEAN MUSEUM 1 97 — 202. 
 
 197. Small head of an elderly lady, with her hair dressed 
 in a roll over her forehead. Bad, and also much injured. [*] 
 
 198 (Rawlinson). Female portrait head. Chandler, 89 (not 
 accurate). Hair parted and smoothed back from the forehead, some- 
 what thicker on the temples. A fillet passes round the hair, in which 
 are nine deep holes, besides six similar holes close behind them for a 
 metal wreath or some other ornament. Originally the head was not 
 bad, but now it is much knocked about. Over life size. [*] 
 
 199 (Rawlinson). Bust of a Roman lady. Chandler, 107. 
 The plaits on the top of her head resemble an inverted basket. Nose 
 new. Bad sculpture. Life size. [*] 
 
 200 (AH.). Sulpicia Canni. Chandler, in. 6. A massive 
 
 head, more like that of a young girl than of a woman. The hair is 
 brushed back and forms a flat plait along the parting. Pupils ex- 
 pressed. Nose missing. The draped bust belongs to it, so does the 
 slab on which it rests. On this slab stands as if cut in with a knife 
 Sulpicia Canni (S. consort of Cannius, or C. Annius); it appears to 
 me very doubtful whether its origin is antique. The bust finishes 
 below with a round disc. H. 0-51. [*] 
 
 reliefs, etc. 
 
 201 (Dawkins). Altar of Zeus Labraundes. Chandler, 11. 
 12. On the front the Carian double axe (Aa/3pus) is depicted; 
 below in careful writing Atos Aafipavv' oov, then in careless characters 
 which also differ palaeographically, kou Aids ixeylcrTov ( C . I. Gr., 
 2750). H. o - 35. L. o‘29- The altar comes from a Turkish burying- 
 place between Aphrodisias and Hierapolis in Caria. [*C] 
 
 202 (AH.). Altar of Herakles. Chandler, hi. 9. Prideaux, 
 no. 139. Maittaire, no. 139. Montfaucon, Ant. Expl., Stepp/., 1. 
 PI. 54, 1. Front. Herakles is represented as a child strangling 
 the five-headed Hydra with both hands (not the two snakes). This 
 relief is surrounded by the inscription coarsely hewn in : E(is) 
 M(anibus) L (ucio) Marcio \ Pacato filio d\ulcissimo \ fecit Ro\dope 
 ma\ter in\ [ f~\elici\ssiina, \ qui v(ix)it annos \ XV m(enses) VII I I d(ies) 
 VIIII . — R. side. Herakles, beardless, strikes at a large Stymphalian 
 bird with his club, he has seized it by the neck and is holding it. 
 — L. side. Herakles, bearded, is kneeling on the back of a Centaur 
 whom he has thrown to the ground, and whose hands are chained 
 behind his back ; with his 1. hand the victor seizes the Centaur’s 
 head, while he swings the club against him with his r. hand. — Back. 
 
OXFORD, ASIIMOLEAN MUSEUM 203, 204. 
 
 58 / 
 
 Herakles’ arms, the lion’s skin and the club, the broad quiver 
 (yaipuTo's) and the bow. — The reliefs are delicately and prettily 
 executed; so much the more disfiguring therefore is the inscription 
 on the front ; no doubt it was added afterwards, when the little altar 
 was to be turned into a sepulchral monument. H. 0-42. L. 0-26. 
 D. 0-21. [*C] 
 
 203 (Dawkins). Fragment of an Attic votive relief; 1. 
 
 half. Chandler, 1 1 7. Of the frame the anta on the 1. and the archi- 
 trave with tiles on the top are preserved. A man in a cloak and two 
 veiled females approach from the 1., then two girls somewhat smaller 
 without veils, and a female attendant with a large box on her head ; 
 before them is a sacrificial minister in an apron, driving a pig forward, 
 also a boy and a girl. Of the personages to whom the sacrifice 
 and the adoration are offered, we see only a r. arm akimbo with 
 some indistinct object in the hand; the figure to which it belonged 
 must have been much larger and was evidently standing. We can- 
 not therefore take it for the deceased heroically treated on his couch 
 (cf. nos. 144 — 146), but presumably it is Asklepios with his relatives 
 (cf. Miithcil. des archaeol. Inst, in Athen, 1877, PI. 18. Arch. Zeit., 
 1877, pp. 139 ft'.), or some other god. For the rest cf. above, no. 
 88. Sculpture of the fourth or third century b. c. Pentelic marble. 
 H. o-66. L. 0-47. [*C] 
 
 204 (AH.). Sepulchral stele of Philista. Chandler, 11. 89. 
 Prideaux, no. 68. Maittaire, no. 35. Montfaucon, Ant. Expl . , 
 Suppl., v. PI. 7,1. Stele in excellent preservation. Above, a pedi- 
 ment with denticulations on the geison, in the field of the pediment 
 a rosette. On the frieze is the inscription <£>iA.tcn-av Mqavovos ( C. /. 
 Gr., 3254); below, two rosettes, and in a hollowed square field a 
 laurel wreath enclosing the words o Sij/xos (cf. above, no. 149). Be- 
 low this, the architrave with dentils supported by two Corinthian 
 pilasters. In the very deep relief field we see Philista in chiton and 
 a fine, transparent cloak, trimmed with fringe ; she is veiled. Her r. 
 forearm, concealed by the drapery, lies across her body and her 1. 
 elbow is supported on it, her hand gracefully holds the hem of her 
 drapery up to her neck. The inclination of her head, and her down- 
 ward look directed to the little dog (jueXiraios) that is jumping up 
 by her r. foot, have a particularly charming effect. To the 1. stands 
 a low pillar, with a basket (i<dA.ui9os) on it; beside it a diminutive 
 female attendant in chiton, opening the lid of a little box. On the 
 r. is another pillar, somewhat higher, with a large box on it; beside it 
 a similar attendant (head missing) who is laying her r. hand on a 
 
588 OXFORD, ASHMOLEAN MUSEUM 205, 206. 
 
 closed box. Under the relief is a high, moulded pedestal. The 
 relief belongs probably to the second century b. c. ; it has been 
 executed with evident love and care, so that the architectural adorn- 
 ments are even extended on the sides. It is one of the best 
 examples of its style ; also remarkable for its good preservation. 
 Relief very high, nearly o'i2. It comes probably from Smyrna. 
 Yellowish marble. H. i '79. L. o - 8o. [*] 
 
 205 (Selden). Sepulchral stele. Chandler, 143. Prideaux, 
 no. 91. Maittaire, no. 144. Montfaucon, Ant. Expl., Supply v. 
 PI. 9. Similar to no. 204, now without pediment, which was probably 
 sculptured out of a separate piece ; the lower geison with dentil is 
 still extant. On either end of the frieze is a rosette and between 
 them two hollowed square fields with a laurel wreath each; there are 
 no inscriptions now, they have probably been chiselled away. On 
 the architrave, which is in two belts, the inscription is also destroyed. 
 The relief field, which is hollowed out to a considerable depth, is 
 enclosed on either side by Corinthian half-columns. In their relative 
 positions the two principal figures resemble those in no. 89 : the 
 young man to the 1., in his long chlamys buttoned on the r. 
 shoulder, and with a quiver and straight bow on his back, is almost 
 turning his body away from the female figure, he looks however 
 on the ground towards the centre ; his r. arm is lowered, his 1. 
 arm raised in front of his breast. The female figure, to the r., has 
 exactly the posture of Philista (no. 204, cf. nos. 89, 90). Between 
 the two stands a diminutive female attendant, with her legs crossed 
 and in the attitude of the Vatican Pudicitia ; on the 1., by the pillar, 
 near the man, are two diminutive attendants in short chitons, pressed 
 very close to each other. On the high pedestal may be seen a 
 round box with the lid beside it, another round box, a high goblet- 
 shaped vessel, a hat (?), and a high cup or a basket. A pretty good 
 example of this style, but not to be compared with no. 204; pro- 
 bably also from Smyrna. H. i - 2 2. L. 0-64. [*] 
 
 206. Sepulchral stele of Leukaios. In the pediment is 
 a rosette. Below the pediment, in a square slightly hollowed out, is 
 a wreath, without inscription : below it Aetixafos KaAAi7T7rou (not in C. 
 I. Gr.). In the relief field stands Leukaios, so much knocked about 
 that only his cloak and shoes can be recognised. To the r. a diminu- 
 tive attendant in a chiton, with his legs crossed and his arms lowered, 
 is leaning against a tree round which a snake is twined. To the 1. is a 
 pedestal, before which a little dog (/xeAitouos) is jumping up. On 
 the pedestal is a thick slab, with three fruits on it, then a high 
 
OXFORD, ASHMOLEAN MUSEUM 207— 212. 
 
 589 
 
 ithyphallic terminal figure, with demolished head and two projections 
 instead of arms (cf. Ince, no. 260). The whole of this group stands 
 on a pedestal on which a round shield and two upright oval objects 
 (greaves?) are depicted in relief. The monument belongs to the 
 second (or first ?) century b. c. ; it comes probably from Asia Minor 
 or the Archipelago. Grey marble. H. 072. L. 074. 
 
 207 (H. Clarke). Fragment of a Greek sepulchral relief. 
 
 A man, the upper part of whose body is nude, is lying on a couch, 
 before which stands a high altar of incense (dvfjLtarijptov). He is 
 reaching with his r. hand for the torch with which a figure, now 
 almost destroyed, seems about to set light to the incense. Very 
 high relief, much defaced. From Ephesos. H. 0-37. L. o - 27. [*] 
 
 208 (Burgon). Sepulchral relief. A horseman, in a chlamys, 
 
 is riding to the r. towards a pine tree. In his r. hand he holds out a 
 cup to a serpent, that is twisting itself from the tree towards him. 
 Near the tree is a diminutive attendant in chiton and chlamys, raising 
 the r. and lowering the 1. arm. Under the horse is a little dog. To 
 the 1. in the field a roll and a box. Coarse white marble. From 
 Pergamon. H. o'6o. L. i - o2. [*] 
 
 209 (AH.). Sepulchral altar of Q. Avilius of Lanuvium. 
 
 Chandler, nr. 7. Round altar, ornamented with four bulls’ heads, 
 over which a thick garland is hung, adorned with fillets and laden 
 with grapes (cf. above, nos. 96 — 104). Above, the inscription : Q 
 Avili C f lanvine salve; below: Kdivre AmXAie Patou vie ' L’oyxate | 
 Xprjare x a T e (C. /. Gr., 6894). Probably from Rheneia (cf. C. I. 
 Lat ., hi. 486). H. 0-84. [*C] 
 
 210. Similar sepulchral altar, adorned only with bulls’ heads 
 and garlands. H. 0-67. [*] 
 
 21 1 (Dawkins). Cippus of Atika. Chandler, 11. 91. The 
 
 monument is in the form of a square altar, left rough at the back, 
 and without ornament on the two sides. In front is a veiled female 
 figure, seated, her head supported in her 1. hand. In front of her 
 stands a female attendant offering her something. Above, in very 
 la. ge letters, the inscription : ’Aru<d Ad^m/aos | ywrj 'HpoSaipov (C. I. 
 Gr., 6893). The monument comes probably from Asia Minor or the 
 Archipelago. H. o‘6o. L. 0-42. D. C42. [*] 
 
 212 (AH.). Cippus of Fabius Rufinus. Chandler, in. 8. 
 
 On the front Cupid is represented, holding in his raised r. hand a 
 stout indistinct object; his 1. hand was lowered and is knocked off. 
 Coarse relief. Above: Memoriae \ Fabi Rufini\ below: Fabius Iusius. 
 H. 0A5. L. 0-50. D. 0-39. [ # ] 
 
590 
 
 OXFORD, ASHMOLEAN MUSEUM 213 — 2 1 8. 
 
 213 (AH.). Cippus. Chandler, 154. Underneath a tablet, 
 
 that is almost entirely modern, may be perceived the closed entrance 
 to the tomb. On either side a laurel tree with birds. H. o - 52. L. o’33. 
 D. 0-30. [*] 
 
 214 (H. Clarke). Sepulchral monument of L. Pompeius 
 
 Marcellinus. Above, in relief, a pediment; below, a bearded horse- 
 man, in chiton and fluttering chlamys, with his sword by his side, 
 galloping r. and brandishing a spear. Underneath, the inscription 
 ( C. I. Lat., hi. 435): L. Pompeio L. filio | Faina Marcellino \ Foma, 
 triibimo) coA(ortis) pripnae) J Ligur(um ), vixit annos | XX- III- (sic) 
 mens(es) V dies XI. | monumentum fecit \ Flavia Marcettina | mater 
 et | Pompcia Catullina \ soror. | h(oc) m(onumentum ) \h{eredem ) n(on )] 
 slequitur). From Ephesos, whence it was brought to Smyrna ; at 
 this place Waddington copied it. H. i'49- L. 0-59. [*] 
 
 215 (AH.). Cinerarium. Chandler, in. n. Two boys are 
 carrying a garland, and within the field it encloses is a tablet with 
 the inscription: Dips) M(anibus) \ Pitbliliae \ Spei , | vix(it) anlpios) 
 XVI | m(enses) VIII d(ies) XVI I II. On each of the sides a gar- 
 land. On the lid are two torches, lying. H. 0-28. L. o - 33. D. o - 24. 
 [*] 
 
 216. Remains of a cinerarium, broken off at the top. In 
 the centre is a boy turning r., and at either end a girl, draped. They 
 support two garlands, and each garland encloses a head of Medusa. 
 H. o' 26. L. o - 6g. [*] 
 
 217. Fragment of a relief, perhaps from a sarcophagus. 
 
 Chandler, 130. R. upper corner: a Cupid, with the bow in his 1. 
 hand, and carrying on his r. shoulder a well- filled basket. Much 
 abraded. H. o’35. L. 0-30. [*] 
 
 218 (H. Clarke). Two fragments of a sarcophagus, with 
 rich mouldings above ( kymation and astragalos). I. Beardless head, 
 helmeted, turning 1. and blowing a trumpet. Behind, a piece of a 
 shield seen from the inside. II. Bearded head, turning 1., and a 
 shoulder. This head is larger than the other : perhaps because the 
 figure was sitting. Both heads, which are in very high relief, intrude 
 into the moulding. These fragments come from Ephesos, and they 
 remind us of the Ephesian Achilleus sarcophagus in Woburn (no. 
 2 1 9), though they cannot belong to it. Perhaps they are fragments 
 of a representation of Achilleus in the midst of the daughters of 
 Lykomedes, like the sarcophagi in the Capitol and the Louvre (cf. 
 Cambridge, no. 76. Woburn, no. x 1 7 ) ; possibly they are the heads 
 of Agyrtes the trumpeter and of Lykomedes. H. abt. 0-21. [*] 
 
OXFORD, ASHMOLEAN MUSEUM 2 ig — 226. 59 1 
 
 219 (H. Clarke). Fragment, apparently of a similar sarco- 
 phagus, representing a sphinx with large wings sitting to the r. 
 (head missing) ; above the wings a piece of a cloak is visible. Be- 
 hind the sphinx are the remains of a maeander ornament, belonging 
 perhaps to a border that may have encircled the sarcophagus below. 
 H. 0-42. L. 0-37. FromEphesos? [*] 
 
 220 (Rawlinson). Slab with masks. Chandler, in, 112. 
 
 Front. Three masks in high relief. To the 1. a youthful Satyr 
 with a fillet in his hair, to the r. Dionysos with a long pointed 
 beard, and Ariadne. Back. Quite low relief. Head of the bald- 
 headed Seilenos, turning to the 1. ; in front of him a piece of a 
 thyrsos. On the extreme 1. signs of an altar and flames on it. 
 H. o'i8. L. 0-8. [*] 
 
 221. Fragment of a very thick marble slab. Chandler, 
 11. 59. To the 1. the remains of a boy carrying a wreath, coarsely 
 executed. To the r. an inscription tablet, which contains the con- 
 clusion of a menace of punishment (C. I. Gr., 7023): Saio-ei eis [ 
 Kat crapos [ cf>L(TKov'‘' \kclI els rqv \ ttoX.lv* (2500 denarii to each). 
 Underneath the remains of a further inscription, perhaps d //[ j? etc. 
 H. 0-28. L. 0-48. [*] 
 
 222 (Rawlinson). Relief of a crowned head. Chandler, 92. 
 New. [*] 
 
 223 (Rawlinson). Portrait medallion. Chandler, 108. 
 New. [*] 
 
 224 (H. Clarke). Fragment of a pilaster, representing a 
 candelabrum. The pedestal is triangular, and it rests on feet which 
 are like those of a sphinx ; draped female figures form the relief of 
 the pedestal. Above, rich akanthos cups and architectural mould- 
 ings are intermingled with masks, rams’ heads, swans, and eagles. 
 Broken off at the top. H. i‘52. L. o - 35- D. o - 2o. From Syracuse. 
 [*] 
 
 225 (H. Clarke). The same. The stem of a palm tree rises 
 from a richly ornamented round pedestal ; from the tree hang dates, 
 and above, the palm leaves form a tuft. H. 2 ’24. L. C34. D. 0-26. 
 There is a projection of the depth of on 6 intended to be let into a 
 groove. From Syracuse. [*] 
 
 226 (H. Clarke). The same. Ornamented in front with en- 
 twined vine-sprays. Behind projects a narrow perpendicular listel, 
 with two holes ; perhaps a hand-rail or balustrade was to have been 
 joined on there. H. 2-24. L. 0-35. D. 0^27 and 0U5 for the pro- 
 jection. From Syracuse. [*] 
 
592 
 
 OXFORD, ASHMOLEAN MUSEUM 22 7 — 2 37. 
 
 I could not find, or have overlooked, the following specimens : 
 
 227 (Wheler). Double terminal bust, apparently feminine. 
 Chandler, 75. 
 
 228 (Th. Shaw). Terminal bust of Dionysos, crowned with 
 ivy. Chandler, 76. 
 
 229 (Th. Shaw). Terminal bust of Hermes, with a long 
 beard, and wings on his hat. Chandler, 78. 
 
 230 (Wheler). Head of the bearded Dionysos (?), crowned 
 with ivy ; not archaistic. Chandler, 79. 
 
 231 (AP.). A piece of a moulding with portrait bust of a 
 man over it, apparently part of a sepulchral monument (cf. nos. 91, 
 155). Chandler, 95. 
 
 232 (Rawlinson). Bronze bust of Socrates. Chandler, 10 1. 
 Suspicious. 
 
 233 (Rawlinson). Bronze bust of Plato, with a Latin in- 
 scription. Chandler, 102. Apparently a copy of the Florentine 
 bust (Visconti, Iconogr. Gr., 1. PI. 18 A). 
 
 234 (Rawlinson). Fragment of a relief, 1 . end. Chandler, 
 13 1. A young Satyr, with nebris across his breast, appears to be 
 quarrelling with another Satyriskos. Of the latter remain only traces 
 of joints and a hand, with which he is seizing his adversary by the 
 hair. Both arms missing. 
 
 235 (Dawkins). Corinthian capital. Chandler, 165. Very 
 similar to the one in no. 130. 
 
 236 (Dawkins). Fragment. Chandler, 11. 14. Underneath a 
 wreath is the inscription [Ou]>)8ios Bdpyos (C. I. Gr., 36S3). From 
 Kyzikos. 
 
 There are also in the Museum a considerable number of terra 
 cottas, lamps, handles of amphoras, stamped tiles, etc. 
 
 All Souls College. 
 
 In the Library stands the following : 
 
 237. Marble stand. On a round pedestal crouch three lions ; 
 upon which three female figures stand in a stiff posture, seen in full face. 
 They wear each a long chiton, and both arms lie on their bodies ; 
 long plaits fall on their shoulders, and on their heads they wear each a 
 modius. Between their backs rises, from the centre of the pedestal, 
 a strong circular support contracted in the middle and having 
 a torus wound round it. This support is terminated above by a 
 
OXFORD, CHRIST CIIURCII 238—240. 
 
 593 
 
 round slab, which has the appearance of being carried by the women. 
 A round hollow in the surface of the slab seems to show that a large 
 cup, or candelabrum, or something of the kind, was to be let in 
 here. Late, rough art. H. o - 66. Diameter, below, o - 52; above, 
 o'37. According to an inscription in the ante-room, Anthony Lefroy, 
 Esq., presented to the college in 1771 this “ aram tripodem olim 
 matri deum in templo S. Corinthi consecratam." [*] 
 
 Christ Church College. 
 
 There is now only left the following specimen in the Library : 
 
 238. Modern bronze copy of the bust of the “ methodical 
 physician” M. Modius Asiaticus, in Paris; cf. on Wilton, no. 78. 
 The former possessor of the original, the Chancellor De Pont- 
 chartrain, had it moulded by Girardon and then cast in bronze ; 
 the copies were a perfect success (Caylus, Rccueil , vi. p. 142). Our 
 specimen, which was presented by the Plon. Frederick Campbell in 
 1809, is proved to be a copy by some mistakes which are found in 
 the inscription. [LA] 
 
 At one time the college possessed some more marbles, among 
 them : 
 
 239. A presumed bust of Cicero, and 
 
 240. A group, from Pella in Macedonia, consisting of a 
 woman and a boy; unfortunately its surface had been much injured 
 (Waagen, Treas., hi. p. 49) ; finally several modern busts. Of these 
 marbles only broken pieces are in existence now in one of the upper 
 rooms of the college, for on the occasion of a bonfire made years 
 ago in the quadrangle of the college by the students, all the busts 
 were carried out and placed too near the fire. The marbles turned 
 black, and, no doubt from anger at being so ill treated, sprang into 
 pieces ; only the aeneum pectus of the “ methodical physician ” sur- 
 viving this ordeal of fire. 
 
 Radcliffe Library. 
 
 Here are preserved, besides some plaster casts, two large 
 marble candelabra. Both of them were found in fragments by 
 Gavin Hamilton, 1769, in Hadrian’s Villa, in the place called 
 
 38 
 
 M. C. 
 
594 
 
 OXFORD. RADCLIFFE LIBRARY 24I, 242. 
 
 Pantanello. They were restored under the direction of Piranesi, and 
 thus sold to Sir Roger Newdigate, who presented them to the 
 Radcliffe Library; this happened before the year 1778, when 
 Piranesi’s Vasi e Candelabri appeared. Volkmann ( Reisen , hi. p. 
 31), Spiker ( Reise , 1. p. 25), and Waagen ( Treas ., in. p. 50) saw 
 them in the Library. Unfortunately my attention was directed to 
 them too late for me to be able to examine them myself. Neverthe- 
 less, the engravings make it evident that both these specimens are 
 seriously restored and in great part modern. They are striking 
 examples of those pasticcios to which, as they answered the taste of 
 that epoch, Piranesi as an art dealer owed a great deal of his reputa- 
 tion and of his extraordinary success; one may compare the cele- 
 brated candelabrum in the Louvre, likewise composed by Piranesi 
 from different antique fragments in a most arbitrary way (Piranesi, 
 Vasi, , 1. PL 30, 31. Bouillon, m. Ca/ideL, PL 1. Clarac, 11. PL 
 141). 
 
 241. Marble candelabrum. Piranesi, Vasi e Candelabri, 1. 
 PI. 25 — 27. Penna, Viaggio della Villa Adriana, iv. PI. no. Dallaway, 
 Of Statuary, PL 28. Three lions’ legs and between them a stem 
 ornamented with leaves, all of which rest on a low triangular base, 
 support a triangular pedestal tapering towards the top. The angles 
 of the main portion are formed by eagles in an awkward posture ; 
 between them on each side appear Bacchic masks (a, two Satyrs, 
 the one youthful, the other bearded, leaning against each other ; 
 b, bearded head, possibly of Dionysos, in full face ; c, unknown). 
 Above, a kind of ornamented capital with a group of two dolphins 
 entwined together on each of the three corners, and between them 
 with shells and floral patterns. The latter extend at the top on an 
 abacus, which ends in a ram’s head at each of the three corners. 
 Over each ram’s head is a large crane standing upright. In the 
 middle of the three birds a very tall stem, or capital as it were, is 
 erected, ornamented with sprays, leaves, and Medusa’s heads. On 
 it rests a round pedestal, shaped like a trochilus ; it supports a flat cup 
 or basket full of snakes. In the midst of these rises a kneeling 
 youth, of robust forms, with both arms bent behind his shoulders. 
 He serves as a Telamon or Atlas, bearing on his head and his fore- 
 arms a large, low cup, which forms the top of the whole cande- 
 labrum. 
 
 242. Marble candelabrum. Piranesi, Vasi e Candelabri, 11. 
 PL 96, 97. Penna, Viaggio della Villa Adriana, iv. PL hi. On 
 the corners of a low triangular base are three large lions' legs ending 
 
OXFORD. PENRICE CASTLE. PENSHURST. 595 
 
 in lions’ heads which, together with a bulky, fluted stem placed in 
 the middle of them, support a very high triangular structure tapering 
 towards the top and composed of a rich variety of ornamental 
 members. The undermost of these is decorated with goats’ skulls, 
 garlands and sacrificial instruments (apex, pail, cup, knife, etc.). 
 Higher up, over some rows of floral ornaments, come three Sphinxes 
 lying at the corners, their tails ending in ornamental sprays. Above 
 them follows a rather high section looking very modern, the principal 
 decoration of which are three huge elephants’ heads. Above, a 
 triangular pedestal of a common species (cf. Broadlands, no. 11. 
 Newby, nos. 8, 41). On its sides are reliefs : (a) Athene, standing 
 full face, in chiton and aegis, helmeted, holding a spear in the r. 
 hand and a shield on the 1. arm ; she looks towards 1. ; ( b ) behind 
 her, a youth (called Silvanus by Piranesi), clad in a short chiton 
 which leaves the 1. part of his breast exposed ; he goes, or rather 
 falls, towards 1., with the head, which is crowned, sunk on the breast 
 and both arms hanging down by the body ; the 1. hand seems to 
 hold some object; (c) the youthful Herakles, running 1., holding 
 his club in both his hands, the lion’s skin fluttering behind his back. 
 From the upper corners of this pedestal project three rams’ heads. 
 The topmost part of the candelabrum exhibits a rich series of various 
 round, moulded members, architecturally ornamented ; the top is 
 formed by a large, low cup. H. abt. 2-20 (10 pal. ioi on.). 
 
 PENRICE CASTLE (Glamorganshire, Wales). 
 
 At this ancestral mansion of the Mansel family, 12 miles from 
 Swansea, there is, according to what I was told by the gardener 
 at Margam, the sarcophagus described by Dallaway, p. 348 (11. 
 p. 96), under no. 18 of the Margam collection, as “fluted, with 
 cover, in the middle the group of the Graces.” For other antiques 
 see under Margam. 
 
 PENSHURST (Kent). 
 
 Dallaway, p. 382 (11. p. 134). 
 
 There exists only a faint tradition about an older collection of 
 antiques at this seat of the Sidneys, hallowed by poetry and historical 
 
 38—2 
 
596 
 
 PENSHURST. PETWORTH HOUSE. 
 
 reminiscences, cf. Introd. § 13, note 28. At present only a number 
 of busts, brought from Italy by Mr Perry about 1740 (Introd. § 41) 
 are to be found there, in the possession of Viscount de Lisle and 
 Dudley ; nothing more definite is known to me about them. 
 
 PETWORTH HOUSE (Sussex). 
 
 Dallaway, pp. 278 ff. (11. pp. 12 ff.). Volkmann, Reisen , 1. p. 361. 
 K. O. Muller in Bottiger’s Amalthea, 111. pp. 249 ff. ( = Kunst - 
 archdolog. Werke, 11. pp. 81 ff. ; indicated below by an m). Clarac, 
 hi. p. 60. Conze, Arch. Anz., 1864, pp. 238 ff. Waagen, Treas ., 11. 
 p. 32, devotes only a brief and undeservedly disparaging notice to 
 the statues. I examined the collection in the year 1877, at leisure 
 as to the statues, in a more cursory manner as to the busts. 
 
 This ancient seat of the Percys of Northumberland, to whom is due 
 for the most part the truly princely collection of oil paintings, now in 
 the possession of Lord Leconfield, stands in close contiguity to 
 the town of Petworth. The founder of the collection of antique 
 sculptures was Sir Charles Wyndham, from the year 1740 a 
 member of the Society of Dilettanti, who became in 1750 second 
 Earl of Egremont. In his task he availed himself of the services 
 of the expert architect Matthew Brettingham, junr., then resident in 
 Rome (Introd. §§ 42, 43), who, in collecting these valuable and on 
 the whole well-preserved antiques, evinced a skill equal if not 
 superior to that exhibited at Holkham (cf. Dallaway, p. 271; Payne 
 Knight, letterpress to Spec., 1. PI. 72). The fact that Gavin Plamilton 
 is also mentioned as receiving commissions from the Earl on the most 
 liberal terms (Dallaway, Of Statuary, p. 318; cf. no. 6) forms no 
 contradiction to the above statement, as Brettingham and Hamilton 
 were intimate friends (Introd. § 44). The collection was formed 
 between 1750 and 1760, but when the collector died in 1763, “the 
 cases containing these statues were not unpacked” (Dallaway, p. 
 319). The earl’s son and heir George O’Brien Wyndham, third 
 Earl of Egremont (d. 1837), was at that time a boy of only twelve 
 years old. He appears to have sold some antiques at a later date, 
 according to the following letter from Brettingham to Townley, 
 July 31, 1778, which 1 found among Townley’s papers in the 
 Bodleian Library at Oxford (“Memorandums of Marbles, &c., &c., 
 on Sale in Italy and elsewhere”) : 
 
PETWORTII HOUSE. 
 
 597 
 
 Dear S r , 
 
 I have a Commission from the Earl of Egremont to dispose of 5 or 6 
 more of his Lordship’s Statues chiefly from Petworth, among which is a curious 
 Silenus with a Basket on his head [no. 54], and allso ten or a dozen Bustoes 
 
 Then follows an invitation to Townley to inspect the marbles at 
 Pimlico ; an enclosure adds the following list : 
 
 Antique Statues and Busts belonging to the Earl of Egremont. 
 
 
 
 
 He 
 
 ight 
 
 Valuation 
 
 
 
 
 ft. 
 
 in. 
 
 £ 
 
 I. 
 
 A Diana, the Arms and hands only restored . 
 
 
 5 
 
 2 
 
 200 
 
 2. 
 
 Silenus with a basket [no. 54] 
 
 
 5 
 
 3 
 
 IOO 
 
 3- 
 
 Diana Cacciatrice [no. 17?] 
 
 
 5 
 
 4 
 
 IOO 
 
 4- 
 
 A Muse [no. 1 1 ?] 
 
 
 5 
 
 O 
 
 80 
 
 5- 
 
 A female drapery figure carrying a rabbit and 
 
 Ducks 
 
 
 
 
 
 from the market [no. 16] 
 
 
 5 
 
 O 
 
 IOO 
 
 6. 
 
 Fecialis with a young pig for sacrifice [no. 53] 
 
 
 4 
 
 2 
 
 IOO 
 
 7- 
 
 A small Diana Cacciatrice [no. 52 ?] 
 
 
 4 
 
 2 
 
 60 
 
 8. 
 
 Juno, a capital Bust of [no. 27] 
 
 
 3 
 
 8 
 
 70 
 
 9- 
 
 Julia Mamea, a Head [no. 46? 66?] 
 
 
 
 
 30 
 
 10. 
 
 Lucilla, a Bust 
 
 
 
 
 30 
 
 1 1. 
 
 Marciana, do. [no. 60 ?] 
 
 
 
 
 3° 
 
 12. 
 
 Faustina Maggiore, do. [no, 59 ?] 
 
 
 
 
 30 
 
 13- 
 
 Faustina Minore, do. [no. 67? Dali. no. 25?] 
 
 
 
 
 30 
 
 14. 
 
 A Muse, do. [no. 29?] 
 
 
 
 
 30 
 
 IS- 
 
 A Man’s Bust incognito .... 
 
 
 
 
 30 
 
 l6. 
 
 Julia Pia [no. 46? 66?] 
 
 
 
 
 3° 
 
 i 7 - 
 
 A Head of Bacchus [no. 21 ? Dali. no. 50] . 
 
 
 
 
 30 
 
 Most of these statues can be identified with sufficient certainty to 
 enable us to say that the purchase as a whole did not take place. 
 Only no. 1 was transferred at a later date to the Buckingham 
 Collection at Stowe, and is now to be found at Lowther Castle 
 (no. 3). Of two statues mentioned by Dallaway, no. 9 (Matron 
 draped, resembling Agrippina) and no. 19 (Vestal), only one can now 
 be traced in Petworth (no. n). On the other hand a few pieces 
 which Dallaway in 1800 does not enumerate, have found their way 
 here through the third Lord Egremont, notably the group no. 12 
 (cf. nos. 40, 46). Unfortunately this owner prevented Brotherton, 
 Count Clarac’s draughtsman, from completing the drawings of the 
 entire collection, so that many interesting specimens are still un- 
 published. 
 
59 § 
 
 PET WORTH HOUSE I— 4. 
 
 STATUE GALLERY. 
 
 As many specimens, especially busts, have had no definite place 
 assigned to them, it seems most suitable for my purpose to classify 
 separately the various kinds of sculptures, and so to begin with the 
 statues. I commence at the window on the r. of the entrance. 
 
 1. Statue of Ganymedes. Cavaceppi, Race., 1. PI. 13. 
 
 Clarac, hi. 410, 701. Dallaway, no. xo. The powerful youth, whose 
 breast, back, and 1. arm are covered by the chlamys, is resting his 1. 
 hand in a rather unnatural manner on the wing of the large eagle that 
 stands by him. He leans so heavily in fact that his shoulder is much 
 forced up. New : neck and head, the r. arm with the drinking-cup, 
 the beak and half the 1. wing of the eagle ; otherwise the whole group 
 is antique and unbroken. The execution is Roman and not remark- 
 able ; the youthful softness of body appropriate to a Ganymedes is 
 wanting. Pentelic marble. H. 1*83. [* Cm] 
 
 2. Fragment of a female statuette, preserved down to the 
 stomach. The form is quite enveloped in the cloak, which covers 
 the r. arm so that only the hand protrudes from the cloak in front of 
 the breast. The 1. arm was originally laid back. Neck and head, 
 possibly new, are let in to the drapery; on the head a stephane. 
 H. 0-30. [*] 
 
 3. Female portrait statue (“ Agrippina as Ceres”). Cava- 
 ceppi, Race., 1. PI. 12. Clarac, v. 930, 2366. Dallaway, no. 23. The 
 figure rests on the 1. leg, the r. foot being slightly drawn back. A 
 fine, ungirdled chiton falls down to the feet; the cloak, with one 
 corner flung over the outstretched 1. arm, envelopes the body and legs. 
 The drapery has been very little repaired and is in excellent preser- 
 vation, but its treatment is dry and it has been much re-worked by 
 Cavaceppi. The upper parts of the arms are lowered. New: the 
 forearms from the cloak onwards, the r. hand holding ears of corn. 
 The head and neck have been let in, but probably belong to the 
 statue. New : nose and parts of the stephane. In front of the high 
 stephane three rows of crisp curls extend over the forehead, on either 
 side long ringlets descend to the shoulders. The face inclines slightly 
 to the 1. shoulder ; it is pretty, with gentle expression. The head 
 reminds one of the so-called Domitia in the Vatican (Mas. Pic- Clem., 
 hi. PI. 5. Clarac, v. 940, 2405), without however being identical with 
 it. Parian marble. H. i - 8y. [*PCm\ 
 
 4. Statue of Hera, colossal scale. Dallaway, no. 17. Most 
 nearly allied to the beautiful Farnese statue (Clarac, in. 414, 723 B). 
 
PET WORTH HOUSE 5. 
 
 599 
 
 She rests on the 1. foot, and wears an ungirdled chiton and a cloak. 
 The latter covers her 1. shoulder, body and legs, is gathered into a 
 bunch in front of her stomach and then thrown over her lowered 1. 
 arm; the r. shoulder is raised. New: head with stephane, the r. 
 arm, and the 1. hand from where it issues from the drapery. Good 
 work. Parian marble. H. 2 ’05. [* Cm] 
 
 5. Statue of Apollo (“Apollo Egremont”). Spec., r. 62; 
 11. 45. Clarac, in. 496, 966. Miiller-Wieseler, 11. 12, 133. Braun, 
 Kunstmythol . , PI. 47. Dallaway, no. 7. This celebrated statue por- 
 trays the god resting on his r. leg, with the 1. leg slightly bent ; the 
 r. arm has always been lowered, in the 1. he carries the large cithara. 
 The most peculiar part is the very wide cloak. This is buttoned 
 together on the r. shoulder as if it were a chlamys, and so falls open 
 along the whole length of the body. On the 1. side as well it is gathered 
 up on to the shoulder, so as to set this arm also free for the cithara (cf. 
 Clarac, iv. 663, 1535). The cloak is therefore divided into what we 
 may call two wings, one in front, and one behind ; the folds are very 
 deeply undercut and in front they lie very near together, producing 
 a particularly rich effect ; but a more marked alternation of principal 
 and subordinate parts would be requisite for grandeur. On the feet 
 are sandals. The young, beautiful head is gently inclined to the 
 1. shoulder, the forehead is low, and the long hair is brushed back 
 from it and falls down on the neck and shoulders. The face has 
 an expression of composed, thoughtful inspiration, as though the god 
 were listening to the strains of his own music. Near the r. ear one 
 curl has escaped the mass of tresses. Behind the r. foot is an 
 omphalos entwined with woollen fillets (o-re^ara, vittae ); it is hardly 
 visible from the front, but serves to support the cloak behind. On 
 the front of the pedestal are visible the remains of a wreath of laurel 
 in quite flat relief. New : nose, r. arm with the plectrum, half the 1. 
 forearm, half of the front horn (7 cornu) of the cithara with 
 almost the whole of the upper bridge (£uyoV), half of the lower part of 
 the 1. leg down to the foot, and sundry edges of the folds of the 
 drapery. The head and neck have been let into the figure, but, 
 although they are of a much whiter and more finely-grained marble, 
 they undoubtedly belong to the statue ; for it is not at all uncommon 
 in draped statues that the head should be executed in finer marble than 
 the rest (cf. Lansdowne House, no. 67), and of the long curls one fits 
 exactly to the piece on the shoulder, three others having been con- 
 nected by inserted pieces. Parian marble. H. 1 "65, pedestal o’io. 
 Very similar to, if not identical with, the statue in Cavalieri, Antiq. 
 
600 PETWORTH HOUSE 6, 7. 
 
 Statuanm, l. in. d iv., Rome 1594, PI. 35, “in aedibus Victor i- 
 annn." [* Cm\ 
 
 6. Statue of a Satyr pouring out wine. Dallaway, no. 16. 
 A replica of the statue which recurs in so many examples, probably 
 copied from Praxiteles ; we find it in London, Dresden, Villa Ludo- 
 visi, Madrid, &c. (Clarac, iv. 677, 1576; 712, 1695. Brit. Museum 
 Marbles, xi. PI. 40. Miiller-Wieseler, 11. 39, 459). The youthful 
 Satyr is resting on his 1. leg, in an extremely pleasing attitude, by a 
 square pillar which serves him as a support. The 1. arm is lowered and 
 the outstretched 1. hand held a cup into which the Satyr was pouring 
 wine from an ewer in his upraised r. hand. A rather large tail may 
 be seen behind. New : head, r. arm including shoulder, with the 
 bunch of grapes in the hand, almost the whole of the 1. arm with 
 the exception of a small piece on the shoulder ; on the 1. hip we see 
 the place where the arm originally joined the leg, but the indication 
 has been neglected by the restorer. New also : the lower part of 
 the r. leg and the greater part of the pedestal. The 1. leg and the 
 pillar have never been separated either from the body or from the 
 pedestal. The work is fairly soft, but not so good as in the Dresden 
 copy (no. 1 14) or in the one in the British Museum (Graeco-Roman 
 Sculpt., no. 184). The following inscription is to be seen on the 
 front of the pillar towards the outer edge, 
 
 AnOMQN'O 
 
 I 
 
 It appears to me unquestionably new (cf. Arch. Zeit., 1880, p. 17, 
 n. 29). The letters look as if they had been slightly scratched in 
 with a knife, in an unsteady and disorderly manner, without any 
 previous arrangement as to space, for which reason the 2 had to 
 find room below. Dallaway and Muller add EIIOIEI, of which 
 neither Friederichs, nor Conze, nor myself could find any trace; one 
 only sees the remains of some untidy scratches below the letters AIIO. 
 Consequently the name of Apollonios cannot be that of the artist, 
 but, if it were antique, it would be the hurriedly made autograph of 
 somebody else. In the book Of Statuary, &c., p. 321, Dallaway 
 only gives as the inscription AIIOAAO. Fine-grained Parian marble. 
 H. 1 - 6o. Discovered near Rome by Gavin Hamilton. [* Cm\ 
 
 7. Statue of Apollo. Dallaway, no. 5, “Apollo or Tro- 
 phonius.” The statue itself is an exact replica of the principal figure 
 in the group at Deepdene, no. 4. The head, with a thoughtful rather 
 than a melancholy expression, is certainly old, and belongs to the 
 
PETWORTH PIOUSE 8, 9. 
 
 6oi 
 
 statue; the long, curly hair, which is all gathered up on the top of the 
 head, has been much re-worked, but it retains the original motive. 
 This head-dress, like the knot in the Apollo Belvedere and other 
 statues, has been chosen by the artist with the view of imparting to 
 the comparatively small head an appearance of greater height. We 
 have no trace here of the long curls continued to the shoulder, which 
 are found in the statue at Deepdene. The face also appears to have 
 been re-worked ; the nose is new, and parts of the neck have been 
 repaired. The whole body, which shows a beautifully soft move- 
 ment, bears much to the r., where the elbow rests on the trunk of a 
 tree. A snake is twined round the trunk, which the chlamys covers. 
 It is unlikely that a companion figure ever belonged to this, as in the 
 group at Deepdene. New : lowered 1. arm, half of r. forearm, head and 
 tip of tail of snake, the first four toes of r. foot, the lower half of 1. 
 leg, pedestal. All the rest is quite unbroken. Muller thought he 
 recognised in the statue a Dionysos, but the body is too powerful and 
 not sufficiently effeminate. Good work. Thasian marble. H. 2-02. 
 [*Cw] 
 
 8. Statue of a Satyr in repose. Dallaway, no. 13. The 
 
 motive is the same as that of the statue formerly known as Periboetos 
 (Miiller-Wieseler, 1. 35, 143). The head belongs to another replica 
 of that often-repeated and very favourite figure of antiquity. The 
 mouth is slightly opened, the ears are pointed. New : tip of nose ; 
 the whole is somewhat effaced, but otherwise good. It is of beautiful 
 yellowish, Parian marble, with a very distinct grain. The body is of 
 another marble, white and fine-grained, without visible grain ; the work 
 is not distinguished, and moreover the body has been polished. New: 
 neck, 1. arm, the r. arm from below the shoulder, edges of the nebris, 
 the trunk of the tree, the legs from below the knees ; the rest of the 
 torso is entire. H. 173. [* Cni\ 
 
 9. Statue of an athlete. Dallaway, no. 12. The statue re- 
 sembles others in continental museums (Clarac, iv. 663, 1537; v. 855, 
 2167; 856, 2169; 857, 2174. Mon. dell' Inst., xi. PI. 7). The 
 youth rests on his 1. leg, the r. is placed somewhat back. He holds 
 the 1. arm at a right angle close to his body, so that the hand, of 
 which the open palm is turned up, is in front of his stomach ; the 
 r. arm is but slightly raised, and he pours oil from a round little 
 alabastron with his 1. hand. The head bends forward and inclines 
 to the 1. shoulder. It resembles the youthful heads indirectly trace- 
 able to Polykleitos, e.g. that of the so-called Idolino in Florence. It 
 is of oval form, and is covered with hair, the curls of which are not 
 
602 
 
 PET WORTH HOUSE IO. 
 
 quite short but lie very close to the head ; the mouth is drawn down 
 a little at the left corner, which gives the expression of the face a 
 slight touch of sentimentality ; the tip of the nose is new, the whole 
 head has been much re-worked. Although the neck has been 
 broken, there can be little doubt that the head belongs to the body. 
 All the forms of the body suggest in a similar manner an earlier type 
 (of Myron, according to Erunn, Atinali , 1879, pp. 201 ff.) in a some- 
 what modernised transformation and in more slender proportions. 
 The front of the body is treated in a rather superficial manner. 
 Breast and back are vigorous, the back near the loins very hollow, 
 the nates powerful, with very marked hollows on their outer sides ; 
 the lower margin of the muscles of the belly towards the hips 
 very strong, the 1. shoulder angular. The pubes is treated freely, 
 with small, crisp curls. The r. arm, which is broken where the hand 
 joins the wrist and in the upper arm, appears quite antique, and so 
 does the alabastron ; the hand is connected with the shoulder by a 
 support ( puntello ). The 1. arm has not been broken ; only the fingers 
 of the hand are new. The 1. thigh has been broken, but is antique 
 like the stem of a tree. On a branch of the stem hang by one strap 
 two small cylinders, each carefully wound round with a cord, which 
 can hardly be leaping-weights (dA/rijpes). They resemble rather broad 
 rollers of leather or of a similar flexible material. Can they have 
 served for boxers instead of the usual straps of hard leather (i/xaVres)? 
 New: both legs from below the knee, portions of the lower part of 
 the stem and the pedestal. Italian marble. H. i - 68. [*C/n\ 
 
 10. Statue of Dionysos, declared by Muller to be “ Hippo- 
 lytus-Virbius.” The torso is antique. It is draped in a short chiton, 
 which only reaches to the knees. The shoulder-pieces of the chiton 
 resemble sleeves, and fall down to the elbows ; the chiton is girdled, 
 forming a bunch of folds below the girdle, and is somewhat drawn up 
 on the 1. side. A somewhat longer under-garment appears at the neck 
 and on the legs. An animal’s skin hangs from the 1. shoulder slantwise 
 across the breast ; its head hangs by the god’s 1. hip, resembling that 
 of a panther, except that it has long pointed ears ; probably it is a 
 lynx’s head. A small cloak lies on the r. shoulder and falls behind 
 to the loins ; it is then drawn under the 1. arm and thrown back 
 over the shoulder, so that the corner falls down to the knee. The 
 figure rests on the 1. leg, the r. being somewhat drawn back. New : 
 1. arm, which is held at a right angle, together with the shoulder and 
 the paw of the skin ; that part of the cloak which is detached from the 
 body (restored as it seems correctly), the lower part of the r. arm, r. leg 
 
PETWORTH HOUSE II, 12. 
 
 603 
 
 from below the knee, half the lower part of the 1. leg with the corre- 
 sponding piece of the stem of a tree, boots, and pedestal. The neck 
 has been inserted in restoration. The head is much worn, and 
 probably did not originally belong to the body, as it is too small for 
 it ; it has long curls falling down, is adorned on the top, along the 
 parting, with several plaits, and is encircled by a ribbon. New : tip 
 of nose and chin. The whole figure is of unpleasing and petty 
 execution; the back has been neglected. Italian marble. H. 1-64. 
 [* Cm] 
 
 11. Draped female figure. Dallaway, no. 9. Motive the 
 
 same as of the statues engraved in Clarac, v. 975, 2513; 982 B, 
 2423 C. The female is quite enveloped in her cloak, her lowered r. 
 arm being hidden ; the 1. forearm is raised a little, and the hand holds 
 the corner of the drapery. Head veiled. New : second and fifth 
 fingers of 1. hand, neck, and parts of cloak ; the head (nose new) 
 possibly belongs to the body. The figure is in excellent preser- 
 vation, but executed in a coarse, decorative style ; the surface has 
 been much worn, probably by the action of rain ; and in some 
 parts polished over. Greek marble. H. i - 96. [* Cm] 
 
 12. Group of Pan and Olympos (Daphnis). Clarac, iv. 
 726 B, 1736 E. A lion’s skin is spread over a large block of rock, 
 and on it sit the goat-legged Pan with his 1. leg drawn up, and the 
 delicate, nude youth (rather Daphnis than Olympos, cf. Stephani, 
 Compte-Rendu , 1862, pp. 98 ffi). The latter sits with his 1. foot 
 tucked under his r. leg, and with lowered head he is coyly trying to 
 evade the importunities of the lustful semi-brute. Pan is laying his 
 1. hand on the boy’s 1. shoulder and his r. on the syrinx, which the 
 youth holds in front of his breast with both hands. On the rock 
 below the youth, where the head of the lion’s skin hangs down, are 
 two small heifers; beside Pan a herdsman’s staff (pedum) is intro- 
 duced ; both attributes appear also in the Albani replica, now in the 
 Torlonia Museum, no. 266 (Clarac, iv. 716 D, 1736G), the pedum 
 also in the Naples copy (Cavalieri, Antiq. stat. 1. in. et iv. PI. 81) 
 and in another copy in Rome (Matz-Duhn, Ant. Bildwerke in Rom , 
 1. no. 500). New, of Pan: r. arm and shoulder (the 1. arm, though 
 broken, is antique), the nose (which is not brutish, though the other 
 features, particularly the bleating mouth and the small eyes, are quite 
 like those of a goat), parts of the beard, the r. leg, the drapery, which 
 is arranged so as to conceal the evidences of Pan’s excitement. New, 
 of Olympos : three parts of the 1. arm, half the r. arm and the syrinx, 
 patches on the legs, which have been much broken, but in essentials 
 
604 
 
 PET WORTH HOUSE I 3 — 1 5. 
 
 are antique. The head is antique, but it did not belong originally 
 to the body ; it appears rather to be a head of Dionysos, having 
 long hair and a fillet round the forehead. The group has been much 
 smoothed over. It is of rather commonplace execution, and ranks 
 far behind the example at Naples ; for other replicas cf. Jahn, Griech. 
 Bilde rchron iken , p. 41, n. 272. Transparent Parian marble. H., 
 inch pedestal, i - 5o. The group was purchased by the late Lord 
 Egremont at the Bessborough sale at Roehampton in 1801, cf. 
 Dallaway, Of Statuary, pp. 322, 349. [* C ] 
 
 13 (on the pedestal of no. 12). Greek Relief, apparently 
 votive. In the centre, facing r., sits a veiled female figure (Hygieia?) 
 on a cushioned chair with a footstool ; her hands in her lap holding 
 a cup, up to which a snake rears its coils. Behind the female figure 
 stands a female attendant in a double chiton ; her r. hand is lowered; 
 on the 1. she holds out a cup. On the extreme r. an altar. The 
 r. edge is broken. Relief of coarse, angular treatment, not Attic. 
 
 H. 0-35. L. 0-42. [*C] 
 
 14. Torso, completed by restoration as a standing Dionysos 
 
 with a panther. Clarac, iv. 678 D, 1619 A. Only the torso is 
 antique, with half the r. upper arm, which is lowered, a quarter of the 
 r. leg on which the body rests, and half of the 1. leg. New : head and 
 neck, three parts of the r. arm, 1. arm with shoulder, half the breast, 
 all the cloak (the back as well as the front), three parts of the r. and 
 half of the 1. leg, the large panther and the pedestal. Poor work. 
 Italian marble. H. 2'o'j. [*C] 
 
 15. Male portrait statue in sitting posture. Dallaway, 
 no. r. The motive is that of the so-called Marcellus in the Capitol 
 ( Gall. Giustin ., 1. PL 113. Maffei, Race., PL 88. Mus. Chiaram., 
 11. PL 46. Righetti, Campidoglio, n. PL 367. Clarac, v. 895, 2288 
 = 902, 2308), the Ludovisi statue by Zenon of Aphrodisias (Perrier, 
 Segm. nob. stat., PL 15), and the Florentine (Clarac, v. 904, 2305). 
 The man is sitting in a chair, draped in a tunic and over it a pallium, 
 which covers his whole person except the r. arm and the r. half of 
 the breast. The body leans over to its r., the r. arm lies in the lap ; 
 the 1. shoulder is raised, showing that this arm, too, instead of waving 
 freely and gesticulating with outstretched hand, originally rested with 
 a slight bending of the elbow on the edge of the chair, where some 
 holes are visible, as well as other indications of the original position 
 of the arm. The lower part of the 1. leg is outstretched, the r. drawn 
 back ; on the r. foot is an ornamental sandal, thickly bound. New: 
 
 I. forearm from below the elbow, three parts of the r. arm with the 
 
PETWORTH HOUSE 1 6 , I/. 
 
 605 
 
 roll in the hand, and the 1. foot. The antique head, of Parian 
 marble (new : tip of nose), ascribed by Muller to the time of the 
 Antonines, while Bernoulli declares it to be probably Gallienus, does 
 not belong to the statue. This head presents a feeble man with a 
 small beard, certainly a Roman ; while as to the figure, the presence 
 of the pallium instead of the toga, and the good general conception, 
 point to its belonging to a Greek personage. The whole surface of 
 the statue is much corroded. H. 1-50. Formerly in the Barberini 
 palace. The inventory of the Barberini Collection drawn up in 1738 
 gives but one article which can be identified with our marble, “ una 
 statua a sedere rappresentante vuomo togato antico senza testa e senza 
 braccia , e mancante di un piede , stimata scudi trentacinque ” ( Docuin . 
 ined. per servire alia storia del Musei d’ Italia , tv. p. 45). This entry 
 shows that really the statue was without a head when in the Barberini 
 Palace. \*BCm\ 
 
 16. Statue of a Hora — Winter (according to Muller, 
 
 Autumn). Dallaway, no. 18, “Nymph.” The figure rests with 
 most weight on the 1. foot. She wears a chiton with sleeves, which 
 does not quite reach to her feet and leaves the r. shoulder bare, 
 and over the chiton a cloak folded double, which envelopes the 
 1. arm, the stomach, and nearly the whole of the legs in a fairly 
 uniform mass ; the end of the cloak kills over the 1. forearm, which 
 is advanced at a right angle. Sandals are on the feet. In her 
 lowered r. hand the girl carries three birds, apparently ducks 
 (new : two necks and heads), which reach down to the stem of a 
 tree ; in her 1. hand is a hare (legs new). These attributes are 
 more consistent with winter than autumn ; cf. a statue in Turin 
 (Dtitschke, Ant. Bildwerke in Oberitalien , iv. no. 83). New: the r. 
 arm from the elbow to the wrist, parts of the legs. The head has 
 been re-set, but appears to belong to the statue ; it is surrounded by 
 curls, and a head-cloth ( opisthosphendonc ) is bound round it and 
 knotted together over the forehead. The head looks somewhat 
 stiffly straight in front ; it is rather insignificant, and much worn. 
 The whole figure is somewhat stiff, the drapery peculiarly arranged 
 with more affectation than taste ; besides, the statue has been much 
 re-worked in a style like Cavaceppi’s, but inferior. Italian marble. 
 H. 1 '5 2. ['* Cni\ 
 
 17. Statue of a “ Nymph of Artemis.” Clarac, iv. 564 D, 
 1248B. A maiden, in a short chiton reaching to her knees, stands 
 supporting herself by her r. elbow on a square pillar, which is almost 
 entirely covered with a cloak. The chiton, the upper fold of which 
 
6o6 
 
 PETWORTH HOUSE 1 8 . 
 
 covers the whole stomach, is girt high under the breast with a round 
 cord, the ends of which fall down straight in front of the body. A 
 ribbon, like the band of a quiver, goes from her r. shoulder down her 
 back to the girdle, and in front right across her breast to a little 
 below the girdle, where it suddenly ceases : there is no trace of a 
 quiver. The figure rests on the 1. leg ; the 1. hip projects very much, 
 so that the upper part of the body is quite forced to the r. side, which 
 causes an unusual twisting of the whole figure. A part of the cloak 
 is drawn down from the pillar and entirely covers the r. leg, which is 
 much bent and must originally have been supported on some object. 
 The 1. hand, which is lowered, probably grasped a piece of the 
 drapery. New : r. forearm, which is bent upwards, considerable 
 portions of the folds of the cloak, half the 1. forearm (the middle part 
 of the arm is broken, but antique), half the lower part of the 1. leg, 
 and half the r. leg with the foot, the pose of which is elegant to 
 excess, and just touching the ground with its toes ; the pedestal, the 
 stem of a tree that has been introduced as a support between the 
 legs, and parts of the pillar. The neck is for the most part a new 
 insertion, but the head appears to belong to the statue. It has the 
 character of a youthful Aphrodite ; the wavy hair is gathered in a 
 knot behind ; a low stephane was probably only intended to support 
 a metal one, for the securing of which two holes have been made ; 
 both eyes have been restored. The figure is pleasing, much more 
 so than is to be inferred from the engraving, and very delicately 
 executed, but it has unfortunately suffered much at the hands of an 
 incompetent restorer. It is very difficult to give a confident ex- 
 planation of it, as the no doubt significant attribute under the r. 
 foot is now missing. Parian marble. H. i‘53- \*Cvi\ 
 
 (Under no. 17 is a long Greek Inscription, very much rubbed 
 and very difficult to read : it will only be possible to decipher it with 
 the aid of a paper impression.) 
 
 18. Statue of an Amazon. Clarac, v. 808, 2031 A. Dallaway, 
 no. 20. The statue belongs to the type of the Mattei Amazon ; un- 
 fortunately it has been much re-worked. New : the entire up-raised 
 r. arm, the lowered 1. arm from the shoulder, the legs from the knees, 
 the stem of the tree with shield and double axe, the helmet, the 
 pedestal. The remains of a puntello , intended to secure the 1. arm, 
 are preserved. The quiver has been broken off behind, and the 
 under surface has been rasped, so that there is no trace of the bow, 
 which must once have been fastened to it. The great importance of 
 the statue consists in its being the only specimen, among all the replicas 
 
PETWORTH HOUSE 1 9 . 
 
 607 
 
 of this type, in which the original head is preserved ; for though it 
 has been broken off, the very nature of the line of breakage and the 
 quality of the marble left no doubt either in my mind or in that of the 
 late Dr Kliigmann, who examined the statue in 1880, that it belongs 
 to the statue ; only a little piece of the tip of the nose has been 
 restored. The head, which has also been in great part re-worked, is 
 rather heavy in comparison with the body. The type of face has 
 much in common with that of the Lansdowne Amazon (London, 
 Lansdowne House, no. 83), particularly as to the eyes with their 
 well-defined lids. In other respects the features are less sharp ; 
 the mouth forms a curving line with a slight expression of sternness, 
 the upper lip is rather full and the under lip delicate ; the nostrils 
 are a little depressed. The line of the profile is Attic, inclined to 
 straightness, the line of the nose being only a little advanced; 
 the line of the jaw forms an obtuse angle ; the chin is very distinctly 
 marked. The soft wavy hair is brushed back and gathered into a 
 small knot behind. The narrow ribbon which goes round the hair, 
 and the whole length of which is visible, is a characteristic mark of 
 this type; it appears also on the gem engraved by Natter (Miiller- 
 Wieseler, 1. 31, 138 b), which repeats this type. It does not appear 
 doubtful to me that a good Attic type of the fifth century b. c. is at 
 the bottom of the somewhat modernised delineation of the head in 
 this comparatively mediocre example, and that Kekule is wrong in 
 attributing the invention of this type to a much later period (Com- 
 mail. Mommsen., p. 485). H. 1-99. [* Cm\ 
 
 19. Male portrait statue in sitting posture. Spec., 11. PI. 
 7, 8. Clarac, v. 840 C, 2143. Dallaway, no. 2. An elderly man 
 with bare breast, flabby soft skin, and very marked collar-bones, is 
 sitting on a stone seat with no back ; his thin r. arm lies in his lap, 
 and his 1. elbow is supported by his r. hand. Legs, body, and 1. arm 
 are partly covered by his wide cloak with rich folds, which is stretched 
 between the knees so as to leave scarcely any hollow. On the feet 
 are sandals; the r. advanced, the 1. drawn back. New: the up- 
 raised 1. forearm, the neck, the r. foot from the drapery, the 1. foot, 
 the front piece of the pedestal. To this elderly body, which would well 
 suit a statue of Demosthenes (cf. Knole, no. 1), there has been joined, 
 by the insertion of a new neck, a head which Conze and Bernoulli 
 take to be in truth meant for Demosthenes. But it has not the pointed 
 oval form of face, not the characteristic mouth with the under lip 
 drawn in, nor the eyes of Demosthenes, nor his hair, which in the 
 subject before us is soft and rather curly, thick on the top and at the 
 
6o8 
 
 PET WORTH HOUSE 20— 23. 
 
 back of the head, but scanty on the forehead ; the beard is too soft, 
 not strong and not clipped, as Demosthenes’ was. This head re- 
 sembles that of Demosthenes only in its general character of morose 
 gravity; the pregnant energy of the orator is wanting. New: nose. 
 The head, like the statue, is of Pentelic marble, and they accord 
 very well together; nevertheless it had originally nothing to do 
 with the body, as is conclusively shown by the Inventory of the 
 Barberini Collection compiled in 1738 (Docnm. ined. per servire alia 
 storia dei Musei d' Italia, iv. p. 57), for we find the statue among the 
 “ rottami di statue," where it is described as “ una statua a sedere, pile 
 grande del natnrale, con una spalla cd un braccio undo, senza testa e 
 braccio manco, alta pal. 5 on. 8.” The body is of good and very 
 simple composition and execution, and is undoubtedly Attic. The 
 r. thigh, as often happens with sitting figures, is enormously long. 
 The left must be regarded as the principal side, as the drapery is 
 richer and fuller there. The statue would show to better advantage 
 if it stood somewhat lower. A fine bronze statuette from Brindisi, of 
 similar composition, is to be found in the British Museum ( Guide 
 to Bronze Room, p. 47, no. 3. Encyclop. Brit ami., 9th ed., art. 
 “Archaeology,” p. 365). H. i - 48. Formerly in the Barberini 
 Palace. \*BCni\ 
 
 Then follow the busts of the Statue Gallery, the greater part of 
 which in 1877 occupied a temporary situation in a corner of the 
 room. 
 
 20. Archaistic terminal head of Apollo (according to 
 Muller, of Dionysos). Spec., 1. 28. Dallaway, no. 49. Two long 
 ringlets fall down on either side ; loose curls hang over the forehead. 
 A ribbon is drawn through the hair. New: nose and a few curls. 
 Expression noble. Execution commonplace. Over life size. \*m\ 
 
 21. Head of the bearded Bacchus, colossal scale, crowned 
 with ivy, with a fillet round the forehead. In good preservation. 
 
 [C] 
 
 22. Double terminal bust representing the bearded Diony- 
 sos and Ariadne, life size. Archaistic style. New: both noses. 
 [* Cm\ 
 
 23. Heroic Head. Spec., 1. PI. 54. Dallaway, no. 43. In 
 character and inclination the head resembles that of the Menelaus or 
 Ajax in the Vatican (Mas. Pio.-Clan., vi. PI. 18), but is by no means 
 identical with it. The helmet, broken off in front, is simpler, of a 
 hardly antique shape and ornamentation, especially in the front ; the 
 plume has been for the most part restored. The eyes are remarkably 
 
PETWORTH HOUSE 24— 27. 
 
 609 
 
 deep set : they look upwards ; their form and that of the brow and 
 of the forehead show a marked mannerism ; odd too is the way in 
 which the hair is arranged all round under and over the edge of the 
 helmet. The mouth is opened wide like that of the Laokoon. The 
 nose is nearly all restored. The beard is negligently treated in great 
 tufts; below the lips all has been restored, as also have the neck and 
 breast. The head, praised by Payne Knight in exaggerated terms, is, 
 if not totally new, at least very much re-worked and amended. Bad 
 Italian marble. H. of head, including the helmet, 045. L. of face 
 o - 2 2. \*BCni\ 
 
 24. Bust of a youth. Spec., 1. PL 30 (not quite adequate, too 
 
 sharp). The head is very beautiful; its unusually crisp curls are 
 delicately and carefully executed. It belongs to a statue of a victor, 
 as is shown by the broad fillet which almost covers the forehead ; 
 over either temple small sling-shaped loops of the fillet peep forth 
 from behind its main portions. The face is of a beautiful oval ; 
 eyes long and narrow, cheeks fiat, mouth tender ; the nose ad- 
 vances but slightly from the line of the profile. This fact, and the 
 expression of individuality and intellect, suggest that it is the copy of 
 an Attic original, no doubt of the fourth century b.c. Replicas of the 
 head are in Rome {Mon. dell ’ Inst., ix. PI. 36 ; one of the loops by 
 mistake changed into a roll), and in Treves ( Jahrb . d. Vereitts v. 
 Alterthumsfr. in Rheinlande, ix. PI. 5, 2, only a fragment) ; but they 
 are far behind our example, which has preserved its original polish. 
 As to the general character and the motive one may compare 
 the description in Kallistratos of the bronze Diadumenos by Praxi- 
 teles {St at. 11), e.g. ko/xi] Se cl^ei' eXiKas reus o<f>pvcnv tVi/ja/VoiTas' o Se 
 T (3 TiXajj.olvt KaTacnl^wv r ijv KOfir/v kou Ik tojv o(f>pvu>v a7rco$ovpi€ros 
 toj SiaSrjpaTL rds rpt^as yv/M'OV TT/YoKapoH' err/pei to p.tTWTrov. New : tip 
 of nose and bust. L. of face o - i8. [*///] 
 
 25. Bust of a youth with the character of Hermes. Curly 
 hair, expression tender and beautiful, decidedly Attic, somewhat in 
 the style of Praxiteles. New : nose, neck, bust; also the top of the 
 head and the hair have been partly restored. Good work. Pentelic 
 marble. H. of the genuine part 0-26. L. of face ou8. [*] 
 
 26. Modern copy of the head of Hermes (so-called Antinous) 
 of the Belvedere, with bust and pedestal all completely unbroken, 
 but much corroded; perhaps because it has stood for a long while in 
 the open air. [*] 
 
 27. Bust of a heroine. See the annexed plate. This frag- 
 ment of a colossal statue is one of the most remarkable specimens in 
 
 39 
 
 M. C. 
 
6 io 
 
 PETWORTH HOUSE 28. 
 
 the collection. Unluckily it stands in a very unfavourable position 
 under a window. The whole head is antique except pieces behind 
 the ears ; the fore-part of the neck is new, but the bust as far as 
 below the breast is antique. So are the ends of the long curls and 
 the plait that falls far down, also the stump of the r. arm which is 
 stretched out horizontally, while the 1. (for the most part new) was 
 lowered. Over a fine under-garment the lady wears an Attic doubled 
 chiton, which is buttoned together on each shoulder, where it forms 
 rich folds. (It is not a chlamys as may at first sight appear.) The 
 forehead is perpendicular, the beginning of the parting comes down 
 on to it, as is usually the case with colossal heads ( e.g . the Ludovisi 
 Hera). The hair is parted on both sides as it were into waves, 
 which crowding one over the other fall down in a rich mass be- 
 hind. Above the forehead and over these wavy portions of the 
 hair may be seen a narrow vertical circle intended probably to be 
 the support for a metal stephane. There are some scratches on 
 the face, otherwise it is in excellent preservation. The nose is wide 
 and straight, making no very marked angle with the line of the 
 profile. The mouth is excellent, lips slightly apart and gently 
 curved; it bespeaks, as does indeed the whole expression of the face, 
 surprise if not disdain, but accompanied by that self-restraint in 
 emotion which we admire so much in the head of Niobe. This head, 
 though more oval, is in fact closely related to that of Niobe, as a 
 counterpart and complement to whom her rival Leto naturally occurs 
 to the mind. Kliigmann’s opinion {Arch. Zeit., 1869, p. 32) that 
 it is a replica of the Farnese head of Hera {Mon. dell’ Inst., vm. 
 PI. 1. Overbeck, Kunstmythol., Atlas, PL 9, 1, 2) I consider 
 erroneous ; the long curls alone contradict such an idea, and so 
 does the whole stylistic character of the head. In spite of this it 
 may be a Hera, although in the epoch in which I must place the 
 head, the oval form of the face in a Hera would appear very re- 
 markable. This capital head, which is a good copy of some grand 
 original of the fourth century b.c., has caught something of the 
 brilliance of the original, and ought to be made more widely known 
 by means of casts. The marble is apparently Pentelic. H. 0-89. 
 L. of face, 0-26; forehead, 0-09; nose, 0-09; upper lip, 0-025; 
 chin, 0-055. [* Cm~\ 
 
 28. Bust of Artemis ? Dallaway, no. 40, “ Sabina,” now 
 marked as “ Cleopatra.” The head, executed after a Greek model, 
 seems to have originally represented Artemis with a stephane ; the 
 face is pretty and of fine oval form. New : nose, 1 . eyebrow, a piece 
 
PET WORTH N ° 2 7 
 
 L BecTc^r li:!-. 
 

 
 
 
 
 
PETWORTH HOUSE 29 — 38. 
 
 6l I 
 
 on the chin, neck and bust ; the stephane has also been adorned by 
 a restorer with a sun, two half-moons, two stars and sundry jewels. 
 L. of face o‘i7. [*] 
 
 29. Ideal female head, with the wavy head-dress so common 
 on Greek female heads. Undoubtedly the head was originally very 
 pretty, but nose, mouth, chin and neck are new. Work somewhat 
 superficial. Nearly life size. [*] 
 
 30. Greek portrait head. Spec., 1. PL 66. Its characteris- 
 tics are curly hair and beard; expression stern and thoughtful ; there 
 is a slight resemblance to Karneades (Visconti, Iconogr. grecque, 1. 
 PI. 19). Pupils expressed. Somewhat corroded. New : nose, neck 
 and bust. Over life size. [*] 
 
 31. Bust of Brutus. In character the head resembles the 
 L. Brutus of the Capitol (Visconti, Iconogr. rom., 1. PI. 2. Bernoulli, 
 Rom. Ikonogr., 1. p. 20), without being identical with it. It is 
 turned to the 1. A Greek portrait seems to me to be the foundation 
 of it. The surface is completely re-worked and polished. New : 
 nose, neck and bust. Life size. [L5C] 
 
 32. Bust of a laughing girl. Dallaway, no. 32. The fresh 
 young head has quite the expression of a Satyr, but it is without 
 pointed ears ; the hair is entirely drawn back from the face and 
 gathered into a knot behind. New: nose and upper lip, also the 
 nude bust with a nebris. The head will bear comparison with the 
 head of the Hermaphroditos in the Malatesta group (Clarac, iv. 671, 
 1736). Below life size. [*C] 
 
 33. Bearded portrait head, with gloomy look, belonging 
 undoubtedly to the second century, probably of Aelius Caesar. 
 Perpendicular profile. Good bust, in perfect preservation. [*Z?] 
 
 34. Portrait head, like Aelius Caesar. The flesh is 
 smoothly, the hair roughly treated. New : tip of the nose ; other- 
 wise well preserved. [*] 
 
 35. Bust of Marcus Aurelius. Dallaway, no. 29. In 
 
 youthful style, without beard. New: tip of nose, neck and bust. [*C] 
 
 36. Septimius Severus. Dallaway, no. 22? 34? New: 
 tip of nose. [* L ?] 
 
 37. Clodius Albinus, ora head like him. New: nose and 
 sundry details. [*Z?] 
 
 38. Portrait head of similar character, over life size. Dalla- 
 way, no. 36? Beard soft and even, but not long; hair short, forehead 
 high. The glance is directed downward to the r. New : tip of nose 
 and bust. [*] 
 
 39 — 2 
 
6 12 
 
 PETWORTH HOUSE 39 — 50. 
 
 39. Portrait head, with curly hair and weak beard. [*] 
 
 40. Bust of a Roman youth, with curly hair and faint 
 whiskers and mustache. Pupils and eyebrows expressed. New : 
 nose and bust. If I am not mistaken, this head, or the foregoing 
 one, is copied in a volume containing drawings by Cipriani in the 
 British Museum (MS. Add. 21118 fol. 11) as having formerly be- 
 longed to Lyde Browne (Introd. § 52); it might however be a 
 replica, cf. no. 46. [*] 
 
 41. Bust of a child with bulla. Dallaway, no. 27. The 
 child has fat cheeks ; he wears on his head along the parting a 
 curious plait with regular knots or buttons on either side of it. The 
 head is let in to a draped bust to which it may possibly belong, 
 with a wide horizontal stripe (so-called laena ), and in the midst of 
 it the oyster-shaped bulla , the hinge of which, fastened with four 
 pins, is very carefully indicated. New : tip of nose. Smaller than 
 life size. \*m\ 
 
 42. Bust of a boy, with curly hair. The neck is antique. 
 New : tip of nose and bust. [*] 
 
 43. Bust of a boy, with a round cap which is pointed at the 
 top, on his slightly curly hair. Dallaway, no. 43. Neat. New : neck 
 and bust. [*C] 
 
 44. Bust of a child, smiling, with a silly expression. Tip of 
 nose missing. New : neck and bust. Small scale. [*] 
 
 45. Head of a Roman matron. Dallaway, no. 33 ? Her 
 hair is brushed tightly back on both sides, one plait lies back over 
 the crown. New: only the tip of the nose; all the rest is antique. 
 Good portrait, belonging to the first century a. d. [*Z?J 
 
 46. Colossal bust of an Empress, of the beginning of the 
 
 third century a. d., with headdress of the fashion of Julia Mammaea, 
 though it is not this empress herself. Dallaway, no. 23, “Julia Pia.” 
 The wavy hair hangs far down behind and is then gathered up again 
 in a plait. Eyebrows and pupils expressed. The flesh is polished. 
 New: nose, parts of the lips, and chin. This bust, or another one 
 exactly like it (cf. no. 66), is to be found among Cipriani’s drawings 
 (cf. under no. 40) from the collection of Lyde Browne, fol. 15, as 
 Julia Pia. Italian marble. H. 0 52. Length of face o - 26. [*-Z?] 
 
 47. Female portrait bust, with the hair drawn back. New: 
 top and back of the head, and the bust. [*] 
 
 48. Girl’s head, neat, with the wavy hair drawn back; on 
 each cheek a single ringlet. [*] 
 
 49. 50. Table legs, ornamented with griffins. [*] 
 
PETWORTH HOUSE 5 I — 54. 
 
 613 
 
 51. Large bronze relief. Dallaway, p. 290. To the r. the 
 temple of Jupiter Capitolinus and three men with wreaths, on the 1. 
 the sacrifice of a bull ; further r. two boys holding a large round 
 shield. “ Sent lately from Italy by the Hon. W. Wyndham, his 
 Majesty’s minister at Florence” Dallaway (1800). To Muller the 
 relief appeared antique ; Conze is sure it is new ; it is fixed in a 
 very unfavourable place, but I take it to be only a copy or imitation 
 of the Medici relief in Florence (Uffizi, no. 29 of Diitschke’s catalogue. 
 Sante Bartoli, Admiranda , PI. 43). [Cot] 
 
 VAN DYCK ROOM. 
 
 In the corners of this large room, brilliantly adorned with paint- 
 ings by Van Dyck, stand the four following statues : — - 
 
 52. Statue of Artemis. Dallaway, no. 4. The goddess 
 rests on her r. leg, the 1. is drawn back. She is robed in a short chiton 
 with a bunch of folds hanging down ; over this is an animal’s skin 
 with long, broad ears (according to Muller that of a lynx), which is 
 gathered in with the girdle. Both arms are lowered. Near the r. leg 
 sits a dog; on the stem of a tree behind the leg hangs a quiver. 
 New : head, three parts of the 1. arm, half the r. forearm, 1. knee, 
 part of the quiver; of the dog, head and neck. Legs and arms of 
 the statue broken in many places, but antique. Ordinary work. 
 Parian marble. H. i - 26. [*Cot] 
 
 53. Statue of an attendant at the sacrifice ( camillus ). 
 
 S£ec., 1. PI. 68. Clarac, iv. 769, 1910. The boy has long curly hair 
 adorned with a laurel wreath. He wears a very wide tunic ungirdled; 
 its shoulder pieces fall down below his elbows like sleeves. In front 
 of him he holds a pig, outstretched, the fore-legs with his r., the hind 
 legs with his 1. hand. Near the 1. leg is the stem of a tree on which 
 hangs a triangular box with the wide sacrificial knife. The statue 
 is in excellent preservation. New : only the 1. forearm of the boy 
 with the hind legs of the pig, the ears of the pig and the boy’s nose. 
 The sculpture is in a broad, good style, though somewhat poor ; the 
 pig is the most successful feature of the piece. Parian marble. 
 H. 1-25, with the pedestal, 1-35. [* Cm] 
 
 54. Statue of Seilenos. Spec., 1. PI. 69. Clarac, iv. 734, 
 1770. Dallaway, no. 14. The thickset, powerful figure stands in a 
 posture of repose, draped only in an apron round the loins and rather 
 high boots. On his head, which is bearded, bald, and crowned with 
 ivy, Seilenos carries a winnowing fan (\Uvov, vannus ), which he 
 holds with both hands. Its contents are hidden by a cloth which 
 
6iq 
 
 PETWORTH HOUSE 55—57- 
 
 hangs down. Near the 1. leg is a stem of a tree entwined with a 
 vine, and a snake coiling itself up it. The figure is broken in sundry 
 places, but is almost entirely antique : only the tip of the nose 
 appeared to me new, but the Specimens enumerate “ the middle parts 
 of both legs, and of the r. arm, and a splinter from the cista.” Coarse- 
 grained Parian marble. Good decorative figure ; it may be compared 
 as to motive with an excellent Greek bronze from Aegion, in the 
 British Museum ( Guide to Bronze Room, p. 46, no. 2). H. i’6o, 
 with the pedestal, x - 68. \*Cm\ 
 
 55. Statue of a Roman in toga. Dallaway, no. 15. The 
 
 man wears shoes; on his right stands the box with rolls ( scrinium ). 
 New, or at any rate re-worked: the half of the lowered r. forearm 
 with the roll in the hand; certainly new, the advanced 1. forearm and 
 neck. The head of a boy joined to the statue, a third part of which 
 is new, is of different marble, and, setting aside the smallness of the 
 statue, there is no reason for supposing the figure to be a boy or even 
 a particularly young man. Italian marble. H. 1 '30. [* Cm\ 
 
 marble hall (Dining Room). 
 
 56. Statue of a man in Oriental costume. Spec., n. PI. 
 
 56, “Marcus Aurelius.” Clarac, v. 936 C, 2511 B, “ empereur ro- 
 main ou pretreP Dallaway, no. 11, “ Helenus the priest of Apollo.” 
 The figure is a very uncommon one, and Muller is probably correct 
 in considering it the minister of some Oriental cult. He wears a long 
 tunic, with long narrow sleeves, trimmed at the bottom with fringe, 
 which reaches to the middle of his shins, and over it a small cloak 
 likewise bordered with fringe. It rests on both shoulders and covers 
 great part of the front of the body. New: both legs from below the 
 drapery, the 1. from a little more below, so that a fragment of the 
 high boot, with its crossed thongs and border turned over at the 
 upper edge, belongs to the antique part; also, half the r. forearm 
 with the cup, and the 1. arm above the elbow with the roll in the 
 hand. On the head is a wreath, and it is difficult to believe that 
 the head belongs to the body ; it is an unknown portrait and has a 
 short beard ; the hair is deeply undercut with the drill. Italian 
 marble. H. abt. 2-00. [*Bm~\ 
 
 57. Statue of a Roman in toga. Dallaway, no. 8. A scri- 
 nium beside the 1. foot. New : the r. forearm, the 1. arm with the 
 roll, half the r. and a portion of the 1. foot, and the pedestal. Head 
 and neck are inserted ; the tangled hair hangs partly over the fore- 
 head, the beard is shaven close ; nose new. The statue is not bad, 
 
PETWORTH HOUSE 58—64. 6 1 5 
 
 and belongs possibly to the age of the Antonines. H. abt. 2 - oo. 
 
 [*Bm\ 
 
 BEAUTY ROOM. 
 
 In this room and in the staircase-well adjoining is a large number 
 of busts, for the most part in excellent preservation and in some 
 cases of remarkable beauty and great rarity. Like Bernoulli and 
 Conze, I was so unfortunate as only to be able to make a very cursory 
 inspection. 
 
 58. Bust of Antinous, calmer and less gloomy than he is 
 usually depicted. The face is polished, the hair rough. New : tip 
 of nose, mouth, 1 . eyebrow, bust. Splendid Parian marble. Life 
 size. [*C] 
 
 59. Bust of the elder Faustina. Dallaway, no. 41. The 
 head is very beautiful ; it is turned up towards its right. The deli- 
 cate nose is well preserved, and so is the neck ; the bust is new. 
 The lobes of the ears are pierced. The form of the face is round 
 and full. Pupils expressed. The hair is drawn back from the face ; 
 new : the top and the back of the head with a nest of plaits on it. 
 Parian marble of a warm yellowish colour; good sculpture. Life 
 size. [*] 
 
 60. Bust of a Roman matron. Dallaway, no. 39. The 
 head is elderly and, with the neck, is in excellent preservation ; only 
 the bust is new. The hair is wavy and drawn away to the side 
 in single tresses, so that the lower gradually are lost beneath the 
 upper. On the top of the head is a high arrangement of plaits 
 resembling a basket. Fine-grained Greek marble ; excellent sculp- 
 ture of the 2nd century a. d. Life size. [*] 
 
 61. Bust of an old Roman lady. Spec., 1. PI. 72, 73. On 
 the top of the back of the head are two enormous plaits. She has 
 a penetrating gaze. New : nose, parts of the ears, and the lower 
 part of the draped bust. The head is badly polished. It belongs 
 to the 2nd century a. d. Life size. [*;«] 
 
 62. Bust of a Roman matron, middle aged. The hair is 
 simply parted and drawn back. New : tip of the aquiline nose. The 
 draped bust is patched. Very white marble. [*] 
 
 63. Head of a child, of about six years old, on a draped bust 
 (probably that with a so-called laena ? see Dallaway, no. 21, “per- 
 haps Caracalla.” Muller, p. 256). Well preserved. Life size. [*m] 
 
 64. Child’s head, with pretty curly hair. The pupils are 
 
6i6 
 
 PETWORTH HOUSE 65 — 73. 
 
 faintly expressed. New: tip of nose. The draped bust possibly 
 belongs to it. Life size. [*] 
 
 Inside the door opening into the staircase-well stand before the 
 posts : 
 
 65. Head of an empress (Julia Pia?). Her hair falls with 
 some luxuriance on her neck. Nose restored. Fairly delicate head. 
 Life size. [*] 
 
 66. Bust of a Roman lady, of roundish, somewhat clumsy 
 form ; not beautiful ; expression lively, but somewhat pouting and 
 not attractive. The wavy hair is drawn down at the back and then 
 gathered up again in a plait. Pupils and eyebrows expressed. New : 
 tip of nose, and bust. Life size. Cf. above on no. 46. [*] 
 
 GRAND STAIRCASE. 
 
 67 — 70. Four Roman female heads, with various styles 
 of head-dress. I had not time to describe them minutely. Bernoulli 
 believes one head, that of the elder Faustina (Dallaway, no. 
 25 ?), to be modern. [* 7 >] 
 
 71. Bust of a youth. Dallaway, no. 30, “probably one of 
 the nephews of Augustus” (?). A thick wreath of laurel encircles his 
 head; his expression is somewhat vacant. Pupils and eyebrows ex- 
 pressed. Much polished. New : nose, neck and bust. Life size. 
 [*] 
 
 72. Greek Relief. A youth in a chlamys on horseback rides 
 forward from the 1. ; he is greeted by a female figure in a chiton and 
 with a shawl round her shoulders, who offers him a cup with her r. 
 hand and holds an ewer in her 1 . Behind her, on the extreme r., is 
 a tree, round which a snake twines. Votive? All the ground of 
 the relief, and in some measure the outlines of the figures, have been 
 re-worked. Not important. [C] 
 
 I did not find the following specimens, neither are they mentioned 
 by Conze and Bernoulli; probably they are placed in some private 
 room. 
 
 73. Head of Aphrodite. Spec., 1. PI. 45, 46. Dallaway, 
 no. 31. Replica of the head of the Medici statue but, according 
 to Muller, of greater softness and roundness, and also larger in its 
 proportions. Payne Knight goes even so far as to suppose this head 
 to be a relic of the original of the Medici Venus and her numerous 
 companions. Surface well preserved. Nose and part of the upper 
 lip restored. [/«] 
 
PETWORTH HOUSE 74, 75. 
 
 617 
 
 74. Bust of Athene? Dallaway, no. 42, “Athens.” The 
 bust is protected by a round aegis, and the head by a so-called Attic 
 helmet, the vizor of which stands up like a diadem in front. Helmet 
 partly new. Muller takes the face for a portrait on account of the 
 individuality of the features. [;«] 
 
 Besides these Muller found a number of bronze statuettes, 
 among which he considered worthy of mention : 
 
 75. Poseidon, with muscular build of limb, long flowing hair 
 and beard. With the (upraised?) 1 . hand he appears to have held 
 a trident, with the r. the bridle (or a dolphin, or a hippocampus ?). 
 Excellent work, similar to that of the Zeus of Paramythia in the 
 British Museum ( Spec ., 1. PI. 32). A span and a half high. [?>i\ 
 
 I found it impossible to identify all the busts mentioned by Dalla- 
 way with those enumerated above ; I therefore briefly mention those 
 with which I have not succeeded. 
 
 Dallaway, no. 24. Female bust, unknown. The hair is much swelled out on 
 either side, and tied in a knot behind ; in front are tufts of flowers. On the 
 tessera of the pedestal is Cupid burning a butterfly with a torch. 
 
 Dali., no. 25. Female bust having the attire much like that of the Faustinas. 
 Intire, but the neck has been broken off. [No. 67 ?] 
 
 Dali., no. 26. Bust resembling Hadrian. Intire, but of coarse sculpture. 
 
 Dali., no. 28. Bust with the “ latus clavus” [“ /aena"], nose restored; re- 
 sembling Septimius Severus rather than Pescennius Niger. 
 
 Dali., no. 35. Young man, with close hair. 
 
 Dali., no. 37. One of the Dioscuri [with a cap made like an egg?], upon a 
 modern bust. From the Barberini Palace. 
 
 Dali., no. 38. Man unknown, with the hair and beard in massy curls. 
 
 Dali., no. 44. Didia Clara, on a modern bust, the nose restored. 
 
 Dali., no. 45. Female head attired like Julia Titi, much repaired. 
 
 Dali., no. 46. Antoninus Pius, with the neck upon a grey numachella bust. 
 
 Dali., no. 47. Hadrian. 
 
 Dali., no. 50. Head of Bacchus on a terminus, in his youthful or effeminate 
 character. 
 
 Dali., p. 290 (in a private room). Bust; the face is of crystal, and the rest 
 of porphyry. It appears to be of Isis or Arsinoe, as it has the lotus on the head. 
 [Modern?] 
 
6i8 
 
 PIPPBROOK HOUSE I— 7. RAMSGATE. 
 
 PIPPBROOK HOUSE (Surrey). 
 
 Conze, Arch. Anz., 1864, p. 167. 
 
 This house, situated near Dorking, contains the considerable 
 collection made by the late Mr Forman, M.P., which is in the 
 possession of his widow, now Mrs Seymour Burt. In this collection 
 Conze saw several minor works of art, such as bronzes, glass ar- 
 ticles, vases, etc. ; among them ranks as the principal piece a vase 
 with Amazons, from Agrigentum (Gerhard, Auserl. Vasenbilder, 
 iv. PL 329, 330). I was unfortunately prevented in 1877 from going 
 through the collection by an affliction in the owner’s family. A letter 
 from the late Dr Kliigmann, who visited Pippbrook House in 1880, 
 informs me that there are also a few marbles, viz. : 
 
 1. Statuette restored as Hygieia. H. abt. C90. 
 
 2. Statuette restored as Ceres. Same size. 
 
 3. 4. Two double terminal half-figures; the one composed 
 of two men bearing a lamb (?) each, and holding bunches of grapes 
 in the lowered r. hand. Small size. 
 
 5. Divers single terminal busts. Small size. 
 
 6. Head of horse. Size of life. 
 
 7. Etruscan cinerary urns, abt. 17 examples. 
 
 The painted vases are of all classes, from the earliest to the 
 latest style; besides lamps, and terracottas of every description, 
 also gilt; bronzes, implements as well as small figures, and par- 
 ticularly mirrors, some of which are already known from engravings, 
 while others are as yet unknown. 
 
 RAMSGATE (Kent). 
 
 In the hall of Augusta Lodge, the possession of Henry Curling, 
 Esq., is placed a double terminal bust of Epikures and Metro- 
 doros, which was left to the present owner by the late Mr Thomas 
 Allason, author of Pictures and Views of the Antiquities of Pola 
 (London, 1819). The two busts, over life size, placed back to back, 
 stand on a square shaft tapering downwards, which is about 1 '8o high, 
 and are surmounted by a small square marble, projecting towards its 
 upper end and slightly ornamented, which seems to be meant to 
 support some piece of architecture, as indeed it actually does. The 
 names eniKoypoc and MmpoAmpoc are inscribed on the shaft, not, as 
 is usual, directly beneath the edge of the breast-piece, but at a certain 
 
RAMSGATE. RICHMOND. 
 
 619 
 
 distance below it. The whole monument in all its parts is cut from 
 the same marble, without any join. The heads and faces are quite 
 perfect; only on the shaft there are some repairs. This wonderful 
 state of preservation of so large a marble cannot but raise serious 
 doubts about its authenticity. The doubts are strengthened by the 
 square top ornament, for which it would be difficult to find any 
 sufficient analogy among ancient terminal busts ; by the palaeographi- 
 cal character of the inscriptions, especially the short horizontal stroke 
 of the €, and the to with its upper extremities curved outwards ; by 
 a rosette occupying the place of the usual mark of male terms, a 
 feature utterly unheard of in antique art ; not to mention certain 
 stylistic details in the treatment of the hair and the beard. The 
 marble is presumed to have been found in digging the foundation of 
 the new Portico of S. Maria Maggiore in Rome, in 1742. This 
 appears to involve a confusion with the famous double terminal bust 
 of the same two philosophers, which really was discovered on that 
 occasion and passed into the Capitoline Museum, of which it still 
 forms a highly admired ornament (cf. Mus. Capitol ., 1. PI. v. Visconti, 
 Iconogr. grecque, 1. PI. 25, p. 292 n. 1 Mil.). As there is not the 
 least allusion in literature to a second similar bust found at the same 
 time and place, I have little doubt that the bust at Ramsgate is a 
 modern copy of the Capitoline bust, and that the same origin has 
 been ascribed to the two either by mistake or in the interest of the 
 trade in objects of art. [. From letters of Mr Curling, and a photograph 
 kindly sent by him.~\ 
 
 RICHMOND (Surrey). 
 
 Michaelis, Arch. Zeit., 1874, pp. 59 ff. 
 
 Francis Cook, Esq., lived for many years in Portugal, and in 
 recognition of his liberal care for the interests of the public he was 
 created Visconde de Montserrat in the peerage of Portugal. At 
 Montserrat, near Cintra, is a section of his collection of antiques, 
 and it has been catalogued by Gurlitt, Arch. Zeit., 1S68, pp. 84 ff. ; 
 in this section is said to be the group of the Nile, formerly in the 
 Worsley collection (cf. p. 240). In his English residence, Doughty 
 House, Richmond Hill, Mr Cook has another large collection of 
 remarkable and interesting specimens. I went through the collec- 
 tion in 1873 and 1877. Moreover I have had some notices of 
 Bernoulli and Matz placed at my disposal, and lately Prof. Benndorf 
 of Vienna supplied me with other notices made in 1880. 
 
620 
 
 RICHMOND I, 2. 
 
 SALOON GALLERY. 
 
 1. Ivory Casket, of a late Roman style. The box is some- 
 
 what broader above than below, and flat at both ends ; the front 
 is convex, the back consists of a flat cover, which is furnished 
 with a projection on its upper end for greater convenience in taking 
 hold of it and drawing it out. On the upper surface a quad- 
 rangular hollow and numerous traces of nails bear witness that 
 some apparatus was fixed here, the use of which is as much a 
 riddle to me as is the intention of the casket altogether. A couple 
 of rings show that it was meant to be hung up ; those parts on 
 both sides that project most have been so much rubbed that the 
 vessel must have been carried in such a manner as to expose it to 
 constant friction. — Curved front. Three Bacchic figures stand in 
 full face over a border of acanthus leaves. In the midst is Dionysos 
 himself, crowned, the upper part of his body nude, the legs covered 
 with his cloak. In his 1 . hand he grasps the thyrsos, with the r., 
 which is lowered, he is emptying a drinking vessel (much rubbed) 
 over a panther, which crouches on the ground and raises its head to 
 him. To his r. stands a Maenad, with wreath on her head, wearing 
 a long, girdled chiton ; the thyrsos is in her r. arm, with her 1. hand 
 she raises the tympanon behind her head so that it looks like a 
 nimbus. To the 1 . of the god a Satyr, draped with an apron of skin 
 about the loins and a fur cloak on his back, carries a wine-skin on 
 his 1 . shoulder; with the r. arm he shoulders a pedum. — Flat back 
 (cover). Fortuna in full face, robed in chiton and cloak, the cornu- 
 copiae in her 1. arm, the r. hand on the tiller of a steering paddle. 
 The head is adorned with the attribute of Isis, the feathered disc 
 within two cow’s horns. To the r. of the head floats a little Cupid, 
 who holds a purse (?) in his r. hand and points to the rudder with 
 his 1 . In the background is a curtain. H. 0-15. W. at the upper 
 end o - og. D. 0-05. [*] 
 
 THE GALLERY. 
 
 2. Statue of Aphrodite (“Venus Mazarin”). There are 
 many similar statues of Venus, but none seems to be more like this 
 than the one copied in Maffei’s Raccolta, PI. 144, as in the posses- 
 sion of Ignazio Consiglieri, in Rome ; the motive of the r. arm is 
 however quite different, the 1. leg is not so much covered, and the 
 dolphin is nearer to the body. Cf. also Clarac, iv. 606 B, 1343 D. 
 Bernoulli, Aphrodite, p. 271. The goddess stands on her 1 . leg; the 
 r. leg is slightly bent, and a little in advance. Her 1 . hand is lowered 
 
RICHMOND 2. 
 
 621 
 
 so as to conceal her abdomen with a corner of her fringed cloak, 
 which covers her 1. leg entirely ; the cloak passes behind her body 
 to the r. hip, and is then taken by the raised r. hand and lifted up 
 high. Thus the r. leg and all the upper part of the body are left 
 uncovered. The proportions of the body are full, like those of the 
 Capitoline Venus, and by no means inclined to slenderness. The 
 head is somewhat heavy. On the top of it is a knot of hair (half of 
 it has been restored), and long curls fall down to the shoulders. The 
 goddess turns her gaze somewhat towards the 1. ; doubtless something 
 has attracted her attention in that direction, for which reason she 
 has covered her 1 . leg. Near this leg, and reaching up it midway, 
 is a large dolphin, connected with her thigh by a strong puntello ; 
 he serves less as a support than as a distinctive attribute. He 
 is plunging in the sea and seizes a cuttle-fish with his mouth. 
 On the dolphin’s back are three marks, which suggest the proba- 
 bility that an Eros was there, and on the 1 . hip of the goddess 
 a piece of drapery has been restored, where probably Eros touched 
 her. The statue is in excellent preservation. Besides the restora- 
 tions already mentioned we notice only a new piece on the dol- 
 phin’s tail, and the breasts of the goddess seem to have been patched. 
 Her head and the upraised r. arm holding the drapery have been 
 broken off, but are antique, and belong to the statue. The marble 
 is Parian, of beautiful, large grain. The nude parts of the goddess 
 have been polished (a condition which is not merely to be ascribed 
 to modern re-working) ; the drapery, the hair, and the accessories are 
 left rough, which gives a good artistic effect ; the execution is only in 
 decorative style, and the back has been very hastily done. H. r8o. 
 The statue comes from Paris. Cardinal Mazarin is supposed to have 
 possessed himself of it first, and to have presented it to the King. 
 It may be the statue of which we find the following entry in the 
 Agenda of the Cardinal in the year 1643: “ Per la venere antica, 
 compreso il porto e V incassatura, scudi di Roma 216. sono pistole 72 ” 
 (Laborde, Le Palais Mazarin , p. 185). Such a price would at least 
 seem very high for the two statuettes of Venus mentioned in the 
 Inventory of the Mazarin Palace (nos. 89, 112, cf. under Wilton). 
 However that may be, the statue came later into the possession 
 of a certain Mons. de Beaujon, whose house was situated on the 
 Champs Elysees, near the modern Arc de l’Etoile. During the 
 Revolution it was struck by some gun-shots, the traces of which are 
 still visible ; fortunately they are all in the back, as the precaution 
 had been taken to turn the face of the goddess to the wall. To 
 
622 
 
 RICHMOND 2 a, 3. 
 
 ensure her safe keeping she was afterwards buried in the garden of 
 the house, and for about forty years she lay there hidden till she was 
 quite forgotten. However, about the year 1855 the statue was for- 
 tunately found and disinterred, and soon afterwards came into the 
 possession of Mr Cook. [*] 
 
 2 a. Statue of a Nymph. Only the lower half of the body 
 from about the navel is preserved. The goddess rests on the 1. leg. 
 The legs are enveloped in a wide cloak, which leaves the r. shin and 
 foot bare ; it is gathered before the abdomen into a large mass of 
 folds, and over it is a shell which must have been held by the Nymph 
 with both hands. The upper part of the body was quite nude. The 
 back is merely sketched. The toes of both feet, the curved edge of 
 the shell, and sundry parts of the drapery have been injured. New : 
 only a patch at the back. White marble. H. o - 9o, including the 
 pedestal. [. Benndorf ] 
 
 3. Group of Eros in the Vine. Arch. Zeit ., 1879, PI. 13, 
 pp. 170 ff. (Michaelis). The principal figure (H. o - 8o) stands with 
 the soles of both feet — not with the tips only — on the ground ; the 
 position of the legs is somewhat stiff. Eros’ long hair is gathered up 
 into a knot over the forehead. He has no wings. He is bending 
 far back to reach the grapes that hang down in rich clusters from the 
 vine which arches over his head ; for a gnarled vine, connected 
 with Eros by two supports, is growing behind and around him. The 
 branching tendrils, laden with grapes, make as it were a roof over 
 his head and quite encompass him. The vine forms a kind of open 
 work in marble; the single pieces, much broken, have been carefully 
 put together again, mostly with the aid of metal pegs or thin metal 
 pins which are much eaten away, and which have caused serious 
 corrosion. Those parts of the marble that have been protected, 
 preserve throughout their original smooth surface, in strong contrast 
 to the exposed parts, which have been much injured. Also the front 
 part of Eros himself has been almost completely worn away by the 
 action of water, while his back and other protected parts are perfectly 
 smooth. Another statue of Eros, very like this one, was once at 
 Whitehall (cf. Windsor, vol. xxvii. fol. 21. Arch. Zeit., 1879, Pf 
 14, 2), a third copy in Rome (ibid., PL 14, 1), a fourth in the 
 Louvre (ibid., PI. 14, 4. Clarac, 11. 282, 1460. Miiller-Wieseler, 
 n. 53, 676). In the copy belonging to Mr Cook, we have to notice 
 important accessories. The head of Eros is thrown back, and his 
 look directed sideways so as to catch the glance of a little bearded 
 Pan (H. o - 5o) who is skipping round him with his r. leg lifted high. 
 
RICHMOND 3 a. 
 
 623 
 
 He looks up at Eros and with both hands holds over his head a flat 
 basket into which a diminutive winged Eros (H. 0 20), sitting on the 
 branches, is about to drop a large bunch of grapes. A second 
 winged boy of the same size is flitting through the branches above 
 the r. hand of the principal figure. His r. foot is supported on the 
 outstretched 1. arm of a second bearded Satyr (same size) who 
 crouches, behind the head of the principal figure, on a branch, and 
 holds a bunch of grapes in his lowered r. hand. There is also a 
 bird among the branches. This vine so alive with Erotes reminds 
 us at first sight of the “green arbours” (^Xwpai cr/aaSes), which 
 surround the bed of Adonis in Theocritus (15, 118) : Oi Se re Kwpoi 
 VTrepTTWTwi'TaL ’’EpuiTes' Otoi dr/OoviSrjes d.e£op.evav ivl SCSpojv Hojtwvtcu 
 7TTepvyiov TreLpd>p.evoi o£ov air o£a>. I have no doubt that the group 
 at Richmond gives us the original conception of the figure, as every 
 detail is explained here in the best possible manner; the idea is pro- 
 bably an ingenious and playful invention of an artist of the Alexan- 
 drian period (cf. Athen., v. pp. 198 D, 200 C). The execution of the 
 group before us is only decorative and anything but delicate, in 
 some parts it is rather superficial. It is almost miraculous that it 
 should have been preserved entire, with no modern restoration, 
 especially when we consider the fragility of the peculiar kind of 
 work. The pedestal is also preserved ; it is quadrangular, with slight 
 ornamentation: L. oqq. D. o - 28. The height of the pedestal is 
 about o-o6, that of the group itself ix>6. Fine-grained Greek 
 marble. It was found in 1864 in the Bagni di Roselle (Dennis, 
 Cities and Cemeteries , 2 ed., 11. p. 225), four miles distant from 
 Grosseto, near the ancient Etruscan town of Rusellae (. Bullett . dell' 
 Inst., 1865, p. 68); thence it was taken to Florence and very soon 
 found its way into the possession of Mr Cook. [*] 
 
 3 a. Statue of Herakles, with a cornucopiae. The bearded 
 hero, his crisp hair wreathed with vine-like leaves, rests on his r. leg 
 in a very composed attitude ; the 1. leg is put a little aside, but 
 it touches the ground with the whole sole. The r. hand which is 
 lowered rests on the club which is placed on the ground. A lion’s 
 skin, supported by a block of marble by the 1. leg, hangs over the 
 1. forearm ; the 1. hand holds a large cornucopiae, containing a 
 bunch of grapes, two ears of corn, two walnuts, a pineapple, an 
 apple, some other fruits, a trilateral pyramid, and a disk behind it 
 (cf. Annali del! Inst., 1869, pp. 201 ff. Matz-Duhn, Ant. Bildw. hi 
 Rom, 1. no. 11S). Two puntelli serve to join, one the club and the 
 r. thigh, the other the two shins. The pedestal is semicircular. 
 
624 
 
 RICHMOND 4 — 6. 
 
 Benndorf thinks that the statue refers to an Attic type of Herakles, 
 anterior to the influence of Lysippos. Head, r. forearm, and shins 
 broken, but antique ; — new : only the middle part of the club. Good 
 work. Back but little finished. White marble. The statue is said 
 to come from Constantinople. H. i'2&, of the pedestal 0-09. [Benn- 
 dorf.] Possibly the statue identical with a small statue of Herakles 
 which Mr Newton saw years ago lying in fragments in a cellar of 
 Lord Stratford de Redcliffe’s London house. The fragments had lain 
 there so long that his lordship had lost all recollection how he got 
 them, but believed they came from Constantinople. By Mr Newton’s 
 advice he had the statue put together, and it was afterwards sold by 
 auction at Christie’s for f~no. [From a letter of Prof. Newton.) 
 
 4. Small torso of a nude Aphrodite, originally with 1 . 
 
 arm lowered and r. ann raised ; the hand may have held an ala- 
 bastron. The upper part of the body is strikingly small in com- 
 parison with the very large hips and the long thighs ; the figure is 
 altogether very slender. The body is smoothed over. The work is 
 rather delicate, only the back is not quite so carefully finished as the 
 front. Both arms, the legs from below the knees, and the head are 
 missing ; by the 1. hip may be seen the remains of a support. Beau- 
 tiful Parian marble ( lychnites ). H., from the neck to the knees, 0-31. 
 
 Said to have been found at Athens. [*] 
 
 5. Statuette of “Zeus Serapis.” The god rests on his 
 1. leg, the r. is slightly bent. The lower part of the body, the back, 
 and the 1. arm down to the wrist are covered by an ample cloak. 
 The hand rests on the hip in a manner similar to that seen in the 
 common statues of Asklepios, though not quite the same. A head 
 of different marble, which is much worn (new : nose), is stuck on to 
 the body by means of a new neck. This head is like that of a Zeus ; 
 the modius (partly restored) on the head gives him the character of 
 Serapis. New : r. arm, including the shoulder, and the thunderbolt ; 
 the pedestal with the feet and an omphalos standing by the 1. 
 foot, which serves to support the cloak ; the fingers of the 1. hand, 
 small details on the drapery. Probably intended originally for a 
 Zeus and not an Asklepios; for the motive cfi, for example, Clarac, 
 v. 921, 2345. Italian marble. H. 070. From the Pulszky col- 
 lection. [*] 
 
 6. Group of Dionysos and Seilenos, small scale. The god is 
 draped in a cloak, which however only covers his legs and back, and 
 rests lightly on the 1. shoulder, leaving all the upper part of the body 
 and the hips bare. A fillet is passed through his hair, which falls 
 
RICHMOND 7 — 9. 
 
 625 
 
 down on his shoulders in long curls. His r. arm rests on his head. 
 The god stands on his r. leg in too straight and stiff a position, his 
 1. foot being in advance, and supports himself on a much smaller 
 Seilenos, round whose neck and shoulders he has thrown his 1. arm. 
 Seilenos is draped in a coat with sleeves, which reaches nearly to 
 his knees, and in hose, both of a shaggy stuff ; he also wears shoes, 
 and an apron round his loins. Stepping forward with the 1. foot he 
 clasps Dionysos with his r. arm, and lays the 1. hand on his garment, 
 near his 1. hip. The head of Seilenos, which is thrown back on his 
 shoulders, is bald ; on his chin is a long beard, and he has a flat nose. 
 He looks up to the god, who meets his glance with an enthusiastic 
 look. Dionysos’ r. arm is broken in several places, and is perhaps 
 partly modern ; his feet from below the garment, and a great part 
 of the pedestal, the noses of both figures, and some trivial details 
 have been restored. The execution of the nude parts of Dionysos is 
 weak, almost effeminate; the body is smoothed over and rubbed, 
 the head still more so. The rest of the group is somewhat super- 
 ficially treated. The popular name of the group, “ Socrates and 
 Alcibiades,” is also to be found on the drawing of a similar little 
 group, that was in the former royal collection at Whitehall (cf. 
 Windsor, vol. xxvn., fob 28, no. 22). Beautiful Greek marble. H. 
 070. From the Pulszky collection. [ # ] 
 
 7. Statuette of Kybele. She sits on a majestic throne with 
 
 a high back. She wears chiton and cloak, the latter so arranged that 
 it forms a veil over her head and falls down her back and over her 
 legs. Her head is surmounted by a rnodius. The lion lies on her lap, 
 in her r. hand she holds a patera, in the 1. arm the large tympanon. 
 This is a late copy of a well-known Attic type, and is not of Pentelic 
 marble. H. o - 34. [*] 
 
 8. Bust of “ Caligula.” Beautiful bust of a youth, the face 
 turned r. The tip of the nose has been broken off but put on again; 
 a piece near the r. eye has been restored. A certain likeness to 
 Caligula cannot be questioned, but the face is broader, the form of the 
 forehead different; instead of the gloomy and wicked expression and 
 the pinched lips which disfigure Caligula’s handsome features, we have 
 here a goodnatured look and frank liveliness. On the upper lip and 
 chin is a soft down. The hair is treated very superficially ; in other 
 respects the execution is very good, and the expression is remarkably 
 well rendered. Coarse-grained Parian marble. H. 0*45. Length of 
 face 0-19. Brought from Paris to England a few years ago. [*A] 
 
 9. Child’s head: expression somewhat embarrassed, curly hair. 
 
 M. C. 40 
 
626 
 
 RICHMOND 9 a— 12. 
 
 The body is clothed in a tunic buttoned on the shoulders. Pupils 
 expressed. Tip of nose new. Greek marble. H. 0-25. L. of face 
 
 O'lO. [*] 
 
 9 a. Two colossal busts of Claudius and Vitellius ; the 
 busts, draped, of coloured marble. Good work of the Cinquecento 
 or Seicento. [*] 
 
 10. Attic sepulchral relief. Stele with pediment, below the 
 pediment the name Ti/xaplrr] (C. I. Gr., 7002). The field is not 
 framed in by pilasters. On it stands a lady, unveiled, turning 1. 
 She has a fillet in her hair, and is quite enveloped in her chiton, 
 and in the ample cloak which almost covers her form, including the 
 1. arm. Her head is bent and her look directed to her lowered r. 
 hand, in which she holds a little dove. A little child, kneeling on the 
 ground, and also dressed, stretches up both arms towards the dove. 
 Delicate low relief of excellent art ; firm outlines with extraordinarily 
 soft treatment of the surfaces. Pentelic marble. H. o'Sa. L. above 
 o’35, below 0-38 ; field h. 0-56. The relief was formerly in the 
 possession of the chemist Dodd. [*] 
 
 11. Fragment of a round ara of Pentelic marble: a Bac- 
 chante, in fine doubled chiton and a wide, waving cloak, is dancing 
 to the r. with her head lowered. She holds up a tympanon in 
 her 1. hand and has raised her r. hand to strike it. This is a 
 favourite figure on certain so-called neo- Attic reliefs (Zoega, Bassir., 
 PI. 84, no. 3. Miiller-Wieseler, 11. 48, 602 at the r. end). Below 
 are the remains of an ornamental astragalos. The work is spirited and 
 careful ; the figure excellently preserved ; all the rest of the relief 
 has been cut away close round the figure. H. 0-54. H. of figure 
 
 0-48- [*] 
 
 12. Fragment of a bas relief, of poor Grecian style, framed in 
 on the 1., broken on the r. and at the top. Bull. Napolet., v. PI. 1, 1. 
 A youth in a Phrygian cap, chiton and chlamys, stockings and shoes, 
 with a long lance or staff in his 1. hand, is standing, turned r., 
 before a veiled lady, who is resting her 1. elbow on her r. hand and 
 laying her chin on her 1. hand ; she is taken in the act of stepping 
 to the r. Near her in the background is a female head with sharply 
 defined profile and a stephane in her hair. The common explana- 
 tion that the group represents Paris and Helena, accompanied by 
 Aethra, or Aphrodite (cf. Overbeck, Gall, heroischer Bildw., p. 372), 
 does not seem satisfactory; the supposed Paris is much more like 
 a barbarian doryphoros. It may represent Medea assisting Jason 
 in one of his feats in Colchis. H. o'82. L. o'5r. According to 
 

RICHMOND 
 
RICHMOND I 
 
 20 . 
 
 627 
 
 -> 
 
 J 
 
 Minervini (/. cit., pp. 52 f.) the relief comes from Cumae; according 
 to a notice of Em. Braun’s on a drawing in my possession it was 
 found at Pozzuoli in 1835. [*] 
 
 13. Large, round bowl of red porphyry, tolerably flat, of 
 the grand diameter of 1-93. Obtained from the Duke of Modena. [*] 
 
 14. Terra-cotta figure of a maiden at her toilette. 
 (See the annexed Plate.) A charming little figure. Front and side 
 views equally well composed and carefully worked out, the back 
 neglected. The maiden is sitting in a cushioned chair (legs wanting) 
 dressed in a chiton, while a cloak entirely envelops her back and legs, 
 and forms a frame to the body as seen from the front. The r. foot is 
 advanced, the 1. foot is drawn up and rests somewhat raised on a foot- 
 stool. She raises her two bare arms, the 1. to the side, the r. in front, 
 to arrange the hair on the 1. side of her face (the tress of hair and the 
 1. hand have been broken off); accordingly the head is somewhat 
 lowered and the glance directed sideways and downwards. A ribbon 
 is drawn through the hair. The colours are in a measure preserved. 
 The simple grace of the little figure is quite inimitable. H. 0-13. [*] 
 
 15 — 17. Three terra-cotta slabs, like metopes, representing 
 Herakles with the lion, the hydra, and the bull. Similar terra- 
 cotta reliefs recur in the Campana collection and elsewhere. 
 
 The bronzes are very numerous. I only notice the interesting 
 examples, passing over others which are rather commonplace. 
 
 18. Statuette of Athene Polias, in the attitude of combat 
 
 which we see on the Panathenaic vases, only without the aegis. She 
 advances her 1. foot. Her cloak is laid across her bosom, the 1. breast 
 being only covered by the chiton, and falls down in zigzag folds. 
 The 1. arm is lowered, the r. raised, both forearms missing. On her 
 head is a round helmet, with an upright visor in front, on the crown 
 the remains of a plume. A tolerably broad tress of hair falls down 
 her back. Good figure. H. on 8. [*i>] 
 
 19. Statuette of Aphrodite, very small. She stands in an 
 attitude of repose, her legs hidden in her garment. Upper part of 
 the body nude. Both arms upraised and holding long locks of hair. 
 The head crowned with a stephanb. H. o - o4. (There is a larger 
 copy of the same subject in which the goddess is quite nude.) [ # ] 
 
 20. Statuette of Apollo, standing upright, the r. leg slightly 
 in advance, the r. hand lowered, in his 1. arm the large cithara. He 
 is youthful and wears a wreath on his long curls. The lower 
 parts of the legs and the r. forearm missing. Delicate work. 
 H. o'Q5. [*] 
 
 40 — 2 
 
62 8 
 
 RICHMOND 21 
 
 21. Statuette of Hermes, with wings in his tangled hair, 
 resting on the r. leg. His r. hand advanced and holding a large 
 purse ; the 1. arm is lowered and probably once held the kerykeion. 
 Commonplace work. H. c'iS. [*] 
 
 22. Statuette of Hermes, resting on his r. leg. He wears 
 
 sandals; over his 1. arm lies the chlamys, the hand is upraised. In 
 the lowered r. hand is the remnant of the kerykeion. The head, 
 without wings, inclined somewhat to the r. H. o’i6. [*] 
 
 23. Statuette of a nude youth, like a Hermes. The 
 chlamys is fastened on the r. shoulder and falls over the r. shoulder 
 and arm. A twisted hoop is passed through the hair. In the r. hand 
 he holds a large snake; its open jaws hang down, and its head is very 
 like that of a dragon. A small ring on the back of the head shows 
 that the figure was destined to be hung up. The genuineness not 
 certain. H. 0U7. 
 
 24. Statuette of a nude youth, remarkable for his very 
 
 long, smooth hair, which is parted on the crown and terminates on the 
 neck in light curls. He is in the act of walking, his r. foot being 
 already advanced. The r. arm was advanced, but the lower half is 
 broken off; the lowered 1. hand is bored through and held some- 
 thing. The hard treatment of the hair and the large eyes suggest 
 a modern origin, an idea which seems to be contradicted by the 
 beautiful green patina. H. o - 2i. [*2?] 
 
 25. Group of “Eros with the dolphin.” Rheinland. 
 Jahrb., 1 (1842). PI. 3, 1. 2, pp. 56 ff. (Urlichs). Miiller-Wiese- 
 ler, 11. PI. 51, 644. A powerful youth, with strong pubes, remind- 
 ing us rather of Ares or Hermes than of Eros, both in the build 
 of his body and the expression of his face. He stands on his r. 
 leg, with the 1. slightly bent. In the fashion of the signa panthea 
 this youth unites in his own person the attributes of various gods. 
 His 1. hand, lowered and slightly bent, holds Poseidon’s dolphin; the 
 quiver, fastened by a ribbon, suggests Apollo, of whom, as well as of 
 Dionysos, we are again reminded by the wreath of ivy and laurel, 
 bound with the fillet; the helmet, shaped in the fashion of a Phrygian 
 cap and terminating in a griffin’s head, over which the high plume 
 waves, recalls Ares, and the upraised wings Eros. The r. wing is 
 missing, but the holes at the joint show that it must have been 
 separately worked. It is possible that the lowered r. hand held either 
 a kerykeion or a thunderbolt; now the arm is missing from above 
 the elbow. The feet have been repaired. IT. to the tip of the wing 
 o'i6. This graceful and well-executed figure was found at Bonn in 
 
RICHMOND 26—32. 629 
 
 1840, and belonged in the first place to Frau Sibylla Mertens- 
 Schaaffhausen. [*] 
 
 26. Statue of a young warrior, in a chiton, with a short 
 breastplate over it; on the head a low helmet. L. arm lowered, 
 r. upraised. The disproportionately slender figure is an example of 
 provincial art, probably from Lower Italy. H. 0-62. 
 
 27. Torso and head of a boy with long curls, eyes having 
 been put in. H. o’qS. From Italy. 
 
 28. Head of a boy, broken off close under the chin, with fat, 
 
 infantine cheeks. Pupils expressed. Hair gathered up in a small 
 tuft over the forehead. H. on 3. [*] 
 
 29. Invalid sitting. Rev. arched. , 1 (1844). PI. 13, pp. 458 ft'. 
 (Longperier). A sick man sitting in a chair which has lost its feet. 
 He is thin as a skeleton, every rib standing out. His arms and face 
 are equally bony. The eyes have been inlaid with silver. The body 
 is huddled together and stoops forward. A cloak covers the legs, 
 and on it, in two rows above each knee and on the lower hem, may 
 be read in punctured characters 
 
 which signify EaSa/ASas IIepSiK[Ka] ( C . I. Gr ., 6855 b). The patho- 
 logical character is realistically carried out. Evidently it is a votive 
 offering from a sick or convalescent person (cf. Paus. to, 2, 6). 
 H. 0U15. Found in the neighbourhood of Soissons, formerly in the 
 possession of Vicomte de Jessaint, cf. de Witte, Memoir cs des antiq. 
 de France , xxxi. p. 168. Treu, De ossium human, imaginibus , pp. 
 
 47 ff- [*] 
 
 30. Head, usually called “Seneca.” The realism is kept 
 within moderate bounds, the hair very superficially treated. The 
 genuineness does not appear to me quite indubitable. H. C35. L. 
 of face on 9. [*] 
 
 31. Bronze weight, representing a female head with earrings 
 
 and stephane. H. on 2. [*] 
 
 32. Bronze vase, somewhat larger in the middle than at the 
 top and bottom. It has two graceful handles, and at the joint of 
 each is a Sphinx in high relief, crouching down and raising the 1. 
 fore-paw to the head, which is bent down and melancholy. Very 
 delicate work, carefully chased. IP. o’qo. Said to come from 
 Pompeii. [*i?] 
 
6jC 
 
 RICHMOND 33 — 37. 
 
 33. Handle of an Etruscan cista: two youths in short chitons, 
 holding a nude corpse extended to its full length. [*] 
 
 33 a. There are also a number of handles for mirrors, formed 
 usually into human figures. 
 
 34. Cover of an Etruscan mirror with relief. Dionysos in a 
 
 cloak and with the thyrsos over his 1. shoulder is looking down- 
 wards behind him and leaning on an Eros, who looks up to him as 
 he steps quickly forward. All the movement is to the r. A Bac- 
 chante precedes Dionysos and looks round at him, she wears a 
 chiton and cloak and plays a cithara. Similar example in Gerhard, 
 Etr. Spiege /, PI. 21, 2. Diameter o - i6. [* 2 ?] 
 
 35. Similar cover with relief. Aphrodite, the upper part of 
 her body nude, the lower part draped, is sitting to the 1., with a 
 sceptre beside her, looking up at a small Eros, who stands on a 
 little ridge of rock. A second Eros sits at her feet. Above him we 
 perceive a small cloaked male figure (?) whom Aphrodite touches 
 with her right hand. Indistinct representation, badly corroded. 
 Diameter o'io. [* 7 >] 
 
 36. Etruscan mirror. Plerakles, wearing a skin as a chlamys, 
 
 and carrying the club over his 1. shoulder, is embracing a nude female 
 figure with his r. hand. Behind her back is a cloak; she wears a neck- 
 lace of pearls, and shoes, and is sitting on a large dolphin with a long 
 tail. Another nude female figure to the r. is endeavouring to hold 
 Herakles back. The scene is encircled by a wreath, below on the 
 handle is a mouse. Diameter o - i 2. L. with handle 0-25. [*] 
 
 DINING ROOM. 
 
 37. Bronze group of Peleus and Thetis. The pedestal, 
 which is oval, is formed by a kind of inverted hollow box, o' 18 long, 
 o'o7 wide, 0-12 high, adorned in front with a winged Medusa’s he^d, 
 resting on four animals’ legs, which are high and bent outwards; over 
 each leg a little mask. On this stands the group, 0-27 high, a repeti- 
 tion of the composition well known from vases. The youthful Peleus, 
 somewhat bent, steps forward from the 1., advancing his 1. foot; he 
 has curly hair and is draped only in an apron round the loins. His 
 1 . arm is round Thetis’ hips, in his r. hand he holds her 1 . with a firm 
 grasp. Thetis is trying to escape. She wears an ungirdled doubled 
 chiton, the folds of which recall the zigzag style. Her long hair flows 
 down unbound, her entreaty for help is mutely expressed by her 
 upraised r. arm and face turned back. A panther is clambering up 
 Peleus’ r. leg which is stepping back, and bites his back near his r. 
 
RICHMOND 38 — 40. 
 
 63 I 
 
 shoulder. At Thetis’ 1 . side is a large snake with a forked tail, which 
 raises itself from her knee up behind her back to her neck, and 
 forces itself over the upper part of Thetis’ r. arm towards Peleus and 
 bites him in the neck. The group, which is meant to be seen only 
 from the front, is skilfully composed. The execution is very good. 
 It is in perfect preservation, but the surface has been badly corroded. 
 Total height o‘39. [*] 
 
 38. Round arched cover of bronze, quite smooth, 0-23 
 in diameter. Above, a diskobolos serves as a handle. He steps 
 forward on the r. leg and draws back the 1., which is much bent; the 
 upper part of the body only slightly bent forward, the head more in- 
 clined. He holds the quoit in his lowered r. hand which is slightly 
 advanced, the 1. arm is raised as if to preserve the balance, with the 
 open hand turned up to the head. A fillet passes through the hair 
 which falls down the back in a wide plait. A narrow band round the 
 hips is remarkable. The motive is uncommon, and seems to be 
 taken from a comparatively early type. H. of the figure o'oS. [*] 
 
 39. Greek mirror. A severely archaic Aphrodite does duty as a 
 
 handle, She is in an ungirdled chiton, standing stiffly in full face, hold- 
 ing a flower in her much advanced r. hand, and with the 1. lifting her 
 garment near her thigh. On either side of her head hovers towards 
 her a small draped rvinged figure, with legs very far apart, each 
 stretching one arm towards the head of the goddess and holding 
 back the other, with a small object in the hand. For similar mirrors 
 of Greek origin see Frankel, Arch. Zeit., 1879, pp. 100 f. 204. Total 
 height o - 39. Diameter of the mirror o - i6. H. of the group beneath 
 it 0*20. [*] 
 
 In the cabinets of this room, besides many bronzes, are numerous 
 terra-cottas, but among them none of remarkable value. 
 
 BASEMENT. 
 
 40. Statue of Aphrodite, crouching. Cavaceppi, Race., 
 11. PI. 60. Clarac, iv. 627, 1411. Well-known motive. The upper 
 part of the 1. arm is adorned with a bracelet in the form of a snake. 
 The hair is gathered into a knot on the forehead and back of the 
 neck; some curls fall down the back and on the 1 . shoulder. The 
 head is in a very bad condition, caused by long exposure to the 
 elements; almost the whole of the r. arm is missing and the 1. 
 hand together with the wrist. O11 the broken parts are pieces of iron 
 which show that some former repairs have been made (by Cavaceppi). 
 New: chief part of the 1 . foot, which has been foolishly provided 
 
63 2 
 
 RICHMOND 41—44. 
 
 with a sandal, though the heel wears none ; also toes of the r. foot. 
 The goddess leans her 1 . hip on a swan, of whose neck only part is 
 preserved. Behind her r. hip stands an Eros, with his 1 . arm on her 
 back and his r. arm on her body, looking up at her. His legs 
 are wide apart ; the 1. has once been restored, but now half of it 
 is lost. The joints of the wings are preserved. The group has 
 been let into a new pedestal. Coarse work, intended probably for 
 architectural decoration. On the body are rolls of flesh which give 
 it an appearance of excessive fatness. Coarse-grained Parian marble. 
 
 H. 1-15. L. of Aphrodite’s face, 0-19. Through Cavaceppi’s hands 
 the statue came into the possession of Lord Anson (see Introd. 
 § 41, note 174), and probably at one time stood in the Shugborough 
 collection. Cavaceppi set on it an extravagant value, styling it del 
 pin famoso stile antico, eseguita con ammirabile morbidezza. [*. 5 ] 
 
 41. Statue of Aphrodite, quite nude, resting on her 1 . leg. 
 Her r. hand covers her breast, her 1 . grasps the end of a dolphin’s 
 tail. Remains of curls on the shoulders. New: head, fingers of r. 
 hand, feet and pedestal, and chief part of the dolphin. R. arm and 
 
 I. forearm have been broken off, but belong to the statue; legs 
 
 repaired. H. 0-92. [*] 
 
 42. Torso of a Satyr, beating time with the wooden shoe 
 ( krupezion ) like the example in the Tribuna at Florence (cf. Marbury, 
 no. 22). Though head, legs and arms have been broken off close to 
 the body, the direction of each of these members can be exactly 
 realised. Remains of the tail are preserved. The work is alto- 
 gether pretty good ; the stooping back with its strong muscles is 
 excellent. The breast is splintered away. H. 0-59; from the hollow 
 of the neck to the lap o't,S. [*] 
 
 43. Torso of Herakles (?), quite nude. He rests on the 1 . 
 
 leg; the 1. arm was originally stretched out from the body horizontally 
 and probably rested on something, as we may infer from the stooping 
 position of the body. The r. leg was somewhat advanced, the r. arm 
 lowered. Indistinct traces in the neck hardly suggesting hair, perhaps 
 of a skin. LI. o'39. [*] 
 
 44. Upper half of a male portrait statue, from about 
 
 the middle of the thigh, where it is cut off square ; evidently the statue 
 was originally put together out of two pieces. The treatment of the 
 cloak corresponds to the Marbury statue, no. 18. The r. lrand N lies 
 on the tip of the cloak which falls down from the 1. breast, the 1. with 
 the remains of the roll is lowered. The head is missing. Somewhat 
 coarse work. H. 0 84. [*] 
 
RICHMOND 45—50. 
 
 633 
 
 45. Statue of a nude boy, with curly head, the hair lies in 
 
 the form of a plait along the parting. With both hands the boy holds 
 in front of him a deep square box, in which lie round objects and a 
 ring, probably articles of jewellery. New: the lower parts of the legs 
 with the trunk and the pedestal, part of the 1. and all the r. arm with 
 half the box. The neck has been repaired in several places, but 
 the head appears to belong to the statue (nose new). Decidedly 
 decorative style. H. o - 47. ['*] 
 
 46. Statue of Zeus ? An ample cloak covers legs, back, and 
 
 1. arm, one end of it is thrown in front over the 1. forearm. In the 
 lowered r. hand are the remains of a short sceptre, the head of which 
 lies close under the hand; on the 1. shoulder we see traces of a palm 
 branch. Both attributes suggest an arbitrator of contest ( brabeules ), 
 perhaps Zeus as giver of victory and prizes of reward. The restorer 
 has completed the palm branch as a sheaf of corn, and has added the 
 1. hand, he has also put on to the statue a head crowned with ears of 
 wheat and has added the legs from below the drapery and the 
 pedestal. Of pavonazzetto, a material but seldom employed for 
 sculpture; but still above suspicion. H. 0-75. [*] 
 
 47. Double terminal bust. Zeus with an oak wreath, in 
 
 which are some acorns. The face is very wide and has a curly beard. 
 Tip of nose new. On the other side Hermes (?), with a strange 
 kind of hat like a helmet, which covers his cheeks; the edge juts 
 out, and over it are two wings. Partly restored. For similar heads 
 see Gerhard, Antike Bildwerke, PI. 318. IT. 0-23. [*] 
 
 48. Double bust of the bearded Dionysos and of Ari- 
 
 adne, both with narrow metal circlets in the hair. His hair and 
 beard are rendered in archaic style with button-like curls. New : 
 nose of Dionysos, nose and mouth of Ariadne. Work very poor. H. 
 °' 3 °- [*] 
 
 49. Head of Dionysos, bearded, with an ivy wreath in his 
 hair and a fillet straight across his forehead. The long beard forms 
 loose, rough curls. The expression is insignificant. New : tip of 
 nose, and terminal bust in which the neck has been inserted. H. 
 o - 5o. L. of face o-i 7. [*] 
 
 50. Bust of Athene, with round, so-called Attic helmet, pro- 
 vided in front with a narrow brim that stands up, ornamented on 
 either side with a winged griffin ; traces of holes on the top suggest 
 some adornment to the helmet, probably a plume. The hair is 
 wavy, it falls down on the back of the neck in a round coil, on the 
 shoulders are remains of long curls. The face is rather wide and 
 
634 
 
 RICHMOND 51 — 57. 
 
 has been very considerably restored, forehead, 1. eye, nose, mouth, 
 chin, also some hair on the 1. temple being new. The bust, 
 which is turned somewhat to its right, was intended to be let into a 
 statue. Unfortunately it has been much rubbed and defaced. H. 
 o - 43. L. of face o - i8. [*] 
 
 51. Head of Artemis, with pleasing expression. A fillet passes 
 
 through the hair and a crescent fastened to it rests on the fore- 
 head. Broken at the neck. Superficial work. 14.0-24. L. of face 
 °' I 7- [*] 
 
 52. Bust of a Roman matron, draped and veiled, with a 
 
 woollen cord in her tangled, wavy hair. Thin lips. In perfect pre- 
 servation. H. 0-92. L. of face o - i8. [*i?] 
 
 53. Female bust with the hair parted from the temples, and 
 
 then drawn back in unusual fashion, and combed upward with the 
 rest of the hair to form a knot in the shape of a ball. Just like 
 no. 53 in Lansdowne House. New: nose, mouth, chin, neck and 
 bust; the simplicity of the treatment reminds us of heads of Amazons. 
 Coarse-grained marble. H. of the genuine part abt. 0-24. L. of 
 face o - i8. [*_Z?] 
 
 54. Female portrait bust, Roman, with delicate features; 
 
 allied to the statue of Antonia in the Louvre. The wavy hair termi- 
 nates in a plait ; along the forehead it is cut short in a fringe. 
 Behind the ears two curls fall down. New : nose, and draped bust 
 of coloured marble. L. of face 0-14. [*_Z?] 
 
 55. Small head of a laughing girl, something like a 
 
 satyress, but not having pointed ears. The hair is brushed up and 
 an ivy wreath rests on it. New: tip of nose and breast. Coarse- 
 grained marble. LI. of genuine part abt. 0-19. L. of face 0-13. [*] 
 
 56. Greek sepulchral relief, broken off above and on the 
 r. edge. A lady, in somewhat high relief, is standing in full face, 
 fully dressed, but not veiled (head broken off); r. arm is slightly 
 bent and rests in her cloak; 1. arm lowered. (Cf. Clarac, iv. 766, 
 1889.) At her r. stands a diminutive female servant, in much lower 
 relief; she is holding with her r. hand a basket furnished with a 
 handle, with the 1. a fan shaped like a leaf. Broad sculpture. Coarse 
 grey marble. H. 0-94. L. at the top 0-70, below 0-76. From 
 Sicily. [*] 
 
 57. Front of a sarcophagus with relief of Meleagros. 
 
 In the middle Meleagros, wearing the chlamys and having a fillet in 
 his short, rough hair, is attacking with brandished spear the mighty 
 boar which is almost hidden in his den, but has its r. forepaw on a dog. 
 
RICHMOND 58. 
 
 635 
 
 Between Meleagros’ legs lies a double axe. Atalante in hunting 
 costume, her open quiver on her back, the bow, from which she 
 is just shooting the arrow, in her hand, comes up next to Melea- 
 gros ; her hairdress is arranged in waves. Behind the den a 
 bearded man is throwing a stone down upon the boar; then a 
 youth, in all respects like Meleagros, hurries up with poised spear; 
 between his legs is a dog. Next comes a tree. On the further 
 side of this tree, at the r. end, stands a man, bearded, with a 
 sword-strap across his breast and the chlamys behind his back. 
 He lays his r. hand sadly on his wounded r. thigh; his 1. arm, which 
 probably grasped a spear, is almost entirely broken. To the 1., 
 behind Meleagros, approach the two Dioskuroi, each wearing the 
 chlamys and an egg shaped cap, the foremost with the spear in his r. 
 hand and the 1. upraised. Artemis, in hunting costume, hurries away, 
 at their approach, looking back on the scene as she runs; between her 
 legs is a dog. Then follows Ankaeos, a huge form like a Herakles, 
 girded in a skin and with a double axe over the 1 . shoulder; finally the 
 bearded Oeneus, fully dressed and with his sceptre, appears, only 
 partly preserved. In excellent preservation, and exhibiting unusually 
 good treatment in the relief. H. o - 85 . L. i - 88 . This version of an 
 often-repeated scene has been hitherto overlooked by those who 
 have collated the various sarcophagi relative to Meleagros (cf. on 
 Broadlands, no. 21 ); it comes from the neighbourhood of Naples. 
 [*] 
 
 58 . Front of a sarcophagus with relief of an Amazono- 
 machia. A warrior (Achilleus) dressed in helmet, chlamys and 
 boots, a round shield on the r. arm and a spear in the hand, stands 
 in the centre, his 1. arm thrown round an Amazon (Penthesilea), who 
 is sinking to the ground. She, like her comrades, wears a round 
 helmet, chlamys and boots. On the ground, at the feet of the con- 
 queror, lies a second Amazon, dead. The conqueror’s look however 
 is not directed downwards, but backwards towards an Amazon on 
 horseback, hurrying away, who is defending herself with drawn sword 
 against a fully armed, bearded warrior (sign on his shield a gorgoneion). 
 This warrior is stabbing her in the back from above with his sword; 
 at the same time the Amazon is attacked in front with a spear by a 
 mounted, bearded warrior in helmet, chiton, chlamys and boots. 
 Beneath the horses on the ground lies an Amazon with her horse, 
 both dead. On the extreme 1., as a corner figure, is a winged Nike 
 in a long Doric chiton ; one leg and her breast are bare ; she 
 shoulders her sheathed sword in her 1. arm. To the r., on the 
 
6 3 6 
 
 RICHMOND 59 — 62. 
 
 further side of the principal actors, follows a perfectly symmetrically 
 arranged group. Again a mounted Amazon, having a pelta on her 
 1. arm, is defending herself against a bearded warrior who attacks 
 her in the back, and is also at the same time threatened in front by 
 a youthful horseman (badge on his shield a gorgoneion). A horse 
 lies on the ground, also a dead and a wounded Amazon, the latter has 
 a pelta. On the extreme r. the figure of Nike is repeated. In excel- 
 lent preservation; very good sculpture, though perhaps not quite so 
 good as that of no. 57, in the same locality with which this sarco- 
 phagus was found. H. 0-89. L. 2-26. ['*] 
 
 59. Fragment of the front of a sarcophagus. Two 
 sea-panthers swimming towards each other, carrying on their backs 
 nude Nereids with waving, fluttering veils and holding flying ribbons 
 in their upraised hands. On either side traces of a similar group. 
 
 H. C29. L. 1 ’i 7. [*Af\ 
 
 60. Terra-cotta relief. Two Amazons in Phrygian caps, 
 rather long chitons and boots, in a half kneeling posture, are holding 
 in symmetrical disposition a shield, adorned with a gorgoneion. 
 Above and below, an ornamental bordering ; the relief served some 
 architectural purpose. PI. 0-26. L. C31. There are six replicas 
 of this in the collection. [*] 
 
 61. Etruscan sepulchral urn of terra-cotta. Between 
 two pilasters is represented a battle scene, consisting of five figures 
 (e, d, a, b, c). A youth (a) in a chlamys (his helmet lies on the 
 ground) has sunk on his knee and, while he draws his sword, is 
 protecting himself with his shield against ( b ) an advancing enemy, 
 who approaches from the r. with fluttering chlamys and drawn 
 sword : his shield lies on the ground. Behind b a comrade (c) 
 provided with helmet, shield, chiton and corslet, lifts his arm for a 
 mighty stroke. From the 1. a warrior (d) with chlamys, shield and 
 drawn sword hurries up to the assistance of his fallen comrade (a). 
 Behind his back another ( e ) looks on at the scene without doing 
 anything. H. o - 38. L. C38. D. o - 3o. The cover, representing a 
 female figure reposing, is too small for this urn. [*] 
 
 GARDEN MUSEUM. 
 
 62. Torso of a female draped statue (Muse?) of very 
 elegant description. The figure is very slender ; it rests on the 
 
 I. leg, the r. being somewhat drawn back. The thin chiton is girded 
 high, and has a diploldion descending to the hips ; the chiton 
 is so long that it falls about the feet in rich graceful folds which 
 
RICHMOND 63 — 65. 
 
 637 
 
 He on the ground. Over the chiton is thrown a thin cloak in sub- 
 stance like a veil ; the folds of the chiton can everywhere be seen 
 through it (in the style of the Polyhymnia of Berlin). The upper 
 edge of the cloak, gathered into a broad mass, goes obliquely from 
 the r. hip up to the 1. shoulder ; the lower edge lies nearly parallel 
 with it, from below the r. knee to the 1. hip ; the tips fall in part 
 from the 1. shoulder and in part from the 1. hip, although it is not 
 quite clear how they are made to do so. The broad lines of the main 
 divisions of the cloak, and the transparency of its tissue through which 
 the folds of the chiton can be seen, are excellently combined. The 
 1. arm, now missing, was worked in a separate piece ; it was lowered, 
 and pressed one tip of the cloak against the hip. The r. arm was also 
 worked in a separate piece ; it was held horizontally, as though a 
 sceptre or something of the kind had been in the hand ; of this 
 arm only the piece by the shoulder is preserved. The head is 
 missing ; a piece has been cut straight off the r. foot, perhaps be- 
 cause the block of marble was too small and the foot had to be put 
 on afterwards, perhaps in consequence of some later injury. The 
 whole statue has been let into a modern pedestal. The back has 
 been left quite rough, so that it is even difficult to follow the main 
 motives of the drapery. In other respects the statue is of excellent 
 effect, though the execution is by no means very fine. H. x'35- 
 Purchased in England. [* 2 ?] 
 
 63. Bust of L. Verus. The hair and beard are treated in 
 a somewhat hard and dry manner, and perhaps here and there have 
 been touched up. In other respects the bust is good and in perfect 
 preservation. Pupils expressed. The head has never been severed 
 from the bust, which is protected by a corslet over which falls the 
 paludamentum. On the corslet in front is a (half-concealed) head 
 of Medusa ; on the shoulder-flap a giant with legs like serpents. 
 Pentelic marble. H. o - 68. L. of face abt. o - 2i. Found at Mara- 
 thon. Purchased from Rollin and Feuardent in Paris, who also 
 sold to the Louvre a precisely similar bust, found in the same place, 
 of M. Aurelius. [* 7 ?] 
 
 63 a. Six Colossal busts of Emperors, modern. 
 
 64. Terminal head of the bearded Dionysos, in hieratic 
 
 style. New : nose, great part of the beard, some of the hair. On 
 the modern terminal pillar stands IIAATON. H. of genuine part 
 0*2 2 . L. of face abt. 0-15. [*] 
 
 65. Medallion, in diameter o'qfj. From a tolerably flat field, 
 which is framed, rises in extremely high relief a youthful portrait- 
 
638 
 
 RICHMOND 66, 67. 
 
 head, inclined downwards somewhat to its r., with the figure as far 
 as below the bust. Body nude except for a piece of a cloak that lies 
 on the 1 . shoulder. The hair, which is short and straight and brushed 
 to the 1 ., is somewhat drily treated (cf. Knole, no. 10); on the 
 upper lip and chin a faint beard sprouts. Pupils expressed. New : 
 nose, great part of both ears, neck and small details. On the 
 field just above the 1. shoulder a small square tablet, without 
 inscription. The head is attractive and pretty well executed; it is 
 likely to represent a Greek. Good Parian marble. H. 0-53. L. of 
 face o'20. [*A] 
 
 66. Large mixing bowl ( krater ) in marble with grey stripes, 
 
 shape and ornamentation somewhat clumsy ; foot and handle new. 
 Front side: two Victories, like those on the choragic reliefs, are 
 standing opposite each other and pouring something into a cup from 
 a ewer that is raised very high ; between them is a tripod round 
 which snakes are entwined and on which burns a flame. — Reverse 
 side: two girls dancing r., their drapery and head-gear like those in 
 the Villa Albani (Zoega, Uassir., PI. 20; cf. Schreiber, Villa Ludovisi, 
 p. 102); they are an exact reproduction of the two figures on the 
 1. of that plate, even the plant growing up so high between them is 
 not wanting (the altar is not there).— Below each handle are two 
 thyrsi crossed ; the junction of the handle takes the form of an 
 ivy-leaf. The relief is low and has been touched up almost all 
 over, so that one might well doubt its antique origin, did not the 
 comparatively good work of the second side make this idea unlikely. 
 In other respects the execution is dry and insignificant. H. o'8o. 
 Diameter abt. o - 8o. [*] 
 
 67. Sepulchral stele of Archippos, in very perfect pre- 
 servation. The architectural arrangement is very similar to that in 
 no. 204 at Oxford. The pediment, which has akroteria, is adorned 
 with a shield; the frieze below has two rosettes and between them 
 a wreath in a square field hollowed out; within the wreath are the 
 words o 3 /y/xos. On the epistyle stands ” kpyi-nirov AiWos, the 
 shape of the letters being that of a good Roman period ( C . /. 
 Gr., 3224). In the relief field which is framed in by two pilasters, 
 stands Archippos, beardless, draped in chiton, cloak and shoes. 
 Pie is laying his r. hand on the wreath on his head. (Plis nose 
 and a small piece of one finger have been restored.) A vase 
 in the form of a soup plate with a cover (7 stands on a 
 pillar in the background. To the r. and the 1 . a diminutive attendant 
 leans on each of the pillars that form the frame, the one to the 1. in 
 
RICHMOND 68—71. 
 
 639 
 
 a comfortable posture of repose, the one to the r. holding a little 
 cloak over his r. arm and in his 1. hand some object that may be a 
 fillet ; it is like a small triangular rule and two ears of wheat spring- 
 ing forth at one corner; underneath a high pedestal. Yellowish 
 grey marble. The relief comes probably from Smyrna ; it is remark- 
 able for the carefulness of its work and the freshness of several 
 motives, like no. 68, which in externals is precisely similar and 
 which is derived from the same collection of the Grimani-Spago Palace 
 in Venice (cf. Thiersch, Reiscn in It alien, 1. p. 256). H. 1.54. 
 L. o’62. [*] 
 
 68. Sepulchral stele of Phila, like the last one and from 
 
 the same collection. In the pediment is a rosette ; on the frieze 
 between two rosettes a low wreath with the inscription o S^os; 
 on the architrave <E>nW ’A-rroWaSos ( C . I. Gr., 3253). On the 
 relief field to the 1. the veiled Phila is sitting on a high chair, her r. 
 hand on her bosom, her 1. on her knee and her feet on a footstool. 
 Near her chair stands a very diminutive maid in a chiton with a 
 spindle (?) or a top in her r. hand. A female servant on a larger scale 
 approaches from the r. and brings her mistress an open box. In 
 the background on an elevation stands a small cabinet with folding- 
 doors wide open. That there were once some ornamental additions 
 of metal is suggested by traces of several holes and remains of lead 
 castings. IP. i - 47- L. 0-63. [*] 
 
 69. Sepulchral stele of Epiktesis. The pediment pro- 
 
 vided with akroteria is without ornament. On the architrave stands 
 in good letters of the Roman period ’Ettikt^o-is ’O vaarov Kvdrjpiov \ 
 6vyaTrjp ( C . I. Gr ., 669). In the relief field the deceased lady, 
 unveiled, stands in full face; she has wavy hair, is draped in chiton 
 and cloak, which she is in the act of throwing over her 1. shoulder 
 with her r. hand (cf. Clarac, v. 921, 2349); her r. hand is before her 
 breast, her 1. hand lowered. On her r. there approaches a diminutive 
 female attendant in a chiton, carrying a box in her hand, on her head 
 a cap like a modius. The style is better than that of most of the 
 sepulchral reliefs from the Islands ; the execution is somewhat coarse. 
 Marble not Pentelic. H. 1*07. L. 0-65. From the same collection 
 with nos. 67 and 68. [*T>] 
 
 70. Fragment of a sepulchral relief. All that is preserved 
 
 is the torso of a female, in the same attitude as that of Epiktesis 
 (no. 69); feet and head are missing. Usual style of the Greek 
 Islands. H. o - 47. [*] 
 
 71. Fragment of a sepulchral relief in a frame; the 
 
640 
 
 RICHMOND 71a — 73. 
 
 relief is very low. The upper part of the body of a youth facing r. is 
 preserved, his r. arm concealed by his cloak which covers the whole 
 of his body, his 1. arm lowered. The figure is preserved down 
 to the thighs. The relief is rather graceful. It is an imitation, but 
 a considerably inferior imitation, of fine Attic works (cf. Woburn, 
 no. 100). Italian marble. H. o - 23- L. o - i7. [*] 
 
 71a. Modern copy of the Zeus from one of the Barberini 
 candelabra {Mus. Pio-Clem ., iv. 2). [*5] 
 
 72. Fragment of a Greek sarcophagus, partly like the 
 
 relief in Stephani’s Ausruhender Herakles , PL 2, 1. A tipsy boy, 
 with the chlamys thrown in the fashion of a shawl about his neck 
 and holding out a bunch of grapes in his 1. hand, is tumbling back 
 into the arms of a winged companion, whose hair is curled on either 
 side, but woven into a kind of plait along the parting, a chlamys 
 fluttering at his back. This group, in fairly high relief, occupies the 
 1. part of the slab. To the r. a Satyr, of smaller stature and in 
 lower relief, is hurrying further to the r. He wears a fillet in his 
 hair, with both hands he grasps the edge of a long wine-skin (?) that 
 rests on his 1. shoulder. Above and below is a simple border. The 
 marble is covered with plaster or colour, but it may be Pentelic. 
 For similar compositions on Greek sarcophagi cf. Matz, Arch. Zeit ., 
 1872, p. 16. H. o - 8o. L. 1 *02. [' x '] 
 
 73. Sarcophagus. Bacchic Scene. In the centre the medal- 
 lion of a man with an ill-humoured expression, with a closely shaven 
 beard, in tunic and pallium. The scutcheon is held by two youthful 
 Centaurs who, each having a bearded companion, draw a chariot; all 
 four Centaurs crowned with fig leaves. The old Centaur to the 1. is 
 playing on a lyre; we notice on his back traces of the feet of a small 
 boy. The old Centaur to the r. is elevating above his head a drinking- 
 horn ; his 1. arm clasps a tremendous goblet into which a small boy 
 standing on his equine back is peeping (head and 1. arm broken 
 off). On the chariot to the 1. stands the youthful Dionysos, partly 
 covered by his cloak, vine-leaves in his long hair, laying his r. 
 hand on the thyrsos, emptying a wine-cup with his 1. hand. A 
 Maenad, in long robes, blowing the flute, goes along beside the 
 chariot (flute and r. forearm broken off); under the chariot a panther 
 bounds. On the chariot to the r. stands Ariadne, in a long chiton 
 with sleeves, and a cloak, her hair adorned with a fillet and 
 grapes, her 1. hand is laid on her sceptre, with her r. she is 
 emptying a kantharos. Beside the chariot goes a Maenad, playing 
 the cymbals. At the feet of the chariot hurries a horned and bearded 
 
RICHMOND 74. 
 
 641 
 
 Pan, with the pedum in his 1. arm (r. forearm broken), looking 
 round to the 1.; he, like all the figures which follow, is on a much 
 smaller scale. Under the body of the Centaur with the goblet a little 
 boy is pouring wine from a skin into a vessel, which a second boy is 
 seizing (r. arm missing). Below the scutcheon stand Pan and an Eros 
 without wings, both holding their hands behind their backs, opposite 
 each other for a wrestling match ; on either side stands a boy in a 
 cloak as arbiter of the contest, much excited. Finally under the 
 Centaur with the lyre a boy (1. arm missing) is hurrying away 
 frightened, as his companion, kneeling on the ground, opens the 
 cover of a round cista and reveals a large snake. — On the two sides 
 are shields. — Very good sculpture in excellent preservation. H. o-68. 
 L. i'io. D. o - 66. [*A/] 
 
 74. Oval sarcophagus. In the centre lies the deceased, an 
 elderly man, beardless, and with a Roman nose. He is support- 
 ing himself on his 1. arm, and his r. is thrown above his head. The 
 upper part of his body nude, the ample cloak on which he is resting 
 conceals his legs, back and r. arm. An Eros, winged, as are all the 
 Erotes on this sarcophagus, hovers over him with a torch in his r. 
 hand; he takes hold of the cloak as though he would cover up the 
 dead man completely. A second Eros, with a torch, also hovering, 
 touches the r. hand of the deceased. Both Erotes wear fluttering 
 chlamydes. Below the last-named Eros, at the head of the deceased, 
 sits an Eros on a block of rock, his head supported sadly in his r. 
 hand ; his arm rests on his knee. Behind him are two Erotes occupied 
 in collecting fruits into a basket. Above them is a tree from which 
 a wreath of flowers hangs down ; this wreath is woven by an Eros 
 sitting, who has more flowers lying on a low table in front of him. 
 At the extreme r. end a laurel tree on which a quiver hangs ; beside it 
 flutes, torches, and apples. — To the 1., at the feet of the deceased, 
 a large Eros with waving chlamys approaches flying and bring- 
 ing a garland in his hands. Pie is looking round at two smaller 
 Erotes, who also wear the chlamys, of whom one, sitting on a mass 
 of rock, is playing the cithara, the other blowing on the double flute 
 (the straight and the crooked) ; between them is a basket with 
 fruit. Underneath this group an Eros is kneeling in the midst of 
 several baskets and vessels filled with fruits, and from among them he 
 places a basket at the feet of the deceased; behind him is a hare 
 lying in a grotto. At the 1. end is another laurel tree etc., as above. 
 — Good sculpture ; in almost perfect preservation. H. o - 6o. L. 2'io. 
 [*3Af] 
 
 M. C. 
 
 4 * 
 
642 
 
 RICHMOND 75 — 80. 
 
 75. Fragment of a small sarcophagus, broken on the r. 
 
 and 1 . and below. Dionysos is reclining in a low four-wheeled car 
 drawn to the r. by two panthers, his head to the spectator’s r. The 
 ample cloak on which he is lying only envelops the lower part of his 
 legs, his r. hand rests on his head, which is crowned with a vine wreath, 
 in his 1 . arm lies the thyrsos (very much injured). Eros, represented 
 as a youth, and not as a child, and without wings, is sitting on the 
 foremost panther ; he holds the lyre in his 1. hand, raising his r. 
 arm (forearm missing), and turning his head back to the god. 
 In the background between Eros and Dionysos appears a young 
 Maenad, with a handkerchief round her head and a thyrsos in her 
 1. arm; she is looking down upon the god, whom she touches with 
 her r. hand. Beside her a Satyr is stepping briskly forwards over the 
 necks of the panthers ; he is looking round and holding in his hands 
 a thyrsos, very much broken ; he has an apron round his loins. 
 Above Dionysos’ legs appears the upper part of the body of a second 
 Maenad without the kerchief on her head ; she advances her 1 . arm 
 (hand missing) towards the god, her r. rests on a vine stem heavily 
 laden with grapes that shoots up at the feet of the god. A second 
 Satyr is holding the stem with his 1 . hand, all the rest of him has 
 disappeared except his head and his r. hand resting on it; below him 
 are remains of a rock. — Very high relief. Ordinary work. H. o - 2S. 
 L. 0-54. [*M] 
 
 76. Fragment of a sarcophagus, complete on the 1 . 
 side. A winged Eros with a cloak behind his back is hurrying up 
 from the 1 . On the r. shoulder of a companion who is crouching 
 down he lays a heavy ball, which the companion seizes with his r. 
 hand. A third Eros girded with an apron and very much broken 
 has been restored in the action of occupying himself with a flower- 
 basket. Very graceful motives. Good work. H. o - 3o. L. 0-37 ,[*M] 
 
 77. Right end of a sarcophagus. Eros, asleep, leaning 
 
 on the inverted torch. H. 0-45- L. o - 26. [*] 
 
 78. Left corner of the lid of a sarcophagus, in the shape 
 
 of a quadrant. The same subject as no. 77; beside Eros his bow 
 and quiver. H. o - 26. L. o"23- ['"] 
 
 yg. Right corner of the lid of a sarcophagus, in the shape 
 of a quadrant. Mask in a Phrygian cap. H. 0-20. D. o - 34. [*] 
 
 80. Sepulchral urn, square, with ornamental reliefs. In- 
 scription : P>(is) M (1 anibus ) \ L. Casperio | Epaphrodito \ Phengis 
 m(arito ) | b^ene) miprenti) fipcit); to judge from the writing, the 
 inscription is suspicious. [*] 
 
RICHMOND 8 1 , 82. ROKEBY HALL I. 
 
 643 
 
 81. Small sepulchral monument, rounded at the top. A 
 youthful horseman is piercing with his spear a lion or a bear, which is 
 looking forth from a grotto to the r. ; a dog is barking at it. This 
 sculpture is hardly a suitable one for the tomb of a child of one year 
 old, who is thus referred to in the inscription : D. M. | Macrinio 
 Maximino filio | dulcissimo , qin vixit an. I in... \ Macrimus Maxi- 
 minus IN CIA V | PREP. . . .fecit. From Sicily. [*] 
 
 82. Relief : three masks, lying on the ground. (Very similar, 
 
 Miiller-Wieseler, 11. PL 33, 388.) To the 1 . is a head ot Herakles 
 with the skin drawn over it, and below, a club. Behind this a youth- 
 ful head. To the r. an archaistic head of Dionysos, with pointed 
 beard, a knot of hair on his forehead and a tuft; underneath is a 
 low cista half opened. Good high relief. Greek marble. L. 0-39. 
 H. 0-27. [*] 
 
 Besides these marbles Mr Cook possesses an important collection 
 of gems, and some painted vases, among which is one by 
 Nikosthenes {Arch. Zeit. 1874, pp. 60, 61). 
 
 ROKEBY HALL (Yorkshire). 
 
 Volkmann, Reiscn , iv. p. 100. Matz, Arch. Zcii. 1S7 3, pp. 25 f. 
 Michaelis, Ibid., 1874, p. 61. 
 
 This residence of Colonel Morritt is situated in the midst of a 
 splendid park three miles from Barnard Castle. The collection was 
 made by J. B. S. Morritt, Esq., who from the year 1798 was a 
 zealous member of the Dilettanti Society, and played a part in the 
 investigation concerning the Elgin Marbles, see Report from the 
 Elgin Committee , &c., p. 128. Cf. Introd. § 67. I visited the col- 
 lection in 1873. 
 
 HALL. 
 
 1. Sepulchral stele, very much tapered, finished off at the 
 top with only a simple moulding. A female figure, unveiled, in chiton 
 and cloak, is holding out some small object in her 1. hand to a large 
 snake that is winding itself round the stem and branches of a large 
 pine-tree. An incomprehensible object is hanging down from one 
 of the branches ; it can best be compared to a tent in the form of a 
 sentinel’s box, but it is so contrived that the point of the tent is split 
 into two parts. (Matz thinks it may be a piece of drapery, since many 
 
 41-2 
 
644 
 
 ROKEBY HALL 2, 3 . 
 
 such offerings were made to the gods as votive gifts, cf. Michaelis, 
 Parthenon , pp. 307 ff.) At the foot of the tree stands a round altar; 
 between this and the principal figure are two diminutive female 
 attendants unoccupied. At the 1. end of the relief a small vase stands 
 on a high pillar; at the foot of the pillar are two more diminutive 
 attendants, one holding a tablet and the other a bird. Very high 
 relief, of late but not bad style ; may have come from Asia Minor or 
 the Islands. H. CL46. L., below 0-39 ; above 0-31. [*M] 
 
 2. Sepulchral stele, in a similar form and style, and 
 
 probably of the same origin ; broken at the top. To the 1. a female 
 figure sitting in a chair, robed in a chiton ; a cloak covering her legs ; 
 her feet resting on a low, broad footstool. A little girl in a chiton 
 with a cloak about her legs is sitting in her lap ; she is looking up at 
 her mother and laying her r. hand on her shoulder ; in her 1. she 
 holds a plaything that is more like a miniature thyrsos than any- 
 thing else : it is a long staff with a knob at the top, from which a 
 ribbon goes to about the centre of the staff. The mother lays her 
 lowered r. hand on the back of a somewhat bigger girl, who is also 
 robed in a chiton and cloak, and who is standing on the ground and 
 steadying herself by holding the cross bar of the chair with her 1. 
 hand, while she stretches out her r. hand to a goose. The goose is 
 sitting in front of her on the ground, turning its head round to her 
 and pulling at the corner of her cloak with its beak. Geese are well 
 known to have been favourite domestic animals. This pretty family 
 scene is made quite complete by the appearance of the father, who 
 from the r. looks on at his children playing. He is raising his r. 
 hand to his chin. He wears chiton, cloak and shoes. The heads of 
 the two principal figures have been broken off with the upper piece of 
 the slab. The marble is finer than that usually employed for the 
 sepulchral reliefs that come from the Greek Islands. H. o’38. L., 
 
 below 0-36 ; above o - 3i. [*] 
 
 3. Sepulchral stele, much tapered towards the top. In the 
 field a man and woman stand close together in full face, the man to 
 the 1., the woman to the r. Both are completely draped, the female 
 figure veiled. The man holds his r. hand up to his breast in his 
 cloak, the female figure (head knocked off) raises her 1. hand to her 
 chin, supporting her arm on her r. hand. There is something co- 
 quettish in these movements (cf. Oxford, no. 89). Beside the man 
 stands a diminutive attendant in a chiton, his arms and legs crossed ; 
 near the female figure is a diminutive female attendant. The upper 
 piece, including the heads of the two principal figures, is missing. 
 
ROKEBY HALL 4. 645 
 
 Ordinary style of the sepulchral reliefs from Rheneia. H. o‘5o. 
 L., below o - 45 ; above C39. [*] 
 
 4. Sepulchral stele, broken off at the top. On the sunk 
 field of the relief is a female figure in full face, quite enveloped in 
 her chiton and cloak, excepting her head. On either side, leaning 
 against the raised border, stands a diminutive female attendant in a 
 chiton; the one to the 1. carries a little box, the one to the r. is 
 supporting her chin on her r. hand. The coarse style is that of 
 the sepulchral reliefs from the Greek Islands and the coasts of Asia 
 Minor. Underneath is an inscription of ten lines, of which I was un- 
 able to make a copy. From two paper impressions and a photograph 
 my colleague, Prof. Rudolf Schoell, has with great difficulty but with 
 sufficient certainty deciphered the following verses : 
 
 AEINHMEISAIAHNMOIPHrArENOYOYFOMHTPOS 
 
 XEIPfiNHMEAEHNYM<MAION 0 AAAMON 
 
 HAY 0 ONOYAEPAMOYFEP 1 KAAAEO 2 YMNONAKOY 2 A 
 
 OYAETEKNnNrAYKEPON0PHNONEMAHAPOTMOI2 
 
 WYMHAEEFMQrENOYKIKAHSKOMAIAAAASYXAIPE 
 
 EEINEOSOAOYBAINElSHAYTATHNATPArON 
 
 ArrEAAEElSOIKONTHMHKAKOAAIMONIMHTPI 
 
 KAIMHAEIAYFAI 3 KAIAAKPYOI 2 IFPENA 2 
 
 TPYXEINOYrAPEMOIMOYNHTOAEMOIPEIIEKAf22EN 
 
 KHAO 20 FOAETEMOYKPE 5 SONA 2 EINAIATA. 
 
 On the monument the transverse stroke of the A is bent like a v. 
 The interpretation would be as follows : 
 
 Aeu'rj p ds ’Ai Srjv /xoip’ rjyaycv, ovd ’ vtto prjrpos 
 iptov y p(Xd] vvp(f>i 8 lov daXapov 
 rjXvOov, ovbe yapov 7 T(pLKaXX(os vpvov a Kovaa, 
 ovok TtKvon' yXvKcpdv Opqvov ’dpa£a tto t/xois (?). 
 
 5 [2]ii/x7j 8e 'Ep/xoyeVov k u<Xij ( tko pat ' aXXd c tv ^aipe, 
 
 £dv(, os o8ot) (SaLVe ts ytivTaryv arpanov’ 
 ayyeXXc (Is olkov ry py KaKoSatpovi pyrpi, 
 
 Kal py ad Xvwais Kal SaKpvoicrt t^peVas 
 rpv\eiv' oil yap ipol povvy roSe palp (tt(kXu>o'(v 
 io Krjous, opto 8’ (T ipov Kpdrcrov as dv AtS[u.]. 
 
 The phrase in v. 4 is rather obscure, but the reading seems to be 
 certain. The name of 2 ,vpy, v. 5, would well suit the Islands, Symfe 
 being an island near the coast of Karia, and its name being derived 
 from Syme, the daughter of Ialysos ; the same name may be restored 
 C. /. Gr. 8485 instead of C 1 MH. V. 10, it is uncertain whether 
 
646 
 
 ROKEBY HALL 5, 6. 
 
 S’ It’ or 81 y’ should be preferred; at the end of the verse ’AiSa is 
 more likely than ’AiScco, although it would be the only Doric form 
 (cf. Oxford, no. 147; C. I. Gr., 710; Kaibel, Epigr. Gr., no. 372, 
 13). The palaeographical character indicates the second or the last 
 century b. c. H. 0-46. L., below 0738; above CU36. [*] 
 
 OUTSIDE THE HOUSE. 
 
 5. Fragment of a sepulchral relief, in grey marble, as is 
 
 customary in the Greek Islands, but of unusually thorough execution. 
 To the r. are the remains of a fluted column, against which, with easy 
 flow of the lines, leans an attendant, his pretty little curly head, with its 
 two plaits along the parting, bent, his legs crossed. He wears a chiton, 
 with a separate border fastened on ; a shawl hangs down from his 1. 
 shoulder and is held in his r. hand, and in his 1. he holds a round 
 box. The figure is excellently conceived. On his 1. hand stands an 
 old man whose proportions are considerably larger ; he has a bony 
 face without beard, and a fillet passes through his hair; his face 
 is full of expression. He wears a chiton and cloak. His r. hand 
 (very well executed) lies in front of his breast on the edge of his 
 cloak ; his 1. hand, concealed by the cloak, is lowered. Below the 
 1. hand the cloak forms several elegant, somewhat over-elaborate 
 folds. This cloak too has a border. The r. leg from below the 
 cloak missing, the advanced 1. leg entire, except the foot. Very high 
 relief. The fragment stands out among the many similar reliefs by 
 the excellence of its workmanship. H. o'66. L. 0-35. [*] 
 
 UPPER STOREY. ANTE-ROOM. 
 
 A number of Roman statuettes in marble, that have been 
 very much restored, standing on consol tables. 
 
 6. Statuette of Fortuna, in a thin chiton, ungirdled, and a 
 cloak which envelops her head, 1. arm, and the lower part of her body. 
 Hair parted and falling in two stiff curls by each cheek. She is 
 crowned with a stephane, over which a crescent is introduced ; be- 
 hind this a high kalathos is visible, which is also covered by the 
 drapery. (Cf. Archaeologisch-epigraphische Mittheilungen a us Oester- 
 reich, 1. PI. 3.) The face is full and without expression. The 1. hand is 
 advanced, holding ears of wheat and poppies. The feet are covered 
 with sandals ; near the r. foot stands a modius, over the edge of 
 which ears of wheat hang down ; the handle of the steering paddle, 
 which rests on the modius, is held by the r. hand. This hand and 
 the greater part of the arm have been restored. [Af] 
 
ROKEBY HALL / — 14. 
 
 64; 
 
 7. Statuette of “ Hermes.” A male figure standing, con- 
 cealed by his long cloak, which leaves the r. half of his broad, strongly 
 projecting chest exposed and quite hides the 1. arm, which is lowered 
 and only slightly bent. New: greater part of the r. arm with the 
 purse, also the wings on the heels. [Af] 
 
 8. Statuette of Silvanus, of the usual type (cf. Clarac, nr. 
 PL 448, 818). He is holding up his small cloak in the manner of a 
 bag ; in it are fruits, and in his r. hand he holds the pruning- 
 knife; beside his r. leg is a dog (head new). [Af ] 
 
 9. Torso of Apollo, nude, standing with his r. leg somewhat 
 in advance. On his shoulders are remains of long curls. With his 1. 
 hand he holds the top of a lyre that is resting against his hip, the r. 
 arm hangs down. New: head and neck, 1. arm and the lyre, r. 
 forearm from the elbow, the lower parts of the legs including the 
 knees, the pedestal. [Af] 
 
 10. Statuette of Apollo, nude, sitting. The lower parts of the 
 legs are somewhat drawn in, the r. thigh somewhat raised ; on it 
 rests the lyre, of which the lower part is preserved. New : all the 
 upper part of the body from about the navel, and great part of the 
 lower portion of the r. leg. [Af ] 
 
 11. Statuette of Artemis, in a chiton girt up short, stepping 
 forward to the r. The r. leg is supported by a trunk, beside which is 
 a dog. The goddess is turning her head somewhat towards her r. 
 shoulder ; with her r. hand she is about to take an arrow from her 
 quiver. New: both arms. [Af] 
 
 SALOON. 
 
 12. Small head of Zeus ; the hair rises up from the fore- 
 head, and a fillet is twined in it. Insignificant work. [Af] 
 
 13. Small bust of Serapis with a kalathos. Nose restored. 
 No better than no. 12. [Af] 
 
 14. Terminal head of Dionysos, with a pointed beard 
 which somewhat projects. [Af] 
 
 For a few Egyptian sculptures and some unimportant vases, 
 from Lower Italy, cf. Matz, /. cit., p. 26. 
 
 Rokeby Hall was up to 1769 in the possession of Sir Thomas 
 Robinson, an enthusiastic dilettante, who was not Thomas Robinson, 
 First Lord Grantham (ere. 1761), ancestor of the Marquess of Ripon, 
 but the eldest brother of the first Lord Rokeby. At that time 
 the master-piece among the antique sculptures there was a large 
 relief of Niob'e, which is said to have come afterwards to Denton 
 
648 ROKEBY HALL 1 5 — 1 7. ROSSIE PRIORY I. 
 
 Hall (ef. Denton). If this really is the case, some smaller specimens 
 mentioned by Volkmann, p. 101, may also be at Denton, viz. : 
 
 (15) a small statue of Herakles with the lion’s skin; 
 
 (16) busts of Apollo, Diogenes, Vergil, Demosthenes, of 
 some Roman emperors and their consorts, among which those 
 of Paulina and Julia are particularly beautiful ; 
 
 (17) various other antique statues and busts, and some bas- 
 reliefs. 
 
 ROSSIE PRIORY (Perthshire, Scotland). 
 
 Waagen, 1'reas ., iv. pp. 445 ff. Notes and Reminiscences of Rossie 
 Priory. Dundee, 1877. 4to. 
 
 The late owner of this castle, who died January, 1878, George, 
 ninth Lord Kinnaird, himself compiled the above-cited catalogue 
 of his art collection, which is considerable. In the section which 
 refers to the antique sculptures, descriptions made by Edm. Oldfield, 
 late of the British Museum, have served as a foundation ; all 
 the specimens are given in photographs. The antiques nearly all 
 come from Italy, where the author of the catalogue, and his father, 
 Charles Lord Kinnaird, both lived for some time and themselves set 
 on foot excavations and made purchases. Since the year 1826 the 
 collection has been in Rossie Priory. As I have not myself visited 
 this place, my catalogue is taken exclusively, and in great measure 
 textually, from Lord Kinnaird’s catalogue, which his lordship very 
 kindly allowed me to use, as well as from its photographs. With 
 respect to some of the specimens I have asked Prof. Bernoulli’s 
 opinion. I have kept to the numbers of the printed catalogue, but 
 have refrained from more exact indication of the places in which 
 they stand. 
 
 STATUES AND TORSI, GRAECO-ROMAN. 
 
 I. Statue of Narkissos. This statue is exactly like one in 
 the Villa Rospigliosi {Mon. ed Ann. deir Inst., 1856, PI. 21), and like a 
 fragment in the vestibule of the Villa Borghese, except that the sides 
 are reversed. The youth is resting on his 1. leg and supporting himself 
 on his r. arm, so that his r. shoulder toward which his head inclines, 
 is much raised ; his 1. hand is behind his hip ; a little below it are 
 attached to his figure two fragments of some object originally held in 
 that hand. The r. forearm, the 1. leg, the greater part of the r. leg, 
 
ROSSIE PRIORY 2 — 12. 
 
 649 
 
 and the trunk of the tree covered with drapery at his r. side, were 
 restored by Canova ; the head, though not belonging to the figure, is 
 antique, and is well suited to the style of the statue. It is probable 
 that these statues were intended to stand on the margin of some water, 
 so that their glance would be directed to its reflecting surface, a con- 
 ception well adapted for Narkissos. H. i'oj. “Of Parian marble. 
 The workmanship moderate ” (Waagen). 
 
 2. Torso of a figure of Herakles, standing on the r. 
 leg ; round the shoulders a lion’s skin, tied in a knot on the chest. 
 Both arms were lowered. Missing : the head, almost the whole of 
 both arms, three parts of the r., and half the 1 . leg. H. C69. 
 
 3. Fragment of a small draped female figure. Of late 
 Roman style. H. 0-46. 
 
 4. Statue of Eros as a boy, sleeping; head and arms are 
 lying on a small, sleeping lion. Legs incomplete. L. 0-40. 
 
 BUSTS. 
 
 5. Bust of the youthful Dionysos, wearing a chaplet of 
 ivy, entwined with vine-leaves and grapes ; across the forehead a 
 broad diadem passing under the hair. Good work. New: nose, 
 chin, breast, parts of the crown. H. o - 46. 
 
 6. Bust of Aphrodite, figure more developed than in the 
 Medici statue. Much restored (nose, breast, &c.). H. C46. 
 
 7. Female head (“ Persephone ? ”), with a kind of cap 
 round it ( opisthosphendonl ). Apparently a portrait. H. 0-35. 
 
 8. Female head (“ Muse ? ”), a narrow fillet entwined in 
 the wavy hair. The head has some connexion with a bust at Madrid 
 (Memorie delP Inst., 11. PI. 3), but the open mouth does not suit 
 the rest. It was intended to be let into a draped statue, the 1 . arm 
 of which must have been much raised. Evidently copied from a 
 very good original. H. 0-33. 
 
 9. Small head of Pan, with very brutish features. Much 
 mutilated. H. ono. 
 
 10. Lower part of a small terminal bust of the bearded 
 Dionysos, in rosso antico. Good work. H. o - i3. 
 
 xi. Double terminal bust, of the bearded Dionysos and 
 Ariadne, in archaistic style, with ringlets, &c. Defaced; the bust 
 has been restored. H. 0-33. 
 
 12. Small terminal bust of the youthful Herakles, 
 
 covered with a lion’s skin, and crowned with vine-leaves. Workman- 
 ship exaggerated. The terminal bust modern. H. 0-28. 
 
650 
 
 ROSSIE PRIORY 1 3 
 
 r> o 
 
 13. Bacchic child’s head, with wreath of grapes and fillet ; 
 mouth open. H. 0-20. To judge from the photograph the genuine- 
 ness is doubtful. 
 
 14. Bust of Pan. Fine work, and well preserved; but is it 
 certainly genuine? H. o - 36. 
 
 15. Bust of “Isis.” Veiled female figure with long curls. 
 Above the forehead is the remnant of something that may have 
 belonged to the ornament of her head. H. o - 23. 
 
 16. Small bust of Serapis. Of good work. New : modius, 
 the nose, and the terminal bust with the drapery. H. 0-23. 
 
 17. Head of a youth, with very rich curly hair, through which 
 a fillet is passed, and an enthusiastic expression, reminding one of 
 Apollo more than of any other personage. The inclination of the head 
 towards the 1. shoulder suggests Alexander the Great. In the Cata- 
 logue the head is described as female, “probably intended for Diana.” 
 Good work, but restored (tip of the nose, &c.), and the surface re- 
 polished ; roughly finished behind. Heroic size. H. 0-51. 
 
 18. Double terminal bust, of the bearded Dionysos, 
 his curled hair bound with intertwining sprays of vine and ivy, and 
 of Ariadne, with a high wig. Superficial archaism. The work is 
 exceptional inasmuch as the backs of the heads are wanting altogether, 
 and little more than two masks, stuck together, can be seen. H. 
 °‘ 5 I - 
 
 19. Bust of a young man, wearing a slight mustache, but 
 no beard; the hair is arranged like that in the busts of Hadrian. Life 
 size. The mailed bust is new. H. 0-69. 
 
 20. Head of “Nero,” colossal scale, with a short beard, and 
 the indication apparently of a metal diadem formerly bound round 
 the head, but now lost. The nose and 1. side of the face were 
 restored by Thorvaldsen. H. o - 6i. The title given above from the 
 Catalogue is certainly wrong, and can only be explained by a certain 
 likeness to other heads which are doubtfully or wrongly attributed 
 to that Emperor. It appears much more likely that the head is 
 intended for Caracalla, though his wicked expression is not there ; 
 however it appears really to belong to an earlier period. [i>] 
 
 21. Small bust of a middle-aged man, beardless, and with 
 bald head, probably of the first century after Christ. Tip of nose 
 restored. H. o - 23. 
 
 22. Small bust of a young man, somewhat resembling 
 Hadrian, with whiskers, but no beard. Good work, and well pre- 
 served. H. o - 25- 
 
ROSSIE PRIORY 23 — 32. 
 
 651 
 
 23. Small bust of a young man, supposed, without suf- 
 
 ficient reason, to be Marcus Aurelius at the age of adolescence. 
 From the photograph one cannot decide whether the bust with 
 the breastplate and paludamentum are antique. H. 0-36. [R] 
 
 24. Small bust of a boy, smiling. Good, and well preserved. 
 H. 0-25. 
 
 25. Life-sized female bust, the hair simply gathered in a 
 
 knot at the back of the head ; the nose and neck restored. Eyeballs 
 expressed. The arrangement of the hair resembles that of Faustina 
 the younger; but the bust is certainly not intended to represent her, 
 nor in fact any empress. H. C46. [A] 
 
 26. Life-sized head, attributed without sufficient reason to 
 Lucius Verus. H. crqi. [A] 
 
 27. Life-sized head of a boy, the shoulders and breast re- 
 stored. H. 0-38. 
 
 28. Life-sized female bust, the nose restored. The front 
 hair is brushed back, a style usual in the time of Crispina. H. crqi. 
 
 29. Life-sized head of a little girl ; the shoulders re- 
 stored. H. o'3o. 
 
 30. Bust of a boy, somewhat below life-size, with close-cropped 
 
 hair, wearing armour and the paludamentum (antique?). Eyeballs 
 expressed. Well preserved. In the pedestal is inserted a copper coin 
 of Diadumenianus, son of the emperor Macrinus. “The features 
 of the bust so exactly correspond with all the numismatic portraits of 
 this Imperial child, who was killed at the age of ten, that, not- 
 withstanding the total absence of that personal beauty which was 
 so celebrated by Lampridius {Antonin. Diadum. 3), the identity of 
 the representation cannot be doubted. A bust of this subject is 
 of the greatest rarity” ( Catalogue ). The Capitoline bust of the same 
 subject ( Mus . Capit. 11. PI. 62) is certainly rather similar; but both 
 busts appear to be too old for a boy who only reached ten years of 
 age. II . 0-43. [£] 
 
 31. Life-sized bust of Otacilia Severa, wife of the emperor 
 
 Philippus Senior. Nose and shoulders restored. A similar bust is 
 to be found in the British Museum ( Anc. . Marl?!., x. PL 14). H. 
 °' 43 - [-B] 
 
 32. Life-sized bust, probably of Marcus Aurelius, when 
 young. Well executed, and perfectly preserved; very similar to a 
 bust in the Louvre (Mongez, Iconogr. Rom., in. PI. 41, 1. 2). H. 
 0-56. [A] 
 
652 
 
 R0SS1E PRIORY 33 — 50. 
 
 33. Life-sized bust of Alexander Severus (not Septimius 
 Severus). Eyeballs expressed. The head perfectly preserved and 
 well executed ; the shoulders restored. H. o - 66. \B ] 
 
 MISCELLANEOUS SCULPTURES. 
 
 34. Panel on which is sculptured a strainer with a handle, in 
 shape like a patera. H. 0U5. L. C23. 
 
 35. Mutilated figure of a tortoise looking up, of strangely 
 unskilful appearance. At the top in the back is a metal plug, it 
 is conjectured for the fastening of a foot, perhaps of Hermes or of 
 Aphrodite (?). L. 0-25. 
 
 36. Left foot of a female statue. L. o - 23. 
 
 37. Two tragic masks, male, bearded; and female, placed 
 back to back, like a bifrontal bust ; the female mask much mutilated. 
 H. 0*20. 
 
 38. Bearded mask of a Triton, serving as an ornament of a 
 spout for carrying off water ; from the cornice of a building. Bold 
 work. H. 0-23. 
 
 3g. Framed relief, rounded at the top. In it is Athene, 
 seen full face ; she is in complete armour, the shield on her 1. arm, 
 the r., with the lance, raised. H. o - 4i. L. o - 28. 
 
 40. Left hand of a warrior, with part of his shield held by the 
 strap, and ornamented outside with a winged head of Medusa. 
 Fragment of a statue. L. o - i5. 
 
 41. Fragment of a trapezophoros, with panther’s head. 
 Oriental alabaster. H. o' 13. 
 
 42. Bearded head, of noble features, but with no particular 
 expression. It bears a distant resemblance to the head of Asklepios, 
 or Zeus, at Holkham, no. 56. The back of the head and great part 
 of the r. half of the face are missing, the nose is restored. H. 0-23. 
 
 43. Round urn, ornamented with masks and branches. Ap- 
 parently not free from suspicion. H. 0-29. 
 
 44. Mask of an old woman, deeply furrowed with wrinkles ; 
 life-size. With eyes growing dim and mouth open. Apparently 
 modern. H. o'25- 
 
 45. Flat circular basin ornamented with leaves; the pedestal 
 restored. Diameter C74. 
 
 46. Round urn, ornamented outside with leaves and decorated 
 on the rim with four rams’ heads. The pedestal restored. H. roo. 
 
 47 — 50. Fragments of pilasters and columns, with vine- 
 leaves trained over them. 
 
ROSSIE PRIORY 5 I— 72. 653 
 
 51. Left hand of a person carrying a basket filled with fruit, 
 fragment of a life-sized statue. 
 
 52. Knee of a Pan. L. 0-42. 
 
 RELIEFS. 
 
 54. Corner of a sarcophagus, fragment. At the r. end a 
 bearded male figure with long curly hair, in tunic and pallium and 
 wearing a sword at his side, tries to escape from an elderly, bald- 
 headed male figure, also in tunic and pallium, who with his r. arm 
 has seized the r. arm of the first figure. The meaning is not clear. 
 Missing : lower halves of the figures and the continuation at the 1. end. 
 On the r. side a funeral pyre in low relief. H. 0-30. L. 0-30. 
 
 55. Left end of the lid of a sarcophagus, broken at the r. 
 and underneath. Two Erotes are represented ; one of them with a 
 torch in his 1. arm is employing himself about a stove (?) on which 
 stands a kettle. H. o‘i3. L. o - 27- 
 
 56 — 60. Decorative reliefs, in great part decorated with vine- 
 sprays. 
 
 61. Head, resembling Caligula, turned r. Is now on an 
 oval field. H. o'30. L. o - 25. Appears suspicious. 
 
 62. Male torso, enveloped in an ample cloak, which falls down 
 in rich folds from his advanced 1. arm; of the relief field only a small 
 part is preserved. Of Greek style. H. o‘39. 
 
 63. 64. Decorative reliefs. Architectural. 
 
 65. Head of a Medusa, mutilated. L. 0-20. 
 
 66. Head of a boy, full face; of good work. H. 0-15. L. 
 °' I 3- 
 
 67. Bearded head, turned to the r. Not free from suspicion. 
 Oval. H. o'3o. L. o - 23. 
 
 68. Youth with Phrygian cap and flowing chlamys, pressing 
 forward r. Arms and legs missing ; broken round the edge. Grace- 
 ful work. H. 0-51. L. C33. 
 
 69. Head of Seilenos, crowned with ivy. Fragment. H. 0U5. 
 L. 0*20. 
 
 70. Head of a young Satyr, with ruffled hair. H. 0-20. 
 L. o *20. 
 
 71. Head of a bearded warrior in a Roman helmet. Very 
 suspicious. Life-size. H. 0-38. L. 0-25. 
 
 72. Fragment of a large relief, belonging apparently to 
 some public building. Three heads, two with slight whiskers, 
 one with beard, mustache and whiskers; among the hair are many 
 
654 
 
 ROSSIE PRIORY 73—82. 
 
 traces of the auger, and the heads have hollowed chamfers round 
 them. On two of the figures the tunic is visible. The art lifelike 
 but hard, scarcely earlier than the third century a. d. H. o-6i. 
 L. 0-84. 
 
 73. Fragment of an Eros, apparently from a sarcophagus. 
 
 H. 0-28. L. 0-25. 
 
 74. Female figure reclining, her back exposed, the rest of 
 her body covered by her cloak. Probably a fragment from a Bac- 
 chic sarcophagus. H. o'2‘] . L. o - 38. 
 
 75. Beardless head, crowned with laurel, apparently a por- 
 trait from the Hellenistic period, but not free from suspicion. H. 0-33. 
 L. 0-30. 
 
 76. Fragment of a sarcophagus with a representation of the 
 Seasons. One of the four youths, winged, is preserved, wearing the 
 chlamys, a basket full of fruit in his r. hand, the attribute of the 
 
 I. hand missing. Between his legs lies a panther, near his r. leg 
 a small Eros runs ; then comes an inverted basket and a large undis- 
 tinguishable object. H. o - 66. L. 0-38. 
 
 77. Fragment of a sarcophagus. Two boys in cloaks, 
 running in different directions ; in front of the one running r. part of 
 a third is visible who carries an ewer in his r. hand. Rough work. 
 H. 0-32. L. o'3o. 
 
 78. Fragment of a youth, seated facing 1., in a girdled chiton 
 and a cloak, a sword at his side, long effeminate curls falling down on 
 his shoulders. In his r. arm is a sceptre, his 1. hand rests on his hip. 
 Probably intended for Paris, but the genuineness appears doubtful. 
 H. o'aS. L. o‘ 32 . 
 
 79. Fragment of perhaps a later Greek sepulchral relief. 
 In the field a closed door; below it a small horse. To the r. the 
 remains of a comparatively tall male figure. II. 0-27. L. 0-21. 
 
 80. Fragment of a sarcophagus. A boar attacked by a 
 dog; above, the foreparts of two horses. H. 0-28. L. 0-28. 
 
 81. Fragment with two heads side by side looking 1. One 
 head is bearded, and wears a round cap, fitting very tight ( pillcus ); the 
 other has no beard, but a fillet in his hair. Good work. Odysseus 
 and Telemachos have been suggested, but the expression of the 
 elder face is not appropriate to the character of Odysseus. PI. o - 42. 
 L. 0-36. 
 
 82. Fragment of a historical relief. A chair and foot- 
 stool are placed on a kind of tribune ( suggestus ), and in the chair, 
 turning r., sits a man in tunic and pallium (head and arms broken 
 
ROSSIE PRIORY 83 — 102. 655 
 
 off). Behind the tribune on the floor stands a beardless attendant 
 in a short tunic. H. 0-48. L. 0-36. 
 
 83. Fragment of a sarcophagus. Columns with arches over 
 them. In the arch to the r. stands a bearded man, apparently a 
 shepherd in tunic and cloak, leaning upon his staff, and looking 
 to the r. In the arch to the 1. are remains of a Dioskuros with 
 lance and horse, of the horse only parts of the fore legs are pre- 
 served. H. o"2 3- L. o'36. 
 
 84. Framed relief; a lion seizing a boar that lies on its back 
 on the ground. H. 0-23. L. 0-43. 
 
 85. Architectural relief with foliage. 
 
 86. Bearded head, turned L, with a fillet through the hair. 
 From the “flowing” character of the beard and of the hair on the 
 forehead it appears to be intended for Poseidon, but the genuine- 
 ness of this elegant specimen is very doubtful. H. 0-42. L. 0^6. 
 
 87. 88. Architectural fragments with foliage. 
 
 ROMAN SEPULCHRAL MONUMENTS. 
 
 Those monuments which only contain inscriptions are not reckoned 
 here; they may be found in their place in C. /. Lat., vol. vi. 
 
 91. Sepulchral altar, surmounted in front by a curved pedi- 
 ment, now broken, on which is sculptured in relief a figure of Mer- 
 cury, holding a purse in the r. hand and a caduceus in the 1., and 
 standing between a ram and a tortoise. The inscription runs thus : 
 D(is) M(anibus) \ M. Coccei Crescentis | vix. ami. n. m(ens). 1. d(ieb). 
 vii | et Cocceiae Auge c(oniugi) b(ene mer .) | et Cocceiae Auge f{iliae) 
 d(ulcissimae) | et M. Ulpio Vestal i p (dio) d{tilcissimo), | v(ix). a(nn). 
 xxviiii. m(ens). vi, | Vestalis Augiusti) lib{ertus) | et sibi et suis po- 
 ster isqiiie') eorum. H. o - Si. L. C51. 
 
 101. Square double cinerarium, ornamented with pilasters 
 and garlands. R. : Dis Manibus | Flaviae Zoe | Nucerinus coniugi | 
 liarissimae bene merenti , | item sibi et \ Pomponiae Thallusae ; below 
 are birds. L. : et P. Betilieno \ Cureti Caipo et | Primigenio ; below 
 is a hare nibbling at some fruits that have fallen from an over- 
 turned basket. H. 0-25. L. o’68. 
 
 102. Square cinerarium, with two bulls’ heads to which 
 a garland is fastened; under each head a mask. Inscription : DPs 
 Manibus \ Selae Helidis | pater et mater \ filiae pilssimae. — On the 
 lid a basket with leaves at which two birds are pecking. H. o - 2 3- 
 L. 0-30. 
 
656 
 
 ROSSIE PRIORY 103, 136. 
 
 103. Square cinerarium. On the lid a vase between two 
 birds. Inscription, enclosed by two cypresses : D. M. | ossa Meciliae 
 Balbillae Lanuvii | sae(erdotis), quae in acde Iunonis S(ospitae ) 
 M(atris ) R(eginae) | scutulum et c\t\yp{eum ) et hast(am ) et eatc(eos) | 
 rite novavit voto. (Orelli, 1308.) Said to have come from Civitk 
 Lavigna (Lanuvium), but the suspicion which Mommsen (. Bullett ., 
 1853, p. 173. JV. rhein. Afus., ix. p. 456) entertained as to the 
 genuineness of the inscription is fully confirmed as correct by the 
 palaeographical character. H. o'2'j. L. 0-36. 
 
 The Catalogue mentions besides the sculptures we have already 
 noticed : 
 
 136. Fragments of a mosaic floor, “discovered near 
 Rome in 1822, in a vineyard on Monte Rosario, about half a mile 
 beyond the Porta Portuensis, on the r. bank of the Tiber. The 
 centre of the pavement was destroyed ; of the portion preserved, 
 several pieces were obtained by the Duke of Bedford, and are now 
 at Woburn Abbey [no. 228]; the remainder is in the Rossie collection. 
 A coloured plate annexed to the Catalogue, copied from a drawing 
 made at the time by M. Valadier, shows the original arrangement of 
 the entire pavement.” The centre field which is oblong is completely 
 destroyed; it is surrounded first by a broad strip with a Triton’s head 
 in each corner, and between the heads, animals in the midst of foliage, 
 and all on a white ground. Then follows a narrow decorative band 
 and then a broad meander pattern which encloses square fields. 
 These are so arranged that one field occurs at each corner (with one 
 of the four Seasons), and between them four others down the long 
 sides and three along the shorter sides. The further, outside stripes, 
 are only ornamental ; towards the inside coloured, towards the edge 
 only black and white. “ The pavement is composed mainly of 
 marble tesserae , with a few cubes of glass or tile ; it may be re- 
 ferred to the earlier half of the second century after Christ.” The 
 following fragments with representations of figures, drawn on one 
 of two coloured plates in the Catalogue, are to be found in Rossie 
 Priory. I. Of the inner strip : two heads of Tritons, hair and 
 beard vanishing into sea-plants and a mushroom on the top of the 
 head ; further a lion with a lizard over it, a stag, two panthers, 
 one standing and one running, all entwined with foliage. IT. Eight 
 squares of the meander border ; two of them belonged to the 
 opposite corners and each contains a female bust, one of which is 
 crowned with flowers and the other with corn ears, thus repre- 
 
KOSSIE PRIORY I 37 — I 52. 
 
 657 
 
 senting Spring and Summer. The other six represent cake with 
 almonds in an ornamental stand, a red mullet in a plate, a sweet- 
 meat basket, a roll of bread, a cock with his legs tied together, and 
 a purse. 
 
 Here it may be well to append the following notices of some small 
 miscellaneous antiques, for which I have to thank Mr A. S. Murray, 
 of the British Museum; the numbers only follow those of the present 
 catalogue, and do not apply to the collection itself. 
 
 137. A very small head, bearded and helmeted. Marble. 
 
 138. Another male head, very small; top of head bald. A 
 portrait. Marble. Minute cameo-like work. 
 
 139. Torso of a bronze statuette of Herakles, in fine 
 condition, and of good workmanship. 
 
 140. Several rude bronze statuettes of Herakles. 
 
 141. A very rude bronze figure of Athene with a gor- 
 goneion on the breast. 
 
 142. Bronze statuette of Isis ; a foot broken away. 
 
 143. Bronze mirror. Two male figures (Dioskuroi ?), nude, 
 standing face to face, and each leaning on a spear ; between them a 
 flower. The drawing is better than it usually is where such subjects 
 occur on mirrors. 
 
 144. Fragments of a large bronze vase with a row of 
 very rude figures. Etruscan, probably from Corneto. 
 
 145. Fragments of bronze armour, from the “Warrior’s 
 Tomb,” Corneto. Cf. Mrs Hamilton Gray, The Sepulchres of 
 Etruria , p. 529. Annali d. Inst., 1829, pp. 95 ff. 
 
 146. A small series of Etruscan bronze fibulae. 
 
 147. Bronze stamp : P-CVRTI-P-P-L. 
 
 148. 149. Two terra-cotta lamps, probably found in the 
 Roman Catacombs. One of them shows the Christian monogram. 
 On the other is a ship with a figure swimming in the water beside it 
 or after it (Jonah?). 
 
 150. A tragic mask, of terra-cotta. 
 
 The following ten numbers are gems and rings : 
 
 151. Large onyx cameo. Jupiter in a quadriga hurling 
 his thunderbolt at two Giants under his horses. Very beautiful work, 
 but of that kind as to which it is hardly possible to decide whether it 
 is Roman or Cinquecento ; it may be rather the latter. 
 
 152. Onyx cameo. A female head, to the r., with the hair 
 
 M. C. 
 
 42 
 
658 
 
 ROSSIE PRIORY. SALISBURY. SHOBDEN. 
 
 plaited and twined in a knot at roots behind. A beautiful frag- 
 ment. 
 
 153. Onyx cameo ; a fragment. Back view of Herakles 
 wearing a lion’s skin. 
 
 154. Carnelian intaglio ; female head to the 1 . Fine work. 
 
 155. Carnelian intaglio with scarab border. On the 1 . two 
 warriors, fully armed, stand before a naked man, who has laid aside 
 his armour, but holds a sword in his 1 . hand by his side. 
 
 156. Carnelian intaglio with scarab border ; broken. Two 
 male figures ; one of them on the r. holds up by the back hair a figure 
 of apparently a nude girl between them, while the male figure on the 
 1 . holds a sword. 
 
 157. Carnelian intaglio; broken. A draped female figure 
 seated to the r. holds some object in her r. hand above her knees ; 
 her 1 . hand draws forward drapery from her breast. 
 
 158. Plasma intaglio. Jupiter, seated to the 1., holds out 
 Victory on his r. hand ; on his 1. hand a cornucopiae. Fine speci- 
 men. 
 
 159. Red jasper intaglio. Andromache holding and address- 
 ing Hektor ; at their feet the child Astyanax. 
 
 160. Small gold ring, with intaglio of a female head to the 1. 
 Very pretty. 
 
 Finally there is 
 
 161. A small mural painting from Rome. Bust of a Nymph, 
 apparently with the head thrown back. Very beautiful. 
 
 SALISBURY (Wiltshire). 
 
 In the newly-built Blackmore Museum there are, as far as I know, 
 no Greek or Roman sculptures. Cf. Huebner, Monatsbericht d. 
 Berliner Akademie, 186S, p. 90. 
 
 SHOBDEN (Herefordshire). 
 
 “A single statue of Mercury was acquired by the late Lord 
 Bateman, and is now at Shobden. In the opinion of the late Mr 
 Townley, it is equalled by few statues of that deity of which he had 
 any knowledge.” (Dallaway, Of Statuary, p. 356 .) 
 
STANMORE HILL I, 2. 
 
 659 
 
 STANMORE HILL (Middlesex). 
 
 Mr C. Drury E. Fortnum, F.S.A., the author of the valuable 
 “Catalogue of the Bronzes in the South Kensington Museum” (1876) 
 has himself a considerable collection of bronzes in his country house 
 near Great Stanmore ; many of them belong to the Cinquecento 
 period. He also has a splendid collection of antique rings, and 
 among them is the large portrait of Berenike, the consort of the first 
 Ptolemaeos, graven in gold, which is a great rarity. In 1877 Mr 
 Fortnum kindly allowed me to look through his bronzes, and 
 among them the following deserve special mention : 
 
 1. Statuette of Aphrodite. Engr. Catalogue of the Col- 
 
 lection, &=c., formed by B. Hertz, 1851, PL 2. The goddess, quite 
 nude, rests on her r. leg; her 1. foot is somewhat drawn back, her 
 knee bent. Her 1. arm is lowered and held away from the body, 
 and the hand is opened in such a manner as to suggest that she has 
 just let something fall to the ground from it. The head with a 
 graceful curve of the neck also inclines in the same direction; the 
 hair is simply waved. The r. hand is raised, and holds a small, broad 
 wreath, woven very closely, and having two ribbons (ibrotLyffs). The 
 expression of the full face is one of maidenly grace, without a trace of 
 coquettishness ; the pose of the whole figure is very graceful. The 
 forms of the body are full and voluptuous, and the hips, particularly 
 when seen from behind, very broad. The 1. foot is not pretty, 
 
 being much too long, and the upper part of the back is not as 
 
 beautiful as the rest. The surface, covered with green patina, 
 
 is somewhat corroded, but the contour has not suffered on this 
 account, and the preservation is faultless. The figure belongs un- 
 doubtedly to a good period, of Greek, and not of Roman art. H. 
 0-325. Found at Mogla, near Stratonikeia in Karia; purchased on 
 the spot with a number of coins by Edw. O’Halley, Esq., for a 
 mere trifle. In 1846 B. Hertz obtained the bronze for about ^35 
 ( Catal . Hertz , 1851. p. 130, no. 19); it attracted notice at the 
 Manchester Exhibition of 1857. At Hertz’ sale, 1859, the present 
 owner purchased it (Catal. Hertz-Mayer, 1859, no. 150). [*] 
 
 2. Statuette of Aphrodite. The position of the legs is 
 similar to that of no. 1. Both arms are held further from the body, 
 and the upper part of the arms is only a little depressed; the r. 
 fore-arm is advanced, and the hand turned under and opened 
 (fingers missing), the 1. bent upward (the hand missing). I do 
 
 42 — 2 
 
66o 
 
 STANMORE HILL 3—9. 
 
 not understand the motive of the position of the arms. The head 
 is inclined slightly in the direction of the r. hand. A tolerably 
 broad fillet is passed through the hair, which is arranged in curls 
 on the temples and gathered up into a plait behind. The pretty 
 little head is particularly well executed, but the body is also very 
 graceful and on the whole excellently preserved, including the pedestal 
 with architectural mouldings. H. oui, with the pedestal 0T25. 
 Purchased in Florence. [*] 
 
 3. Statuette of Aphrodite, nude, and resting on her 1 . leg, 
 
 her face inclined towards her r. hand. Long curls ; on the hair 
 a stephane with five knobs on the upper rim. Arms both lowered, 
 now missing. Roman work. H. o - 2o. [*] 
 
 4. Statuette of Serapis, with the r. foot advanced. A 
 cloak covers the upper part of his 1. arm and all the lower part of his 
 body ; his 1. hand is held in front of his body, and in his lowered r. 
 hand is a fillet. The head somewhat resembles Zeus, and has rough, 
 curly hair falling about it ; there is a modius on the crown of the 
 head. Pedestal preserved. Good figure. H. oa 1, with the pedestal 
 0U3. From Falerii. [*] 
 
 5. Statuette of youthful Herakles, with the lion’s skin 
 
 across his 1. arm, his 1. hand holding the club which he neither 
 shoulders nor lowers. The figure is very slim, and points to a type 
 of a later period than that of Lysippos. FT. 0-22. [*] 
 
 6. Statuette of a Dioskuros, with the star on his head. His 
 
 r. hand lowered in front of his body, his cloak across his 1. arm. 
 H. o’o8. [*] 
 
 7. Statuette of Silvanus, in boots, a goat’s skin passed 
 slantwise across his breast ; he has a pine-wreath pointed like a 
 crown, from which long ribbons fall down on the shoulders. He 
 holds out a drinking-horn ( rhyton ) in his r. hand, made out of a ram’s 
 horn, and in his 1. arm he holds a large knotted club. The expres- 
 sion of the bearded face is goodnatured, but commonplace. H. 0-12. 
 Purchased in Florence. [*] 
 
 8. Statuette of Priapos (?). A bearded male figure, nude, with 
 
 his 1. hand resting on his hip, his r. held before his body, a cloth 
 wound round his head. It has been injured about the lower part 
 of the body ; there are traces showing that the attribute of Priapos 
 was once here. FI. o - o8; with the pedestal o - o95. [*] 
 
 9. Statuette of Commodus on horseback, in tunic and 
 
 cloak ; the horse is very small and has crooked legs. An uncommon 
 kind of statuette. H. 0-05. [*] 
 
STANMORE HILL 10 — 20. STOURHEAD HOUSE. 66 1 
 
 io — 12. Three Etruscan figures of a warrior or of Mars, his 
 1 . arm advanced and his r. placed in a right angle. Enormous plume 
 on the helmet ; parts of the armour chiselled out. Very slim pro- 
 portions ; below the feet are pegs for fastening. H. C30; 0-27; 
 C07. [*] 
 
 13. Etruscan warrior, stepping to the r., the r. arm 
 
 lowered; helmet with plume. H. 0-22. [*] 
 
 14. Bearded figure, with a large, broad nose, squatting on the 
 ground, drinking from a cup. [*] 
 
 15. Figures of Herakles, Dionysos, a horse. From a 
 bronze vessel. ['*] 
 
 16. Archaistic Etruscan reliefs, which may have served 
 as ornaments of a vessel : two Gorgons, winged, with large boots; 
 with their knees bent they run one to the r. and the other to the 1. 
 Bearded Satyr, with goat’s legs, large ears, reclining with his 1 . 
 arm supported on a cushion. Mask of the bearded Dionysos, 
 with a fillet, in grand, severe, hieratic style. [*] 
 
 17. Female bust (“Agrippina”), draped, looking somewhat 
 to the 1 . Rounded off underneath, evidently a piece of a medallion 
 (clu pens). Gilt bronze. From Falerii. H. o'oS. [*] 
 
 18. Terminal figure with a youthful negro head. Pretty. 
 
 O *20. [*] 
 
 19. A bull. [*] 
 
 20. A silver goblet, covered with delicate vine-sprays ; in 
 the shape of the rounded skyphos. The handles have been lost. [*] 
 
 St ANN’S HILL, see p. 211. 
 
 STOURHEAD HOUSE (Wiltshire). 
 
 Volkmann, Reisen, 11. p. 34. Dallaway, p. 384 (11. p. 136). 
 
 Dallaway commends very much the following statue found here 
 in Sir Richard Hoare’s house : 
 
 1. “Juno or Ceres, which is not eclipsed by the Hercules of 
 Ryssbrack, excellent as it is.” I do not know whether this statue 
 is identical with the following. 
 
 2. Flora, standing, from the Mead collection (Mus. Mead., 
 p. 221) which had been purchased for Stourhead (Dallaway, Of 
 Statuary, p. 314). 
 
662 
 
 STRATFIELD SAVE — TUNBRIDGE WELLS. 
 
 STRATFIELD SAYE (Hampshire). 
 
 The Duke of Wellington has kindly informed me by letter 
 that on this estate of his, not far from Kings-Clere, there are a few 
 busts, but I can give no particulars about them. Cf. London, 
 Apsley House. 
 
 TRENTHAM HALL (Staffordshire). 
 
 This seat near Stockwood on Trent belongs to the Duke of 
 Sutherland. One of the servants at Stafford House told me that 
 there were a few antique bas-reliefs here. 
 
 TUNBRIDGE WELLS (Kent). 
 
 Admiral T. A. B. Spratt, C.B., the much esteemed author of the 
 Travels in Lycia and the Travels and Resea?rhes in Crete , and the 
 draughtsman of excellent maps, brought home some sculptures after 
 his long residence in the East. They are kept at Tunbridge Wells, 
 once a favourite summer residence of the last two Stuarts. Unfor- 
 tunately time did not permit me to accept the owner’s kind invitation 
 to visit the sculptures. Among them I mention the following : 
 
 i. Statuette of Aphrodite in marble, found at Knossos in 
 Crete. Spratt, Travels in Crete , i. p. 72, with plate (I have also a 
 larger photograph of it). It is the well-known motive of the 
 fiseliumen'e, only in the place of the leg ornament (ifreXiov) are 
 substituted sandals which the goddess is loosening. She is just pre- 
 paring herself for the bath. She stands on her r. foot, which is already 
 uncovered, and has raised her 1. foot that she may draw off the sandal 
 with her lowered r. hand. An exceedingly large puntello connects the 
 toes of the 1. foot with the ground. The 1. hip is leaning on the trunk of 
 a tree, which is however only made as a material support for the marble 
 copy; in the original, which was of bronze, it was wanting certainly, 
 as the 1. arm was supported on a pillar. The head, which was found 
 a little afterwards about 200 yards from the statue, is turned sharply 
 towards the r. shoulder ; a fillet is passed through the wavy 
 hair. The back of the head and nearly the whole of the 1. arm are 
 missing ; all the rest is in perfect preservation. The features of the 
 face are not purely ideal, but have an expression of their own which 
 
TUNBRIDGE WELLS 2. WARWICK CASTLE I. 663 
 
 is coquettish ; the face seems to be somewhat rubbed, and also the 
 rest of the figure, which when it was found was encrusted with a thick 
 coating of carbonate of lime, and had to undergo a thorough cleansing. 
 The proportions on the whole are exaggeratedly slender, the upper 
 part of the body is too small in comparison with the very powerful 
 hips. The execution of the back has been commended. H. about 
 o‘6o. 
 
 2. Small head of Zeus, from Crete, highly praised by Spratt, 
 /. tit., p. 75. 
 
 Admiral Spratt possesses some more specimens ; others he has 
 given away, part to the British Museum, and part to Cambridge (cf. 
 Cambridge, no. 13). 
 
 WARWICK CASTLE (Warwickshire). 
 
 Spiker, Reise, 1. 81. Waagen, Treas., hi. pp. 217 b (11. p. 370). 
 
 The chief and superlative ornament of this celebrated old castle 
 of the Earls of Warwick (family name Greville) stands in a 
 conservatory : 
 
 1. The Warwick-Vase. Piranesi, Vast e Candelabri, n. 
 PI. 2 — 4. Moses, Vases, PI. 37. Penna, Villa Adriana, iv. PI. 95. 
 The vase is in the shape of a large krater, the foot having been 
 added by Piranesi. The lower half of the main body is very much 
 rounded, and decorated all round the foot with acanthus leaves 
 and above with a panther’s skin. Above this part the vessel is 
 compressed so as to give the effect of a shelf covered with a skin, 
 and on this shelf lie on either side four Bacchic masks ; in the centre, 
 on a separate, low plinth, are Dionysos himself, crowned with ivy, 
 and the bearded Seilenos ; in front of each is a short thyrsos, laid 
 slant-wise ; on the 1. and the r. a bearded Satyr-head, the first crowned 
 with ivy, the second with pine-sprays. On the opposite side, also 
 on a low plinth, is Dionysos in the centre, bearded, without a 
 wreath, and the bald-headed Seilenos, crowned with ivy ; beside 
 them on the 1. is a pedum, on the r. a thyrsos ; at either end is a 
 bearded Satyr-head, that on the 1. hand bald-headed and crowned with 
 ivy, that on the r. hand crowned with pine-leaves. Underneath the 
 main body of the vase are attached strong handles, which are much 
 twisted and finally run into delicate vine-sprays, and are so continued 
 round the uppermost edge of the vessel. The vase, of very fine 
 marble, is 170 high and has a diameter of 2 , ii ; its capacity is 
 
664 WARWICK CASTLE. WENTWORTH CASTLE. 
 
 81J- gallons. The work is excellent; the vine-sprays are so fine that 
 they seem like the marble copy of a bronze original ; it is well 
 known that the manufacturer Thomason of Birmingham has had the 
 vase in its original size copied in bronze (see Noehden in Bottiger’s 
 Amcilthea, in. p. 418. Clarac, Musee, 11. 1, p. 414): one of these 
 copies is set up at Cambridge, in the space in front of the University 
 Library. Except some of the masks, which have needed consider- 
 able repair, it is in good preservation. It was found in 1771 in 
 Hadrian’s Villa by Gavin Hamilton, was purchased from him by Sir 
 'William Hamilton and in 1774 brought to England; it was then 
 passed on to George, Earl of Warwick. [ IE] 
 
 The other sculptures which Waagen saw in one of the rooms 
 probably all perished in the great fire of 1871 ; such is certainly 
 the case with the following : 
 
 2. Oval sarcophagus, with lion’s heads, representing Endy- 
 rnion and Selene; the surface much injured. [IE] 
 
 Besides these, Waagen mentions the following busts : 
 
 3. Bust of Herakles, colossal scale, of very noble character 
 and excellent sculpture. New : nose, beard, and back of the 
 head. [ IF] 
 
 4. Bust of Scipio Africanus, above the size of life; very 
 characteristic, especially the mouth ; of fine workmanship. The 
 nose and ears are new. [ IF] 
 
 5. Bust of Augustus, rather colossal, at the age of about 
 fifty years, beautifully executed in Parian marble. The neck and 
 hair particularly good. The whole in capital preservation. [IF] 
 
 6. Bust of Trajan, a fine work, of Carrara marble. Nose 
 and ears restored. [ IF] 
 
 WENTWORTH CASTLE (Yorkshire). 
 
 Volkmann, Eeiscn , iv. pp. 36, 38. 
 
 In this seat, now the property of the Vernon-Wentworth family, 
 the following statues were to be found towards the close of the last 
 century, at which time it belonged to Lord Strafford : 
 
 1. Apollo, 
 
 2. Egyptian Priestess, 
 
 3. Bacchus, 
 
 4. Ceres, 
 
 5. Ceres, in the garden, in a clump of trees. 
 
 I 
 
 J- in the Gallery. 
 
WENTWORTH HOUSE. WILTON HOUSE. 
 
 665 
 
 WENTWORTH HOUSE (Yorkshire). 
 
 Dallaway, p. 385 (11. p. 137). Waagen, Treas., 111. p. 337 (11. 
 p. 430). 
 
 The Marquis of Rockingham, the minister, who as Lord 
 Malton was the patron of Stuart, possessed here, according to 
 Dallaway, several statues and busts, of which I only consider worthy 
 of mention the bust of Antinous from the Mead collection ( Mus . 
 Mead ., p. 223. Walpole’s letter to R. Bentley, March 27, 1755. 
 Dallaway, Of Statuary, p. 314). A splendid cabinet of Roman coins 
 is also mentioned (Volkmann, Reiseu, iv., p. 30). The castle now 
 belongs to the Earl Fitzwilliam; Waagen found nothing worth 
 mentioning except copies from celebrated antiques in the spaces 
 between the columns of the large hall. 
 
 WILTON HOUSE (Wiltshire). 
 
 Cary Creed edited in 1731 a series of 70 plates with no printed 
 title; the copy in the British Museum bears the manuscript title, 
 “ The Marble Antiquities, The Right Hon. the Earl of Pembroke’s, 
 at Wilton, &c.” 4to. (The figures are throughout engraved without 
 the use of a mirror, and therefore in reverse position.) Richard 
 Cowdrie, A Description of the Pictures, Statues , &c., at Wilton 
 Mouse, 1751, translated into Italian, Florence, 1754; often repub- 
 lished, and partly enlarged under the title : James Kennedy, A De- 
 scription of the Antiquities and Curiosities in Wilton House, Salisbury, 
 1758, 8vo; an enlarged edition in 4to, 1769, with 25 engravings 
 (used by me), 1776, 1778, 1779 (probably identical with A new 
 Description of the pictures, &*c., in the Earl of Pembroke's House at 
 Wilton. Ed. 9. Salisbury, 1779, 8vo.), 1786. Hides Pembrochiance : 
 or a critical account of the statues, bustos, relievos, paintings, medals, 
 a7id other antiquities and curiosities at Wilton House. Formed on 
 the plan of Mr Spence's Poly met is. To which is prefixed, An 
 
 Extract of the Rules to judge of the Goodness of a Picture : and 
 The Science of a Connoisseur in Painting. By Mr Richardson. 
 London, 1774, 8vo. (Not the whole book but only the introduction 
 is to be referred to Mr Richardson, the rest is mainly borrowed 
 from Kennedy; no engravings are appended.) Volkmann, Reisen 1. 
 pp. 478 ff. W. Gilpin, Observations on the Western Part of England, 
 1798, pp. 104 ff. Dallaway, pp. 263 ff. (1. pp. 296 ff.). Goede, Eng- 
 land, Wales, He., v. pp. 136 — 150. Spiker, Reise, 11. pp. 187 ff., 
 
666 
 
 WILTON HOUSE. 
 
 200. Waagen, Treas., hi. pp. 142 IT. (11. pp. 272 ff.). Clarac, hi. 
 p. 104. Newton, Notes on the Sculptures at Wilton House , 1849 
 (printed in the volume of Proceedings at the Salisbury meeting of 
 the Archaeological Institute). Conze, Arch. Anz., 1864, pp. 173 ff. 
 209 ff. Michaelis, Arch. Zeit ., 1874, pp. 62 ff. I have examined the 
 collection myself, in 1873 and 1877. The following catalogue adheres 
 to the numbering of the collection itself from 1 — 179, which Newton 
 also retains, the remaining numbers I have assigned myself. The 
 numbers not given in my catalogue belong to such modern specimens 
 as could not deceive a moderately practised glance; many of them, 
 however, have received attention, if any interest attaches to them. 
 
 The collection of antiques in the ancient mansion of Wilton 
 House, situated close by the little town of Wilton, is the exclusive 
 work of Thomas Herbert, eighth Earl of Pembroke (1654 — 
 1732, became Earl 1683), who had already inherited from his 
 ancestors a fine picture-gallery, including in particular excellent 
 Vandykes. The Earl travelled much and was well acquainted with 
 Italian antiquaries. He was the first collector of importance after 
 Lord Arundel and King Charles (Introd. § 25). He interested himself, 
 as Kennedy informs us on the authority of ms. notes by the Earl, in 
 collecting gems and bronzes, but especially busts and copies from 
 antiques. As to reliefs, &c., and inscriptions, he only cared for 
 notable examples. Moreover, he wished only to have objects of the 
 best period, no mutilated specimens, no duplicates, and above all 
 no unknown portraits ! How he carried out the last intention we 
 shall soon see. 
 
 The foundation of the collection to all appearance consisted of 
 the busts which Lord Pembroke purchased from the gallery of 
 Arundel House, when it was broken up in 1678 (Introd. § 22); 
 probably also a few of the other marbles came from the same place. 
 The Arundel Collection, to judge by the remnant of it in Oxford, was 
 entirely free, or nearly so, from modern specimens : accordingly, 
 among the Wilton marbles of indisputable antiquity we should expect 
 to find the specimens purchased from that collection, though we have 
 no means of identifying them individually. We may call to mind 
 such heads as nos. 4, 20, 25, 34, 35, 41, 47, &c., and Greek sepulchral 
 reliefs such as nos. 17, 109, 125, 152. 
 
 A second portion of the antiques was derived from the sale of 
 a part of the very rich Giustiniani Collection in Rome (probably 
 the contents of the Villa Giustiniani near the Porta del Popolo, which 
 were afterwards incorporated in those of the Villa Borghese), which 
 
WILTON HOUSE. 
 
 667 
 
 comprised, for example, more than a hundred busts. The choicest of 
 these were secured by Cardinal Alessandro Albani, who completed 
 thereby his admirable collection of busts, which was subsequently 
 purchased for the Capitoline Museum. His fellow-purchaser was 
 Lord Pembroke ; but in this case also I am not in a position to 
 indicate individual purchases, which would, perhaps, be made pos- 
 sible by comparing on the spot the engravings in the Galleria 
 Giusiiniani with the Wilton sculptures. 
 
 No doubt the most extensive of all the purchases which the 
 Earl made was that of a number of marbles of all kinds from the 
 Mazarin Collection in Paris. The statues of this division stood 
 there, to the disgust of visitors, in the miserable plight to which the 
 madness of the Due de Mazarin in 1670 had reduced them (Introd. 
 
 § 26), until the close of the seventeenth century. I do not know 
 the exact date of this purchase : it was probably made in the second 
 decade of the last century, when the Palais Mazarin was prepared 
 for John Law’s financial enterprises. Cardinal Mazarin, as in all 
 probability Cardinal Richelieu before him, had set great store by 
 a splendid adventitious embellishment of his gallery, which was 
 provided with a superabundance of modern specimens. For the busts 
 a considerable number of high pedestals of variegated kinds of 
 marble, artistically inlaid, had been prepared in Rome ; were more- 
 over all mounted on high, clumsily moulded bases / c==q 
 of identical proportions, the majority of variegated, 
 several of white marble ; finally the heads, which for 
 the most part had no busts, were furnished with — ^ — 
 splendid draped or mailed busts of alabaster or other kinds of marble 
 and other stone. Furthermore to each specimen was assigned a 
 number, which was chiselled in some cases into the bust or statue 
 itself, in others on the base of the bust, or again on the pedestal. 
 These numbers are repeated in the inventory which Mazarin had 
 drawn up in the year 1653 by no less a person than Jean-Baptiste 
 Colbert, at that time one of his personal attendants: Inventaire 
 de tous les meubles du Cardinal Mazarin. Dresse en 1653, et public 
 td apres V original, conserve dans les archives de Conde ( par Henri 
 Due <P Auma/e). London, 1861. It comprises 137 statues and 
 187 busts, while the reliefs are counted in with one or other of 
 the two classes according to circumstances. A new inventory was 
 prepared at the Cardinal’s death, 1661, increased by about 30 statues 
 and some 20 busts, and provided, piece by piece, with the estimated 
 prices, which show the relatively high price of antiques at the period. 
 
668 
 
 WILTON HOUSE. 
 
 This inventory is unfortunately not printed (ms. Melanges Colbert, 
 nos. 74 — 79); only the prices are added to the printed copy of the 
 older inventory. Finally a kind of Catalogue raisonne seems also to 
 have been made subsequently with a view to the sale, as Kennedy 
 often avails himself of statements of the Mazarin Catalogue which 
 are not in the above mentioned inventory. By the aid of this 
 inventory a large number of the antiques in Wilton House, among 
 them many of modern origin, can be proved to have come from the 
 Mazarin Collection ; these include not only busts, but also statues 
 and reliefs. Five statues (nos. 70, 116, 144, 145, 170) still bear the 
 Mazarin numbers; others are sufficiently identified by the marks left 
 by the crazy Duke’s hammering ; many more again are to be deter- 
 mined with more or less certainty by the statements of Kennedy or 
 the descriptions in the inventory. Altogether there are no fewer 
 than 23 statues in Wilton House to be indicated with tolerable 
 certainty as having belonged to the Mazarin Collection, a fact not 
 without importance as showing that all these antiques were of Italian, 
 generally of Roman origin. To the same source maybe traced seven 
 reliefs, among which are two large sarcophagus slabs (nos. 61, 163). 
 Much larger is the number of busts which with their bases and the 
 costly pedestals were bought by Earl Thomas. Here again many 
 can be identified by the numbers of the Mazarin collection ; still the 
 identification is only certain when the numbers are on the busts them- 
 selves, as the bases and pedestals have in many cases been inter- 
 changed, and therefore the numbers on them prove at most that 
 the specimens which bear these numbers in the inventory of the 
 Mazarin Collection are generally speaking to be found in Wilton 
 House. Thus, for instance, no. 127 of the following catalogue has on 
 the bust the Mazarin number 52, on the base 158, on the pedestal 3 1 ; 
 and a quantity of interchanges are indicated by the fact that the 
 description in the inventory applying to the number which the base 
 or pedestal now bears, often does not suit the bust. At any rate it 
 can be established with certainty or high probability from these 
 numbers that no fewer than 83 busts are derived from the Mazarin 
 collection. In the following catalogue the designation “ Maz.” is in 
 all such cases affixed to the numbers of the several articles ; with the 
 numbers of the Mazarin collection in instances where they are still 
 recognisable on bust or statue ; with no further mark when the origin 
 is established from other sources; with a note of interrogation where 
 its assumption only rests on the peculiarities of the bust, its base or 
 pedestal. 
 
WILTON HOUSE. 
 
 669 
 
 A comparison of the Mazarin inventory with the nomenclature 
 adopted in Wilton House is well calculated to show the unscrupulous 
 and arbitrary spirit in which the christening was here undertaken. 
 Thus no. 5, “ Hercule et Prothe'e,” is turned into HPAKAE 2 and 
 AXEAOOS, &x. However, these are trifles. Far more frequently 
 busts, which were in the Mazarin collection modestly left with- 
 out names, have here been endowed with the most arbitrary, 
 high-sounding names, in most cases quite inappropriate, generally 
 carved on them in Latin letters, more rarely in Greek characters. 
 In this way it was of course very easy to have “ no unknown 
 portraits.” Moreover, the wildest fables were invented, to all 
 appearance so early as to be found in the ms. notes and anecdotes of 
 Earl Thomas, concerning the nominal origin of various specimens, 
 especially of Roman antiques from the Mazarin collection or even 
 of modern pieces (e.g. nos. 48, 99, 144). One of the most remark- 
 able examples is afforded by the degree of certainty with which 
 Kleomenes, whose name was made especially popular by the 
 inscription of the Medici Venus, was announced as the author of 
 four statues (nos. 124, 151, 159, 170) and one modern relief (no. 
 87); which Winckelmann indeed recognised as a cheat (letters to 
 Muzel-Stosch, June or July and Oct. 4, 1760. Introd., note x 1 8. 
 Cf. Arch. Zcit ., 1880, p. 17). 
 
 A small addition to the busts at Wilton House followed on the sale 
 of the Valletta Collection in Naples, the sculptures of which 
 were sold in the year 1720 for 1100 ducats to an English doctor, and 
 again disposed of by him (cf. Justi, Winckelmann , 11. 2, p. 392). On 
 some of the buyers selling again, owing to the collapse of the “South 
 Sea” shares, Lord Pembroke came forward as a purchaser (Kennedy, 
 p. 53). With the exception of one excellent specimen (no. 94), the 
 addition was however only composed of modern busts (nos. 46, 192, 
 193, 195). Further, Lord Pembroke obtained a number of sarcophagi 
 (nos. 60, in, 129, 143, 155), of which on the whole there is rather a 
 large collection in Wilton House, from Henry Somerset, third 
 Duke of Beaufort, who had shared with the Cardinals Alessandro 
 Albani and Melchior Polignac the spoils of a columbarium excavated 
 1726 in the neighbourhood of Rome (Gori, Mon uni. libert. Liviae, p. xx. ). 
 Other specimens came from Sir Andrew Fountaine (no. 27), or from 
 John, second Duke of Argyll (no. 78). Lord Pembroke presumably 
 bought the sarcophagus representing Triptolemos (no. 137) after the 
 death of the former owner, Foucault (1721). Unfortunately the 
 origin of some particularly remarkable specimens is quite unknown, 
 
670 
 
 WILTON HOUSE I a . 
 
 which exhibit spurious but really learned inscriptions, and thus point 
 to quite a different literary circle from that of Earl Thomas (nos. 1, 48). 
 
 If, in spite of a tolerably large number of interesting specimens, 
 some of which are beautiful or important, the connoisseur of to-day 
 should experience some disappointment on the inspection of the 
 collection, the blame must be cast on the large number of spurious 
 pieces, the abominable restorations, and the absurd nomenclature. 
 For these reasons then, although the marbles are attractively dis- 
 played in the four galleries of the cloister completed by the 
 twelfth earl, Robert Henry ( d, . 1862), under the direction of 
 Westmacott, the visitor is not unlikely to experience a feeling of 
 disappointment ; and this all the more since no collection of antiques 
 in England enjoys such a wide-spread reputation or has evoked so 
 copious a literature. To be sure, the works of Cary Creed, Cowdrie 
 and Kennedy are models of untrustworthiness and uncritical style. 
 The remarks of Volkmann, Gilpin, Dallaway (who scarcely does 
 more than make excerpts from Gilpin), and Spiker are very 
 meagre ; Goede indeed is unfortunate enough to bestow his 
 enthusiastic laudations of antique art almost exclusively on modern 
 works, and among the busts he does not find a single example 
 even of mediocrity ! Waagen’s short remarks are better. Wilton 
 House has, however, a great advantage over all other collections of 
 antiques in Great Britain in possessing a careful catalogue prepared 
 more than thirty years ago by Mr Newton, which with one exception 
 (cf. Battlesden) is the only scientific catalogue hitherto to be found 
 of any English collection. In it serious attention was paid for the 
 first time to the archaeological literature of the collection, and also to 
 the separation of the spurious from the genuine, though still with too 
 sparing a hand. I have throughout thankfully used Mr Newton’s 
 Catalogue as a foundation for my own, and at times, where my own 
 notices or other means of assistance did not suffice, I have given his 
 very words. 
 
 ENTRANCE HALL. 
 
 This room is decorated with four statues of colossal scale. 
 i a . Statue of Bonus Eventus. Clarac, in. 438 F, 
 803 A = v. 970 B, 2501 E. Creed, PL 24, “Pantheon.” The 
 powerful figure rests on the r. foot, the 1., a little raised, treads on 
 a snake Avith a double-pointed end to its tail, its head and neck 
 being broken off. A wide cloak covers the 1. arm, back, the Avhole 
 of the r. leg, and the 1. thigh. In the 1. arm (hand missing) the god 
 
WILTON MOUSE I b — I d . 
 
 671 
 
 holds a cornucopia! filled with grapes, ears of wheat, pine-cones, 
 apples, &c., accordingly with emblems of different seasons of the year. 
 R. arm missing, shoulder somewhat raised. The curly hair, tending 
 upwards over the forehead and falling down low on the back of the 
 neck, reminds one of the representations of Helios or of Alexander 
 the Great ; the features of the face are ideal (new : nose, mouth and 
 chin). The figure is good, of excellent decorative effect, and quite 
 unbroken. No restorations except on the face. H.2U5. [*£CIV] 
 
 i b . Statue of Apollo. Clarac, iv. 693, 1635 B, “Bacchus.” 
 Creed, PI. 36. The god rests on the r. leg; the body is rather de- 
 cidedly twisted ; the r. hand rests on the head, the 1. arm is lowered. 
 The slightly inclined head with long curls, with a top-knot ( korymbos ) 
 above the crown, but without any wreath or the like, is re-set, but 
 without doubt belongs to the statue (new : nose) ; a piece of the r. 
 hand on the head is also antique. New : the rest of the r. hand and 
 the forearm, the 1. hand, including the wrist, three quarters of the legs, 
 as well as the stem of a tree with branches and a quiver. The 
 lowered 1. hand must originally have held the lyre, or bow and quiver ; 
 had it been supported anywhere, the 1. shoulder must have been more 
 decidedly raised. The whole motive is little adapted for execution 
 on so large a scale. Pretty good work, well preserved in the antique 
 parts. H. about 2-15. [*CIF] 
 
 i c . Statue of Herakles. Clarac, v. 801, 2018. Creed, Pb 
 
 6. Kennedy, PI. 8. The colossal figure has an unusually decided 
 twist for a Herakles standing in repose ; one might conjecture a sup- 
 port on his r. side, and with this the somewhat weary expression of 
 the face would also agree best. New : both arms with their attributes, 
 the r. entirely, as well as the club, the 1. from above the elbow down- 
 wards, with the apples in the hand ; also the legs (of different marble 
 from that of the body), the feet being treated in the style of the 
 school of Michael Angelo. The bearded head, covered with the lion’s 
 skin, is re-set but antique (except the nose), and belonging to the 
 figure. Antique also is the skin on the back of Herakles. New, on 
 the contrary, and separately inserted, is the knot of the lion’s feet tied 
 before Herakles’ breast. Large pieces of marble are inserted in 
 the face, breast, 1. shoulder, and abdomen. The strong exaggeration 
 of all the forms of the body, the swelling muscles, &c., rather bring 
 to mind the Farnese Herakles. H. about 2 ’40. [* W~\ 
 
 i d . Statue of the elder Faustina. Clarac, v. 949, 2443 A. 
 Creed, PL 26. The motive quite resembles that of the matron from 
 Herculaneum in Dresden (Clarac, iv. 766, 1889), and is in this 
 
67 2 
 
 WILTON HOUSE I. 
 
 instance too, owing to its good execution, of excellent effect. The 
 head, which has never been detached, is a certain likeness of that 
 empress, and is undamaged with the exception of the nose and 
 chin ; the hair forms a crown of plaits on the top of the head. The 
 lowered 1. hand is not hidden in the cloak; it holds a stalk; for the 
 support of the object of which the stalk formed part, two puntelli are 
 introduced on the thigh, the lower with a dowel hole ; Bernoulli 
 conjectures that this object was a cluster of wheat-ears. In excellent 
 preservation. Greek marblgr H. 2 - oo. {*£ CW] 
 
 CLOISTERS. 
 
 i. Round altar: Dionysos and the Horae. This altar 
 is furnished with architectural mouldings at the top and bottom, and 
 has afield fora relief with a slight vertical convexity, about o-66 high, 
 the background of which has been completely chipped away. The 
 relief originally contained four figures in procession on a continuous 
 ground of rock. They were placed at the extremities of diagonals 
 of the altar which intersect at right angles; one of them is however, 
 as well as large pieces of the rocky ground, completely effaced. 
 The other three figures are seriously abraded, but not re-worked. 
 They stand very far apart from each other, and exhibit the hieratic 
 style. They recur collectively in very similar treatment on a krater 
 in Naples (Gerhard, Antike Bildwerke , PI. 13, 2. Gargiulo, Bare., 
 PI. 41, 42, drawn as early as in Cod. Coburg., no. 92 = Cod. Pigh., 
 no. 1 1 2); their interpretation as Horae, not Maenads, is cer- 
 tified by this comparison. The first place is occupied by Dionysos 
 with long hair and beard and a narrow fillet round his head, 
 in long chiton and a short cloak with zigzag folds girt slantwise 
 over it ; in the r. hand he holds out a kantharos, in the 1. he 
 holds straight upright a thyrsos adorned at the top with a fillet. 
 (This figure also recurs exactly on a three-sided pedestal of the Villa 
 Borghese ; cf. Beschreibung der Stadt Bom, in. 3, p. 241.) Behind 
 Dionysos a pretty female panther springs up at the thyrsos ; this is 
 designed with such freedom and softness that it decidedly deviates 
 from the style of the figures, and seems to be an addition devised to fill 
 the interval between one figure and another. Then follows the Hora 
 of Spring, very stiffly designed. A woollen chiton with a broad hem at 
 the bottom reaches down to the feet, over it another long chiton, over 
 that again a short cloak girt slantwise, which the Hora extends 
 before her with both arms like an apron ; what is held in it (flowers?) is 
 not visible. Over the forehead a stephane. (This same figure appears 
 on the above-mentioned Borghese pedestal.) Then follows a long 
 
WILTON HOUSE I e — 3. 
 
 673 
 
 blank, originally, it may be presumed, filled by the Hora of Summer 
 and Autumn, or by a bearded figure in short drapery which recurs on 
 kindred monuments (as the krater at Naples, the Borghese pedestal, 
 cf. Nibby, Mon. sceltidi Villa Borghese , PI. 13; a relief in the Louvre, cf. 
 Clarac, n. 132, no). The Hora of Winter comes last, characterised 
 by her complete envelopment in her drapery, even to the back of the 
 head and both arms ; the loose parts of the corner of her cloak are of 
 peculiarly stiff style, while in other respects this figure is better than 
 the others. Italian marble, not transparent, with well-marked black 
 spots and veins. The work, though not delicate, still is better than 
 much hieratic sculpture of the kind. The altar is finished off at the 
 top with a low slab, on the outer moulded border of which stands 
 the inscription (C. I. Gr., 38) : 
 
 MEHP QMpiH :^IONY/ON : AhhA OM on 9 oh : 
 £AKXEY T Ok A : XAH© OKAfrEA OH 
 
 1. e. /J-oWoi/Af f Aiovvaov ay\adp.opcf>ov, f 3 aKgevropa, £av 9 oi<apr]vov, “Let 
 us sing the beautiful Dionysos, the reveller, the yellow-haired.” The 
 epithets here bestowed on Dionysos are taken from a late hymn which is 
 contained in the Anthol. Palat., 9. 524. The characters are scratched 
 on the surface, rather than carved, with uncertain hand; the A : E 
 in the two last words seem to have been written subsequently on 
 a part of the marble already injured. From a palaeographic point 
 of view, the strange mixture of characters of different kinds, earlier 
 and later, is remarkable, as are also the unprecedented shapes of the 
 letters (for h cf. no. 48), and lastly the clumsy strokes (of the A and 
 E). All this is so unexampled that its spuriousness is beyond a 
 doubt ; indeed the forgery is very likely of a modern rather than an 
 ancient date (cf. Bockh, C. I. Gr. ; Kirchhoff, Studien zur Geschichte 
 des griech. Alphabets , 3rd ed., p. 101). Cf. below, on no. 48. H. 
 096. Diameter 0-57. [' *CW J 
 
 i e . Modern urn, of limestone. Apollo, accompanied by 
 Artemis, is receiving a roll from Nike (the well-known representation 
 which occurs on the so-called kitharoedic votive reliefs). Behind them 
 sits Zeus. The inscription D M | Hor : Flacc : riis : mar: \ paniph : 
 min: fafecit is designed to stamp the urn as the cinerary urn of 
 Horace ! It is, of course, modern, as is the entire urn. ['* CIV] 
 
 2. (Maz. ?) Bust of “ Alexander the Great.” Modern. [*] 
 
 3. (Maz.?) Bust of Antoninus Pius. The nose, lower jaw 
 and neck restored. New also the mailed bust, of a variegated species 
 of marble. [*] 
 
 M. C. 43 
 
6 74 
 
 WILTON HOUSE 4—7. 
 
 4. Head of the bearded Dionysos, much broken; on a 
 modern terminal bust with the inscription Plato. [* 5 ] 
 
 5. (Maz.) Group of Herakles fighting with a Giant. 
 
 Clarac, v. 790 A, 1994 A, “Hercules and Achelous.” Creed, PI. 
 41. Arch. Zeit., i88r, p. 162. The group exhibits the bearded 
 Herakles, girt with the lion’s skin, with his legs astride as he grips 
 with his 1. arm a bearded male figure, whose legs end in a snake, 
 and lifts up the r. arm to deal a blow with the club, while the foe has 
 both arms tight round Herakles’ body. The Mazarin inventory 
 mentions under no. 43, “ 11 ercule qui presse et estouffe Prothee avec 
 son bras gauche, levant de la main droite la massue pour Tassommer, 
 haut de trois palmcs, on environ,” and under no. 44, “ Un autre sem- 
 blable, de mesme posture et de mesme hauteur 1 In Wilton there is 
 written on the pedestal, “XVII. HPAKAE 2 AXEAG 02 ”. Newton 
 has rightly observed that the representation does not suit Acheloos. 
 New: of Herakles the head, both arms, the r. leg, at least from above 
 the knee to the ankle, the 1. leg from below the knee to the foot, if 
 indeed both feet are not modern too ; of the foe, mouth and beard, 
 and at least the greater part of the snakes. Newton regarded as 
 probably antique the part of the snake on the 1., which is attached to 
 the r. thigh of Herakles, and perhaps the head of the other snake; still 
 to me, as to Conze, the genuineness of the whole of the legs seems very 
 questionable. At any rate Newton’s interpretation of the figure as a 
 snake-legged Giant is probable ; nay, certain, confirmed as it now 
 is by comparison with a very similar group among the famous reliefs 
 of the altar of Pergamon, now at Berlin ; this has been well shown 
 by Furtwaengler (Arch. Zeit., 1 . cit.). The Giant has pointed ears ; 
 the features of the face recall more than anything the Borghese and 
 one of the Capitoline Centaurs. Unfortunately the group is much 
 broken and disastrously re-worked. H. o - 93. [*CJV] 
 
 6. (Maz.?) Bust of Antoninus Pius (according to Ber- 
 noulli), the forehead encompassed by curls and wreathed with laurel. 
 Much corroded and restored ; variegated draped bust new. Nomi- 
 nally Persius poeta ; Newton thought of Hadrian. [*_Z?] 
 
 7. Head of a bearded Greek, encircled with a broad fillet; 
 perhaps an idealized portrait. The uninjured head exhibits a strange 
 kind of superficial treatment of the beard and hair. On the modern 
 terminal bust the inscription Aristoteles. Bernoulli, Pom. Ikonogr., 1. 
 p. 15, points out the likeness of this bust to the portrait of Numa on 
 Roman coins (cf. ibid., Plate of coins 1, 5). (Hardly identical with 
 Inv. Mazarin, no. 82, “ Une teste d’Arisfofe, ayant une grande barbc ct 
 
WILTON HOUSE 8— II C . 
 
 675 
 
 tin bonnet , avec son baste sans espaul/es, convert d'une robe et if un 
 capuchon de marbre d'Egypte, sur son pied de mesme marbre , tout d’une 
 pi£ce.”) [*P] 
 
 8. (Maz. ?) Statue of a sleeping Nymph. Clarac, iv. 750, 
 
 1829 C. Creed, PL 33. Attitude and drapery correspond entirely 
 to the famous statue of Ariadne or “ Cleopatra” in the Vatican ( Mus . 
 Pio-Clem ., it. PL 44); the waves on the plinth however seem to indi- 
 cate a Nymph, and the statue may have been meant to be placed on 
 the margin of water. The 1. breast is exposed. On the rock on 
 which she lies appears a lizard, a bird eating a small snake, a snail, 
 a stork biting the tail of a lizard. Restored : only the fingers of the 
 r. hand. Very decorative sculpture. L. 0-83. [* W~\ 
 
 9. (Maz.?) Head of Nero with indented crown. Kennedy, 
 PL 6. Modern copy of the basalt head in Florence, Uffizi, no. 65. 
 [**] 
 
 10. (Maz.?) Female draped figure. Clarac, 111. 538 B, 
 1122 B, “Muse.” Akin in all respects to the Vatican “Nemesis” 
 (Mus. Pio-Clem. 11. PL 13. Clarac, iv. 759, 1854) and a Giustiniani 
 statue (Clarac, iv. 773, 1925). She is stepping slightly forward with 
 the 1. foot. Her chiton is ungirdled, and she is raising its upper fold 
 with her 1. hand. Drapery, of Greek style, simple and pretty. R. 
 arm lowered. Restored : head with stephane, neck, both arms from 
 above the elbow downwards, with the flute in the r. hand, and a piece 
 of the corner of the drapery near the 1. hand. Good decorative work, 
 confining itself to the most important points. Thasian marble. H. 
 no. Cf. Inv. Maz., no. 57, “ Une femme en habit sacerdotal , avec un 
 diadbne sur la teste , soustenant son habit de la main gauche , haute de six 
 palmes, ou environ.” [*] 
 
 11. (Maz.?) Bust of “ Didius Julianus,” according to 
 Bernoulli probably of Marcus Aurelius, badly restored. New: 
 nose, mouth, beard, variegated draped bust. \*P~\ 
 
 n a . Head of “ Libera.” Modern. 
 
 n b . (Maz.?) High relief : two portrait heads, opposite to 
 each other, nominally M. Aurelius and Faustina, which nomenclature 
 is erroneous, but it may express the intention of the artist, who was to 
 all appearance modern. Inv. Maz., no. 1 15, “ Une mcdaille dc marbre 
 blanc , avec deux testes en profil qui se regardent, une de Marc Aurelle 
 et V autre de Faust ine, enchassee d'une bordure de marbre gris.” 
 [*B] 
 
 ii c . Female head, bound with diadem, called “ Phaedra” 
 'The face restored. 
 
6y6 
 
 WILTON HOUSE 12 — 1 7 . 
 
 12. (Maz. ?) Bust of “ Messalina.” Head and bust 
 modern. \*B\ 
 
 I2 a . Female bust, shoulders draped; perhaps Diana. 
 
 13. Male torso, of an athlete rather than of a Hermes, named 
 
 on the pedestal “ Antinous.” Clarac, v. 953, 2446 A, “ Marc-Aurele.” 
 Creed, PL 27. The torso exhibits the flowing position of the Bel- 
 vedere Hermes, and the restorer has also caused the hand to rest on 
 the hip. New : head, both arms, both legs from the abdomen. H. 
 abt. 2-06. \*BW] 
 
 I3 a (over the Library door). Relief of Vesta. Fabretti, 
 De columna Trai., p. 339. Montfaucon, Ant. ex pi., 1. PI. 27, x. On 
 a chair with a high back sits Vesta, draped with chiton and cloak, 
 which latter veils the back of the head ; over the brow a stephane. 
 On her 1 . arm she holds a sceptre, in the r. hand a cup, out of which 
 a snake drinks, raising itself from a cista under Vesta’s chair (cf. 
 Preuner, Hestia- Vesta, p. 242). The cista is high and round ; ears 
 of wheat hang down over the edge, and on the top lies a round 
 loaf of bread of the form known from Pompeii and otherwise. 
 Below, the inscription : Vestae sacrum | C. Pupius Firminus et | Muda- 
 sena Trophime (C. I. Lat., vi. 1, 787). This Firminus was in the 
 year a. d. 140 under Antoninus Pius, quaestor of the guild of bakers, 
 corpus pistorum (ibid., no. 1002); presumably he is the person who 
 dedicated also a relief to Aesculapius and Hygia (numinibus sanctis, 
 ibid., no. 546, cf. Aldroandi, Statue di Roma, 1556, p. 194). Our 
 relief was found not much before 1690 a little below the Villa 
 Mattei. [*] 
 
 14. (Maz.?) Torso restored as Hermes. Clarac, iv. 660, 
 1517 A. Creed, PI. 28. Antique: only the rather beautiful torso down 
 to about a third of the thighs, and the shoulders (both arms lowered). 
 H. abt. 2 - o 6. Inv. Maz., no. 66, “ Mercure nud, un casque aisle a sa 
 teste, tenant son caducee de la main gauche et a F autre une bourse, haut 
 de cinq palmes A [*] 
 
 15. (Maz. ?) Bust of a bearded Greek, on the bust the 
 inscription Anacreon. Modern. [*A] 
 
 16. (Maz.?) Bust of “Asinius Pollio.” Modern copy of 
 the so-called Aratos in Naples. \*B~\ 
 
 17. Greek sepulchral relief. Two pillars support an archi- 
 trave ; the r. upper corner broken off. On the r. two men lying on 
 a couch, beardless, nude above, with cloak over legs ; the face of the 
 one to the r. destroyed: long fillets hang down* on the shoulders. 
 This one holds in the r. hand a flat plate ; the other extends his 
 
WILTON HOUSE 20 — 24. 
 
 677 
 
 r. hand towards the food which lies on a low table. On the r. by 
 the table a krater stands on the ground; by it a diminutive attendant 
 looking up at his master, and holding an ewer in the r. hand. To 
 the 1. of the couch an altar with burning flame ; a boy in a sacrificial 
 apron holding on the 1. hand the flat basket ( navovv ) leads up a 
 fleecy ram which is to be offered to the deceased in their character 
 of heroes (a^pwio-^eVre). Round the altar three female figures 
 approach, the first with a wreath or twisted fillet in her hands, the 
 second with the r. hand raised in supplication, the third with her 
 hand in her drapery. Lastly a female attendant, recognisable by the 
 hood (/c£Kpu<£aA.os), with a cup in her r. hand, a large round box 
 (ki/ 3 cdtos) on her head. Commonplace style of about the third 
 century b.c. Greek marble. H. C36. L. o'53. [*C] 
 
 20. Bust of Metrodoros. New: nose, bust of gray marble 
 with the inscription Aristophanes. \*BC ] 
 
 21. Statuette of a boy running. Clarac, v. 878, 2237 A. 
 
 Creed, PI. 55. A boy hastening forwards, the 1. leg in advance, with 
 the upper part of the figure strongly inclined forwards ; the r. arm 
 raised, the 1. lowered, both somewhat bent. The figure somewhat 
 reminds us of the bronze figures from Herculaneum, in Naples 
 (Clarac, v. 860, 2196 B; 863, 2196 A); cf. also Mus. Chiaram., n 1. PI. 
 37. The elegant curly head, with an expression of great suspense, 
 seems to belong to the figure ; the sunk pupils enhance the effect. 
 New : the 1. forearm, r. arm, and the feet ; the figure is moreover 
 broken in several places. H. o'56. [*] 
 
 22. (Maz.) Statuette of a boy. Clarac, v. 87S, 2237 C. Creed, 
 PI. 56. He stands in a quiet attitude, upper parts of both arms 
 lowered. Obliquely across the breast from the r. shoulder runs a 
 string with small amulets, one little square plate, one heart-shaped, 
 one triangular, one ring-shaped, one in the form of a small rectangle. 
 The figure much mutilated. New : neck, arms with the deeply 
 hollowed cymbals in the hands, and perhaps the entire legs, possibly 
 except the 1. thigh ; the curly head antique but not belonging to the 
 figure. H. o - 68. Inv. Maz., no. 104, “ Un enfant nud, tenant deux 
 gobeletz entre ses mains , haut de trois palmes , ou environ." [*] 
 
 24. (Maz.?) Bust of “ Coriolanus.” A Roman with scanty 
 beard and hair coming down on the forehead like a wig, even more 
 than is the case with portraits of Hadrian. Eyes staring, the corners of 
 the mouth drawn back, the expression stupid. Head much defaced 
 and of very doubtful genuineness. The bust certainly modern. 
 
678 
 
 WILTON HOUSE 25—29. 
 
 25. Bust of Antonia. The profile rather sharper and the 
 plait somewhat thicker than in the bust in London, Lansdowne 
 House, no. 46. A ribbon runs through the hair. New : nose. 
 Much polished. Of this pretty head there is a replica in the 
 Louvre. [*A>] 
 
 27. Mosaic relief: Herakles and a Hesperid. Kennedy, 
 PI. 7. This specimen is an imitation of the antique fragment of a 
 marble relief in the Villa Albani (Zoega, Bassiril., PI. 64. Braun, 
 Zwolf Basreliefs, PI. 11), which has subsequently been restored by 
 the addition of another Hesperid, of which a slight trace had been 
 preserved behind Herakles’ back; there are early drawings of the 
 antique portion in Cod. Coburg., no. 23 Matz = Cod. Pigh., no. 39 
 Jahn (copied in Beger’s Hercules ethnicomm , PI. 12), and in Windsor, 
 Vol. 11. fol. 45. The field of the relief is blue, the ground at the feet 
 of the figures whitish, below that a bright greenish blue, quite at the 
 bottom a brownish blue. On a blackish rock sits Herakles, facing r.,a 
 golden fillet in his hair ; club and chlamys brown, as also the tree, up 
 which a greenish blue snake coils itself; on it hang four golden apples. 
 The Hesperid who stands opposite Herakles wears a greenish blue 
 head-cloth and under-garment, over the latter a reddish brown cloak, 
 lastly a golden fillet in the hair ; the three apples on the twig she 
 holds are also golden. R. and 1. rather large portions of the field are 
 fairly free. The same scene with the same technical treatment, the 
 figures raised from the field in relief, recurs both in Madrid and in 
 Vienna. As to the source whence our example was derived, the 
 books on Wilton say nothing; the statement made by Spiker and 
 Waagen, that it came from the Arundel Collection, rests perhaps on 
 some misunderstanding. According to Winckelmann ( JVerke, in. 
 p. xxxiii), it came to Wilton House through Sir Andrew Fountaine, 
 to whose friendship for Earl Thomas two busts of Sir Andrew, in 
 Wilton, bear witness, one by Ploare, the other by Roubiliac. Waagen 
 and Conze do not doubt the genuineness of the specimen ; Newton 
 more prudently regards it as “ perhaps antique.” After the thorough 
 disquisition of R. Engelmann ( Rhein . Mus., xxix. pp. 561—589) it 
 can no longer be doubted that mosaic relief is an invention of the 
 last century only, and that all known examples are impostures forged 
 at that period. Again the style of the setting of the several stones, 
 so that broad white seams of cement are to be seen between them, 
 is not antique. H. 0-41. L. 0-33. [*CJF] 
 
 29. (Maz. ?) Bust of an elderly Roman, with short-cut 
 hair and beard, of a late period; certainly not “ Potnpeius." The 
 
WILTON HOUSE 30— 35. 679 
 
 genuineness is not quite free from doubt. Much battered. Draped 
 bust modern. [*£?] 
 
 30. (Maz. 55) Bust of Julia Mammaea, or. a person very 
 like her, nearly akin to the bust in Mongez, Iconogr. romaine , PI. 52, 
 only that the hair behind is set up in a broad flat plait. The eye- 
 brows almost meet. The head is turned r. New : nose. Very 
 good head. Named Caesonia in Wilton House. Inv. Maz., no. 
 55, “Une teste de femme, avec son buste habille (Tune chemize et d' une 
 drapperie...de marbre blanc [*/> W~\ 
 
 31. (Maz.) Relief. Creed, PI. 9. On a modern field there is 
 set a horseman turned r., in high relief, completely detached from 
 the ground. He wears hose and a cloak; obviously a barbarian; 
 with this the curious details of the costume and the horse-trappings 
 agree. New : of the horseman, the head and the 1. leg; of the horse, 
 the 1. fore-leg and the hind quarters. Late sculpture; scarcely earlier 
 than the second half of the second century b . c . H. o - 65. L. 0-54. 
 Inv. Maz., p. 367, no. 121, “ Un bas relief de marbre blanc representant 
 Marc-Aurelle d cheval , rapporte sur un fonds d’ardotse, haut de deux 
 palmes et demie, oil environ." Kennedy tells the following story on 
 this (p. 57), in which he was partly anticipated by Creed, and which 
 probably goes back to Lord Pembroke himself. “ Equestrian Statue 
 of Marcus Aurelius, made at Athens and so esteemed, that the 
 Sculptor was sent for to Rome to make that, which is there in 
 
 Copper, as big as the Life To prevent the breaking, Card. Mazarin 
 
 had one side cemented to a marble &c.” [*] 
 
 32. Relief of a heroine beloved by Zeus. On the r. sits 
 a female figure on a rock, nude above, draped below, laying her 
 r. hand on the neck of Zeus, who sits by her, similarly half covered. 
 Zeus holds the thunderbolt in his r. hand; his r. foot is restored. 
 Before him stands an altar of incense ( thymiaterion ), at which a 
 female figure is offering. Below her is scratched in AN AX. Pretty, 
 but no doubt modern. [* CM ] 
 
 33. Relief. A bull led to sacrifice by the popa, and another 
 figure, both wreathed. From the triangle on the horns of the bull 
 hangs the sacrificial fillet ( infula ). 
 
 34. Double terminal head. Two Bacchic female heads, 
 one with a fillet, the other has rows of curls over the forehead, and 
 the hair braided. Noses broken, the rest in good condition. 
 
 35. Double terminal head: Aristophanes and Me- 
 nandros, here called Ianus et uxor. Replica of the double head 
 in Bonn {Mon. dell' Inst., v. 55. Welcker, Altc Denkm., v. PI. 3. 
 
68 o 
 
 WILTON HOUSE 36—48. 
 
 Kekule, Kuhstmuseum in Bonn , PI. 2, 1); there is another replica 
 in Naples ( Museo borbon, ., vi. PI. 43. Monum. ed Annali , 1854, PI. 7). 
 Aristophanes, bearded and not bald, is distinguished by the fillet; 
 Menandros beardless, with wrinkled forehead. The tips of both 
 the noses are broken off. Coarse work. H. o'2 7. L. of face 
 0-16. [*B] 
 
 36. Male double terminal head: a head like Seilenos, 
 with a beard which ends in leaves; the other head youthful. 
 Modern. [*B] 
 
 39. (Maz.?) Head of “ Philemon,” somewhat like Sokrates. 
 Modern. [*B] 
 
 40. (Maz.?) Bust of “ Matidia,” which nomenclature is cer- 
 tainly incorrect, the head-dress is however that of her time ; above, a 
 high knot (, korymbos ), behind, a structure of plaits like a nest. Good 
 head, neck and head in complete preservation. [*2?] 
 
 41. Double terminal bust of Dionysos, bearded, and 
 both heads with stephane, no wreath. Creed, PL 52. The shaft 
 modern. H. o - 2 7. [*] 
 
 42. (Maz.?) Small bust of Vitellius, rather than Titus as 
 the inscription says. Seems to be modern. [*j 5] 
 
 43. (Maz. ?) Small female Bacchic head, crowned with 
 ivy, and with a fillet round the forehead. New: drapery. [*] 
 
 46 (Valletta). Bust of Homer, of the type of the Naples 
 head (Tischbein, Homer nach Antiken , PI. 1). Beneath the fillet 
 remains of hair fall from the otherwise bald crown on to the forehead. 
 New: nose, 1. side of head from nose backwards, the whole of the 
 back of the head, the bust; much battered besides. This very coarse 
 copy still preserves traces of the effective, picturesque treatment of 
 the original. On its derivation from the Valletta Collection, cf. Ken- 
 nedy, p. 53, who boldly asserts that “the Emperor Constantine got 
 the Homer from Smyrna.” \*B] 
 
 47. Small head of a girl, named “Annia Faustina,” without 
 warrant. The wavy hair is brushed back in several divisions which 
 lie over each other, and is taken up behind like a bandeau. Pupils 
 expressed. Pretty little head. The only new part is the nose. 
 
 [**] 
 
 48. Votive relief to Zeus. Muratori, Thes. Inscr., 1. Plate 
 facing p. 35 (Birnard de la Bastie). Engraving by Tho. Langley, 1746. 
 BottigeBs Amalthea , hi. PI. 4 (K. O. Muller). Miiller-Wieseler, 11. 
 1, 9. Annali, 1874, PI. P, p. 184 (Matz); this last drawing too 
 gives no true representation of the style, which it makes appear much 
 
WILTON HOUSE 48. 
 
 68l 
 
 too coarse. See annexed woodcut : 
 
 On the 1. there is seated (whether the seat originally had a back or 
 not is uncertain, as the 1. border of the relief is broken off) Zeus, 
 his r. hand supported on the seat, and holding an eagle on the 
 advanced 1. hand, as is so often seen on coins. The eagle’s 
 head is re-worked, the very sharp bend of the beak is still plainly 
 recognisable. A cloak covers the 1. shoulder of Zeus with the 
 upper part of the arm, the back, stomach and legs. A fillet 
 traverses the hair, which is in part brought over it. The beard is 
 of an unusually clumsy shape, as also are the profile and the mouth; 
 the bad shape of the eye is due only to retouching, the inner corner 
 being still recognisable in its original position. The feet with soles 
 under them are drawn back somewhat awkwardly, and only touch 
 the ground with the toes, which are extraordinarily long and much 
 twisted. Before Zeus stands an altar for incense ( thymiaterion ), on 
 a three-sided pedestal supported on three feet, with several cups over 
 it. On the other side of it, on a high tripod with strangely bent legs, 
 is a cauldron ( 'lebes ) into which a youth dips both his hands from the r. 
 He is of very powerful forms, especially in the profile of his back. His 
 legs are wide apart, the r. advanced; the head is much bent forward. 
 The shape of the head is unusually high ; the profile again is coarse, 
 
682 
 
 WILTON HOUSE 48. 
 
 especially the clumsy nose, the eye on the other hand is delicately cut. 
 The ear stands very far back, the upper lip is short, the chin round 
 but not very projecting, the hair only slightly rendered. The whole 
 scene is kept in unusually low relief, and is moreover much rubbed ; 
 perhaps in consequence of this many alterations have been in- 
 troduced, e.g. in the eye of the Zeus, also in the breast and body 
 of the same figure, in which the sausage-like muscles and the 
 wretchedly treated margin of the ribs have been manifestly made 
 prominent by paring the adjacent parts ; perhaps this also accounts 
 for the absence of the youth’s pudenda. This re-working, which 
 however has not disturbed the external outlines, is certainly of 
 ancient date ; for not only is the grayish, transparent tone of the 
 marble unaltered by it, but also the yellowish rust of oxydation, 
 which has developed in the course of time, is in almost all parts 
 equally distributed over the surface. Entirely different is the case 
 with the modern re-working, by which the outlines have been in 
 several places retraced with a sharp instrument, and consequently 
 are here and there defaced ; all these lines are as white as sugar. 
 After all these re-workings are abstracted, I do not hesitate to agree 
 with Conze in referring the relief to the fifth century b. c., as Matz 
 too thought when he first examined the original (Arch. Zcit., 1873, 
 p. 30) ; and to some district of Greece which still lay under the 
 influence of archaic art. The view of Muller, Newton, and Waagen, 
 which was subsequently adopted by Matz after study of an unsatis- 
 factory drawing (Annali, 1874, pp. 184 ff.), that the relief is an 
 antique artificial imitation of really archaic art is in my opinion 
 decidedly erroneous. The youth is angular, but excellent of his kind; 
 the 1. shoulder for example is absolutely distinguished ; he recalls in 
 stylistic feeling throughout the youths forming the handles of two 
 bronze mirrors of Aegina and Sicily (Pinder, Fiinfkampf \ Plate. 
 Gazette archeol ., 1875, PI. 35). The long twisted toes of these youths 
 recur in our specimen on the feet of the Zeus; his ungainly seat again 
 recurs in the Athene (so-called Nymph) of a metope from Olympia 
 (Muller- Wieseler, 1. 30, 129); the wave-like, rounded, parallel folds 
 of the cloak on Zeus’ lap in a certainly archaic female torso in Athens 
 (Lebas, Voyage archeol., Mon. fig, PI. 3, 2). On the Zeus again 
 sundry details are excellently modelled, and show how effective the 
 whole was originally. The altar for incense too is very well designed. 
 That the character of the relief is originally archaic seems to me as 
 certain as that it is not Attic; the whole feeling for form is un-Attic. 
 The marble again is certainly not Pentelic, but apparently Parian of 
 
WILTON HOUSE 49. 
 
 6S 3 
 
 extremely fine grain, probably lychnites. The whole seems rather to 
 indicate Doric art. Were not Kennedy so absolutely untrustworthy 
 an authority, one might give credit to his statement that the relief 
 “was brought out of Peloponnesus” (p. xxvi) ; only the addition 
 “where it was most probably made for a Victor in the Olympic 
 games” shows the origin of the combination, the inscription which 
 is set between the eagle and the youth (C. I. Gr. 34) : 
 
 ma/^oeo*: aiooy:^y 
 
 :sn 3:1 14: 1 
 
 NIKfl : PpNTAOhOY: 
 
 *o<VAn 
 
 l.e. Mai'0eos AWov ev^apujTel Au t7ri viKrji TrevTuOAov 7raiSo9. This 
 inscription, since Maffei’s discussion (Mas. Veron., p. ccccx) often 
 condemned, by others defended, either as original (Muller), or as an 
 antique artificial imitation of an earlier inscription (Newton, Matz), is, 
 according to my judgment, which coincides with Conze’s, decidedly 
 modern. The letters, scratched on waveringly by an uncertain hand, 
 are white as sugar, and that too not owing to a modern re-working, 
 as has been assumed, but ever since their first execution. Repeated 
 careful examination, also after Matz’s second memoir had appeared, 
 has convinced me that there is nowhere the slightest trace of an earlier 
 writing to be discovered under the white lines of the letters, while 
 under the outlines of the figures which are re-traced by such white 
 lines, the original lines can almost universally be traced. In fact, 
 the similar confusion of styles which characterises the whole palaeo- 
 graphy, the recurrence of S for A and the acute-angled A, the twisted 
 stroke in the X, &c., throughout confirm Boeckh’s conjecture that 
 this inscription is to be assigned to the same learned forger as is 
 that of no. 1. The forgery was unquestionably not originated in 
 Wilton House (the Greek inscriptions by Earl Thomas are in another 
 style!), but is undoubtedly earlier. Both specimens, nos. 1 and 48, 
 must accordingly have come to Wilton by the same route. H. o - 39- 
 L. 0-52. [*CMW\ 
 
 49. Middle piece of the front of a sarcophagus, similar 
 to, but not identical with, Gori, Monum. libert. Liviae , PL 6. The 
 three Graces in the usual arrangement ; the one on the r. holds in her 
 1 . hand a twisted wreath of flowers (vtto6v[m s), the identical attribute 
 in the r. hand of the figure on the 1. is restored. On either side a 
 support (vVocrrarr;?) in the shape of a tuba set on the ground, on 
 
684 
 
 WILTON HOUSE 50— 60. 
 
 which lies a drapery. In the upper part of the field on each side an 
 Eros, both supporting a garland which hangs down behind the Graces. 
 New: of the Graces, the feet, parts of legs and bodies ; of the Eros 
 on the 1. only the left foot is antique. H. 0-38. L. 0-35. [M] 
 
 50. Pine-cone, and foliage in relief ; from a larger composition. 
 
 51. (Maz. ?) Bust of an athlete, with crisp hair, here 
 christened Dolabella. Very insignificant. [*-5] 
 
 52. Torso of a boy. Clarac, v. 878, 2237 B. Creed, PI. 57. 
 Antique : only the torso, half the advanced 1. thigh, a third of the 
 drawn- back r. thigh. The 1. arm was lowered, the r. raised. The 
 restorer has given the r. hand an apple or sphere. The curly head 
 seems not to belong to the figure, but this is not certain. H. 0-76. [*] 
 
 53. Statuette of a youthful Satyr. Clarac, iv. 724, 1671 F. 
 
 Creed, PI. 58. The Satyr stands with the 1. elbow leant on the stem 
 of a tree, which is overgrown by a vine. He looks up at a bunch of 
 grapes, which he holds up in the r. hand. The slightly bent 1. leg only 
 rests on the toes of the foot, as in Michel Angelo’s Bacchus and similar 
 figures of his school. The r. arm has been broken off, but is re-set. 
 The whole piece is of the same marble. The Satyr is much polished, 
 the tree and vine very dry. In my opinion the whole figure is 
 modern. H. 0-83. [*] 
 
 55. (Maz. ?) Bust of Vitellius. Modern. Cf. Inv. Maz., 
 
 no. 80, “ Une teste de V Empereur Vitelle , avec son buste arme , un 
 manteau snr I’espaulle gauche et un masque sur la poitrine , le tout de 
 marbre blanc." 
 
 56. Statuette of a Roman, with the inscription M. 
 Antonins. Clarac, v. 921, 2345. Creed, PI. 61. Kennedy, PI. 9. 
 A man, merely draped in the pallium, which leaves the breast free, 
 with his 1. arm akimbo and hidden in the drapery, steps forward some- 
 what with the 1. leg. By the 1. foot on the ground there lies a dolphin, 
 under which some water is to be seen. New : the Agrippa-like head 
 and the raised r. arm. Pretty figure, with a free pose and a good flow 
 of folds ; sculpture good and fresh, but not delicate. H. ro5. [*£] 
 
 57. Bust of a woman, inscribed Porcia. Modern. [£] 
 
 58. Bust of a man, wrongly named M. Aurelius. Modern. [P] 
 
 59. Fragment of a relief. A boy, his head and shoulders 
 hidden in a large mask of Seilenos, walks r., stretching his hand 
 through the opened mouth of the mask and stealing fruit from an 
 altar which is entwined by a wreath. For similar pranks cf. O. Jahn 
 in the Allgem. Monatsschrift fur Literatur , 1853, pp. 537 ff. [*J 
 
 60. Sarcophagus. Gori, Collib. Liviae , PI. 10 A. Ghezzi, 
 
WILTON HOUSE 6 \. 
 
 685 
 
 Camere sepolcr. de’ Hberti di Livia Aug ., PI. 8, F. Piranesi, Antich. 
 Rom., hi. PI. 27, J. In the central field two Corinthian columns 
 support a pediment, the field whereof is adorned with a wreath ; 
 on the r. and the 1. a palmetto ornament as akroterion, and on each 
 slope of the roof a hippocampus. Below the pediment the doors of 
 the grave, one fold of which is half open. Both folds have on 
 the upper part a gorgoneion, on the lower a lion’s head, as symbols 
 to avert evil. On either side a large fluted field, at each end a 
 Corinthian column. On each side a griffin. L. 2 - i 6. H. o'6S. 
 D. o‘59. The sarcophagus comes from the Columbarium dis- 
 covered on the Via Appia before the Porta San Sebastiano in 1726 ; 
 cf. nos. hi, 129, 143, 155. [*M ] 
 
 61. (Maz. ?) Front of a sarcophagus: adventures of 
 Meleagros. The representation comprises three intrinsically con- 
 nected scenes, proceeding from 1. to r., intrinsically connected. 
 First Scene: the fight with the sons of Thestios. On the ex- 
 treme 1. a tree, entwined by a snake (upper and lower corners 
 restored). Next stands Meleagros with drawn sword (r. hand and 
 half the sword new), in the 1. the boar’s skin, which has slipped on 
 to the ground. Meleagros sets his r. foot on the body of one of 
 his uncles, which is stretched on the ground, whose 1. hand has still 
 hold of the skin ; a second, bearded Thestiad, with a small cloak and 
 a spear (? upper end restored), draws his sword and presses on 
 Meleagros. In the background a younger companion of Meleagros 
 with chlamys and spear. — Second Scene : Althaea at the altar. 
 Althaea, mother of Meleagros, stands in most violent movement, witli 
 fluttering chiton and cloak, throwing the fateful brand into the 
 flame of the altar, while she turns away her face in horror and makes 
 a deprecatory motion with her 1. hand. An Erinys, who touches her 
 on the shoulder, stands behind the altar with brandished torch, in 
 girdled chiton, with fluttering hair. Between the two in the back- 
 ground the Moira with the roll of fate in her hand. — Third Scene : 
 death of Meleagros. On the couch, which stands on a high, decorated 
 basis, lies the dead Meleagros at full length, his stomach, hands, and 
 legs covered with a cloth. By him stands, grieving, the aged Oineus, 
 bearded, in cloak and shoes, supported on a knobbed stick; he sets 
 the 1. foot on the above-mentioned basis. Leaning against this stands 
 on the 1. a large, round shield, ornamented with the gorgoneion in the 
 middle of a design of leaves and with sprays on the border; on the 
 basis further to the r. a helmet, then a sword, then an ewer. Behind 
 the couch are three figures of mourners with the upper part of their 
 
686 
 
 WILTON HOUSE 62—66. 
 
 bodies visible : the old nurse, with dishevelled hair, both arms thrown 
 back with most excited movement; a younger female, perhaps a 
 sister of the deceased, weeping, raising the 1. hand hidden in the 
 drapery toward her face; lastly the paedagogos, who perhaps was 
 originally placing the obolos in the mouth of the dead hero (cf. Zoega, 
 Bassir., PI. 46). At the head end of the couch stands Atalante, 
 in short hunting costume, turned away, her head mournfully sup- 
 ported on her r. hand (new : r. forearm) ; by her a dog looking up at 
 her. On the extreme r. an arched doorway. The sarcophagus is of 
 ordinary work, in excellent preservation. An early drawing, from the 
 Dal Pozzo Collection, is in the possession of Mr Franks in London, 
 another is in the Cod. Coburg., no. 222 Matz. L. 2U5. Inv. Maz., 
 no. 125, “ Un autre has relief. \ plus petit [than no. 163], representant 
 la mart de Meleagre et diverses figures." [ * CMW ] 
 
 62. A crouching Seilenos. Clarac, iv. 730 A, 1755 D 
 (bad). The plump Seilenos has seated himself on the ground, with 
 both knees drawn up, and raising with both hands a high, richly 
 ornamented kantharos to his mouth. His longing to drink can be 
 discerned in his bloated face. His drapery consists of anaxyrides, 
 a close-fitting dress which even covers the arms to the wrist, and the 
 legs; of this only a little is visible (the r. knee, lower part of 1. leg, 
 and a piece of both arms), as the whole figure is enveloped in a lion’s 
 or panther’s skin, the jaws of which show their teeth over Seilenos’ 
 forehead; below, a thick fillet goes round the forehead. The effect 
 of the whole figure is strange and comic. New : only the 1. foot. 
 Coarse Greek marble. Clumsy workmanship. H. o - 39. [ # W ] 
 
 63. (Maz. 133) Bust of a beardless Roman, called “Vibius 
 Volutianus.” The mouth projects strongly; beard and moustaches 
 weak. Pupils expressed. New: tip of nose. Certainly antique. Inv. 
 Maz., no. 133, u Une teste de marbre blanc, sans buste.” [*Z?] 
 
 64. (Maz.?) Small head of Artemis, with a fillet passing 
 
 through the wavy hair, which is brushed off the face; in the middle 
 of the fillet a hole for the crescent. Pupils slightly given in outline. 
 New : nose. The neck was intended for insertion into a statue. 
 On it the modern inscription rPY<f>INA. H. o - 29- L. of face 
 0-14. [*] 
 
 65. (Maz. ?) Bust, a head with a Bacchic fillet round the fore- 
 head, on a mailed bust, all from one piece; christened Pindar. 
 Modern. [*A] 
 
 66. (Maz. 13) Bust of a Roman lady, of the beginning of 
 the third century a. d., with the head-dress of Julia Mammaea, but 
 
WILTON HOUSE 67 — 74. 
 
 687 
 
 hanging lower on the nape of the neck. The head is prettily in- 
 clined a little to its r. Re-worked. New : tip of nose, draped bust 
 of variegated marble. Inv. Maz., no. 13, “ Une teste de femme, 
 avec un buste d'atabasfre brim.” [* 7 ?] 
 
 67. (Maz.?) Bust of Vespasian, whom in fact the head some- 
 what resembles. The slight beard is only rendered by marks of the 
 chisel. The bust, with the transverse strip of the toga (so-called 
 laena ), is unbroken. The genuineness is very doubtful. [*A>] 
 
 68. (Maz.?) Statuette of Dionysos. Clarac iv. 676, 1563. 
 Creed, PI. 39. The youthful god, nude except for the nebris which 
 hangs slantwise over him, rests on the r. foot, lowering the r., raising 
 the 1 . arm. New: the head crowned with ivy, the 1 . arm with the 
 bunch of grapes, the r. hand, lower part of r. leg, half the 1. leg, 
 besides half the stem of a tree. Superficial workmanship. Coarse- 
 grained Parian marble. H. t - o 5. We may compare Inv. Maz., 
 no. 34, “ Bacchus nud , tenant en sa main droite un raze appuye sur un 
 tronc et de sa main gauche une grappe de raisin , haut de six palnies et 
 demie [*] 
 
 69. (Maz.?) Bust of Caracalla, with a sharp turn to its r. 
 shoulder. Pupils expressed. The mailed bust unbroken. All in 
 excellent preservation except the nose and the lobe of the r. ear, 
 which are restored. This bust is of good workmanship and may be 
 antique, still its genuineness cannot be warranted. [*A>] 
 
 70. (Maz. 83) Group of Seilenos with the infant Diony- 
 
 sos. Clarac, iv. 724, 1680 B. Creed, PI. 40. This is a poor and 
 very much spoiled replica of the often repeated and favourite group, 
 in which only the torso of Seilenos is antique (broken across the 
 middle) together with the thighs and the shoulders, and on the 1. 
 shoulder the r. hand of the child, which has offered the hint for the 
 restoration. H. 1-26. The numerous marks of the hammer indicate 
 the origin from the Mazarin Collection. Inv. Maz., no. 83, ‘ ‘ Saturne 
 nud, couronne d' espies de ble, tenant entre ses bras un petit enfant appuye 
 sur son cote gauche, haut de cinq palmes et demie , on environ .” [*] 
 
 71. (Maz.?) Relief of Kleopatra. Modern. Inv. Maz., 
 no. 1 1 6, “ Une medaille ronde de bas relief d’une teste de Cleopatre a 
 demi destachee , avec son buste h demi nud , ayant un serpent sur Vespaule, 
 le tout de marbre blanc.” 
 
 73. (Maz.?) Female head of ideal features, a fillet through 
 
 the hair. Small scale. Draped bust of variegated marble. The 
 whole modern. \*B~\ 
 
 I 74. (Maz.?) Egyptian statue. Al. Gordon , An Essay towards 
 
688 
 
 WILTON HOUSE 76—84. 
 
 explaining the hieroglyphical figures on the coffin of the ancient mummy , 
 belotiging to Capt. Will. Lethieullier , Lond. 1707, PI. 10 (at that 
 time already in Wilton House). Creed, PL 19. Kneeling statue of 
 Hefeknecht, a high official of the 26th dynasty (seventh century b. c.), 
 holding on his knees a portable shrine with a statue of Osiris ; 
 dedicated to the god Phtha. Head and breast are falsely restored 
 as those of Isis. Basalt. H. 0-89. According to Kennedy, p. 37*, 
 the statue comes from the Mazarin Collection. [IP] 
 
 76. Three-sided pedestal, perhaps of a candelabrum; a hole 
 on the flat top. A. Seilenos, girt with an apron, stands facing r., a 
 lowered torch turned backwards in the r. hand, holding a dish full of 
 fruit on his 1. hand. B. Satyr, dancing r., with head thrown 
 back, holds behind him in his r. hand an upright thyrsos, reaching 
 out a kantharos in his 1. hand; the nebris fluttering round his 1. arm. 
 C. Maenad, dancing r., the 1. arm upraised to the front, the r. arm 
 lowered behind. Coarse Roman work. H. 0-42. L. o - 33- [*] 
 
 78. Modern copy of the bust of the physician M. Modius 
 Asiaticus, in Paris (Visconti, Iconogr. grecquc, 1. PI. 33). This bust 
 was obtained by Earl Thomas from the Duke of Argyll. Cf. London, 
 Stafford House, no. 3. Oxford, no. 238. There is another copy in 
 the Museum at Bale. 
 
 79. (Maz. ?) Bust of a boy, named, but without warrant, 
 “Alexander Severus.” Head and neck uninjured, the rest modern. 
 Good head. Coarse-grained Greek marble. H. CV53. \fB] 
 
 80. (Maz. ?) Bust of a beardless man, with short curls ; 
 
 in character about the period of Hadrian. Head and bust to below 
 the muscles of the breast unbroken, but yet almost certainly modern, 
 as is the inscription AMMONIOS | OAYMIIIAA. ] \*B\ 
 
 81. (Maz.?) Head of a boy, named “ Marcellus,” uninjured. 
 Modern. [*B] 
 
 84. (Maz. ?) Bust of a bearded Greek, with a fillet through 
 the hair. It is more like Homer than Sophokles, who occurred to 
 Newton, though it does not quite correspond to a known type. Face 
 strongly wrinkled. Blindness not expressed. Ears abominable, the 
 
 * “There are numerous Hieroglyphicks round the Bottom, and behind the 
 Statue, which at any time may be taken off, by applying to them stiff paper 
 moistened, and pressed with a Bodkin. One Mr Pulleine, my Lord [Thomas, Earl 
 of Pembroke] informs us, was the first who practised this Manner at Rome, and 
 from him the celebrated Antiquary Fabretti learned it. The latter took off a 
 Port-folio of Hetruscan Inscriptions, which he made a Present of to our Royal 
 Society.” (Kennedy, /. lit. ) In point of fact, the art of making paper impres- 
 sions is still older, see Iluebner, Rheinland. Jahrh., xlix. pp. 60 ff. 
 
WILTON HOUSE 85 — 94. 689 
 
 sculpture generally detestable. New: nose, as well as the draped 
 bust of variegated marble. [*-#] 
 
 85. (Maz. ?) Fragment of a Greek sepulchral relief. On a 
 
 couch covered with tapestry lies a male figure (new : head and half of 
 the 1. forearm), the upper part of his body nude, lifting in his r. hand 
 a cup (partly antique); before the couch a three-legged table with 
 cakes and fruits. With this fragment of Greek marble, h. 0^44, 1. 0^57, 
 there is joined on the r. side by means of an intervening patch, a 
 veiled female figure, with a torch in her r. hand, and a dish of fruit on 
 her 1., taken from a sarcophagus (h. 0-27); on the 1. a much restored 
 Athene with helmet, chiton, and cloak, her shield by her 1. leg. Inv. 
 Maz., no. 123, u Un bas relief long en trovers , haut de deux palmes, ou 
 environ , oil ton voit un Jupiter assis aupres d'unc table ronde chargee de 
 diverses viandes, tenant unc tasse en sa main , ct ayant a son coste droit 
 une Pallas et el gauche une figure qui porte un plat , le tout de marbre 
 blanch’ [*CM] 
 
 87. Relief : Curtius leaping into the gulph. Kennedy, PI. 1. 
 The relief is entirely modern. Kennedy’s effusion (see Introd., note 
 1 18) is highly amusing; he partly follows Creed, so that the statements 
 are unquestionably based on Lord Pembroke’s views or those of his 
 authorities. [*] 
 
 88. (Maz.?) Colossal head of “ Geta,” i.e. a replica of the 
 
 so-called Annius Verus (Mongez, Iconogr. row., PI, 42). Good style, 
 especially in the hair. New : nose. Neck meant for insertion into 
 a statue. H. C67. L. of face 0-27. ["'PC] 
 
 89. Mask, of highly exaggerated design, the brows strongly drawn 
 
 up, the hair and beard flowing; a fillet in the hair. Much hollowed 
 out behind ; mouth, nostrils and eyeballs perforated, presumably to 
 let steam or water through. H. o'49_ [*] 
 
 90. (Maz. 136) Head of Dionysos, bearded and crowned 
 with ivy; with the inscription T/nolos. Modern. Inv. Maz., no. 
 136, “ Une grande teste d'uu Silene couronne de lierre et de raisins, 
 ayant une grande barbe, sans buste, le tout de marbre blanc." [*] 
 
 93. (Maz.?) Bust of “ Lucilla,” similar to the head in Clarac, 
 vi. 1 1 15 A, 3524 A. Modern. \*P IV ] 
 
 94. (Valletta) Bust of “Apollonios of Tyana.” Kennedy, 
 PI. 14. The hair, which is very deeply undercut, with ridges left 
 standing in the hollows, has something of the character of a Zeus, 
 only it is not so erect; it is more like that of a Pluto. The beard is 
 divided. New: tip of nose. Head and bust belong to each other; 
 the r. arm, concealed in the cloak, lies before the breast. The work- 
 
 44 
 
 M. C. 
 
690 
 
 WILTON HOUSE 95—99. 
 
 manship, though late and of rather exaggerated style, still is good and 
 full of expression. On the r. arm is the modern inscription AIIOAAH- 
 NIOS TYAN. “ When the Busto was first sold at Valetta’s Sale, a 
 Gentleman gave upwards of 270/. for it. There were then in the 
 South-Sea Time several Antiques sold for above 200/. each. ..which 
 Thomas Earl of Pembroke afterwards bought ” (Kennedy, p. 53. 
 Aides Pcmbroch., p. 52). [*Z?] 
 
 95. Statue of the Ephesian Artemis. Montfaucon, Ant. 
 
 Expl., 1. 93, 5 (?). Creed, PI. 45. Antique: only a great part of 
 the body, of white marble. New: head and neck, forearms, feet, all 
 of black marble, as is also the lowest part of the drapery. On the 
 crescent-shaped plate which covers the neck is represented a sea-crab 
 in the middle, on either side a female figure in a chiton, each holding 
 a palm-branch in one hand and a wreath between them with the 
 other; over the 1. hand female figure a ram, over the r. hand a 
 scorpion. This representation is surrounded by a thick wreath of 
 immortelles , and further by a fine string with pendant charms. On 
 the upper part of each arm the traces of two lions. Below the four 
 rows of breasts the drapery is tightly gathered, and divided into 
 four distinct rows one above another. On the uppermost row winged 
 oxen or griffins (re-worked); the three other rows modern. Then 
 on each side, above, a rosette, below, a bee, again a rosette, and 
 again another bee ; above each hip the upper part of the body of 
 winged female figure, the three divisions below this modern. H. 
 o-88. [*C] 
 
 96. Torso of a Herakles or of an athlete. Clarac, v. 
 
 806, 2023 = 870, 2 2 to D. Creed, Bl. 50. Kennedy, PI. 5, “Melea- 
 ger.” The powerful body rests on the r. leg, with the r. hip much 
 pressed out. Antique: only the torso, the r. thigh, two-thirds of the 
 lowered upper part of the r. arm, half the advanced upper part of the 
 1. arm. H. 0-65. [* JV~\ 
 
 97. Statue of Asklepios. Clarac, iv. 550, 1160. Creed, 
 
 PL 46. Kennedy, PL 4. The genuine parts exhibit the usual mo- 
 tive of the god of Pergamon, the exposed breast and the 1. arm 
 hidden in the drapery and akimbo. (Newton prefers to recognise an 
 orator.) New: head and neck, half the lowered r. arm, the legs from 
 below the knees downwards. H. 071. [* JF] 
 
 99. Head of Egyptian sculpture, in granite. New : nose, lips, 
 and chin. Kennedy, p. xxi, observes, “The head of Sesostris is 
 as great a rarity, as is anywhere to be found. Some Italian Gen- 
 tlemen travelling to the Pyramids in Egypt, discovered it there, and 
 brought it with them.” 
 
WILTON HOUSE IOI — 109. 
 
 691 
 
 Female Satyr, making a child 
 Modern copy of a Florentine 
 
 101. Relief. Kennedy, PI. 3. 
 dance on her foot. Rosso antico. 
 gem, Miiller-Wieseler, n. 45, 563. 
 
 103. (Maz. ?) Female head, named “Octavia,” with the head- 
 dress of the younger Agrippina. New: nose and chin, according to 
 Newton also the wreath of ears of wheat. The draped bust of 
 variegated marble is modern. [ # _Z?] 
 
 104. Front of a child’s sarcophagus. In the middle two 
 
 hovering Cupids hold a blank shield, below which two panthers lie 
 before overturned baskets of fruit. On either corner a Cupid with 
 inverted torch. On each side a griffin with one paw or. a goat’s head. 
 H. o'3o. L. 0 86. 1 ). o' 36. [d/] 
 
 105. Lid of a sarcophagus: sea-deities with the arms 
 of Achilleus. Causseus, Mits. Rom., 11. p. 114 (sides reversed). 
 At each corner a mask with ruffled hair. From the 1 . a Triton 
 advances, holding a shield in his hands; on his back sits a Nereid, 
 nude, with cloak waving behind head and back. Before them a second 
 Triton with an anchor, looking round at a Nereid with waving 
 drapery, who is slipping off his back, and who holds a breastplate (?) in 
 her hands. To meet them there advances a bearded Triton, holding 
 out a greave (?) on his r. hand; on his back a Nereid lies at full 
 length, the lower part of her figure draped, holding up on her r. 
 hand a small helmet. On the extreme r. there comes another 
 bearded Triton, a curved object (in Causseus’ engraving a dolphin) 
 on his r. arm; on his back a similar Nereid with a sword-belt. 
 Pretty, easy sculpture. H. 0U5. L. o'g 3. [Af] 
 
 106. Recumbent Seilenos. Clarac, iv. 738, 1754 A. Creed, 
 PI. 34. Fie leans with the 1 . arm, which is covered by a cloak, on a 
 female panther, which has been transformed by the restorer into a 
 dog; the r. arm rests on the head. L. leg nude, r. covered by the 
 cloak. The bald, bearded head is not bad. New : part of the 
 pedestal, half the lower part of r. leg, 1. hand with cup ; besides neck 
 and head of the animal. Much re-worked. H. o - 45- L. o’8o. ['* W ] 
 
 107. (Maz.?) Head of Apollo. Kennedy, PI. 21. The head, 
 
 which is a little turned up towards its 1 . shoulder, resembles the Apollo 
 playing on the lyre in the large Saloon of the Capitol. The hair is 
 brushed back and gathered up behind into a great knot. New: tip 
 of nose, bust. H. 0-78. [*_ 5 ] 
 
 109. Sepulchral stele of Dionysios. Sitzungsberichte der 
 Wiener Akad., 1872, lxxi. PI. 2; pp. 327 fif. (Conze). A high slab 
 with pediment; a rosette in the field of the pediment. Below, a 
 
 44—2 
 
692 
 
 WILTON HOUSE I 10— 1 1 3. 
 
 laurel wreath in a shallow hollowed circle, surrounding the words o 
 8^/xos, below this again Aiovvaiov Aiovvcriov | tov MyrpoSwpov ( C . I. Gr ., 
 3231); by which inscriptions the conferring of a crown on the deceased 
 by his fellow-citizens is kept in memory on his gravestone. Below, 
 a relief. A youth in chiton and cloak and with sandals holds out his 
 r. hand to a somewhat larger youth (Dionysios), similarly dressed, 
 with a roll in his hand. Behind the latter stands a diminutive atten- 
 dant (ttols), in short chiton, his head supported on his r. hand; a 
 similar figure leans against a high stelfe in the middle of the scene, 
 the indication of a sepulchre, on the summit of which stands a Siren 
 (cf. Oxford, no. 140 ; Brocklesby, no. 40) with crossed legs, playing 
 on the lyre. Above in the r. corner a horse’s head. Good style, per- 
 haps of the second century b.c. Probably from Smyrna; and there- 
 fore perhaps derived from the Arundel Collection. H. 113. L. CV54. 
 H. of relief o’58. L. of relief 0-46. [*CJV] 
 
 no. (Maz. 93) Bust of “Scipio Asiaticus.” Modern. 
 Inv. Maz , no. 93, u Une teste avcc sonbuste habille...de marbre blanc.” 
 [*A] 
 
 in. Oval sarcophagus. Gori, Monmn. libert. Liviae, PI. 8. 
 Ghezzi, Camere scpolcr., PI. 7, C. Piranesi, Antich. row., in. PI. 28, D. 
 In the middle a round shield on which are the half-length figures of a 
 man with a short beard, in a toga with a transverse strip (the so-called 
 laena ), and with a roll in his 1. hand, and of his wife whose arms are 
 round him. Below, two tragic masks, that to the 1. with long curls, 
 that to the r. covered with a head-cloth. On either side twisted 
 flutings. At each end a lion, tearing on the 1. an ibex, on the r. a 
 boar. H. 075. I.. 2 - o5. Found together with no. 60. [*J/] 
 
 1 12. (Maz.?) Statue of the sleeping Eros. Clarac, iv. 678 A, 
 1567 A. Creed, PI. 35. On a piece of rock lies the winged boy 
 outstretched in a very pleasing attitude; under him his little cloak, 
 richly draped. In his sleep he lets fall the empty goblet ( kantharos ) 
 from his r. hand, while the r. arm and the head lie on an amphora with 
 a pointed bottom and the opening at the top perforated. The pretty 
 figure was therefore designed to decorate a fountain. Only the feet 
 restored. “Found at Puzzoli,” according to Creed. L. 0-58. Cf. 
 Inv. Maz., no. 87, “ Un petit amour nud qui dort sous [surl] des 
 draperies, long de trois palmes et demie, on environ, et haut d'une palme 
 et dejnie.” [*C] 
 
 113. Square altar, without any architectural moulding, adorned 
 on each side with a figure moving r. A. Zeus, in a long cloak, a short 
 sceptre in the 1. arm, holding an eagle on the extended r. hand. 
 
WILTON HOUSE I 14 — I 16. 
 
 693 
 
 B. Hermes, with pointed beard, the short chlamys thrown round 
 the shoulders and lifted with the raised r. hand, the petasos on his 
 head ; on the 1. hand traces of the kerykeion (Iv. O. Muller in 
 Bottiger’s Ama/thca, 111. p. 45, recognises Ares in this figure, Newton 
 conjectures Poseidon, Conze Dionysos). C. Hestia, (? Aphrodite?) 
 in long drapery with chiton and cloak, a knot of hair ( krobylos ) on 
 the nape of the neck, a long sceptre on the 1. arm; the r. arm, quite 
 worn away, probably advanced a little in an upward direction, seems 
 to have held some small object. D. Athene, grasping her chiton 
 by a corner with the lowered r. hand, with a chlamys like a shawb 
 aegis, helmet, a large shield on the 1. arm ; by her 1. foot a snake coils 
 itself up. — The figures are very slender, in stiff hieratic style, coarsely 
 executed. The very low relief is much abraded. H. o - 43. L. 0-27. 
 [* CM IV ] 
 
 114. Head of a rather aged Satyr, bound with an ivy 
 
 wreath; of coarse workmanship but very good character. The tip 
 of the nose is wanting. H. o - 49. [ IV] 
 
 115. Right end of the front of a sarcophagus : sea deities. 
 
 On the extreme r. a nude Nereid floats away, leading a sea-horse by 
 the bridle. She is grasped by a Triton who holds a steering paddle on 
 his 1. arm, and on the convolutions of his tail, which extend a very 
 long way, he carries another Nereid (Venus according to Newton) 
 whose legs are covered by her cloak and who makes a drapery wave 
 in an arch over her head, looking up to the r. A small Eros with a 
 wreath flies behind her. On the extreme 1. lies a third semi-nude 
 Nereid (seen from behind) almost flat on the back of a Triton whom 
 she embraces to kiss him. Imperfect on the 1. The Tritons are 
 vandyked about breast and back with indented lines, to show the 
 blending of the human and fishy natures. Below, the modern inscrip- 
 tion NHPEIAES. [MJV] 
 
 116. (Maz. 48) Seated female figure, named Livict. Clarac, 
 hi. 438 B, 786 E, “Ceres.” Creed, Pi. 62. On a massive chair 
 with a cushion on it, the fore-legs being broken off, sits a female 
 figure in girdled chiton, her cloak thrown round the upper part of the 
 lowered 1. arm, the stomach and legs, her feet resting on a broad 
 stool. The head, with a cloth over the hair behind, is antique 
 (new: nose), probably however not belonging to the figure. New: 
 neck, three-quarters of the r. arm with the little staff in the hand, the 
 1. forearm with the small orb in the hand, the advanced r. foot. In 
 the absence of the original head and all the attributes the original in- 
 tention can scarcely be determined ; Newton proposes a Muse. Good 
 
694 
 
 WILTON HOUSE 1 1 7 — 120. 
 
 decorative work; the statue is worked in two pieces, which were then 
 put together. Greek marble. H. with pedestal 1 -6o. Inv. Maz., no. 48, 
 '’'‘Julia assize ; habillee , tenante un baston de la main droite et de P autre 
 une petite roue sans rais, haute de six palmes , on environ [* IV ] 
 
 117. Seated female figure, named Didia Clara. Clarac, 
 hi. 49S A, 1131 E, “ Imperatrice en Muse." Creed, PI. 64. On 
 a seat without legs sits a female figure, on whose neck and 
 r. shoulder the smock ( indusium ) is visible under the stola — a rather 
 rare detail. The cloak with rich folds covers the upper part of 
 the 1. arm, which is somewhat raised, the stomach, and the legs. 
 The drapery is treated with a lack of repose ; no large masses fall 
 separately, but many comparatively small folds run too much in 
 parallel lines ; only along the legs is the effect better. Probably the 
 figure represented an empress ; the head however (in the style of the 
 third century a. d.) is modern, as also are the nude parts of both 
 arms, the seat, the 1. foot, the pedestal. H. 1-32 (without the pedes- 
 tal). [*B IV ] 
 
 1 18. Statuette of a female figure, restored as a Muse. 
 Creed, PL 48, “Calliope.” She stands on the 1. leg, the r. being drawn 
 back. In addition to a girdled chiton she wears a cloak over the 
 1. arm and the legs; the 1. forearm was raised, the r. arm lowered. Re- 
 stored : the head with the stephane, r. arm with flute, 1. forearm and 
 a piece of the drapery; the rest is regarded with suspicion by New- 
 ton, but seems to me to be antique. Insignificant sculpture. H. abt. 
 °' 5 °- [*] 
 
 119. (Maz.) Statuette of Apollo. Clarac, in. 544, 1144. 
 
 Creed, PL 14. Kennedy, PI. 10 (former restoration); Clarac, in. 494 B, 
 954 D (present condition). The god, with his legs in the attitude of the 
 Sauroktonos, leans with a gentle turn of his body over to his own 1., 
 somewhere in which direction the arm must always have been sup- 
 ported ; the r. arm is lowered and is close to the body. Slantwise 
 over the breast runs the strap of the quiver. The little figure is 
 placed too high for one to examine it minutely. The following parts 
 seem to be restored : head, r. hand, 1. arm from below the elbow, the 
 cithara and the remains of a tripod which serves to support it, the 
 legs from the knees downwards, besides the support covered with a 
 cloak; the rest may be antique. H. 0-53. Inv. Maz., no. 91, 
 “ Apollon nud, appuye du bras gauche sur son plectre qui est pose sur 
 un foyer triangulaire , a Pentour du quel est entortille mi serpent , la 
 dite figure haute de trois palmes , ou environ .” [*] 
 
 120. “Cippus, inscribed d m | p'robvs im: f clAvdias: ;" but 
 
WILTON MOUSE 121 — I 27 . 
 
 695 
 
 this inscription is modern ; below, in relief, tripod with the cortitia of 
 Apollo surmounted by a winged head ; on either side a griffin ; 
 above, an eagle, the wings terminating in two snakes. This front is 
 flanked by two columns, the capitals of which are formed of foliage 
 curiously combined with fish. At the two opposite corners are two 
 pilasters ; between, on each side, is the laurel tree. The cippus is 
 supported by a pedimental cover, on which are two birds, sup- 
 porting a wreath. The two heads let into the cover are modern.” 
 \Newton\ 
 
 121. (Maz.) Relief: head of Minerva in porphyry, with a helmet 
 in verde antico. Cf. Kennedy, p. 57, “Alto Relievo of Pyrrhus, the 
 son of Achilles, oval ; the Face is Porphyry ; which the Card. Mazarine 
 so much valued, as to finish his Dress with a Helmet of different 
 coloured marble.” 
 
 122. (Maz. ?) Bust of “ Cleopatra.” The wavy hair is brushed 
 back and forms behind a bunch of corkscrew-like curls. Restored : 
 nose and all from the neck downwards ; the head itself, about which 
 Newton expressed doubts, seems to me to be antique. Bernoulli 
 presumes that it is an ideal head. [*i>] 
 
 123. (Maz.?) Bust of “Germanicus,” to whom the head bears 
 
 only a distant resemblance. A slight beard on the cheeks. The head 
 as well as the bust seems to be modern ; cf. on no. 173. [*7>] 
 
 124. (M az.) Statue of Eros stringing his bow. Chirac, iv. 
 650, 1495. Creed, PI. x. 17, 18. Kennedy, PI. 12. Antique: only the 
 beautiful torso of good, soft work, including the r. shoulder and half 
 the upper part of the r. arm ; it is of Parian marble. By a piece of 
 neck two or three inches broad there has been attached to it a head 
 of different marble, to judge by expression of face and treatment of 
 hair belonging to a girl, very much re-worked ; new : nose and 
 chin. According to Creed and Kennedy, p. 50, “by Cleomenes.” 
 H. 1 -32. A number of hammer marks on the breast and 1. hip prove 
 that it is derived from the Mazarin collection. Cf. Inv. Maz., no. 36, 
 “ Cupidon qui bands son arc , haut de six palmes , ou environ." [* CW\ 
 
 125. Greek sepulchral relief. A beardless man, in chiton 
 and cloak, holds out his r. hand to a seated female figure in chiton 
 and cloak, who rests her r. hand perpendicularly on the chair. Roman 
 imitation of an Attic original, in low relief, of mediocre workmanship 
 and completely re-worked. Below, the inscription. ..no? (- vios?) 'Atto\- 
 
 AWios | 1 EiNXea ^ai'peiv. Italian marble with black spots. H. 
 
 0-57. L. 0-23. [*C] 
 
 127. (Maz. 52) Bust of “Arsinoe,” with 1. breast exposed. 
 
696 
 
 WILTON HOUSE 128— I 3 I. 
 
 Modern. Inv. Maz., no. 52, “ Une teste antique d’ une femme , avec son 
 buste moitie habille.... de marbre blanc.” [*'/>] 
 
 128. (Maz.?) Bust of “ Kassandra.” Kennedy, PL 23. The 
 head is artistically encircled by a head-cloth in the fashion of the 
 so-called heads of Sappho (cf. London, Lansdowne House, no. 45)* 
 Inserted into the draped bust. The genuineness is doubtful. [*i?] 
 
 129. Sarcophagus. Gori, Monum. libert. Liviae, PI. 9, B. 
 Ghezzi, Camere sepolcr., PI. 7, B. Piranesi, Antich. rom. , in. PI. 27, O. 
 In the centre field Meleagros makes an offering from a cup on an 
 altar with burning flame. He is nude except for the chlamys, a 
 spear in his 1. hand. The boar’s head lies on the ground by the 
 altar. This whole piece is set on its own plinth with architectural 
 mouldings. Then, on the 1., Atalante, in short hunting costume, 
 with quiver on her back, grasps from behind Meleagros’ r. shoulder, 
 and gazes at him. The faces of both figures are only blocked out, 
 so as to receive at some time the lineaments of the deceased per- 
 sons; the grouping of the upper parts of their bodies corresponds, 
 as Conze observes, to that of the married couple on the medallions 
 of numerous sarcophagi. On Meleagros’ r. is an attendant with 
 curly hair, undercut with the drill, in a chlamys, only slightly ren- 
 dered; of the lower part of his figure nothing is visible. On the 
 r. and 1. a large field with twisted flutings. At each end, on a sepa- 
 rate pedestal, a Dioskuros with the chlamys on his back, and the egg- 
 shaped cap (71TA.0S) on his head, in one hand a spear, on the other 
 arm a sword. — On the sides, angular barbarian’s shields and spears 
 crossed, incised in outline. H. o'fiq. L. 2 'o 8 . D. 0-58. Found 
 together with no. 60. [*CM ] 
 
 130. Statue of a Nymph (?). Clarac, iv. 594, 1425 A, Venus 
 ou Nymphe. An almost nude female figure, with curls falling far 
 down on the shoulders, rests on the 1. leg, the r. leg slightly bent. 
 She leans with r. arm on a square pillar; 1. arm akimbo. Over the 1. 
 forearm lies a corner of the cloak, which envelopes the lower part of 
 the body at the back and the r. leg in front, and then is gathered in 
 a rather unusual and tasteless fashion between the thighs, forming a 
 kind of knot before the abdomen. The figure is in excellent preser- 
 vation, the whole, even the pedestal, unbroken. New: only head 
 and neck; the r. hand is missing, and the urn attached to the pillar a 
 little below the same is at all events of doubtful genuineness. This 
 pleasing statue may perhaps represent an Aphrodite. H. 1*19. [* IV] 
 
 131. Statue of Tyche(?) seated. Clarac, in. 438, 786 C, 
 “Ceres.” Creed, PI. 51, “Pomona.” A veiled female figure in 
 
WILTON MOUSE I 32 — I 37. 
 
 69 7 
 
 girdled chiton and cloak, sits holding in her 1. arm a cornucopiae 
 filled with various fruits; the lowered r. hand may congruously with 
 this have held the handle of a steering paddle (cf. e.g. Monum. dell’ 
 Inst., vi. PI. 13). The head belongs to the figure; pupils expressed. 
 New: part of the hair over the forehead, the 1 . forearm and the 
 lower half of the cornucopiae, the r. forearm with a bunch of as it 
 were ropes in the hand, both legs from the drapery downward, the 
 piece of rock (restored instead of a chair), and part of the cushion upon 
 it, the pedestal. Small decorative figure, not bad. H. 073. [*] 
 
 132. (Maz.) Statue of a child seated, restored as Herakles. 
 Clarac, v. 783, 1957 A. Creed, PI. 54. On a rock (much re-worked) 
 sits a child, the modelling of the body soft, in pretty movement, the r. 
 foot set up somewhat higher than the 1 . New: head, and both arms, 
 the r. raised, the 1 . lowered, each entwined by a snake. Fairly super- 
 ficial sculpture. H. 075. Cf. Inv. Maz., no. 13 1, “Un Hercule find, 
 assis stir une pierre , tenant dans sa main droite line couleuvre , et de sa 
 main gauche une autre couleuvre , haut de deux palmes, oil environ .” 
 [*] 
 
 134. (Maz. 51) Bust of “Cato Major,” at all events in the 
 style of a Roman of the last age of the republic; allied to Ince, no. 
 150, only with the back of the head larger. Probably modern. Inv. 
 Maz., no. 51, “ Une teste d'un Cesar , avec son buste arm'e, convert du 
 manteau consulaire , et son pied d'cstal, 1c tout de marbre blanch' [*/?] 
 
 135. Bust of Trajan, a portrait quite devoid of character, of 
 poor execution. New: nose and ears. On the pedestal two Victories, 
 bearing palms and holding a wreath. Genuineness questionable. [*Z?] 
 
 136. “Cupid, sleeping on a lion’s skin; a small figure, in alto 
 rilievo.” \Newtoii\ Creed, pi. 67? 
 
 1 37> t 38- Sarcophagus: Triptolemos. Montfaucon, Ant. 
 expt., 1. PL 45. Gerhard, Antike Bildwerke , PI. 310, 1, 2. Miiller- 
 Wieseler, 11. 10, 117. Overbeck, Atlas zur Kunstmythologie , PI. 15, 
 3 (from a new drawing). From the extensive literature (Overbeck, 
 Kunstmyth., in. p. 510 note b) I give prominence to the remarks 
 of Newton, Wieseler, Conze (Arch. Anz., 1864, pp. 175, 209), 
 Forster ( Raub der Persephone, pp. 264 ff. Arch. Zeit., 1874, p. 102; 
 1 87 5 , pp. 79 ff.), Brunn (Sitzungsberichte d. Miinchn. Akad., 1875, 1. 
 pp. 21 ff.), Michaelis (Arch. Zeit., 1874, p. 64), Overbeck, Kunst- 
 mythol., m. pp. 571 ff. 665 ff.). 137. Front. On the extreme 1 . comes 
 (a) Persephone on a biga, in long chiton, with cloak waving behind 
 head and back, a fillet in her hair; with both hands she holds the 
 reins of the two rearing horses, one of which is seized by the bridle 
 
698 
 
 WILTON HOUSE 1 37. 
 
 by ( b ) a female figure (Hekate?), turned 1., in short, doubly girt chiton 
 and with flowing cloak behind her head; over her forehead a knot of 
 hair ( korymbos ), on her feet high boots; she carries a whip on her 1. 
 arm. Beneath the horses ( c ) Tellus lies on the ground, in chiton and 
 cloak, her head wreathed with vine-leaves and grapes. It is hardly 
 to be doubted that in this scene the return from Hades (dvoSos) of 
 Persephone is represented; its connection with the following scene, 
 the mission of Triptolemos, is however unusual and noteworthy. 
 On the r. of b stands id) Dionysos, nude except for the cloak, which 
 however only covers the r. thigh and the 1. arm, his hair, which 
 forms a mass on the nape of his neck and falls in long curls on the 
 shoulders, wreathed with vine-leaves. The lowered r. hand rests on 
 a strong vine-stock which divides this entire scene from the preceding, 
 the 1. arm rests on the thigh of e, towards whom also his gaze is 
 directed. Turned away from him sits ( e ) Demeter, on a piece of rock 
 by which a snake is coiled. She wears chiton and shoes and is com- 
 pletely enveloped in her cloak; on her hair a stephane; on the 1. 
 arm she holds a short sceptre, the lower end of which rests in the 
 hand; her r. hand is extended to g. (The object visible under 
 this hand consists of the stalks of the ears of wheat held by f.) 
 Close to e in the background stands (/) a female figure (Hora?) 
 in a doubled chiton, with long hair, carrying ears of wheat in the 
 1. arm. About the middle of the relief stands (g) Persephone, 
 in full face, with the body turned r., but the head turned back 
 and bending towards e, to whom she also holds out her r. hand. 
 She is draped with a cloak and the chiton, which slips down off her 
 lowered r. shoulder, and wears shoes : in her 1. hand she carries 
 some ears of wheat. Her attitude altogether is like that of a person 
 taking leave. On her r. in the background stands (h) a bearded 
 attendant, in the exomis, facing r., with a high basket on his 1. 
 shoulder (the whole figure in very low relief). Then comes (/) Tri- 
 ptolemos, in full face, stepping up, as it were impatiently, on to a 
 chariot which is on the point of being borne into the air by two 
 large snakes covered with scales which are harnessed under the yoke. 
 With his 1. hand Triptolemos holds his chlamys, which makes a deep 
 apron filled with grain, as the sower carries it. He looks back at 
 the two goddesses, and lays his r. hand on Persephone’s 1. arm ; he 
 evidently wishes to prevail upon her to mount the chariot with him, 
 which is certainly an unusual variation of the myth but still not 
 inappropriate. Between the thumb and forefinger of his r. hand 
 there is to be noticed a small round object, in which Conze would 
 
WILTON HOUSE I 38. 
 
 699 
 
 recognise a single grain (it must then be assumed that the whole 
 hand is full of grain for sowing): still its shape is not very clear, 
 and it may very well be nothing more than a little piece of marble 
 allowed to remain, like a similar piece which is to be seen above the 
 thumb. Behind the chariot rises an olive-tree with some berries in 
 the leafy head. On the r. of the snakes stand four figures, all in full 
 face, all with their heads inclined towards the side of the principal 
 group. First comes ( k ) a female figure in chiton (slipped down otf 
 the r. shoulder), cloak, shoes, raising the r. hand, so that the open 
 upturned palm is close in front of the heads of the snakes, and 
 holding on the 1. arm a very long sceptre (broken at the lower end). 
 Then follows (/) a youth in chlamys which covers the body in front 
 and behind with as it were a pair of wings (cf. Petworth, no. 5); he 
 lays his hands on the shoulders of the two female figures. Round his 
 head and over the forehead he wears a fillet. Next comes a female 
 figure (m) draped like k, over her forehead a fillet decorated with a 
 small palmetto-like ornament (consisting of four small leaves). She 
 holds with both hands a long bundle which can hardly be any- 
 thing but a bunch of plants; below, over the r. hand, the leaf form 
 is plain ; further up there are fine parallel strokes like stalks, at 
 the top it is somewhat widened and partly- worn away ; most pro- 
 bably it is just a bunch of ears of wheat, though peculiarly formed 
 and without the ears being rendered at the top. On the extreme 
 r. stands 0, again corresponding in the drapery to k, only that the 
 1. shoulder is exposed ; in the 1. hand she carries a sickle, the 
 lowered r. hand she lays on the head of ( n ) a diminutive nude boy 
 who stands between m and 0 laying hold with both hands of a 
 tall, narrow sheaf of wheat which stands on the ground. Forster 
 hazards names for this group, (k) Aphrodite, (/) Hermes, (///, o) 
 two Horae, (n) Plutos, but his proposals, at least in the cases of 
 k and n, are not likely to be regarded as certain. The eyes of all the 
 figures of the front have a narrow opening with a little hole drilled 
 therein - — Sides. On each a tripod between two griffins. — (138) Lid. 
 Front. At each corner a youthful mask with long hair and Phrygian 
 cap. In the long field are the four Seasons represented in the 
 guise of reclining female figures with attendant boys, excellently 
 arranged in lines which wave in the forms of garlands, “a beautifully 
 animated ornament.” They are placed from 1. to r. in the following 
 order: A. Summer, crowned with ears of wheat (much scoured away), 
 with the upper part of the body nude, legs, r. arm, back and head 
 enveloped in a wide cloak, rests on her r. arm aftd holds in the 1. a 
 
700 
 
 WILTON HOUSE 1 38. 
 
 large cornucopiae, in this instance, as with those of the other three 
 female figures, full of apples, grapes, ears of wheat, &c. A winged 
 boy hovers up to her with a sickle (the handle broken off) on his 1. 
 arm, laying his r. hand on the cornucopiae. B. Opposite lies 
 Autumn on her 1. arm, wreathed with vine-leaves, in a chiton, which 
 leaves the r. breast free, and a cloak, laying her r. hand on the cornu- 
 copiae, up to which a winged boy hovers from the 1. The Autumn 
 Hora turns back her head towards C, the Hora of Spring, who turns 
 her face similarly towards Autumn. Spring lies on the r. arm, and is 
 draped like Autumn, only that the r. breast is still further exposed. 
 Her single special attribute is the wreath of flowers (scoured away) in 
 her hair ; her 1. hand lies on the cornucopiae, which a winged boy, 
 standing, supports. On the extreme r. lies D, the Hora of Winter, 
 completely draped, with the back of the head veiled, the r. hand on 
 a cornucopiae, in which is a pine-cone. A boy without wings ap- 
 proaches her from the 1., with a sleeved undergarment and hose 
 (dvat-vpiSes), shoes, chiton, and cloak, bringing a hare in his advanced 
 r. hand. The principal seasons of the year, Summer and Winter, are, 
 as De Boze (in Montfaucon) has already recognised, placed at the 
 ends and clearly characterized by their drapery and the attributes of 
 their attendants; the seasons of transition, Autumn and Spring, which 
 are draped alike, without any attribute except the distinctive wreath, 
 occupy the middle. (Conze would recognise in A the Spring, in C 
 the Summer, because he overlooked the wreaths and took the sickle 
 for a bow.) The two boys on the 1. hover, those on the r. use their 
 feet. The essentially similar horns of plenty in the hands of all four 
 Horae express the collective abundance of blessings bestowed by 
 the complete year. — Sides. On each a recumbent torch.. — In the 
 middle of the front is an inscription, the first line of which is on the 
 lid, the second on the upper border of the sarcophagus (C. I. Gr., 
 926) : 
 
 O AAAZXK' AtPH“A|OJ* €*TtA*cJ?PO *AG1 “ T OJ * 
 cr^-BrcjO'AN-TfjO’Ni'A’BA’Ae'PiA'e'QH’Ke ^ 
 
 (the extraordinary punctuation after almost every syllable is note- 
 worthy), i.e. ©(eois) K(ara^doviois). AupijAiui ’E7 tu c^poSeiTto | avp,( 3 ut) 
 'AvrwvLa BaXepca iOrjxe. (The name Avp^Aios ’E7ra^)pd8etros recurs in 
 Hermione, C. /. Gr., 1224, in Kyzikos, 3665, 1. 33, in Lycia, 4303, 
 ll 7, and as lepevs (ttoAictt^s "IertSos xal 2zepa7rc8o<; on an inscription dis- 
 covered in Attica, edited by Wieseler, Gott. Nachrichten , 1874, p. 14. 
 
WILTON HOUSE 1 37, 138. 
 
 701 
 
 Forster, Arch. Zeit., 1874, p. 105, note 4, and Wieseler, Abhandl. 
 d. Gdtt. Ges. d. JViss., xix. p. 35, found it possible to regard the last 
 as the personage commemorated on the present sarcophagus, though 
 the character of the writing is different.) The beautiful composition 
 is very well executed, in parts excellently, in such high relief that the 
 figures are in parts completely detached from the field; consequently 
 these small and very well preserved figures produce an effect like that 
 of a carving in ivory. The marble is certainly not Attic, neither 
 Pentelic nor Hymettic, but the dry, opaque, blue-gray grain traversed 
 by blackish streaks suggests (Southern?) Italy, just as also the 
 sculpture thoroughly resembles the sarcophagi made in Rome itself 
 (Matz, Arch. Zeit ., 1872, p. 15; 1873, P- 3°)- A replica of the 
 Triptolemos in a somewhat different combination is to be found on 
 the famous (Roman) sarcophagus at Aix la Chapelle, in which the 
 corpse of Charlemagne had been originally buried (Forster, Raub der 
 Persephone , p. 177). Of the history of the sarcophagus the following 
 account is given by De Boze {Mb no ires de 1' Acad, dcs laser., iv. p. 
 648): “ P>es voyageurs qui Pavoient dccouvert dans dcs mines pres 
 d’ Athines, le transporterent en France pour en faire present a M. le 
 Cardinal de Richelieu; mais le Cardinal s'etant trouve mart a leur 
 arrivee , il demeura comme ignore entre les mains d'une personae de la 
 maison de Rostaing, d'oii il est passe depuis quelques annees en celles 
 de M. Foucault Conseiller d'Ftat, et juste estimateur de ces restes 
 precieuxP Between Richelieu’s death (1642) and De Boze’s disserta- 
 tion (read 1716) 74 years had elapsed; for almost the whole of this 
 period the sarcophagus had been lost sight of {comme ignore ), so that 
 after so long a period too much faith must not be placed in the 
 trustworthiness of the tradition given above. It would be utterly 
 untenable if Galland, as Bockh (on C. I. Gr., 926) states after an 
 unprinted letter from him, really claimed to have seen the sarcophagus 
 in Athens. For Ant. Galland was not born until four years after 
 Richelieu’s death, and was never in Athens before 1673, when he 
 visited that city in the suite of the Marquis of Nointel. I presume 
 however that Galland did not see the sarcophagus in Athens , but 
 in Athies in France, where Foucault had a house in which he kept 
 a portion of his collections (cf. Montfaucon, 1. p. xix.); Galland for 
 several years shared Foucault’s house and studies, and got from his 
 collections the material for several works {Mem. de P Acad., in. pp. 
 325 ft. Biogr. Univers., art. Galland). Consequently the assertion 
 of the Attic origin of the sarcophagus seems in fact only to rest on a 
 rather weak foundation. It might have arisen owing to the Eleusi- 
 
702 
 
 WILTON HOUSE 141 — 1 44. 
 
 nian myth and the Greek inscription. If however the sarcophagus 
 should really have been brought to France from Athens, the Italian 
 marble and the Roman work would prove that it must have been 
 sent in early times from Rome to Athens (cf. Cambridge, no. 31). 
 H. 0-65. L. 2-03. D. 0-65. [*CMW] 
 
 141. (Maz. ?) Bust of “Poppaea,” much more likely of the 
 elder Agrippina. At the back the hair is gathered up into — not a 
 plait — but a small knot, and covered with a net. Very much re- 
 stored ; only the lower half of the face, exclusive of the tip of the 
 nose, which is restored, is certainly genuine. Bust new. [*i?] 
 
 142. (Maz.?) Bust of Marcus Aurelius (?), in his youth, 
 erroneously called “Augustus.” Much worn away; probably modern. 
 
 143. Sarcophagus. Gori, Momim. libert. Liviae , PI. 9, A. 
 
 Ghezzi, Camere sepolcr., PI. 8, D. Piranesi, Antich. rom., in. PI. 30, B. 
 In the middle a round shield with a male bust in tunica and pallium ; 
 face only blocked out. Below, two crossed horns of plenty. On 
 each side twisted flutings. Sides. Shields and battle-axes crossed. 
 H. o'42. L. 1 ‘95. D. o - 5o. For the origin cf. on no. 60. [M~\ 
 
 144. (M az.) Hermes Kriophoros. Clarac, iv. 658, 1545 B. 
 Creed, PI. 22. Muller-Wieseler, 11. 29, 324. Overbeck, Gesch. d. 
 griech. Plastik, 1. p. 194, ed. 2. As Newton proved by comparison 
 of a coin of Tanagra {Arch. Zeit., 1849, PI- 9> n0 - I2 ) the statue is an 
 imitation of the Hermes Kriophoros in Tanagra by Kalamis (Paus. 9, 
 22, 1); certainly not the original (Overbeck, A rch. Zeit., 1853, p. 46), 
 but a late, very superficial copy, made for decorative purposes. The 
 god stands with his legs close together, quite symmetrically upright, 
 holding in front of his breast with both hands the fore and hind legs 
 of a ram which he is carrying on his back, the neck and head of the 
 animal (restored, remains of a horn antique) over his r. shoulder. 
 The head is in the conventional style of many terminal heads ; 
 two rows of small curls over the forehead, above them a stephane ; 
 mustaches, beard, and large whiskers very stiff, as are also the 
 two plaits of hair which fall down on to the shoulders ; the pubes 
 also (finished off at the upper part in the shape of a triangle) 
 crisply curled in archaic fashion. The pillar against which the god 
 leans his back is in front and on the sides for the most part 
 covered with a cloak, which forms stiff zigzag folds. The smooth 
 wings on the feet are almost like a crescent. The powerful muscles 
 of the arms, the powerful thighs, the shape of the knee, the flat 
 stomach, bring to mind the characteristic peculiarities of an archaic 
 
WILTON HOUSE 1 45 , 146. 
 
 703 
 
 original; yet the stomach is too broad, the breast very weak, the 
 forearm clumsy and too short, the shins and ankles clumsy, the 
 drapery superficially treated. The back part is rather flat, not much 
 worked. Seeing that archaic art is wont to render the animal better 
 than the human figure, the superficial representation of the ram, and 
 its smooth, only slightly Hocked fleece, is especially striking. The 
 pillar suggests that the figure was turned to account as decoration 
 of a balustrade (cf. Cambridge, no. 4); there is no hole on the top 
 of the pillar, but on each hip of the god are two holes, one close 
 above the other (abt. 0-58 and 0^65 above the pedestal), which 
 suggest that metal rails were here inserted (on the 1. side there is 
 another wider hole in the folds of the cloak, 0-70 high) ; the sides 
 of the pedestal also are so worked that marble lintels were meant 
 to abut upon them. H. i - 26, of the Hermes only m2, of the 
 pedestal only o - 12. The marble seems not to be Greek, but Carrara. 
 Grievous marks of the hammer on breast, stomach, and thighs, 
 prove that it is derived from the Mazarin collection, cf. Inv. Maz., 
 no. 60, “ Un Sacerdote antique , nud par devant , portmit un mouton 
 sur les espaules couvertes d'tin tinge, haut de six pa hues, ou environ." 
 The more ridiculous is the following effusion of Kennedy’s : “ The 
 Statue of Jupiter Ammon from Thrace, not only with Rams Horns, 
 but with a Ram on his Shoulders; it came out of the Temple, said 
 to be built there by Sesostris ” (p. 31. xvm). ]f'ClV~\ 
 
 145. (Maz. 14) Statue of Demeter. Clarac, in. 438, 754 C. 
 Creed, PI. 65. This pretty figure stands on the 1. leg and is. 
 over the chiton, almost completely enveloped in the cloak. The 
 1. arm, in the cloak, is lowered, the r. raised. The latter, which 
 originally grasped a long torch (cf. on no. 158*), is new, as also 
 the 1. hand with the ears of wheat, of which however two stalks 
 are antique, and the veiled head, r. foot and pedestal. Fresh, good 
 work ; back part flatly treated. Greek marble. H. o'SS. Inv. 
 Maz., no. 14, “ Une Ceres qui tient des espies dans ses mains, haute de 
 dix palmes, ou environ .” The dimensions would rather suggest no. 
 1 5 8 a , but the attribute and the remains of the number 14 on the 
 pedestal seem to point rather to the present statuette, for which 
 indeed an estimate of 1000 livres is very high. [*C] 
 
 146. (Maz. ?) Statuette of a boy. Clarac, iv. 650 A, 1481 A. 
 Creed, PI. 53. Arch. Zeit., 1844, PI. 16. Antique: the torso with 
 the thighs and a portion of the stem of a tree, also the arms 
 bound fast behind the back (broken, but antique). These parts 
 are of Italian marble. A modern neck connects them with a 
 
704 
 
 WILTON HOUSE 149 — I 52. 
 
 child’s head in a cucullus, with closed eyes, of coarse-grained Greek 
 marble (obviously a copy of the genre statue of a sleeping boy, cf. 
 Clarac, v. 882, 2247 I)). The torso perhaps belongs to an Eros 
 enchained by Psyche (cf. Jahn in the Berichte d. sacks. Ges., 1851, 
 p. 163. Miiller-Wieseler, 11. 55, 694 f.). H. o - 66. Cf. Inv. Maz., 
 no. 96, “ Un Cupidon nud ayanl les yeux bandez , lie a itn tronc 
 (T arbre par derriere, hant de ncnf pa/mes.” (The latter statement of 
 dimensions must be a clerical error, as the statue is only valued at 
 50 livres). CIV] 
 
 149 (Maz.?). Eust called Aventinus. Kennedy, PI. 13. 
 In the style of a head of a barbarian, with a lion’s skin. Modern. [*] 
 
 150 (Maz.?). Bust of “ Marcia Otacilia.” The hair is plaited 
 behind into a broad flat band, which is brought over back again 
 almost to the forehead. The division between the nostrils goes down 
 very deep. Eyebrows and pupils expressed. Head and neck in 
 perfect preservation, only the face somewhat worn away. The bust 
 ranks as one of the best in the collection. [*BIV] 
 
 151 (Maz.). Statue of a Satyr. Clarac, iv. 7x1, 1693. 
 
 Creed, PI. 4, 5. Kennedy, PI. 11. Replica of the often repeated 
 Satyr, who twists himself round in violent movement to look 
 at the little tail on his back, which he grasps with his 1. hand (cf. 
 Conze, Annali, 1861, PI. N , pp. 331 ff.). As the tail with a few 
 fingers on it was preserved, the restorer has caught the general 
 motive correctly, but, as the muscles of the neck prove, he has given 
 a wrong direction to the head, which is much re-worked, but antique 
 and belonging to the figure ; it has brutish ears and two little horns 
 over the forehead. New : 1. arm, three quarters of r. arm with 
 pedum, the legs from below the knees, the panther and the greater 
 part of the tree. The body is in good preservation, and is very well 
 executed. Italian marble with black spots. H. 1 "3 5 . According to 
 Creed and Kennedy (p. 49) “by Cleomenes,” according to the latter 
 “made at the request of a Roman nobleman” (p. xxx. cf. above on 
 no. 87). It is in reality from the Mazarin Collection; as the marks of 
 the hammer prove, though I do not find this statue in the Inventory; 
 it is described, however, in Sauval’s Hist, des Antiq. de Baris, 11. p. 
 177, who mentions this and a similar statue in the upper gallery of the 
 Mazarin Palace as being as much admired as Correggio’s marriage of 
 Saint Catharine and compares it to the horses of Monte Cavallo, the 
 Laokoon, the Medici Venus &c. [*C 1 V] 
 
 152. Greek sepulchral relief, with a flat border. A beardless 
 man in chiton and cloak sits on a chair and holds out his r. hand to 
 
WILTON HOUSE I 5 5 — I 5 8 a . 
 
 70S 
 
 a similarly draped young man who stands before him. Below, the 
 remains of an inscription, of which only the middle word, <£>i.\dpyvpe, 
 can be deciphered with certainty (C. I. Gr., 7026). Very low relief, 
 insignificant work of the Roman period. H. o'2<). L. 0-32. [*(7] 
 
 155. Oval sarcophagus. Gori, Monum. libert. Livia, PI. 7. 
 Ghezzi, Camere sepolcr., PI. 8, E. Piranesi, Antich. rom ., in. PI. 28, G. 
 Front. In the middle a thyrsos stands upright, upon which is hung 
 on either side a thick garland laden with fruit, the other end of each 
 garland being held up by a Cupid with a chlamys at his back. Within 
 each of the curves formed by the two garlands two large Bacchic 
 heads, facing each other; on the 1. Dionysos wreathed with ivy and 
 vine, and Seilenos bearded and bald-headed with a wreath of ivy; 
 on the r. a Satyr with disordered hair and light beard and moustaches 
 wreathed with pine, a pedum beside him, and a Maenad, with a plait 
 wound round her hair, with a wreath of ivy. Beneath each garland lie 
 two animals, on the 1. a panther and a bull, turned away from, but 
 looking round at each other, on the r. a goat and a hen, the latter 
 standing up and pecking fruits. The whole is of very rich effect. 
 Sides. On each a round shield. H. o'68. E. 2‘oo. For the origin 
 cf. on no. 60. [*d/] 
 
 157. Bust of Caligula, here named “Metellus”; on a mailed 
 bust. Kennedy, PI. 16. Modern. [*7?] 
 
 158. (Maz.?) Bust of “ Lucanus.” Kennedy, PI. 22. A rather 
 flimsy head with slight beard. Waagen sees in it “a highly finished 
 work of the time of Adrian;” Newton considers the head suspicious; 
 Bernoulli believes that he recognises the same touch as in no. 78. 
 In my judgment there is no doubt as to its modern origin. [*A?] 
 
 158A (Maz.) Statue of Demeter. Clarac, in. 538 B, mo D, 
 “Muse.” Creed PL 8, “Urania.” This figure rather resembles no. 
 145, but is still more like a statuette of the Palazzo Doria in Rome 
 (Clarac, in. 438 C, 776 A. Overbeck, Kunstmytkol . , hi. p. 465) 
 which is important owing to the preservation of the attributes; on our 
 statue only the veiling of the head is wanting. The head and neck are 
 inserted, but the face is new except half the 1. cheek and the 1. eye, 
 and the whole head seems not to belong to the statue. New: 1. fore- 
 arm, which should be lower and should hold ears of corn in the hand. 
 The r. forearm which perhaps had always been worked from a separate 
 piece of marble, is broken off; the hand originally grasped the upper 
 end of a long torch. Lastly the lower part of the statue almost from 
 the waist downwards is entirely new, as well as the pedestal with the 
 modern inscription OYPANIA preceded by the representation of a 
 M. C. 45 
 
WILTON HOUSE I 59 — 1 63. 
 
 7 06 
 
 sphere on a three-sided pedestal. So much the more amusing is 
 Kennedy’s assurance that “Cardinal Mazarine would not suffer any 
 part to be mended” (p. 103). The genuine antique piece is in fact 
 excellent. Greek marble. H. i - 8o. Cf. on no. 145. [*C] 
 
 159. (Maz.?) Seated female figure. Clarac, m. 498 A, 990 B, 
 “ Clio.” Creed, PI. 3. On a chair without a cushion sits, sinking in 
 very deep, a female figure in chiton (confined by a ribbon which 
 passes from the shoulders under the armpits, cf. Deepdene, no. 7), 
 abdomen and legs covered by the cloak. The feet are set rather far 
 from each other on a high stool. The statue has been broken into 
 three large pieces, first into two by a horizontal fracture through the 
 waist, then the lower part into two pieces by a vertical fracture be- 
 tween the legs. The head (restored: nose and upper lip) is joined on 
 by a modern neck; it can hardly belong to the figure, and is perhaps 
 modern. Certainly modern : both forearms, with the flute in the 
 r. and the roll in the 1. hand, the 1. foot, three legs of the chair (the 
 only antique leg is that in the front by the 1. leg of the figure, with a 
 very favourite profile). Commonplace work. H. 1*05. According to 
 Creed and Kennedy (p. 9), “Euterpe, by Cleomenes.” Inv. Maz., no. 
 50, “ Uranie assize, teiiante utie fleur (? flutte) a la main droite et une 
 cartelle entortillee dans V autre, haute dc cinq palmes , ou environ [*] 
 161 (Maz. 1 19). Bust of a young girl. A pretty, plump face, 
 with a snub nose, and a very lively expression about the mouth. 
 Pupils expressed. The head-dress indicates the third century, the 
 hair being parted in front and taken up at the back in a band. Very 
 pretty sculpture, well preserved ; bust new. Inv. Maz., no. 119, “ Une 
 teste d'ttnc petite fille, avec son buste habille..., de marbre bland" [*-5] 
 162. Head of Aphrodite, of doubtful genuineness. 
 
 163 (Maz.). Front of a sarcophagus : death of the chil- 
 dren of Niobe. An early drawing in the Cod. Pigh., no. 163 
 Jahn (a rough sketch, but still without restorations) ; two others 
 from the Dal Pozzo collection in the possession of Mr Franks 
 in London (cf. Winckelmann, Monum. Ined., on no. 89). The 
 scene is very picturesquely disposed on a high slab, the various 
 figures and groups in several instances interlocking. A rocky ground 
 traverses the whole length, and carries the figures in two tiers one 
 above the other. Lower Tier. On the 1. stands Amphion, on a 
 much larger scale than most of the other figures ; he is dressed in 
 corslet and boots. He is in the act of withdrawing on the 1. side, 
 holding on his r. arm (forearm wanting) a young son ( A ) who is sink- 
 ing back ; Amphion looks up to the r. and holds up his extended 
 
WILTON HOUSE 1 63. 
 
 707 
 
 1 . arm in the same direction, as if to ward off an attack. Beside him 
 on the ground kneels a bearded paedagogos, in short chiton with a 
 skin over it, and supports in his arms a boy who is falling forward (£), 
 whose r. hand lies on his shoulder. Outstretched on the ground lies 
 a daughter (a), her r. hand on her breast, draped in chiton and cloak. 
 A son ( C ), who has slipped off a very small horse, is dragged on the 
 ground with his legs trailing, as he still grasps the reins in his 1. hand : 
 with the r. he draws the arrow from his body. Over him the aged 
 nurse (rpo^os), in chiton, her cloak girt about her hips, and with the 
 usual head-cloth, holds a daughter ( b ), who is sinking back, the upper 
 part of the body nude. Further r. a youth (D), whose cloak held in 
 his r. hand waves over his head, sits on a horse which has fallen to the 
 ground. At the r. extremity comes Niobe, on a scale corresponding 
 to her husband, draped in a chiton which leaves the r. breast besides 
 the arm free, her wide cloak flying in a large arch behind and over 
 her head (so that it corresponds symmetrically to Amphion’s large 
 shield). She stands nearly as she does in the Florentine group. The 
 face looks up to the 1 .; long curls fall on the back of the neck. With 
 either arm she presses a daughter to her, both draped in the chiton ; 
 the small one (e) comes from the 1., the large one ( d ) from the r. — 
 Upper Tier. On the extreme 1 . a youth ( E ) on a galloping horse 
 tries to escape the destruction, he looks up behind him. Behind his 
 horse a second bearded attendant or paedagogos, draped with the 
 chlamys, holds in his arms a grown-up daughter (e), who is sinking 
 forwards; the upper part of her body nude. Close by her a sister (/), 
 draped in a chiton, throws herself on to her knees, supporting her 
 r. hand on the ground, uplifting in a backward direction her face and 
 1 . arm. In the middle, above the nurse, a youth (F) falls backwards 
 off his horse, which is galloping to the r. Before the horse there is 
 to be seen the upper part of the body of a sister (g) apparently falling 
 forward, in chiton and cloak (head and both forearms wanting). 
 Further r. a youth ( G ) falls over forwards on the back of his falling 
 horse. Above him lies a bearded mountain god ; still higher a few 
 trees are visible, here and there. All Niobe’s sons wear the chlamys. 
 The glance of most of the figures, full of apprehension, is directed 
 upwards towards the middle of the scene. On a very similarly 
 designed sarcophagus in the Lateran Museum (no. 427. Museo Later., 
 PI. 3. Stark, Niobe, PI. 19) there are on the lid Apollo on the r. 
 and Artemis on the 1 ., both represented as shooting an arrow. — The 
 animated composition, raised in high relief from the rocky ground of 
 the field, might be traced back to a picture as the original. Execution 
 
 45—2 
 
yo8 
 
 WILTON HOUSE 1 64 — I/O. 
 
 moderate. Restorations not numerous, but coarse. Cf. Stark, Niobe, 
 p. 189. Heydemann, Berichte d. siichs. Ges. d. Wiss., 1877, pp. 7 1 f. 
 L. abt. 2 - 2o. H. o - 8o — o - 9o. Inv. Maz., no. 124, “ Un grand has 
 relief de la fable de Niobe , avec diver ses figures a pied et a cheval.” 
 The relief came from Rome, where it stood, according to the Cod. 
 Pigh., about the middle of the fifteenth century sub Capitolio in 
 par let e privatae domus. \fCMJV] 
 
 164. Female statue, named “Sabina.” Clarac, in. 538 B, 
 1122 C. Creed, PI. 25. The figure stands quietly on the 1 . leg, 
 draped in the chiton, over which is a wide cloak which leaves free 
 little more than breast and neck. R. forearm, inside the cloak, bent 
 upwards (half of r. hand new) ; the whole arm not well detached 
 from the body. L. forearm extended (hand with ears of wheat and 
 wrist new). Details on the folds patched. Head (new : nose) taken 
 from a Venus, and perhaps modern. Drapery rather heavy. H. abt. 
 1-85. [* W] 
 
 166 (Maz. 75). Bust of a Roman emperor, of the period of 
 Septimius Severus; named “Brutus senior.” Bad and much battered, 
 but antique. Inv. Maz., no. 75, “ Une teste d’ Empereur, avec son buste 
 arme , ayant un masque sur la poitrine et une draperie sur I'espaule 
 gauche.” [*B] 
 
 "'-^167. Head of a ram, in black basalt, well preserved. 
 
 168. (Maz.?) Bust of “ Didia Clara.” Modern. 
 
 169. Fragment of a male statue. Clarac, v. 926, 2356 A, 
 “Tiberius.” Creed, PI. 60, “Caesar’s Father when Governor in 
 Higypt.” Merely the middle piece from just above the navel to 
 the knees is antique. Accordingly it was a palliatus, with upper 
 part of body nude, the 1 . arm akimbo. Coarse-grained Greek 
 marble. Coarse but not bad workmanship. H. i - o6. [*] 
 
 170 (Maz. 42). Statue of an Amazon. Clarac, v. 810 A, 
 2031 C. Creed, PI. 2. On the pedestal the modern inscription 
 AMAZ: | BA 2 :. An Amazon, draped in a short chiton, which leaves 
 r. breast and arm free, lias sunk on to the r. knee in violent move- 
 ment, stretching out the 1. leg a long way (this leg broken, but 
 antique). On her feet she wears boots, the pelta on the 1 . arm ; the 
 r. arm was always raised, the head too perhaps always turned in the 
 direction of the 1 . leg and raised. New: head and neck, r. arm, half 
 of the upper part of the 1. arm and the upper third of the pelta ; I 
 cannot say positively whether also “ one of the hoofs of a horse be- 
 hind the pelta” belongs, as I conjecture, to this restoration. To judge 
 by dimension and style, the figure certainly does not belong to the 
 
WILTON HOUSE 1 7 3— 1 78. 
 
 709 
 
 votive gifts from Attalos king of Pergamon on the Acropolis of 
 Athens (cf. Brunn, Annali, 1870, p. 313). PL with pedestal o’92, 
 without o'Si; approximate length of body i'25- According to Creed 
 and Kennedy (p. 10) “by Cleomenes.” The breast is quite covered 
 with the marks of the Duke of Mazarin’s hammer. Inv. Maz., no. 
 42, “ Une Amazone ay ant un genouil cn ter re, la mam ell e droite et le 
 bras descouverts , Vesp'ee ct la main , avec an bouclier , en posture de se 
 deffendre , haute de quatre palmcs, ou environ ” (cf. Sauval, Hist, des 
 antiq. de Paris, 11. p. 176). [* W ] 
 
 173. (Maz.?) Bust of “ Alkibiades.” Kennedy, PI. 25. The 
 bearded head of rigid expression, with hair little curled and falling 
 on the forehead, is akin to a terminal bust in Paris (Clarac, vi. 1070, 
 2915 B). Bust with paludamentum unbroken. Without doubt 
 modern; in common with the bust no. 123, it has the peculiarity of 
 a piece of drapery bordering the lower edge of the bust. 
 
 174. Plead of “Anarcharsis,” bald. Modern. [*.#] 
 
 175. (Maz.) Group of Herakles and a Satyr. Clarac, v. 790 
 B, 19S7. Creed, PI. 37. Now called u Hercules moriais. Paras." On 
 a stone sits a small Satyr with exaggerated features (nose wanting), 
 both legs spread out, and tries with all his might to support the 
 drunken Plerakles, whose weighty frame is quite falling over back- 
 wards. Both the legs of Plerakles are extended in front, with his 
 lowered r. hand he holds the club which rests on the ground, the 1. 
 arm is quite enveloped by the huge lion’s skin which hangs down 
 from his head to the ground and serves as a material support for the 
 whole group. Plerakles’ face, with long, weakly beard, is sadly dis- 
 torted; the head droops towards the r. shoulder, on which a long 
 fillet falls down. Restored: merely the r. arm of Herakles and the 
 greater part of his club ; even the detached parts of the fillet on 
 the r. shoulder are unbroken. This circumstance strengthens the 
 suspicions as to the genuineness of the whole group which are sug- 
 gested as much by the forced design of the whole composition as by 
 the overwrought modelling of the several parts, especially of the faces. 
 The Satyr especially is badly designed, the upper part of the body too 
 long, the 1. thigh stunted, the r. foot hopping, the 1. hand quite miser- 
 able. The whole work very dry. H. 0-93. The marks of the hammer 
 prove that this group is from the Mazarin Collection ; however I do 
 not find it in the inventory. [*P IV ] 
 
 178. Terminal head of Sokrates. New: 1 . eye, nose, r. 
 cheek. Of the type of the two heads in Paris. [*P] 
 
7io 
 
 WILTON HOUSE 1 79— 1 87. 
 
 179. (Maz. ?) Bust of Aelius Verus, here named “Marcus 
 Aurelius.” Modern, \_B~\ 
 
 The following specimens, which I have only been able to survey 
 cursorily, are not numbered on the originals nor in Newton’s Cata- 
 logue, in which some of them are not given at all. 
 
 LIBRARY. 
 
 180. (Maz. ?) Head of a young Pan or a Satyr, of very deli- 
 cate forms : according to Bernoulli, those of a young female ( Paniske ). 
 Ears pointed, over the forehead two little horns of which the stumps 
 are antique. New: nose, half the neck, and the breast. Expression 
 and bending of the head correspond to the heads of the statues by 
 Cerdo in the British Museum (Grreco-Roman Sculpt., nos. 188, 190. 
 Museum Marbles , 1. PI. 33, 43). L. of face ouo. [*/>] 
 
 181. (Maz.?) Head of a Roman child, falsely named “An- 
 nius Verus”; good and well preserved. New: nose and part of 
 the back of the head, besides the draped bust in alabaster. [*A?] 
 
 SINGLE CUBE ROOM. 
 
 182. (Maz. ?) Head of “ Masinissa,” with twisted fillet round 
 it. Modern. [*i?] 
 
 183. (Maz.?) Head of “Pyrrhus,” with helmet, of ugly 
 expression. Kennedy, PI. 18. Modern. [* 7 ?] 
 
 184 (Maz. 2). Bust of Septimius Severus, good head, patched 
 about the face. Draped bust modern. Inv. Maz., no. 2, “Une 
 teste antique de Septime Severe, avec son baste habille cPalbastre couleur 
 de fleur de peschc, posee sur un pied d’estal de marbre Apfricain.” [* 7 ?] 
 
 185 (Maz. 107). Bust of “ Octavia Maior”; the hair 
 twisted in plaits into the shape of a basket on the crown, as was 
 usual in the second century a. d. Pupils expressed. New: nose 
 and draped bust. Inv. Maz., no. 107, “ Line teste de femme de marbre 
 blanc , avec son baste habille dime draperie d'albastre brim.” [*] 
 
 186 (Maz. 1). Bust of Tiberius (not Drusus). New: nose, 
 part of brow and the hair, neck, and bust. Good head. Inv. Maz., 
 no. 1, “ Unc teste antique de Tybere , avec son baste [&c., like no. 184].” 
 [**] 
 
 187. Bust of “Lucius Verus,” which can hardly be the 
 right name. Beard cut short, hair curly. Restored : nose, as well 
 as the bust, of four different kinds of marble. The head too has a 
 very modern look. [*] 
 
WILTON HOUSE 1 88 — 197- 
 
 7 ii 
 
 DOUBLE CUBE ROOM. 
 
 188 (Maz. io). Bust of “Marcia,” with high, pointed head- 
 
 dress. Hair in a plait wound round the head. The countenance 
 thin and worn. New: nose and ear. Inv. Maz., nos. 9 and 10, “Deux 
 testes antiques de femmes, avec leurs bastes d’a/bastre oriental, faco 7 i 
 de brocard plus obscur;” cf. no. 189. \*D~\ 
 
 189 (Maz. 9). Bust of “ Drusilla.” A well-preserved girl’s 
 
 head, with plait. New : tip of nose, neck, and bust. Inv. Maz., 
 no. 9, cf. on no. 188. [*£’] 
 
 190. (Maz.?) Bust of the consular Horatius. New: neck, 
 lower part of face up to the nose, and bust. According to Newton 
 the face is that of a Greek youth. Newton regards the genuineness 
 as suspicious, to me it seemed probable. [*] 
 
 191 (Maz. 6). Bust of a youth, named “ Caius Caesar.” The 
 
 face (tip of nose new) is badly polished over with an acid, but 
 is antique; the draped bust is modern. Inv. Maz., nos. 5 and 
 6, 11 Deux testes d'enfans, avec leurs bastes d'albastre oriental trans- 
 parent vene de rouge cf. no. 194. [*-#] 
 
 192 (Valletta). Bust of Horatius, in porphyry. A modern 
 
 fancy-portrait, multiplied as if authentic by casts, e.g. in the Library 
 of Trinity College, Cambridge. Kennedy, pp. 53, 65, testifies to its 
 derivation from the Valletta Collection. The remark of Bernoulli, 
 Rom. Ikonogr., 1. p. 252, refers to this bust, not to no. 190. [*_ 5 ] 
 
 193 (Valletta). Bust of “ Cicero,” reminding one more of 
 Corbulo. Of dark stone ; according to Newton of black marble, 
 according to Bernoulli of basalt, according to Kennedy (pp. 53, 65) ^ 
 of touchstone. The bust, like the last, seems suspicious to Newton 
 and Bernoulli, to me it seemed undoubtedly spurious. [*] 
 
 194. (Maz. ?) Bust of a boy, modestly christened “ Lucius.” 
 Good. New: nose and draped bust. Probably identical with Inv. 
 Maz., no. 5, cf. on no. 191. [*] 
 
 195 (Valletta). Bust of “Julius Caesar,” in alabaster, similar 
 to the porphyry bust in Ince, no. 144. Kennedy, PL 20. Modern. 
 
 Cf. Bernoulli, Rom. Ikonogr., 1. p. 163. For its source cf. Kennedy, 
 pp. 53, 64. [*R] 
 
 196. (Maz.?) Bust of an elderly Roman, named “Marcus 
 Brutus.” Kennedy, PI. 19. Beardless, with underlip somewhat 
 pouting. Of grave expression. A good portrait. New : tip of nose 
 and draped bust. [*] 
 
 197. (Maz.?) Bust of Julia Pia, antique, but sadly polished. 
 
712 
 
 WILTON HOUSE 1 98 — 204. 
 
 The tip of the nose and the plait of hair behind restored, as well as 
 the variegated drapery. \*B W ] 
 
 198. Round marble urn, with two short handles and a lid. 
 
 On the tablet is the inscription : I) {is) Myanibus) \ Anniae Trophi- 
 meni \ Q. Volusius Vents co\iugi carissime fecit. Below a relief : on a 
 couch lies a female figure, the upper part of the body nude, legs 
 and 1. arm in her cloak, holding a bird on her r. hand. Before 
 her a small low table, such as is still common in the East, with 
 viands on it. On the wall hangs a mirror and a full bodied basket 
 or jar. At either side of the relief a laurel-tree with a bird pecking 
 at it ; beneath each handle a winged boy with a torch. Sprays of 
 foliage cover the back of the urn and the lid. H. o‘48. Diameter 
 °' 3 2 - [*] 
 
 199. Urn, of a sort of pumice stone, with two slightly sketched 
 reliefs, of the so-called mourning bride, whose feet are being washed, 
 and of the old woman offering with two attendant female musicians; 
 copied from Sante Bartoli, Admiranda, PI. 73, 47. Zoega, Bassir., 
 PI. 12. Modern. [* W ] 
 
 200. (Maz. ?) Bust of a youth, here named “ Antinous,” de- 
 
 signated conjecturally by Newton as a Hermes. The type is to be 
 referred to certain heads in the style of Polykleitos, akin to the so- 
 called Idolino in Florence, though faintly rendered. Hair short. 
 New: nose, neck, and bust. A pretty head. Greek marble. ' L. of 
 face o-i8. [*] 
 
 201 (Maz. 4). Bust of Lucius Verus, the face much patched, 
 almost half of it modern. Bust new. Inv. Maz., no. 4, “ Une teste de 
 Marc-Aurelle , avec son buste d'albastre oriental vine de b/anc.” [*Z>] 
 
 202. (Maz.?) Bust falsely named “Constantinus Magnus.” 
 The hair grows low down on to the nape of the neck. The head, 
 much restored, belongs to an earlier epoch ; the portrait unknown. 
 Bust new. [*Z?] 
 
 203. (Maz.?) Bust of “Marcellus Consul,” i.e. of an 
 elderly, beardless Roman. New: nose, chin, and draped bust. A 
 good portrait. [*7?] 
 
 GREAT ANTE-ROOM. 
 
 204. (Maz.) Sleeping Hermaphroditos. Creed, PI. 10, 
 “Sleeping Venus;” according to Kennedy (p. 81) from the Mazarin 
 Collection. Copy of the Borghese statue in the Louvre ; according 
 to Newton probably antique, in my opinion modern. L. o^i. [*] 
 
WILTON HOUSE 205— 219. 
 
 713 
 
 205. Painting, said to have been brought from the Temple of 
 Juno at Praeneste. Completely smudged over and covered with 
 modern inscriptions; it can hardly be made out whether there are 
 any antique remains underneath this covering, cf. on Brocklesby, no. 
 
 36- [*] 
 
 206. (Maz.?) Small head of Otho. Modern. \*B~\ 
 
 207. Small head of Vitellius. Modern. [*i>] 
 
 LITTLE ANTE-ROOM. 
 
 208 (Maz.). Bust of “Epicurus.” A thoroughly arbitrary 
 nomenclature. Head bearded, bust draped. The little specimen 
 has a Greek look. “Valued by Card. Mazarine” (Kennedy, p. 100), 
 “because there were no others of them known” (p. xii). [*] 
 
 209. Small head of “Achilles,” i.e. of an Athene of the later 
 type, with very oval face. Rams’ heads on the front of the helmet. 
 
 [C] 
 
 This room contains some more small busts, apparently of trifling 
 value. [*] 
 
 COLONNADE ROOM. 
 
 210, 21 1. Two bronze busts, one of which is inscribed 
 Palemon. Of doubtful genuineness. 
 
 CORNER ROOM. 
 
 212. (Maz.?) Bust of “Pertinax.” Modern. 
 
 213. Small head of Scipio, named Solon. According to 
 Newton modern, according to Bernoulli probably antique. [7?] 
 
 STAIRCASE. 
 
 214. Bust of “ Vibius Varus.” Modern. [*_Z?] 
 
 STAIRCASE LEADING TO THE GOTHIC HALL. 
 
 215. (Maz.?) Bust of “ Seneca.” Modern. [*] 
 
 216. (Maz.?) Bust of “ Heraclitus.” Modern. [*] 
 
 217. (Maz. 12) Bust perhaps of Julia Domna (?). Modern. 
 
 Inv. Maz., no. 12, “ Une teste moderne d'une femme de marbre blanc, 
 son buste d'albastre vine de plusieurs sortes de couleurs .” [*] 
 
 218 (Maz. 66). Bust of “Caligula,” quite wrongly named. 
 It seems to be modern. Inv. Maz., no. 66, “ Une teste de marbre 
 blanc , avec son buste habill'e de marbre blanc." [*] 
 
 219. (Maz.?) Bust of Antoninus Pius, here named “MiA- 
 TtdS>7s.” Modern. [*] 
 
7 14 
 
 WILTON HOUSE 220— 232. 
 
 220. (Maz.?) Bust said to be that of “IIPU 2 IA 2 .” Kennedy, 
 PI. 24. Short beard; the hair treated like straw, as in Knole, no. 10. 
 Modern. [*] 
 
 221. (Maz.?) Bust of Aphrodite, with topknot over the fore- 
 head; here christened Semiramis. Kennedy, PI. 15. Modern. [*] 
 
 222. (Maz. ?) Bust of “Vibius Varus.” Cf. no. 214. Modern. 
 
 [*] 
 
 THE PAVILION. 
 
 223. Group of Herakles and Antaeos. Creed, PI. 42. 
 
 Coarse sculpture. Heads and almost the whole of the arms and legs 
 restored. H. abt. 077. [*] 
 
 224. Torsos, antique, and of good sculpture. 
 
 225. (Maz.?) Head of a laughing Satyr. New: nose. 
 
 Bad. [*] 
 
 226 (Maz. 92). Bust of Lysimachos (?). Perhaps modern. 
 Inv. Maz., no. 92, “ Une teste du jeune Empereur Tybere, avec sou 
 buste arme, un masque sur la poitrine , le tout de marbre blancP [*] 
 
 227 (Maz. 135). Female head, after the style of the so-called 
 heads of Sappho. Modern. Inv. Maz., no. 135, “ Une teste couronnee 
 de laurier , de marbre blanc , sans buste." [*] 
 
 228. (Maz.?) Head of Apollo, of slightly pathetic expression, 
 the hair brushed up and fastened together on the top of the head. [*] 
 
 229. (Maz.?) Head of Zeus. [*] 
 
 230. Statuette of Dionysos. Clarac, iv. 686, 1625. Creed, 
 
 PI. 13. Kennedy, PI. 17. Antique: only the torso with broad 
 nebris, girt in slanting direction from the 1. shoulder, the lowered 
 upper parts of both arms (not the grapes in the r. hand) and the 
 thighs; on the r. thigh a puntello. H. abt. o - 5o. [ # ] 
 
 WALK LEADING TO HOLBEIN’S PORCH. 
 
 231 (Maz.). “The foster father of Paris.” Creed, PI. 43. “A 
 youthful figure, in a short goatskin tunic, with short sleeves, round 
 which is a small mantle twisted across his body. In his left hand a 
 shell, in his right a pipe; on his head a Phrygian cap. He wears 
 boots ( socci ), tied with leather thongs at the ankles. Seems antique 
 [entirely?] and curious.” \Newtoni\ Inv. Maz., no. 28, “ Mercure en 
 habit de pasteur couvert d’une peau, tenant tine flutte en sa main droite, 
 et un lima f on mar in dans 1' autre, haut de six palmes, ou environ." 
 
 232. “A naked male figure, with two long fillets of flowers 
 hanging down perpendicularly, one on each side, on each flank, as 
 
WILTON HOUSE 233, 234. 
 
 715 
 
 far as the knee. Restored as Bacchus. Head, both arms, and 
 panther’s skin modern.” [Newton.\ 
 
 holhein’s porch. 
 
 233. Bust of “Themistocles.” “Drapery modern.” \Newtoni\ 
 
 The three last-mentioned specimens, the description of which I 
 
 borrow from Newton, I was prevented from looking for. 
 
 I cannot identify : 
 
 234. (Maz. ?) Statue of Dionysos. Clarac, iv. 694 C, 
 1596 B. The god, quite nude, rests on his r. leg and looks at a 
 large bunch of grapes in his 1. hand; the r. hand, which likewise 
 holds a bunch of grapes, is supported on the stem of a tree. The 
 head has long curls and a wreath of ivy. About restorations nothing 
 known; I am disposed to believe that either the whole figure is 
 modern, or only the torso antique. H. abt. i - oo. Cf. Inv. Maz., 
 no. 58, “ Un Bacchus mid, couronne de feuilles de vignes, tenant une 
 grappe de raisins dans chaque main, haut de six palmes, ou environ .” 
 
 Besides these there are in Creed engravings of a number of 
 figures, undoubtedly for the most part modern, of which I cannot 
 give the numbers. I just mention them here without any com- 
 ment. PI. 11, “Adonis;” 12 “Pandora” (Aphrodite); 15 and 16, 
 “Acis and Galatea;” 20 and 21, “Persian captives;” 23, “ Attis, 
 clothed as a woman;” 29, “Flora;” 30, “Apollo with a fine 
 glass;” 31, “Autumnus;” 32, “Bacchus and the young Silenus;” 
 38, “ Shepherd ; ” 44, “ Mercury with wings, caduceus, and a purse;” 
 47, “ Priest sacrificing a hog to Isis ; ” 49, “ Andromeda ” (Inv. 
 Maz., no. 106); 59, “Orpheus;” 63, “ Manlia Scantilla, bigger than 
 the life, sitting;” 70, “Venus with a vase.” 
 
 In former days there was at Wilton House a large collection of 
 Greek and Roman coins, which is thus spoken of in the Aedcs 
 Pembrochianae, p. 93: “No cabinet in Europe, in the possession of a 
 subject, is perhaps so richly stored with medals as that of Lord 
 Pembroke. Earl Thomas spared no pains or expense to complete 
 his collection of them.” Cf. Goede, England, v. p. 136. There 
 appeared a Catalogue of these, Numismata Pcmbrokiana , 1746, 
 which was republished in 1848 for the purpose of the sale which 
 then took place. 
 
yi6 
 
 WIMBLEDON I, 2. 
 
 WIMBLEDON (Surrey). 
 
 I am indebted to Prof. Newton for the following notice : 
 
 “Near St Mary’s Church in Wimbledon Park estate are a few 
 marbles which were originally in the house called Wimbledon Park, 
 once the property of Lord Spencer, and now belonging to Mr 
 Beaumont. It is supposed that they were brought from abroad by 
 a Lord Spencer who travelled at the beginning of this century. Of 
 these remains the only one of any interest is : 
 
 1. A circular cippus of white marble, in form like a pedestal 
 or altar, and about o - 66 in diameter, round which seven draped 
 female figures are sculptured in relief. Three of these figures appear 
 to be dancing; two of them join hands, the third advances from 
 the 1 ., holding out a wreath to the figure nearest to her. These 
 three figures wear mantles and talaric chitons raised so as to shew 
 the ankles. On the r. of this group are a pair of figures who carry 
 between them some object like a bowl or vessel with handles, which 
 one figure holds in the r. and the other in the 1 . hand. This pair 
 wear talaric chitons and the diploidion. On the I. behind the figure 
 holding out the wreath, is a sixth figure wearing a talaric chiton girt 
 at the waist and a diploidion with a mantle cast over the 1. shoulder. 
 There is a seventh figure, but, as the marble was lying on its side, I 
 could not see this. Above the dancing figure is the following inscrip- 
 tion : 
 
 ZmiYPOSZfmYPOYTONOIKON 
 
 E 2 TIAIKAITfiIAAMf 2 I. 
 
 The characters seem late [apparently of a good Roman epoch]. The 
 sculpture, which is very much damaged, seems to have been of a 
 good time. The drapery and pose of the dancing figures is slightly 
 hieratic. — Lying by this marble was a fluted drum from a Doric 
 column about 076 in diameter, in white marble. I was told that 
 the sculptured marble formerly stood on this fluted drum, which has 
 a firm joint at the top, shewing that something has been placed on it. 
 If the other marble stood on the fluted drum, it would seem that we 
 have here an example of a caelata column a, but it may have been only 
 an altar. 
 
 2. Lying near these marbles was the fragment of a relief, 
 exhibiting a reclining male figure, the lower half clothed ; the rudder 
 which he has held in his hand probably indicates an aquatic deity. 
 This fragment, which is much worn, is about o’po long. 
 
WIMBLEDON 3 — 5. WINDSOR CASTLE I — 3. 717 
 
 3. The fragment of the bust of a draped figure, the mantle 
 drawn forward over the 1 . shoulder. A socket shews that the head has 
 been of a separate piece of marble. 
 
 4. A large granite trough or laver roughly finished. 
 
 5. Several pieces of porphyry.” 
 
 WINDSOR CASTLE (Berkshire). 
 
 Michaelis, Arch. Zeit., 1874, pp. 66 ff. 
 
 The single ancient sculpture in Windsor Castle stands at the end 
 of the long corridor : 
 
 1. Altar on which is a slain ram, very like the example in 
 the Vatican {Mon. Matth., n. PI. 69. Mils. Pio-Clem., vil. PI. 33), which 
 Visconti thought was an unicorn. The animal is so placed on the 
 altar that his head and legs hang down ; the collapse of the body in 
 the region of the stomach which this position induces is excellently 
 portrayed. The entrails protrude from the stomach. The tufts of 
 the fleece are only flatly expressed. The altar itself is lower than the 
 one in the Vatican, and the round slab which lies on the latter is 
 missing. New : the head from the eyes downwards, the r. ear, half of 
 'each of the four legs, and part of both supports which fasten them 
 to the altar. Good work ; at the back traces of earth are still visible. 
 Italian marble. H. 0-59. This altar was purchased from the property 
 left by Queen Charlotte. It was placed first in London at Carlton 
 Plouse. I am informed by G. Scharf that, according to a MS. state- 
 ment by Mr Jutsham, at one time the inspector of Carlton House, 
 this specimen is probably derived from Plerculaneum. [*] 
 
 Windsor Castle possesses also a fine collection of ancient and 
 modern gems, the most important specimens among which have 
 been edited and described by C. D. E. Fortnum, Archaeologia, vol. 
 xlv. A considerable portion of the collection was made by Consul 
 Smith at Venice, and purchased from him by King George III, cf. 
 A. F. Gori, Dactyliotheca Smithiana , Ven. 1767, ir. Vols. Among 
 the antique stones the following deserve special mention : 
 
 2 (no. 180). A fine Oriental cameo of three strata, a fragment of 
 a head of Zeus Aigiochos. Dad. Smith., PI. 1. Fortnum, PI. 2. 
 
 3 (no. 218). A sunk cameo, intaglio rilievato , an excellent por- 
 trait of a beardless elderly Roman, the hair clipped very close, not 
 
7 i8 
 
 WINDSOR CASTLE 4, I. — IX a . 
 
 unlike the portraits of the elder Scipio. Fortnum, PL 2. Cf. Ber- 
 noulli, Rom. Ikonogr., 1. p. 44. 
 
 4 (no. 242). A magnificent cameo in Oriental sardonyx of four 
 or five strata ; 0*19 high, o - i 5 broad : Emperor Claudius, crowned 
 with laurel, wearing a corslet and a small aegis, his sword (the 
 handle of which is an eagle’s head) by his side and a sceptre or a 
 lance over his r. shoulder; he is looking to the 1. Fortnum, PI. 1. 
 This is undoubtedly a contemporary portrait ; according to C. W. 
 King ( Archceolog . Journ., xvm. p. 312) it would be a portrait of 
 Constantius II. This cameo was already in the possession of 
 Charles I. when he was prince, and was then unfortunately “cracked 
 and broken by the Lady Somerset, when her husband was Lord 
 Chamberlain” (1613 — 1615). 
 
 Lastly, a large number of old Drawings of Antiques contained 
 in a series of volumes purchased by King George III., form a great 
 treasure of the R. Library. Woodward’s conjectures as to their origin 
 {Genii. Mag., 1866, p. 29) can be proved to be almost in all cases 
 wrong. For shorter notices of them cf. Conze, Arch. Anz., 1864, 
 p. 240; Matz in the Nachrichtcn der Gottinger Ges. d. Wiss., 1872, 
 p. 65 (from notices by Helbig), and in the Arch. Zeit., 187 3, p. 33 ; 
 Michaelis, Ibid. , 1874, p. 66; Duhn, Ant. Bildwerke in Rom, 111. pp. 
 290 ff. As a detailed account of the collection is to be given in 
 another place, a short notice will here suffice. The numbers added 
 in brackets are those of my notice, /. cit. 
 
 The main portion of those volumes come from the collection 
 of the Commendatore Cassiano dal Pozzo {d. 1657), and were pur- 
 chased for George III. in 1762 from Cardinal Alessandro Albani’s 
 library (cf. Introd. §50). Among these may be reckoned certainly 
 the following volumes (1. — xvi.) : 
 
 1. — ix. (1.— ix.) u B as si rilievi antichi." Large folio, bound com- 
 pletely in leather, and bearing the arms of George III. An unusu- 
 ally rich collection of bas reliefs, containing also in the last volume 
 statues, busts, etc. Some loose leaves have been bound in with the 
 book which do not come from Dal Pozzo’s collection. This division 
 is completed by 
 
 ix a . A number of loose sheets marked as having come 
 originally from Pietro Sante Bartoli, but that can hardly be the 
 case with all the leaves. They are nearly all from the Dal Pozzo 
 collection. (For other remains of this collection see under Hamilton 
 Palace. London, Franks.) 
 
WINDSOR CASTLE X. — XIX. 
 
 719 
 
 x. (xvm.) “ Bassirilievi antichi." The exterior is the same as 
 that of vol. 1. — ix., only in a smaller form. 120 sheets with reliefs, 
 chiefly of sarcophagi, all sketched in pen and ink. The origin of this 
 collection is certainly earlier than the time of Dal Pozzo, who must 
 have obtained it as a whole. 
 
 xi. xii. (x. xi.) “Mosaici antichi." The exterior is like that of 
 Vol. 1. — ix. The inscription of these volumes would have been more 
 correctly “ Christian antiquities.” 
 
 The four following volumes (xiii. — xvi.) have still in its com- 
 pleteness the original exterior of the Dal Pozzo collection : vellum 
 binding and green edges. 
 
 xiii. (xii.) “Disegni di Varie Antichita. Nettuno." This contains 
 220 sheets with illustrations from military, and domestic, and other 
 antiquities, with much that is modern interspersed ; further, wall 
 paintings, mosaics, &c. 
 
 xiv. (xiii.) “ Disegn\i\ diuer\si\" Modern architectural designs, 
 nothing antique. 
 
 xv. (xiv.) “ Architec\ture\ Ciuil\i ] Disegnate Several views, 
 designs, details of ancient buildings in Rome and its vicinity ; also 
 some modem architecture. 
 
 xvi. (xv.) “ Architcctu\ir\ Ciuil[f\ct Mil\itari\" Plans, bird’s- 
 
 $ye views, &c. of modern architecture. 
 
 The two following volumes are also bound in vellum, but without 
 the green edges, and certainly do not come from the Dal Pozzo 
 collection : 
 
 xvii. (xvm.) “ Disegni di Antichi Colombar\ii\. Farnese. S. 
 Gio\vannf\ Late\rano\. Villa Madama e Teatri di Parma e Roma. 
 R. R. 21.” Besides many modern architectural pieces there are also 
 a few columbaria, for example, that of the freedmen of Livia, dis- 
 covered in 1726 (cf. Wilton, no. 60). 
 
 xvm. (xvii.) “ Antichitd Dinerse .” In somewhat smaller form. 
 Illustrations of antiquities, taken for a great part from printed books. 
 
 The following volume was obtained from the Mead collection by 
 Prince Frederick or by George III. (Introd. § 29): 
 
 xix. (xxii.) “ Pitture Antiche dise\_gnate\ da Piet[ro] Sanct\e 
 Bartoli\ ” Folio volume bound in leather, with the arms of the 
 Vittoria family and those of George III. The title-page runs thus : 
 “ P antiche pitture, manor ie raccolte dalle mine di Roma, espresse al' 
 eleganza vetusta , ncl museo di D. Vincenzo Vittoria Canonico di Xaiiva 
 
720 
 
 WINDSOR CASTLE XX. — XXVII. 
 
 nel regno di Valenza. — L' Architettura e inuentione , e Discgno del Em no 
 Sig. Card 1 . Massimi. — Lc Vittorie laterali sono disegnate da Pietro 
 Santi Bartoli." 112 leaves with wall paintings, greater part of them 
 the originals of different publications of Bartoli ; of great importance. 
 (Cf. Holkham, no. B.) 
 
 The four following volumes (xx. — xxm.) also come from the two 
 Bartoli, Pietro and Francesco. 
 
 xx. “/ disegni originali della colonna Traiana fatti da Pietro 
 Santi Bartoli." Leather volume in transverse folio, with George 
 III.’s arms. Very delicate pen and ink sketches, signed here and 
 there with the name Pietro Sante Bartoli. 
 
 xxi. (xxi.) “ Terence .” Leather volume in large transverse folio, 
 with the arms of George III. Coloured copies of the miniatures of 
 the Vatican Terence, perhaps by Francesco Bartoli. 
 
 xxii. xxm. (xix. xx.) “ 7 / Vergilio nel Vatieano.” Leather 
 volume in small transverse folio, with the arms of George III. A 
 double set, first, pen and ink etchings by Pietro Sante Bartoli ; 
 secondly, coloured copies, perhaps by the son, Francesco; the latter 
 are not quite complete. Together making 106 leaves. 
 
 The following volumes complete the collection: 
 
 xxiv. “Colutnna dicta Traiana. A viro excellent i Iulio Campi 
 Cremonensi non sine ntagno labore Romae dum vivebat diligentissime 
 delineata Leather volume in transverse folio, with the name of 
 George IIT. ; in the inside are Consul Smith’s arms. Giulio Campi 
 lived 1 500 — 1 572. It would be interesting to compare these drawings 
 with those made at about the same epoch by Girolamo Muziano 
 ( 1 53 ° — 1 59 °)> which were engraved by Franc. Villamena and edited 
 by Alf. Ciaccone, Rome, 1576. 
 
 xxv. “ Vestigia delle Terme di Tito e loro interne pitture .” Drawn 
 by Franc. Smugglewicz and painted by Carloni with very gay 
 colours, the original plates of the publication engraved by the latter. 
 The “ Nozze A/dobrandine" are added as plate 61. Leather volume 
 of very large size, with George III.’s arms. 
 
 xxvi. “Ancient Roman Architecture." Leather volume in large 
 folio, with George III.’s arms. 50 sheets with views and ground- 
 plans of Roman ruins, partly restored. 
 
 Finally, there is a volume belonging to the original treasures of 
 the royal house: 
 
 xxvii. (xxm.) “ Busts and Statues in White Halt, Garden.” 
 
WINTON CASTLE. WOBURN ABBEV. J2\ 
 
 A folio volume, the back of which is vellum ; on the first page, 
 “Drawings of statues and Busts that were in the Palace at Whitehall 
 before it was burnt. Preserved by S r John Stanley Bart, who belonged 
 to the Lord Chamberlayne’s office at the time the Palace was burnt 
 down.” The fire occurred on the 4th Jan., 1698. For particulars 
 about this volume, cf. Introd. §§ 18, 19. 
 
 WINTON CASTLE (Scotland). 
 
 Lady Ruthven, the owner of this Castle, which is not far from 
 Edinburgh, lived for a long time at Athens in the third decade of the 
 present century. She brought hence a number of antiquities (cf. 
 Introd. § 88). I take the following particulars from a letter sent to 
 Prof. Conze by Mr A. S. Murray (for fuller account see Addenda)-. 
 
 1. Greek sepulchral stele, tall, representing a female figure 
 in a slightly archaic manner, and inscribed ’AparTo/xdxr]. 
 
 2. Greek sepulchral stele. Of the Roman period, and 
 inscribed with Roman names. 
 
 Lady Ruthven has also a pretty large collection of vases ob- 
 tained from tombs near Athens, which she opened about fifty years 
 ago. Two or three of the vases bear archaic geometric patterns. 
 
 WOBURN ABBEY (Bedfordshire). 
 
 Outline Engravings and Descriptions of the Woburn Abbey Marbles , 
 1822, fob (The letterpress is by Dr Hunt, who was at one time Lord 
 Elgin’s chaplain, and at that period Dean of Holkham ; the drawings 
 are by Moses and Corbould.) Catalogue of the Marbles , Bronzes , 
 Tcrre-cotte , and Casts , in the Sculpture Gallery Cue. at Woburn Abbey. 
 London, 1828 (short notes, printed again with new numbering and 
 some additions, 1867). Waagen, Treas., nr. pp. 463, 467 ff. (it. pp. 
 545, 551 ff.). Conze, Arch. Anz., 1864, p. 21 1 ff. Matz, Arch. Zeit., 
 1873, p. 30. Michaelis, Ibid., 1874, pp. 68 ff. — I visited the collec- 
 tion in 1873 and 1877. The numbers in the following catalogue are 
 those of the Catalogue of 1867; in parentheses I have added the 
 numbers of the first edition, published in 1828; the numbers omitted 
 apply to modern specimens. 
 
 The idea of adorning Bedford House, the town residence of the 
 Dukes of Bedford, with antique sculptures, originated with Francis, 
 
 46 
 
 M. C. 
 
722 
 
 WOBURN ABBEY. 
 
 Marquis of Tavistock (d. 1767), the father of Francis the fifth Duke; 
 though he only carried out his idea to a very small extent (nos. 171, 
 210; cf. Introd. p. 83). The Gallery in Woburn Abbey, which is 
 most magnificent, was first erected in 1789 as a conservatory by 
 Duke Francis (duke from 1771 — 1802). It is about 42 metres long 
 and 7 1 wide, and is lighted by eight immense windows, which have a 
 view over the garden and park. In the centre of the gallery is a 
 cupola supported by eight antique columns of costly kinds of marble; 
 opposite the door is a semicircular recess (here stands no. 101). 
 At either extremity of the gallery stand the Temple of Liberty, with 
 the busts of the principal Whig leaders (at the entrance, nos. 153, 
 154), and the Temple of the Graces, with Canova’s group of these 
 goddesses. The room was finished in this way and adapted to the 
 purposes of a Sculpture Gallery in 1820 by John Russell, sixth 
 Duke of Bedford (duke from 1802 — 1839), to whose zeal Woburn 
 Abbey is also indebted for the main contents of the Gallery ; for his 
 predecessor had only collected a very few sculptures (nos. 61, 10 1) 
 besides purchasing some vases at Lord Cawdor’s sale in 1800. In 
 1815 the new duke visited Italy and returned home with rich booty; 
 particularly worthy of notice are the six large reliefs from the Villa 
 Aldobrandini in Frascati (nos. 58, 69, 86, no, 117, 144) which are an 
 unusual ornament for an English museum. “Not without difficulty,” 
 that is, probably, not without payment of handsome douceurs, was 
 the papal permission obtained for the transport of the treasure to 
 England. Other valuables were furnished either by excavations made 
 at the time (for example nos. 104, 147, 204), or by the liberality of 
 members of princely houses to the head of the Russell family (no. 
 128), or by the art dealers (nos. 99, 107, 205). After the duke’s 
 return the purchases were continued (nos. 59, 77, 141, 198), among 
 which must be mentioned as specially valuable the Ephesian sarco- 
 phagus with the story of Achilleus (no. 219). Friends and relations 
 of the family made presents ; Lord George William Russell and Sir 
 George Hayter presented a collection of small bronzes, Lord Holland 
 gave a beautiful statue (no. 201). To complete the collection the 
 duke obtained some very fine modern sculptures by Canova, Thorvald- 
 sen, Chantrey, and Westmacott; and as these specimens were placed 
 in the same room with the antiques, a comparison is involuntarily 
 instituted between ancient and modern art. A picture of the gallery 
 thus furnished may be seen in Robinson’s Vitruvius Britannicus : 
 History of Woburn Abbey, London, 1833, PI. 4, In 1822 the duke 
 had ordered engravings to be made of the choicest specimens, 
 
WOBURN ABBEY 32 — 58. 
 
 723 
 
 arranged with the help of Dr Hunt (Introd. § 75). They formed a 
 magnificent work, which was only distributed among friends (En- 
 gravings, &c., see above). The collection has since then been 
 increased by some additions, though not very many (for example nos. 
 hi, 239, 240, 257 — 259). Cf. Introd. .§ 86. 
 
 32 (33, at the back of the Temple of the Graces). Bust of 
 the Empress J ulia. 
 
 33 (34, in the outer wall, near the entrance of the Sculpture 
 Gallery). Medallion, in marble, of the Emperor Vespasian. 
 
 34 (35, ibid.). Do. of the Emperor Hadrian. 
 
 35. Bust of Homer. 
 
 With regard to these four numbers I cannot say whether they are 
 antique or new. 
 
 36 — 42. Various architectural fragments of rosso antico. 
 Found at Hadrian’s Villa. 
 
 50. Ancient sculptured altar, forming the pedestal of the 
 Group of the Graces by Canova. 
 
 54 (232). Bust of Agrippa (?). Head and upper part of r. 
 arm have been broken off. Over life size. Appears to be modern. [*] 
 
 55. Empress, seated, restored as a Ceres. She wears chiton 
 and cloak, and her head is not veiled. Head, on which is the 
 sltephane, has been mended in many places. New : neck, r. forearm 
 with ears of wheat in the hand, 1 . hand. A poor statue, much 
 repaired. H. i'S8. [*] 
 
 56 (63). Front of an ara or a cippus, with a moulding at the 
 top and bottom, and cut off on both sides. A garland with berries 
 traverses the middle of the relief. Above this garland lies a bearded 
 Seilenos, his legs covered with a cloak, stretched out comfortably 
 on an ass, which stands quietly facing r. with its head lowered. 
 Below the garland is the Roman she-wolf with the twin brothers. 
 Elegant high relief. H. 0-56. L. 0-29. [*C] 
 
 58 (59). Fragments of a sarcophagus: Phaedra and 
 Hippolytos. Engravings , PI. 13. Made up of two pieces, which 
 appear to belong to the same sarcophagus, but which were not 
 originally put together in the same way. Left part (probably a 
 fragment of the front). Phaedra sits in the centre, looking r., in a 
 girdled chiton that has slipped down from her r. shoulder ; a cloak 
 conceals her legs and the chair, an apparently separate piece of 
 drapery veils her head and back, and is held by her upraised 
 1 . hand (forearm restored). Behind Phaedra to the r., a young 
 
 46 — 2 
 
7-4 
 
 WOBURN ABBEY 59—61. 
 
 female servant is partly visible, she seems to be arranging the veil on 
 her mistress’ head with her r. hand, and on the other side is an old 
 nurse in chiton and cap who clasps Phaedra round the waist. Both 
 Phaedra and the nurse are looking back to the L, where stands a 
 youth (Hippolytos), seen in full face. He wears a chlamys; the 
 sword-belt goes across his breast, his r. hand grasps the hilt 
 of his sword, and before his 1. shoulder is a piece of a lance 
 which by the restorer has been transformed into a slender club (1. 
 forearm new). Hippolytos turns his face (partly restored) towards 
 a youth who is standing on the extreme 1. ; he has a chlamys on his 
 1. shoulder and over his 1. arm; this figure has been sawn through 
 in the middle. To the r. of Phaedra stands a similar youth, looking 1 . ; 
 the chlamys hangs from his neck down his back. The lowered r. 
 forearm with the thin club, the body and parts of the legs are new. 
 With his 1 . hand he holds the bridle of a horse, but of the horse only 
 the head remains. — Right part (apparently one of the sides). 
 Five youths, all seen full face, and all nude except for the chlamys. 
 Counting from the 1 ., on the first the r. arm, both thighs, 1 . forearm 
 with the thin club are new. The second holds the shaft of a lance in 
 his upraised r. hand, and with his 1. the bridle of a horse, the head 
 of which only is visible (slight restorations). On the third figure 
 (Hippolytos?) the 1 . hand and all the club are new; the fourth only 
 appears in the background; the fifth has a new head and r. forearm, 
 which is raised. I have passed over more insignificant repairs.— The 
 vastness of the dimensions, the clearness of the composition, and the 
 grand style of sculpture remind us of the treatment of the same 
 
 subject on the sarcophagi at Girgenti {Arch. Zcit ., 1847, PI. 5, 6) and 
 
 in St Petersburg (Mon. dell' Inst., vi. 1 — 3). H. I'lp. L. 2 '8 2 
 
 ( 1 ’3 1 4 - 1 "47). Formerly in the Villa Aldobrandini in Frascati. 
 
 [ *CMJV ] 
 
 59 (69). Bust of Marcus Aurelius. Engr. PI. 25, 2. New : 
 
 nose, part of drapery ; neck has been mended. Life size. Bought 
 by Westmacott. [*] 
 
 61 (64). Front of a sarcophagus: Bacchanalian proces- 
 sion. Engr., PI. 12. The procession moves from 1 . to r. In 
 the very front stands a Maenad in a chiton, beating the tympanon ; 
 a second moves to the r., in a chiton, with the cloak thrown round her 
 legs ; she originally blew a flute ; in the background a smaller figure 
 of a girl, who has a round box on her head and carries a staff in her 
 1 . hand. Then follows the inebriated Seilenos, only very partially 
 covered by his cloak ; he has a cup (? disc ?) in his 1. hand and a 
 
WOBURN ABBEY 62—68. 
 
 7 2 5 
 
 wreath in his r. ; he is sitting on an ass, supported on either side by a 
 young Satyr ; on the ground lie a huge panther and a wine skin. Then 
 follows the bearded Pan, skipping with his goat’s legs over a cista, 
 under the opened lid of which crawls forth a snake. Next, the chariot 
 of Dionysos, drawn by two panthers ; on one panther sits a Cupid with 
 his lyre ; a second Cupid in the chariot is guiding the animals ; the 
 youthful god himself, only partially covered by his cloak, is reclining in 
 the lap of a draped female figure (Ariadne?) ; his 1. arm is thrown 
 round her neck, his r. lies on his own head. Partly concealed by 
 the chariot and the panthers, run beside it a Satyr in a chlamys, a 
 figure with a fan ( Xlkvov , vannus ) on the head and a thyrsos (?) in the 
 hand, a bearded Seilenos striking cymbals together over his head, a 
 bearded Pan with the pedum. Behind the chariot dances a Satyr 
 with his r. leg much elevated ; he lifts his 1. hand to his forehead 
 (air (HTKOTrtvtL). H. C59. L. 2 '09. This marble was brought by 
 Lord Cawdor from Sicily, where it had been used as the front of a 
 cistern to a public fountain ; consequently the whole monument is 
 much injured by the action of the water, though the original excel- 
 lence of the composition and work is still to be discerned. [*CMIV] 
 
 62 (65). Mask. JEngr., PI. 27, 2. Beardless, of tragic ex- 
 
 pression, with a Phrygian cap, the peak of which is much bent. 
 New: nose. IT. o - 29. [*] 
 
 63 (66). Bust of a child with curly hair. New : nose and 
 bust. Life size. [*Y>] 
 
 64 (67). Bust of a boy, designated without warrant as Nero. 
 New: tip of nose and bust. Life size. [LA] 
 
 65 (68). Head of an Egyptian deity. 
 
 66(57). Bust of Trajan. New: nose, ears, part of the back of 
 the head, neck ■, the mailed bust with Medusa’s head is for the most 
 part antique, but does not belong to the head. Life size. [*£] 
 
 67 (70). Terminal head, named “ Lycurgus.” Arch. Anz., 
 1864, PI. A, 2 (Conze). The head is beardless, and its most remark- 
 able feature is the r. eye, which is made so small as to shew that the 
 head was certainly meant to represent some one with one eye. The 
 mouth, too, is crooked and ugly. Neck and bust and nose have 
 been restored ; the other part, which is of coarse grained marble, is 
 superficially treated, the hair in quite an unusual style. The head may 
 after all be antique, but is at least open to grave suspicion. L. of face 
 
 0-2 2. [*C] 
 
 68 (71). Architectural fragment, part of the side post of 
 a door (< antcpagmcntum ), or of a pilaster or something of the 
 
726 
 
 WOBURN ABBEY 69 — 77. 
 
 kind. Vine sprays are trained upwards, and among them on a 
 large basket stand two Cupids, picking fruit. Delicate and elegant. 
 H. 0-24. L. 0-15. Cf. no. 76. [*] 
 
 69 (72). Large relief. Engr., PI. 11. A winged griffin, with 
 a head like a lion’s, except that it has horns, has sprung from the 
 r. on to the back of stag, which the violence of the shock has 
 thrown to the ground, and is driving its fore-claws into the stag’s 
 neck. To the 1. a tree bearing fruit (apple tree ?). Above, a cornice 
 with rich mouldings, to the r. and underneath, a small border. 
 Certainly not a metope. Hardly restored at all. H. 0-93. L. 1-28. 
 From the Villa Aldobrandini in Frascati. \*M\ 
 
 71. Fragment of a sarcophagus, representing Achilleus 
 at Skyros (cf. no. 117). The fragment comprises only the stomach 
 and the legs of Achilleus, dressed in a female chiton, hurrying 1., his 
 r. leg coming forth nude from his drapery. Somewhat injured about 
 the abdomen. Good sculpture. H. o’66. [*CM] 
 
 74 (80). Fragment of a relief, a woman in short drapery, 
 
 either Artemis or an Amazon, hurrying r. Both thighs covered 
 with the drapery, the r. knee drawn back, and the lower part of 
 the advanced 1. leg to the ankle are preserved. The back of the 
 fragment is flat and roughly cut ; the specimen was evidently in- 
 tended, like the figures from the frieze of the temple of Polias in 
 Athens, to be fastened by the back on to a slab. Greek work of 
 a good period. PI. 0-45. [C] 
 
 75 (S6). Terminal head of Poseidon. The face is some- 
 what raised; its expression sad and disturbed. The hair is raised up 
 over the forehead in two divisions and then falls long down. The 
 beard is more entangled and less dank. A fillet passes through the 
 hair. The head is in perfect preservation, the terminal bust is new. 
 Marble with grey stripes. L. of face crig. [ # ] 
 
 76 (87). Architectural fragment, with delicate sprays, finely 
 
 executed, belonging to no. 68. A groove runs along one side, shewing 
 that the piece was to have been joined to something; on the other 
 side is an astragalos. PI. o - 26. L. 0.15. [*]. 
 
 j6 a . Architectural fragment, of Greek execution, finely 
 treated. Portions only of two flowers connected by a spray are 
 preserved, the one on the 1. turned upwards, the one on the r. down- 
 wards. Below, a light border; the upper part injured. H. ouo. [C] 
 
 77 (78). Bust of Septimius Severus. Engr ., PL 24, 2. 
 The emperor is represented of a rather youthful age. New : nose, 
 chief part of the beard, the corslet with the paludamentum and the 
 
WOBURN ABBEY 78 — 8 I. 
 
 727 
 
 clasp on which is the inscription nec spe nec metu. Life size. Bought 
 from Westmacott. [*/>] 
 
 78 (83). Terminal head of Claudius (??), the hair growing 
 deep down in the back of the neck. New : nose and bust. Below 
 life size. To me the genuineness of the head appeared doubtful. 
 
 I**] 
 
 79 (84). Head of a Roman lady, of the first century, 
 perhaps Antonia (Bernoulli). Her wavy hair is concealed by a 
 veil; her face youthful, but the expression grave. New: nose; the 
 rest composed of several pieces. [*i?] 
 
 80 (85). Bust of Herakles. Engr., PI. 27, 1. Small head 
 
 adorned with a wreath of poplar. New: nose, neck and bust. 
 H. of head o - 27. [*] 
 
 81(82). Front of a sarcophagus: Kalydonian hunt. 
 
 Engr ., PI. 10. The sarcophagus is akin to the one in Broadlands 
 (no. 21) and another one in Richmond (no. 57), and except for a 
 few unimportant repairs, is in excellent preservation. To the 1. in 
 front of the arched doorway stands (a) the bearded Oeneus in chiton 
 and cloak ; his 1. hand holding his cloak, his r. the sceptre. Near 
 him steps forward in the background (l>) a youthful follower ( 8 opv - 
 <jiopo<s) with chlamys and spear, a fillet in his hair, and looking up 
 to the r. (c) Artemis advances in the same direction, her cloak 
 broadly girt round her short chiton, holding her spear in both 
 hands ; beside her a dog. The fashion of her hair is maidenly, 
 and she turns her head back to the r., where (d) a long-bearded 
 man, looking at Oeneus, is visible in the rear. Then (e) the 
 powerful form of Ankaeos starts for the hunt, in a lion’s skin, a 
 fillet in his tangled hair and grasping his double axe. Before him 
 (/, i) g° the Hioskuroi with egg-shaped hats, chlamys and spear ; 
 g is seen full face. Further to the r. in the background (//) a man 
 with a long beard like d moves r. ; in front of him is (1) Meleagros, 
 with a fillet in the hair and a chlamys, couching his spear ready for the 
 boar ; beside him is (k) Atalantb, draped like Artemis, holding out 
 her bow in her 1. hand and drawing an arrow from her quiver with 
 her r. One dog is barking at the boar, a second attacks his r. fore- 
 leg, beside it is a marsh plant. The large boar (/) advances from his 
 den, which is only indicated by a line, of rock ; near him on the ground 
 lies (ni) a bearded man, wounded, in chiton, chlamys, sword-belt, and 
 boots ; supporting himself on his 1. arm. Over the edge of the 
 den we see the upper part of the body of (//) a youth in a chlamys, 
 poising his spear, and (0) a second youth, in a chlamys, with two 
 
728 
 
 WOBURN ABBEY 82—86. 
 
 spears in his 1. arm and throwing a stone with his upraised r. hand. 
 Then comes a tree. To the r. of the tree, seen from the rear, stands 
 (/) a youth in a chlamys, holding one spear in his 1. hand and 
 brandishing another with his r. The procession is closed by (q) a 
 bearded man, standing, with his sword at his side, the chlamys on 
 his back, supporting himself with his 1. hand on a spear, placed 
 perpendicularly. This spear serves as a frame for the whole scene. 
 The man lays his r. hand on his wounded thigh and is looking back 
 at the boar. The figures are treated in high or low relief accord- 
 ing to their position in the foreground or the background. H. o - 54. 
 L. 2 -i 2. Possibly this sarcophagus was once inserted into the wall 
 along the large stairs leading to S. Maria in Araceli ; at least a descrip- 
 tion by Pirro Ligorio (Cod. Neapol. xm. B, 10), who saw such a slab 
 at that place, appears to be favourable to such a conjecture (cf. on no. 
 1 1 7). The relief was still at that place in 1736, as is shewn by Casi- 
 miro Romano, Memorie istoriche della chiesa di S. Maria in Araceli , 
 p. 28. (I am indebted to Dr Dessau for these notices from Rome.) 
 If this conjecture is right, the slab may belong to those purchased 
 from the Villa Aldobrandini, though there is no record of such an 
 origin. [*MW] 
 
 82 (183). Cupid sleeping. 
 
 85(175). Bust of Antoninus Pius. A poor work, and much 
 patched (new: nose, pieces on the eyes, and beard). The corslet, which 
 has traces of red colouring, is bad, but apparently belongs to the 
 bust. Over life size. [*Z?J 
 
 86 (89). Front of a sarcophagus: Selene and Endy- 
 mion. Engr ., PI. 9. An early drawing in the Cod. Coburg, no. 
 167 M. = Cod. Pigh., no. 176 J. The central object is the chariot 
 of Artemis adorned with sprays of vine and drawn by two champing 
 chargers turning to the 1. A little boy in a chlamys, standing with 
 his 1. foot on the back of one of the horses, holds the bridle in his 
 1. hand and flourishes the whip with his r.; a winged boy (new: 
 upper part of his body and torch in his r. hand) seems also to be 
 occupied in trying to control the horses, and a large winged female 
 figure (Hora) in a short, girdled chiton standing before the horses is 
 grasping the bit of the r. horse. Over her we see a third Cupid with 
 a torch (head, 1. wing and 1. arm new). Selene (her features intended 
 probably to be a portrait) is stepping down r. from the chariot, in 
 girdled chiton, a crescent behind her shoulders, holding her veil, 
 which waves like an arch over and behind her head, with both hands; 
 her look is directed to Endymion. She is guided to him by a winged 
 
WOBURN ABBEY 86. 
 
 729 
 
 youth (Eros?), draped in a chlamys, holding up a long torch with both 
 hands, and looking back at the goddess. A similar form, without wings, 
 appears as the companion of Selenh behind her r. shoulder and above 
 the horse (both forearms and the torch restored). Between the legs of 
 the winged youth sits a dog looking up. On the ground to the r. lies 
 Endymion, in chiton and cloak, supporting himself on his 1. arm, in 
 which he holds two staves that have been restored at the top and 
 which were probably spears originally ; he lays his r. hand on his 
 head. The features of his face are only blocked out, as they were 
 intended to be replaced later by a portrait of the deceased. The 
 youthful Hypnos, with half-closed eyes, is bending over him; he is 
 clothed in a chlamys and has butterflies’ wings, and holds in his 1. 
 arm a bunch of poppies; three parts of his advanced r. arm and the 
 cup are new. No doubt he was originally shown dropping juice from 
 his miraculous horn on to the sleeper. In front of Hypnos and quite 
 on the border to the r. stand two boys, each with a torch ; of the one 
 the head, r. arm and torch are new, and the other is entirely restored 
 except his feet and the lower half of the torch. Above the latter 
 boy sits another dog. High up in the r. hand corner is a group of 
 two half-nude Naiades standing, one supporting herself against an urn 
 from which water runs, the second embracing the first and holding a 
 reed in her 1. hand. — To their 1., on the upper border, Selene (con- 
 ceived purely as a heavenly body and quite distinct from the goddess 
 in the principal scene) is guiding her chariot, which is drawn to the r. 
 by two cows; she wears a chiton, a flowing cloak and is crowned with 
 the crescent. To the l. of Selene’s veil, between it and the head of 
 the youth without wings, appears the upper part of the body of a 
 small boy; in the old drawing he holds a torch, he is therefore doubt- 
 less intended for Phosphoros. He is looking 1., where on the other 
 side of the youth just named, the youthful Helios, in a long chiton 
 with sleeves, is guiding his chariot, drawn by four horses, to the r. on 
 the firmament. — The 1. end of the sarcophagus is devoted to a 
 scene of shepherd life. The rocky ground is carried up to the top 
 and is entirely covered by a very numerous flock of sheep, among 
 which are a few cows. Quite at the top sits a young mountain god, 
 a branch in his r. arm, the lower part of his body concealed by his 
 cloak; he is listening to a nymph in a chiton who is standing in front 
 of him supporting herself on his knee. A bearded shepherd of much 
 larger proportions sits below beside a tree ; he wears the exomis and 
 boots and a bag slung across his breast; on the ground beside him lies 
 a goblet (?). Pie stretches out his r. hand to a dog sitting opposite 
 
730 
 
 WOBURN ABBEY 89 — 96. 
 
 to him; almost the entire arm and the bread in the hand have been 
 restored. Further to the r., under Selene’s horses, lies Tellus on 
 the ground, the upper part of her body nude, supporting herself on a 
 basket (?). Her head, the ears of wheat in her r. hand, and the 1 . 
 with the cornucopiae are all new. Tellus is surrounded by four boys 
 (the Seasons?), of whom one (much restored), standing at her back, 
 holds a plant, two are placed under the belly of the horses, the 
 fourth, at their feet, near the wheel of the chariot, is playing with a 
 sheep. — Some smaller restorations have been passed over in this 
 description. — This very large and high sarcophagus belongs to that 
 class which is remarkable for picturesque composition, and in which 
 an abundance of secondary figures confuses the principal scene; 
 only difference in size between the principal and these accessory 
 figures serves in some degree to keep the main theme clearly 
 in view. H. riy. L. 2\39. From the Villa Aldobrandini in Fras- 
 cati. [*CMIV] 
 
 89 (231). Bust, designated “ Cato.” Modern copy of a spare 
 head, with a wide mouth and overhanging brow, which reminds us 
 somewhat of Caesar. [CZ>] 
 
 92 (180). Votive disk. Cupid reposing on a doe. Perhaps 
 new. [*] 
 
 93 (98). Sculptured tazza. 
 
 94 ( I 77 )- Round disk, in form like a shield. Engr., PI. 28, 3. 
 
 Bearded Bacchic head with brutish ears and Ammon’s horns, a fillet 
 passed over the forehead and through the curly hair ; usually entitled 
 Ammon. Greyish marble. Diameter about o - 3o. [*] 
 
 95 (99). Small pilaster, designed for an angle, delicately 
 sculptured on two adjacent sides. In perfect preservation. The 
 piece may possibly be referred to the Cinquecento period. H. 071. 
 Br. each ouq. [*] 
 
 96(100). Relief. A powerful, nude male figure, facing 1 ., kneels 
 on the ground; his 1. foot touching the ground, his r. thigh horizontal, 
 the r. foot drawn back so that the toes just touch the ground. The 
 upper part of the body is bent very far forwards, both arms advanced, 
 the r. horizontally, the 1. more lowered. New: upper part of the back, 
 part of the r. forearm and both hands with a hatchet, which is held 
 perpendicularly, and which accounts for the title : “ A slave working 
 in a mine or quarry.” The position however is too insecure for any 
 such employment; in this case the r. foot should be advanced and 
 placed firmly on the ground. It is more likely that the man supported 
 himself by his arms against something, or that he was trying to reach 
 
WOBURN ABBEY too (103). 
 
WOBURN ABBEY 97 — IOO. 
 
 731 
 
 something. Good powerful work, tolerably high relief. H. 0-50. 
 I.. 073. (The genuine portion h. o’34, 1. o - 6o). [*C] 
 
 97 (95). Bust of Marcus Aurelius, youthful, without beard. 
 New: nose, parts of both ears, bust. \*B] 
 
 98 (101). Relief of Harpokrates. He is represented as a 
 child, seen in full face, resting on the r. leg. Over the forehead the 
 remains of a peculiar ornament ; hair curly. He lays the fore-finger 
 of his r. hand on his mouth. In the 1. arm he holds a cornucopiae 
 with grapes and other fruits ; his chlamys is flung over his arm. On 
 his feet he wears sandals with broad thongs. Commonplace work. 
 H. 0-65. L. 0-39. [*C] 
 
 99(102). Relief with the Evil Eye. Engr., PI. T4. Archaeo- 
 l 'ogia , xix. p. 70, Plate (J. Millingen). Berichte d. sacks. Ges., 1855, PL 
 3, 1 ; pp. 28 ff. (O. Jahn). In the centre the evil eye (Ital. malocchid) is 
 represented, attacked from all sides, that its evil influence maybe over- 
 come. A man in a Phrygian cap, seen from the back, crouches above 
 the eyebrow ; his action is one which undoubtedly indicates con- 
 tempt. In the upper corner at the r. stands a gladiator ( retiarius ) in 
 an apron, pointing his trident at the eye, against which below approach 
 in a circle a lion, a snake, a scorpion, a crane and a raven, all 
 animals which were usually supposed to have the power of averting evil. 
 The r. top corner is broken off ; comparing this composition with a 
 golden amulet found in Mayence, in all essentials a replica of it {Arch. 
 Zcit., 1874, p. 69), we think that in this case too there must once 
 have been a second gladiator ( murmillo ) attacking the eye with his 
 sword. On three sides, a simple frame is preserved. Rather coarse 
 work; greyish marble. It is probable that this relief was let into a 
 wall or some similar place, that it might serve as a charm against 
 evil looks and similar magic influences ( d-rroTpoiraiov , npofiaa-KavLov). 
 H. o’3o. L. o’255- Bought from J. Millingen. [* IV] 
 
 100 (103). Relief of a Greek girl (“Sappho”). Engraved 
 by itself, probably in the beginning of our century by Gio. Franc. 
 Ferrero in Rome. See annexed woodcut. The field is framed 
 by a simple square listel, and is quite filled by a female figure 
 stepping 1. in a chiton, completely enveloped in her wide cloak. 
 Her r. forearm lies before her breast, causing her elbow to stand out 
 rather awkwardly from the lines of the figure ; unless the r. hand be 
 meant, which, however, would involve no less incorrectness of draw- 
 ing. A kind of cap (opisthosphendonc) conceals the back of her head. 
 The countenance is somewhat severe in shape ; nose large, chin 
 high, eye flat and not quite correctly drawn. The treatment of the 
 
73 2 
 
 WOBURN ABBEY IOI. 
 
 surface is very delicate, the folds of the drapery excellently composed 
 and executed. Here and there we observe a slight lack of skilful- 
 ness, for example in the back outline of the 1. leg; close to that 
 again are very fine details, and the general effect conveys perfect 
 maidenly grace. Attic relief, dating probably about the end of the 
 fifth century; perhaps sepulchral, although the framing is unusual. 
 Light yellowish Pentelic marble of the finest quality. H. 079. L. 
 CC37. The height of the relief above the field only reaches o - oi. \*C\ 
 101 (104). Lante vase. Engr., PI. 15, 16. Piranesi, Vasi, 
 &c., 1. PI. 42, 43. Moses, Coll, of Vases, PI. 35. On a pedestal 
 o-8o m. high stands the vessel, somewhat full bodied; it tapers 
 a little towards the top and then terminates in a broad rim; two 
 handles (much mended, but for the chief part antique) unite the 
 rim with the main body of the vase. On either side it is orna- 
 mented with four Bacchic masks in very high relief, excellently con- 
 ceived and well and delicately executed. The heads are as follows. 
 First side, (i) Bearded daemon with snub nose (0-17x09), rough hair 
 sticking up, ears covered; much restored. (2) Seilenos, bald-headed 
 and crowned with ivy; tip of nose and moustaches new. (3) Bearded 
 head, somewhat ideal in form, hair and horns concealed by a hand- 
 kerchief; nose new. (4) Youthful Pan, with pointed ears, two 
 tolerably long horns and a large tuft of hair between them, long 
 hair; tip of nose and upper lip new. Second side. (5) Similar 
 head with short horns, grinning ; tip of nose, mouth, chin, r. 
 cheek, restored. (6) Seilenos bald-headed, with a small curl on 
 his forehead, long beard and pointed ears ; tip of nose and upper 
 lip new. (7) More noble head with round beard, flat nose and 
 pointed ears, but with earnest expression and more refined character, 
 crowned with pine leaves; tip of nose and parts of 1. cheek new. 
 (8) Pan, with horns, a long beard, pointed ears, very snub nose, 
 and with a brutish grin; the horns new except the stumps. Im- 
 portant portions of the upper border have been restored ; the pedestal 
 is likewise new. The marble which is not Parian, is of good fine 
 grain with blackish stripes. H. 177. Diameter i'9o. This vase, 
 which on account of its size, its tasteful form and ornamentation and 
 its excellent work deserves the fame it enjoys, was found, in fragments, 
 during excavations made in the ruins of Hadrian’s Villa. From 
 thence it passed into the collection of the Villa Lante, on Mount 
 Gianicolo. It was afterwards purchased by Volpato, from whom it 
 passed into the possession of Jenkins {Account of the Statues, at 
 Incc , p. 7), of whom it was bought by Lord Cawdor, and at his sale 
 
WOBURN ABBEY 102 — IIO. 
 
 733 
 
 (1800) by John, Duke of Bedford, for £700. A copy, reduced to 
 one half the original size, by B. Lange is to be found in the Louvre 
 (Clarac, 11. 145, 124). [* IV] 
 
 102 (94). Young Roman, beardless, wrongly designated 
 “Augustus”; not of the imperial family but probably belonging 
 to the first century a.d. New : nose, upper lip, lobes of the ears, 
 neck and bust. Larger than life. [ # 2?] 
 
 104 (106). Oval sarcophagus. Engr., PL 46, r. Front 
 
 fluted. In the centre a barrel. At either end a lion tearing a 
 boar. The lid, in the form of a tiled roof, has in front a slab 
 on which is this inscription : Eusebie filiae | parentes \ contra votum. 
 On the top along the flat ridge of the roof : Faustina, (this word, 
 which is only scratched in, was apparently added later) deposita xiii 
 Kal. Sep. Late work. “ Found in a sepulchre lately discovered in 
 an excavation made near the Via Appia, at Rome.” ( Engravings ). 
 Cf. on no. 204. L. 1 • 1 5. H. o - 42. [*Af] 
 
 105 (107). Fragment of the lid of a sarcophagus. Large 
 mask with ruffled hair. From the 1. end of the lid. [*] 
 
 107 (196). Bust of Trajan. Engr., PI. 26, 1. This repre- 
 sentation of the Emperor is so unusually youthful that we are 
 justified in doubting whether it is meant for him. New: nose, 
 patches on the 1. eye and 1. ear, parts of the neck and drapery. 
 Life size. Bought of Camuccini. [*E] 
 
 108 (152). Bust of Tiberius, youthful, on a bust of oriental 
 alabaster (antique?). New : tip of nose and neck. Life size. [*P\ 
 
 109 (no). Bust of Aelius Verus, or more likely of some 
 similar person. Engr., PL 25, 1. The beard is smooth and short, 
 the curly hair runs forward. No restorations. Life size. [LZ?] 
 
 no (iii). Front of a sarcophagus: Kalydonian hunt. 
 Engr., PL 3. An early drawing of it is to be found in the Cod. 
 Coburg., no. 218 M. = Cod. Pigh., no. 214 J. ; another, incomplete 
 and roughly executed, in Windsor (vol. x. fol. 47) with the name 
 of the place where it was then to be found given, “ Ai Porcari," 
 i.e. in the house of Giulio Porcaro near the church of S. Maria 
 sopra Minerva, where Aldroandi saw the sarcophagus in the year 
 1550 (see L. Mauro, Antichita di Roma, 1556, p. 242). The 
 subject is divided into two scenes. Left scene. Meleagros, wear- 
 ing only a chlamys, is pressing forward from the L, and lowering 
 his spear at the boar, which crouches on the ground. Atalante, 
 in boots and a short chiton with a broad girdle, and the quiver on 
 her shoulder, is drawing her bow at the boar. Behind Meleagros 
 
734 
 
 WOBURN ABBEY III. 
 
 may be seen a bearded man in boots, with a short chiton and 
 his chlamys floating in the wind; he wields a broad sword in his 
 upraised r. hand and in his 1. he holds a lance. Near Atalante, but 
 more in the background, is a similar man, raising his r. hand and 
 holding a cloth in his 1. as was the custom at boar hunts 
 Pollux 4, ii 6). Above the boar on a champing steed that has a 
 skin for a horse-cloth, gallops a youth in chiton, chlamys and high 
 boots; he is turning round and driving his sword into the boar. By 
 a bad arrangement of the figures this youth occupies the central 
 place as though he, and not Meleagros, were the principal actor. 
 A youth in chiton, chlamys and boots is hurrying up beside the 
 horse ; he is raising his r. hand and turning his head back. Three 
 dogs complete the hunting scene, the first standing between Melea- 
 gros’ legs, the second in front of the boar, barking at him, the third 
 tugging at the 1. ear of the boar. —Right scene. Atalante in chiton 
 and boots is standing with her legs crossed ; she bears the great 
 boar’s head in her hands (her head and the fillet of victory have 
 been restored). In front of her stands a small Eros without wings, 
 in chlamys and shoes, advancing his r. arm towards Atalante, at 
 whom he is looking, and supporting his torch on the ground with his 
 1. hand. Behind him in the background stands a hunter in chiton, 
 chlamys and boots; his 1. hand holds his spear, his r. hand, raised in 
 a warning attitude, is restored. His gaze is directed towards Melea- 
 gros, who stands at the extreme r., looking away from the scene 
 in a posture of challenge, with his r. arm akimbo, his 1. hand on 
 his lance, his chlamys hanging behind his back, beside him is a dog. 
 It is uncertain whether this end of the sarcophagus is complete. 
 The work has been very much restored, mainly perhaps owing 
 to the remarkably high relief; Eros, for instance, is worked almost 
 in the round like a statue. All the heads are new except Atalante’s 
 in the first scene, and that of the bearded man beside her; also 
 many limbs and attributes; but there can be scarcely any doubt 
 that the restorations are correct. Poor sculpture. From the Villa 
 Aldobrandini, in Frascati, whither it had been brought from the 
 above-named place. H. 0-59. L. 2-25. [*CMW] 
 
 hi. Statue of Minerva, without head. Archctcologia, xxxn. 
 PI. 4, p. 14. The goddess rests on her 1. leg. She wears, besides 
 the chiton, a cloak which covers her 1. shoulder and the upper 
 part of the arm, her back, hips and thighs, the end falling over 
 her 1. forearm, which is advanced in a downward direction. She 
 wears no aegis, but instead of it there is on the breast a large oval 
 
WOBURN ABBEY I 14 — II 7. 
 
 735 
 
 ornament, jagged round the edges and formed like a rosette, which 
 takes the place of the Medusa’s head. Her 1. hand rests on a 
 large round shield (partly broken). This shield stands on a pear- 
 shaped support, which is on a square pedestal ; a snake is coiling 
 itself upwards on the outside of the shield. Only the upper part 
 of the r. arm preserved, with a part of the spear which rests 
 perpendicularly in front of the shoulder. On the hips and the 
 calf of the leg traces of joints are preserved ; the first one was 
 intended for the r. hand, which is intact, but separated, and which 
 rests on an owl ; in this hand a piece of the shaft of the lance is 
 visible. Very rough work, of a coarse shelly stone, much corroded. 
 Found at Sibson. Nearly life size. [*C] 
 
 1 14 ( 1 1 7 ). Small male torso, legs and 1 . arm in a cloak, 
 
 stepping vigorously to the r. The 1. foot is lifted high, and near it is a 
 support like a basket. Head missing ; also the r. arm which was 
 held up, three parts of the 1. arm which is slightly lowered, and the 
 feet. H. 0-33. ["] 
 
 115 ( 1 1 8). Bust of a little child, a year or two old. Broken, 
 
 but entirely antique. FI. 0-30. L. of face ou 2. [*] 
 
 116 ( 1 19). Torso of an Aphrodite, nude, resting on her 
 
 il. leg; her 1. hand covered her lap, her r. arm was lowered. Head is 
 missing, also the r. arm, half the 1. forearm, lower part of the r. leg, 
 three parts of the 1. leg. H. o'34. [*] 
 
 1 17 (12 1 ). Front of a sarcophagus : Achilleus at Skyros. 
 Eng 7 \, PI. 7. Winckelmann, Mon. Ined. ., before the preface. An early 
 drawing without restorations in the Cod. Coburg., no. 203 M. ; a 
 rough, arbitrary sketch in Windsor (vol. x. fob 75) with the name 
 of the place where it then was to be found given, “Araceli.” This 
 short notice is explained by the fact that in former times there were 
 “ ne la scala della chiesa di Araceli attaccate per le mnra dclle sue 
 sponde , da otto tauole marmoree con varie, e belle scolture anti che ” 
 (Aldroandi in L. Mauro, Antichitcl di Roma, 1556, p. 276). A 
 description of these eight reliefs by Pirro Ligorio is preserved in the 
 Cod. Neapol., xm. B, 10, as I am informed by Dr H. Dessau, 
 to whom I am indebted for a copy of the description of the relief “di 
 Achille et di Ulysse ,” which, however, affords no new information. — • 
 A curtain is drawn across two-thirds of the scene on the 1., indicating 
 that there is represented the interior of the females’ apartment. 
 The group of Achilleus and Deidameia forms the centre of the 
 piece. Achilleus, still in his female dress, from which his powerful 
 r. leg stands forth nude, is lifting his 1. leg very high; either because 
 
73 ^ 
 
 WOBURN ABBEY II/. 
 
 his foot rests upon some object which we cannot see, or because 
 he is sitting on the edge of a couch which is shewn in other 
 copies. His head is surrounded by abundant curls. His body is 
 turned somewhat r., but his inspired look is directed to the 1. His 
 1. arm is raised and bears a shield; the r. arm and lance have been 
 restored. In front of him on the ground is an enormous helmet with 
 a plume. On the rounded part of the helmet is a relief : an helmeted 
 warrior with his sword drawn is hurrying over a corpse to attack a 
 nude male figure, who kneels defending himself with his shield ; in 
 the background is another warrior in chlamys and helmet, and two 
 champing horses ; in front on the screen is a ram’s head. Dei- 
 dameia kneels on the ground before Achilleus, in lively movement ; 
 she lays her arm entreatingly on Achilleus’ knee (1. arm new) and turns 
 her face (head new) towards the disturbers of her peace ; her cloak 
 floats at her back. In front of her stands a small Eros with a torch, 
 his arms outspread ; only his breast, r. arm, upper part of 1. arm, and 
 parts of the wings are antique. A small basket (i<a\a6i o-kos) with 
 wool in it lies at Deidameia’s feet ; near it stands a second Eros, 
 of whom only the torso, chlamys and r. wing are antique. One of 
 Deidameia’s sisters is hurrying above her to the r. ; her head, her 
 advanced r. arm and the tip of her cloak in her r. hand are restored ; 
 it is certain that she originally did not grasp the curtain, but that her 
 hand was only put out in defence against the interlopers. To the 1. of 
 Achilleus are visible four daughters of Lykomedes : one, in a chiton 
 and a chlamys draped like a shawl, and in a position similar to that 
 of Achilleus, is holding a cithara (restored at the top) in her 1. arm ; 
 another dressed in the same way, is hurrying 1. (her forearms and 
 flute have been added by the restorer); of the two other sisters only 
 the heads are visible in the background. To the r., outside the 
 female apartment, stands first Odysseus, much rejoiced at the suc- 
 cess of his stratagem. His face is bearded and has curls on either 
 side and he holds it somewhat high ; his r. arm, which is advanced, 
 and his 1. with the lance have been restored, but probably correctly ; 
 he wears an exomis, chlamys, high boots, and a sword at his side. 
 The youthful Diomedes, in helmet, breast-plate, chlamys, and boots, 
 is hurrying up to him from the r., and is on the point of drawing his 
 sword. At his feet lie a sword and a richly ornamented breast- 
 plate adorned with the Medusa’s head. Between Odysseus and 
 Diomedes in the background a bearded warrior with a flat cap on his 
 head ; on the extreme r. Agyrtes, blowing the trumpet, in helmet 
 and chlamys. — Unimportant restorations have been passed over in 
 
WOBURN ABBEY I 21 — 128. 
 
 737 
 
 my description. Relief much raised ; work not unrefined and in 
 some parts delicate; the figures in the background flat. H. 0-90. 
 L. 1 '89. From the Villa Aldobrandini in Frascati, whither it had 
 been brought from the large staircase of S. Maria in Araceli before 
 the year 1736, as Casimiro Romano (cf. on no. 81) does not mention 
 it. [*CMW] 
 
 121 (149). Small female bust, said to be of the younger 
 Faustina ; her hair arranged in the fashion of the so-called Lucilla 
 at Wilton House (no. 93). New. [”' 7 >] 
 
 123 (1 28). Fragment of the statue of a boy. Engr., PI. 28, 1. 
 The torso suggests a brisk movement 1 ., the r. arm (now missing) 
 was raised, the 1. (only a stump remains) was lowered ; the graceful 
 childlike head, with the eyes hollowed out, looks fixedly down- 
 wards to the r. The legs are missing, the r. was somewhat raised. 
 The figure is graceful and freshly treated, and seems to be the 
 remains of a group, perhaps of morra players, like the charming 
 bronze statuette in the British Museum ( Guide to Bronze Room , 
 
 ' p. 46, no. 1), or of knucklebone players (cf. Ama/t/iea, 1. PI. 5); 
 or he may be looking down at a dog. Evidently his attention is 
 firmly arrested by something below him ; this idea has led to the 
 fixed look being rendered by hollowing out the eyes. Parian marble. 
 H.o- 4 2. [*] 
 
 125 (181). Head of a daughter of Niobe. The head is 
 turned upwards very much to the r. The position of the two eyes 
 is strikingly different ; the outer corner of the r. one is lifted, the 
 inner corner of the 1 . one lowered. A piece of the breast with the 
 drapery belongs to the original work. The nose and lower lip 
 have been restored. This bust may be a portion of a statue, but 
 the suspicion of its modern origin is not altogether to be rejected. 
 
 m 
 
 127 (132). Small bust of Aphrodite, of the type of the 
 
 Venus of Arles, with a fillet in her hair, lowering her head a little 
 to the r. The breast has been re-set. Probably new. L. of face 
 0-07. [*] 
 
 128 (77). Terminal figure of a Satyr in bronze. Engr., 
 PI. 21. Spec., 11. PI. 28. The head has pointed ears, rough hair, 
 small horns, and the goat’s warts (</>r/pea) on the neck. It is turned 
 up sharply to its owner. The eyes are hollowed out. 1 he body is 
 covered by the drapery, which also partly conceals the terminal 
 shaft ; the 1. arm rests on the hip, the r. is raised and pressed closely 
 to the breast ; both are enveloped in the drapery. “ The white of 
 
 47 
 
 M. C. 
 
733 
 
 WOBURN ABBEY I 29 — 136. 
 
 the eyes, the teeth, the budding horns, and the tips of the dewlaps 
 are of silver ; the pupils of the eyes, now open, were once probably 
 filled with gems or enamel ” {Engravings). A bronze statue so well 
 executed is so uncommon that at a first cursory sight one might 
 suspect its genuineness ; but it “was found in an excavation made at 
 Pompeii, when the Duke of Bedford visited that ancient city, in the 
 spring of the year 1815, and it was presented to him, on the spot, by 
 Caroline, then Queen of Naples.” Queen Caroline Buonaparte paid 
 her last visit to Pompeii, the only one in that year, the nth of April, 
 1815. In the official inventory of the objects discovered on that 
 occasion there is no record of our terminal figure, unless it should 
 be one of “ due idoletti , uno dei quali con sua base cilindricd" (Fiorelli, 
 Pompeian, antiquitatum hist., 1. 3, p. 274). On the 13th of February 
 the Princess of Wales, “ con molti signori inglesi,” had paid a visit to 
 Pompeii, but no special excavation appears to have been made on 
 that occasion {Ibid., p. 170). H. o - 59. [*CJV] 
 
 129 (13 1). Bust of Ganymedes, rather than Paris. A 
 graceful, very youthful head, which recurs in many replicas, cf very 
 sentimental conception and inclining downwards to the r. New: 
 neck, chin, piece of the upper lip, nose, some of the curls, peak of 
 the cap. Pentelic marble. L. of face on 5. [*£ 7 ] 
 
 130(129). Small female torso, in a chiton with a double 
 row of folds ; preserved as far as the knees. Delicate work. Grey 
 marble. H. o‘23- 
 
 131 (182). Small torso of a female statue in a girdled 
 chiton, with the upper parts of the arms lowered. Missing : head, 
 forearms, and lower parts of the legs. H. o - 2 7. [*] 
 
 132. Square cinerarium. In the pediment of the lid are 
 hammer, anvil and tongs. Below, the inscription : P>{is) M{anibus) 
 s{acrum). Trebelliae Mel\pomene patronae sue be{ne) me{renti) j fece- 
 runt Trebellia Amplia\ta et Trebellius Onesimus \ et Trebellius Resti- 
 tutus. H. 0-33. L. o‘42. D. 0-28. [*C] 
 
 133 (127). A dove, pluming itself. The figure maybe antique. 
 
 H. 0-19. L. 0-24. [*] 
 
 134 ( I 33 )- Round sepulchral urn, very small, ornamented 
 with a race of Cupids. New. [*] 
 
 135 ( 1 3 9)- Foot of a statue, in terra cotta. Appears to be 
 new. [*] 
 
 136 (140). Fore part of a colossal right foot, furnished 
 with a sandal and numerous straps which are gathered up in a clasp 
 shaped like a leaf. Why the foot should have been designated as 
 
WOBURN ABBEY I 37 — 144. 
 
 739 
 
 belonging to a “ statue of the Amazon Smyrna ” is not clear. 
 L. C55. L. of the second toe 0T9. [*C] 
 
 137 (141). Left foot of a small statue. Fragment. [*] 
 
 138 (142). Small male torso, resting on the r. leg. Re- 
 
 mains of a skin, or drapery, appear on the back and across the 
 breast from the 1. shoulder to the r. hip. H. 0-24. [*] 
 
 139 (143). Bust of an elderly Roman, beardless, and with 
 short hair. New: nose, lower lip, ears, neck, and bust. [’“A] 
 
 141 (147). Torso of Aphrodite, of the type of the Medici 
 Venus. Engr., PI. 22. Spec., 11. PI. ir, 12. Arms and head miss- 
 ing; the r. leg, which is drawn back, is antique as far as the toes, 
 the 1. is antique to the ankles only. The legs have been broken in 
 sundry places. There is no trace of a join for the hands. The urn 
 with the drapery is new. The figure is very youthful, the waist being 
 slim, but the breast and stomach are rather full ; the legs somewhat 
 long. Good, delicate work, though perhaps not of the first rank. 
 Parian marble, apparently lychnites. H. i‘i2. “This torso was 
 lately brought from France ” {Engravings). [* JV\ 
 
 143 (154). Bust of an elderly Roman, beardless, wrongly 
 named “Julius Caesar.” The face thin, the eyeballs prominent and 
 with sharply cut lids. New: tip of nose, back of the head and part 
 of the top of the head; the bust with transverse stripe (so-called lacna) 
 appears to be antique. However, Bernoulli, Rom. Ikonogr., 1. p. 177, 
 thinks that the whole bust might be a work of the iSth century. 
 Life-size. 
 
 144(146). Front of a sarcophagus: triumphal proces- 
 sion of Dionysos and Herakles. Engr., PI. 6. An early 
 drawing, without the restorations, in Cod. Coburg., no. 132 M. A 
 copy of Zoega’s MS. description of the relief is preserved in the 
 archives of the German Archaeological Institute. The procession 
 consists of a great number of figures all moving r., where at the 
 furthest extremity is a small pillar, entwined with wreaths, on which 
 is a small modern terminal figure. High up in the r. corner sits a 
 small, bearded mountain god (much restored) with a branch in his 1. 
 arm ; beside him is a pine tree (?). Below, a chariot drawn by a bearded 
 Centaur, playing the lyre, and a female Centaur striking the cymbals. 
 On the chariot stands Herakles, nude except for the lion’s skin that 
 hangs over his 1. arm. The club is in his 1., the large goblet 
 (otku^os) in his r. hand; across his breast hangs from the shoulder, 
 in the fashion of a sword-belt, a fillet knotted at regular distances. 
 In the background Seilenos is visible, touching his ivy wreath with 
 
 47—2 
 
74 © 
 
 WOBURN ABBEY 1 44. 
 
 his r. hand, and holding a tympanon in his 1.; behind Herakles is a 
 youthful Satyr with a pedum. Beside Herakles’ chariot, in the 
 foreground, rides on a panther, a boy represented on a smaller scale 
 (head and pedum restored); he has a wreath in his 1. hand; before 
 him on the ground is a bald-headed, bearded mask and in front of 
 that, under the Centaurs, a panther crouching and a goat lying 
 down, and between the two sits a boy with a pedum. — The centre 
 of the piece is occupied by an elephant. On his back sit two 
 captive Indians, in sleeved chitons, cloaks, hose and shoes, and easily 
 to be recognised by their characteristic long, stiff curls. Hanging 
 from the elephant’s neck is a long elephant’s tooth, and further 
 back a cup and other booty. High up in the background is a 
 Satyr with moustaches, leading a horse and a stag (or a giraffe?); a 
 small boy is partly visible beside the horse. An Indian, on a diminu- 
 tive scale, is passing under the elephant’s trunk. The elephant is 
 placing his foot on a panther which is lying on the ground, and 
 the panther in return bites his leg ; under the elephant’s belly a 
 young Paniskos, with goat’s legs (pedum restored) is leading a 
 lion. — Behind the lion comes the car of Dionysos, drawn by two 
 lionesses. The bridle is held by a big, bearded Pan girt with a 
 goat’s skin. On the backs of the lionesses sit two diminutive Indians, 
 dressed in a sort of shirt and with branches in their arms (great 
 part restored). Under the lionesses a boy is playing with a goat; 
 further in front may be seen on the ground a torch alight, an animal’s 
 head, a round wicker basket (cista?) over which a young Pan (head, 
 legs, syrinx, pedum, new) is sitting and putting one foot on the head 
 of a goat. The chariot is ornamented with a garland in relief, and 
 on it stands Dionysos in a long chiton, nebris and cloak; in his r. 
 hand he holds the thyrsos and in his 1. the restorer has placed the 
 reins. Zoega surmises that originally he held a goblet (KuvOapos) in his 
 1. hand and that the reins were held by the little Indians. Dionysos’ 
 curly head is abundantly crowned with vine leaves, and a Nike ap- 
 proaching in front of him places on his head with both her hands a 
 laurel wreath. Beside the lionesses a Bacchante blowing a trumpet 
 is going to the r. ; behind her a second bearing a small altar in her 
 hands (according to Zoega a vessel adorned with masks and filled with 
 fruits); a third appears in front on the extreme 1., carrying a long 
 staff, which has been restored as a pedum, but which was originally 
 probably a banner or a tropseon. All three Bacchantes are crowned 
 and, wear chitons and cloaks. Finally behind Dionysos appears a 
 youth, crowned, wearing a nebris and holding thyrsos and pedum. — 
 
WOBURN ABBEY 145 — 147. 
 
 741 
 
 Many restorations that are less essential have been passed over in 
 this description. The composition is overcrowded. Commonplace 
 work. H. 1 1 2. L. 2 - 43- From the Villa Aldobrandini in Frascati. 
 [* CMW] 
 
 145 (120). Bust, incorrectly named “ Clodius Albinus,” 
 more likely Hadrian, though this too is uncertain; the curls are 
 smaller than usual. New: nose, and neck; the bust with the breast- 
 plate is old. Abraded. Life size. [*'7?] 
 
 147 (1). Large marble krater with Bacchic boys. Engr . , 
 PI. 4. The whole of the pedestal, parts of the bottom of the vase, 
 which is very full-bodied and adorned with acanthus leaves, the 
 handles and the overhanging border with the vine-wreath are new 
 (the four Seilenos’ masks with their pointed ears and ivy wreaths 
 which are at the lower joints of the handles are antique) ; in the 
 wreath on the border of the vase some of the sprays belong to genuine 
 parts, and so that the general correctness of this ornamentation is 
 (established. Lastly, some important portions of the main body of 
 the krater itself and of its reliefs are new. When the krater was 
 first made this main body was put together from a number of sepa- 
 rate pieces; which for the most part are remarkably well preserved. 
 This is the more surprising as the relief is so very high that the 
 figures almost seem to stand out independently. All the antique 
 portions are of coarse-grained Greek marble, and the restorations 
 of Italian marble. The movement of the scene is from 1. to r. 
 (a) a boy dancing to the r., raising in his 1. hand a hare, and in 
 his r., which is extended backwards, a lowered torch (new: r. leg, 
 1. arm and nearly the whole of the hare). (/>) A boy dancing to the 
 r., with a wine skin on his 1. shoulder from which a cloak hangs 
 down, in his r. arm a pedum (new: a piece of the pedum and half 
 the forearm), (c) A boy, seen in full face, crowned with vine leaves 
 and with a chlamys fastened round him, is stepping to the r. He 
 places his r. foot upon a cista, below the lid of which emerges a 
 snake ; beside him lies a panther on the ground (new: the 1. forearm 
 with the goblet, the lowered r. arm with the bunch of grapes), (d) A 
 boy dancing to the r. and looking round at c; in his 1. hand he holds 
 a goblet ( kantharos ), on his r. shoulder he carries a thyrsos (new : r. 
 arm and a piece of the thyrsos). (c) A boy seen in full face, draped 
 in the chlamys, holding a flute in his r. hand and a basket with 
 grapes on his r. arm (new: a square piece, comprising almost the 
 whole body from the breast downwards; antique: the head, all the 
 r. arm, 1. shoulder and hand and half the basket, important portions 
 
742 
 
 WOBURN ABBEY 1 48. 
 
 of the cloak which goes round him, half the lower part of the 1. leg). 
 ( f ) A boy treading out grapes in a large vat (new: both arms and 
 grapes, r. leg), (g) A boy approaches from the r. to empty grapes 
 into the vat (new: some of the grapes on the ground). (/ '1 ) The 
 eighth boy is entirely new; he is turning to the 1. and busying himself 
 over a basket with grapes; of the whole group only a few of the 
 grapes beside the basket (new) are antique. Pleasing motives, prettily 
 carried out. PI. 1*40. Diameter ro3. From Hadrian’s Villa, “re- 
 cently discovered ” ( Engravings ). [*] 
 
 148 (153). Front of a sarcophagus: Minerva and the 
 Muses. E>igr., PI. 5. An early drawing of this, of the middle of 
 the 1 6th century, is to be found in Cod. Coburg., no. 163 M. = Cod. 
 Pigh., no. 17 1 J. ; a sepia sketch done with the pen, of the ryth 
 century, and once in the Dal Pozzo Collection, is now in the pos- 
 session of Mr A. W. Franks, in London. At that time the sar- 
 cophagus was in the Villa Giustiniani, where is still to be found a 
 similar one (Matz-Duhn, Ant. Bildwerke iti Rom , no. 3271. Gall. 
 Giust., 11. PI. 90). In the background a curtain is stretched across. 
 The figures (named here by their usual names) follow each other 
 from 1. to r. ; they are all seen in full face, and are placed very 
 close to each other, (a) Erato, in a thin chiton that has slipped 
 off her r. shoulder and breast, her cloak thrown round her hips ; her 
 1. foot set on a piece of rock ; she holds her light lyre in her 1. hand, 
 in her r. she has the plektron (new : head and r. foot). ( b ) Euterpe 
 in a long-sleeved chiton with a broad girdle, which was the customary 
 dress in musical and theatrical representations, is holding a long flute 
 in each hand (new : nose, feathers on the forehead, 1. hand and 
 parts of the flute). (0) Melpomene, draped in the same fashion and 
 having further a cloak on her back, is supporting the club in her r. 
 hand on the head of an ox which lies on the ground, and holding up 
 a tragic mask in her 1. (new : parts of the face, the feathers over the 
 forehead, a piece of the mask). ( d ) Apollo, nude except for the 
 chlamys which lies on his 1. shoulder and falls down his back ; 
 he has long curly hair ; the quiver is at his back ; in his r. 
 hand he elevates the plektron and lays his 1. on his cithara, which is 
 richly ornamented and which lies on a globe marked with the con- 
 stellations ; this globe rests in the cauldron (Ae'/T;?) of a tripod, round 
 which a snake is twined; near Apollo’s r. leg sits the griffin (new: 
 nose, three fingers of the r. hand and half of the plektron, the 1. hand 
 and a large piece of the cithara). ( e ) In the background, behind the 
 cithara, is a Muse, of whom little more than the head is visible. She 
 
WOBURN ABBEY I49— I 53. 
 
 743 
 
 has no distinctive attribute, and may possibly be meant to represent 
 Kalliope (new : lower lip, feather on the forehead). (/) Athene, 
 in a helmet, ornamented with the head of a ram, and plume, 
 chiton and cloak, aegis with the Medusa’s head, and a small owl 
 at her feet (new: tip of nose, 1. hand with the flute), (g) Urania, 
 with the Sirens’ feathers on her forehead, in chiton and cloak ; 
 she bears in her 1. hand the celestial globe adorned with con- 
 stellations and in her r. the little staff (half of this restored) ; 
 near her is a bundle of manuscripts. (//) Terpsichore, also adorned 
 with Sirens’ feathers, is draped like c and with an embroidered 
 girdle ; she holds the plektron in her lowered r. hand ; her 1. rests 
 on the high cithara with twisted horns, which stands on a narrow 
 pillar, partly concealed by Terpsichore’s cloak (new: the 1. hand 
 and part of the cithara, parts of the plektron and two fingers of 
 the r. hand). (/) Thaleia (?) in chiton and cloak; in her 1. hand, which 
 has been restored, she carries a comic mask, also restored, and on it 
 , she lays her r. hand (new : the feathers over her forehead). The 
 figures are arranged in couples, placed face to face; thus a looks at b, 
 &c., except z, who looks straight in front. The two Muses that are 
 missing, Ivleio and Polyhymnia, were no doubt depicted on the sides, 
 perhaps in the companionship of a historian and a philosopher. — 
 Nearly the whole of the upper border has been restored, except the 
 piece over g and h , where the remains of a distich have been 
 preserved: ...01/ 8a7reSojv, pvrj/xa 8e roCro 7T€/\e[t]. Of the lower border 
 the 1. corner and the piece going from c’s r. foot to the middle of if s 
 feet have been restored. The principal inscription runs the length 
 of the upper surface of this border, and then along the front of it to 
 z/’s 1. foot ; of this inscription the following remains are preserved : 
 
 • — - — v/xa to 7 rep p.ai<apo>v — - — — 8warai 
 Tuvra fipoTolaiv drracnv £<£ipxocrwaia'U' dptaraw ] 
 
 — — — 8e cs aAAorpiov 7reV7T<ucri — - — — v. 
 
 At the r. extremity of the front is written : K- Evgapicrroj t<Z d-n-e\ev 6 epu> 
 [jlov d/uvovi. The inscriptions are not given, neither in the C. /. Gr. 
 nor in Ivaibel’s Epigrammata, H. 102. L. i'Si. [*CA/JV ] 
 149(230). Bust of Vitellius. New. [*'A>] 
 
 150 (145). Bust of Diadumenianus. Engr ., PI. 26, 2. 
 The head looks sharply to its r. The hair is shaved short. New: 
 the nose and parts of the ears, the 1. half of the bust, and the cloak. 
 Pupils expressed. Life size. Graceful work, full of life. From the 
 Palazzo Rondinini in Rome. [LZ>] 
 
 I 53 (r 57)- Bust of the elder Brutus. New. [*] 
 
744 
 
 WOBURN ABBEY I 54— 1 73. 
 
 154 (158). Bust of the younger Brutus. New. [*] 
 
 165 (169). Female bust of about the Augustan period; the 
 hair grows low on the forehead; said to be Terentia, Cicero’s consort. 
 Life size. [* 2 ?] 
 
 166 (185). Bust of Marcus Aurelius. New: nose, the 
 hair on the forehead, the bust. Larger than life. [ ; ’u 5 ] 
 
 169 (172). Side of a sarcophagus: Nymphs tending 
 the infant Dionysos. The scene corresponds to those on the 
 sarcophagi in the Capitol and in Munich (Alas. Capitol '., iv. PI. 
 60. Miiller-Wieseler 11. 34, 402). In the background is a curtain 
 fastened to two trees. A nymph sits on a rock to the 1 ., her cloak 
 thrown round her legs, the upper part of her body nude except for 
 the band under her breast (strophion) ; her hair is concealed by a 
 cap. The plump infant lies in her lap, supported by her 1 . hand; 
 in her r. she holds up a cloth. The second nymph, who has no 
 drapery except the cloak thrown lightly round her legs, is standing 
 to the r. and pouring water from a large urn into a wide vessel 
 with handles that stands on the ground. H. o - 39. L. o - 44. [' *CM ] 
 
 1 7 1 ( r 73 )- Female statuette (“Ceres”). Engr., PI. 20. The 
 
 figure rests on the 1. leg, the right being drawn back somewhat. 
 She wears a thin chiton and a cloak which goes from the 1 . shoulder 
 down her back, then passes under her r. shoulder across her breast, 
 falling at last over her 1 . forearm which is advanced. The attri- 
 butes of Ceres were only given to the figure by the restorer. New : 
 head crowned with wheat-ears, neck, r. arm (including the shoulder), 
 holding a bunch of corn, and 1 . forearm. Pleasing motive, well- 
 executed. Parian marble. IP. o'Sq. “ Brought from Italy by the 
 late Marquis of Tavistock ” ( Engravings ). [*] 
 
 172 (174). Female bust. New: tip of nose and bust. Life 
 size. [*] 
 
 173 (168). Marble candelabrum. The lowest division new. 
 Then comes a triangular pedestal, with a winged youth on each 
 side ; these figures finish off in vine sprays. They represent three 
 seasons : Autumn crowned with vine leaves, holding a cornucopiae 
 filled with grapes; Summer crowned with ears of wheat, and also 
 holding some in both hands ; and Spring with flowers in the upraised 
 r. hand. The reliefs pretty but much touched up. Above this 
 pedestal we have a round stem formed of three thyrsi involved with 
 vine sprays; birds fly about in the foliage. Above, leaves of acanthus. 
 The cup at the top is new. The whole work is graceful. H. 
 
 2'l6. [*] 
 
WOBURN ABBEY I 74 — 1 86. 
 
 745 
 
 174 (179). Bust of a Roman, with a short beard and thick 
 hair that falls in disorder over his face. Late work, but good ; re- 
 sembling in style the head in the Braccio Nuovo of the Vatican, 
 no. 63 (“Aelius Caesar”). New: nose and bust. Life size. 
 
 [**] 
 
 176 (176). Bust of Pan. New. [*] 
 
 178 (130). Small terminal bust of the bearded Dionysos, 
 
 crowned with ivy; appears to be the half of what was originally 
 a double bust. H. o - i6. [*] 
 
 179 (114). Small bust of a Satyr. New. [*] 
 
 180(135). Statuette of the Nile. New. [ # ] 
 
 181 (178). Bust of Matidia. Engr., PI. 28, 2. New : nose 
 and neck; the bust is antique, and may belong to the head. Below 
 life size. [*] 
 
 182 (125). Small terra cotta, shaped like a desk. On the 
 slanting surface are three bearded heads, the first with a high bald 
 
 , forehead, the second with rough hair, the third with hair lying fiat to 
 his head, and all having the modius on the head. They are meant 
 to represent Poseidon, Zeus, and Pluto, as the special attributes of 
 these deities are to be seen below on the front : viz. a trident, a 
 thunderbolt, and a two-pronged fork (whether the last was an antique 
 attribute of Pluto’s is not quite certain). Under the thunderbolt is a 
 kind of table, crowned at the top with a palmetto ornament, and with 
 this inscription in raised letters : Diis propi. \ M. Herennii \ vivatis. 
 New. Of this specimen there exist many examples, for instance in 
 Paris, Vienna, Wurzburg, see Arch. Anz., 1S59, p. 115. [C] 
 
 183 (170). Bust of Cicero. Bernoulli, Rom. Ikonogr ., 1. p. 
 137, supposes it to be a replica of the head in Apsley House, 
 London, no. 1. I think it is new. [* 7 ?] 
 
 184 (115). Small bust of Hadrian. Completely effaced. 
 
 Nose new. L. of face o'o8. [*] 
 
 185 (15 1). Small bust of Sabina, with a stephane indented 
 like a royal crown. New : tip of nose, pieces on the chin and 
 forehead, and the bust. Half life size. [*] 
 
 186 (54). Three square cineraria. A) On the front the in- 
 scription: Dips) Mpinibus ) Calpnrni\e Feliciteati [sic, T made of an 
 E] Curtilius pate' ter [sic] filiae pien\tissimae f(ecit). All round is an ivy 
 wreath, below an urn. On the sides ivy, on the lid a wreath. — B) 
 Two boys on a pedestal, holding a wreath; below two cocks pecking 
 at a lizard. Inscription tablet empty. — C) In front the inscription : 
 Dps) Mpinibus) | Valeriae P. f. Valerianae , j vpxit ) an(nis) xi 
 
WOBURN ABBEY 1S9 — 201. 
 
 746 
 
 m(ensibus) viiii d(iebus) xxiiii, \ P. Valerius Cerialis | filiae pilssimae. 
 All round a garland of fruit, held by two boys with wings. On 
 the lid is a fruit basket between two birds, at the corners are 
 masks. [*C] 
 
 189 (184). Square sculptured capital. The column termi- 
 
 nates in leaves like those of the palm tree; on the top of it in entirely 
 detached high relief is on each side Dionysos wearing a cloak, the 
 thyrsos in his 1., the kantharos in his r. hand ; he is between two 
 Satyrs, one of whom carries a wine-skin, the other a pedum (in one 
 instance a twisted trumpet). At each corner a boy with a torch in 
 the 1. hand, and a branch in the r. Sculpture in the style of 
 sarcophagi. H. 0-25. Diameter of the top plinth o - 2 1. [*] 
 
 190 (136). Terracotta relief, with the head of Serapis, seen 
 in fuli face, with the modius. Appears to be new. [*] 
 
 191. Female bust. Life size. [*] 
 
 193. Votive relief of Maridia Polla. Arch. Anz., 1864, 
 PI. A, 1 (Conze). The relief is in a frame, and is injured at the 
 upper 1. hand corner; in the centre are two ears, much hollowed 
 in the inside, and beside each ear is Asklepios’ snake twisting itself 
 up; near to each is a plant like rhubarb, or silphium. Above is the 
 inscription: [to]u ioti[o]u 6epaTrei I [as] MapiSia IIa>AA.a | [lejp^is 
 
 tilyapi [cr^Ttipiov. According to this inscription the relief is a thank- 
 offering for recovery from some disease of the ear. Very much 
 scratched. H. o - 28. L. [C] 
 
 ig8 (56). Bust of Antoninus Pius. Engr. , PL 24, 1. Good 
 bust. New: nose, lobes of the ears, both shoulders. Larger than 
 life. Purchased from the collection of Sir Hervey Bruce, Bart. [*-&’] 
 199 (188). Head of a Satyr. New: forehead, nose, all the 
 1. half of the face. Life size. [ # ] 
 
 201 (60). Statue of Dionysos. Engr., PL 17, iS. The God 
 is leaning gracefully against the trunk of a tree, over which a nebris 
 has been thrown; a vine branch with grapes on it winds up the trunk, 
 and below, a snake is twining itself round the trunk. The head of 
 the God is somewhat lowered, with the expression of a pleasant 
 reverie ; beside the ivy wreath he has on his head a broad fillet which 
 partly conceals his forehead ; curls fall down on his shoulders. His 
 1. elbow rests on the trunk of the tree and his hand holds a bunch of 
 grapes; the r. arm hangs down inactive, but the hand may once have 
 held something (a goblet?). The body is slender and delicate. The 
 pedestal, slightly ornamented in front, is antique. The statue has 
 been much broken, but the essentials are antique; new : the snake’s 
 
WOBURN ABBEY 202 — 210. 
 
 747 
 
 head, a branch between the trunk of the tree and the bunch of 
 grapes, and perhaps the r. hand. Good work, decidedly surpassing 
 ordinary decorative sculpture. Coarse-grained Parian marble. H. 
 about i - 5o. “Brought from Italy by the late Earl of Upper Ossory; 
 presented, in 1822, to the Duke of Bedford by Lord Plolland, 
 whose property it had become after the death of his uncle Lord 
 Ossory” ( Engravings ). [*CfV] 
 
 202 (61). Relief, corresponding to one in the Vatican [Mas. 
 Pio. Clem., iv. PI. 28). A Seilenos in a small cloak, big and plump, 
 and looking as if he had had far too much wine, is falling forwards, 
 while a Satyr is using all his exertions to support him and prevent his 
 coming quite to the ground. A second Satyr, coming along behind, 
 with a wine-skin on his 1. shoulder, is amusing himself by lifting up 
 the back of Seilenos’ drapery. The top piece and the 1. lower corner 
 of the relief are new. H. 0-41. L. C37. [*C] 
 
 204(191). Torso of an Eros. Engr., PI. 46, 2; 3. Lie is 
 resting on the r. leg and putting the 1. slightly forward. On the 1. 
 arm are the remains of a bow; no trace of wings is extant. Both 
 arms lowered. Missing: head, three parts of the r., half the 1. arm, 
 more than half of both legs. The youthful body is gracefully exe- 
 cuted. Fine, coarse-grained Parian marble. H. 0-56. Found in the 
 sepulchral chamber which contained the sarcophagus no. 104. [*] 
 
 205 (rg4). Youthful male torso, said to be of Apollo. Engr., 
 PI. 23. Missing : head, arms, lower part of r. leg and three parts of 
 the 1. leg. Pretty good sculpture. H. 079. Found in an excava- 
 tion made near the Appian Way, in the year 1815, and purchased 
 of J. Millingen. [*] 
 
 205a. Similar torso, very slender, resting on the r. leg; pose 
 very erect. Missing : three parts of the r. leg, the lower part of the 
 1. leg, both forearms, and the head. Poor sculpture. H. o - 82. [*] 
 
 207 (193). Torso of a youth, resting on his 1. leg, his r. 
 bent; the body is very slender and bends over to the r. Judging 
 from the proportions and the delicacy of the limbs, it may be 
 Dionysos. Missing : head, the lowered arms except the stumps, and 
 the feet. Very well executed; fine Parian marble. H. o - 6r. [*] 
 
 208(195). Female bust. New: nose and 1. cheek. Life size. [*] 
 
 209 (197). Bust of Geta (?). New: all the lower half of the 
 face, the nose, the r. eyebrow, and parts of the hair. Larger than life. 
 [**} 
 
 210 (90). Statue of Athene. Engr., PI. 19. The goddess 
 wears a double chiton and has the aegis; she is standing somewhat 
 
748 
 
 WOBURN ABBEY 2 I 5 — 2ig. 
 
 stiffly. New: three parts of the lowered r. arm with the shield on 
 which it is supported, the lance in the 1. hand, the helmeted head; 
 the 1. arm, formed to hold a lance, has been broken twice but appears 
 to be antique. The aegis, treated in a very affected manner, is also 
 antique. The whole figure has been much mended and badly 
 smoothed over; the effect of the work lacks repose. H. 1-46. 
 “Brought from Italy by the late Marquis of Tavistock, and placed 
 in the Great Hall at Bedford House” {Engravings). \*CW] 
 
 215 (199). Head of Ptolemaeos, son of Juba, according to 
 the opinion of P. E. Visconti, which is apparently correct. Engr., 
 PI. 27, 3 (“Persius,” title quite without foundation). The head looks 
 upwards to the r., and has a broad fillet in the curly hair. By the 
 ears and on the chin are some downy hairs. New : nose. There 
 are other copies in the Vatican, Braccio Nuovo, no. 72 (Visconti, 
 Opere varie in. tav. d’agg.), and in the Villa Alban i, no. 58. Life 
 size. [*2?] 
 
 219 (203). Sarcophagus : Patroklos, Achilleus, and 
 Hektor. This large sarcophagus, which has been broken into three 
 pieces, was for a long time let into the wall over a gate of the 
 fortress of Ephesos, so that going from 1. to r. at first the greater 
 part of the front (excepting the corner figure at the 1.), then the 
 1. side, and finally the 1. two-thirds of the back were visible. In this 
 disposition the reliefs have been very superficially copied in Tourne- 
 fort, Voyage au Levant , in. p. 391, and in Choiseul-Gouffier, Voyage 
 pittoresque de la Grece, 1. vign., and PI. 121 ; a copy of the latter 
 engraving is given by Falkener, Ephesus , p. 120, and the first and 
 second piece by Inghirami, Galeria omerica , PI. 212, 229. In the 
 year 1819 the reliefs were removed from their position, and at the 
 moving especially the front suffered, all the lower part being broken 
 off, which in the older drawings is represented as perfect. Three 
 small fragments are in Woburn, a larger one (Hektor’s corpse) has 
 remained behind at Ephesos, and in 1832 lay there below the gate 
 (cf. Prokesch-Osten, Denkwurdigkeiten und Erinnerungen , 11. p. 94. 
 Arundell, Discoveries in Asia Minor , 11. p. 256. Falkener, Ephesus , 
 p. 121). The reliefs came to England by way of Smyrna and Malta; 
 they may have arrived at Woburn between 1822, when the En- 
 gravings appeared, and 1828, when the first edition of the Catalogue 
 was made ; at any rate we learn from Robinson’s Vitruvius Britan- 
 nicus , Woburn Abbey , PI. 4, that in 1833 the sarcophagus already 
 occupied its present position. The annexed plate is copied from 
 a drawing made for the German Archaeological Institute. — The 
 

 WOBURN ABBEY 219 (203). 
 
WOBURN ABBEY 2 1 9 . 
 
 749 
 
 sequence of the scenes appears to be as follows ; each front con- 
 taining two scenes (otherwise Benndorf, Annali, 1866, pp. 248, 255). 
 I. Right side (only the r. half preserved). On the extreme r. 
 stands a youth, nude, except for his chlamys and boots, with a lance 
 on his 1. arm, holding a horse by the bridle. In front of him stands 
 an armed warrior in helmet, breastplate, chlamys and boots ; he 
 holds his sword in his 1. arm ; his r., like all the rest of him, is lost. 
 Probably the whole scene referred to the arming of Patroklos ; if the 
 warrior is not Patroklos himself, it is his comrade, who comes up 
 again just in the same way in the next scene. (Waagen does not 
 mention this scene at all, Conze thinks it is the arming of Achilleus ; 
 see however scene hi. ) — II. Left side. A youth, nude except 
 for his chlamys, approaches from the 1., bearing on his back the 
 corpse of Patroklos, whose head and 1. arm hang down over the 
 shoulder of his bearer. A fully armed warrior goes before them to 
 the r. ; his sword rests on his 1. arm, he holds his r. hand up to his face, 
 which is turned back to gaze at the youth and his burthen ; on the 
 ground is a corslet. Beside this man stands a similar warrior, in a 
 similar position ; he has, however, no helmet, and his corslet is 
 almost concealed by his chlamys; with his 1. hand he grasps a lance 
 near the top ; the r. he lifted mournfully to his forehead (the greater 
 part of the arm is now^missing). On his r., in a chair with lions’ 
 feet and covered with a skin, sits Achilleus, the upper part of his 
 body nude, his legs covered by his cloak. He rests his 1. hand on 
 the chair and raises the r., with an expression of the greatest grief, to 
 his curly head. Behind his chair stands a warrior in corslet and 
 chlamys, but without a helmet, who lays his 1. hand sympathisingly 
 on Achilleus’ shoulder and his r. on his own chin. The whole 
 scene is very lucidly composed, and is full of expression. — III. 
 Front, right half. A warrior with abundant curly hair is seen 
 in full face, standing. He already has on his corslet and chlamys, 
 his sword at his side, and high boots ; a youth, draped only in a 
 chlamys, stands on his r. hand, holding a helmet with both 
 hands ; we see a corslet and a shield on the ground. On the 
 extreme r. a fully-armed warrior, with his sword in his r. arm, is 
 going away ; he is looking back at the others and originally raised 
 his 1. hand (now broken off), perhaps beckoning them to follow him. 
 Everything here indicates preparation and starting for battle ; but 
 quite to the 1., near the principal figure, stands a bearded old man, 
 head and body completely enveloped in his ample cloak, and who is 
 shorter by a head than any of the other figures. In his 1. hand he 
 
750 
 
 WOBURN ABBEY 2 1 9. 
 
 holds a strong, bent staff, 1 he lays his r. imploringly on the arm of 
 the curly-haired warrior, who however with his hand flat makes the 
 sign of the refusal, which is so common in representations of Hip- 
 polytos. What was the action of the 1. arm of the principal actor 
 is no longer clear, because all the forearm is broken off; Tournefort’s 
 and Choiseul-Gouffier’s engravings represent the arm raised as if he 
 were just about to take the helmet from his companion at his r. The 
 scene seems intended to portray Achilleus, who in spite of the 
 warnings of his elderly friend, Phoenix, is preparing to set forth and 
 avenge Patroklos; cf. Arch. Anz., 1862, p. 343. (Waagen and 
 Conze suggest Priam before Achilleus, cf. however scene v.) — IV. 
 Front, left half. To the 1. stands a fully-armed warrior (his pose 
 is the exact counterpart of the warrior furthest to the r. in scene hi.) 
 holding the prancing horse of Achilleus’ chariot; a second warrior 
 like him is behind the horse occupied in a similar way. Carriage- 
 pole and yoke are distinctly given, but the second horse is left out. 
 Under the horse are the head and shoulders of a youthful Trojan 
 who is lying on the ground, in chiton and Phrygian cap ; perhaps one 
 of the twelve youths who were to be sacrificed to avenge Patroklos. 
 On the chariot, the wheel of which is preserved as a separate frag- 
 ment, stands a nude youth, seen from behind, with his sword-belt 
 across his back; on his 1. is the large shield; his r. arm is broken 
 off; he is looking down on the following scene. This youth is 
 probably Automedon (Conze thinks it is Achilleus). Nearly in the 
 centre of the whole front stands Achilleus. who has just descended 
 from his chariot, in excited movement. He is fully armed, and has 
 his shield on his 1. arm; his chlamys hangs from his 1. forearm down 
 to the ground. To gratify his thirst for vengeance, and perhaps to 
 bind it to the chariot, he is tugging at the 1. foot of the nude corpse 
 of Hektor, which lies on the ground. Of Hektor only the raised 1. 
 leg and an individual fragment containing the lowered r. leg below 
 the knee are preserved ; the body itself, as we have remarked 
 above, was left at Ephesos. In the older engravings he is re- 
 presented lying at full length, with his arms over his head ; Tour- 
 nefort draws him lying on some drapery. In the background, 
 on either side of Achilleus, we perceive a youthful warrior, in 
 helmet, corslet, and shield, the one to the r. has also a lance ; both 
 are looking at Achilleus. A third fragment, a foot fastened to the 
 ground, which is at Woburn, probably belongs also to this scene. — 
 V. Back, right part, which is the larger. On the extreme r. 
 is preserved the upraised 1. arm, with the remains of a breastplate, 
 
WOBURN ABBEY 219. 
 
 751 
 
 and the spear that was held by the hand of Achilleus, sitting; the 
 rest of his form, and probably one or two companions in the back- 
 ground, have been quite lost in a large gap, about 0-90 wide, in the 
 marble. The same accident has affected Priam, who is approaching 
 in a bent position from the 1. and of whom only the back, covered 
 with a wide cloak, and one foot remain. Behind Priam, suspended 
 from a strong beam, hang the scales, which w r ere mentioned on 
 this occasion by Aeschylos in his <t>pvyes ( Sc/ioL Homer., II., 22, 
 351). In the r. hand scale lies a bar, doubtless of gold; a 
 warrior armed in helmet and coat of mail and with a sword in his r. 
 arm, keeps watch beside it ; with his 1. hand he grasps a spear. 
 Behind him a bearded Trojan, in chiton and hose and a Phrygian 
 cap, is bringing a corslet on his shoulder as a contribution to the 
 ransom money. In the 1. hand scale lies Hektor’s nude corpse, the 
 head and legs hanging down. In the background, on the extreme 1., 
 stands an elderly female figure, made very slim from want of space. 
 She is veiled and raising her r. hand in grief or entreaty; it can only 
 be intended for Hekabe, put in by the artist as accompanying Priam, 
 to enhance the effect. — VI. Back, left part, which is the 
 smaller. On the extreme 1., in a high chair with a footstool, 
 sits Andromache (here again the arrangement is symmetrical ; An- 
 dromache corresponds to Achilleus, who sits at the r. end of the 
 relief). She is draped in a chiton and a cloak, which also veils the 
 back of her head. She supports her r. hand (as does the grieving 
 Achilleus in scene n.) on the chair, and raises her 1. sadly to her 
 forehead. Her look is directed to the little Astyanax, who is being 
 led away by the bearded Odysseus. The boy is draped as a 
 Phrygian ; he is looking back at his mother and stretching out his 
 r. hand to her. Odysseus, too, looks compassionately at Andro- 
 mache as he hurriedly goes off to the r. ; he is easily recognised by 
 his egg-shaped hat (7 rlXos, pilleus), exomis, boots, and sword in his 
 1. arm. In the background, above Astyanax, may be seen a youthful 
 Trojan (female) prisoner, with long hair and a Phrygian cap ; she 
 wears a chiton and her chin is supported sadly on her 1. hand. The 
 abduction of Astyanax to the camp of the Greeks, where he soon will 
 meet his death, is the concluding scene in the fate of Hektor and 
 his family ; thus the avenging of Patroklos is finally consummated. 
 — The front and the 1. side are carefully executed in high relief, 
 the back and the r. side are more slightly sketched in low relief; the 
 cornice is ornamented with acanthus leaves in front and on both 
 sides, on the back it is smooth. We see from this that this sarco- 
 
7 5 2 
 
 WOBURN ABBEY 220 — 259 . 
 
 phagus was not intended, like most of those used in Greece, to 
 stand in the open air (cf. Matz, Arch. Zeit 1872, p. 11 ff.), but in an 
 underground chamber where the four sides would be exposed to a 
 very different light. It is the same case with the Capitoline and 
 the Cretan Achilleus sarcophagi (Mus. Capit., iv. PL 1. Spratt, 
 Travels in Crete , 1. pp. 279 ff.), with the Hippolytos sarcophagi in 
 Girgenti and in S. Petersburg (cf. on no. 58), and other similar sar- 
 cophagi, which may be also compared as to the style of the sculp- 
 ture. Our sarcophagus, though scarcely more carefully, is more 
 frankly executed than most of the others. Parian, or similar marble, 
 of a coarse species. H. i’9o. L. 2’65> D. 1-24. \*CMW] 
 
 220 (201). Head of a Roman, beardless, named, without any 
 reason, Domitian. It is more likely to belong to the last century b. c. 
 The mouth protrudes a good deal. New : nose and bust. Life size. 
 
 [**] 
 
 222 (204). Bust of Commodus. New : nose, chin, lobes of 
 the ears. Less than life size. [*] 
 
 223 (210). In the centre of the Gallery are parts of a mosaic 
 floor discovered near Rome in 1822; the other pieces of it, as far as 
 they are preserved, are in Rossie Priory, cf. Rossie Priory, no. 136. 
 Unfortunately , I am not in a position to give a description of the 
 Woburn fragments. [*] 
 
 257. Head of a Greek philosopher, looking up somewhat 
 to his r. The skull is only covered with thin tufts of hair, the mouth 
 is open and the expression full of pain. It reminded me somewhat 
 of the head of Karneades; Bernoulli compares the style to heads of 
 Epikuros and Metrodoros, but without considering it identical with 
 either. New : nose, part of the beard, bust. Larger than life. [*/?] 
 
 258. Female head, similar to the one in the Cabinet ties 
 
 medailles at Paris ( Gas. A rcheol. , 1. PI. 1). The face is in the shape 
 of a long oval ; the hair, parted in the middle, is wavy and combed 
 upwards, giving the idea of greater height; the mouth is open. The 
 head inclines a little to the 1. ; a slight shade of pathos is ob- 
 servable. New: nose and upper lip, a patch in the 1 . cheek, both 
 ears, neck; the back of the head is missing. Greek marble, some- 
 what coarse-grained. H. of the head o’aS. L. of face o'2z. [*] 
 
 259. Head of a youth. The hair is smooth and comes down 
 
 low on the nape of the neck ; there is a slight down on the cheeks 
 and upper lip. The head reminds us of certain barbarian heads of a 
 finer type, but it seems nevertheless to represent a Roman. Pupils 
 expressed. New: nose. I,, of face o’ 16. [ : ] 
 
WOBURN ABBEY 236 — 24O. 
 
 753 
 
 I have not seen the following specimens which are in the passage 
 leading from the Sculpture Gallery to the Conservatory. 
 
 236 (213). Two ancient terra cottas of a winged Victory- 
 sacrificing a bull. 
 
 237 (214). Ancient terra cotta of the boy of lassos (Plin., 
 Nat. Hist, 9, 27) riding on a dolphin in the sea (?). 
 
 239. Assyrian basrelief, from Ninrrud, about b. c. 880. 
 
 240. The same from a palace at Nineveh, built by Sardana- 
 pallos 11. about b.c. 650. 
 
 The small bronzes and painted vases, preserved in the “ Mu- 
 seum,” appeared to me to be of minor importance. The vases were 
 for the most part purchased by Duke John from the Cawdor collec- 
 tion. Among them are four in the fashion of the Nola vases, having 
 on them scenes from daily life; others from Lower Italy have Bacchic 
 representations; for example one of a Bacchante dancing merrily, for 
 whom a Satyr in a graceful pose blows the flute. [*CIV] 
 
 M. C. 
 
 48 
 

INDEXES. 
 
INDEXES. 
 
 I. 
 
 COLLECTORS, COLLECTIONS, SOURCES, etc. 
 
 Capital letters distinguish the places of collections in Great Britain. 
 
 Italic letters refer to the places where the antiquities have been discovered. 
 
 An asterisk (*) marks articles not described in the Catalogue. 
 
 § and n. refer to the paragraphs and notes of the Introduction, p. to the pages of the book. 
 Numbers immediately following the name of a collection are the numbers of this Catalogue. 
 St . statues, groups, etc. //. heads, busts. A’, reliefs, vases, etc. Br. bronzes. 
 
 T. terra cottas. /'. pictures. C. painted vases. 
 
 Aberdeen, Lord, n. 162. § 67. 68. 82. 
 
 83. 91. Cambridge 18 
 Acharnae R. Lowther 37 
 Adair, Dr, § 59 
 Adam, James, architect, § 60 
 Adams: London, Lansdowne 77 
 Aegina § 73. 80. 96 
 
 Albaccini, Carlo, sculptor, Rome, § 47. 
 
 53. St. Ince 9. 22. II. Ince 97 
 Albani, Card. Alessandro, § 40. 42. 45. 
 47. 50. 52. 55. St. Holkham 16. 19. 
 27. 28. 33. II. Houghton 6. Ince 126. 
 Drawings London, Franks. Wind- 
 sor 1 — XVIII 
 
 Albano % 48. II. Ince 90. 113 
 St Alban’s, Duke of, § 59. 71. R. Ince 
 228 
 
 Albert, Prince, Osborne 2. 4 
 Aleppo p. 197 
 
 Alessandroni, see Lisandroni 
 Alexandria pp. 188. 191. 197. St. 
 Cambridge 115. II. Cambridge 41? 
 Kingston 1 
 
 Allason, Thomas, p. 618 
 Amasia (Asia Minor) pp. 202. 203 
 
 Amherst, Lady, p. 417 
 Amidei, Belisario, dealer in antiquities, 
 Rome, § 40. 42. 47. St. Ilolkham 20. 
 23 - 34 
 
 Amyklae § 67 
 
 Anderton, T. P., n. 443 
 
 Andros pp. 199. 201 
 
 Angelis, Domenico de, Tivoli, § 48 
 
 Ankyra (Asia Minor) § 12. 24, pp. 190. 
 
 191. 196. 197. II. Oxford 1 13 
 St Ann’s Hill p. 21 1 
 Anson, Lord, n. 161. § 38. 41. 71. p. 
 213. London, Lansdowne 70. See 
 Shugborough 
 
 Antiquaries, Society of: London, Bur- 
 lington House 
 
 Apsley House, London, pp. 429 — 431 
 Appuldurcombe § 66. p. 226 
 Archipelago, Islands of the, probably 
 the source of R. Oxford 59. 83. 92. 
 142. 151. 152. 206. 209. 21 1. Rich- 
 mond 70. Rokeby 1 — 4. — Cf. p. 203. 
 See Andros. Chios. Delos. Keos. Lem- 
 nos. Naxos. Patmos. Rheneia. Samos. 
 Santorino. Skyros. Tenos. Thasos 
 
758 
 
 INDEX I. 
 
 Argos p. -203. T. Canterbury 27 
 Argyll, Duke of, H. Cambridge 44. 
 Wilton 78 
 
 Arles Br. Liverpool I 
 Arundel, Lord, § 3 — 8. ro — 17. 20 — 26. 
 32. pp. 185 — 187. 192 — 196. Ince64- 
 Oxford pp. 538 ff. Wilton p. 666, 
 no. 109? — See Howard 
 Arm (Crete) R. Cambridge 31 
 Ashburton, Lord, n. 161. § 87 
 Castle Ashby pp. 21 1 f. 
 
 Asia Minor London, S. Kensington 1 — • 
 17. Sculptures probably derived 
 from, Cambridge 23. 109. 100. Liver- 
 pool 3. Oxford 1 — 9. 59. 83. 92. 142. 
 151. 206. 211. Rokeby 1. 4. — See 
 Pergamon. Smyrna, &c. 
 
 Askew, L>r, § 65. 71 
 Assyria R. Oxford 125. 126. Woburn 
 239. 240 
 
 Astle, Thomas, § 57 
 Athens , § i!. 28. 73 — 76. 88. 96. pp. 
 195. 197. 198. 200. 201. 203. St. 
 Cambridge 3. 4. ir. 12. Hilling- 
 don. Oxford 1 78. Richmond 4. H. 
 Brocklesby 2. 7. Cambridge 48? R. 
 Brocklesby 10. 28. 42. 67. 76. Cam- 
 bridge 16 — 18. 20. 21. 28. 94? hi. 
 Lowther 38. Br. Canterbury 31. T. 
 Canterbury 27. V. Canterbury 1 16. — 
 Parthenon: Brocklesby 42? Cam- 
 bridge 28? Marbury p. 515. See 
 Attica 
 
 Athies (France) R. Wilton 137, 
 138? 
 
 Athos, Mount, St. Canterbury 135. T. 
 
 Canterbury 27 
 Atkinson, London, p. 431 
 Attica R. Oxford 88. 94? 131 — 135.138 
 — 141. 144 — 146. 203. Wilton 137? 
 — Winton 1.2. V. London, Burling- 
 ton. Cf. Acharnae. Athens. Keph- 
 issia. Marathon. Rhamnus 
 Attree, W. W., n. 481 
 Aufrere, Geo., Chelsea, R. Brocklesby 
 66. *Piranesi, Vasi, 1. PI. 47 
 Auldjo, London, n. 477, § 97 
 Azara, Spanish Ambassador at Rome, 
 
 § 36 
 
 Babington, Churchill, p. 267 
 Bacon, Sir Francis, § 16 
 Bagni di Roselle (Etruria) St. Rich- 
 mond 3 
 
 Baldwin, Consul, § 85. II. Kingston 1. 
 
 2. London, Hamilton 1 
 Bale, C. S., p. 431 
 Baltimore, Lord, § 51 
 Bandinel, James, p. 301 
 Bank of England, collection of coins, 
 § 95 
 
 Bankes, Henry, § 8r — 83 
 Bankes, W. J., § 85. See Kingston 
 Lacy 
 
 Banks, Sir Jos., no. 161 
 Banks, sculptor, Ince 64 
 Baramitsh (Troacl) St. Cambridge 2. 9 
 *Barber, John, R. Piranesi, Vasi , II. PI. 
 96 
 
 Baring, see Ashburton 
 Barnes Ii. Lowther 60 
 Bartoli, Pietro Sante and Francesco, 
 draughtsmen and engravers, § 29. 34. 
 Holkham 62. Windsor ixA. xx — 
 XXIII 
 
 Bassac (Phigalia) § 73. Si. n. 431. § 96 
 Bateman, Lord, § 59. See Shobden 
 Battlesden § 23. p. 212 
 Bavay (France) St. Edinburgh 22 
 Beaconsfield § 22 
 *Beauclerk, Aubrey, Ii. Piranesi, Vasi , 
 11. PI. 72 
 
 Beauclerk, Lady Mary, § 23 
 Beaufort, Duke of, § 36. R. Wilton p. 
 66 9 
 
 Beaujon, de, Paris, St. Richmond 2 
 Beaumont § 71 
 Beaumont, see Wimbledon 
 Bedford, Dukes of, n. 161. 248. § 86. 
 
 See Woburn Abbey 
 Bedford, Francis, architect, § 73 
 Bedford, Lucy, countess of, § 13. p. 199 
 Belzoni: London, Soane 38 
 Benghazi (Africa) § 94 
 Berkeley, Lady Elizabeth, § 23 
 Bernini, sculptor, Holkham 36 
 *Berry Hill, Surrey, Ii. Tiranesi, 
 Vasi, 11. PI. 74. S5 
 
 Bessborough, Lord, § 35. 3S. 50. 54. 71. 
 
COLLECTORS, COLLECTIONS, SOURCES, ETC. 
 
 759 
 
 St. Brocklesby 108. Ince 15. 25. 63. 
 83. Lowlher 4. 1 r. 66. 67. Petworth 
 12. H. Ince 216. 21 6a. Lowther 18 
 — 20. 39. 40. R. Ince 274. 305 — 307. 
 353 - 363. 366. 394—396. London, 
 Soane 24. Lowther 41. 42. 49. 50. 
 52—61. 95 
 
 Beugnot collection, Paris, p. 293 
 Bibby, E., R. Liverpool 6 
 Bignor Park pp. 212 f. 
 
 Biliotti § 94 
 Birmingham p. 213 
 Blacas collection, Paris, § 87. 95 
 Blayds, Thomas, banker, g 87 
 Blundell, Henry, n. 248. § 58. 59. 62. 
 
 See Ince Blundell Hall 
 Boileau, Sir J., see Ivetteringham Hall 
 Boni, sculptor, H. Ince 106 
 Bonn Br. Richmond 25 
 Bootle, Captain, § 29 
 Borghese, Prince, § 56 
 Borgia, Monsignore, § 56 
 Borioni collection, see Rome 
 Borrell, H. P., § 89 
 *Boyd, John, R. Piranesi, Vasi, 1. PI. 
 57—59 
 
 Boyle, see Burlington 
 Boynton Hall § 59. p. 216 
 Branchidae (Asia Minor) § 93 
 Brand, Thomas, § 29. 38. 41. p. 241. 
 
 333. R. Cambridge 68 
 Brettingham, Matthew, jun., architect, 
 § 42 — 44. .SAuHolkham. Houghton. 
 Petworth 
 
 Bristol, Lord, § 62. 87. See Ickworth. 
 
 London, Lansdowne 78 
 Broadlands § 53. pp. 217 — 226 
 Brocklesby Park § 66. pp. 226 — 240 
 Broendsted, P. O., § 73. 84 
 Bromilow, see Broomielow. Addenda 
 Broom Hall p. 241 
 Broomielow § 23. See Battlesden 
 Broughton, Lord, n. 161 
 Browne, Lyde, § 29. n. 161. § 52. 53. 
 
 57. 71. R. Petworth 40. 46 
 Bruce, Sir Hervey, II. Woburn 198 
 Brussa (Asia Minor) § 12. pp. 202 f. R. 
 Canterbury 149 
 
 Buccleuch, Duke of, n. 161. g 54. 71. 
 
 St. London, Lansdowne 78. H. Ince 
 144. See Dalkeith Palace 
 Buckingham, Geo. Villiers, Duke of, § 
 8. 10—13. 19. pp. 187 — 192. 196 — 199. 
 200 — 204 
 
 Buckingham (Grenville), Dukes of, n. 
 
 161. § 59. 87. See Stowe 
 Budritm, see Halicarnassus 
 Buonarroti, Filippo, § 34 
 Buonarroti, Michel Angelo, Cambridge 
 60? 
 
 Burgon, Thomas, § 88. pp. 539 f. St. 
 Oxford 16. 17. II. Oxford 61. R. 
 Oxford 85. 93 — 95. 208 
 Burke, Edmund, § 90. H. Lowther 79 
 Burleigh House n. 243 
 Burlington, Lord, § 22. 33 
 Burlington House, London, § 33. 77. 
 
 80. p. 431 
 Bute, Lady, § 65 
 
 Buyukdere (Bosporus) R. Canterbury 
 
 140 
 
 Byres, James, architect, § 48, 62 
 Byron, Lord, § 79 
 
 Cadogan, Lord, n. 242. § 97 
 Cambridge § 67. 72. 87. 100. pp. 24 1 
 —272 
 
 Camelford, Lord, § 54 
 Camirus (Rhodes) § 94 
 Campania St. Ivnole 1 
 Campbell, General, § 29 
 Campbell, Fred., Br. Oxford 238 
 Campi, Giulio, painter, Windsor xxiv 
 Camuccini, painter, Rome, § S6. R. 
 Woburn 107 
 
 Canino, Lucien Buonaparte, Prince of, 
 § 87. 92. p. 432 
 
 Canopus (Egypt) II. Kingston 2 
 Canosa (Apulia) V. Liverpool 24. 25 
 Canova, Ant., sculptor, g 40. 76. 8r — 
 83. 85. 86. Ince 9. London, Hamil- 
 ton 2. London, Lansdowne 65. Wo- 
 burn p. 722 
 
 Canterbury § 89. pp. 272 — 276 
 Canterbury, Archbishop of, p. 187 
 Capranesi, art-dealer, Rome : London, 
 Crichton 
 
 Caraffa Palace, see Naples 
 
760 
 
 INDEX r. 
 
 Cardenas, Don Alonzo de, n. 65 
 Caria, between Aphrodisias and Idiera- 
 polis, R. Oxford 20 r. See Cnidus. 
 Halicarnassus. Stratonikeia, &c. 
 Carlisle, Lord, § 29. 35. See Howard 
 Carloni, engraver, Windsor xxv 
 Caroline Buonaparte, Queen of Naples, 
 Woburn 128 
 
 Carpio e Helicce, Marchese del : Lon- 
 don, Franks 11 
 Carteret, Lord, § 28 
 Carthage § 94 
 Cassel, Museum, § 56 
 Caste l di Guido (Loriurn) § 48 
 Castellani, Aless., dealer in antiquities, 
 Rome, § 95. p. 372 
 Castle Ashby, see Ashby 
 Castle Howard, see Howard 
 Catherine II., Empress of Russia, § 52. 
 55 
 
 Cavaceppi, Bartol., sculptor, Rome, 
 § 40. 42. 43. 46. 47. 51—54. 56. St. 
 St Ann's Hill 5. Broadlands 13. 14. 
 Deepdene3j. Duncombei.2. Holk- 
 ham 16. 19. 20. 23. 25. 27. 28. 33. 42. 
 Ince 4. 9. 18. 2r. 39. 57. 68. 81. 
 Lowther 3. Newby 18. 20. 28. 40. 
 Richmond 40. II. Broadlands 19. 
 Ince 91. 105. 112. 121. 126. 146. 153. 
 154. 157. 160. 162. 167. 180. 189. 
 196.206. R. Ilolkham 51. Ince233. 
 London, Lansdowne 15. 25. 75. 
 
 Newby 8. 41. Mosaic Holkham 30. 
 V. Ince 408 
 
 Cavendish, Lord, § 29. See Devonshire 
 Cawdor, Lord, § 54. 57. 63. 71. 86. 90. 
 St. Ince 1 r. 36. 51. 82. II. Ince 215. 
 R. Ince 303. 304. 310. Woburn 61. 
 101. V. Deepdene p. 293. London, 
 Soane 38. Woburn pp. 722. 753 
 Caylus, Conte de, Paris, § 55 
 Cerveteri g 95 
 
 Cesnola, Gen., g 94. R. Liverpool 8. 
 
 9. Glass Cambridge p. 267 
 Chace Price g 71 
 
 Chandler, Rich., g 24. 38. See Oxford 
 Chandos, see Buckingham. Stowe 
 Chandos, Marquis of, Lowther 44. 
 Osborne 2 
 
 Chantrey, Francis, sculptor, g 82 
 Charlenront, Lord, g 38. n. 161. § 51. 
 65. 69 
 
 Charles I., King, § 2. 13. 14. 16. 18. 19 
 Charles II., King, § 19 
 Charleton, see Courten 
 Charlotte, Queen, Windsor 1 
 Chatsworth g 31, pp. 276 f. 
 Chaulnes, Due de, Paris, § 68 
 Chelsea g 30. 59. Brocklesby 66. 
 
 Winchester House p. 432 
 Chester, Greville, n. 477 
 Chichester p. 277 
 Chiffinch, Will., g 19 
 Chigi, Monsign., § 56 
 Chinnery, W. and G., g 90. p. 293 
 Chios p. 185. 194. 199. 201 
 Chiswick § 22. 33 
 Choiseul-Gouffier g 74. 92 
 Cholmondeley, Marquis of, see Hough- 
 ton Hall 
 
 Christie, art-auctioneer, London, Ince 
 p. 334. no. 137. 221. 393. 412. Lon- 
 don, Bale 
 
 Christina, Queen of Sweden, § 19. 39 
 Churchill, Gen., Houghton 6 
 Chute: London, Wemyss 
 Cinci, art-dealer, Volterra, R. Cam- 
 bridge 80 
 
 Cintra (Portugal), pp. 240. 619 
 Civita Lavigna (Lanuvium) St. Ha- 
 milton 9. R. Rossie 103? 
 
 Clarke, Naples, Br. Ince 409 
 Clarke, Edw. Dan., g 67. Cambridge 
 pp. 241—252 
 
 Clarke, Geo., Capt., R. Cambridge 30 
 Clarke, Hyde, Oxford p. 539. no. 159. 
 160. 1 7 1 . 207. 214. 218. 219. 224 — 
 226 
 
 Clementi, Abbate, II. Cambridge 46 
 
 Clumber Park p. 278 
 
 Cnidus § 93. St. Cambridge 6. T. 
 
 Edinburgh p. 29S 
 C/wssns (Crete) St. Tunbridge 1 
 Cochetto, art-dealer, Rome, St. Ince 19 
 Cockerell, G. R., architect, g 73. 96. 
 Hillingdon 
 
 Coghill, Sir James, § 90. p. 293 
 Coke, see Leicester 
 
COLLECTORS, COLLECTIONS, SOURCES, ETC. 76 1 
 
 Colchester p. 278. 
 
 Colonna (Labicum) St. Brocklesby 113 
 Columbrano Palace, see Naples 
 Colvin, Sidney, n. 161. Cambridge 1 
 Constantinople St. Richmond 3 a. Porta 
 Aurea § 9. ri. pp. 189 — 198 
 Conyngham, Lord, § 65 
 Cook, Francis, § 96. See Richmond 
 Cook, John Freeman, § 22 
 Cooke, G., n. 443 
 Corfu R. Canterbury 150 
 Corinth p. 201. 202. 203. Corinthian 
 puteal § 88 
 
 Corneto § 48. 87. Br. Rossie 144. 145 
 Corsini, Prince Bartolommeo, § 41 
 Cottington, Lord, n. 32 
 Cotton, Sir Rob., § 13. p. 205. Cam- 
 bridge p. 269 
 Courten, Will., § 30 
 Coventry, Andr., p. 431 
 Cowper Temple, W., see Broadlands 
 Crane, J. A., see Birmingham 
 Crete ri’ri Tunbridge 1. II. Tunbridge 2 
 Crichton, Maitl., pp. 431 f. 
 
 Cripps, J. M., Cambridge 1 
 Cromwell, Oliver, § 19 
 Crowe, J. A., Consul, § 94 
 Cumae St. Cambridge 38. R. Rich- 
 mond 12 
 
 CUNNINGTON p. 269 
 Curling, H., see Ramsgate 
 Cyprus § 94. R. Oxford 127. 128. T. 
 Canterbury 13. Glass Cambridge p. 
 267 
 
 Cyrene § 94. St. Edinburgh p. 298 
 
 Dalkeith Palace p. 278. 
 
 Dallaway, James, § 70 
 
 Dal Pozzo, sec Pozzo 
 
 *Dalton R. Piranesi, Vasi, 11. PI. 66 . 78 
 
 Dalton, Richard, draughtsman, § 65. 
 
 London, Franks I 
 Dannecker, sculptor, § 83 
 Dashwood, Sir Francis, n. 159 
 Davis, Dr Nathan, § 94 
 Dawkins, II., p. 539 
 Dawkins, J., n. 161. § 38. 65. Oxford 
 p. 539. no. 170. 177. 178. 201. 203. 
 235 - 236 
 
 Day, art-dealer, London, § 82 
 *Dean, LIugh, landscape painter, Pira- 
 nesi, Vasi, 1. PL 46. 52 
 Deepdene § 61. 99. pp. 279 — 293 
 De Lisle, see Lisle 
 
 Delos § 14. n. 34. § 18. pp. 185. 197. 
 R. Cambridge 29. Oxford 130? 7 \ 
 
 Canterbury 14 
 
 Delphi C. Howard 53. Oxford 130? 
 De Mauley, see Mauley 
 Dempster, Thomas, § 34 
 Dennis, G., Consul, § 94 
 Denton Hall p. 294 
 Derry, Bishop of, see Bristol 
 Despuig, Cardinal, § 56 
 Dessau, Prince of, § 55 
 Devis, painter, § 54 
 Devonshire, Dukes of, § 31. 33. 38. 54. 
 65. .fe Chatsworth. London, Devon- 
 shire House 
 
 Devonshire, Duchess of, § 87 
 Devonshire House, London, p. 432 
 Dick, John, Consul, p. 522. Newby 
 20. *Cavaceppi, Raccolta, 1. PI. 23. 
 29 
 
 Digby, Sir Kenelm, § 13. 14. 18 
 Dilettanti, Society of, § 37. 38. 65. 73. 
 77. 79. 84. 85. 93. n. 477. § 96. 
 List of members n. 161 
 Dillow, Viscount, see Ditchley 
 Disney, John, § 41. 87. 91. Cambridge 
 pp. 241. 255 — 267. Hyde 
 Ditchley p. 294 
 Dodd, chemist, R. Richmond 10 
 Dodwell, Edw., § 72. 87 
 Donaldson, Ph. L., architect, § 73 
 Dormer, Sir Michael, § 13 
 Dorset, Duke of, n. 159. 161. § 59. See 
 Knole 
 
 Dorville, J. Ph., Leyden, R. Lowthei-53 
 Douglas, see Hamilton 
 Drake, C. F. Tyrwhitt, R. Cambridge 
 H 
 
 Duane, Matthew, § 65 
 Duncannon, see Bessborough 
 Duncombe, Ch., n. 161. § 54. See Dun- 
 combe Park 
 
 Duncombe Park § 54. pp. 294 — 296 
 Dunkobin Castle p. 296 
 
762 
 
 INDEX I. 
 
 Durand collection, Paris, § 87. 92. p. 
 293 
 
 *Earle, Egidio, R. Piranesi, Vasi, II. 
 PI. 29 
 
 Easton Neston § 22. 24. pp. 296 f. 
 Edinburgh § 87. 100. pp. 297 — 300 
 Edwards, J. , bopkseller, § 90. Deep- 
 dene p. 293. London, Soane 38 
 Egremont, Lord, § 29. 38. 43. 52. pp. 
 596 f. 
 
 Egypt § 79. 85. St. Cambridge 5. Ince 
 75. Wilton 99? II. London, Hamil- 
 ton 1. R. Liverpool 7 
 Elcho, Lord, pp. 432 f. 
 
 Eleusis St. Cambridge 1. R. Brock- 
 lesby 39 
 
 Elgin, Lord, § 74 — 84. See Broom 
 Hall. London, Atkinson 
 Elliott, II. V. and E. B., R. Cambridge 
 1 1 1 
 
 Ellis, Wellbore, see Mendip 
 Englefield, Sir Henry, n. 1 61. § 84. 90 
 Englefield Green § 87 
 Ephesos § 11. 93. pp. 192. 194. St. 
 Oxford 159. 160. R. Liverpool 6. 
 Oxford 207. 214. 218. 219? Woburn 
 219 
 
 Erbach (Hesse) Newby 24 
 Eremopolis (Crete) St. Cambridge 13 
 Erythrae R. London, S. Kensington 
 
 13 
 
 Este, Antonio cl’, sculptor, Rome, § 47 
 St. Ince 4. 19. 37. 69. 70. 72. H. 
 124. 125. 127. 173. R. 275? 292 
 Etruria St. Cambridge 107 
 Evelyn, John, § 21. 32 
 Exeter, Lord, § 29. 54. II. Brocklesby 
 5. *R. Piranesi, Vasi, I. PI. 46 
 Eyres § 36 
 
 Fagan, Rob., § 48. 61. 62. 85. 87 
 Falerii Br. Stanmore 4. 17 
 Fauvel, French consul in Athens, § 74. 
 75 
 
 Fawley Court § 22 
 Fazakerley § 82 
 Fede, Conte, § 48 
 Fejervary ivories § 97 
 
 Fellows, Sir Charles, § 92 
 Ferguson, James, n. 161 
 Ferrnor, see Lempster 
 Fesch, Cardinal, II. London, Apsley 1 
 Feversham, Lord, see Duncombe Park 
 Ficoroni, Franc, de’, § 33 — 36. 39. 
 
 Cista Ficoroni n. 155 
 Fitzwilliam, Lord, see London, We- 
 myss. Wentworth House 
 Fitzwilliam Museum, Cambridge, 
 pp. 241 — 268 
 
 Flaxman, sculptor, § 82. 86. 87 
 Florence II. Cambridge 57. Br. Stan- 
 more 2. 7 
 
 Ford, Rich., p. 433 
 Forman, H., § 97. See Pippbrook 
 House 
 
 Fortnum, C. D. E., § 97. See Stan- 
 more Hill 
 
 Foster, Fred., n. 161 
 Foster, J., § 73 
 
 Fothergill, Capt., R. Liverpool 8 
 Foucault collection, Athies, R. Wilton 
 137 
 
 Fould collection, Paris, St. Lowther 5, 
 R. Lowther 60 
 
 Fountaine, Sir Andr., § 27. 33. See 
 Narford Hall. Mosaic Wilton 27 
 Fox, Ch., General, n. 161. §90 
 Fox, Henry, see Holland 
 France St. Woburn 14 1 
 Franks, A. W., n. 213. pp. 433 f. 
 Frascati, Villa Aldobrandini, § 86. R. 
 Woburn p. 722. no. 58. 69. 81? 86, 
 1 10. 117. 144 
 
 Frederick II., King of Prussia, § 55 
 Frederick, Sir Charles, § 36. 71 
 Frederick, Sir John, § 36. 38. 63 
 Freeman, W. P. Williams, n. 96. 477 
 Furietti, Monsignore, § 42. 51. Mosaic 
 Idolkham 6. 7 
 Fuseli, H., painter, § 78 
 
 Gabii § 48 
 
 Gailhaud, Jean, § 28 
 Gandy, J. P., architect, § 73 
 Cell, Sir Will., n. i6r. § 72. 73. 84 
 Genzano § 48 
 
COLLECTORS, COLLECTIONS, SOURCES, ETC. 763 
 
 George III., King, § 29. 50. See Wind- 
 sor Castle 
 
 George IV., King, § 92 
 
 Germain, Sir John, § 23 
 
 Geyn, Jaques de, Dutch painter, n. 41 
 
 Gionelli, sculptor, Ince 60 
 
 Giraud, Consul at Athens, p. 539 
 
 Glamis, Lady Charlotte, § 96. Addenda 
 
 Goethe § 83 
 
 Golovkin, Count, § 68 
 
 Gordon, Duke of, § 51 
 
 Gorlaeus, Abraham, § 6 
 
 Graham, Sandford, § 88 
 
 Grantham, Lord, see Newby Hall 
 
 Greaves, John, § 16 
 
 Greece AA Ince 36. II. Brocklesby 15. 
 
 R. Ince 310 
 Greenwich § 18 
 
 Grenville, George, St. Lowther 1. See 
 Buckingham. Stowe. Temple 
 Greville, Charles, § 57 
 Grey, Lord, see Newby Hall 
 Grotta Ferrata (Alban Mount) § 48 
 Guelfi, sculptor, § 24. pp. 539 ff. 
 Guildhall, London, p. 434 
 Guilford, Lord, n. 161. § 88. 92. 96. 
 pp. 432 b R. Lowther 37. See Corin- 
 thian puteal 
 
 Gurney, Hudson, n. 477 
 
 Hadrian's Villa , see Tivoli 
 Halicarnassus § 92. 93 
 Hall, Chambers, n. 477. P. Oxford 
 129 
 
 Hall, Thomas, § 23 
 
 Hamilton, Duke of, n. 161, § 96. See 
 Hamilton Palace 
 
 Hamilton, Gavin, painter, § 43. 44. 46 
 — 49. 52. 53. 55 — 57. 59. 60. 62. 64. 
 pp. 436. 596. St. Ince 12. Knole 2. 
 London, Lansdowne 3. 4. 6. 12. 13. 
 39. 41. 49. 63. 65. 68. 70. 76 a. 78. 
 83. 85. 87. 89. 91. 106. 108 — no. 
 Lowther 1. 68. Marbury 6. 15. 20. 
 Marganr 3. 5. Newby 20. 28? Pet- 
 worth 6. 11 . Ince 96. Knole. 6. 12. 
 London, Lansdowne 7. 8. 14. 37. 
 .38. S3- 62. 64. 86. 88. 90. 93. 107. 
 Marganr 9. n. 14. R. London, 
 
 Lansdowne 2. 76. 77. 96. Oxford 
 241. 242. Warwick 1 
 Planrilton, Sir Will., n. 161. § 38. 41. 
 56. 57. 61. 63. 64. 66. 68. 71. 74. 
 pp. 240. 293. Warwick 1 
 Hamilton, W. R. , n. 161. § 74 — 76. 79 
 —82. 84. 85. 92. pp. 434 f. 
 Hamilton Palace, pp. 300 f. 
 Plancarville, § 56. 57. 63. 68 
 Hannover, Palace of Herrenhausen, § 53 
 Hanworth, § 59 
 Hare, Mrs, p. 268 
 Plarley, see Oxford 
 Harrison, architect, § 74 
 Hartington, see Devonshire 
 Harvey, Bridges, R. Cambridge 29 
 Hawkins, John, n. 161. § 67. 85. 92. 
 
 See Bignor Park 
 Play, Drummond, § 85 
 Hay, R., Edinburgh p. 298 
 Haydon, B. R., § ;S. 81 — 83 
 Hayter, Sir George, § 86. Woburn 
 p. 722 
 
 *Hayward, Rich., sculptor at Rome. 
 
 R. Piranesi, Vast, 1. PI. 1. 17 
 Heathcote, Rob., Ince 12 
 Henry, Prince of Wales, § 2 
 Plerbert, see Pembroke 
 Herculaneum St. Windsor 1. II. 
 
 Blenheim 1 
 Lleriott, widow, n. 32 
 Herrenhausen, see Plannover 
 Hertford, Marquis of, St. Lowther 2. 
 H. Lowther 22 — 24. 72. 74. 90 — 92. 
 R. 94 
 
 Hertz, B., § 95. 97. St. Osborne 5. 
 
 H. Osborne 1. Br. Stanmore 1 
 Hillingdon Court p. 301 
 Histiaea (Euboea) T. Canterbury 54 
 Hoare, Sir Rich., see Stourhead 
 Hobhouse § 79. See Broughton 
 Holkham Hall § 34. 42. 85. 99. pp. 
 302—320 
 
 Holland, Lord, n. 161. § 41. 85. See 
 St Ann’s Hill. St. Woburn 201. 
 *R. Piranesi, Vast', I. PI. 52 
 Holland House, London, p. 435 
 Hollar, W. , engraver, § 15. Oxford 36 
 Hollis, Thomas, n. 127. § 29. 41. 45. 
 
;6 4 
 
 INDEX I. 
 
 87. Cambridge p. 241. no. 39. 41. 
 47—52. 60. 76. 77. 81—83. 85. 94. 
 Hyde 
 
 Hope, General, § 54 
 
 Hope, Thomas, n. 161. § 61. 62. 
 
 84. 85. See Deepdene 
 Houghton Hall § 41. 42. 52. pp. 
 3^3 f - 
 
 TIovingham p. 324 
 Howard, see Arundel. Carlisle. Norfolk 
 Howard, Henry, Duke of Norfolk, § 
 1 1. 21. 22. pp. 538 f. 
 
 Howard, Henry Frederick, Earl of 
 Arundel, § 20 
 
 Howard, Castle, § 35. pp. 325 — 332 
 Hunt, Dr Phil., § 75. 82. 86. Woburn 
 P- 723 
 
 Hyde, the, § 41. 87. p. 333 
 
 Ickworth § 62. p. 333 
 
 Ince Blundell Hall § 58. 60. 85. 
 
 99- PP- 333—415 
 Italy, Lower, see Magna Graecia 
 Ithaka Gold: London, Burlington 
 
 House 
 
 James, Rich. , § 1 1 
 Jenkins, architect, § 73 
 Jenkins, Thomas, banker and art- 
 dealer, Rome, § 41. 45 — 51. 53. 56— 
 59.62.68. St. Boynton 1. 3 — 5. Ince 
 8. 44. Knole 1. London, Lansdowne 
 61. Marbury 15. Margam 2. Newby 
 16. 20. 24. 28? H. Boynton 2. Ince 
 107. 131. 179. 182. 183. Knole 6. 12. 
 Marbury 28. R. Boynton 6. Brock - 
 lesby 86. 87. Ince 304. Marbury 36. 
 Woburn 10 1 
 
 Jennings, H. Const., § 54. 71. St. Dun- 
 combe 1 
 
 Jersey, Lord, see Osterley 
 Jessaint, Vicomte de, Br. Richmond 
 29 
 
 Jones, London, S. Kensington 18 
 Junius, Francis, § r6 
 
 Kameiros, see Canrirus 
 Kanawat (Syria) R. Cambridge 14 
 
 Karatash (Mallos, Cilicia) R. Liverpool 
 10 
 
 Kavalla (Neapolis, Turkey) p. 196 
 Kemp, John, § 28. p. 539 
 Kent, Will., architect, § 34. 42. Holk- 
 ham 24. 31. 49. 50. 53 
 Kcos (Zia) pp. 200, 201, 204 
 Kephissia (Attica) St. Oxford 177 
 Kertch (Crimea) § 94 
 Ketteringham Hall p. 415 
 King, C. W. , Cambridge 115 — 1 1 7 
 Kingsgate § 41 
 Kingston Lacy pp. 415 f. 
 
 Kinnaird, Lord, § 87. See Rossie Priory 
 Kinnard, architect, § 73 
 Kirkham p. 197 
 Knidos, see Cnidus 
 
 Knight, R. Payne, n. 161. §67 — 69. 71. 
 77. 81—84 
 
 Knole § 59. pp. 416—423 
 Knossos, see Cnossus 
 
 Lakedaetnon pp. 201. 203 
 Lalo, Naples, § 90 
 
 Lampsakos (Asia minor) § 6. pp. 187 f. 
 Lansdowne, Marquis of, § 60. 71. See 
 London, Lansdowne House 
 Lansdowne, Henry third Lord : Lon- 
 don, Lansdowne p. 437. no. 57. 59? 
 Lansdowne House, London, § 60. 
 
 69. 85. 99. pp. 435—471 
 Lanuvium, see Civita Lavigna 
 Lawrence, Th., painter, § 82. n. 395 
 Layard, Sir A. II., § 93 
 Leake, W. M., Col., n. 161. § 72. 85. 
 
 Br. Cambridge 102 — 106 
 Lecce (Italy) V. London, Soane 38 
 Leconfield, Lord, see Petworth 
 Lee, Fiott, R. Cambridge 23 
 Lefroy, Anth., R. Oxford 237 
 Legh, Thomas, § 88 
 Leicester, Robert Sidney, Lord, n. 28 
 Leicester, Thomas Coke, Lord, §29. 34. 
 36. 42. See Holkham. London, 
 Leicester; Wernyss 
 Lely, Sir Teter, § 19. 28 
 Lemnos St. Hamilton 7 
 Lempster, Lord, § 22. 24. Oxford, p. 
 539 
 
COLLECTORS, COLLECTIONS, SOURCES, ETC. 7C5 
 
 Lennox, see Richmond 
 Lethieullier § 36 
 
 Lisandroni, sculptor, Rome, St. Ince 
 37. 42. II. Ince 127. R. 275? 292 
 De Lisle and Dudley, Viscount, see 
 Penshurst 
 
 Liverpool § 97. too. pp. 423 — 428 
 Lloyd, W., //.Cambridge 52. /’.Cam- 
 bridge 39. 76. 77. 86 
 Lloyd, W. Watkiss, n. 1 6 r . 478 
 Locke, W. , §51. 54. 71. Duncombe 2. 
 Newby 24 
 
 Londesborough, Lord, § 97 
 LONDON pp. 428 — 487. Besides .ree.' 
 Arundel House § 14. 16. 17. 20. 
 21. 22. 23 
 
 British Museum n. 1 27. § 29. 30. 
 40. 52. 61. 63. 65. 67. 68. 71. n. 
 336 - § 72. 73 - 79 - 8 3 - 84. n. 420. 
 § 87 — 96. 100 
 
 Carlton House : Windsor 1 
 Cuper’s Garden § 22 
 St James’ Palace § 14. 18. 19 
 Montagu House § 30 
 Somerset HoLse § 14. 18 
 Tart Hall § 20. 28 
 Whitehall Palace and Gar- 
 den § 18. 19. Richmond 6. 
 Windsor xxvn 
 York House § 8. 19 
 Lonsdale, Lord, § 96. See Lowther 
 Castle 
 
 Lovel, see Leicester 
 Lower Italy , see Magna Graecia 
 Lowther Castle § 96. pp. 487 — 500 
 Ludwig, Crown Prince of Bavaria, § 80. 
 81. 87 
 
 Litnghezza (Campagna of Rome) II. 
 Ince 1 17. 120. 148. 163. 182. 183. 
 193. 198. 199 
 
 Lusieri, Tita, painter, § 74. 76 
 Lycia § 92 
 
 Macgowan p. 433 
 
 McLeay, Geo., § 96. London, S. Ken- 
 sington 1 — 17 
 Macmichael, Dr, § 88 
 Macpherson, Sir John, § 54 
 
 Magna Graecia R. Brocklesby 64. V. 
 
 Canterbury 167. Woburn p. 753 
 Magnoncourt collection, Paris, p. 293 
 Malcolm, Sir Tultney, Cambridge 31 
 Malton, see Rockingham 
 Mann, ITor., sec London, Wemyss 
 Mansel-Talbot, Thomas, § 59. See 
 Margam 
 
 Mantua collection § 14. 18 
 Marathon Br. Richmond 63 
 Marbury Hall § 59. 85. pp. 500— 
 5H 
 
 Margam Abbey § 59. pp. 516 — 522 
 Markham pp. 1 86 f. 
 
 Marlborough, George Spencer, third 
 Duke of, § 23. 35. n. 161. § 50. See 
 Battlesden. Blenheim 
 Massimi, Cardinal Camillo de’, § 29. 
 
 London, Franks 11. Windsor xix 
 Mauley, Lord de, § 96. p. 472. London, 
 S. Kensington 18 
 Mausoleum § 92. 93. 95 
 Mayer, Jos., § 97. See Liverpool 
 Maxwell, Colonel, § 22 
 Mazarin, Cardinal, § 19. 26. — Due de. 
 § 26. — Collection, Paris, Wilton pp. 
 667 — 669. St. Richmond 2 ?. Wilton 
 5. 8? 10? 14? 22. 68? 70. 74. 112? 
 1 16. 119. 124? 132? 144. 143. 146? 
 151? 158a. 159. 170. 175. 231. 234? 
 H. Wilton 2? 3? 6? 9? 11? 12? 15? 
 16? 24? 29? 30? 39? 40? 42? 43? 51? 
 55? 63. 64. 65? 66. 67? 69? 73? 79— 
 81 ? 84? 88? 90. 93? 103? 107? no. 
 122? 123? 127. 128? 134. 141? 142? 
 149? 150? 138? 161. 166. 168? 173? 
 179 — 182? 183. 184? 185. 1S6? 1S8. 
 189. 190? 191. 194? 196? 197? 200? 
 201. 202? 203? 204. 206? 208. 212? 
 215? 216? 217. 218. 219 — 222? 225? 
 226. 227. 228? 229? R. i\b. 31. 61? 
 71? 85? 121. 163 
 
 Mead, Dr Rich., § 20. 29. 41. 50. 65. 
 St. Ditchley, Stourhead, 2. II. Went- 
 worth House. R. ITolkham 46. 
 Drawings Windsor xix 
 Mcgara Si. Brocklesby 26. R. 
 Brocklesby 14. 34. V. Canterbury 
 1 1 1 
 
766 
 
 INDEX I. 
 
 Mellhuish, statuary mason, p. 472 
 Mendip, Lord, § 38. 41. 71. Si. Ince 
 58. 98. II. Ince 217. R. Ince 371 
 Mertens-Schaaffhausen, Sib., Bonn, A;-. 
 
 Richmond 25 
 Methuen, Sir Phil., § 29 
 Middlesex, see Dorset 
 Middleton, Conyers, § 30. 36. 41 
 Millingen, James, § 85 — 87. 90. 91. Si. 
 
 Woburn 205. R. Woburn 99 
 Mills, see Hillingdon Court 
 Milward, Rich., p. 185 
 Mimaut collection, Alexandria, § 92 
 Miollis, General, § 87 
 Modena, Duke of, collection, Rich- 
 mond 13 
 
 Mogla (Caria) Br. Stanmore 1 
 Monaldi, Carlo, sculptor, Rome, § 42. 
 Holkham 18 
 
 Montagu, see Monthermer 
 Montagu, E. Wortley, § 65. Cambridge 
 p. 269. no. 109. no. ri2. 113 
 Montagu, E. Wortley, son, n. 161 
 Monte Cagnuolo § 48 
 Montgomery, Lord, § 13. See Pem- 
 broke 
 
 Monthermer, Marquis of, n. 161. § 54. 
 p. 278 
 
 Monti, Vine., sculptor, Naples, Cam- 
 bridge 66 
 
 Montserrat (Cintra, Portugal) p. 619 
 Mordaunt, Lady Mary, § 23 
 Morritt, J. B. S., no. i6t. § 67. 82. See 
 Rokeby Hall 
 Morritt, W. S., § 84 
 Munich, Glyptothek, no. 155: n. 129 
 Murphy § 65 
 
 Murray, Lord, § 87. Edinburgh p. 299 
 Mussell, n. 127. § 29 
 
 Naples A. Cambridge 93. //. Ince 100. 
 152. R. Richmond 57. 58 
 Palazzo Caraffa-Columbrano § 47. 
 St. Knole 1. R. Brocklesby 64. 
 Marbury 36. Margam 2 
 Royal collection V. C. Howard 
 66 
 
 Napoli di Romania (Nauplia) p. 203 
 Narford Hall p. 522 
 
 Naworth Castle Br. C. Howard 63 
 Naxos T. Canterbury 4. 143 
 Nemi § 48 
 
 Nettuno II. Holkham 40. Ince 126 
 Newby Hall § 53. 85. 99. pp. 522— 
 535 
 
 Newcastle, Duke of, see Clumber Tark 
 Newdigate, Sir Roger, Oxford 241. 242 
 Newton, C. T., n. 161. § 93. 94. pp. 
 
 298. 540. 670. 716 
 Nice, Daniel, § 17 
 Nimes R. Ketteringham 1 
 Nimrud R. Woburn 239 
 Nineveh § 92. R. Woburn 240 
 Nollekens, sculptor, § 46. 47. 53. 34. 
 
 82. Newby 23 
 Norbury Park § 54 
 North, Brownlow, Bishop of Win- 
 chester, § 59. p. 433 
 North, Frederick, sec Guilford 
 Northampton, Marquis of, n. 161. § 87. 
 
 n. 452. § 92. See C. Ashby 
 Northwick, Lord, n. 161. § 68. R. 
 
 Lowther 60 
 Norton, P., n. 481 
 Nott, Dr, § 87 
 Nugent, Lord, n. 481 
 “Nulty, Matth., Piranesi, Vast, 11. PI. 
 7i 
 
 OTIalley, Edw., Stanmore 1 
 
 Olympia § 67, n. 432 
 
 Orford, Robert Lord, § 4r. 42. 52. 
 
 See Houghton Hall. Walpole 
 Orsini, Fulvio, R. Brocklesby 86. 87, 
 Marbury 40? 
 
 Orvicto Br. Ince 1 7 1 
 Osborne pp. 535—538 
 Ossory, see Upper Ossory 
 Osterley Park p. 538 
 Ostia § 48. 61. 85. St. Deepdene 7. 39. 
 Ince 8. London, Lansdowne 89. 
 Marbury 20. II. Ince 91. London, 
 S. Kensington 18 
 
 Oudinot, General, V. London, Soane 38 
 Oxford § 21. 24. 30. 100. pp. 538 — 
 595 
 
 Oxford, Lord, § 29. p. 539 
 
COLLECTORS, COLLECTIONS, SOURCES, ETC. 767 
 
 Pacetti, sculptor, Rome, § 47. H. Ince 
 hi. 172 
 
 Pacili, sculptor, Rome, St. Newby 20 
 Palestrina { Praeneste) R. Ince 128. P. 
 Wilton 205? 
 
 Palmerston, Lord,§ 38. n. 161. § 53. 65. 
 71. See Broacllands. *R. Piranesi, 
 Vasi, 1. PI. 28 
 Palmyra § 65 
 
 Paphos (Cyprus) St. Cambridge 7 
 Parainythia (Albania) § 67. 68. Br. Big- 
 nor 1. 2 
 
 Paris, see Beaujon. Beugnot. Blacas. 
 Caylus. Chaulnes. Durand. Fould. 
 Jessaint. Magnoncourt. Mazarin. 
 Parois. Pourtales. Rollin 
 Parois collection, Paris, Deepdene p. 
 293 
 
 Paros pp. 197. 199. R. Brocklesby 17 
 Pars, W., § 38. n. 236. § 65 
 Pashley, R.,/?. Cambridge 31 
 Patmos R. Cambridge 24 
 Patras pp. 197. 203 b 
 Peacham, PI., § 14 
 Peiresc, Claude de, § 5. 11 
 Pella (Macedonia) St. Oxford 240 
 Pembroke, Lords, § 13. 22. 25 — 27. 35. 
 
 87. See Wilton House 
 Penrice Castle p. 595 
 Penrose, F. C., n. 161. § 96 
 Penshurst n. 28. § 41. pp. 595 f. 
 Pcrgamon § ir. 12. 93. pp. 192. 196 b 
 R. Cambridge 30. London, S. Ken- 
 sington 17. Oxford 208 
 Pernie, Captain, Liverpool 10 
 Perry § 41. p. 596 
 Perugia R. Cambridge 66? 
 
 St Petersburg, Ermitage, § 52 
 Petre, Lord, p. 543 
 
 Petty, W., § 7. 9 — 12. 16. pp. 187—200. 
 202. 204. 540. 543 
 
 Petworth House § 43. 52. 69. 85, 
 I.owther 3. pp. 596 — 617 
 Phanagoria (Crimea) R. Cambridge 25. 
 27 
 
 Phigalcia, see Bassae 
 Philippi (Macedonia) p. 196 
 Philipps, Mark, n. 481 
 Piccola. Nice, la, art-dealer, Rome, 
 
 §48. St. Ince \- t . 30. 32. 60. Mosaic 
 Ince 41 1 
 
 Pippbrook House p. 618 
 Piranesi, engraver, § 47. 51. II. Ince 
 195. R. Ince 401. 404 
 Pizzati collection, Florence, § 87 
 Pollexfen, J. H., see Colchester 
 Pomfret, Lord, § 24. See Easton-Nes- 
 ton 
 
 Pomfret, Henrietta Louisa, Countess of, 
 § 24. Oxford p. 539 
 Pompeii § 86. Br. Richmond 32. Wo- 
 burn 128. /’.Oxford 129 
 Pond Holkham 2 
 
 Poniatowsky, Prince, § 56. Ince 198 
 Ponsonby, see Bessborough 
 Ponsonby, Ashley G. J., n. 479. Lon- 
 don, S. Kensington r8. 19 
 Populonia (Etruria) II. Cambridge 56? 
 Porcher, E. A., § 94 
 rorson, Rich., § 72 
 Portland, Duchess of, §41. 64. 71 
 Portland Vase § 64 
 Potocki, Count, § 56 
 Pourtales-Gorgier, Conte, Paris, §87.95 
 Tozzo, Cassiano dal, § 60. London, 
 Franks 1. Windsor 1 — xvi 
 Pozzuoli St. Wilton 112? R. Cam- 
 bridge 81. Richmond 12 
 Praeneste , see Palestrina 
 Pricue (Ionia) § 93. 96 
 Propontis R. Cambridge 22 
 Pullan, R. P., § 93. 96 
 Pulszky, Fr., § 95. 97. St. Richmond 
 5 - 6 
 
 Quatremere de Quincy § 83 
 
 Railton, architect, § 73 
 Ramsay, General, § 87. 9r 
 Ramsgate p. 618 
 Raphael § 34. Holkham -6 1 
 Rawlinson, Oxford p. 539. no. 162. 164. 
 179. 186. 188. 189. 196. 198. 199. 
 220. 222. 223. 232—234 
 Rawlinson, Sir IT., § 93 
 Redcliffe, see Stratford 
 Revett, Nich., n. 161. § 38. 44. 65 
 Rhamnus (Attica) § 73 
 
768 
 
 INDEX I. 
 
 Rheneia § 6. R. Oxford 96 — 104? 209? 
 
 See Archipelago 
 Rhodes § 94. R. Edinburgh 6 
 Rhodes, J., p. 432 
 Ribchester R. Cambridge 118 
 Richardson § 36 
 Richelieu, Cardinal, § 26 
 Richmond § 96, pp. 619 — 643 
 Richmond, Duke of, § 54 
 Robertson, A., n. 481 
 Robinson, Sir Thomas, § 59. Rokeby 
 p. 647 
 
 Rockingham, Marquis of, § 29. n. 16 1. 
 
 § 38. 41. See Wentworth House 
 Roe, Sir Thomas, § 6 — 13. pp. 185— 
 205 
 
 Roehampton § 36. Ince 307. See Bess- 
 borough 
 
 Rogers, Sam., n. 1 6 r . § 85. 97 
 Rokeby, Lord, see Denton Ilall 
 Rokeby Hall § 59. 67. pp. 643 — 648 
 Rollinand Feuardent, art-dealers, Paris, 
 Richmond 63 
 
 ROME. S/. London, Ford. Oxford 
 43 — 45. P. Rossie 161 
 
 Collections. 
 
 Albani § 39. 42. 47. 62. See Al- 
 bani 
 
 Altieri § 47. II. Ince 134. 134 a. 
 R. 271. 272. 282 
 
 Araceli, staircase of, R. Woburn 
 81 ? r 1 7 
 
 Archiconfraternita della SS. An- 
 nunziata St. Holkham 36 
 Barberini § 40. 47. 52. 56. 87. St. 
 Margarn 3. Newby 20. Pet- 
 worth 15. 19. II. Cambridge 41. 
 Petworth p. 617 no. 37. R. 
 Broadlands 1 1 
 Borghese § 48 
 
 Borioni § 40. 47. St. Ince 7. 79. 
 80. H. 93. 1 13. 176. 210. R. 
 222. 246. 258. 297. 302. 340. 
 
 39 1 
 
 Braschi n. 423 
 
 Capitoline Museum § 39. 47. II. 
 
 Holkham 53. Addenda 
 Capodiferro, see below Spada 
 
 Rome (Collections) continued ) — 
 Capponi § 47. St. Ince 29. 35. 76. 
 H. Ince 92. 197. R. Cambridge 
 77. Ince 248, 249, 239? 
 Cavaceppi, see Cavaceppi 
 Cavalieri R. Cambridge 76 
 Chiaramonti, see below Vatican 
 Chigi § 39 
 Colonna § 92 
 
 Consiglieri St. Holkham 24 
 Farnese § 55. 95. Farnesina § 55. 
 R. Marbury 40? 
 
 Giustiniani § 27. 39. 52. R. Ince 
 305? Woburn 148. Cf. Wilton 
 pp. 666 f. 
 
 Lante § 47. 86. St. Ince 8. R. 
 
 Woburn ioj 
 Lateran Museum § 87 
 Massimi § 32. R. Blenheim 3 
 Mattei § 47. 58. 59. St. Ince 1. 10. 
 13. 16. 20. 24. 26. 31. 46. 48. 34. 
 55- 57- Lowther 68. Marbury 
 2. 3. 10. 11. 13. II. Ince 84 — 
 87. 1 2 1 . 133. 136. 143. 168. 186. 
 London, Apsleyi. Marbury 14? 
 R. Boynton 6. Ince 230. 231. 
 240. 241. 296. 3 1 1 — 314. 317. 
 3I9—32S- 328. 330—332. 334- 
 343- 345- 347- 354— 359 
 Medici § 55 
 
 Montalto-Negroni-Massimi § 47. 
 58. St. Duncombe 2. Ince 9. 
 II. Ince 107. 131. 169 — 171. 212. 
 R. Brocklesby 86. 87. Ince 304 
 Odescalchi § 39 
 Orsini R. Ince 258 
 Ottoboni § 40. St. London, We- 
 myss. II. Hamilton 6 
 Porcari A 1 . Woburn no 
 Rondinini § 86. II. Woburn 150 
 Sacchetti § 40 
 
 San Fiore, Cardinal, “ prcsso la 
 chiavica di S. Lucia ” R. Lon- 
 don, Soane 26 
 
 Spada § 52. St. Lowther 3. R. 
 Broadlands 30 
 
 Status, Chr., sculptor, R. Oxford 
 155 
 
 Valle R. Blenheim 3 
 
COLLECTORS, COLLECTIONS, SOURCES, ETC. 
 
 Rome: Collections continued — 
 Vatican Museum § 48. 55. Museo 
 Chiaramonti g 87 
 Verospi § 52 
 
 Vettori§43- St. Duncombe 2. Pet- 
 worth 5 
 
 Excavations, &c. 
 Excavations made for Lord Arun- 
 del § 4 
 
 Agrippa, Baths of § 87. St. Os- 
 borne 2 
 
 near S. Alcssio R. Broadlands 7 
 Constantine s arch II. I nee 140? 
 i 4 r? 
 
 Circus Maximus Lowther 94? 
 near S. Croce in Gerusalemme II. 
 Ince 9 
 
 Fonseca Villa (Caelian Hill) § 48 
 near the Forum St. Ince 49 
 near S. Giovanni in Latcrano 
 II. Holkham 47 
 
 Magnani Villa (Palatine Hill) 
 St. London, Lansdowne 78 
 under Villa Mattel (Caelian Hill) 
 R. Wilton 13 a 
 
 S. Maria Maggiore H. Ramsgate, 
 p. 619? 
 
 near Palatine Hill II. Ince, 124. 
 205 
 
 Palombara Villa (Esquiline Hill) 
 § 48 
 
 near S. Pietro in Vaticano St. 
 Lowther 1 
 
 near S. Susanna (Quirinal Hill) 
 St. Ince 9 
 
 Trastevere St. Ince 61 
 Rome, neighbourhood, excavations: St. 
 
 Ince 4. 12. 21. Petworth 6. II. 
 
 London, Hamilton 2. Lansdowne 53 
 near S. Agncse, (Via Nomentana) 
 II. Cambridge 55 
 Alexander Sever us' Villa (V. Os- 
 tiensis) St. Lowther 13 
 near Caecilia Metella (V. Appia) 
 H. Ince 147. 179. R. Cam- 
 bridge 84. Lowther 44 
 Circus of Maxentius (V. Appia) § 4 
 Columbarium of the freedmen of 
 Livia (V. Appia) § 36. R. Wil- 
 
 M. C. 
 
 769 
 
 ton 60. hi. 129. 143. 155. Cf. 
 
 Windsor XVII 
 
 Gordian's Villa (V. Praenestina) 
 St. Ince 22 
 
 Marrana St. Ince ig 
 Monte Mario St. Ince 72 
 Monte Rosario (V. Portuensis) 
 Mosaic Rossie 136. Woburn 228 
 Pri/ua Porta (V. Flaminia) § 48 
 Roma Vecchia (V. Appia) § 48. 87. 
 St. Knole 2. II. London, Lans- 
 downe 93. Ii. London, Lans- 
 downe 2 
 
 Tenuta di Salone (V. Praenestina) 
 St. Ince 30. 32. II. 108 
 Tor Colombaro (V. Appia) § 48. 
 St. London, Lansdowne, 63. 65. 
 83. Marbury 6. 15 
 Tor Pignatara (V. Labicana) 
 Mosaic Ince 410 
 
 Torre tre teste (V. Praenestina) 
 St. Boynton ( 
 
 Via Appia , § 48, 87. St. Woburn 
 204. 205. II. Ince 147. 151. R. 
 Woburn 104 
 
 Via Laviniensis II. Ince 97 
 Via Portuensis St. Ince 77 
 Via Praenestina II. Ince 102. 1S4. 
 185. 
 
 See Albano. Castel di Guido. Co- 
 lonna. Frascati. Gabii. Genzano. 
 Grotta Ferrata. Lunghezza. 
 Monte Cagnuolo. Ostia. Pales- 
 trina. Tivoli. Tusculum. Velletri. 
 Roos, Lord, g 13 
 Rossi, sculptor, § 81. 82 
 Rossie Priory § 87. pp. 648 — 658 
 Roxburghe, Duke of, § 36 
 Rubens, P. P., § 8 
 
 Rusconi, Camillo, sculptor, Rome, 
 Holkham 24 
 Rushout, see Northwick 
 Ruskin, Oxford, 127. 128 
 Russell, Lord Geo. Will., g 86. Wo- 
 burn p. 722 
 
 Russell, Lord John, g 94 
 
 Ruthven, Lady, § 88. See Winton Castle 
 
 Sackville, Lord, see Knole 
 
 49 
 
770 
 
 INDEX I. 
 
 Salisbury p. 658 
 Saloniki p. 19 1 
 Salzmann § 94 
 
 Samos § 11. pp. 192. 194. 195. T. 
 
 Cambridge 5. 6. 13 
 Santorino (Thera) p. 199 
 Sardinia § 95 
 Scott § 65 
 
 Selden, John, § 1 1. Oxford pp. 538 f. 
 
 no. 147. 149. 150. 152. 205 
 Seymour Burt, Mrs, see Pippbrook 
 House 
 
 Shaw, Thomas, Oxford p. 539. no. 228. 
 229 
 
 Shelburne, see Lansdowne 
 Shobden § 59. p. 658 
 Shugborough § 41. n. 174. St. Bir- 
 mingham 1. 2. Lowther 64. 65. 
 Richmond 40 
 Sib son St. Woburn m 
 Sicily § 86. 87. 94. R. Richmond 56. 
 
 81. Woburn 61 
 Sidney, see Leicester 
 Sigeion R. Cambridge 15 
 Sinope pp. 202, 203 
 Sin's, bronzes of, § 84 
 Sky r os p. 197 
 Slade, Felix, § 90. 91 
 Sloane, Dr Hans, § 30 
 Smith, Consul, § 30. Windsor 2 — 4. 
 
 XXIV 
 
 Smith, J. Spencer, R. Cambridge 22 
 Smith, R. M., § 94 
 
 Smith Barry, James, n. 161. § 59. 65. 
 
 n. 477. See Marbury Hall 
 Smugglewicz, Franc., Windsor xxv 
 Smyrna -§ 6. 11. 63. 89. pp. 185. 187. 
 19;. St. Cambridge 117. Oxford 
 1 — 9? 10 — 13? R. Ince 274. 366? 
 394? London, S. Kensington 13, 16. 
 Lowther 52 — 58. Oxford 89? 90? 136? 
 137? 147. 149? 150? 152? 204? 205? 
 Richmond 67. 6S. Wilton 109? Cf. 
 Asia Minor. Br. Chatsworth 6 
 Soane, Sir John, § 78. 90. 91. p. 473 
 Soane Museum, London, § 90. pp. 
 473“48i 
 
 Society, Royal, London, § 21 
 Soissons Br. Richmond 29 
 
 Somerset, see Beaufort. Egremont 
 Somerset, Lady, Windsor 4 
 Sondes, Lord, § 88 
 
 South Kensington Museum, Lon- 
 don, pp. 481 — 485 
 Spence § 38 
 
 Spencer, see Marlborough 
 Spencer, Lord, see Wimbledon 
 Spencer, Lord Charles, § 23 
 Spratt, J. A. B., n. 477. § 96. St. 
 
 Cambridge 13. Arc Tunbridge Wells 
 Stafford, Lord, § 20. 28 
 Stafford House, London, p. 485 
 St Alban’s, see Alban’s 
 Stanmore Hill § 97. pp. 639 — 661 
 St Ann’s Hill, see Ann’s Hill 
 Stewart 11. 127. § 29 
 Stockholm, Museum, § 56 
 Stosch, Philip Baron, § 45. n. 215. St. 
 Ince 63 
 
 Stourhead House § 41. p. 661 
 Stowe § 59. 87. 91. 96. 97. St. Hamil- 
 ton 7 — 9. Lowther 1. 3. 12. 13. 15. 
 68. Osborne 2. H. Lowther 21. 
 109. no. R. Lowther 43 — 45. 107. 
 108. ^Piranesi, Vasi, 1. PI. 13. 16. 
 
 41 
 
 Strafford, Lord, see Wentworth Castle 
 Strangford, Lord, § 89. 91. Canterbury 
 p. 272 
 
 Stratfield Saye p. 662 
 Stratford de Redcliffe, Lord, n. 161, § 
 92. 93. St. Richmond 3 a 
 Stratonikeia (Caria) H. Cambridge 10 
 Strawberry Hill § 30. 41. 85. 91. 
 St. London, Wemyss. H. Hamilton 
 6 
 
 Strickland, Sir G., § 59. See Boynton 
 Strozzi collection, Florence, § 95 
 Stuart, James, n. 1 61. § 38. 44. 65 
 Sussex, Duke of, § 62 
 Sutherland, Duke of, see Dunrobin 
 Castle. London. Stafford House. 
 Trentham Hall 
 Swinney, Dr, § 63 
 
 *Synnot, Mrs Jane, Piranesi, Vasi, n. 
 PI. 67 
 
 Syracuse R. Oxford 224 — 226. T. 
 Canterbury 153 
 
COLLECTORS, COLLECTIONS, SOURCES, ETC. 
 
 77 1 
 
 Tatham, C. LL, n. 443 
 Tavistock, Marquis of, § 49. 86. Wo- 
 burn p. 722.no. 1 7 1. 210 
 Temple, Sir William, § 88. 91 
 Temple, Lord, § 38. See Buckingham 
 Tenos p. 197. Ii. Oxford 93 
 Tkasos p. 196 
 Thebes (Boeotia) p. 203 
 Thebes (Egypt) London, Soane 38 
 Theobald, James, § 22 
 Thoms § 63 
 
 Thorpe § 58. Ince p. 334. no. 9. 22. 27. 
 
 34- 118. 161. 243 
 Thrace St. Wilton 144? 
 
 Tischbein, Wilh., painter, n. 272. § 64 
 Tivoli 11 . Ilolkham 53. Ince in. R. 
 Ince 221. Mosaic 4 1 r 
 Villa d’Este § 47. 58. 59. St. Ince 
 2. 3. 28. 37. 42. 43. 45. 52. 78. 
 Marbury 1. H. Ince 123. R. 
 Ince 221. 393 
 Tivoli , neighbourhood : 
 
 Pianella di Cassio § 48 
 Villa of Hadrian n. 145. § 48. 86. 
 87. St. Deepdene 8. Ince 2. 3. 
 34. 37. 42. 43. 52. London, 
 Lansdowne 39. 49. 61. 65. 70. 85. 
 91. Margamg. H. Knole 6. 12. 
 London, Lansdowne 38. 62. 64. 
 81. 88. 90. Margam 9 — 12. R. 
 London, Lansdowne 76. 7 6 a. 
 Oxford 241. 242. Warwick 1. 
 Woburn 101 . 147. P. Brocklesby 
 36. Mosaic Holkham 6. 7. 30. 
 Archit. Woburn 36 — 42 
 Villa of Vants St. Cambridge 36 
 Topham § 65 
 
 Townley, Charles, n. 16 r. § 46. 52. n. 
 248. § 56—59- 6 5 - 69- 7 1 - PP- 334 - 
 433. 596 f. St. Ince 30. 43. London, 
 Lansdowne 61. H. Brocklesby 15 
 Tradescant § 30 
 
 Trentanove, Raim., Rome, St. Cam- 
 bridge 55 
 
 Trentham Hall p. 66 2 
 Tresham V. C. Howard 66 
 Troy% 6 . 12. pp. 186. 187. 196. 197 
 Trugoni, Florence, IT. Cambridge 57 
 Tucker, J. Scott, n. 477 
 
 Tuffnell, H., St. Cambridge 38 
 Tunbridge Wells § 96. pp. 662 f. 
 Tusculum PI. London, Crichton 
 Twickenham n. 174 
 Tyrwhitt, Thomas, § 65 
 
 Ulenbroek, G., Leyden, R. Lowther 53 
 Upper Ossory, Lord, § 69. St. Woburn 
 201 
 
 Ursinus, see Orsini 
 Utica g 94 
 
 Valletta collection, Naples, § 27. Wil- 
 ton p. 66 9. H. Wilton no. 46. 94. 
 192. 193. 195 
 Vanderborcht II. § 16 
 Vanderdoort, Abr., § 18 
 Velletri, Villa Ginnetti, St. Holkham 34 
 Venice p. 202. R. Cambridge 94 
 
 Grimani-Spago Palace R. Rich- 
 mond 67 — 69 
 Vere, Lord, § 59. 71 
 Vernon, Essex, R. Oxford 147 
 Vernon, Mrs, Twickenham, St. Hough- 
 ton 1. 2 
 
 Vernon, Lord, n. 420 
 Vertue, George, engraver, § 24 
 Vescovali, art-dealer, Rome, R. Cam- 
 bridge 66 
 
 Victoria, H. M. Queen, n. 481. Os- 
 borne 2. 3. 5 
 
 Villa of Hadrian, sec Tivoli 
 Visconti, Ennio Quirino, § 55. 58. 66. 
 80. 82 
 
 Vlochos (Aetolia) Br. Cambridge 102 
 Volpato, engraver and art-dealer, Rome, 
 St. Ince S. 89. H. Ince 96. 120. 139. 
 152.188. A. Ince 380. 404. Woburn 
 101 
 
 Vyner, Lady Mary, see Newby 
 
 Waller, Edm., § 22 
 Walmoden, II. L. von, § 53. 55 
 Walpole, Horatio, g 29. 30. 4r. Lon- 
 don, Wemyss. See Orford. Straw- 
 berry Hill 
 
 Walpole, Rob., § 67. Cambridge 6. 10 
 '''Walter, Edw., see Berry Hill 
 Waltham Place g 22 
 
 49 — 2 
 
7/2 
 
 INDEX I. 
 
 Ward, Geo., North wood Park : Osborne 
 3 
 
 Warwick, Lord, § 64. See Warwick 
 Castle 
 
 Warwick Castle pp. 663 f. 
 
 Weddell, Will., § 38. n. 161. §53. See 
 Newby Hall 
 Wedgewood, Jos., § 63 
 Weld-Blundell, Thomas, see Ince 
 Wellington, Duke of, see London, Aps- 
 ley House. Stratfield Saye 
 Wemyss, Lord, p. 486 
 Wentworth Castle p. 664 
 Wentworth House § 41. p. 665 
 Werry § 94 
 
 West, Benj., § 78. 79. 82 
 Westmacott, Sir Rich., n. 16 1. § 82. 84 
 — 86. pp. 486 f. 670. H. Woburn 59. 
 77 
 
 Wheler, Geo., § 32. Oxford p. 539. no. 
 
 1 5 1 . 153. 163. 180. 181. 227. 230 
 Whitaker, T. Dunham, R. Cambridge 
 1 18 
 
 White Ridley, Sir M., § 29 
 Wiessiolowski § 68 
 Wigan, E., § 95 
 Wilkins, W., n. 161. § 82 
 William IV., King, § 92 
 Wilton, sculptor, Holkham 55 
 Wilton House § 25 — 27. 35. 99. pp. 
 665—715 
 
 Wimbledon § 52. pp. 716. 717 
 
 Winchelsea, Lord, n. 98. § 28 
 Winchester House, Chelsea, p. 432 
 Winckelmann § 50. 51 
 Windsor Castle§ 29. 60. pp. 7 17—721 
 Winthringham, Sir Clifton, St. Cam- 
 bridge 1 14 
 
 Winton Castle § 88. p. 712. Addenda 
 Woburn Abbey § 86. 99. pp. 721 — 753 
 Wolff, Emil, sculptor, Rome, Brockles- 
 by 103 
 
 Wood, J. T., § 93 
 
 Wood, Robert, n. 161. § 38. 65 
 
 Woodhouse, James, § 89. 91 
 
 Worksop Manor § 22. p. 543 
 
 Worsley, see Hovingham 
 
 Worsley, Sir Rich., n. 161. § 66. 71. 
 
 See Brocldesby Park 
 Wyndham, see Egremont 
 Wyndham, William, Petworth 51 
 
 Xanten (Castra Vetera, Germany) Br. 
 
 Liverpool 15 
 Xanthos (Lycia) § 92 
 
 Yarborough, Lord, § 54. 66. 69. See 
 Brocklesby Park. London, Yar- 
 borough 
 
 Young, Patrick, § 1 1 
 
 Zanetti, Conte, Venice, § 50 
 
 Zelada, Cardinal, § 56 
 
 Zoan (Egypt) Br. Cambridge 106 
 
II. 
 
 DRAWINGS AND ENGRAVINGS. 
 
 Articles of which the Catalogue contains no description are marked by an *. 
 
 DRAWINGS. 
 
 Berlin. CoJex Pighianus (cf. p. 200) 
 
 No. 96(foI. 309) 
 „ 1 15 (fol. 325) 
 ,, 163 (fol. 248) 
 „ 171 (fol. 286) 
 „ 176 (fol. 274) 
 ,, 182 (fol. 328) 
 ,, 214 (fol. 255) 
 
 Newby 8 
 Lowther 42 
 Wilton 163 
 Woburn 148 
 ,, 86 
 
 London, Soane 26 
 Woburn no 
 
 Brunswick, Grand-ducal Museum. 
 Volume of drawings Ince 63 
 
 Cambridge, Trinity College, R. 17. 3. 
 
 fol. 18 Blenheim 3 
 
 Coburg. Codex Coburgensis (cf. p. 209). 
 
 No. 70 (fol. 175, 1) Newby 41 
 ,, 76 (fol. 82, 2) ,, 8 
 
 ,, 87 (fol. 87) Ince 305 
 ,, 99 (fol. 176) Lowther 42 
 ,, 132 (fol. 51) Woburn 144 
 ,, 142 (fol. 1 19) Blenheim 3 
 ,, 163 (fol. 5) Woburn 148 
 
 ,,167 (fol. 8) ,, 86 
 
 ,, 170 (fol. 43) London, Soane 26 
 ,, 201 (fol. 146, 1) Ince 263 
 ,, 202 (fol. 102, 4) ,, 262 
 
 ,, 203 (fol. 60) Woburn 117 
 ,, 218 (fol. 54) ,, 1 10 
 
 ,, 222 (fol. 12) Wilton 60 
 
 Hamilton Palace, see p. 301. 
 Holkham IIall Library, see pp. 322 f. 
 London, British Museum, MS. Add . 
 21118 (drawings by Cipriani). 
 
 fol. 11 Petwortli4o? 
 
 ,, 15 ,, 46? 66? 
 
 London, A. W. Franks, Esq., see 
 
 pp- 433 f- 
 
 Dal Pozzo coll. Blenheim 3 
 ,, Ince 298 
 
 ,, London, Soane 26 
 
 ,, Oxford 1 13 
 
 ,, Wilton 60 
 
 M ,, 163 
 
 ,, Woburn 148 
 
 Windsor Castle, Royal Library, see 
 PP- 7i8 — 
 
 Vol. 1. fol. 88 Newby 41 
 
 ,, 11. ,, 30 Deepdene 42 
 
 ,, vil. ,, 3 Blenheim 3 
 
 ,, ,, ,, 22 ,, 3 
 
 ,, ,, ,, 54- 55 Newby 8 
 
 ,, ,, ,, 59 — 61 Broadlands 1 1 
 
 ,, x. ,, 20 Blenheim 3 
 
 ,, ,, ,, 47 Woburn no 
 
 ,, m 75 >» *17 
 
774 
 
 INDEX II. 
 
 ENGRAVINGS. 
 
 Account of the Statues , &c., at luce. 
 
 PI. I 
 
 Ince 8 
 
 ,, 2 
 
 ,, 22 
 
 „ 8 
 
 >> 9 
 
 p. 88 
 
 „ 262. 263 
 
 >> 89 
 
 ,, 264. 265. 275. 276 
 
 Frontisp. 
 
 ,, 282 
 
 Antiquary , The 
 
 1882, Jan., p. 7 Holkham 26 
 
 Benndorf, Vorlegehliitter , Serie C, 
 Vienna, 1882. 
 
 PI. 9, 3 ; 4 Cambridge 76 
 ,, 10, 1 Woburn 219 
 
 ,, 10, 2 ,, 117 
 
 „ 11, 3 Oxford hi 
 
 Berichte der sdchsischen Gesellschaft der 
 IV issenschaften. 
 
 1855, PI. 3, 1 Woburn 99. 
 
 An ton ini, Vasi antichi . 
 
 *111. PI. 56 Stowe (Cat., p. 47 no. 
 
 738, sold to Town and 
 Emanuel) 
 
 Archaeologia . 
 
 xix. p. 70, Plate Woburn 99 
 
 xxxii. PI. 4 ,, III 
 
 xlv. ,, i Windsor 4 
 
 ,, 2 ,, 2. 3 
 
 Bernoulli, Romische Ikonographie . 
 
 1. p. 90 Holkham 53 
 
 ,, 92 ,, 29 
 
 ,, 281 London, Apsley 3 
 
 Blundell, see Account. Engravings. 
 Bottler, Amalthea. 
 
 in. PI. 4 Wilton 48 
 
 ,, 5 Ince 250 
 
 A rchaologischer A nzeiger. 
 
 1864, 
 
 PI. A, 1 
 
 Woburn 193 
 
 
 A, 2 
 
 m 67 
 
 
 A, 3 
 
 Ince 259 
 
 xhdologische Zeitung. 
 
 2844, 
 
 PI. 16 
 
 Wilton 146 
 
 1857 , 
 
 », 97 
 
 London, Hamilton 2 
 
 1858, 
 
 114, 4 
 
 Ince 282 
 
 1864, 
 
 ,, 181, 1 
 
 Canterbury 45 
 
 7 , 
 
 ,, 181, 2 
 
 7, 455 
 
 7. 
 
 ,> i8r, 3 
 
 77 44 
 
 ,, 
 
 ,1 i8t, 4 
 
 7, 54 
 
 >, 
 
 ,, 182, 1 
 
 7 7 43 
 
 ,, 
 
 ,, 182, 2 
 
 77 5 
 
 ,, 
 
 182, 3 
 
 7 , 443 
 
 
 ,, 182, 4 
 
 77 4 
 
 ,, 
 
 11 182, s 
 
 7 , 27 
 
 3874, 
 
 PI. 1 
 
 Ince 43 
 
 
 ,, 2 
 
 77 15 
 
 ,, 
 
 , » 3 
 
 77 15 2 
 
 
 7, 4 
 
 77 178 
 
 
 „ 5 
 
 77 259 
 
 f,- 
 
 ,, 6 
 
 ,7 267 
 
 1877 , 
 
 ,, i-'> 4 
 
 7 . 340 
 
 ,, 
 
 „ 12, 2 
 
 290 
 
 ,, 
 
 7. 43 
 
 7 , 298 
 
 J 879 ; 
 
 7 7 13 
 
 Richmond 3 
 
 1880, 
 
 », 8 
 
 London, S. Kensingti 
 
 ,, 
 
 ,7 -9 
 
 London, Lansdowne 
 
 CO 
 
 CO 
 
 p. 162 
 
 Wilton 5 
 
 Belloiu, Veterum illustrimn imagines . 
 PI. 77 London, Apsley 1 
 
 Bottiger, Archdologie und Kunst. 
 
 1. p. 169 Ince 30 
 
 Braun, Vorschule der Kunstmythologie. 
 
 PI. 47 Petworth 5 
 
 ,, 59 London, Hamilton 2 
 
 ,, 65 Deepdene 39 
 
 ,, 88 London, Lansdowne 88 
 
 BroNDSTED, Voyages et recherches. 
 
 1. PI. 9 Edinburgh? cf. p. 299 
 
 Bullettino Napoletano. 
 
 v. PI. 1, 1 Richmond 12 
 
 Causseus, Museum Romanum. 
 
 11. PI. 114 Wilton 105 
 
 Cavaceppi. Raccolta d' antiche statue. 
 
 I. PI. 4 
 
 7, 5 
 
 „ 6 
 *7 
 
 „ *8 
 ,, *9 
 ,, 10 
 
 ,, 11 
 ,, 12 
 
 13 
 >> *15 
 
 ,, X T6 
 
 » *17 
 
 St Ann’s Hill 5 
 Newby 41 
 Lowther 3 
 Duncombe 1 
 “ London, Jennings ” 
 ? 
 
 ? 
 
 Broadlands 13 
 
 „ 14 
 
 Petworth 3 
 
ENGRAVINGS. 
 
 775 
 
 Cavaceppi, Raccolta d'antiche statue. Chandler, Marmora Oxoniensia. 
 
 I. PL* 1 8 
 
 luce 10 ? C. Howard 4 ? 
 
 I. PI. 1 
 
 No. 
 
 I 
 
 Oxford 
 
 l8 
 
 ,, 20 
 
 9 
 
 77 2 
 
 ,, 
 
 2 
 
 ,, 
 
 x 9 
 
 ,, 21 
 
 London, Lansdowne 36 
 
 77 3 
 
 7 7 
 
 3 
 
 71 
 
 20 
 
 ,, 22 
 
 Deepdene 35 
 
 77 4 
 
 77 
 
 4 
 
 .7 
 
 25 
 
 7, *23 
 
 “ Livorno, Dick” 
 
 7 7 5 
 
 
 5 
 
 7 7 
 
 10 
 
 77 *29 
 
 ‘‘Livorno, Dyck” 
 
 „ 6 
 
 
 6 
 
 77 
 
 26 
 
 77 30 
 
 Newby 18 
 
 77 7 
 
 77 
 
 7 
 
 11 
 
 3 1 
 
 7, *35 
 
 9 
 
 „ 8 
 
 71 
 
 8 
 
 17 
 
 32 
 
 7 7 *36 
 
 Introd. n. 174 
 
 77 9 
 
 77 
 
 9 
 
 77 
 
 22 
 
 7 ? *37 
 
 7 7 7 > 
 
 77 „ 
 
 7 7 
 
 10 
 
 
 11 
 
 „ *38 
 
 9 
 
 77 10 
 
 7 7 
 
 IZ 
 
 71 
 
 40 
 
 77 *39 
 
 9 
 
 77 xx 
 
 77 
 
 Z 2 
 
 
 39 
 
 7, 40 
 
 Newby 28 
 
 77 12 
 
 77 
 
 *3 
 
 
 38 
 
 . 77 "4 1 
 
 ? 
 
 7 7 7 7 
 
 77 
 
 *4 
 
 ,7 
 
 35 
 
 7. 4^ 
 
 Duncombe 2 
 
 77 13 
 
 7 7 
 
 x 5 
 
 „ 
 
 
 77 *43 
 
 ? 
 
 77 14 
 
 77 
 
 16 
 
 ,, 
 
 55 
 
 77 49 
 
 Broadlands 19 
 
 7, X 5 
 
 17 
 
 r 7 
 
 „ 
 
 24 
 
 77 50 
 
 Newby 40 
 
 77 *6 
 
 7 7 
 
 18 
 
 77 
 
 28 
 
 7, *54 
 
 Introd. n. 174 
 
 7 7 7 7 
 
 71 
 
 19 
 
 
 41 
 
 II. „ *6 
 
 ? 
 
 77 1 7 
 
 ,7 
 
 20 
 
 
 48 
 
 „ 58,1 
 
 London, Lansdowne 75 
 
 7, 18 
 
 77 
 
 2 z 
 
 11 
 
 42 
 
 77 58, 2 
 
 77 7, 25 
 
 77 19 
 
 77 
 
 22 
 
 17 
 
 43 
 
 7 7 60 
 
 Richmond 40 
 
 77 20 
 
 
 23 
 
 17 
 
 44 
 
 III. „ *2 
 
 ? 
 
 77 21 
 
 
 24 
 
 ,, 
 
 4$ 
 
 77 *6 
 
 “ Nollekens ” 
 
 77 22 
 
 77 
 
 25 
 
 
 1 
 
 77 *7 
 
 ? 
 
 77 23 
 
 77 
 
 26 
 
 77 
 
 27 
 
 ,, *12, 1 
 
 ? 
 
 7 7 7 7 
 
 1 7 
 
 27 
 
 77 
 
 3® 
 
 77 12 7 2 
 
 London, Lansdowne 15 
 
 77 24 
 
 ,, 
 
 28 
 
 
 2 
 
 7? **8, I 
 
 9 
 
 77 25 
 
 ,, 
 
 29 
 
 11 
 
 3 
 
 77 *l8, 2 
 
 ? 
 
 „ 26 
 
 
 3° 
 
 11 
 
 4 
 
 7, *19, I 
 
 9 
 
 7, 27 
 
 
 3 1 
 
 
 5 
 
 ,, *ig, 2 
 
 ? 
 
 7. 28 
 
 7, 
 
 32 
 
 „ 
 
 6 
 
 77 * 2 6 
 
 ? 
 
 7, 29 
 
 
 33 
 
 17 
 
 49 
 
 7, *307 
 
 ? 
 
 7 7 7 7 
 
 
 34 
 
 77 
 
 34 
 
 * 7 7 *3°7 2 
 
 ? 
 
 77 30 
 
 „ 
 
 35 
 
 „ 
 
 5« 
 
 7, *32, I 
 
 9 
 
 7 7 7 7 
 
 
 36 
 
 17 
 
 5 1 
 
 ,, *32, 2 
 
 ? 
 
 7 7 77 
 
 
 37 
 
 ,, 
 
 52 
 
 „ *34 
 
 ? 
 
 77 3 1 
 
 
 38 
 
 11 
 
 15 
 
 ,, *377 I 
 
 ? 
 
 7 7 7 7 
 
 77 
 
 39 
 
 17 
 
 53 
 
 ,7 *37, 2 
 
 ? 
 
 7 7 7 7 
 
 
 40 
 
 11 
 
 29 
 
 77 *39 
 
 ? 
 
 7, 7, 
 
 
 42 
 
 1. 
 
 54 
 
 77 *42 
 
 ? 
 
 7, 32 
 
 
 43 
 
 17 
 
 21 
 
 7, *43 
 
 ? 
 
 7 7 7 7 
 
 
 44 
 
 11 
 
 12 
 
 77 *44 
 
 ? 
 
 7 7 7 7 
 
 
 45 
 
 
 7 
 
 77 *47 
 
 ? 
 
 7 7 7 , 
 
 
 46 
 
 
 8 
 
 77 *49 
 
 ? 
 
 7 7 7 7 
 
 77 
 
 47 
 
 ,1 
 
 9 
 
 7, *5i 
 
 9 
 
 77 33 
 
 
 48 
 
 
 r62 
 
 77 52 
 
 Boynton 2 ? 
 
 7 7 7 7 
 
 
 49 
 
 
 37 
 
 „ 537 i 
 
 Ince 57 
 
 7, 34 
 
 ,, 
 
 50 
 
 ,, 
 
 64 
 
 77 537 2 
 
 Newby 8 
 
 7 7 7 7 
 
 
 5 1 
 
 ,, 
 
 65 
 
 7, 54 
 
 Introd. 11. 174 
 
 7, 35 
 
 71 
 
 52 
 
 
 78 
 
 
 
 7 7 7 7 
 
 11 
 
 53 
 
 
 59 
 
 
 
 7, 36 
 
 
 54 
 
 ,, 
 
 62 
 
 Cavalieri, 
 
 ntiquarum statuarum 
 
 7 7 7 7 
 
 ,7 
 
 55 
 
 17 
 
 63 
 
 urbis Romac 
 
 ter tins ct quart us liber 
 
 7, 37 
 
 
 56 
 
 
 71 
 
 ( 1594)- 
 
 
 ” 38 
 
 
 57 
 
 58 
 
 ” 
 
 79 
 
 66 
 
 pi. 35 
 
 Petworlh 5 2 
 
 „ 7, 
 
 .1 
 
 59 
 
 >1 
 
 67 
 
776 index ir. 
 
 Chandler, Marmora Oxoniensia. CHANDLER, Marmora Oxbniensia. 
 
 I. PI. 
 
 39 
 
 No. 
 
 60 Oxford 68 
 
 I. PI. 
 
 50 
 
 No. 
 
 127 Oxford 137 
 
 ,, 
 
 ,, 
 
 „ 
 
 61 
 
 80 
 
 „ 
 
 51 
 
 „ 
 
 129 
 
 120 
 
 „ 
 
 4 ° 
 
 ,, 
 
 62 
 
 72 
 
 „ 
 
 ,, 
 
 ,, 
 
 130 
 
 217 
 
 ,, 
 
 n 
 
 
 63 
 
 73 
 
 „ 
 
 ,, 
 
 
 131 
 
 234 
 
 ,, 
 
 41 
 
 ,, 
 
 64 
 
 74 
 
 ,, 
 
 ,, 
 
 ,, 
 
 132 
 
 33 
 
 ,, 
 
 „ 
 
 ,, 
 
 65 
 
 75 
 
 ,, 
 
 „ 
 
 
 i 33 
 
 108 
 
 „ 
 
 42 
 
 ,, 
 
 73 
 
 164 
 
 „ 
 
 it 
 
 
 i 34 
 
 122 
 
 ,, 
 
 ,, 
 
 
 75 
 
 227 
 
 ,, 
 
 52 
 
 
 i 35 
 
 92 
 
 ,, 
 
 ,, 
 
 >> 
 
 76 
 
 228 
 
 „ 
 
 ,, 
 
 
 136 
 
 139 
 
 ,, 
 
 ,, 
 
 n 
 
 77 
 
 181 
 
 ,, 
 
 ,, 
 
 „ 
 
 i 37 
 
 145 
 
 „ 
 
 ,, 
 
 
 78 
 
 229 
 
 ,, 
 
 ,, 
 
 ,, 
 
 138 
 
 144 
 
 ,, 
 
 ,, 
 
 
 79 
 
 230 
 
 ,, 
 
 ,, 
 
 
 i 39 
 
 146 
 
 ,, 
 
 43 
 
 
 80 
 
 163 
 
 ,, 
 
 ,, 
 
 
 140 
 
 142 
 
 ,, 
 
 ,, 
 
 
 81 
 
 60 
 
 ,, 
 
 53 
 
 ,, 
 
 141 
 
 165 
 
 ,, 
 
 ,, 
 
 
 82 
 
 180 
 
 ,, 
 
 ,, 
 
 „ 
 
 142 
 
 166 
 
 ,, 
 
 ,, 
 
 
 83 
 
 194 
 
 „ 
 
 ,, 
 
 ,, 
 
 i 43 
 
 205 
 
 ,, 
 
 „ 
 
 
 84 
 
 182 
 
 ,, 
 
 ,, 
 
 ,, 
 
 i 44 
 
 90 
 
 ,, 
 
 ,, 
 
 
 85 
 
 184 
 
 ,, 
 
 ,, 
 
 ,, 
 
 i 45 
 
 89 
 
 ,, 
 
 ,, 
 
 
 86 
 
 183 
 
 „ 
 
 „ 
 
 
 146 
 
 148 
 
 ,, 
 
 ,, 
 
 
 87 
 
 179 
 
 „ 
 
 54 
 
 
 147 
 
 in 
 
 ,, 
 
 ,, 
 
 ,, 
 
 88 
 
 185 
 
 ,, 
 
 ,, 
 
 „ 
 
 148 
 
 112 
 
 ,, 
 
 ,, 
 
 ,, 
 
 89 
 
 ^0 
 
 00 
 
 „ 
 
 „ 
 
 „ 
 
 149 
 
 84 
 
 ,, 
 
 ,, 
 
 ,, 
 
 90 
 
 196 
 
 
 55 
 
 n 
 
 150 
 
 113 
 
 „ 
 
 44 
 
 ,, 
 
 92 
 
 222 
 
 n 
 
 56 
 
 
 151 
 
 114 
 
 ,, 
 
 ,, 
 
 ,, 
 
 93 
 
 189 
 
 ,, 
 
 „ 
 
 ,, 
 
 152 
 
 115 
 
 ,, 
 
 ,, 
 
 
 94 
 
 188 
 
 it 
 
 n 
 
 
 i 53 
 
 116 
 
 ,, 
 
 ,, 
 
 
 95 
 
 231 
 
 
 57 
 
 
 i54 
 
 231 
 
 ,, 
 
 ,, 
 
 
 96 
 
 82 
 
 „ 
 
 „ 
 
 ,, 
 
 i55 
 
 119 
 
 ,, 
 
 ,, 
 
 
 97 
 
 190 
 
 n 
 
 „ 
 
 11 
 
 156 
 
 21 
 
 ,, 
 
 ,, 
 
 
 98 
 
 69 
 
 it 
 
 n 
 
 ,, 
 
 T 57 
 
 96 
 
 „ 
 
 ,, 
 
 „ 
 
 99 
 
 70 
 
 ,, 
 
 „ 
 
 ,, 
 
 158 
 
 97 
 
 
 ,, 
 
 
 100 
 
 187 
 
 „ 
 
 58 
 
 ,, 
 
 162 
 
 58 
 
 
 45 
 
 
 IOT 
 
 232 
 
 ,, 
 
 ,, 
 
 
 163 \ 
 
 130 
 
 ,, 
 
 ,, 
 
 102 
 
 233 
 
 ,, 
 
 ,, 
 
 
 164 j 
 
 ,, 
 
 „ 
 
 ,, 
 
 io 3 
 
 134 
 
 ,, 
 
 ,, 
 
 „ 
 
 165 
 
 235 
 
 ,, 
 
 ,, 
 
 ,, 
 
 IO4 
 
 121 
 
 ,, 
 
 59 
 
 ,, 
 
 166 
 
 83 
 
 ,, 
 
 ,, 
 
 
 105 
 
 76 
 
 „ 
 
 ,, 
 
 „ 
 
 T 67 
 
 56 
 
 ,, 
 
 ,, 
 
 
 XC6 
 
 77 
 
 II. „ 
 
 5 
 
 ,, 
 
 12 
 
 201 
 
 ,, 
 
 ,, 
 
 ,, 
 
 107 
 
 199 
 
 ,, 
 
 ,, 
 
 „ 
 
 13 
 
 87 
 
 
 ,, 
 
 ,, 
 
 108 
 
 223 
 
 ,, 
 
 ,, 
 
 
 14 
 
 236 
 
 ,, 
 
 ,, 
 
 ,, 
 
 I09 
 
 186 
 
 III. „ 
 
 1 
 
 
 6 
 
 200 
 
 ,, 
 
 ,, 
 
 ,, 
 
 I IO 
 
 176 
 
 „ 
 
 ,, 
 
 ,, 
 
 7 
 
 209 
 
 
 46 
 
 n 
 
 HI \ 
 
 > 
 
 220 
 
 
 
 
 8 
 
 212 
 
 
 ,, 
 
 
 1 12 ) 
 
 
 ,, 
 
 2 
 
 
 9 
 
 202 
 
 
 47 
 
 
 1 13 
 
 131 
 
 
 11 
 
 
 11 
 
 215 
 
 
 ,, 
 
 
 114 
 
 86 
 
 
 8 
 
 n 
 
 57 
 
 *35 
 
 ,, 
 
 ,, 
 
 ,, 
 
 115 
 
 132 
 
 ,, 
 
 n 
 
 
 58 
 
 13d 
 
 
 ,, 
 
 
 1 16 
 
 88 
 
 ,, 
 
 ,, 
 
 
 59 
 
 221 
 
 ,, 
 
 ,, 
 
 
 "7 
 
 203 
 
 ,, 
 
 9 
 
 ,, 
 
 61 
 
 178 
 
 ,, 
 
 48 
 
 ,, 
 
 1 18 
 
 105 
 
 ,, 
 
 n 
 
 11 
 
 62 
 
 13s 
 
 ,, 
 
 ,, 
 
 ,, 
 
 119 
 
 109 
 
 ,, 
 
 ,, 
 
 
 63 
 
 140 
 
 ,, 
 
 49 
 
 ,, 
 
 120 
 
 106 
 
 „ 
 
 it 
 
 
 64 
 
 154 
 
 
 ,, 
 
 ,, 
 
 121 
 
 107 
 
 it 
 
 „ 
 
 
 65 
 
 153 
 
 ,, 
 
 50 
 
 ,, 
 
 122 
 
 117 
 
 „ 
 
 it 
 
 
 66 
 
 9i 
 
 ,, 
 
 ,, 
 
 
 123 
 
 118 
 
 
 » 
 
 ,, 
 
 67 
 
 143 
 
 „ 
 
 ,, 
 
 ,, 
 
 124 
 
 *33 
 
 n 
 
 
 » 
 
 68 
 
 152 
 
 ,, 
 
 ,, 
 
 
 125 
 
 151 
 
 »i 
 
 IO 
 
 ij 
 
 70 
 
 155 
 
 ,, 
 
 ,, 
 
 ,, 
 
 126 
 
 no 
 
 ,, 
 
 J J 
 
 
 7 1 
 
 » 147 
 
ENGRAVINGS. 
 
 777 
 
 Chandler, Marmora Oxonicnsia. 
 
 I. PI. ii No. 89 Oxford 204 
 
 90 „ 149 
 
 91 ,, 211 
 
 9 2 .. 150 
 
 93 „ 141 
 
 Choiseul-Gouffier, Voyage pittores- 
 quc dc la Grice. 
 
 I Vign. ~| 
 
 ... r Woburn 219 
 
 PI. 121. J 
 
 Cicero ed. Oxen. (1783). 
 
 Frontisp. Oxford 45 
 
 Clarac, Music dc Sculpture. 
 
 III. No 
 
 662 A 
 
 I nee 1 
 
 ,, 
 
 664 E 
 
 Lowther 68 
 
 ,, 
 
 664 L 
 
 London, Lansdowne 39 
 
 ,, 
 
 666 A 
 
 Marbury 1 
 
 ,, 
 
 669 B 
 
 London, Westmacott 1 
 
 ,, 
 
 678 B 
 
 Holkham 55 
 
 ,, 
 
 681 A 
 
 I nee 2 
 
 
 692 A 
 
 Oxford 18 
 
 
 701 
 
 Petworth 1 
 
 
 704 A 
 
 Newby 5 
 
 
 706 A 
 
 Deepdene 24 
 
 
 I7 1 5 A 
 
 London, Lansdowne 78 
 
 ,, 
 
 743 
 
 I nee 3 
 
 
 748 A 
 
 London, Lansdowne 87 
 
 ,, 
 
 754 B 
 
 Holkham 34 
 
 
 754 C 
 
 Wilton 145 
 
 ,, 
 
 769 
 
 I nee 4 
 
 ,, 
 
 770 
 
 Broadlands 13 
 
 
 774 A 
 
 C. Howard 1 
 
 
 774 B 
 
 C. Howard 2 
 
 ,, 
 
 774 C 
 
 Marbury 2 
 
 >> 
 
 786 c 
 
 Wilton 131 
 
 » > 
 
 786 D 
 
 Holkham 28 
 
 
 786 E 
 
 Wilton 1 16 
 
 
 786 F 
 
 Mr Cope (Introd. n. 172) 
 
 >* 
 
 802 B 
 
 Oxford n 
 
 » * 
 
 803 A 
 
 Wilton i a 
 
 ,, 
 
 *805 
 
 ? 
 
 
 816 A 
 
 Ince 6 
 
 
 820 A 
 
 Ince 5 
 
 ,, 
 
 823 B 
 
 C. Howard 3 
 
 
 834 A 
 
 Ince 7 
 
 ,, 
 
 839 B 
 
 London, Lansdowne 33 
 
 ,, 
 
 850 
 
 Deepdene 39 
 
 
 860 D 
 
 Oxford 21 
 
 
 888 A 
 
 Holkham 27 
 
 »» 
 
 888 B 
 
 Newby 23 
 
 
 888 C 
 
 C. Howard 4 
 
 ,, 
 
 898 C 
 
 Oxford 19 
 
 ,, 
 
 899 A 
 
 Ince 8 
 
 ,, 
 
 899 B 
 
 Inec 9 
 
 ,, 
 
 899 C 
 
 Ince 10 
 
 Clarac, Musee de Sculpture. 
 
 III. No 
 
 899 D 
 
 Ince 11 
 
 ,, 
 
 899 E 
 
 Oxford 20 
 
 ,, 
 
 900 
 
 C. Howard 4 ? Ince 10 
 
 
 904 
 
 Brocklesby 62 
 
 
 905 B 
 
 Ince 12 
 
 ,, 
 
 905 C 
 
 Deepdene 2 
 
 
 9°5 D 
 
 London, Lansdowne 41 
 
 >> 
 
 906 A 
 
 London, Lansdowne 4 
 
 
 906 B 
 
 Marbury 3 
 
 
 906 C 
 
 London, Lansdowne 32 
 
 
 906 D 
 
 Newby 33 
 
 
 906 E 
 
 Marbury 3 
 
 ,, 
 
 912 E 
 
 Ince 13 ? 
 
 ,, 
 
 912 F 
 
 Holkham 21 
 
 ,, 
 
 946 
 
 Ince 13 
 
 ,, 
 
 946 A 
 
 Ince 14 
 
 „ 
 
 946 B 
 
 Ince 15 
 
 
 954 B 
 
 Ince 13 ? 
 
 ,, 
 
 954 D 
 
 Wilton 119 
 
 
 959 C 
 
 Ince 16 
 
 ,, 
 
 966 
 
 Petworth 5 
 
 ,, 
 
 966 A 
 
 Deepdene 4 
 
 „ 
 
 *984 
 
 9 
 
 ,, 
 
 990 A 
 
 Oxford 32 
 
 
 990 B 
 
 Wilton 159 
 
 ,, 
 
 1002 
 
 Newby 18 
 
 
 1002 A 
 
 Newby 18 
 
 ,, 
 
 1041 B 
 
 Ince 1 7 
 
 
 1045 A 
 
 London, Westmacott 2 
 
 
 1053 A 
 
 Ince 18 
 
 ,, 
 
 1063 A 
 
 Oxford 31 
 
 ,, 
 
 mo C 
 
 Ince 19 
 
 ,, 
 
 1 no D 
 
 Wilton i58 a 
 
 
 1122 B 
 
 Wilton 10 
 
 ,, 
 
 1122 C 
 
 Wilton 164 
 
 ,, 
 
 1131 E 
 
 Wilton 117 
 
 
 1136 G 
 
 Oxford 55 
 
 ,, 
 
 1144 
 
 Wilton 1 19 
 
 IV. No. 
 
 1158 
 
 Deepdene 9 
 
 ,, 
 
 1160 
 
 Wilton 97 
 
 ,, 
 
 1 160 A 
 
 Ince 20 
 
 
 1160 B 
 
 Ince 21 
 
 ,, 
 
 1172 A 
 
 C. Howard 5 
 
 „ 
 
 1172 B 
 
 London, Lansdowne 10 
 
 >> 
 
 1178 
 
 Deepdene 7 
 
 ,, 
 
 1 181 
 
 Broadlands 14 
 
 
 1201 A 
 
 Oxford 22 
 
 ,, 
 
 1203 A 
 
 Holkham 24 
 
 ,, 
 
 1208 C 
 
 Marbury 4 
 
 ,, 
 
 1209 A 
 
 Ince 22 
 
 
 1213 A 
 
 London, Lansdowne 67 
 
 
 1217 A 
 
 London, Lansdowne 9 
 
 
 1231 A 
 
 Holkham 24 
 
 ,, 
 
 1=37 B 
 
 Ince 23 
 
 
 1248 A 
 
 Petworth 17 
 
 
 1248 B 
 
 Marbury 5 
 
 „ 
 
 1290 
 
 Ince 24 
 
 
 1294 
 
 Brocklesby 37 
 
778 
 
 INDEX II. 
 
 Clarac, Music de Sculpture. 
 
 IV. No. 1294 A 
 
 Oxford 10 
 
 ,, 1294 B 
 
 Oxford 27 
 
 „ 1294 C 
 
 Oxford 1 
 
 ,, 1311 
 
 Lowther 3 
 
 ,, 1312 
 
 Deepdene 35 
 
 „ 1345 
 
 Deepdene 6 
 
 ,, 1364 A 
 
 Newby 6 
 
 „ 139 2 C 
 
 Oxford 25 
 
 ,, 1392 D 
 
 Oxford 26 
 
 „ 1394 
 
 Newby 20 
 
 »» 1411 
 
 Richmond 40 
 
 1425 A 
 
 Wilton 130 
 
 >, i 4 2 5 B 
 
 Ince 25 
 
 „ 1448 B 
 
 Newby 28 
 
 1449 A 
 
 Holkham 23 
 
 ,, 1449 B 
 
 Marbury 6 
 
 .. 1455 A 
 
 Ince 26 
 
 „ 1459 F 
 
 Oxford 37 
 
 „ 1459 G 
 
 Oxford 162 
 
 ,, 1467 A 
 
 C. Howard 6 
 
 ,, 1469 A 
 
 Newby 7 
 
 ,, 1471 B 
 
 C. Howard 7 
 
 ,, 1478 A 
 
 London, Lansdowne 57 
 
 „ 1481 A 
 
 Wilton 146 
 
 „ 1495 
 
 Wilton 124 
 
 ,, 1501 A 
 
 London, Lansdowne 70 
 
 ,, 1501 B 
 
 Deepdene 22 
 
 ,, 1504 A 
 
 Oxford 36 
 
 „ 1506 A 
 
 Ince 27 
 
 ,, 1508 A 
 
 Bignor 2 
 
 1517 A 
 
 Wilton 14 
 
 ,, 1528 A 
 
 Ince 28 
 
 ,, 1529 A 
 
 Ince 29 
 
 ». 1545 B 
 
 Wilton 144 
 
 ,, 1554 
 
 Deepdene 26 
 
 »» 1560 
 
 London, Lansdowne 91 
 
 >. 1563 
 
 Wilton 68 
 
 ,» 1567 A 
 
 Wilton 112 
 
 „ 1568 
 
 London, Lansdowne 31 
 
 ,, I580 
 
 Oxford 40 
 
 „ 1595 A 
 
 Ince 31 
 
 „ 1596 B 
 
 Wilton 234 
 
 „ 1603 A 
 
 Ince 32 
 
 ,, 1608 A 
 
 Holkham 25 
 
 ,, 1610 A 
 
 Marbury 11 
 
 ,, 1610 B 
 
 C. Howard 9 
 
 „ 1614 
 
 Deepdene 3 
 
 ,, 1619 A 
 
 Pet worth 14 
 
 ,, 1619 B 
 
 Deepdene 20 
 
 „ 1619 C 
 
 C. Howard 8 
 
 „ 1623 A 
 
 Marbury 10 
 
 „ 1625 
 
 Wilton 230 
 
 ,, 1626 
 
 Brocklesby 90 
 
 „ 1632 A 
 
 Newby 3 
 
 „ 1634 
 
 Marbury 8 
 
 ,, "1635 A 
 
 “ Cambridge ” ? 
 
 ,» 1635 B 
 
 Wilton i b 
 
 ,, 1637 A 
 
 Marbury 9 
 
 Clarac, Mitsee de Sculpture. 
 
 IV. No. 1641 A 
 
 Deepdene 36 
 
 „ 1646 A 
 
 Ince 33 
 
 „ 1646 B 
 
 Ince 34 
 
 „ 1670 A 
 
 Ince 35 
 
 „ 1671 A 
 
 Holkham 2 
 
 „ 1671 B 
 
 Holkham 15 
 
 „ 1671 C 
 
 Deepdene 40 
 
 „ 1671 F 
 
 Wilton 53 
 
 „ 1680 B 
 
 Wilton 70 
 
 „ 1680 E 
 
 Holkham 19 
 
 „ 1683 A 
 
 Holkham 16 
 
 „ 1683 C 
 
 Marbury 12 
 
 „ *1689 A 
 
 “ Sir W. Marniwering” 
 
 » 3693 
 
 Wilton 151 
 
 „ 1701 
 
 Holkham 3 
 
 ,, 1708 A 
 
 London, Westmacott 3 
 
 » 1718 
 
 Deepdene 46 
 
 „ 1729 A 
 
 Newby 2 
 
 » 1735 A 
 
 Ince 30 
 
 » 1736 E 
 
 Petworth 12 
 
 „ 1740 B 
 
 Deepdene 27 
 
 .» 3754 A 
 
 Wilton 106 
 
 » 1755 B 
 
 Deepdene 19 
 
 „ *3755 C 
 
 “ Cambridge ” ? 
 
 « 3755 D 
 
 Wilton 62 
 
 „ 1762 A 
 
 C. Howard 10 
 
 » 1765 A 
 
 Newby 1 
 
 » I 77 ° 
 
 Petworth 54 
 
 „ 1796 A 
 
 Holkham 18 
 
 ,, 1802 A 
 
 Ince 36 
 
 „ *1813 
 
 Montserrat, seepp. 240. 619 
 
 „ 1814 A 
 
 Holkham 41 
 
 ,, 1821 B 
 
 C. Howard 11 
 
 „ 1828 
 
 Ince 37 
 
 „ 1829 A 
 
 London, Lansdowne 13 
 
 „ 1829 B 
 
 London, Lansdowne 12 
 
 „ 1829 C 
 
 Wilton 8 
 
 „ 1829 D 
 
 London, Lansdowne 13 
 
 ,, 1831 A 
 
 Marbury 13 
 
 >. 1844 
 
 St Ann’s Hill 5 
 
 „ 3853 A 
 
 London, Lansdowne 97 
 
 „ 1851 B 
 
 C. Howard 12 
 
 „ 1851 c 
 
 Ince 38 
 
 „ ^1861 E 
 
 v 
 
 „ 1876 A 
 
 Oxford 35 
 
 V 1877 
 
 London, Lansdowne 68 
 
 .. 3899 
 
 Ince 40 
 
 „ 1910 
 
 Petworth 53 
 
 „ 1924 
 
 Brocklesby 26 
 
 1933 B 
 
 London, Lansdowne 81 
 
 V. No. 1957 A 
 
 Wilton 132 
 
 „ 1962 
 
 Brocklesby 82 
 
 „ 1970 A 
 
 Oxford 39 
 
 » 1973 
 
 London, Lansdowne 61 
 
 „ 3977 A 
 
 Oxford 38 
 
 » i 9 s 4 
 
 Deepdene 18 ? 
 
 1984 A 
 
 Deepdene 18 
 
 „ 1986 
 
 Brocklesby 112 
 
ENGRAVINGS. 
 
 77 9 
 
 Musk de Sculpture. 
 
 Clarac, Musee 
 
 de Sculpture. 
 
 1987 
 
 Wilton 175 
 
 V. No. 2402 A 
 
 Oxford 6 
 
 1994 A 
 
 Wilton 5 
 
 „ 2415 A 
 
 London, Lansdowne 30 
 
 2015 A 
 
 Marbury 14 
 
 >, 242s B 
 
 Oxford 5 
 
 2018 
 
 Wilton i° 
 
 „ 2430 A 
 
 Marbury 20 
 
 2022 A 
 
 Holkham 20 
 
 „ 2430 B 
 
 Deepdene 8 
 
 2023 
 
 Wilton 96 
 
 „ 2436 A 
 
 London, Lansdowne 35 
 
 2028 C 
 
 Marbury 15 
 
 „ 2438 B 
 
 Oxford 42 
 
 2031 A 
 
 Petworth 18 
 
 „ 2443 A 
 
 Wilton 1^ 
 
 2031 C 
 
 Wilton 170 
 
 „ 2445 A 
 
 London, Lansdowne 63 
 
 2032 C 
 
 London, Lansdowne 83 
 
 „ 2445 B 
 
 C. Howard 16 
 
 2038 A 
 
 Oxford 24 
 
 ,1 2445 C 
 
 London, Westmacott 6 
 
 2048 A 
 
 London, Lansdowne 85 
 
 ,, 2446 A 
 
 Wilton 13 
 
 2071 Q 
 
 Ince 43 
 
 „ 2446 B 
 
 I nee 50 
 
 *2074 
 
 ? 
 
 „ 2458 
 
 Ince 51 
 
 2077 A 
 
 Marbury 16 
 
 „ 2459 A 
 
 Holkham 31 
 
 2085 A 
 
 London, Lansdowne 89 
 
 ,, 2481 A 
 
 Holkham 1 
 
 2104 
 
 Marbury 17 
 
 „ 2482 A 
 
 Ince 52 
 
 2125 
 
 Marbury 18 
 
 ,, 2486 A 
 
 Newby 4 
 
 2128 
 
 Newby 7 
 
 „ 2501 E 
 
 Wilton i tt 
 
 2134 
 
 Ince 44 
 
 „ 2510 A 
 
 London, Lansdowne 34 
 
 2143 
 
 Petworth 19 
 
 „ 2510 B 
 
 London, Lansdowne 6 
 
 2143 c 
 
 Oxford 43 
 
 „ 2511 A 
 
 Petworth 56 
 
 2161 A 
 
 Newby 46 
 
 » 2524 I 
 
 Oxford 30 
 
 2161 B 
 
 Newby 32 
 
 >. 2524 J 
 
 Oxford 2 
 
 2161 C 
 
 Newby 47 
 
 „ 2524 K 
 
 Oxford 3 
 
 2161 J 
 
 Oxford 48 
 
 ,, 2524 L 
 
 Oxford 4 
 
 2180 
 
 London, Lansdowne 36 
 
 „ *2559 A 
 
 Ince ? 
 
 2180 A 
 
 London, Lansdowne 3 
 
 „ 2569 A 
 
 Deepdene 37 
 
 2196 
 
 Duncombe 2 
 
 „ 2569 B 
 
 Holkham 42 
 
 2210 A 
 
 Newby 16 
 
 „ 2574 D 
 
 Ince 55 
 
 2210 D 
 
 Wilton 96 
 
 „ 2575 A 
 
 Holkham 33 
 
 2232 B 
 
 Ince 45 
 
 ,, 2588 A 
 
 Ince 53 
 
 2236 
 
 Marbury 19 
 
 „ 2588 B 
 
 Ince 54 
 
 2236 B 
 
 Ince 46 
 
 ., *2588 C 
 
 Ince ? 
 
 2236 C 
 
 London, Westmacott 4 
 
 
 
 2236 D 
 
 London, Westmacott 5 
 
 Clarke, Greek Marbles in Cambridge . 
 
 2237 A 
 
 Wilton 21 
 
 P. 24. 30, Plates Cambridge 1 
 
 2237 B 
 
 Wilton 52 
 
 
 
 2237 C 
 
 Wilton 22 
 
 Clarke, Travels in various Count rie 
 
 2240 B 
 
 Newby 27 
 
 of Europe, &=c. 
 
 2243 A 
 2274 O 
 
 Ince 47 
 Newby 13 
 
 II. 1, p. 130 
 
 Cambridge 2. 9 
 
 2278 A 
 
 Ince 48 
 
 Creed, Carey 
 
 The Marble Anti aid 
 
 2284 
 
 London, Lansdowne 29 
 
 ties... at Wilton. 
 
 2298 E 
 
 Ince 54 
 
 
 
 2304 A 
 
 Newby 35 
 
 PI. I 
 
 Wilton 124 
 
 2304 B 
 
 Oxford 44 
 
 ,, 2 
 
 » 170 
 
 2312 C 
 
 Oxford 41 
 
 » 3 
 
 ,» 159 
 
 2313 A 
 
 C. Howard 13 
 
 » 4 - 5 
 
 » 151 
 
 2331 
 
 C. Howard 14 
 
 » 6 
 
 » i° 
 
 2344 A 
 
 Ince 49 
 
 » 8 
 
 „ 158* 
 
 2345 
 
 Wilton 56 
 
 » 9 
 
 » 3 i 
 
 2346 A 
 
 Holkham 36 
 
 >, 10 
 
 ,, 204 
 
 2354 B 
 
 C. Howard 15 
 
 » 13 
 
 » 2 3 ° 
 
 2356 A 
 
 Wilton 169 
 
 >, H 
 
 n IJ 9 
 
 2356 C 
 
 London, Lansdowne 20 
 
 ,, 17. 18 „ 124 
 
 2366 
 
 Petworth 3 
 
 » 19 
 
 » 74 
 
 2 371 
 
 Holkham 4 
 
 ,, 22 
 
 144 
 
7 So 
 
 INDEX II. 
 
 Creed, Carey, 
 
 The Marble Antiqui- 
 
 Engravings. ..of Monuments 
 
 tics... at Wilton. 
 
 
 PI 
 
 12 
 
 Ince 
 
 13 
 
 PI. 24 
 
 Wilton i a 
 
 „ 
 
 13, 1 
 
 ,, 
 
 36 
 
 >. 25 
 
 ,, 164 
 
 ,, 
 
 13, 2 
 
 
 10 
 
 ,, 26 
 
 jd 
 
 „ 
 
 14, 1 
 
 „ 
 
 31 
 
 ,, 2 7 
 
 ,, 13 
 
 5 , 
 
 14, 2 
 
 
 19 
 
 „ 28 
 
 ,, 1 4 
 
 
 *5, 1 
 
 
 24 
 
 ,, 33 
 
 „ 8 
 
 
 15, 2 
 
 ,, 
 
 34 
 
 ,, 34 
 
 ,, 106 
 
 
 16 
 
 „ 
 
 37 
 
 „ 35 
 
 „ 112 
 
 
 18, 1 
 
 ,, 
 
 21 
 
 „ 36 
 
 „ l b 
 
 ,, 
 
 18, 2 
 
 „ 
 
 4 
 
 >i 37 
 
 n 175 
 
 
 19, 1 
 
 „ 
 
 6 
 
 », 39 
 
 „ 68 
 
 „ 
 
 19, 2 
 
 
 26 
 
 ,, 40 
 
 ,, 70 
 
 
 20, 1 
 
 
 18 
 
 ,, 4i 
 
 », 5 
 
 
 20, 2 
 
 
 49 
 
 „ 42 
 
 ,, 223 
 
 
 21 
 
 «, 
 
 55 
 
 ,, 43 
 
 „ 23 
 
 
 22 
 
 ,, 
 
 40 
 
 „ 45 
 
 „ 95 
 
 
 23, 1 
 
 ,, 
 
 28 
 
 ,, 46 
 
 ,, 97 
 
 »» 
 
 23, 2 
 
 „ 
 
 14 
 
 » 48 
 
 ,, 118 
 
 », 
 
 24 
 
 ,, 
 
 27 
 
 „ 50 
 
 >, 9 6 
 
 
 25 
 
 ,, 
 
 45 
 
 ,, 51 
 
 „ 131 
 
 „ 
 
 26, 1 
 
 „ 
 
 5 
 
 „ 52 
 
 ,, 41 
 
 
 26, 2 
 
 „ 
 
 33 
 
 „ 53 
 
 ,, 146 
 
 „ 
 
 =6, 3 
 
 „ 
 
 29 
 
 „ 54 
 
 ,, 132 
 
 
 27, 1 
 
 „ 
 
 46 
 
 ,, 55 
 
 ,, 21 
 
 », 
 
 27, 2 
 
 ,, 
 
 218 
 
 ,, 56 
 
 ,, 22 
 
 »» 
 
 28, 1 
 
 „ 
 
 23 
 
 „ 57 
 
 ,, 52 
 
 ,» 
 
 28, 2 
 
 „ 
 
 47 
 
 ,, 58 
 
 ,, 53 
 
 ” 
 
 29 
 
 
 44 
 
 ,, 60 
 
 „ 169 
 
 ” 
 
 30 
 
 ,, 
 
 38 
 
 ,, 6i 
 
 ,, 56 
 
 ,, 
 
 3i 
 
 , , 
 
 1 
 
 ,, 62 
 
 ,, 116 
 
 »» 
 
 32 
 
 ,, 
 
 35 
 
 ,T 64 
 
 » 117 
 
 , , 
 
 33, 1 
 
 
 56 
 
 ,, 65 
 
 ,, 145 
 
 ,» 
 
 33, 2 
 
 >* 
 
 57 
 
 
 
 1, 
 
 33, 3 
 
 ,, 
 
 53 
 
 Dallaway, Of Statuary. 
 
 ” 
 
 34 
 
 
 32 
 
 PI. 28 Oxford 241 
 
 ” 
 
 35 
 
 ” 
 
 50 
 
 
 
 
 36 
 
 ,, 
 
 12 
 
 Disney, see Museum Disncianum. 
 
 „ 
 
 37 
 
 ,, 
 
 5i 
 
 
 
 ,, 
 
 38 
 
 ,, 
 
 11 
 
 Engravings , single sheets. 
 
 », 
 
 39 
 
 » 
 
 15 
 
 58 
 
 Bv Ferrero, Gio. Franc.: Woburn 100 
 
 ” 
 
 4° 
 
 ” 
 
 ,, Hollar, W.,v. 
 Oxford 59 
 
 88 Vertue = 590 Parthey : 
 
 , > 
 ,» 
 
 4 1 
 
 42 
 
 ” 
 
 25 
 
 30 
 
 ,, Langley, Tho. 
 
 : Wilton 48 
 
 ,» 
 
 43, 1 
 43, 2 
 
 ” 
 
 59 
 
 60 
 
 Engravings . ..of Monuments. ..at luce. 
 
 ” 
 
 44, 1 
 44, 2 
 
 ,, 
 
 7 
 
 16 
 
 PI. I 
 
 I nee 8 
 
 
 45, 1 
 
 ,, 
 
 61 
 
 „ 2 
 
 ,, 22 
 
 
 45, 2 
 
 ,, 
 
 62 
 
 „ 4 
 
 ,, 2 
 
 „ 
 
 46 
 
 ,, 
 
 84 
 
 ,, 5 
 
 ,, 20 
 
 ,, 
 
 47 
 
 
 85 
 
 „ 6 
 
 ,, 48 
 
 ,, 
 
 48 
 
 
 86 
 
 „ 7 
 
 ,1 52 
 
 „ 
 
 49 
 
 ,, 
 
 87 
 
 „ 8 
 
 ,, 9 
 
 
 50, 1 
 
 ,, 
 
 88 
 
 »> 9 
 
 ,, 42 
 
 ,, 
 
 50, 2 
 
 ,, 
 
 89 
 
 ,, 10, 1 
 
 ,, 3 
 
 
 5L 1 
 
 „ 
 
 90 
 
 ,, 10, 2 
 
 ,, 17 
 
 ,, 
 
 5L 2 
 
 ,, 
 
 91 
 
 „ 11 
 
 n 54 
 
 ,, 
 
 52, I 
 
 ,, 
 
 92 
 
ENGRAVINGS. 
 
 81 
 
 Engravings .. .of Monuments .. .at luce. Engravings... of Monuments... at Ince. 
 
 PI. 
 
 52, 2 
 
 Ince 
 
 93 
 
 pi. 
 
 80, 
 
 1 
 
 
 Ince 
 
 226 
 
 ,, 
 
 52, 3 
 
 
 94 
 
 77 
 
 80, 
 
 3 
 
 
 77 
 
 227 
 
 ,, 
 
 53 
 
 tt 
 
 95 
 
 77 
 
 81 
 
 
 
 it 
 
 228 
 
 
 54. i 
 
 tt 
 
 96 
 
 77 
 
 82 
 
 
 
 77 
 
 229 
 
 
 54. 2 
 
 tt 
 
 97 
 
 it 
 
 83, 
 
 1 
 
 
 77 
 
 230 
 
 
 55. i 
 
 tt 
 
 84 
 
 tt 
 
 83, 
 
 2 
 
 
 77 
 
 231 
 
 
 55. 2 
 
 71 
 
 98 
 
 77 
 
 83, 
 
 3 
 
 
 77 
 
 232 
 
 tt 
 
 56 
 
 77 
 
 99 
 
 77 
 
 84, 
 
 1 
 
 
 77 
 
 233 
 
 ft 
 
 57. 2 
 
 77 
 
 100 
 
 77 
 
 84, 
 
 2 
 
 
 77 
 
 234 
 
 ft 
 
 57. 3 
 
 77 
 
 IOI 
 
 77 
 
 84. 3 
 
 
 it 
 
 235 
 
 ft 
 
 58, 1 
 
 77 
 
 102 
 
 77 
 
 84, 
 
 4 
 
 
 
 236 
 
 ft 
 
 Ln 
 
 CO 
 
 77 
 
 103 
 
 77 
 
 85 
 
 
 
 
 237 
 
 ft 
 
 59. 1 
 
 tt 
 
 104 
 
 tt 
 
 86 
 
 
 
 tt 
 
 238 
 
 ft 
 
 59. 2 
 
 It 
 
 105 
 
 77 
 
 87, 
 
 1 
 
 
 tt 
 
 239 
 
 ft 
 
 60, 1 
 
 77 
 
 106 
 
 7. 
 
 87, 
 
 2. 
 
 3 
 
 . , 
 
 240 
 
 ft 
 
 60, 2 
 
 77 
 
 107 
 
 77 
 
 88, 
 
 1. 
 
 2 
 
 77 
 
 241 
 
 7, 
 
 60, 3 
 
 >7 
 
 108 
 
 77 
 
 88, 
 
 3 
 
 
 77 
 
 242 
 
 ,, 
 
 61, 1 
 
 77 
 
 109 
 
 77 
 
 00 
 
 VO 
 
 1 
 
 
 tt 
 
 243 
 
 ,, 
 
 61, 2 
 
 77 
 
 no 
 
 77 
 
 89, 
 
 2 
 
 
 
 244 
 
 7, 
 
 62, 1 
 
 tt 
 
 in 
 
 77 
 
 00 
 
 3 
 
 
 
 245 
 
 „ 
 
 62, 2 
 
 77 
 
 1 12 
 
 77 
 
 90 
 
 
 
 , . 
 
 246 
 
 77 
 
 63, 1 
 
 77 
 
 1 r 3 
 
 tt 
 
 9 T i 
 
 1 
 
 
 77 
 
 247 
 
 1 1 
 
 63, 2 
 
 77 
 
 114 
 
 it 
 
 91. 
 
 2 
 
 
 . . 
 
 247a 
 
 ft 
 
 64, 1 
 
 7 7 
 
 115 
 
 77 
 
 92. 
 
 1 
 
 
 77 
 
 248 
 
 t, 
 
 64 , 2 
 
 
 116 
 
 77 
 
 92. 
 
 2 
 
 
 77 
 
 249 
 
 ft 
 
 64. 3 
 
 
 117 
 
 77 
 
 93, 
 
 1 
 
 
 tt 
 
 250 
 
 ft 
 
 65 
 
 
 118 
 
 
 93. 
 
 2 
 
 
 
 251 
 
 ft 
 
 66, 1 
 
 
 104 
 
 tt 
 
 94. 
 
 
 
 
 252 
 
 f, 
 
 66, 2 
 
 
 119 
 
 77 
 
 94, 
 
 2 
 
 
 tt 
 
 253 
 
 ft 
 
 66, 3 
 
 
 120 
 
 77 
 
 94. 
 
 3 
 
 
 77 
 
 254 
 
 „ 
 
 67. 1 
 
 77 
 
 121 
 
 77 
 
 95, 
 
 1 
 
 
 77 
 
 255 
 
 7) 
 
 67, 2 
 
 77 
 
 122 
 
 77 
 
 95, 
 
 2 
 
 
 77 
 
 256 
 
 
 68 
 
 tt 
 
 123 
 
 77 
 
 95, 3 
 
 
 77 
 
 257 
 
 
 69, 1 
 
 
 124 
 
 tt 
 
 96 
 
 
 
 , , 
 
 410 
 
 
 69, 2 
 
 
 125 
 
 
 97, 
 
 1 
 
 
 77 
 
 258 
 
 
 70 
 
 
 126 
 
 
 97, 
 
 2 
 
 
 77 
 
 259 
 
 ,, 
 
 7 1 . 1 
 
 
 127 
 
 
 98, 
 
 1 
 
 
 77 
 
 260 
 
 ,, 
 
 71, 2 
 
 
 128 
 
 
 98, 
 
 2 
 
 
 
 261 
 
 7. 
 
 7i. 3 
 
 
 129 
 
 
 99. 
 
 1 
 
 
 
 262 
 
 
 72, 1 
 
 
 130 
 
 
 99, 
 
 2 
 
 
 
 263 
 
 7. 
 
 72, 2 
 
 
 131 
 
 
 99. 
 
 3 
 
 
 
 264 
 
 ,, 
 
 72, 3 
 
 
 219 
 
 
 99. 
 
 4 
 
 
 
 265 
 
 
 72, 4 
 
 
 132 
 
 
 100, 
 
 1 
 
 
 
 266 
 
 ,, 
 
 73 
 
 
 133 
 
 
 100, 
 
 2 
 
 
 
 267 
 
 ,, 
 
 747 1 
 
 
 220 
 
 
 100, 
 
 3 
 
 
 
 268 
 
 ,, 
 
 74. 2 
 
 
 134 
 
 
 IOI, 
 
 1 
 
 
 
 269 
 
 „ 
 
 75. 1 
 
 
 135 
 
 
 IOI, 
 
 2 
 
 
 
 270 
 
 ,, 
 
 757 2 
 
 
 136 
 
 
 102 
 
 
 
 
 271. 272 
 
 ,, 
 
 76, 1 
 
 
 137 
 
 
 103, 
 
 1 
 
 
 
 273 
 
 ,, 
 
 76, 2 
 
 
 138 
 
 
 io 3. 
 
 2 
 
 
 
 274 
 
 ,, 
 
 77. 1 
 
 
 140 
 
 
 104, 
 
 i 
 
 
 
 275 
 
 7 7 
 
 77. 2 
 
 
 139 
 
 
 104, 
 
 2. 
 
 3 
 
 
 276 
 
 ,, 
 
 77. 3 
 
 
 141 
 
 
 105 
 
 
 
 
 277 
 
 ,, 
 
 78, 1 
 
 
 221 
 
 
 106 
 
 
 
 
 278 
 
 ,, 
 
 78, 2 
 
 
 222 
 
 
 107, 
 
 1 
 
 
 
 279 
 
 ,, 
 
 79, * 
 
 
 223 
 
 
 107, 
 
 2 
 
 
 
 280 
 
 ,, 
 
 79, 2 
 
 
 224 
 
 . . 
 
 io 7, 
 
 3 
 
 
 
 281 
 
 ,, 
 
 79- 3 
 
 1 7 
 
 225 
 
 77 
 
 108 
 
 
 
 
 282 
 
INDEX II. 
 
 782 
 
 Engravings., of Monuments... at luce. 
 
 109, I 
 
 Ince 
 
 283 
 
 109, 2 
 
 ,, 
 
 284 
 
 no, 1 
 
 » 
 
 399 
 
 no, 2 
 
 ,, 
 
 401 
 
 no, 3 
 
 ,, 
 
 400 
 
 in, 1 
 
 ,, 
 
 285 
 
 in, 2 
 
 ,, 
 
 286 
 
 112, 1 
 
 ,, 
 
 287 
 
 112, 2 
 
 ,, 
 
 288 
 
 H3> 1 
 
 ,, 
 
 289 
 
 i*3) 2 
 
 
 290 
 
 IT 4> 1 
 
 
 291 
 
 114, 2 
 
 ,, 
 
 292 
 
 114, 3 
 
 ), 
 
 2 93 
 
 114, 4 
 
 ), 
 
 294 
 
 115 
 
 „ 
 
 2 95 
 
 116 
 
 n 
 
 296 
 
 117 
 
 ,, 
 
 297 
 
 118 
 
 ,, 
 
 ^0 
 
 CO 
 
 119, 1 
 
 ,, 
 
 299 
 
 119, 2 
 
 )> 
 
 300 
 
 H9» 3 
 
 » 
 
 301 
 
 120, 1 
 
 ,, 
 
 402 
 
 120, 2 
 
 ,, 
 
 403 
 
 121 
 
 ) i 
 
 3° 2 
 
 122 
 
 „ 
 
 303 
 
 123 
 
 „ 
 
 3°4 
 
 124 
 
 ,, 
 
 305 
 
 125 
 
 ,, 
 
 306 
 
 126 
 
 ,, 
 
 3°7 
 
 128, 1 
 
 ,, 
 
 308 
 
 128, 2 
 
 n 
 
 309 
 
 129 
 
 ,, 
 
 3 IQ 
 
 i3°> 1 
 
 
 3* 1 
 
 130, 2 
 
 n 
 
 312 
 
 i3Q> 3 
 
 n 
 
 3*3 
 
 i3°> 4 
 
 ,) 
 
 3*4 
 
 i3i> i* 
 
 2 ,, 
 
 3i5 
 
 I 3 I > 3- 
 
 4 „ 
 
 316 
 
 13 2 , I_ 
 
 -3 » 
 
 3i7 
 
 i3 2 > 4^ 
 
 -6 ,, 
 
 318 
 
 i33. 1 
 
 )) 
 
 3 T 9 
 
 133, 2 
 
 »» 
 
 320 
 
 i33, 3 
 
 »» 
 
 3 21 
 
 i33» 4 _ 
 
 -6 „ 
 
 3 22 
 
 i34» 1 
 
 )) 
 
 3 2 3 
 
 i 34j 2 
 
 »» 
 
 3 2 4 
 
 *34» 3 
 
 ,, 
 
 325 
 
 *34, 4 
 
 ,, 
 
 326 
 
 135, 1 
 
 ,, 
 
 327 
 
 135, 2 
 
 ,, 
 
 328 
 
 135, 3 
 
 » 
 
 329 
 
 135) 4 
 
 » 
 
 330 
 
 136, 1 
 
 n 
 
 33i 
 
 136, 2 
 
 ,, 
 
 332 
 
 136, 3 
 
 ,, 
 
 333 
 
 136, 4 
 
 ,, 
 
 334 
 
 137. »- 
 
 “3 ,» 
 
 335 
 
 Engravings. . .of Monuments . . .at luce. 
 
 PI. 
 
 138, i Ince 
 
 336 
 
 ,, 
 
 138, 2 ,, 
 
 337 
 
 ,, 
 
 138) 3 „ 
 
 338 
 
 ,, 
 
 138, 4 » 
 
 339 
 
 ,, 
 
 *39> 1 » 
 
 340 
 
 
 i39) 2 >> 
 
 34i 
 
 ,, 
 
 i39> 3 )) 
 
 342 
 
 ,, 
 
 i39) 4 
 
 318 
 
 n 
 
 140, 1 ,, 
 
 343 
 
 )» 
 
 140, 2 ,, 
 
 344 
 
 „ 
 
 14O) 3 ). 
 
 345 
 
 ), 
 
 I4 1 ) 4 )) 
 
 346 
 
 ,, 
 
 141, 5 )> 
 
 347 
 
 
 141, 6 ,, 
 
 348 
 
 n 
 
 T 42, 1 ,, 
 
 349 
 
 )> 
 
 142, 2 ,, 
 
 350 
 
 
 142, 3 „ 
 
 35i 
 
 
 143) i- 2 )) 
 
 235 
 
 » 
 
 T 43> 3- 4 )) 
 
 35 2 
 
 ), 
 
 143) 5- 6 ,, 
 
 344 
 
 
 144, 1. 2 ,, 
 
 353 
 
 ,, 
 
 i45, * )) 
 
 142 
 
 ,, 
 
 145) 2 >) 
 
 63 
 
 ,, 
 
 145. 3 
 
 143 
 
 ,, 
 
 146, 1 ,, 
 
 77 
 
 ,, 
 
 146, 2 ,, 
 
 64 
 
 ,, 
 
 146, 3 ), 
 
 77 
 
 ,, 
 
 147) 1 )) 
 
 65 
 
 ,, 
 
 i47> 2 )) 
 
 66 
 
 ,, 
 
 *47. 3 )» 
 
 67 
 
 » 
 
 149, 2 
 
 144 
 
 ” 
 
 151 }p. 4X5 
 
 
 n 
 
 152 J 
 
 
 ,, 
 
 155, 5 Ince 366 
 
 Eriscorius, Signorum veterum icones. 
 
 PI. 74 Oxford 44 
 
 >> 77 121 
 
 ,, 91 ,, 20 
 
 »> 98 ,, 3 2 
 
 Fabretti, De colinnna Traiani. 
 
 p. 339 Wilton i3 a 
 
 Falkener, Ephesus and the Temple op' 
 Diana . 
 
 p. 120 Woburn 219 
 
 Fea, Storia delle arti del disegno. 
 
 II. PI. 6 Knole 1 
 III. ,, 18 Ince 304 
 
 Forster, The Stowe Catalogue. 
 
 p. 44 Osborne 2 
 
 Galeria Giustiniana. 
 
 II. PI. 152 Ince 305 ? 
 
ENGRAVINGS. 
 
 783 
 
 Gallaeus, Ulustrium imagines. 
 
 PI. 48 Holkham 53 
 
 ,, 90 Marbury 40 ? 
 
 ,, 146 London, Apsley 1 
 
 Gerhard, Antike Bildwerke. 
 
 PI. 306, 4. 5 Cambridge 1 
 „ 310, 1. 2 Wilton 137. 138 
 
 Gerhard, ArcMologische Zeitung , see 
 Arch. Zcit. 
 
 Gerhard, Auserlesenc Vasenbilder. 
 
 IV. PI. 329. 330 Pippbrook p. 618. 
 
 Gerhard, Gesammelle akademischc A b- 
 hahdlungen. 
 
 PI. 32, 5 Deepdene 3 
 
 Ghezzi, Camere sepolcrali de' liberti di 
 Livia. 
 
 PI. 7, B 
 
 Wilton 129 
 
 >, 7 , C 
 
 ,, hi 
 
 „ 8, D 
 
 >> M 3 
 
 „ 8, E 
 
 >7 155 
 
 „ 8, F 
 
 ,, 60 
 
 Hollis, Memoirs. 
 
 Plates Cambridge 81 — 83. 85 — 91 
 
 Ince, see Account. Engravings. 
 Inghirami, Galeria oinerica. 
 
 PI. ei2. 219 Woburn 219 
 
 Instituto DI CORRISPONDENZA AR- 
 CHEOLOGICA. 
 
 Annali 
 
 1839, PI. K London, Hamilton 2 
 
 1874, ,, P Wilton 48 
 
 ,, ,, Q Oxford 83 
 
 Annales de la section francaise 
 PI. 10 Howard 66 
 Monumenti 
 
 II L PI. 52, 6 Brocklesby 36 
 
 IV. ,, 29 London, Lansdowne 76 
 
 V. ,, 28 London, Lansdowne 20 
 
 Jahn, Griechische Bilderchronikcn. 
 
 PI. 3, 1 London, Lansdowne 2 
 
 Jahrbiicher des Vereins von Alterthums- 
 freunden im Rheinlande. 
 
 I (1842). PI. 3, t. 2 Richmond 25 
 
 Gordon, Essay tosvards explaining the 
 hieroglyphical figures , Gfc. 
 
 PI. 10 Wilton 74 
 
 Gori, Columbarium libertorum Liviae. 
 PI. 7 Wilton 155 
 
 ,, 8 ,, hi 
 
 » 9, A ,, 143 
 
 ,, 9» B ,, 129 
 
 ,, 10, A ,, 60 
 
 Gori, Eactyliotheca Smithiana. 
 
 I. PI. i Windsor 2 
 
 Guattani, Monumenti Inediti. 
 
 1787, Apr., PI. 2, 2 Ince 128 
 
 ,, Aug., PI. 3 Deepdene 18 ? 
 
 1788, Nov., PI. 2 Jnce 127 
 ,, Nov., PI. 3 ,, 129 
 
 Hertz, B., Catalogue of the collection 
 formed by. 
 
 PI. 2 Stanmore 1 
 
 ,, 3, 1 Liverpool 14 
 
 H ey DEM an N, Iliupersis. 
 
 PI. 2 , 3 Oxford hi 
 
 Journal of Classical and Sacred Phi- 
 lology . 
 
 II. p. 108 Cambridge 13 
 Kennedy, Description of IVilton House. 
 
 PI. 1 
 
 Wilton 
 
 87 
 
 >» 3 
 
 
 IOI 
 
 >, 4 
 
 
 97 
 
 7, 5 
 
 
 96 
 
 „ 6 
 
 
 9 
 
 ,, 7 
 
 7 7 
 
 27 
 
 „ 8 
 
 7 7 
 
 i c 
 
 „ 9 
 
 77 
 
 56 
 
 ,, 10 
 
 
 119 
 
 ,, 11 
 
 
 151 
 
 ,, 12 
 
 
 124 
 
 ,7 13 
 
 
 149 
 
 » 14 
 
 
 94 
 
 7 , 15 
 
 
 221 
 
 „ l6 
 
 
 157 
 
 » 17 
 
 
 230 
 
 „ l8 
 
 
 183 
 
 » 19 
 
 
 196 
 
 ,, 20 
 
 77 
 
 195 
 
 ,, 21 
 
 77 
 
 107 
 
 ,, 22 
 
 7 7 
 
 158 
 
 7, 23 
 
 
 128 
 
 77 24 
 
 
 220 
 
 7 , 25 
 
 
 T 73 
 
;84 
 
 INDEX II. 
 
 Kraus, Signorum vetemm icones. 
 
 PI 47 Oxford 32 
 
 „ 48 ,, 20 
 
 Lacroix, lies de la Grece. 
 
 PI. 6 Cambridge 31 
 
 Lucas, Voyage au Levant. 
 
 I. p. 152 Lowther 52 
 
 Maffei, Raccolta di statue. 
 
 PI. 145 Holkham 24 
 >, 147 » 36 
 
 Maittaire, Marmora Arundelliana. 
 
 Marmora 
 
 . 31 Oxford 
 
 152 
 
 32 „ 
 
 150 
 
 33 
 
 x 54 
 
 34 )) 
 
 149 
 
 35 ), 
 
 204 
 
 36 „ 
 
 135 
 
 37 )) 
 
 136 
 
 38 
 
 13 7 
 
 39 
 
 MS 
 
 40 ), 
 
 M 7 
 
 139 
 
 202 
 
 141 
 
 148 
 
 142 „ 
 
 M 3 
 
 M 3 )) 
 
 142 
 
 M 4 )) 
 
 205 
 
 M 5 „ 
 
 165. 166 
 
 nindelliana, 
 
 «Mai' 
 
 Marmora Oxonicnsia, see Chandler. 
 Maittaire. 
 
 Mercurialis. de arte gymnastica. 
 
 II. ch. 12 Puncombe 2 
 
 Michaelis, Bildnisse des Thukydidcs 
 ( The Holkham Bust of Thucydides). 
 PI. 1. 2 Holkham 26 
 
 Ml LI .IN, Galerie viythologiquc. 
 
 PI. 159, 541 Marbury 36 
 
 Millingen, Ancient Unedited Monu- 
 ments . 
 
 1 1 . PI. 12 Bignor 1 
 Montfaucon, A nti quite cxpliquee. 
 
 1 . PI. 27, 1 Wilton i3 a 
 
 >, 45 ,, 137- 138 
 
 ,, 87, 1 Holkham 24 
 ,, 93 ) 5 Wilton 95 ? 
 
 III. ,, 6,3 Holkham 36 
 
 Montfaucon, 
 Supplement . 
 
 A ntiquite expliqiu 
 
 I- PI. 54, 1 
 
 Oxford 202 
 
 ,, 54, 2 
 
 „ 135 
 
 HI- „ 9,1 
 
 „ MS 
 
 ,, 10 
 
 ,, 166 
 
 V. ,, 4, 1 
 
 ,, 152 
 
 ,, 4, 2 
 
 ,, M7 
 
 ,, 5, 1 
 
 ,, 150 
 
 ,, 5, 2 
 
 ,, M9 
 
 ,, 6 
 
 ,, 148 
 
 ,, 7, 1 
 
 ,, 204 
 
 ,, 7, 2 
 
 ,, M3 
 
 ,, 8, 1 
 
 ,, *54 
 
 ,, 8, 2 
 
 ,, 142 
 
 ,, 9 
 
 ,, 205 
 
 Montfaucon, Diarium Italicum. 
 
 I. p. Ill 
 
 Ince 258 
 
 Monumcnta Matthaeiana. 
 
 I. PI. 4 
 
 Ince .T3 ? 
 
 ), 5 
 
 Marbury 3 
 
 )> 8 
 
 Ince 13 ? 
 
 ,, 12 
 
 „ 3i 
 
 )> 13 
 
 Marbury n 
 
 15 
 
 Ince 26 
 
 „ 23 
 
 Lowther 68 
 
 „ 29 
 
 Marbury 2 
 
 ,, 5i 
 
 », 13 
 
 „ 68 
 
 ,, 10 
 
 ,, *7° 
 
 Ince 24 
 
 ,, 7i 
 
 ,, 1 
 
 „ 73 
 
 „ 48 
 
 „ 87 
 
 „ 54 
 
 IP „ 1, 1 
 
 ,, 121 
 
 „ 9, 4 
 
 „ 168 
 
 ,, 10. 11 
 
 London, Apsley 1 
 
 ,, M, 1 
 
 Ince 86 
 
 ,, 16, 2 
 
 „ 84 
 
 ,, 21, 2 
 
 ,, 186? 
 
 ,, 26, 1 
 
 ,, 122 
 
 ,» 27, 2 
 
 ,, 87 
 
 ,, 30 , 1 
 
 ,, 85 
 
 >, 35 , 1 
 
 Margam 14 ? 
 
 ,, 68, 1 
 
 Ince 57 
 
 » 75 - 76 
 
 ,, 241 
 
 » 85. 3 
 
 „ M 3 
 
 III. „ 18 
 
 ,, 296 
 
 » i8, 3 
 
 ,, 231 
 
 „ 58, 4 
 
 ,, 332 
 
 , , 60, 2 
 
 „ 33 i 
 
 ,, 6l, I 
 
 >, 345 
 
 ,» 6l, 2 
 
 >, 354 
 
 „ 6l, 3 
 
 „ 347 
 
 3, 61, 5 
 
 ,, 322 
 
 .. 65, 3 
 
 „ 356 
 
 >. 65 , 4 
 
 ,, 3 L 3 
 
ENGRAVINGS. 
 
 785 
 
 Monumenta Matthaeiana. Museum Disneianum. 
 
 II!. PI. 65, 6 
 
 Ince 334 
 
 
 PI. 
 
 4 
 
 Cambridge 42 
 
 ,, 67, 1 
 
 ,, 3°2 
 
 
 ,, 
 
 5 
 
 ,, 43 
 
 ,, 68, 3 
 
 n 320 
 
 
 
 6 
 
 44 
 
 „ 68, 5 
 
 n 321 
 
 
 
 7 
 
 ,, 45 
 
 ,, 68, 6 
 
 ,, 325 
 
 
 
 8 
 
 ,, 46 
 
 ,, 69, 1 
 
 n 328 
 
 
 
 9 
 
 ,, 47 
 
 ,, 69, 2 
 
 ,, 330 
 
 
 
 10 
 
 48 
 
 » 69, 3 
 
 ,, 358 
 
 
 
 1 1 
 
 ,, 49 
 
 >> 69, s 
 
 ,, 314 
 
 
 
 12 
 
 ,, 50 
 
 71. 1 
 
 >, 355 
 
 
 
 !3 
 
 ,, 5i 
 
 ,, 71, 2 
 
 ,, 312 
 
 
 
 T 4 
 
 ? p. 267 
 
 ,, 7 1 . 4 
 
 „ 324 
 
 
 
 15 
 
 Cambridge 52 
 
 ,, 7 1 * 6 
 
 n *230 
 
 
 
 16 
 
 „ 53 
 
 >» 73. 2 
 
 If 3*9 
 
 
 
 17 
 
 ,, 54 
 
 ,, 73. 3 
 
 > j 343 
 
 
 
 18 
 
 ? p. 267 
 
 >> 73. 5 
 
 323 
 
 
 
 19 
 
 Cambridge 55 
 
 
 
 
 
 20 
 
 „ 5b 
 
 Moses, Collection 
 
 of A ntiqne Vase r. 
 
 
 
 21 
 
 „ 57 
 
 PI. 23 
 
 London, Soane 38 
 
 
 
 22 
 
 „ 58 
 
 >> 35 
 
 Woburn 101 
 
 
 
 23 
 
 ,, 59 
 
 „ 37 
 
 Warwick 1 
 
 
 
 24 
 
 ? p. 267 
 
 „ 87 
 
 Deepdene 43 
 
 
 ,, 
 
 25 
 
 Cambridge 32 
 
 ,, 121 
 
 Holkham 52 
 
 
 
 26 
 
 „ 33 
 
 
 
 
 
 27 
 
 ,, 34 
 
 Muller- Wieseler, Denkmaler tier 
 
 
 
 28 
 
 ,, 35 
 
 alten Kunst . 
 
 ed. 
 
 
 
 29 
 
 „ 38 
 
 I. PI. 1, 4 
 
 Brocklesby 29 
 
 
 
 30 
 
 ,, 36 
 
 ,, 34, T 42, 
 
 A. C „ 5 
 
 
 
 3i 
 
 ,, 92 
 
 II. ,, 1, 9 
 
 Wilton 48 
 
 
 
 32, 32* 
 
 >, 93 
 
 ,, 8, 92 
 
 Cambridge 1 
 
 
 
 33 
 
 „ 72 
 
 ,, 10, 11 7 
 
 Wilton 137 
 
 
 
 34 
 
 94 
 
 >. 12, 133 
 
 Petworth 5 
 
 
 ” 
 
 35 
 
 ,, 67 
 
 „ 12, 139 
 
 Deepdene 4 
 
 
 
 36 
 
 „ 78 
 
 ,, 19, 202 
 
 39 
 
 
 
 37. 1 
 
 ,, 7° 
 
 ,, 27, 293 
 
 Bignor 1 
 
 
 ” 
 
 37, 2 
 
 ,, 7T 
 
 >. 27, 295 
 
 Marbury 36 
 
 
 
 38 
 
 ,, 95 
 
 ,, 28, 304 
 
 London, Lansdowne 88 
 
 
 
 39 
 
 ,, 66 
 
 29, 324 
 
 Wilton 144 
 
 
 
 40 
 
 ,, 9b 
 
 „ 32, 370 
 
 Brocklesby 90 
 
 
 
 4i 
 
 ,, 77 
 
 .. 33. 372 
 
 Deepdene 3 
 
 
 
 42, 42* 
 
 ,, 7b 
 
 n 44, 555 
 
 Brocklesby no 
 
 
 
 48 
 
 ,, 81 
 
 5i. 644 
 
 Richmond 25 
 
 
 
 49 
 
 ,, 82 
 
 ,, 56, 719 
 
 Newby 28 
 
 
 ” 
 
 50 
 
 ,, 85 
 
 CR 
 
 co 
 
 0 
 
 Deepdene 7 
 
 
 
 5* 
 
 ,, 83 
 
 ,, 61, 791 
 
 Liverpool, p. 428 
 
 
 *» 
 
 S 2 
 
 ,, 84 
 
 
 
 
 
 53 
 
 „ 86 
 
 Muratori, Thesaurus inscriptionum . 
 
 
 
 54, 54 a 
 55 
 
 „ 87 
 
 „ 88 
 
 I. p. 35, Plate 
 
 Wilton 48 
 
 
 
 56, 1 
 
 ,, 89 
 
 
 
 
 
 56, 2 
 
 >, 90 
 
 Museo Borbonico 
 
 
 
 
 57, 58 
 
 ,, 91 
 
 IX. PI. 3 
 
 Oxford 129 
 
 
 ,, 
 
 85 
 
 „ 80 
 
 
 
 
 
 88, 2 
 
 ,, 68 
 
 Museum Disneianum. 
 
 Museum Worsleyanum. 
 
 PI. I 
 
 Cambridge 39 
 
 Cl. I 
 
 1 (PI. 1, 1) 
 
 Brocklesby 10 
 
 ,, 2 
 
 ,, 40 
 
 
 2 ( 
 
 , 1. 3) 
 
 „ 3i 
 
 „ 3 
 
 ,, 4i 
 
 
 3 ( 
 
 , 1, 2) 
 
 ,, 28 
 
 M. C. 50 
 
786 
 
 INDEX II. 
 
 Museum IVorsleyanunt. 
 
 Cl. I. 
 
 4 (PI 
 
 2, 1) 
 
 Brocklesby 
 
 34 
 
 
 5 („ 
 
 2, 3) 
 
 ,, 
 
 53 
 
 
 6(„ 
 
 2, 2) 
 
 »» 
 
 65 
 
 
 7 ( »> 
 
 3, 1) 
 
 >> 
 
 40 
 
 
 8(„ 
 
 3. 2) 
 
 » » 
 
 hi 
 
 
 9 (» 
 
 4 ) 
 
 
 1 10 
 
 
 10 („ 
 
 5, 1) 
 
 »> 
 
 39 
 
 
 »(„ 
 
 5. =) 
 
 „ 
 
 14 
 
 
 32 (,, 
 
 6, 1) 
 
 ,, 
 
 45 
 
 
 * 3 („ 
 
 6, 2) 
 
 
 33 
 
 
 34 („ 
 
 6, 3) 
 
 „ 
 
 67 
 
 
 1 5 ( >» 
 
 7 . 1) 
 
 „ 
 
 29 
 
 
 („ 
 
 7 , 2) 
 
 
 64 
 
 
 37 (,, 
 
 8, 1) 
 
 ,, 
 
 37 
 
 
 39 („ 
 
 8, 3) 
 
 ,, 
 
 42 
 
 
 21 („ 
 
 9 . 2) 
 
 „ 
 
 76 
 
 
 24 (., 
 
 9 . 5 ) 
 
 „ 
 
 9 
 
 
 25 (7, 
 
 9 . 6 ) 
 
 ,, 
 
 49 
 
 Cl. II. 
 
 3 ( >» 
 
 12, 1) 
 
 
 2 
 
 
 2 (,, 
 
 12, 2) 
 
 
 7 
 
 
 3 (>» 
 
 12 , 3 ) 
 
 ,, 
 
 97 
 
 
 4 ( > » 
 
 12 , 4 ) 
 
 > > 
 
 72 
 
 
 5 („ 
 
 13 , 0 
 
 
 33 
 
 
 6(„ 
 
 13 , 2) 
 
 
 27 
 
 
 7 ( »» 
 
 13 , 3 ) 
 
 „ 
 
 88 
 
 
 8(„ 
 
 13 , 4 ) 
 
 „ 
 
 12 
 
 
 9 ( >> 
 
 13 , 5 ) 
 
 ,, 
 
 60 
 
 
 30 („ 
 
 13, 6) 
 
 ,, 
 
 74 
 
 Cl. III. 
 
 3 ( * * 
 
 14 ) 
 
 ,, 
 
 90 
 
 
 2 (,, 
 
 IS ) 
 
 p. 240 
 
 
 
 3 ( *> 
 
 17 , l) 
 
 Brocklesby 
 
 112 
 
 
 4 (,» 
 
 17 , 2) 
 
 ,, 
 
 82 
 
 
 5 („ 
 
 l6, i) 
 
 ,, 
 
 37 
 
 
 6(„ 
 
 l6, 2) 
 
 ,, 
 
 26 
 
 
 7 (,, 
 
 l6, 3 ) 
 
 ,, 
 
 62 
 
 
 8(„ 
 
 1 7 , 3 ) 
 
 ,, 
 
 109 
 
 
 30 (,, 
 
 J 8, 2) 
 
 ,, 
 
 8 
 
 
 3 3 ( ,, 
 
 19, 2. 3) 
 
 ,, 
 
 86. 87 
 
 
 12 (,, 
 
 IS, 3) 
 
 Cambridge 
 
 1 
 
 
 33 (,» 
 
 19, 0 
 
 Brocklesby 
 
 113 
 
 Cl. IV. 
 
 20 31 
 
 
 p. 240 
 
 
 Vol. I.p. 
 
 103 (tav. 
 
 d’agg.,i 
 
 ) Brocklesby 
 
 36 
 
 Notes and Reminiscences of Rossie Priory. 
 
 The numbers 
 
 of the 
 
 photographs 
 
 corre- 
 
 sponcl to those of the present Catalogue. 
 
 Orlandi, Le Nozzc di Paride ed Elena . 
 
 Plate Marbury 36 
 
 Over beck, Adas zur Knnst my thologie. 
 
 PI. 2, 13 London, Lansdowne 
 
 14 
 
 ,, 15, 3 Wilton 137. 138 
 
 ,, 17, 23 London, Soane 26 
 
 Overbeck, Gallcrie heroischcr Bihl- 
 werke, Vo!, i 
 
 PI. 16, 11 Cambridge 66 
 
 Overbeck, Geschichte dee Griechischen 
 Plastik, 3 ed. 
 
 I. p. 218 (194) fig. 52 Wilton 144 
 
 Pasiiley, Travels in Crete. 
 
 II. pp. 6. 18. 19 Cambridge 31 
 I’ENNA, Viaggio della Villa Adriana. 
 
 IV. PI. *94 
 
 Stowe (Cat., p. 47, no. 
 738, sold to Lord Nu- 
 gent) 
 
 >, 95 
 
 Warwick 1 
 
 ,, *97. 98 
 
 “ John Boyd” 
 
 ,, no 
 
 Oxford 241 
 
 ,, III 
 
 77 242 
 
 M *Il6 
 
 Stowe (Cat., p. 47, no. 
 738, sold to Town and 
 Emanuel) 
 
 M*II 7 
 
 Ince ? 
 
 >» *H 9 
 
 Stowe 
 
 77 I4I 
 
 Brocklesby 36 
 
 Piranesi, Antichitci Romane. 
 
 III. PI. 27, J 
 
 Wilton 60 
 
 >, 27, 0 
 
 7 ) I2 9 
 
 „ 28, D 
 
 77 311 
 
 „ 28, G 
 
 77 355 
 
 ,, 3°, B 
 
 77 343 
 
 Piranesi, Vast 
 
 , Candelabri &c. 
 
 I. pi. *1 
 
 Ince ? 
 
 ,, *1 
 
 “Rich. Hayward, sculptor 
 at Rome ” 
 
 7 7 2—4 
 
 Warwick r 
 
 7 . *5 
 
 ? 
 
 ,, *15. l6 
 
 Stowe (Cat., p. 47, no. 739, 
 sold to Town and Ema- 
 nuel) 
 
 77 ^7 
 
 “ Rich. Hayward, sculptor 
 at Rome ” 
 
 ,7 25—27 
 
 Oxford 241 
 
 „ *28 
 
 “Lord Palmerston Broad- 
 lands ? 
 
 7 , *29 
 
 “ Egidio Earle” 
 
 7 7 *43 
 
 Stowe (Cat., p. 47, no. 738, 
 sold to Lord Nugent) 
 
 77 42. 43 
 
 Woburn 10 1 
 
 7 7 *46 
 
 “Hugh Deane, landscape 
 painter ” 
 
 7 > *46 
 
 “Lord Exeter”; Burleigh 
 House ? 
 
 7, *47 
 
 “G. Aufrere, Chelsea” 
 
ENGRAVINGS. 
 
 Piranesi, Vasi, Candelabri &c. 
 
 PI. 
 
 47 
 
 Broadlands 32. 33 
 
 ” 
 
 *52 
 
 “ Lord Holland ; ” St Ann’s 
 Hill ? 
 
 ” 
 
 *52 
 
 “Hugh Deane, landscape 
 painter ” 
 
 ,, 
 
 *57—59 
 
 “John Boyd” 
 
 ,, 
 
 *66 
 
 “ Dalton ” 
 
 ,, 
 
 *67 
 
 “ Mrs Jane Synnot ” 
 
 
 *71 
 
 “ Matthew Nulty, anti- 
 quary ” 
 
 
 *72 
 
 “ Aubrey Beauclerk” 
 
 ” 
 
 *74 
 
 “Edw. Walter, Berry Hill, 
 Surrey ” 
 
 
 *78 
 
 “ Dalton ” 
 
 ” 
 
 *85 
 
 “Edw. Walter, Berry Hill, 
 Surrey ” 
 
 ,, 
 
 *96 
 
 “John Barber ” 
 
 ,, 
 
 96. 97 
 
 Oxford 242 
 
 J } 
 
 105. 106 
 
 Brocklesby 91 
 
 >, 
 
 1 1 2 
 
 Ince 373 ? 
 
 Tricaeus, Notae in Apuleium. 
 
 p. 47 Oxford no 
 
 ». 93 ,, 25 
 
 Prideaux, Marmora Oxoniensia. 
 
 77, 
 
 No. 4 
 
 Oxford 
 
 155 
 
 78 
 
 7 
 
 11 
 
 147 
 
 80 
 
 8 
 
 », 
 
 152 
 
 81 
 
 9 
 
 
 150 
 
 82 
 
 10 
 
 »» 
 
 149 
 
 83 
 
 15 
 
 ,» 
 
 135 
 
 104 
 
 44 
 
 »» 
 
 137 
 
 125 
 
 67 
 
 
 148 
 
 126 
 
 68 
 
 
 204 
 
 127 
 
 73 
 
 » » 
 
 143 
 
 128 
 
 75 
 
 »» 
 
 154 
 
 129 
 
 76 
 
 >» 
 
 I 4 2 
 
 145 
 
 
 
 205 
 
 263 
 
 126 
 
 
 165 
 
 264 
 
 126 
 
 
 166 
 
 266 
 
 130 
 
 ,, 
 
 136 
 
 275 
 
 139 
 
 ,i 
 
 202 
 
 280 
 
 167 
 
 ? 
 
 
 Revue Archeologique. 
 
 I (1844) PI. 13 Richmond 29 
 
 Robinson, Vitruvius Britannia/s, IVo- 
 burn Abbey. 
 
 PI. 4 Woburn 2rg 
 
 Rossi, see Maffei. 
 
 Salvini, see Gori, Columbarium. 
 
 7 87 
 
 S indrart, Sculpturae veteris ad - 
 viiranda. 
 
 PI. 54 Easton Neston 7 
 
 Sandrart, Teutsche Akademie. 
 
 IV. PI. 10, 6 London, Apsley 1 
 
 Schnaase, Geschichte der bildenden 
 Kiinste, 1 cd. 
 
 II. p. 224 Lowther 37 
 
 Schroeder, Abbildungen des Demo- 
 sthenes. 
 
 PI. 2, 6 Knole 1 
 
 Soane, Description of the House and 
 Museum of Sir J. Soane. 
 
 p. 43 London, Soane 26 
 
 Sophoclis Electra ed. O. Jahn. 
 
 Fror.tisp. London, S. Kensington :8 
 
 Specimens of Antient Sculpture (Introd. 
 
 §§ I> 9 » 77 - 84, 85). 
 
 7 
 
 London, Lansdownc 53 
 
 25 
 
 Deepdene 39 
 
 26 
 
 ,, 7 
 
 27 
 
 London, Lansdowne 37 
 
 28 
 
 Pet worth 20 
 
 30 
 
 „ 24 
 
 35—37 
 
 Brocklesby 5 
 
 39 
 
 “ Earl of Upper Ossory ’ 
 
 40 
 
 London, Lansdowne 61 
 
 45- 46 
 
 Petworth 73 
 
 5i 
 
 London, Lansdowne 88 
 
 54 
 
 Petworth 23 
 
 62 
 
 ** 5 
 
 66 
 
 „ 30 
 
 68 
 
 ,, 53 
 
 69 
 
 „ 54 
 
 72. 73 
 
 „ 62 
 
 7. 8 
 
 „ 19 
 
 9 
 
 Deepdene 39 
 
 10 
 
 London, Lansdowne 83 
 
 11. 12 
 
 Woburn 14 1 
 
 T 3 
 
 Newby 20 
 
 16 
 
 Marbury 36 
 
 19 
 
 Ince 43 
 
 20 
 
 Bignor 1 
 
 21 
 
 ,, 2 
 
 27 
 
 Holkham 19 
 
 28 
 
 Woburn 128 
 
 3i- 32 
 
 Cambridge 102 
 
 36 
 
 Holkham 24 
 
 37 
 
 London, Lansdowne 65 
 
 38 
 
 Newby 23 
 
 50—2 
 
;88 
 
 INDEX II. 
 
 Specimens of Antient Sculpture (Introd. 
 
 §§ 69. 77. 84. 85). 
 
 II. 39 London, Hamilton 1 
 
 40, 41 Kingston 1 
 
 44 London, Hamilton 2 
 
 45 Petworth 5 
 
 46 Kingston 2 
 
 48 London, Westmacott 7 
 
 51 Deepdene 4 
 
 5 2 >» 8 
 
 53 » 3 
 
 54 Holkham 23 
 
 55 Deepdene 27 
 
 56 Petworth 56 
 
 56 Mr Cope (Introd. n. 172) 
 
 3 PON, Voyage d' Italic et du Lez'ant. 
 
 II. p. 282 Cambridge 1 
 S PRATT, Travels in Crete . 
 
 I. p. 72, Plate Tunbridge Wells 1 
 
 II. PI. 1, no. 20 Cambridge 13 
 
 Stackelberg, Grader der Hellenen . 
 
 PI. 1, 3 Lovvther 37 
 
 Tischbein, Homer nach Antiken gezeich- 
 net . 
 
 PI. 5, 2 Marbury 36 
 
 Tollius, Epistolae itinerariae . 
 
 p. 20 Lowther 53 
 
 Tournefort, Voyage an Levant. 
 
 III. p. 391 Woburn 219 
 
 Transactions R. Soc. Literature, New 
 Series . 
 
 IV (1853) p. 384, Plate, no. 3 Marbury 40 
 „ 5 Knole 1 
 
 Ursinus, Imaghies et elogia virorum 
 illustrium. 
 
 p. 33 Marbury 40 ? 
 
 Vienna , see Wiener Akademie . 
 Visconti, Iconographie Grecque. 
 
 I. PI. 6, 3 Marbury 40 ? 
 
 ,, 33 Oxford 155 
 
 Visconti, Iconographie Romainc. 
 
 I. PI. 4, 6 Holkham 53 
 
 9, 3. 4 London, Apsley 3 
 12, 1 ,, ,, r 
 
 Visconti, Museo Rio Clementine. 
 
 III. PI. a, 5 Ince 37 
 
 Welcker, A lie Denkmdler. 
 
 II. PI. 11, 19 London, Lansdowne 
 Wheler, Journey into Greece. 
 
 p. 405 Oxford 1 31 
 
 „ 406 „ 144 
 
 ,, 428 Cambridge 1 
 
 Wiener Akademie, Sitzungsberichte. 
 
 lxxi (1872) PI. 2 Wilton 109 
 
 Wilkins, Antiquities of Magna Graecia. 
 Frontisp. Cambridge 30 
 P- 71 „ 4 
 
 Winckelmann, Monumeuti inedit i. 
 
 I. Preface Woburn 117 
 
 Woburn Abbey Marbles. 
 
 PI. 4 Woburn 147 
 
 5 
 
 148 
 
 „ 6 
 
 144 
 
 » 7 
 
 117 
 
 „ 8 
 
 no 
 
 9 
 
 86 
 
 ,, 10 
 
 81 
 
 ,, 11 
 
 69 
 
 ,* 12 
 
 61 
 
 >> 13 
 
 5 8 
 
 7 , 14 
 
 99 
 
 ,, 15. l6 
 
 101 
 
 ,, 17. l8 
 
 201 
 
 „ 19 
 
 210 
 
 ,, 20 
 
 171 
 
 ,, 21 
 
 128 
 
 ,, 22 
 
 141 
 
 >, 23 
 
 205 
 
 >> 24, I 
 
 198 
 
 ,, 24, 2 
 
 77 
 
 ,, 25, I 
 
 109 
 
 25, 2 
 
 59 
 
 ,, 26, I 
 
 107 
 
 ,, 26, 2 
 
 150 
 
 ,, 27, I 
 
 80 
 
 >> 27, 2 
 
 62 
 
 >> 27, 3 
 
 215 
 
 ,, 28, I 
 
 123 
 
 ,, 28, 2 
 
 181 
 
 ,, 28, 3 
 
 94 
 
 ,, 46, 1 
 
 104 
 
 „ 46, 2. 3 
 
 204 
 
 Worsley, see Museum Worsleyanum. 
 
 Zahn, Ornamente und Gemdlde von 
 Pompeji, &=c. 
 
 II. PI. 62 Oxford 129 
 
Ill 
 
 SUBJECTS REPRESENTED. 
 
 § and n. refer to the paragraphs and notes of the Introduction ; p. to the pages of the book. 
 Numbers immediately following the name of a collection are the numbers of this Catalogue. 
 ? after a number indicates that the name given to the article is uncertain ; 
 
 ! that it is arbitrary ; [ ] refer to articles of indisputably modern origin. 
 
 St. statues, groups, etc. //. heads, busts. P . reliefs. P. pictures. 
 
 Br. bronzes. T. terra cottas. V. painted vases. 
 
 N.B. All the portraits have been brought together in one article. 
 
 Abundantia St. C. Howard 3 ! 
 
 Acanthus bordering busts at bottom 
 Margam 10 
 
 Acheloos R. Edinburgh, Ant. Mus. 3 ? 
 A. and Herakles St. Wilton 5 ! 
 
 Achilleus II. Brocklesby [88]. A. at 
 Skyros R. Cambridge 76. Woburn 
 71. 1 17. A. wrathful H. Margam 
 14? A. receiving corpse of l’atro- 
 klos R. Woburn 219. Arms carried 
 to A. by Nereids R. Wilton 105. 
 A. arming R. Woburn 219. A. and 
 Hektor R. Cambridge 76. Canter- 
 bury [ r 55]. Ince 279. Oxford in. 
 Woburn 219. A. visited by Priam 
 R. Woburn 219. A. and Penthesileia 
 R. Cambridge 76. Richmond 58 
 
 Achillea statua Lowther 7 ? 
 
 Actor sitting on altar R. London, Soane 
 36. A. and Muse R. London, Lans- 
 downe [72] 
 
 Adonis St. n. 174. Lowther 65 ! II. 
 Edinburgh, Murray 7 ! 
 
 Adrastos on mirror Cambridge p. 268 
 
 Aeakos in Hades R. Ince 306 
 Aegis on portrait of Claudius Gem 
 Windsor 4 
 
 Aesculapius see Asklepios 
 Africa II. Broadlands 19 
 Agamemnon and Chryses R. Cam- 
 bridge [ 66 ] 
 
 Agatbodaemon R. Edinburgh, Ant. 
 Mus. 3 ? 
 
 Agyrtes at Skyros R. Cambridge 76. 
 
 Oxford 218? Woburn 1 1 7 
 Aias H. Pet worth 23? 
 
 Akroterion of Attic sepulchral stele 
 Cambridge 113. Ince 285. 286 
 Alabastron entwined with vine St. 
 Newby 20 
 
 Alkmenh on funeral pyre V. C. Howard 
 
 66 
 
 Altars Ince 258? 305. 306. Wilton 
 1 13. Wimbledon 1? Woburn 30. 
 56. See Pedestal. A. with slain 
 ram on it Windsor 1. — A. near 
 statue of Demeter Ince 1. A. on 
 sepulchral reliefs Rokeby 1. Wilton 
 
790 
 
 INDEX III. 
 
 J7- — A., sepulchral, Cambridge 29. 
 Marbury 36? Oxford 96 — 104.209. 
 210. See Cippus. — A. of Apollo 
 Cambridge 118; of Apollo and 
 Dionysos London, Lansdowne 69 ; 
 of Baal and Astaroth Cambridge 14 ; 
 Bacchic London, Lansdowne 58. 
 Marbury 41. 42. Richmond 11. 
 Wilton 1. Woburn 144; of Hera- 
 kles London, Soane 24, used as a 
 tombstone Oxford 202 ; of Isis and 
 Serapis Ince 395 ; of Tyche London, 
 Lansdowne n ; of Zeus Labraundes 
 Oxford 201 
 
 Althaea and the fateful brand R. Wil- 
 ton 61 
 
 Amazon S t. of Polykletian type Lon- 
 don, Lansdowne 83. Oxford 24; 
 Mattei type Petworth 18; kneeling 
 Wilton 1 70 ; other type Ince 23 ? ; 
 on horseback Marbury 15 ! — R. 
 London, Soane 18. Richmond 60. 
 Woburn 74? Battle of As Ince 280. 
 Oxford 1 1 2. Richmond 58. V. Pipp- 
 brook p. 618 
 
 “ Ammon’s ” head or mask, especially 
 on sepulchral monuments, Cambridge 
 86. 89. 91. C. Howard 51. Ince 
 126. 230. 240. 313. 323. 352. 356. 
 395. Marbury 45. Woburn 94 
 Amphiaraos on mirror Cambridge p. 
 268 
 
 Amphion assisting at death of his chil- 
 dren R. Wilton 163 
 Amphitheatre, scene of, A’. Ince 274 
 Amphitryon and Alkmene V. C. How- 
 ard 66 
 
 Amphora on Attic sepulchral relief R. 
 Cambridge 1 1 1 . A. near Lros Si. 
 Wilton 112. — A., handles of, 
 
 Liverpool pi. 428. Oxford p. 592 
 Amulets round breast of boy Wilton 22 ; 
 round horse’s belly Ince 274. See 
 Bulla. Crescent 
 “ Amymone ” St. Deepdene 35 
 Auaxyrides of Seilenos Wilton 62 
 Anchirrhoe St. Ince. 37 
 Anchor held by Triton R. Wilton 103 
 Andromache and Ilektor Gem Rossic 
 
 159. A. being deprived of Astyanax 
 R. Woburn 219 
 
 Ankaeos at Kalydon R. Broadlands 21. 
 Ince 246. Richmond 57. Woburn 
 
 61 
 
 Antaeos and Plerakles St. Marbury 14. 
 Wilton 223 
 
 Antenor companion of Amphitryon V. 
 C. Howard 66 
 
 Antinous see Portraits, Roman 
 Anubis R. London, S. Kensington 13 
 Anvil R. London, Holland; Lansdowne 
 98. Woburn 132 
 
 Apex of priests R. Ince 347. Oxford 242 
 Aphrodite. Statues: Spes type Deep- 
 dene 3. Ince 40. 41 ; “Venus Vic- 
 trix ” Ince 24?; old type with dove 
 T. Canterbury 13 ; Melos type Cam- 
 bridge 2 ; Cnidian type Lowther 1 ; 
 Capitoline and Medici type Deep- 
 dene 6. Hamilton 1. Ince 63. 63a. 
 Newby 20 (§ 46. 53). Oxford 25. 
 49. 157. 158. Woburn 141 ; varieties 
 of this type Ince 66. Oxford 26. 
 Richmond 41 ; pseliumene Tunbridge 
 Wells 1 ; leaning on pillar Wilton 
 130?; arranging her hair Osborne 2 ; 
 similar Richmond 4. 19 ; with wreath 
 in hand By. Stanmore 1 ; similar Br. 
 Stanmore 2.3; admiring herself in a 
 fountain Ince 36. Newby 6 ; A. 
 Mazarin Richmond 2 (§ 54. 92) ; 
 Venus Genetrix Holkham 23 (§ 42) ; 
 similar Oxford 27 ; crouching Os- 
 borne 5. Richmond 40. Whitehall 
 (n. 69. 72. 121); recumbent, made 
 out of an Hermaphroditos Ince 25 ; 
 uncertain types Brocklesby 103. 
 Duncombe 13. C. Howard 59. 
 London, Lord; Lansdowne 109. 
 Lowther 2. — A. with Lros St. Boyn- 
 ton 3. Br. Edinburgh, Murray 5. 
 Richmond 40 ; with Eros and Psyche 
 Oxford 1 56 ; with draped attendants 
 Br. Richmond 39. — Heads of differ- 
 ent types: Broadlands 6 (§ 53). 
 
 Brocklesby 15. 85. Cambridge 9. 
 Hamilton 2. Holkham 37 (§ 42). 
 Houghton 16. Ince 120. 181. 188 
 
SUBJECTS REPRESENTED. 
 
 (formerly put on the Chigi Venus). 
 194? London, S. Kensington 19. 
 Newby 25? Oxford 78. Petworth 
 73. Rossie 6. Wilton 162. [221]. 
 Woburn 1 16. 127. — Reliefs: T. Can- 
 terbury 54. London, Lansdowne 74. 
 Dr. Richmond 35. Wilton 113. A. 
 seated on sea-monster Ince 376 ? A. 
 and Anchises Br. Bignor 1. A. with 
 apple and palm branch Ince 262. 
 A. persuading Helena Marbury 36. 
 A. assisting at rape of Persephone 
 London, Lansdowne 77 ; Soane 26. 
 A. in scene of Triptolemos Wilton 
 137? — Mosaic C. Howard 65. Fe- 
 male represented as A. R. Lowther 
 42 
 
 Apollo. Statues: Strangford § 89?; 
 Choiseul-Gouffier § 92 ? ; imitation of 
 archaic type Ince 15; Sauroktonos 
 Ince 12. London, Lansdowne 41; 
 similar Wilton 119; leaning on some- 
 thing Holkham 21. Wilton ib; 
 resting on r. leg Ince 13. 14. Woburn 
 205 ; similar, with legs crossed, Br. 
 Liverpool 1. Newby 33; resting on 
 1 . leg Deepdene 34. London, Lans- 
 downe 32. Br. Richmond 20. Roke- 
 by 9; similar to A. Belvedere Lon- 
 don, Lansdowne 4. Marbury 3 ; type 
 with swan Deepdene 2. Marbury 12 ; 
 A. Egremont Petworth 5 ; A. Hope 
 Deepdene 4. Petworth 7; A. Mi- 
 maut Br. § 92 ; half draped Oxford 
 58 ? ; with attributes of god of medi- 
 cine Hamilton 7; sitting Ince 16. 
 Rokeby 10 ; of uncertain type n. 121. 
 Duncombe 3. Wentworth Castle 1. 
 — A. and Ilyakinthos Deepdene 4. — 
 Heads : archaistic Petworth 20 ; Giu- 
 stiniani § 95 ; of different types Broad- 
 lands r. Cambridge 50? Br. Chats- 
 worth 6. Holkham 59. Ince 145. 
 
 1 78 ? Liverpool 5 ? Oxford 60 ? 
 Rokeby 16. Rossie 17? Wilton 
 107. 228. — Reliefs: Cambridge 118. 
 A. with Artemis and Nike Wilton 
 [ie]; amidst Muses Woburn 148; 
 with other deities 7 ’. Liverpool [23] 
 
 79I 
 
 Apollo, attributes of, combined with Bac- 
 chic attributes, Broadlands 16. Cam- 
 bridge 50. London, Lansdowne 69 
 Apollonios, inscription of, Petworth 6 
 Apotheosis of Homer R. § 92 
 Ara see Altar 
 
 Arbitrator of contest St. Richmond 46 
 Architecture, Roman, edifice of two 
 . stories R. Ince 294; circular temple 
 R. Ince 304 See Capitoline. Circus 
 Architectural drawings Holkham 61. 
 
 Windsor xiv — XVII. xxvi 
 Architectural fragments Rossie 34. 47 — 
 50. 56 — 60. 63. 64. 85. 87. 88. Wo- 
 burn 36 — 42. 68. 7 6. 76a. 95.' — 
 Columns Oxford 130. Rossie 47 — 
 50. Column surrounded by three 
 women Cambridge 115. Columna 
 caclata Wimbledon 1 ? — Capitals Ox- 
 ford 130. 235. Woburn 189. — Pilas- 
 ters Oxford 224 — 226. Rossie 47— 
 50; bases of pilasters Cambridge 30. 
 75. — Pillars decorated with figures, 
 forming part of balustrade, Cambridge 
 4. 8. Liverpool 5. London, S. Ken- 
 sington 3. Wilton 144 
 Ares St. Duncombe 5. 12. Lowther 7. 
 
 //. Ince 203? R. Wilton 113? 
 Argonauts at Aretias ? R. London 
 Lansdowne 76 
 
 Ariadne St. Ince 34? Marbury 10. //. 
 Ince 95? 129? 160. 175. 209? Lon- 
 don, Lansdowne 7. 8. 86. Osborne 
 4? Petworth 22. Richmond 48. 
 Rossie 11. 18. Mask of A. R. Ox- 
 ford 220. R. A. in Bacchic scene 
 Blenheim 3. Newby 34. Richmond 
 73. Woburn 61 
 
 Armour, fragments of, Br. Rossie 145 
 Arms (corslet and shield) given to Hera- 
 ldes Liverpool 2 
 
 Armourer Cupids R. London, Hol- 
 land ; Lansdowne 98 
 Artemis. Statues, in long drapery : 
 type of 5th century London, Lans- 
 downe 67; running Holkham 24 
 (§ 34) ; from group of Endymion ? 
 Lowther 3; in repose Ince 81. 82. 
 In short drapery : reposing Ince 22. 
 
792 
 
 INDEX. III. 
 
 23. Marbury 4. Oxford 22. Pet- 
 worth 52; running London, Lans- 
 downe 9. Rokeby 11. Ephesian 
 type London, Soane 3. Wilton 95. 
 Uncertain type Boynton 5. Dun- 
 combe 14. Oxford 23. — Heads: Pet- 
 worth 28? Richmond 51. Rossie 
 17? Wilton 12a? 64. — Reliefs: 
 
 Brocklesby 101. Edinburgh, Ant. 
 Mus. 3. Woburn 74? A. assisting 
 at rape of Persephone Ince 281. 
 London, Lansdowne 77; Soane 26. 
 A. assisting at hunt of Kalydonian 
 boar Broadlands 21. Richmond 57. 
 Woburn 61 ; and Apollo Wilton [re] 
 Asiatic horsemen fighting against Greek 
 soldiers R. Oxford 84 
 Asklepios. Statues : common type 
 
 Deepdene 9. London, Soane 1. 
 I.owther 64. Wilton 97; unusual 
 types Cambridge 114. Ince 20. 21; 
 uncertain type Edinburgh, Ant. Mus. 
 1. — Heads: Brocklesby 60. Deep- 
 dene 41 ? Holkham55? Rossie 42 ? 
 — Reliefs : A. standing Knole 1 5 ? 
 
 Ivory Liverpool p. 428. Oxford 203? 
 A. seated London, Lansdowne 2 ? 
 A. and Hygieia Brocklesby 10. Cam- 
 bridge 16 
 
 Ass carrying Satyr St. Marbury 1 1 ; 
 carrying Seilenos Woburn 56. 61; 
 devoured by lion R. Cambridge 91 ; 
 and oxen Mosaic Ince 41 2 
 Assyrian reliefs Oxford 125. 126. Wo- 
 burn 239. 240 
 
 Astaroth, head of, R. Cambridge 14 
 Astragalizontes St. Hope § 54 
 Astragalizusa St. Marbury [5] 
 
 Astyanax near Hektor and Andromache 
 Gem Rossie 159; led to death by 
 Odysseus R. Woburn 219 
 Atalante assisting at hunt of Kalydo- 
 nian boar R. Broadlands 21. Ince 
 246. Richmond 57. Woburn 61. 
 i 10; carrying boar’s head R. Wo- 
 burn no; and Meleagros offering R. 
 Wilton 129; near Meleagros’ death- 
 bed Wilton 6t 
 
 Athene. Statues : Polias Er. Rich- 
 
 mond 18; hieratic Ince [x 1 ] ; vari- 
 ation of Parthenos Ince 8. 9. Oxford 
 ig (§ 24) ; with owl Newby 23 (§ 53); 
 with cloak C. Howard 4. Ince to. 
 Oxford 20 ; similar Brocklesby 83 ; 
 Farnese type Deepdene 39. Holk- 
 ham 27; Velletri type Broadlands 31; 
 different types Br. London, West- 
 macott 7. Oxford 2 1. Woburn tn. 
 210; uncertain types Duncombe 11. 
 C. Howard 17. Br. 62. Osterley 
 1. Br. Rossie 14 1. — Heads: Cam- 
 bridge [39]- Deepdene 29. C. Ho- 
 ward 21. London, Apsley 2. Mar- 
 gam 13. Newby 12. Petworth 74? 
 Richmond 50. Wilton 121. 209; 
 Velletri type London, Lansdowne 93 ; 
 with Medusa’s mask on crown Lon- 
 don, Hamilton 2. — Reliefs: Cam- 
 bridge 15. Br. Liverpool 14. Ox- 
 ford 242. Rossie 39. Wilton 85. 
 1 13. Athene-Nike London, Lans- 
 downe 59. A. with other deities T. 
 Liverpool [23]. A. and Muses Lon- 
 don, Lansdowne 75. Woburn 148. 
 A. assisting at rape of Persephone 
 Ince 281. London, Lansdowne 77 ; 
 Soane 26. — Mirror: A. and Perseus 
 Liverpool [20] 
 
 Athlete : Apoxyomenos St. London, 
 
 Lansdowne 36?; boxer St. ibid. 33? 
 36? Marbury 21 ; pouring oil into 
 his hand St. London, Lansdowne 3 ? 
 Petworth 9 ; different types St. 
 Wilton 13? 96? — Heads: Ince 152. 
 London, Lansdowne 62. Oxford 40 ? 
 Wilton 51. — See Diadumenos. Youth 
 Attendants near Hygieia R. Petworth 
 J3; on Greek sepulchral reliefs 
 London, Soane 21. 23; South Ken- 
 sington 15. 16. Lowther 52. 54 — 57. 
 Marbury 37. Oxford 89. 90. 92. 96. 
 127. 142. 143. 146 — 151. 154. 204 
 — 206. 208. 209. Richmond 56. 67 
 — 69. Rokeby 1. 3 — 5. Wilton 17. 109 
 Attic motives copied in Cyprian sculp- 
 ture R. Oxford 127; on Roman se- 
 pulchral reliefs see Sepulchral Reliefs, 
 Roman 
 
SUBJECTS REPRESENTED. 
 
 793 
 
 “ Atys ” II. Cambridge 44. T. Edin- 
 burgh, Murray 7. C. Howard •24. 
 See Ganymedes. Paris 
 Automedon leading chariot of Achilleus 
 R. Oxford in ? Woburn 219 
 Autumn see Horae. Seasons 
 Aventinus II. Wilton [149] ! 
 
 Axe, Carian double, R. Oxford 201 
 
 Baal, head of, R. Cambridge 14 
 Bacchante see Maenad 
 Bacchic heads, male Broadlands 20. 
 Wilton [36] ; female Cambridge 48. 
 Wilton 34. 43. Sec Ammon. Ariadne. 
 Dionysos. Maenad. Pan. Satyr. Sei- 
 lenos 
 
 Bacchic masks Broadlands 32. Ince 
 278. Warwick 1. Woburn 101. 
 See Bacchic heads 
 
 Bacchic scenes R. Brocklesby 108 a. 
 Cambridge 31. 77. Hovingham 1. 
 C. IToward 46. 48. Ickworth 3. 
 Ince 243. 266. 288. 305. 404. Lon- 
 don, Lansdowne 23. Marbury 39. 
 Newby 34. Oxford 234. Richmond 
 1. 73. Woburn 6r. 144. 147. 
 Mirror Liverpool 18. V. C. 
 Howard 66. Woburn p. 753. — 
 
 B. sacrifice R. London, Lansdowne 
 58. Purification of term R. Brock- 
 lesby 29. — B. scene played by Cupids 
 R. London, Mellhuish. — See Sarco- 
 phagi 
 
 Bacchic symbols combined with those 
 of Apollo Broadlands 16. Cambridge 
 go. London, Lansdowne 69 
 Bacchus see Dionysos. 
 
 Barbarian St. Newby [32]. 46. 47. 
 Oxford 48. 54 ? II. Cambridge 43. 
 B. chieftain enthroned R. Oxford log. 
 B. horseman R. Wilton 31. B. wife 
 H. London, S. Kensington 18? Fight 
 with b. R. Ince 303. B. arms on 
 sepulchral monuments London, Lans- 
 downe xg. Wilton 129 
 Barrel on sarcophagus R. Woburn 104 
 Basket in hand of statue Rossie g 1 
 Bath Lowther 107 ; of pavonazzetto 
 Newby 37. See Trough 
 
 Battle scene R. Lowther 96. Oxford 
 84. 85. Richmond 61 
 Bear hunted R. Ince 307. 393. Rich- 
 mond 81 ; seized by lion R. Rossie 
 84 ; throttling a horse R. Lowther 43; 
 listening to Orpheus R. Knole 16? 
 Beard of marble Brocklesby 76 
 Bee on garment of Ephesian Artemis 
 .London, Soane 3. Wilton 93 
 Bidcns symbol of Pluto R. Woburn [182] 
 Bird eating eel R. London, Lansdowne 
 76; eating snake R. Wilton 8. B. 
 in hands of female R. Brocklesby 1 7. 
 Rokeby 1. Wilton 198. See Boy. 
 Dove. — B. arrow-feathered ? R. Lon- 
 don, Lansdowne 76 
 Bithynia St. Ince 142? 
 
 Boar R. Ince 297. 384 ; hunted R. Ince 
 244. 307. Lowther 43. Rossie 80, 
 see Kalydon; boiled in cauldron St. 
 Lowther 10 ; devoured by lion R. 
 Wilton hi. Woburn 104. B. near 
 Artemis St. Oxford 23; listening to 
 Orpheus R. Knole 16 
 Bonus Eventus St. Wilton 1 a 
 Boot of marble Ince 403 
 Bow, quiver and snake on throne of 
 Apollo R. London, Lansdowne 20. 
 B. and quiver on back of deceased 
 man R. Oxford 203 
 
 Boy. Statues : Brocklesby 62. Liverpool 
 4. London, Lansdowne 68. Newby 
 27. Br. Richmond 27. Wilton 32. 
 132. 146. Woburn 123. Three boys 
 recumbent London, Westmacott 4. 
 Heads: Ince igg. 182. 183. Br. 212; 
 with cap Petworth 43. See Child. 
 Eros. Portraits. — B. sleeping H. 
 Ince 1 13; reading R. Lowther 33; 
 playing R. Rossie 77; playing with 
 nuts R. London, Lansdowne 99. 
 Newby 31 ; at nuts and ball R. Ince 
 [247a]; running St. Wilton 21; in 
 palaestra R. Lowther 48; carrying 
 something R. Brocklesby 48 ; carrying 
 sacks on back R. Lowther 43; break- 
 ing in wild horses R. Lowther 43 ; 
 revelling R. Oxford 106 — 108. Rich- 
 mond 72; stealing fruits from altar 
 
794 
 
 INDEX III. 
 
 R. Wilton 59 ; having stolen St. Mar- 
 gam 6; hidden in mask of Seilenos 
 R. Wilton 59 ; travesting Herakles 
 St. London, Lansdowne 57; on dol- 
 phin R. Woburn -237 ; riding on goat 
 St. C. Howard 9. E. with bird St. 
 Marbury 19. Oxford 175. R. Ox- 
 ford 152; with box St. Richmond 
 45 ; with grapes St. Marbury 9 ; with 
 pitcher St. St Ann’s Hill 5 ; with 
 swan St. Ince 45 ; with wreath R. 
 Oxford 221. B. representing seasons 
 see Seasons. — See Youth 
 
 Bread, loaf of, Mosaic Rossie 136; at- 
 tribute of Vesta R. Wilton 13 a 
 
 Bride R. Liverpool 2. Wilton [199] 
 
 Bronzes Cambridge pp. 267 f. Canter- 
 bury p. 276. Llyde p. 333. Liver- 
 pool p. 428. Oxford p. 572. Pipp- 
 brook. Woburn p. 753. — Statues 
 and statuettes : Bignor 2. Cambridge 
 102 — 107. Chatsworth 2. Edin- 
 burgh, Murray 5. Hovingham 2. 3. 
 C. Howard 54 — 63. Ince 66 . 67. 73. 
 Liverpool 1. London, Westmacott 
 7. Lowther 9. Petworth 75. Rich- 
 mond 18—27. 29. 33 a. 37—39. 
 Rossie 139 — 142. Stanmore 1 — 15. 
 20. Woburn 128. — Heads: Blen- 
 heim 1. 2. Chatsworth 4. 6. Ince 
 169 — 1 7 1 . 212. 213. 217 e. London, 
 Apsley [7]; Stafford [3]. Oxford 
 [195]. 232. 233. [23S]. Richmond 
 28 — 31. Stanmore 17. 18. Wilton 
 210. 211. — Weight: Richmond 31. 
 — Reliefs: Bignor 1. Edinburgh, 
 Murray 4. Liverpool 14. 15. 19. 
 
 20. Petworth [51]- Richmond 34. 
 35. Stanmore 16. — Mirrors: 
 Cambridge 10S. Canterbury 131. 
 C. Howard p. 332. Liverpool 16 
 — 18. Richmond 36. 39. Rossie 143. 
 — Vases: Edinburgh, Murray 6. 
 Richmond 32. 33. Rossie 142. — 
 Lamp: Ince 409. — Armour: Rossie 
 145. — Fibulae: Rossie 146. — 
 Stamp: Rossie 147 
 
 Bronze statuette meant to be hung up 
 Richmond 23 
 
 Bucrania on sepulchral monuments Ince 
 283. 291. 309. 324. 327. Oxford 
 11 9- I 53- $ ce Bull’s head 
 Bull St. Hillingdon. Br. Stanmore 
 19. B. watched by herdsman R. 
 Ince 287; hunted R. Oxford 136; 
 led to sacrifice R. Brocklesby 64. 
 Ince 277. Wilton 33; strangled by 
 lion Oxford 137. B. on sarcophagus 
 R. Wilton 155. B. indicating the 
 name Taurus R. C. Howard 50 
 Bull’s head supporting club of Mel- 
 pomene R. Woburn 148 ; grasped by 
 winged lion R. Marbury 45 ; 011 se- 
 pulchral monuments Oxford 96 — 104. 
 209. 210. Rossie 102, see Bucrania 
 Bulla round child’s neck Ince 222. 
 Newby 4. Petworth 41 ; round man’s 
 neck Ince 232; round lion’s neck 
 Ince 374 
 
 Bupalos, sculptor, Ince 30 
 Busts Clumber p. 278. Penshurst. 
 Stratfield Saye. — B. 011 sepulchral 
 monuments Ince 222. 226. 227. 302. 
 340. 364. 397. 398. London, Lans- 
 downe 15. 21 — 24. 73. 10 1. Lowther 
 109. no. Oxford 91. 155. 231; on 
 medallion Oxford 114. 116. Rich- 
 mond 65. 73. Stanmore 17. Wilton 
 in. 143; framed in shell Ince 336. 
 378. Liverpool n 
 
 Butterfly R. Ince 299. 300. 315. 339; 
 in hands of Psyche St. London, 
 Lansdowne 70 
 
 C see K 
 
 Cabinet with open doors R. Richmond 
 
 68 
 
 Cake Mosaic Rossie 136 
 
 Calantica Deepdene 25. Ince 61. 
 
 London, Lansdowne 38. Osborne 3 
 Camillas assisting at sacrifice R. Ince 
 277 ; holding a pig St. Petworth 53 
 Candelabra Deepdene 43. Ince 241. 
 London, Lansdowne 96. Oxford 241. 
 242. Woburn 173. R. Ince 251. 
 333. 341. Oxford 224; between Cen- 
 taurs Marbury 41 
 
 Capitoline temple R. Petworth [51] 
 
SUBJECTS REPRESENTED. 
 
 795 
 
 Cart in hunting scene R. Ince 307 
 “ Caryatides ” dancing R. Richmond 66 
 Cauldron with boar St. Lowther 10; 
 
 before Zeus A’. Wilton 48 
 Centaurs in Bacchic scene, making 
 music R. C. Howard 48. London, 
 Lansdowne 25. Marburysi; draw- 
 ing chariot of Ariadne R. Richmond 
 73, of Dionysos R. Cambridge 31. 
 Richmond 73. London, Lansdowne 
 25; Soane 27. Newby 34, of He- 
 rakles Woburn 144. C. and panther 
 R. Ince 267. Cupid- C. A’. Lon- 
 don, Mellhuish. — • C. female R. Cam- 
 bridge 31. Woburn 144. — Fore 
 
 part of C. V. Liverpool 24 
 Cerberus see Kerberos 
 Ceres see Demeter 
 
 Chachrylion, vase painter, Cambridge 
 p. 267 
 
 Chariot decorated with reliefs R. Cam- 
 bridge 31. Woburn 144; of Ilelios 
 R. Ince 221 ; of unusual shape R. 
 London, Lansdowne 25 
 Chariot-race see Eros. Sarcophagi 
 Chastisement, menace of, Oxford 221. 
 
 Ch. of female slave R. Oxford r 10? 
 Cheniskos of ship R. London, Lans- 
 downe 76 
 
 Child, Bacchic, II. Rossie 13. See 
 Boy. Girl 
 
 Choragic relief Ince [371 a] 
 
 Christian monogram on T. lamp Rossie 
 148. — Good shepherd R. Ince 396 
 Chryses and Agamemnon R. Cam- 
 bridge [66] 
 
 Chrysippos and dog V. Liverpool 27 
 Cineraria Broadlands 7. 8. 30. Brock- 
 lesby 66. Cambridge 81 — 91. Chats- 
 worth 3. Deepdene10.11. Holkham 
 
 49. 50. C. Howard 51. 52. Ince 
 220. 230. 231. 234— 237. 240. 242. 
 299- 3oo? 3 11 — 339- 34'— 358- 360 
 — 363. 371. London, Lansdowne 15. 
 [18. 19.] 92; Soane p. 4S0. Lowther 
 
 50. 60. 95. Marbury 44. 45. Oxford 
 1 19. 215. 216. Richmond 80. Ros- 
 sie 101 — 103. Woburn 132. 186. 
 See Altars. Cippi. Sepulchral reliefs 
 
 Cippi C. Howard 50 Ince 238. 239. 
 302. Liverpool 11. London, Lans- 
 downe 16. 17. 71. 79. 82. 101. Mar- 
 bury 43. Oxford 21 1 — 213. Rossie 
 91. Wilton 120. Wimbledon 1. 
 Woburn 56. See Altars. Cine- 
 raria 
 
 Circus, architecture of, R. Ince 255. 
 273. London, Soane 32. Lowther 
 45. 46. See Eggs. Meta. Spina 
 Circus games R. Oxford 137? See 
 Sarcophagi 
 
 Cista St. Ince 62 ; on head of Kisto- 
 phoros St. Cambridge 1 ; in Bacchic 
 scene R. Woburn 144?, with snake 
 R. Broadlands 32. Cambridge 77. 
 Ince 266. Newby 34. Richmond 73. 
 Woburn 61. 147; attribute of De- 
 meter St. Ince 1 ; of Vesta R. Wilton 
 13 a 
 
 Club dedicated to Ilerakles Cambridge 
 11?; attribute of Melpomene Ah Wo- 
 burn 148 
 
 Cock St. Ince 59. Mosaic Rossie 136. 
 
 Attribute of Hermes St. Bignor 2 
 Coins Cambridge p. 267. London, 
 Bale. Wentworth House. Wilton 
 P- 7i5 
 
 Columbaria Drawings Windsor XVII 
 Conclamatio R. Lowther 44 
 Cornucopiae, symbol of Agathodaemon? 
 R. Edinburgh, Ant. Mus. 3; of Bonus 
 Eventus St. Wilton 1 a; of Demeter 
 St. Cambridge 116; of Harpocrates 
 R. Woburn 98 ; of Herakles St. 
 Richmond 3 a; of Tyche St. London, 
 Lansdowne 33. Lowther 68; of 
 youth R. Ince 291; of Zeus R. 
 London, Lansdowne 74? Gem Ros- 
 sie 158 
 
 Counter of vintner R. Ince 298 
 Cow near Demeter St. Cope (n. 172). 
 Ince 1 ; drawing chariot of Selene R. 
 Woburn 86 ; guarded by herdsman A’. 
 Ivnole 17; on sarcophagus of Endy- 
 mion R. Woburn 86. See Bull. 
 Oxen 
 
 Crab’s claws on head of god of fountain 
 R. Ince 253 
 
796 
 
 INDEX III. 
 
 Crane on candelabrum St. Oxford 241; 
 
 attacking evil eye R. Woburn 99 
 Crescent on horse’s neck R. Ince 229. 
 274. Cr. and kalathos in statue of 
 Tyche Rokeby 6 
 
 Crocodile near the Nile St. Holkham 
 
 4 1 
 
 Cucullns Canterbury 135? Ince 113. 
 Wilton 146 
 
 Cup, richly ornamented, Ince 401 
 Cupid see Eros 
 
 Curtius leaping into the gulph R. 
 Wilton [87] 
 
 Cuttle-fish seized by dolphin St. Rich- 
 mond 2 
 
 Cymbals on sepulchral monuments R. 
 Oxford 150 
 
 Cypresses on sepulchral relief Ince 317 
 Cyprian sculptures Liverpool 8. Oxford 
 127. 128 
 
 Daphnis and Pan St. Petworth 12 
 Death and Sleep see Eros 
 Deceased man surrounded by Cupids 
 R. Richmond 74 ; represented as En- 
 dymion R. Woburn 86 ; deceased 
 couple represented as Meleagros and 
 AtalanteA’. Wilton 129; deceased man 
 and girl amidst Muses R. London, 
 Lansdowne 75 
 
 Dei'dameia and Achilleus R. Cambridge 
 76. Woburn 117 
 
 Demeter. Statues : seated from Knidos 
 § 93 ; Br. with cow in lap Cope 
 (n. 172) ; with cornucopiae Cam- 
 
 bridge 1 16; with cista, cow, pig 
 and tympanon Ince 1 ; arbitrarily 
 named Wilton 116. 13 1. Woburn 
 55. Standing Marbury 2 ? Wilton 
 145. 158 a; arbitrarily named Broad- 
 lands 13. Cambridge 1. Holkham 
 28. 34. C. Howard 1. 2. Ince 4. 
 Pippbrook 2. Woburn 171. Un- 
 certain types Stourhead t. Went- 
 worth Castle 4. 5. — Reliefs: London, 
 Soane 19. D. sitting on rock near 
 Triptolemos A’. Wilton 137; search- 
 ing Persephone London, Lansdowne 
 
 77; Soane 26; and Zeus? London, 
 S. Kensington 13 
 
 Diadumenos H. Broadlands 10. Deep- 
 dene 1 6. Ince 1 1 7. London, Lans- 
 downe 62. Oxford 186. 196. Pet- 
 worth 24. See Athlete. Youth 
 Diana see Artemis 
 
 Diomedes at Skyros R. Cambridge 76. 
 Woburn 117 ; and Dolon T. Liver- 
 pool 24; with the Palladion St. Lon- 
 don, Lansdowne 89 ! 
 
 Dionysos. Statues: bearded Br. Cam- 
 bridge 105. Deepdene 36. Youth- 
 ful, with both arms lowered T. 
 Canterbury 15. Deepdene 20. Holk- 
 ham 25. Ince 32. London, Lans- 
 downe 91. Woburn 207?; resting on 
 r. leg with 1 . arm lifted up Oxford 40? 
 Lowther 62. Petworth 14. Wilton 
 68 ; leaning on tree with r. arm 
 Ince 31. Wilton 234; with 1 . arm 
 
 C. Howard 8. Wilton 230. Woburn 
 201 ; and with r. arm on head Lon- 
 don, Lansdowne 31; in chiton Pet- 
 worth 10?; leaning on idol of Spes 
 Deepdene 3. D. infant 7 ’. Canter- 
 bury 4. Uncertain types n. 243. 
 Duncombe 4. Ince 62. 73. London, 
 Lansdowne 108. Br. Stanmore 15. 
 Wentworth Castle 3. Wilton 232 ! — 
 
 D. and Eros Brocklesby 90; and 
 Maenad Marbury 8 ; and Satyr Mar- 
 bury 23; leaning on Seilenos Rich- 
 mond 6 ; held in arms of Seilenos 
 Wilton 70 ; and Pan Lowther 63. 
 Newby [3]. — Heads: bearded Cam- 
 bridge 47. 53? Br. Chatsworth 4. 
 Deepdene 38. 44. 45. Holkham 47. 
 C. Howard 22. Ince 127. 160. 165. 
 166. London, Lansdowne 7. 8; Staf- 
 ford 2. Oxford 61. 181. 230. Pet- 
 worth 21. 22. Richmond 48.49. 64. 
 Rokeby 14. Rossie 10. 11. 18. Wil- 
 ton 4. 41. [93]- Woburn 178. youth- 
 ful Cambridge 8. Canterbury 143. 
 C. Howard 23. Ince 96. London, 
 Elcho. Oxford 180. 228. Petworth 
 p.617, no. 50. Rossie 5; archaistic 
 Petworth 20; winged Broadlands 25. 
 
SUBJECTS REPRESENTED. 
 
 797 
 
 Uncertain type Ince 169. — Reliefs: p. 
 ■201. Wilton 1 1 3 ! Woburn 189. 
 Birth of D. Ince 248; D. tended by 
 Nymphs Woburn 169; in fan Cam- 
 bridge 31; in Bacchic company Cam- 
 bridge 77. C. Howard 48. Ince 2 66. 
 London, Lansdowne 58 (bearded); 
 Soane 28. Richmond 1 ; triumphant 
 on chariot Cambridge 31. Ince 249. 
 London, Lansdowne 25; Soane 27. 
 Newby 34. Richmond 73. 75. Wo- 
 burn 61. 144; and Ariadne Blenheim 
 3. Newby 34. Richmond 73. Newby 
 61 ; leaning on Eros Br. Richmond 
 34; and Satyr Ince 225. D. assisting 
 at Persephone’s return from Hades 
 Wilton 137. D. and Horae Wilton 
 1. D. represented by Eros London, 
 Mellhuish. Statue of bearded D. 
 London, Soane 29. Mask of D. Ince 
 388 ; bearded Oxford 220.241. Rich- 
 mond 82. Br. Stanmore 16. War- 
 wick r ; youthful Edinburgh, Murray 
 3. Warwick 1. Wilton 155 
 
 Dionysos, symbols of, see Bacchic sym- 
 bols 
 
 Dioskuroi St. Marbury 17. Br. C. 
 Howard 61? Stanmore 6. — II. 
 Houghton 13. C. Howard 29. Ince 
 198, 199. Petworth p. 617, no. 37. — 
 R. London, S. Kensington 14. Ince 
 271. 272; on sepulchral monuments 
 Ince 233. 264. 265. 337. Rossie 83. 
 Wilton 129; assisting at hunt of Ka- 
 lydonianboar Broadlands 21. Rich- 
 mond 57. Woburn 61. — Mirror 
 Rossie 143 ? 
 
 Diptychs of ivory Liverpool p. 428. 
 Narford 
 
 Disks of marble with reliefs Cambridge 
 70 — 72. Holkham 52. London, 
 Lansdowne 69. Marbury 39. Wo- 
 burn 92. 94 
 
 Diskobolos after Myron St. London, 
 Lansdowne 89; similar type Br. 
 Richmond 38; Attic type (after Alka- 
 menes?) St. Duncombe 2 
 
 Doe near Eros R. Woburn 92 ; near 
 man R. Brocklesby 1 1 1 
 
 Dog Br. Chatsworth 2. St. Deepdene 
 2i. 23. Duncombe 1. Shepherd’s 
 dog R. Oxford 118. Woburn 86. 
 D. in hunting scene R. Ince 244. 
 246. 307. 393. Lowther 43. Rich- 
 mond 81. Rossie 80. Woburn 6r. 
 no. D. on sepulchral reliefs Cam- 
 bridge 21. 22. 24. in. Ince 239. 
 London, Lansdowne 73. Oxford 204. 
 206. 208. D. near Artemis St. 
 Oxford 23. Petworth 52 ; drawing 
 Eros’ chariot R. Lowther 47; near 
 Seilenos St. Cambridge [35]; near 
 Silvanus St. Rokeby 8 ; forming part 
 of Skylla’s body St. Oxford 33 
 Dog’s head in capital of pilaster R. Ox- 
 ford 123. 124 
 
 Doll in hand of girl R. Winton 1 
 Dolon T. Liverpool 24 
 Dolphins ornamental R. Ince 283. 
 Oxford 241 ; on Corinthian capital R. 
 Ince 304; on prow of ship London, 
 Lansdowne 76 ; incised on marble 
 Cambridge 13; on sepulchral reliefs 
 Ince 317. 332. 342. Liverpool ir. 
 D. carrying boy T. Woburn 237, 
 female Mirror Richmond 36. D. 
 attribute of Aphrodite St. Ince 36. 
 Newby 6. Richmond 41, seizing a 
 cuttlefish St. Richmond 2 ; of Eros 
 St. Ince 26. Br. 66. T. Liverpool 
 21. St. Oxford 157. 1 6 1 ; of draped 
 man Si. Wilton 56; of nymphs R. 
 Ince 282 ; of Poseidon St. Cambridge 
 104. Holkham 18, combined with 
 attributes of other deities Br. Rich- 
 mond 25. D. in circus R. Ince 
 255. Lowther 45. 46 
 Door of marble Brocklesby 9. Door on 
 sepulchral reliefs Ince 232. 317. 318. 
 326. 396. Oxford 213. Rossie 79. 
 Wilton 60 
 
 Double terminal busts, Bacchic Broad- 
 lands 16. Cambridge 50. 51. 59. 
 Ince 160. London, Lansdowne 7. 8. 
 107. Petworth 22. Pipbrook 3. 4. 
 Richmond 48. Rossie 11. 18. Wil- 
 ton 34. [36.] 41 ; male with helmets 
 Ince hi. Richmond 47; male and 
 
798 
 
 INDEX III. 
 
 female Ince 1 1 2 ; female Cambridge 
 38. Ince 206. Oxford 227; of 
 Aristophanes and Menandros Wilton 
 35 ; of Epikuros and Metrodoros 
 [Ramsgate] 
 
 Dove St. Woburn 133; attribute of 
 Aphrodite T. Canterbury 13. R. 
 Lowther 42 ; in hands of girl R. 
 Brocklesby 17 (§ 66). Richmond 10 
 
 Drapery (?) hanging from tree R. Roke- 
 by 1 
 
 Drapery, female, fastened under r. arm- 
 pit with a cord St. Deepdene 7. Wil- 
 ton 159 
 
 Ducks in hand of Winter St. Petworth 
 16 
 
 Eagle St. London, Wemyss (§ 41). R. 
 Ince 381 ; supporting arms of chair 
 London, Lansdowne 26 ; on candela- 
 brum R. Oxford 224. 241 ; on sepul- 
 chral monuments, frequently ; de- 
 vouring hare R. Blenheim 1 ; and 
 snake A’. Ince 318. E. with wings 
 terminating in snakes R. Wilton 120. 
 E. on garment of Ephesian Artemis 
 London, Soane 3 ; on hand of Zeus 
 R. Wilton 48. 1 1 3. See Ganymedes. 
 Zeus 
 
 Eagle’s head as ornament of leg of 
 chair London, Lansdowne 20; on 
 handle of sword Windsor 4 
 
 Ears on votive relief Woburn 193 
 
 Ears of corn, attribute of Demeter St. 
 Lowther 68; in hand of priestess R. 
 Oxford 1 49 
 
 Eggs (ova) in circus R. Ince 255. Lon- 
 don Soane 32. Lowther 45. 46 
 
 Egyptian sculptures Rokeby p. 647. 
 Idols St. Ince 61. 75. London, 
 Lansdowne 76 a. b. Woburn 65. 
 Architectural St. Deepdene 25; H. 
 Wilton 99. Portrait of Hefeknecht 
 St. Wilton 74. Priest St. Brocklesby 
 109. Priestess St. Wentworth Castle 
 2. Female St. Ince 53. 56. Relief 
 Ince 295. Sarcophagus London, 
 Soane 39 
 
 Elektra St. Marbury 6? 
 
 Elephant in Bacchic procession R. Cam- 
 bridge 31. Newby 34. Woburn 144. 
 E.’s heads on candelabrum Oxford 
 242. E.’s hide on bust of Africa 
 Broadlands 19 
 
 Emperor in triumphal procession Gem 
 Bignor 3. See Portraits 
 
 Endymion and Selene R. Porta Aurea 
 p. 189. Warwick 2. Woburn 86 
 
 Enigmatic relief Deepdene 42 
 
 Eos looking at Alkmene’s funeral pyre 
 V. C. Howard 66 
 
 ErinysZ?;-. C. Howard 60; near Althaea 
 R. Wilton 61; on Etruscan urns 
 Cambridge 80. Liverpool 12. 13 
 
 Eros. Statues: standing Cambridge 5. 
 Marbury 7. Oxford 160. Woburn 
 204; resting on torch Oxford 35? 36; 
 stringing his bow Brocklesby 1 1 3. C. 
 Howard 7. Ince 193. Wilton 124; 
 having shot an arrow? C. Howard 6 ; 
 plucking grapes Richmond 3. Newby 
 20; flitting through the vine Rich- 
 mond 3; dragging Ilerakles’ arms 
 Brocklesby 82 ; travesting Herakles 
 Knole 5. London, Lansdowne 57; 
 sitting on ground London, Apsley 9; 
 sitting asleep London, Soane 4; lying 
 asleep Broadlands 29. Ince 74. 
 Knole 5. London, Lansdowne no. 
 Lowther 66. 67. Oxford 37. 162. 
 Wilton 112. 136. Woburn 82, with 
 a lion near him Rossie 4; with attri- 
 butes of earth and sea Ince 26 ; with 
 dolphin Br. Richmond 25?; sitting 
 on dolphin T. Liverpool 21. Oxford 
 1 6 1 , near Aphrodite Oxford 157. E. 
 and Aphrodite Boynton 3. Edin- 
 burgh, Murray 5. Oxford 157. Rich- 
 mond 40; and Dionysos Brocklesby 
 90; on Hygieia’s arms Lowther 4; 
 and Psyche Deepdene 22. London, 
 Lansdowne 70, near Aphrodite Ox- 
 ford 156; enchained by Psyche Wil- 
 ton 146. Term of Eros Newby 28. — 
 Reliefs: Cupids playing Richmond 76 ; 
 driving a hoop Oxford 1 1 5 ; frighten- 
 ing his companions with mask Ince 
 378; revelling Knole 14; collecting 
 
SUBJECTS REPRESENTED. 
 
 799 
 
 fruits Richmond 74; gathering 
 quinces Ince 296 ; weaving wreath 
 Richmond 74 ; making music Rich- 
 mond 74; blowing tuba Ince 335; 
 playing with arms Oxford 1 1 3 ; 
 armourers London, Holland ; Lans- 
 downe 98; busy at stove Rossie 55; 
 hunting Lowther 43 ; wrestling Ince 
 335 ; racing Ince 247. 255. London, 
 Soane 32. Lowther 45. 46; riding 
 with palm branch Ince 256. 257; on 
 chariots drawn by different animals 
 Lowther 47; on dolphin Ince 233; 
 on marine animals Ince 254 ; among 
 sea-monsters London, Lansdowne 76. 
 Oxford 120; reposing on doe Woburn 
 92. Cupids on sepulchral monuments, 
 frequently'; sitting asleep London, 
 Lansdowne 7 1 ; leaning on torch Ince 
 363- 37 i- 375 - 396 - Richmond 77. 
 78, etc.; holding torch Ince 377. 
 Wilton 198, etc.; holding shield 
 Wilton 104; holding inscription, Lon- 
 don, Lansdowne 100, etc.; occupied 
 about a deceased man Richmond 74. 
 E. in Bacchic scenes Blenheim 3. Ince 
 266. London, Lansdowne 25 ; Mell- 
 huish. Woburn 61 ; playingwith lion 
 Newby 34; riding on panther Rich- 
 mond 75 ; supporting Dionysos Br. 
 Richmond 34; on Centaur’s back 
 Newby 34. Richmond 73; wrestling 
 with Pan Cambridge 31. Newby 34. 
 Richmond 73; carrying away Pan 
 Cambridge 31. Eros and Psyche 
 London, Lansdowne 100. Eros com- 
 panion of Aphrodite Br. Bignor 1. 
 Ince 262. 376. London, Lansdowne 
 74. Br. Richmond 35 ; of Graces 
 Wilton 49; of Nereids Wilton 115; 
 of Seasons Rossie 76. Wilton 138; 
 of Tyche Richmond 1 ; of triumphal 
 procession Gem Bignor 3. Eros 
 assisting at scenes of love : Achilleus 
 and Deidameia Woburn 117; An- 
 chises and Aphrodite Br. Bignor 1 ; 
 Endymion and Selene Porta Aurea 
 p. 190. Woburn 86; Meleagros and 
 Atalante Woburn no; Paris and 
 
 Helena Marbury 36; rape of Perse- 
 phone London, Lansdowne 77 ; Soane 
 26. Cupids travesting rape of Per- 
 sephone Holkham 50. Cupids 
 ending in foliage C. Howard 52. 
 Statue of Eros Ince 305? — Painting: 
 Eros attending a female Oxford 129. 
 See Boy 
 
 Eteokles and Polyneikes R. Liverpool 
 i3 
 
 Etruscan bronzes C. Howard 58. Lon- 
 don, Bale. Richmond 33 — 36. Rossie 
 144. Stanmore 10 — 13. 16. Mirrors : 
 Cambridge p. 268. Liverpool 16 — 
 18. Pipbrook. Richmond 36. Rossie 
 143; with raised outlines Liverpool 
 [20]. Mirror case Liverpool 19. Rich- 
 mond 34. 35 
 
 Etruscan sepulchral urns Pippbrook 7 ; 
 Oedipus and Laios Liverpool 12?; 
 Eteokles and Polyneikes Liverpool 
 13; battle scenes Lowther 96. Rich- 
 mond 61; quadriga and warriors 
 Lowther 97 ; man and wife Cam- 
 bridge 80 
 
 Euterpe St. Lowther 5. See Muses 
 
 Evil eye R. Woburn 99 
 
 Eyes of ivory in marble statue Deep- 
 dene 39 
 
 Faces blocked out on sarcophagi Wilton 
 129. Woburn 86 
 
 Family scene on Roman cippus R. Ince 
 302 
 
 Fan ( vannus ) on Seilenos’ head St. Pet- 
 worth 54 ; used in Bacchic scenes R. 
 Broadlands n. Cambridge 31. Wo- 
 burn 61 
 
 Fate see Moira 
 
 Fathom (opyvia), youth showing length 
 of, R. Oxford 83 
 
 Faun see Pan. Satyr. Seilenos 
 
 Fawn attribute of Hera? St. Boynton 
 1 ; mangled in Bacchic scene R. 
 Newby 34 
 
 Female figures. Statues: Archaistic 
 Deepdene 12. 13. 32; enigmatical 
 Ince 24; standing Brocklesby 37. 
 Deepdene 37. Osterley 2 ; leaning on 
 
8oo 
 
 INDEX III. , 
 
 column Liverpool 3 ; dancing T. 
 Canterbury 14. 16; sitting Broadlands 
 28. Cambridge 36. Torsos Edin- 
 burgh, R. Inst. p. 299. Woburn 130. 
 131. Females supporting pedestal 
 Oxford 237. “Pregnant woman” 
 Ince 54. Woman and child Cam- 
 bridge 34. Oxford 240. See Por- 
 traits. — Heads, ideal, Cambridge 61. 
 C. Howard 26. London, Lansdowne 
 52; Soane 11. Newby 26. Oxford 
 60. Petworth 29. Rossie 8. Wilton 
 [73]. Woburn 258; on bronze weight 
 Richmond 3 1. Gems: Rossie 152. 154. 
 1 Co. — Reliefs: female with bird 
 Brocklesby 17. Wilton 198; with 
 mirror Ketteringham 1 ; near cande- 
 labrum Ince 251 ; feeding snake 
 Rokeby 1; dancing Ince 218. Wim- 
 bledon 1 ; sitting Cambridge [101] ; 
 sitting not at foot but at head of couch 
 Ince 261 ; lying on death-bed Cam- 
 bridge 85 ; mourning Lowther 44 ; 
 playing flute on funeral occasion 
 Broadlands 3. Ince 232. Female 
 with palm branch on garment of 
 Ephesian Artemis Wilton 95 ; winged, 
 as above, Wilton 95; on Etruscan 
 mirror Cambridge p. 268. Liverpool 
 16. See Girl 
 
 Fence enclosing wild beasts R. Ince 244 
 
 Fibulae Br. Rossie 146 
 
 Figures ending in foliage R. C. Howard 
 52. London, Lansdowne 76. Wo- 
 burn 173 
 
 Fillets, -woollen (vittae), round ompha- 
 los Newby 39; adorning sacrificial 
 bull R. Ince 277; adorning a tree 
 R. Ince 291; encircling comucopiae 
 of Tyche Holkham 42. F. and 
 wreath combined H. London, Lans- 
 downe, 62 
 
 Fish, fragment of, St. Cambridge 13? 
 Fish lying on three-legged table R. 
 Deepdene 42 
 
 Fisherman St. Ince 47 
 
 Flora St. Lowther 6. Oxford 1 1 ! 
 Stourhead 2. If. Tnce 107? Os- 
 borne 4? 
 
 Flower on garment of Ephesian Arte- 
 mis. London, Soane 3. See Rose 
 Flute played by Orpheus R. Knole 16 
 Flute-player, female, on funeral occa- 
 sion R. Broadlands 3. Ince 232 
 Foot of marble Brocklesby 7 6. Ox- 
 ford 176. Woburn 136. 137 
 Foot-measure, for the use of architects, 
 R. Oxford 83 
 
 Foot, Roman, derived from Greek ar- 
 chitects’ foot Oxford 83 
 Fountain decoration St. Aphrodite 
 Ince 36. Newby 6? Newby 6; boy 
 with pitcher St Ann’s Hill 5 ; Eros 
 London, Soane 4. Oxford 161. Wil- 
 ton 1 12; Narkissos Rossie 1; Nile 
 Holkham 41; Nymph Marbury 13. 
 Oxford 10? Wilton 8; Seilenos 
 Newby 1 
 
 Fringed cloak of Aphrodite St. Rich- 
 mond 2 ; fr. chiton in Oriental cos- 
 tume St. Petworth 56 
 Fury see Erinys 
 
 “Galatea” St. Ince 36. Newby 6 
 Ganymedes St. Deepdene 24? London, 
 Lansdowne 39? Margam 7? Newby 
 [5]. //. Cambridge 44? Br. Ince 
 1 70 ? Woburn 129? G. and eagle 
 St. London, S. Kensington 3. Pet- 
 worth 1 ; carried by eagle R. Can- 
 terbury 44. Antinous as Ganymedes 
 St. Deepdene 8 
 
 Geese in family scene R. Rokeby 2 ; in 
 hands of Eros R. Oxford 114; draw- 
 ing an owl Mosaic Brocklesby 43 
 Geison of pediment arched Oxford 148 
 Gems: Alnwick Castle (Beverley Col- 
 lection) see Addenda to p. 21 1; 
 Battlesden (Marlborough Coll.); 
 Brocklesby p. 240 (Worsley Coll.) ; 
 Cambridge p. 271 (King Coll.); C. 
 Howard p. 332; Ince p. 415; Lon- 
 don, Bale; Devonshire; Richmond 
 p. 643; Rossie 151 — 160; Windsor 
 pp. 717. 718. — Cameos: Bignor 3. 
 Rossie 151 — 153. Windsor 2. 4. In- 
 taglio rilievato Windsor 3. Inta- 
 glios: Rossie 154 — 179 
 
SUBJECTS REPRESENTED. 
 
 801 
 
 “ Germanicus’ tomb” Oxford 113. § 24 
 Giant with pointed ears St. Wilton k ; 
 serpent-legged, on shoulder-flap of 
 corslet R. Richmond 63. G. and 
 Zeus Gem Rossie 15 1; and Herakles, 
 imitated from Giants’ frieze of Perga- 
 mon, St. Wilton 5 
 
 Giraffe? in Bacchic scene R. Woburn 
 144 
 
 Girdle bound round breast of Nymph 
 (strop hioii) R. Ince 275; of chiton, 
 girt round hips St. Lowther 3. Ox- 
 ford 22 
 
 Girl H. London, Lansdowne 90. Pet- 
 worth 32. 48. Richmond 55. Ter- 
 minal figure London, Lansdowne 81. 
 Girl arranging her hair T. Richmond 
 14; dancing R. Richmond 66; with 
 garland R. Ince 304; with bird R. 
 Brocklesby 17. St. London, West- 
 macott 5. — See Child. Female. Por- 
 traits 
 
 Gladiator leading nude men R. Oxford 
 137?; attacking evil eye R. Woburn 
 99 
 
 Glass articles C. Ashby p. 211. Cam- 
 bridge p. 267 (from Cyprus). Hyde 
 p. 333. Ince 405. 406. Liverpool 
 p. 428. London, Hamilton. Pipp- 
 brook 
 
 Glaukos and Skylla P. Brocklesby 36 
 Globe with constellations, lying on tri- 
 pod, R. Woburn 148 
 Goat St. Broadlands 27; on sarcopha- 
 gus R. Wilton, 155; in Bacchic 
 scene R. London, Soane 29. Oxford 
 109. Woburn 144; and Satyr St. 
 Ince 35. R. Marbury 39; attribute 
 of Hermes St. Ince 29; listening to 
 Orpheus R. Ivnole 16 
 Goat’s skull on candelabrum Oxford 
 241 
 
 Goblet of silver Stanmore 20 
 Gold ornaments Liverpool p. 428. Lon- 
 don, Bale ; Burlington 
 Gorgoneion see Medusa’s head 
 Gorgons R. Stanmore 16. See Medusa 
 Graces R. Brocklesby u. Penrice. 
 Wilton 49 
 M. C. 
 
 Grapes, children treading, R. C. How- 
 ard 48. Woburn 147 
 
 Grasshopper R. Ince 300 
 
 Griffin, four legged, St. Ince 79; sitting 
 under chair R. London, Lansdowne 
 2 ; saci'ed to Apollo R. London, 
 Lansdowne 69. Gr. on sepulchral 
 reliefs Ince 276. 318. 333. 357. 363. 
 London, Holland; Lansdowne 16. 
 17; Soane 33. Lowther 44. Mar- 
 bury 43; near tripod Wilton 120. 
 1.17, grasping a ram’s head Ince 276. 
 Wilton 104. Gr. devouring stag R. 
 Woburn 69. Gr. on helmet of A- 
 thene R. Deepdene 39. Ince 402?; 
 on garment of Ephesian Artemis 
 London, Soane 3. Wilton 95 
 
 Hades, the deities of, R. Ince, 306. 
 See Pluto 
 
 Hammer on sepulchral monument R. 
 Woburn 132 
 
 Hare St. Ince 78; hunted R. Ince 307; 
 and eagle R. Blenheim 1 ; on sepul- 
 chral relief Richmond 74 ; held by 
 Bacchic boy R. Woburn 147 ; at- 
 tribute of Winter St. Petworth 16. 
 R. Wilton 138 
 
 Harpokrates St. London, Lansdowne 
 68 ? Oxford 35 ! R. Woburn 98 
 
 Head of hero Margam 14. Petworth 
 23; of heroine Petworth 27; of war- 
 rior Edinbui'gh, Ant. Mus. 13. Rossie 
 71. 137; youthful, of Lysippian style, 
 Ivnole 3. Plead indicating river god 
 R. Brocklesby 110 
 
 Head of different marble let into di'aped 
 statues London, Lansdowne 67. 
 Lowther 15. Petworth 5 
 
 Hebe R. Brocklesby 10? London, 
 Lansdowne 74? 
 
 Heifers on group of Pan and Daphnis 
 Petworth 12 
 
 Hekabe visiting Achilleus R. Woburn 
 219? 
 
 Plekate represented by three female 
 figures St. Cambridge 115?; leading 
 chariot of Persephone R. Wilton 
 137 
 
 51 
 
802 
 
 INDEX III. 
 
 Hektor taking leave of Andromache 
 Gem Rossie 159; killed by Achil- 
 leus R. Cambridge 76 ; bound to cha- 
 riot of Achilleus R. Woburn 219; 
 dragged by Achilleus R. Oxford in; 
 lying on bar of scales R. Woburn 219 
 
 Helena and Paris R ■ Marbury 36 
 
 Helenos Si. Petworth 56 ! 
 
 Helios St. Marbury 17 ; on his chariot 
 R. Woburn 86 ; and Winds R. Ince 
 221 
 
 Hellenistic art : Aphrodite St. Newby 
 6 ; Dionysos and Maenad St. Mar- 
 bury 8 ; Eros in vine St. Richmond 
 3; Eros and Psyche St. London, 
 Lansdowne 70 ; Hermes-Iason St. 
 London, Lansdowne 85 ; heroic 
 head Margarn 14 
 
 Helmet ornamented with figures on 
 horseback C. Howard 21 ; of Athene? 
 Ince 402. H. of Ares combined 
 with attributes of other gods Br. 
 Richmond 25 
 
 Hen on sepulchral relief Wilton 155 
 
 Hephaestos implored by nymphs R. 
 Ince [282] ; with other deities R. 
 Liverpool [23] 
 
 Hera. Statues: seated T. Canterbury 
 5. 6. Cambridge 36 ! London, Lans- 
 downe 87 ! standing, with fawn 
 Boynton r (§ 59)?; Farnese type Pet- 
 worth 4; Loriurn type Holkham 34?; 
 other types Holkham 33 ! Ince 3 ! 
 Stourhead 1. — Heads: from Girgenti 
 § 95 ; Cambridge 9 ? Ince 129 ! 167 ! 
 173. London, S. Kensington 19! 
 Petworth 27? — Reliefs: Hera assist- 
 ing at birth of Dionysos R. Ince 248; 
 and Zeus Cambridge 68. Knole 15. 
 London, S. Kensington 13? 
 
 Herakles. Statues: H. as child, with 
 snakes Wilton 132 ! youthful, in 
 style of Lysippos, London, Lans- 
 downe 61. Oxford 39? Br. Stan- 
 more 5. bearded Wilton 1 c ; with 
 cornucopiae Richmond 3 a ; drunk 
 Brocklesby 1 12. Br. Cambridge, 102. 
 Margam 4; in repose (Farnese type) 
 London, Lansdowne 74, travested by 
 
 boy London, Lansdowne 57, by Seile- 
 nos Deepdene 18. Of uncertain age 
 Br. C. Howard57. 63. London, Soane 
 2. Br. Lowther 98. Richmond 43 ? 
 Rokeby 15. Rossie 2. Br. 139. 
 140. Br. Stanmore 15. Wilton 96? 
 IL invictus, seated, with corslet and 
 shield, Liverpool 2. — H. and lion 
 Oxford 38 ; and stag Br. Hovingham 
 3 ; and Antaeos Br. Hovingham 2. 
 Marbury 14. Wilton 223; and Giant 
 Wilton 5 ; and Satyr Wilton 175. — 
 Heads: Brocklesby 102. Ickworth 1; 
 youthful Brocklesby 33. 74. Hough- 
 ton 7. C. Howard 27; Ince 114. 
 117! 163! London, Stafford 4. Ros- 
 sie 12. Woburn 80; bearded Ince 
 97. London, S. Kensington 6. New- 
 by 9. Warwick 3. — Reliefs: Oxford 
 242. Gem Rossie 143; recumbent 
 Brocklesby 23. Oxford 135. birth 
 of H. Ince 248? stories of H. Porta 
 Aurea p. 189. IP. and bull T. Rich- 
 mond 1 7 ; and Centaur Oxford 202 ; 
 and Hydra Oxford 202 (H. infant). 
 T. Richmond 16; and lion T. Rich- 
 mond 15; and snakes Oxford 202?; 
 and Stymphalian birds Oxford 202 ; 
 in Bacchic company Porta Aurea p. 
 190. Blenheim 3. Ince 275. Wo- 
 burn 144; in Hades Ince 310? term, 
 of H. on sepulchral relief Ince 260 ; 
 mask of H. Richmond 82. — IP. and 
 Plesperid Mosaic Wilton [27]; and 
 Nereid Mirror Richmond 36? — at- 
 tributes of H. R. London, Soane 24. 
 Oxford 202; given to Eros St. Knole 
 5. Lowther 67; cuirass and shield 
 of H. St. Liverpool 2 
 Herdsman St. Marbury 16; in Phry- 
 gian costume Wilton 231 ; and cattle 
 R. Ince 287. 391. Knole 17. Oxford 
 1 18. Rossie 83. Woburn 86 
 Ilermaphroditos standing St. Deepdene 
 26. Oxford 34; terminal figure New- 
 by 28!; recumbent A?. London, Lans- 
 downe 12. Wilton [204]; suckling 
 infants St. Ince 25 ; and Satyr St. 
 Ince 30 
 
SUBJECTS REPRESENTED. 
 
 803 
 
 Hermeros St. Newby 28 
 Hermes. Statties : Duncombe 6. 10. 
 H. Kriophoros Wilton 144; Belve- 
 dere type London, Lansdowne 65. 
 Wilton 13?; tying his sandal London, 
 Lansdowne 85 ; different types of 
 standing PI. Ince 28. 29. London, 
 Lansdowne 35. Br. Richmond 21. 22. 
 23? Rokeby 7! Shobden (§ 59). 
 Wilton 14!; seated Br. Bignor 2; as 
 a boy Ince 27. — Heads: Petworth 25 ? 
 Wilton 200?; Belvedere type Petworth 
 
 [26] ; with petasos Broadlands ^ 
 Ince 106. 157. London, Lansdowne 
 88. Oxford 229 ; with helmet Rich- 
 mond 47? — Reliefs: T. Canterbury 
 43. London, Soane 34 ; H. bearded 
 Wilton 113 ; with many attributes 
 Rossie 91 ; bust of H. Brocklesby 66 ; 
 PI. with other deities T. Liverpool 
 [23]; with infernal deities Ince 306 ; 
 assisting at birth of Dionysos Ince 
 248 ; and Muses London, Lans- 
 downe 75; and nymphs Brocklesby 
 no; assisting at rape of Persephone 
 London, Soane 26; in scene of Trip - 
 tolemos Wilton 137? 
 
 Hermogenes, vase painter, Cambridge 
 p. 267 
 
 Hesperide and Herakles Mosaic Wilton 
 
 [ 27 ] 
 
 Hestia St. Cambridge 36! 37 1 II. 
 
 Ince 190? Ii. Wilton, 13 a. 113? 
 
 “ Hierodules” dancing Ii. Richmond 
 66 
 
 Hieroglyphics Ince 60. Wilton 74 
 Hippocampi carrying Nereids St. Ince 
 73 ; on reliefs Ince 253. 234. 367. 
 London, Lansdowne 27. 76. Lowther 
 49. Wilton 60. 1 15 
 
 Hippolytos and Phaedra R. Woburn 
 58; death of H. R. Liverpool 12? 
 “ Hippolytus-Virbius” St. Petworth 
 
 10 
 
 Hippopotamus, near Nile, Holkham 
 
 41 
 
 Historical scenes? R. Rossie 72. 82 
 Hoe used in palaestra R. Lowther 48 
 Hoplites drovtos R. Lowther 48 
 
 IPorae, four, R. Ince 221. Wilton 138; 
 of Spring and Summer Mosaic Rossie 
 136 ; of Spring and Winter R. Wilton 
 1 ; of Winter St. Petworth 16. See 
 Seasons. — Hora near Demeter R. 
 Wilton 137; near Selene R. Woburn 
 86; in scene of rape of Persephone 
 R. London, Lansdowne 77; ofTrip- 
 tolemos R. Wilton 137 
 Horace, cinerary urn of, Wilton [r e]. 
 § 27 
 
 Horse Z?7-. Stanmore 15; on Greek se- 
 pulchral relief Rossie 79 ; decorated 
 with amulets R. Ince 274. Wooden 
 horse of Troy R. Oxford 1 1 1 
 Horse’s head St. Pippbrook 6 ; on se- 
 pulchral reliefs Cambridge 18. Liver- 
 pool 7. Oxford 92. 143. 144. Wil- 
 ton rop ; in capital of pilaster Ox- 
 ford 123. 124 
 
 Horsemen R. Brocklesby 16. 42. 53. 
 St. Edinburgh, Ant. Mus. 22. R. 
 Edinburgh, Murray 1.2. St. Marbury 
 15; hunting R. Richmond 8r. — See 
 Sepulchral reliefs, Greek 
 Hunting scenes R. Ince 244. 252. 307. 
 393. London, Lansdowne 76 ; of Cu- 
 pids R. Lowther 43. See Ivalydon 
 Hyakinthos and Apollo St. Deep- 
 dene 4 
 
 Hydria, sepulchral Marbury 37 
 Hygieia. Statues: Ditchley. Ince [67]. 
 71 ! Pippbrook 1 ! ; Hope type Deep- 
 dene 7. London, Lansdowne 10; 
 different types Broadlands 14. C. 
 Howard 5. Ince 68. Oxford 30 ; 
 wearing Eros on her arm Lowther 4. — 
 Reliefs: seated Petworth 13?; stand- 
 ing Broadlands 4! Ince 289; with 
 Asklepios Brocklesby 10. Cambridge 
 16. Ivory Liverpool p. 428 
 Hypnos near Ariadne R. Blenheim 3 ; 
 near Endymion R. Woburn 86. See 
 Eros 
 
 “Iason” St. London, Lansdowne 85 
 Ibex hunted Ii. Ince 307. 393. Low- 
 ther 43; devoured by lion R. Wilton 
 
 1 1 1 
 
 51—2 
 
804 
 
 INDEX III. 
 
 Ibis St. Newby 40; holding a serpent 
 Mosaic Ince 41 1 
 
 Indian captives in Bacchic procession 
 R. Woburn 144 
 
 Inscription on vase of peculiar kind 
 Liverpool 27 
 
 “Inspection of female slave” R. Ox- 
 ford 1 10 
 
 Invalid sitting Br. Richmond 29 
 Io //. C. Howard 25 
 Iole H. Ince 94 ! 
 
 Iphigeneia H. Ince 1 1 8 ! ; in Tauris R. 
 Oxford 1 1 7 ? 
 
 Iris assisting at rape of Persephone R. 
 London, Soane 26 ; at Demeter’s 
 search of daughter R. London, Lans- 
 downe 77 
 
 Isis S/. Deepdene 37 ! Holkham 33 ! 
 Ince 33 — 55! 76! Br. Rossie 142. 
 H. Ince to8. 119! Petworth p. 617, 
 290? Rossie 15! R. Ince 393. 
 Head ornament of I. on Tyche’s head 
 R. Richmond 1 
 
 Isis, priest of, St. Ince 54 ; priestess of, 
 St. Ince 55. R. Ince 395? 
 
 Ivory. Casket with reliefs Richmond 
 1 ; diptychs Liverpool p. 428. Nar- 
 ford 
 
 Ivy wreath of Dionysos combined with 
 attributes of other gods Br. Rich- 
 mond 25 
 
 “Janus ” H. Lowther 25. Wilton 35 
 Jay looking into mirror Mosaic Ince 41 1 
 Jonah R. Rossie 149? 
 
 “Juno Sospita” H. London, S. Ken- 
 sington 18. — See Plera 
 Jupiter see Zeus 
 
 Kalathephoros St. Cambridge 1 ? 
 Kalathos on head of deceased man R. 
 Oxford 144. 145 ; and crescent on 
 head of Tyche St. Rokeby 6 
 Kalydonian boar, hunt of, R. Broad- 
 lands 21. Ince 246. Richmond 57. 
 Woburn 61. 1 10 
 Kanephoros St. Cambridge 1 ? 
 Kassandra H. Wilton 128 ! ; and Wood- 
 en 1 Iorse R. Oxford 1 1 1 
 
 Kekrops, daughters of, R. Brocklesby 
 i 10? 
 
 Kekryphalos of Ilygieia Deepdene 7. 
 London, Lansdowne 10; of Psyche 
 London, Lansdowne 70 
 Kentaur see Centaur 
 Kerberos in Hades R. Ince 306 ; near 
 Serapis St. Ince 38. 39. London, 
 Lansdowne 97 ; in scene of rape of 
 Persephone R. London, Soane 26 
 Kerkopithekos St. Brocklesby 8 
 Kid killed by Maenad R. Broadlands 
 5. 11. London, Lansdowne 58 
 King pursued by youth V. Liverpool 
 26 
 
 Kistophoros St. Cambridge 1. § 67 
 Kleio seated St. Oxford 32 ? 
 
 Kleomenes, sculptor, § 27 Wilton [87 ]. 
 124. 151. 139. 170 
 
 Klytaemnestra slain R. London, Soane 
 
 31 ? 
 
 Kriobolia? R. Deepdene 42 
 Krobylos C. Howard 46. Ince 1 5 
 Krupezion R. London, Lansdowne 25. 
 
 St. Marbury 22 ? Richmond 42 
 Kybele St. Brocklesby 30. Cambridge 
 3? 37? Ince 1 ? Richmond 7. //. 
 Holkham 22? R. Oxford 86. 13 1. 
 132. 159 
 
 Kynokephalos St. Ince 57 
 
 Laios and Oedipus R. Liverpool 12 ? 
 Lamps of terra cotta Canterbury 37 — 
 54. Edinburgh, Ant. Mus. p. 298. 
 C. Howard p. 332. Liverpool 27. p. 
 428. London, Guildhall. Oxford p. 
 592. Pippbrook. 
 
 Landscape treated picturesquely R. 
 Ince 290 
 
 Laurel wreath of Apollo combined with 
 attributes of other gods Richmond 
 23; on pedestal of statue of Apollo 
 Petworth 5 
 
 Leaden missiles for slings Liverpool p. 
 428 
 
 Leaping weights (d\T%>6 s) Petworth 9 ? 
 Leda and swan St. London, Lansdowne 
 78. Oxford 28. R. Ince 37S? 
 Lekythos, sepulchral, of marble, Cam- 
 
SUBJECTS REPRESENTED. 
 
 805 
 
 bridge 22. Oxford 95; on Attic se- 
 pulchral reliefs Cambridge 1 1 2. Ox- 
 ford y+ 
 
 Lelo H. Petworth 27? 
 
 Leukothea St. Cambridge 34 ! 
 
 Libera St. Boynton 1 ? H. Wilton 
 [ri a]! 
 
 Lion. Statues: crouching § 93. Ox- 
 ford 17. 128; tearing a bull C. How- 
 ard 19. 20; supporting Eros lying 
 asleep Rossie 4; Nemean 1 . and Ple- 
 rakles Oxford 38; lion's paw Cam- 
 bridge 12. — Reliefs: Lion hunted 
 
 Ince 393. Richmond 81 ; attacking 
 a man Ince 268 ; tearing its prey Ince 
 333, an ass Cambridge 91, a bear 
 Rossie 84, a boar Wilton 1 1 r. Wo- 
 burn 104, a bull Oxford 137, a horse 
 Ince 229. 274. Knole 16, an ibex 
 Wilton in; attacked by snake Ince 
 397 ; decorated with ribbon Ince 273, 
 with ribbon and bulla Ince 374; 
 winged, grasping ram’s head Marbury 
 45. L. in Bacchic scene Ince 249. 
 London, Soane 27. Newby 34. Wo- 
 burn 144 ; in lap of Ivybele Lowther 
 68. Oxford 86. 131. 132. 159. Rich- 
 mond 7. L. on arm of Ephesian Ar- 
 temis Wilton 95; attacking evil eye 
 Woburn 99; on sepulchral relief Ox- 
 ford 1 53. — Mosaics : Lion Rossie 136; 
 rending a panther Holkham 45 
 
 Lion’s head St. Ince 193. R. Ince 205. 
 372; in capital of pilaster Oxford 
 123. 124 ; on door Brocklesby 9. Ince 
 232. 304. 396. Wilton 60; on sarco- 
 phagus Blenheim 3. C. Howard 48. 
 Ince 229. Newby 34. Warwick 2 
 
 Lionesses drawing car of Dionysos R. 
 Woburn 144 
 
 Lizard Mosaic Rossie 1 36 ; near sleep- 
 ing nymph R. Wilton 8 
 
 Local deities as accessories of a statue 
 Oxford 38. 173 
 
 Lykomecles and his daughters R. Cam- 
 bridge 76. Oxford 218? Woburn 117 
 
 Lynx’s skin (?) on statue of Artemis 
 Petworth 52; of Dionysos Petworth 
 to 
 
 Lysikrates, ornaments from monument 
 of, Edinburgh, Ant. Mus. 23 
 
 Lysippos, style of : Herakles London, 
 Lansdowne 61; Theseus Ince 43; 
 head Knole 3 
 
 Maenad. Statues : Deepdene 30? Ince 
 33! 34? Marbury 10; dancing Brock- 
 lesby 23; supporting Dionysos Mar- 
 bury 8. — Heads : Holkham 5. Lon- 
 don, Mauley 2? Osborne 4? — Re- 
 liefs: Br. Edinburgh, Murray 4. 
 
 London, Lansdowne 74. Wilton 76; 
 neo- Attic style Broadlands 5. Lon- 
 don, Lansdowne 58. Newby 8. 
 Richmond 11 ; and youth C. Howard 
 46. M. in Bacchic scenes Blenheim 
 3. Broadlands 11. Brocklesby to8 a. 
 Cambridge 31. 77. C. Howard 48. 
 Ince 243. 249. 266. 288. 305. Lon- 
 don, Lansdowne 25. 58; Soane 28. 
 29; Newby 8. 34. Oxford 109. Rich- 
 mond 1 . Br. 34. 73. 75. Woburn 6r. 
 
 1 44; uncovered by Seilenos Oxford 
 r 10 
 
 Man sitting on tribune R. Rossie 82 
 
 “ Mantheos ” worshipping Zeus R. Wil- 
 ton 48 
 
 Marmor Parium § 11. 21 
 
 Mars see Ares 
 
 Masks R. Ince 390. 392. Oxford 122. 
 Richmond 82 ; Bacchic R. Cambridge 
 72. 73. Oxford 220. Rossie 69; comic 
 H. Cambridge 10. Ince 136. R. 387. 
 Oxford [174]; of Medusa? R. Cam- 
 bridge 74 ; theatrical T. Canterbury 
 7; tragic H. Ince 130. 131. 134. 134a. 
 Rossie 37. T. 150., with Phrygian 
 cap H. Woburn 62; of warrior H. 
 Brocklesby 32 ; of old woman R. 
 Rossie 44. Masks in Bacchic scenes 
 R. Newby 34. Woburn 144. Masks 
 on candelabra R. Oxford 224, Bacchic 
 Oxford 241, tragic Ince 241 ; on cin- 
 erary urns R. Ince 318. 338. Rossie 
 102 ; on cornice R. Ince 232, of 
 Triton Rossie 38 ; on sarcophagi, 
 Bacchic Cambridge 31. 76. Ince 223. 
 228. 278. London, Lansdowne 80 
 
8o6 
 
 INDEX III. 
 
 Wilton 155. Woburn 105, tragic Ince 
 2 33- 3°7- 333- 39 8 - Lowther 4 9. Ox- 
 ford 1 14. Wilton in. 155, with 
 crown Cambridge 79, with Phrygian 
 cap Cambridge 31. 86. Ince 253. 
 Oxford hi. Richmond 79. Wilton 
 137 ; on vases Ince 353. Warwick 
 
 1. Woburn 101. 147 ; see Medusa’s 
 head. Mask for use of vapour 
 bath London, Soane 35. Wilton 89. 
 — See Sarcophagi p. 817 
 
 Materials not common in sculpture. 
 Alabaster H. Cambridge 43. Ince 
 159. R. Liverpool 12. Lowther 96? 
 97. Wilton [195]. Sarcophagus Lon- 
 don, Soane 39 ; oriental St. Deepdene 
 25. C. Howard 17. R. Rossie 41. — 
 Basalt St. Brocklesby 109. Ince 56. 
 60. 75. II. Hamilton 6. Kingston 2. 
 Newby 36. 38. 43. Wilton 167. [193]? 
 R. London, Lansdowne 76? — Bi- 
 
 gio St. Cambridge 13. Ince 57. Os- 
 borne 3. R. Cambridge 80. Lowther 
 107. — - Crystal H. Petworth [p. 
 
 617, 290].— Giallo antico II. 
 Ince 1 66. — • Green stone Column 
 
 Cambridge 8. — Granite Trough 
 Wimbledon 4; grey spotted St. Ince 
 77; red St. Ince 58. 61. — Grey 
 
 marble in sepulchral monument of 
 Attic style Oxford 140. — Nero 
 antico SA Ince 51. London, Soane 
 
 2. Newby [32]. H. Hamilton 6. 
 
 Wilton [193]? R. London, Lans- 
 downe 76? 76 a? — Pavonazzetto 
 St. Ince [69. 70]. Richmond 46. H. 
 Newby [24]. Bath Newby 37. — 
 Peperino II. Ince 1S1. — - Porphyry 
 
 II Hamilton 3 — 5. Ince 216. 216 a. 
 385. London, Lansdowne 56. Pet- 
 worth [p. 617, 290]. R. Wilton 121. 
 Vase Richmond 13. — ■ Rosso an- 
 
 tico II. Ince 161. 165. Rossie 10. R. 
 Wilton [101]. Architecture Woburn 
 36 — 42. — Touchstone II. Wilton 
 
 [193]? — " Verde antico R. Wilton 
 
 [,2I] 
 
 Mausoleum sculptures § 92. 93 
 Measure, Greek, R. Oxford 83 
 
 Medallion ( clupeus ) with portrait Br. 
 Liverpool 15 (Drusus). Marbury 40 
 (Menandros). Richmond 65 (Greek 
 portrait). Br. Stanmore 17 (Agrip- 
 pina?). Woburn 33 (Vespasian). 34 
 (Hadrian); on sarcophagi Ince 223. 
 375- 397- Oxford 114. 116. Rich- 
 mond 73. Wilton hi. 143 
 Medeia at Kolchis R. Richmond 12? 
 
 and children R. Oxford 1 1 7 ? 
 Medusa’s head, averting evil, R. Cam- 
 bridge [92]. Ince 133. 135. 270? 
 Rossie 65 ; employed in architecture 
 Ince 379. 383. 389; on candelabrum 
 Oxford 241 ; on cross bands of female 
 figure Cambridge 1 ; on corslet Blen- 
 heim 1. Richmond 63; on door Ince 
 318. Wilton 60; on pedestal of 
 group Br. Richmond 37 ; on sepul- 
 chral monuments Cambridge 87. Ince 
 220. 238. 242. 301. 317. London, 
 Lansdowne 82. Lowther 49. Oxford 
 216; on shield Liverpool 7. Oxford 
 1 13. Richmond 58. 60. Rossie 40. 
 Wilton 61 ; on ship London, Lans- 
 downe 76 ; on vase Liverpool 24 
 Meleagros St. § 4. Holkham 20! R. 
 M. hunting the boar Broadlands 21. 
 Ince 246. Richmond 57. Woburnbi. 
 no; and Atalante Woburn no; 
 offering Wilton 129; and Thestiads 
 Wilton 61 ; dying Wilton 61 
 Melpomene St. Ince 18! London, West- 
 macott 2 
 
 Menelaos II. Petworth 23? 
 
 Mercury see Hermes 
 Mermaid on sepulchral relief Ince 317 
 Meta in Circus R. Ince 255. 373. Low- 
 ther 45; “Olympian” Lowther 94 
 Metal additions, dowel holes for, Deep- 
 dene 13. Ince 2. London, Lansdowne 
 15. 26. Oxford 54. 198. Richmond 
 68 
 
 Mine-workman Ii. Wobum 96? 
 Minerva see Athene 
 
 Miniatures of MS. of Terence, copied, 
 Windsor xxi ; of Vergil Windsor 
 XXll f. 
 
 Mirror, Greek, Br. Canterbury 13 1. 
 
SUBJECTS REPRESENTED. 
 
 807 
 
 Richmond 39 ; Etruscan see Etruscan 
 bronzes. M. in domestic scene V. 
 Canterbury 125. R. Ketteringham r. 
 Wilton 198 
 
 Missiles for slings, of lead, Liverpool p. 
 428 
 
 Modius see Kalathos 
 Moira near Althaea R. Wilton 61 
 Money found in glass urn Ince 405 
 Mosaics Brocldesby 43. Canterbury p. 
 276. Holkham 6. 7. 30.45. C. How- 
 ard 64. 65. Ince 410 — 413. Marbury 
 p. 515. Rossie 136 and Woburn 
 223. — Drawings of m. Windsor 
 
 xi — xxii. — Mosaic relief Wilton 
 
 [27]- § 27 
 
 Mother of the gods see Kybele 
 Mountain god R. Woburn 86. 144 
 Mullet Mosaic Rossie 136 
 Muses. Statues; § 19; standing Brock- 
 lesbyioS! Easton Neston 6 ? Rich- 
 mond 62? Wilton 10! 1 18?; seated 
 Ince 17? 18? ['9]? Newby 18. Ox- 
 ford 31 ? 32. Wilton ii 6? ii 7? 159? — • 
 Heads: Cambridge 48 1 Ince 107. 146 ! 
 London, Mauley 2? — Reliefs: Muses 
 with Apollo and Athene Woburn 
 148; with Athene and Hermes Lon- 
 don, Lansdowne 75 ; assisting at in- 
 terview of Helena and Paris Marbury 
 3<5 
 
 Myron, diskobolos of, St. London, Lans- 
 downe 89 ; youth anointing himself 
 Petworth 9 ? 
 
 Names symbolized by emblems : Taurus 
 C. Howard 50 
 
 Narkissos St. London, Lansdowne 41 ! 
 Rossie 1 
 
 Nebris borne by Eros St. Brocldesby 
 90. Newby 28 
 
 Negro St. p. 189. 191. H. Newby 
 43. Br. Stanmore .18 
 Nemea assisting at combat of Herakles 
 and lion St. Oxford 38 
 Nemesis St. Ince 33 ? 82 ! Wilton 10 ! 
 Neo-Attic art R. Broadlands 5. Lon- 
 don, Lansdowne 58. Newby 8. 
 Richmond r r 
 
 Nereids on sea-monsters St. -Ince 83. 
 R. Ince 376. Oxford 120. Rich- 
 mond 59. Wilton 1 15; carrying 
 arms of Achilleus R. Lowther 13. 
 Wilton 105; and Herakles Mirror 
 Richmond 36? 
 
 Net used in hunting scenes R. Ince 
 244. 307 
 
 Nikosthenes, vase painter, Richmond 
 P- 643 
 
 Nile St. Brocldesby p. 240. Holkham 
 41. Oxford 164. Woburn [180] 
 Nike Br. C. Howard 55. V. Liver- 
 pool 25; hieratic on votive relief 
 Ince 250 ; and altar V. Canterbury 
 1 13; sacrificing bull R. Woburn 236; 
 decorating tripod R. C. Howard 45?; 
 at tropaeum R. Newby 41 ; on biga 
 R. Cambridge 30. N. with Medusa’s 
 mask on head H. London, Hamil- 
 ton? N. leading Achilleus’ horses 
 R. Ince 279; assisting at Amazono- 
 machiaT?. Richmond 58 ; with Apollo 
 and Artemis R. Wilton [1 e] ; crown- 
 ing Barbarian chieftain R. Oxford 
 105?; accompanying Dionysos R. 
 Ince 249. Woburn 144, a victorious 
 emperor Gem Bignor 3, Zeus Mosaic 
 Ince 410. Victories ornamental R. 
 Richmond 66 ; holding a medallion 
 R. Ince 375. 397; on chariot of He- 
 lios R. Ince 221 ; on pedestal of bust 
 of Trajan R. Wilton 135. Nike on 
 hand of Athene St. Deepdene [39] ; 
 of Zeus Gem Rossie 1 58 
 Niobe H. Brocldesby 5 (§ 54). Oxford 
 62 ; daughter of -N. II. Woburn 125 ; 
 _son of N. II. Oxford 63. N. and 
 children R. Denton p. 294 and Roke- 
 by p. 647. London, Soane 31 ? 
 Wilton 163 
 
 Nurse (rpoepos) near dying Meleagros R. 
 Wilton 61 ; near daughters of Niobe 
 R. Wilton 163 ; near Phaedra R. 
 Woburn 58. — N. dedicating a 
 monument to her charge Liverpool 6 
 Nuts, boys playing at, R. Ince [247 a]. 
 
 London, Lansdowne 99. Newby 31 
 Nymph. Statues: n. 246; “Amymone” 
 
8o8 
 
 INDEX III. 
 
 Deepdene 35; “Anchyrrhoe ” Ince 
 37; with urn, different types, Broad- 
 lands x 2. London, Lansdowne 106. 
 Marburyi3. Wilton 130?; with shell 
 Richmond 2 a ; sleeping Knole 2. 
 London, Lansdowne 13. Oxford 165. 
 Wilton 8. N. of Artemis Marbury 
 4? Petworth 17? — Reliefs: Nymph 
 sleeping, on sepulchral monument, 
 London, Lansdow'ne 79; tending the 
 infant Dionysos Woburn 169; and 
 mountain god near sleeping Endy- 
 rnion Woburn 86 ; and Pan Ince 275 ; 
 Nymphs and Pan, on Attic reliefs, 
 Brocklesby no. Oxford 133?; and 
 Pegasos Porta Aurea p. 190. — Paint- 
 ing: Head of N. Rossie 161. — Mo- 
 saic : Nymph C. Howard 65 
 
 Dak wreath of Zeus H. Richmond 47 
 Obelisk of Piazza Navona, Rome, § 4. 
 
 Ob. in Circus Ah Lowther 45. 46 
 Odysseus at Skyros R. Cambridge 7 6. 
 Woburn 117; and Dolon T. Liver- 
 pool 24; leading Astyanax to death 
 R. Woburn 219 ; and Seirens R. 
 Canterbury 45. London, Lansdowne 
 76. Head of Od. R. Rossie 81 ? 
 Oedipus and Laios R. Liverpool 12 ? 
 Oeneus in scene of hunt of Kalydonian 
 boar R. Broadlands 21. Richmond 
 57. Woburn 61 ; present at Melea- 
 gros’ death-bed R. Wilton 61 
 Oenomaos and Pelops V. London, 
 Soane 38 
 
 Okeanos R. Ince 378; in scene of 
 Helios and Winds R. Ince 221?; 
 assisting at rape of Persephone R. 
 London, Soane 26 
 
 Olive tree entwined by sacred snake R. 
 
 London, Lansdowne 59 
 Olympos and Pan St. Petworth 12 ? 
 Omphale H. Ince 94? London, S. 
 Kensington 18 ! 
 
 Omphalos nearstatueofApollo Petworth 
 5 ; in cauldron of tripod Newby 39 
 Oriental costume of Anchises R. Bignor 
 
 1 
 
 Oriental priest St. Petworth 56? 
 
 Orpheus amongst beasts, playing on 
 flute R. Knole x6 ; amongst Satyrs 
 R. Ince 290 
 Orator? St. Wilton 97 
 Osiris St. Ince 65 ; between ,two ibises 
 T. Canterbury 12 
 Ova in Circus see Eggs 
 Owl on sepulchral relief Ince 237. 334 ; 
 adored by an Egyptian R. Ince [295]; 
 in chariot Mosaic Brocklesby 43 ; 
 attribute of Athene St. Newby 23. 
 R. London, Lansdowne 59. Woburn 
 148 
 
 Oxen getting fodder Mosaic Ince 412; 
 drawing cart R. Ince 307 ; drawing 
 plough R. Canterbury 172. Ince 293 ; 
 011 garment of Ephesian Artemis 
 London, Soane 3 ; attribute of Sum- 
 mer R. Ince 221 
 
 Ptedagogos of Meleagros R. Wilton 
 61 ; of sons of Niobe R. Wilton 163 
 Paintings, mural, § 29. Brocklesby 36 
 (Glaukos and Skylla). Oxford r29 
 (female and Eros). Rossie 16 1 
 (Nymph). Wilton 205. P. on mar- 
 ble, relics of, Cambridge 112. Draw- 
 ings of Holkham 62. Windsor xni. 
 xix. xxv 
 
 Palaestra of boys R. Lowther 48 
 Palaemon, head of, Br. Wilton 210 ! 
 Pan. Statues: Lowther 8. Margam 8. 
 Rossie 52 ; skipping in a vine Rich- 
 mond 3 ; leaning against pillar Cam- 
 bridge 4, against trunk Deepdene 
 27; with attributes of Silvanus 
 London, S. Kensington 4. Pan 
 elder and younger C. Howard 18. 
 
 P. and Daphnis (Olympos) Petworth 
 12; supporting Dionysos Lowther 
 63. Newby [3]; and Eros Richmond 
 3. — Heads: Cambridge [32. 60]. 
 Rossie 9. 14. Wilton 180? Woburn 
 [176]; sleeping London, Soane 9. — 
 Reliefs ; Cambridge 67 ; Pan in grotto 
 London, Lansdowne 15 ; with thorn 
 in foot Newby 34; in Bacchic com- 
 pany Blenheim 3. Cambridge 31.77. 
 C. Howard 48. Ince 249. 266. 305. 
 
SUBJECTS REPRESENTED. 
 
 London, Lansdowne 25; Mellhuish. 
 Oxford icq. Richmond 73. Woburn 
 61 ; wrestling with Eros Cambridge 
 31. Newby 34. Richmond 73; 
 leading the drunken Herakles I nee 
 2 75 ; and sleeping Nymph Ince 273 ; 
 and three Nymphs Brocklesby no. 
 Cambridge 115. P. with human 
 legs London, Lansdowne 25. Mask 
 of Pan on sarcophagi Ince 225. 278 ; 
 on vase Woburn ior. — - Mosaic C. 
 
 Howard 64 
 
 Paniska H . Wilton 180? 
 
 Paniskos in Bacchic company R. Wo- 
 burn 144 
 
 Pantheum signum Br. Richmond 
 25 
 
 Panther Mosaic Rossie 136 ; on sepul- 
 chral monuments R. Ince 324. Wil- 
 ton 104. 105 ; hunted R. Ince 252. 
 307. 393 ; assailed by Centaur R. 
 Ince 267 ; mangling a horse R. Low- 
 ther 43; in Bacchic scenes R. Blen- 
 heim 3. Cambridge 31. 72. 77. 
 Ince 229. 305. Mirror Liverpool r8. 
 R. London, Lansdowne 69;, Soane 
 28. Newby 34. Richmond 1. 73. 
 Woburn 61. 144 ; drawing chariot of 
 Dionysos R. Ince 249. Richmond 
 75. Woburn 61 ; sitting near Diony- 
 sos St. Deepdene 20. C. Howard 8. 
 R. Wilton 1 ; near Seilenos Wilton 
 106; drawing chariot of Eros R. 
 Lowther 47 ; near Season R. Rossie 
 76; forming part of Skylla’s body 
 Oxford 33 ? ; indicating transforma- 
 tion of Thetis Br. Richmond 37. — 
 Panther’s head at stern of ship R. 
 London, Lansdowne 76 ; on trapezo- 
 phoros R. Rossie 4 1 
 
 Paris. Statues: Easton Neston 7? 
 Hamilton 9? Ince [69. 70]. Lon- 
 don, Lansdowne 39? Lowther 65? 
 Marbury 16! Oxford 48! — Heads: 
 C. Howard 24? Woburn 129? — 
 Reliefs: Paris as shepherd, with 
 
 apple Ince 263; seated Rossie 78?; 
 listening to Eros London, Soane 30?; 
 and Helena Marbury 36. Richmond 
 
 809 
 
 12 ? ; kneeling on altar Br. Liverpool 
 
 >9 
 
 Paris, foster father of, St. Wilton 231 ! 
 Parthenon, fragments of, Cambridge 28 ! 
 Chatsworth 5. Deepdene 14 ! Lon- 
 don, Atkinson? Marbury p. 515 
 Pasiteles, youth in the style of, St. 
 Margam 5 
 
 Patroklos arming R. Woburn 219 ; P., 
 corpse of, brought back from battle 
 R. Woburn 219 
 
 Pedestal, round, Oxford 96 — 104? 237?; 
 triangular, with reliefs, of Athene 
 and Herakles Oxford 242, Bacchic 
 Broadlands 11. Newby 8. Wilton 
 76, of Seasons Woburn 173, of Vic- 
 tories Newby 41. See Altar. Cip- 
 pus. — Pedestals of statues moulded 
 Holkham 24. Ince 31 ; of unusual 
 shape Oxford 32 
 
 Pegasos R. C. Howard 67 ; and 
 Nymphs R. Porta Aurea p. 190 
 Peirene, nymph of,??. Porta Aurea p.,i9o 
 Peirithoos in Hades R. Ince 310 ? 
 Peleus embracing Thetis Br. Richmond 
 37 
 
 Peloponnesian art H. Ince 152? Ox- 
 ford 60 ? R. Wilton 48 ? 
 
 Pelops and Oenomaos V. London, 
 Soane 38 
 
 Penthesileia slain by Achilleus R. Cam- 
 bridge 76. Richmond 58 
 Persephone H. Ince 180 ! Rossie 7. 
 R. London, Soane 19 ? ; raped by 
 Pluto Brocklesby 66. Holkham 50. 
 Ince 281. London, Lansdowne 77 ; 
 Soane 26 ; standing near Pluto Ince 
 306 ; returning from Hades Wilton 
 137; taking leave from Demeter 
 Wilton 137 
 
 Perseus and Athene Mirror Liverpool 
 [20] 
 
 Phallus as symbol averting evil, near 
 Eros St. Cambridge 5 ; in fan R. 
 Brocklesby 11. Cambridge 71 
 Phaedra H. Wilton ire! ; and Iiip- 
 polytos R. Woburn 58 
 Phoenix warning Achilleus/?. Woburn 
 219 
 
8io 
 
 INDEX III. 
 
 Phoenix (bird) over flames A’. Deepdene 
 43? 
 
 Phosphoros preceding Selen£ A’. Wo- 
 burn 86 
 
 Phrygia St. Ince 42 
 Phrygian youth IP. Oxford [185]; R. 
 Rossie 68 ; to be sacrificed to avenge 
 Patroklos R. Woburn 3/9 ; attendant 
 of Priam Woburn 219. See Trojans 
 Phrygian cap borne by Winter Ince 
 245. — See Heads 
 Pictures see Paintings 
 Picturesque treatment of scenery R. 
 Ince 290 
 
 Pietas St. C. Howard 2 
 Pig led to sacrifice R. Oxford 203 ; 
 offered to deceased hero R. Oxford 
 144; held by attendant of sacrifice 
 St. Petworth 53 ; attribute of De- 
 meter St. Ince 1 
 
 I’lemochoe on cista Cambridge 1 ; on 
 sepulchral relief Richmond 67 
 Plinth, very low, usual in statues 
 coming from Asia Minor, London, 
 S. Kensington 1. 2. Oxford p. 543 
 Plough drawn by oxen R. Canterbury 
 172 
 
 Ploughman R. C. Howard 49. Ince 
 293 
 
 Pluto IP. London, S. Kensington 5 ? 
 Head of PI. R. London, Lansdowne 
 2. Woburn [182], PI. raping Per- 
 sephone see Persephone ; standing by 
 Persephone R. Ince 306; present in 
 scene of Triptolemos R. Wilton 137 
 Poeas and Herakles St. Wilton 175 ! 
 Polyeuktos, statue of Demosthenes by, 
 Knole 1 
 
 Polykleitos, style of : Amazon St. Lon- 
 don, Lansdowne 83. Oxford 24 ; 
 Llermes St. London, Lansdowne 35 ; 
 youth St. Tetworth 9. H. Wilton 200 
 Polyneikes and Eteokles R. Liverpool 23 
 Pomegranate T. Canterbury 35 
 Pomona St. Wilton 131 ! 
 
 Papa in scenes of sacrifice R. Ince 277, 
 Wilton 33 
 
 Porta Aurea at Constantinople, reliefs 
 of, pp. 189 f. 
 
 PORTRAITS. 
 
 A. Uncertain whether Greek 
 or Roman. 
 
 Male. Statues: nude Oxford 42; 
 with pallium Wilton 169; seated 
 Ince 64. 72. — Heads : C. Howard 
 43. Br. Ince 171; bald C. How- 
 ard 41. Rossie 138; bearded 
 London, Lansdowne 102. Oxford 
 [64]. 80. 82. Petworth 39; beard- 
 less Oxford [79]; young Ince 103. 
 London, Lansdowne 103. Oxford 
 81 ; boy Ince 202. Oxford 194. 
 Richmond 9. 28. Rossie 24. 27. — 
 Reliefs: bearded head Rossie 67; 
 head of boy Rossie 66 
 
 Female. Statues: Brocklesby 108. 
 Lowther 16. 17. — Heads: Broad- 
 lands 15. Brocklesby 96. Plough- 
 ton 1. Woburn 172. 191. 208; 
 girl London, Soane 13. Oxford 
 77. Rossie 29 
 
 Children. Pleads: Broadlands 24. 
 Br. Oxford [195]. Petworth 44. 
 64. Woburn 63. 115 
 
 B. Greek Portraits. 
 
 Alexander the Great St. Marbury 17 ! 
 H. Blenheim 1 (§ 29). Chatsworlh 
 i. Ince 178! 179! London, Aps- 
 ley [8]. Newby [24]. Wilton [2]!; 
 “dying” Hamilton 3 
 
 Alkibiades PI. Brocklesby 7? Wilton 
 [i73] ! 
 
 Agathemeros see Roman Portraits 
 “ Claudius” 
 
 Anakreon H. Wilton [15] ! 
 
 Antinous sec Roman Portraits, private 
 
 Apollonios of Tyana IP. Wilton 94 ! 
 (§ 2 7 ) 
 
 Aratos H. Wilton [16] ! 
 
 Archimedes St. Oxford 43 ! 
 
 Aristides St. Lowther 104 ! 
 
 Aristophanes IP. Wilton 20 ! 35 
 
 Aristoteles H. Wilton 7 1 
 
 Arsinoe PP. Kingston x. Petworth 
 p. 617, 290? Wilton [127]! 
 
SUBJECTS REPRESENTED. 
 
 8 1 1 
 
 Portraits (Greek) continued : 
 Asiaticus see Roman Portraits “ Mo- 
 dius ” 
 
 Asklepias St. Brocklesby 26 
 Berenik£ H. London, Hamilton ; 
 Lansdowne 37!; gold ring Stan- 
 more p. 659 
 
 Berosos see Barbarian Portraits 
 Chrestus see Roman Portraits “ Aure- 
 lius” 
 
 Cbrysippos St. Newby 7 ! 
 
 Demokritos IB. St Ann’s Hill 4 
 Demosthenes St standing Knole 1 ; 
 sitting Petworth 19 1 IB. Brocklesby 
 18. Rokeby 16 
 
 Diogenes H. Ince 177! Rokeby 16! 
 Epaminondas II. Lowther 99 ! 
 Epikuros St. Newby 7 ! H. [Rams- 
 gate]. Wilton 208 I 
 Eudamidas, son of Perdikkas, Br. 
 
 Richmond 29 
 Euripides H. Ince 138! 
 
 Herakleitos H. Wilton [216] ! 
 Hermarchos II. Brocklesby 70 ! Cam- 
 bridge 54 ! 
 
 Hesiodos H. Ince 208? 
 
 Homer St. Marbury 18 \ H. Br. § 17. 
 20. 29. 54. Ince 1 1 5. 168. Wilton 
 46. 84? Woburn 35. R. London, 
 Lansdowne 2 ; head Lowther 39 
 Karneades, head of, R. Holkham 51 
 Kleopatra H. Petworth 28 ! Wilton 
 122 ! R. Wilton [71] 
 
 Lykurgos H. Woburn 67 1 
 Lysias H. Holkham 48 
 Lysimachos H. Wilton 226? 
 Menandros H. Wilton 35. R. Head 
 Marbury 40 
 
 Metrodoros H. Marbury 33? [Rams- 
 gate.] Wilton 20 
 Miltiades H. Wilton [219]! 
 Pherekydes H. Brocklesby 72 ! 
 Philemon H. Wilton [39] ! 
 
 Philip of Macedon H. Ince 196 ! R. 
 
 Plead Cambridge [98] ! 
 
 Pindar II. Marbury 33 ! Oxford 66 ! 
 Wilton 65 ! 
 
 Plato IB. Br. Chatsworth 4 ! Lowther 
 18 ! Br. Oxford 233 ! Wilton 4 ! 
 
 Portraits (Greek) continued: 
 Polydeukion Term Oxford 177 
 Poseidonios IB. Ince 174? 
 
 Ptolemaeos son of Juba IB. Woburn 
 
 215 
 
 “Ptolemy” II. Ince 204. 21 1 
 Prusias H. Wilton [220] ! 
 
 Pyrrhos H. Wilton [183]! 
 
 “Sappho” H. St Ann’s Hill 1. 
 Brocklesby 12. 69. Cambridge 49. 
 Ince 102. 142. 206. London, 
 
 Lansdowne 45. Oxford 39. Wil- 
 ton 128. [227]. R. Ince 386. Wo- 
 burn 100 
 
 Sokrates H. Ince 137! Br. Oxford 
 232. Wilton 178 
 Solon H. Wilton 213 ! 
 
 Sophokles H. Brocklesby 2 ! Wilton 
 84? 
 
 Themistokles H. Wilton 233 ! 
 Theophrastos § 29 
 Thukydides II. Holkham 26. § 42 
 “ Xenokrates” § 29 
 
 UNKNOWN. 
 
 Male. Statues : standing Marbury 
 18. Richmond 44. Newby 7 ; 
 seated Ince 44. Newby 35. Pet- 
 worth 15. 19. — Term: Oxford 55. 
 — Heads: bearded Houghton 1 1. 14. 
 C. Howard 28. Ince 177. 208. 
 Knole 7. London, Lansdowne 95. 
 Petworth 30. 31? Wilton 7. [15]. 
 84. 208. Woburn 257; beardless 
 Ince 178. Oxford 66. Rossie 75 
 Female. Statues: standing Lon- 
 don, S. Kensington 1. 2. Oxford 
 1 — 12. 15. p. 543; seated Oxford 
 13. — Heads: London, Lansdowne 
 53? Oxford 59. Richmond 53?; 
 girl Newby 45 
 C. Roman Portraits. 
 
 I. EMPERORS AND IMPERIAL FAMILY. 
 
 Julius Caesar H. Edinburgh, 
 Ant. Mus. r6. Ince 101 ! 144! 
 Knole 11 ! Lowther 11. 28. 29.69. 
 Wilton [195] 1 Woburn 143! R, 
 Head Cambridge [93]. Plolkham 
 [46] 
 
8e 2 
 
 INDEX III. 
 
 Portraits (Roman) continued : 
 Augustus St. C. Howard 14. 
 Lowther 12. H. Cambridge 62! 
 Hamilton 4. Ince 89. 147 ! 154. 
 Kingston 2 ! Lowther 70. Newby 
 30. Warwick 5. Wilton 142 ! 
 Woburn 102! 
 
 Livia St. Wilton ri6! H. Ince 143! 
 
 London, Soane 15! Lowther 30 
 Agrippa H. Oxford 69. Woburn 54? 
 
 R. Head Cambridge [95] ! 
 Marcellus St. Ince 49 ! H. Knole 
 10! Osborne 1 ! Wilton 81 ! 
 Octavia H. Wilton 103!; the elder 
 Wilton 185 ! 
 
 Julia AT. Ince 104! Rokeby 16. Wo- 
 burn 32 ! 
 
 C. Caesar H. Ince 182 ! Lowther 22. 
 
 Wilton 191 ! 
 
 L. Caesar H. Ince 183 ! 
 
 Tiberius St. § 19. London, Lans- 
 downe 28 ! Margam 2. Wilton 
 169! H. Lowther 71. Wilton 
 186. Woburn 108 
 Drusus, head of, R. Liverpool 15 
 Antonia II. London, Crichton ; Lans- 
 downe 46? Wilton 25. Woburn 
 79 ? 
 
 Germanicus H. p. 197. Wilton 123! 
 Agrippina the elder H. Holkham 34 ! 
 Wilton 141 
 
 Caligula H. Br. § 41. Lowther 
 72. Richmond 8 ! Wilton [157. 
 218]; as a boy Newby 22. R. 
 Head Rossie 61 ? 
 
 Drusilla H. Wilton 189! 
 
 Caesonia H. Wilton 30 ! 
 
 Claudius H. Ince 124 ! 14S! Low- 
 ther 73. Oxford 187? Richmond 
 [9a]. Woburn 78? Gan Head 
 Windsor 4 
 
 Messalina H. Wilton [12]! 
 
 Britannicus H. Brocklesby 106 ! 
 Agrippina (the younger?) St. Pet- 
 worth 3 ! H. C. Howard 33. 
 Lowther 23. R. Plead Br. Stan- 
 more 17 
 
 Nero H. Ince 158. Ketteringham 
 4. Lowther 74. Rossie 20 ! Wil- 
 
 Portraits (Roman) continued: 
 
 ton [9]; young Lowther 31; as 
 boy Woburn 64! R. Head Cam- 
 bridge [94] 
 
 Poppaea H. Wilton 14 1 ! 
 
 Galba H. Lowther 32. 75. 76 
 Otho H. Cambridge 45! C. How- 
 ard 34. Ince 86 ! 217 b. Lowther 
 77. 100. Wilton [206] 
 
 Vitellius H. Ince 1 1 6. Br. Lon- 
 don, Apsley [7]; Lansdowne 56. 
 Lowther 33. Richmond [9 a]. 
 Wilton 42. [55. 207]. Woburn 
 
 [149! 
 
 Vespasian St. Marbury 24. H. 
 § 41. Hamilton 5. 6. Ince 139. 
 Lowther 79. 80. Wilton 67. R. 
 Head Woburn 33 
 
 Titus H. n. 425. Broadlands 18? 
 
 Lowther 90. Wilton 42 ! 
 
 Julia Titi f. H. Cambridge 58 ! Holk- 
 ham 8! Petworth p. 617, no. 45 
 Domitian H. Cambridge 42 ! C. 
 Howard 35. Ince 125! Lowther 
 91. Oxford 70. Woburn 220! 
 Nerva H. Lowther 92 
 Trajan St. Birmingham 1 (n. 174). 
 London, Lansdowne 30 ! ; seateil 
 Ince 72! H. St Ann’s Hill 2. 
 Houghton 4. Ince 172. 215. Low- 
 ther 34. Warwick 6. Wilton 134. 
 Woburn 66. 107 
 
 Plotina St. London, Lansdowne 33 ! 
 Marciana H. Ince 91 ! 
 
 Matidia H. Lowther 20. Wilton 
 [40]! Woburn 181 
 
 Hadrian H. Holkham 9? Hough- 
 ton 12. C. Howard 36. Ince 84. 
 London, Lansdowne 60. Mar- 
 bury [25]. Margam 9. Petworth 
 p. 617, no. 26? 47. Wilton 6? 
 Woburn 145? 184. R. Head 
 
 Woburn 34 
 
 Sabina St. Ince 54! London, Lans- 
 downe 33 ! Marbury 2 ! Wilton 
 164! H. Margam 11. Petworth 
 28! Woburn 185 
 Paulina II. Rokeby 16 
 L. Ursus H. London, Apsley 3 
 
SUBJECTS REPRESENTED. 
 
 8l 
 
 D 
 
 Portraits (Roman) continued: 
 
 L. Aelius II. Cambridge 65 ! Ince 
 122! Marbury 30! Petworth 33. 
 34? Wilton [179]. Woburn 109 
 Antinous see Private Personages 
 Antoninus Pius St. Deepdene 5 ! 
 H. Cambridge 40! Holkham 9? 
 C. Howard 37. Ince 90! Lon- 
 don, Lansdowne 51? 94. Mar- 
 bury 26. 27. Margarn 12. Pet- 
 worth p. 617, no. 46. Wilton 3. 
 6. [219]. Woburn 85. 198 
 Faustina -SV. n. 32. Newby 13!; the 
 elder Ince 51. Wilton 1 d. II. 
 Lowther 24. Wilton 47 ! ; the elder 
 Houghton 8. Ince 109. Petworth 
 59. 67? p. 617, no. 25. K. Head 
 Cambridge [99]. Wilton [11 b] 
 Marcus Aurelius St. C. How- 
 ard 16. Ince 50! London, Lans- 
 downe 63. Lowther 13! Petworth 
 56; young London, Lansdowne 
 34!; Westmacott 6. II. Cam- 
 bridge 41. Holkham 13. 39. 
 
 Houghton 3. Ince 98. 186. Lon- 
 don, Lansdowne 66. Lowther 2 1 . 
 Marbury 28. Petworth 35. Wil- 
 ton 11. [58]! Woburn 59. 97. 166; 
 young Rossie 23? 32. Wilton 
 
 142? R. On horseback Wilton 
 31 ! Head Wilton [1 1 b] 
 
 Faustina the younger II. Holkham 
 35! Ince 189. Woburn 121! 
 Annius Verus II. Holkham 11! Wil- 
 ton 88? 181 ! 
 
 Lucius Verus St. n. 423. Mar- 
 gam 1. H. Cambridge 63. Holk- 
 ham 31. 40. Ickwortii 2. London, 
 Apsley 5. Marbury 29. Rich- 
 mond 63. Rossie 26? Wilton 
 187! 201 
 
 Lucilla H. Newby 42. Osborne 6? 
 Wilton [93]! 
 
 Commodus St. § 19. London, 
 
 Lansdowne 6?; on horseback Br. 
 Stanmore 9. H. Cambridge 64 ! 
 Houghton 6. C. Howard 38. 
 Ince 122! Marbury 30? Woburn 
 222; young Houghton 9 
 
 Portraits (Roman) continued: 
 
 Marcia II. Wilton 188! 
 
 Pertinax H. Ince 138! Wilton 
 212 ! 
 
 Didius Julianus H. Wilton 
 1 1 ! 
 
 Didia Clara St. Wilton 117! II. 
 Ince 93. Petworth p. 617, no. 44. 
 Wilton [168]! 
 
 Clodius Albinus H. Ince 87 ! Pet- 
 worth 37? Woburn 145! 
 Septimius Severus St. Holkham 
 1. H. Houghton 5. C. Howard 
 39. Ince 85. London, Apsley 
 4. Marbury 31. Newby 19. Pet- 
 worth 36. p. 617, no. 28? Wilton 
 184. Woburn 77 
 
 Julia Domna St. Ince 52 ! II. Hough- 
 ton 15. Petworth 46! 65! Wil- 
 ton 197. [217]? 
 
 Caracalla H. Brocldesby 89. 
 Ince 217. Newby 17. Rossie 20? 
 Wilton 69 
 
 Geta St. London, Lansdowne 34 ! 
 Newby 4! H. Holkham 38. 
 C. Idoward 40. Lowther 93. 
 Wilton 881 Woburn 209?; as a 
 boy Plolkham 1 1 1 
 
 Diadumenianus H. Rossie 30! Wo- 
 burn 1 50 
 
 Elagabalus H. Ince 86! 
 
 Julia Paula H. Brocklesby 100 
 Alexander Severus II. Rossie 
 33 ; as a boy Wilton 79! 
 
 Julia Mammaea St. Holkham [4]! 
 H. Holkham 10. C. Howard 5. 
 Wilton 30 
 
 Pupienus II. Oxford 68 
 Gordianus III. H. Holkham 43 
 Philippus H. Holkham 32 
 Otacilia H. Rossie 31. Wilton 150! 
 Philippus the younger H. Ince 
 217 c? 
 
 Volusianus H. Wilton 63! 
 Gallienus H. Holkham 12! Pet- 
 worth 15? 
 
 Saloninus H. Holkham 43 ! 
 Constantinus Magnus H. Wilton 
 
8i4 
 
 INDEX III. 
 
 Portraits (Roman) continued: 
 
 Constantius II., head of, Gem 
 Windsor 4 ! 
 
 Emperor St. Holkham 55?; as 
 Hercules Ketteringham 2. II. 
 Ketteringham 3. Rokeby 16. K. 
 Head Cambridge [100] 
 
 Empress St. Birmingham 1 ; seated 
 Wilton 1 17? Woburn 55. H. 
 Houghton 2. Marbury 34. Pet- 
 worth 46. 65. Rokeby 16 
 
 II. PRIVATE PERSONAGES, ETC. 
 
 Antinous St. London, Lansdowne 35 1 
 Oxford 42! Wilton 13!; in Egyp- 
 tian fashion Osborne 3 ; as Gany- 
 medea Deepdene 8; as Vertumnus 
 Marbury 20. H. Knole 6. Lon- 
 don, Lansdowne 62 ! Petworth 58. 
 Wentworth House. Wilton 200!; 
 as Dionysos London, Lansdowne 
 64 ; in Egyptian costume H. Deep- 
 dene 28. London, Lansdowne 38 
 
 L. Antonius St. Holkham 36 (§ 34) ! 
 
 M. Antonius St. Duncombe 15! Wil- 
 ton 56! 
 
 Q. Aristaeus H. Ince 214 
 
 Asinius Pollio H. Wilton [16]! 
 
 P. Aurelius Appianus Chrestus Term 
 Oxfoi'd 178 
 
 L. Brutus AT. Holkham[i 4 ]. C. How- 
 ard 30! Petworth 31! Wilton 166 1 
 Woburn [153] 
 
 M. Brutus St. Newby 16! II. Boyn- 
 ton 2 (Add.) Knole [4]! Wilton 
 196! Woburn [154] 
 
 Cato (Censorius) H. Wilton 134! 
 
 Cato (Uticensis) H. Ince 150! Low- 
 ther 27. Woburn [89] 
 
 Cicero St. Oxford 45 (§ 24)! H. St 
 Ann’s Hill 3. Deepdene [33]. 
 Duncombe 7. C. Howard 32! 
 Ince 88! 100! London, Apsley 1. 
 Lowther 103. Oxford 239! Wil- 
 ton [193]! Woburn 183 
 
 Claudius Agathemerus, head of, R. 
 Oxford 155 
 
 Corbulo II. Lowther 36 
 
 Coriolanus II. Wilton 24 ! 
 
 Portraits (Roman) continued: 
 
 L. Cornelius praetor //. Holkham 
 
 53 ? 
 
 Dolabella H. Wilton 51 ! 
 
 Domitius Ahenobarbus H. C. How- 
 ard 44 ! 
 
 “Horatius Consular” H. Wilton 
 190 ! 
 
 Horace H. Duncombe 8! Wilton 
 [192]! 
 
 Lucanus H. Wilton [158]! 
 
 Maecenas H. Holkham 57! 
 
 Marcellus “consul” II. Wilton 202! 
 
 Marius St. Oxford 44 (§ 24) ! ; seated 
 Newby 35! H. Ince 216! 
 
 M. Modius Asiaticus, head of, Br. 
 London, Stafford [3]. Br. Oxford 
 [238]. Wilton [78] 
 
 Mummius p. 201 
 
 Numa Pompilius H. Wilton 7? 
 
 L. Papirius St. London, Stafford 1 
 
 Persius H. Wilton 6! Woburn 213! 
 
 Pompeius H. Ince [149] ! 176. Knole 
 12! Lowther 19! Wilton 29! 
 
 Porcia H. Wilton [57] ! 
 
 Regulus H. Brocklesby 27! 
 
 Scipio Africanus the elder St. Easton 
 Neston 1 ! H. C. Howard 31. 
 Ince 99 ! Warwick 4. Wilton 
 [213]. Gem Windsor 3? 
 
 Scipio Africanus the younger Si. 
 Easton Neston 2! 
 
 Scipio Asiaticus H. Wilton [no]! 
 
 Scipio Nasica II. Broadlands 17! 
 
 “Seneca,” usual type H. Br. Ince 
 2i7e. Holkham [17]. Richmond 
 30. Wilton [215]; uncommon 
 type II. Ince no; uncertain type 
 H. Lowther 35 
 
 Sulla H. Holkham 29 (§ 42)? Ince 
 216 a! Lowther 26! 
 
 Terentia H. Woburn 165 ! 
 
 Vergil H. Rokeby 16! 
 
 Vibius Varus H. Wilton [214. 222]! 
 
 III. UNKNOWN. 
 
 Male. Statues : in pallium Oxford 
 15. 16. 41. 43. 47. 53. 171; with 
 dolphin Wilton 56 ; in toga Easton 
 
SUBJECTS REPRESENTED. 
 
 8i 5 
 
 Portraits (Roman) continued: 
 
 Neston 5. Hamilton 8. Holkham 
 1. 31. 36. C. Howard 13. Ince 
 48. London, Lansdowne 29. 
 Lowther 14. Margam 2. Oxford 
 46. Petworth 55. 57; youth with 
 bulla Newby 4 ; boy Wilton 22, 
 in toga praetexta Ince 46. — Heads : 
 Holkham 54. Oxford [191]. 192. 
 Wilton 202 ; bearded Cambridge 
 [57]. Deepdene 31. Ince 140. 
 141. Knole 8. Marbury 32. Ox- 
 ford 67. Petworth 38. p. 617, no. 
 38. Woburn 174, elderly Wilton 
 29, young Petworth 40. Wilton 
 63 ; beardless Knole 13. Ince 
 217 a. d. f. London, Lansdowne 
 44. 47. 48. 54; Soane 16. Low- 
 ther p. 499. Margam 10. Oxford 
 190. Wilton [80]. Woburn 220; 
 elderly Oxford 188. Rossie 21. 
 Wilton 196. Woburn 139. 143; 
 young Knole 9. London, Lans- 
 downe 34. Petworth 71. p. 617, 
 no. 35. Rossie 19. 22. Woburn 
 259; boy Broadlands 23. C. How- 
 ard 42. Newby 44. Petworth 63. 
 Rossie 30. Wilton 79. [81]. 194. 
 Woburn 64. — Gem: bald headed, 
 beardless Windsor 3 
 F emale. Statues : standing Broad- 
 lands 13. Holkham 33 (§ 42). 
 C. Howard r.2. Ince 3. 4. Lon- 
 don, Lansdowne 49. Oxford 168 
 - — 170. Petworth 2. 11. Rich- 
 
 mond 54. Rossie 3. Woburn 17 1 ; 
 seated London, Lansdowne 87. 
 Lowther 15. Oxford 14. Wilton 
 1 16. 117, with attributes of differ- 
 ent goddesses Lowther 68; recum- 
 bent Oxford 166. [167], on lid of 
 sarcophagus London, Lansdowne 
 105. — Heads: Brocklesby [84]. 
 
 Deepdene 15. Ince 95.118. Lon- 
 don, Lansdowne 50. 55; Soane 14. 
 Newby 21. Oxford 74 — 76. 197 
 
 — 200. Petworth 45. 47. 60 — 62. 
 66 — 70. p. 617, no. 24. Rich- 
 mond 52. Rossie 25. 28. Wilton 
 
 Portraits (Roman) continued: 
 
 66; girl Llolkham 60. Wilton 47. 
 16 r 
 
 Children. H. Margam 15. Wil- 
 ton 1 8 x ; with bulla Petworth 41. 
 K. on sarcophagus Oxford 1 1 5 
 
 D. Barbarian Portraits. 
 Anacharsis H. Wilton [174]! 
 
 Berosos H. Ince 128? 
 
 Hefeknecht St. Wilson 74 
 Masinissa H. Wilton [182]! 
 Semiramis H. Wilton [22 r] ! 
 
 Sesostris H. Wilton 99! 
 
 Poseidon. Statues: Br. Cambridge 
 104. Holkham 18 (§ 42). Br. Pet- 
 worth 75. — Heads : Ince 121. Lon- 
 don, Lansdowne 14? Rossie 86? 
 Woburn 75. — Reliefs: Wilton 1 1 3 ! ; 
 seated Ince 258; head Woburn [182] 
 Praxiteles, style of : Aphrodite St. Low- 
 ther 1 ; DiadumenosAT. Petworth 24?; 
 Hermes St. London, Lansdowne 65. 
 //. Petworth 25?; Satyr St. Pet- 
 worth 6 
 
 Priam visiting Achilleus R. Woburn 
 219 
 
 Priapos Br. Stanmore 8 ; draped Si. 
 Newby 2; term of, in Bacchic scene, 
 R. Ince 275 
 
 Priest, Egyptian, St. Ince 58; of Isis 
 St. Ince 54 
 
 Priestess H. Ince 162!; of Demeter? 
 R. Oxford 149; of Isis St. Ince 55. 
 76? 
 
 Prometheus and Nymphs R. Ince [282]! 
 Pronuba R. Liverpool 22 
 Proserpina sec Persephone 
 Psychfc and Eros St. Deepdene 22. 
 London, Lansdowne 70 ; near Aphro- 
 dite St. Oxford 156 
 
 Purse Mosaic Rossie 136; attribute of 
 Hermes Br. Richmond 21. R. Ros- 
 sie 91 
 
 Puteal Ince 258? Marbury 36; Corin- 
 thian puteal § 88 
 
 Pyrricha R. London, Lansdowne 15? 
 Python, vase painter, C. Howard 
 66 
 
8i6 
 
 INDEX III. 
 
 Quinces gathered by Cupids R. Ince 
 296 
 
 Quiver of Apollo combined with attri- 
 butes of other gods Richmond 25 
 
 Rabbit Mosaic Ince 44 
 
 Race on Porta Aurea R. p. 190?; in 
 Circus R. Ince 247. 255. 373. Lon- 
 don, Soane 32. Lowther 45. 56 
 
 Rainbow on painted vase C. Howard 66 
 
 Rams butting each other R. Oxford 
 137; led to sacrifice R. London, S. 
 Kensington 14; offered to deceased 
 hero R. Wilton 17; slain, on altar, 
 St. Windsor 1 ; attribute of Hermes 
 R • Rossie 91 ; on shoulders of Her- 
 mes St. Wilton 144; listening to 
 Orpheus R. Knole 16; on garment 
 of Ephesian Artemis London, Soane 
 3. Wilton 95 
 
 Ram’s head St. Wilton 167 ; grasped 
 by griffin R. Ince 276, by winged 
 lion R. Marbury 45 ; in Bacchic 
 scenes R. Cambridge 77 ; symbol 
 averting evil on candelabra R. Oxford 
 224. 241. 242; on sepulchral monu- 
 ments R. Ince 315. 339. 371. Lon- 
 don, Lansdowne 16. 82. Rossie 
 46. 
 
 Ramses II., sarcophagus of, London, 
 Soane 39 
 
 Raven attacking evil eye R. Woburn 
 
 99 
 
 Relief figure meant to be fastened on 
 slab Woburn 74 
 
 Reliefs see Sepulchral. Votive 
 
 Retiarius attacking evil eye R. Woburn 
 
 99 
 
 Rhyton in hand of Silvanus Br. Stan- 
 more 7 
 
 Rings of gold Rossie 160. Stanmore p. 
 659 
 
 River-god St. C. Howard n. R. Ince 
 337. Mask Ince 132 . — See Nile 
 
 Roebuck drawing car of Eros R. Low- 
 ther 47 
 
 Roma St. Cambridge 36 ! H. Ilolkham 
 44. C. Howard 21 
 
 Rose on garment of Ephesian Artemis. 
 
 London, Soane 3. Wilton 95. See 
 Flower 
 
 Rosette on sepulchral reliefs Oxford 141. 
 148. 149. 204 — 206. Richmond 67. 
 68. Wilton 109 
 Running match R. Lowther 48 
 
 Sacrifice of bull R. Petworth [31]. Wil- 
 ton 33. Sacrificial procession R. Ince 
 277. Sacrificial implements R. 
 Ince 284. Oxford 242; knife St. Pet- 
 worth 53 
 
 Samian vessels T. Liverpool p. 428 
 
 SARCOPHAGI. Clumber p. 278. 
 Lowther 101. 102; from Cilicia T. 
 Liverpool 10; Egyptian London, 
 Soane 39; made in Rome and found 
 abroad Cambridge 31. Wilton 137? 
 Drawings of sarcophagi London, 
 Franks I. Windsor I — X 
 A. Greek Sarcophagi. 
 Patroklos, Achilleus and Hektor Wo- 
 burn 219 (Ephesos) 
 
 Boys revelling Oxford 106 — 108. 
 Richmond 72 
 
 Man playing on cithara London, 
 Soane 23 
 
 Without reliefs Edinburgh, Ant. Mus. 
 6 (Rhodes) 
 
 Sarcophagi similar to Greek style 
 Ince 246 (Meleagros). Woburn 58 
 (Hippolytus) 
 
 B. Roman Sarcophagi. 
 
 I. MYTHOLOGICAL. 
 Mythological scene Oxford 105 
 Achilleus at Skyros Cambridge 7 6. 
 Oxford 218? Woburn 71. 117; 
 and Hektor Cambridge 76. Ince 
 279; and Penthesileia Cambridge 
 76. Richmond 58 
 Amazons Oxford 112? see Achilleus 
 Aphrodite with the apple Ince 262 
 Bacchic scenes Cambridge 77. Ick- 
 worth 3? Ince 225. 243. 273. 
 London, Soane 28. Oxford 109. 
 1 10. Rossie 74; Bacchic sacrifice 
 London, Soane 29 ; Dionysos, in- 
 fant, tended by Nymphs Woburn 
 
SUBJECTS REPRESENTED. 
 
 817 
 
 Sarcophagi (Roman) continued: 
 
 169; and Ariadne Blenheim 3; in 
 triumphal procession Cambridge 3 r . 
 London, Soane 27. Richmond 73. 
 Woburn 61. 144 
 Cupid see Eros 
 Dionysos see Bacchic 
 Dioskuros Ince 264? 265? Rossie 
 83 
 
 Endymion and Selene Warwick 2. 
 Woburn 86 
 
 Eros Rossie 73; asleep Richmond 77. 
 78 (lid) ; Cupids playing Richmond 
 76, with arms Oxford 1 13 ; busy at 
 a stove Rossie 55 (lid) ; surrounding 
 deceased man Richmond 74 
 Graces Brocklesby 1 1. Penrice. Wil- 
 ton 49 
 
 Helios and Winds Ince 221 
 Hippolytos and Phaedra Woburn 
 58 
 
 Iphigeneia in Tauris Oxford 117? 
 Klytaemnestra, death of, London, 
 Soane 31 ? 
 
 Leda and Cupids Ince 378 
 RIedeia about to kill her children Ox- 
 ford n 7 ? 
 
 Meleagros at boar hunt Broadlands 
 21. Ince 246. Richmond 57. 
 Woburn 81. no; offering with 
 Atalante Wilton 129; last adven- 
 tures Wilton 61 
 
 Muses London, Lansdowne 75. Wo- 
 burn 148 
 
 Nereids on sea-monsters Ince 376. 
 Richmond 59. Wilton 1 1 5 ; with 
 arms of Achilleus Wilton 105 
 Niobe and her children Denton? 
 
 London, Soane 31? Wilton 163 
 Nymphs imploring Ince 282 ; tending 
 infant Dionysos Woburn 169 
 Paris as shepherd Ince 263; judgment 
 of, Ince 262 ; listening to Ei os Lon- 
 don, Soane 30 
 
 Persephonfe raped Ince 281. London, 
 Lansdowne 77; Soane 26; return- 
 ing from Hades Wilton 137 
 Seasons Ince 224. 245 (lid). Oxford 
 217? Rossie 76 
 M. C. 
 
 Sarcophagi (Roman) continued: 
 Triptolemos Wilton 137 
 Troy captured Oxford 1 1 1 
 Winds and Helios Ince 221 
 
 II. COMMON LIFE. 
 
 Family scene Ince 229 
 Female with torch and fruits Wilton 
 85 
 
 Funeral representation Ince 232; de- 
 ceased man surrounded by Cupids 
 Richmond 74 
 
 Boys playing with nuts Ince [247 a] ; 
 
 in palaestra Lowther 48 (lid) 
 
 Men quarrelling Rossie 54? 
 
 Hunting scenes Ince 244 (lid). 307. 
 393. Rossie 80 
 
 Shepherd Ince 391. Oxford 118 
 Fight with barbarians Ince 303 
 
 III. ornamental and 
 
 SYMBOLICAL. 
 
 Busts, Medallions, Medusa’s head see 
 pp. 794. 806 
 
 Rlask Cambridge 79. Ince 219. 219 a. 
 228. 269. 269 a. 270. London, 
 Lansdowne 80. Lowther 49. Ox- 
 ford 1 1 4. Richmond 79. Wilton 
 155. Woburn 105. See RIasks 
 p. 805 
 
 Door of grave Ince 396. Wilton 
 60 
 
 Sea-monsters Ince 253. 367 
 Griffin see Griffin p. 80 r 
 Sphinx see Sphinx p. 821 
 Lion with bulla Ince 374; tearing a 
 boar Woburn 104, a horse Ince 
 2 / 4 
 
 Good shepherd Ince 396 (Christian) 
 Inscribed Holkham 58. Ince 394. 
 Lowther 108 
 
 IV.. children’s sarcophagi. 
 Bacchic scenes Ince 266. Newby 6. 
 Richmond 75 > played by children 
 C. Howard 48, by Cupids London, 
 Mellhuish. Bacchic masks Ince 
 278 
 
 Cupids Ince 377 ; revelling Knole 14 ; 
 playing with nuts London, Lans- 
 
 5 - 
 
8 1 8 
 
 INDEX III. 
 
 SarcophAgi (Roman) continued: 
 
 downe 99. Newby 31 ; in palaestra 
 Lowther 48?; running Rossie 77; 
 riding Ince 256. 257; racing 
 
 Brocklesby 41. Ince 247. 255. 
 London, Soane 32. Lowther 45. 
 46; driving on chariots drawn by 
 wild beasts Lowther 47 ; hunting 
 Lowther 43 ; armourers London, 
 Holland; Lansdowne 98; holding 
 a shield Wilton 104; and portrait 
 Oxford 1 15 
 
 Eros and Psyche London, Lansdowne 
 
 100 
 
 Seasons Ince 233 
 Shepherd Knole 17 
 Portraits Ince 223.398. Oxford 115. 
 1 16 
 
 Conclamatio Lowther 44 
 Lion Ince 273 
 
 Satyr. Statues: standing Holkham 2. 
 3. Wilton [53]; dancing Br. Cam- 
 bridge 107; reposing Holkham 15. 
 16. 19. Marbury 12! Margam 3. 
 Petworth 8; seated Cambridge 33. 
 Deepdene 46; pouring out wine Pet- 
 worth 6 ; looking back at his tail Wil- 
 ton 15 1 ; drunken London, Westma- 
 cott 3 ; treading the krupezion Deep- 
 dene 40? Marbury 22? Richmond 42 ; 
 lying on ass Marbury 1 1 ; and goat 
 Ince 35; and Herakles Wilton 175; 
 and Hermaphroditos Ince 30. — Term: 
 Br. Woburn 128. — Heads: Br. Blen- 
 heim 2. Broadlands 16. Brocklesby 
 98. Cambridge [55]. Deepdene 1. 
 Ince 156. 1 61 . 197.200. Marbury 35. 
 Osborne 1? Oxford 182. [183. 184]. 
 Wilton 114. 180.225. Woburn [179]. 
 199; with horns Deepdene 40. Ince 
 184. 185; infant Oxford 65; female 
 Broadlands 26. — Reliefs: Ince 308. 
 Br. Stanmore 16; dancing Broadlands 
 2. Cambridge 72. Holkham 52. 
 Marbury 39. Wilton 76; offering 
 Cambridge 70. Ince 309; revelling 
 with boys Richmond 72 ; quarrelling 
 Oxford 234; and goat Marbury 39; 
 
 in Bacchic scenes Blenheim 3. 
 Brocklesby 108 a. Cambridge 31. 
 77. C. Howard 48. Ince 243. 249. 
 266. 288. 305. London, Lansdowne 
 25; Soane 27. Newby 8. 34. Oxford 
 109. Richmond 1. 75. Woburn 61. 
 144. 189. 202; extracting thorn from 
 Pan’s foot Newby 34 ; mocking at old 
 Seilenos Woburn 202 ; and Herakles 
 Porta Aureap. 190?; leading drunken 
 Herakles Ince 275; listening to Or- 
 pheus Ince 290 ; infant Cambridge 
 31 ; female and child Wilton [101]. 
 Head Ince 380. Rossie 70. See 
 Masks p. 805 
 
 Scorpion on neckplate of Ephesian Ar- 
 temis Wilton 95 ; attacking evil eye 
 R. Woburn 99 
 
 Sea-crab on neckplate of Ephesian 
 Artemis Wilton 95 
 
 Sea-god R. Wimbledon 2? H. Ince 
 123. Mask R. Ince 269. 269 a. Sea- 
 goddess Mask R. Ince 270? 
 
 Sea-monsters R. Ince 376. 378. Lon- 
 don, Lansdowne 76. Sea-dragon R. 
 Ince 258. Sea-griffin R. Ince 254. 
 Sea-hares R. Ince 254. Sea-horses 
 see Hippocampi. Sea-lion R. Ince 
 254. Sea-ox R. Lowther 49. Sea- 
 panthers R. Oxford 1 20. Richmond 
 59. Sea-stag R. Ince 254. Sea-tiger 
 R. Ince 253 
 
 Seasons represented as boys. Boys 
 representing Spring and Summer St. 
 Ince 6. Four boys surrounding Tellus 
 R. Woburn 86; winged R. Ince 245. 
 Three winged youths, ending in fo- 
 liage R. Woburn 173. Two winged 
 youths R. Ince 224; Spring and 
 Summer Ince 233. One youth R. 
 Rossie 76 (fragment). — See Horse 
 
 Seilenos. Statues: § 19. Cambridge 
 1 17; noble type Holkham 19 (§ 42); 
 with fan Petworth 54; with wine-skin 
 Newby 1; travesting Herakles Deep- 
 dene 18; holding the infant Dionysos 
 Wilton 70 ; supporting Dionysos 
 Richmond 6 ; seated Cambridge [35]. 
 Deepdene 19; crouching Wilton 62 ; 
 
SUBJECTS REPRESENTED. 
 
 819 
 
 recumbent Wilton 106 ; sleeping C. 
 Howard [10]. — Heads: Br. § 29. 
 Cambridge 50. 51. C. Howard 28! 
 Ince 92. — Reliefs: Seilenos offering 
 Cambridge 71. Wilton 76; lying on 
 ass Woburn 56; in Bacchic company 
 Broadlands 1 1. Cambridge 31. Ince 
 243. 288. Newby 34. Woburn 61 
 (on ass). 144. 202; uncovering a 
 Maenad Oxford 1 10. Mask of 
 Seilenos Oxford 220. Rossie 69 ; 
 held by boy Wilton 59, by Satyr Ox- 
 ford 109; on candelabrum Ince 241 ; 
 on sarcophagi Ince 228. Wilton 155; 
 on tympanon Newby 34; on vase 
 Warwick 1. Woburn 101. 147 
 Seiren on sepulchral relief Brocklesby 
 40. Oxford 140. Wilton 109. Sei- 
 rens and Odysseus R. Canterbury 45. 
 London, Lansdowne 76. Seiren with 
 fishtail R. Canterbury 45. Seiren’s 
 feathers on heads of Muses R. Lon- 
 don, Lansdowne 75. Woburn 148 
 Selene as representative of the moon R. 
 Woburn 86. Plead of S. R. Oxford 
 134. S. and Endymion Porta Aurea 
 p. 189. Cambridge 78? Warwick 2. 
 Woburn 86 
 
 Semele in childbed R. Ince 248 
 Sepulchral amphora, hydria, lekythos 
 see Amphora, etc. 
 
 Sepulchral column Liverpool 9 (Cy- 
 prus) ; with relief Cambridge 21 
 (Athens) 
 
 SEPULCHRAL RELIEFS. 
 
 A. Greek. 
 
 Men. Brocklesby 13 (Attica). Cam- 
 bridge 19 (Attica). 28 (Athens)? 
 Ince 260. London, S. Kensington 
 16 (Smyrna). Lowther57 (Smyrna?). 
 Oxford 138 (Attica). 154. 206. 
 Richmond 67 (Smyrna). Rokeby 5. 
 Rossie 79. Wilton 109 (Smyrna?) 
 Man and horse Cambridge 27 (Pha- 
 nagoria). Canterbury 140 (Bospo- 
 ros). Edinburgh, Murray 2. C. 
 Howard 47. Men on horseback 
 Brocklesby 42 (Attica). 53 (At- 
 
 Sepulchral Reliefs, continued: 
 
 tica). Canterbury 136? 149 (Brus- 
 sa). Edinburgh, Murray 1. Ox- 
 ford 208 (Pergamon). 214 (Ephe- 
 sos). Poet seated London, Lans- 
 downe 2 ? Boy and bird Oxford 
 152 
 
 Women. Standing Brocklesby 99. 
 Ketteringham 1 (Arles, Greek?). 
 Oxford 90 (Smyrna?). 15 1. 204 
 (Smyrna?). Richmond 56 (Sicily). 
 69 (Smyrna?). 70 (Smyrna?). 
 Rokeby 1. Seated Cambridge 25 
 (Phanagoria). 26 (Phanagoria). 
 London, Lansdowne 1 (Attica) ; 
 Soane 21. Lowther 37 (Attica). 
 Marbury 38 (Attica). Oxford 127 
 (Cyprus). 150. 211. Richmond 
 68 (Smyrna?). Rokeby 4. Wo- 
 man and child, standing London, 
 Stafford 5 ; seated Cambridge 20 
 (Attica). London, Soane 22. Girl 
 Woburn 100; with doll Winton 1 
 (Attica) ; with doves Brocklesby 1 7 
 (Paros); with child and dove Rich- 
 mond 10 (Attica) 
 
 Family. Man and wife London, 
 S. Kensington 15 (Asia M.). Low- 
 ther 52 (Smyrna). 54 (Smyrna). 
 Oxford 89 (Smyrna?). 205 (Smyr- 
 na?). Rokeby 3; and children 
 Rokeby 2 ; mother and sons Low- 
 ther 53 (Smyrna) 
 
 Shaking hands Brocklesby 31 
 (Attica). 34 (Megara). 65 (Attica). 
 67 (Attica), in (Megara). Cam- 
 bridge 22 (Propontis), in (Atti- 
 ca). Liverpool 6 (Ephesos). 8 
 (Cyprus). Lowther 56 (Smyrna). 
 Marbury 37 (Attica). Oxford 140 
 (Attica). 141 (Attica). 147 (Smyr- 
 na). 148. Wilton 152. Winton 2 
 (Attica) 
 
 Repast Cambridge 18 (Attica). 
 19. 23. 24 (Patrnos). 109. Canter- 
 bury 137. 172. 174. Ince 261. 
 Liverpool 7 (Egypt.) London, 
 Soane 20. Lowther 55 (Smyrna). 
 58 (Smyrna). Oxford 91 — 93. 
 
 c 2 2 
 
820 
 
 INDEX III. 
 
 Sepulchral Reliefs, continued: 
 
 127 (Cyprus). 139 (Attica). 142. 
 143. 144 — 146 (Attica). 207 (E- 
 phesos). Wilton 17. 85 
 
 See Akroterion. Amphora. Hy- 
 dria. Lekythos. Seiren 
 
 B. Roman. 
 
 Females Lowther 41. 42. Garlands 
 Ince 283. Sacrificial implements 
 Ince 284. Hunting scene Rich- 
 mond 81. Vintner’s life Ince 298. 
 
 See Altar. Busts. Cineraria. 
 Cippi 
 
 Roman imitations of Greek sepulchral 
 reliefs: youth standing Richmond 
 7 1 ; woman seated London, Lans- 
 downe 26; man and wife Broad- 
 lands 22 ; shaking hands Wilton 
 
 Sepulchral scene V. Canterbury 116 
 Sepulchral statues? London, Lans- 
 downe 70; S. Kensington 18. Low- 
 ther 15. Oxford 32? 
 
 Serapis. St. seated C. Howard 12. 
 Ince 38. 39. London, Lansdowne 
 97; Westmacott 1 ; standing Rich- 
 mond 5. Br. Stanmore 4. H. § 41. 
 Cambridge 46. Deepdene 9. Ince 
 151. 159. Rokeby 13. Rossie 16. 
 T. Woburn 190. R. Ince 395. T- 
 London, Guildhall 
 Serpent see Snake 
 
 Sheep and shepherd R. Ince 287. 391. 
 Knole 17. Oxford 118; on sarco- 
 phagus of Endymion Woburn 86; 
 attribute of Summer R. Ince 221 
 Shell held by nymph St. Richmond 
 2 a 
 
 Shepherd, the good, R. Ince 396. — See 
 Herdsman. Sheep 
 Shield Strangford § 89 
 Ship of marble Brocklesby 91. Cam- 
 bridge 1 3 ? 
 
 Shoes, pointed, borne by Dionysos, R. 
 
 London, Lansdowne 38 
 Sick man sitting St. Richmond 29 
 Sickle attribute of Summer R. Wilton 
 
 138 
 
 Sign of wine-shop R. Ince 298 ? 
 
 Silvanus St. Ince 5. Oxford 163. 
 Rokeby 8. Br. Stanmore 7. R. 
 Ince 292. Attributes of S. given to 
 Pan St. London, S. Kensington 4 
 
 Silver used in bronze figures Woburn 
 128. Goblet of s. Stanmore 20 
 
 Simpulum R. Cambridge 31 
 
 Sistrum R. Ince 395 
 
 Skamandros R. Ince 279 
 
 Skin girt over chiton of Artemis St. 
 Ince 22 
 
 Skylla St. Oxford 33; and Glaukos P. 
 Brocklesby 36 
 
 Skyphos attribute of Herakles R. Wo- 
 burn 144 
 
 Sleep and Death? R. Ince 223. See 
 Eros 
 
 Slings see Missiles 
 
 Smock borne under chiton in female 
 statues Oxford 19? Pet worth 27. 
 Wilton 1 17 
 
 Snake in hand of youth Br. Richmond 
 23; cup full of snakes Oxford 24 1. 
 Snake on sepulchral reliefs Ince 298? 
 Oxford 93. 143. 150; tree entwined 
 with snake on sepulchral reliefs Cam- 
 bridge 23. Canterbury 149. C. How- 
 ard 47. London, Lansdowne 2 ; S. 
 Kensington 15. Oxford 206. 208. 
 Rokeby 1, on votive reliefs Ince 
 291. London, Lansdowne 59. Pet- 
 worth 72 ? Snake menacing bird 
 R, C. Ploward 51. London, Lans- 
 downe 2 ; attacking evil eye R. Wo- 
 burn 99 ; assailing lion R. Ince 397. 
 Snake attribute of Apollo St. Pet- 
 worth 7, on throne of Apollo St. 
 London, Lansdowne 20, entwining 
 omphalos St. Newby 39, entwining 
 tripod R. Richmond 66. Woburn 
 148; attribute of Asklepios R. Wo- 
 burn 193, entwining tree near Askle- 
 pios St. Ince 20; attribute of Athene 
 St. Woburn in. R. London, Lans- 
 downe 59. Wilton 1 13; of Bonus 
 Eventus St. Wilton 1 a ; of Demeter 
 R. Wilton 137; of Dionysos St. Wo- 
 burn 201, in Bacchic cista see Cista; 
 
SUBJECTS REPRESENTED. 
 
 821 
 
 tree entwined with snake near Mae- 
 nad St. Deepdene 30, near Seilenos 
 St. Petworth 54. Sn. indicating 
 transformation of Thetis Br. Rich- 
 mond 37; drawing car of Triptole- 
 mos R. Wilton 137; encircling cor- 
 nucopiae of Tyche St. Holkham 42 ; 
 in cista near Vesta R. Wilton T3 a 
 Somnus see Hypnos 
 Sparrow-hawk, Egyptian, St. Ince 60 
 Spear in hand of Satyr Holkham 15 
 Spes see Aphrodite 
 
 Sphinx St. Oxford 56. 57; attribute of 
 Nile Oxford 164; double with one 
 head C. Howard 51; supporting arm 
 of chair St. Lowtlier 37 ; on cande- 
 labrum Oxford 242 ; on crest of hel- 
 met Deepdene 39. Ince 9. 402 ; on 
 sepulchral reliefs Holkham 49. Ox- 
 ford 219; on vase By. Richmond 
 32 
 
 Spina of Circus R. Ince 255. Lowther 
 45- 
 
 Spinario of Capitol copied R. Ince 
 290 
 
 Spring see Horae. Seasons 
 Spring, god of, R. Ince 253 
 Springing match R. Lowther 48 
 Squeezes in wet paper, invention of, 
 Wilton p. 688 note 
 
 Stag Mosaic Rossie 136; hunted R. 
 Ince 244. 252. 307. Lowther 43 ; 
 mangled by griffin R. Woburn 69 ; 
 in Bacchic scene R. Woburn 144; 
 on garment of Ephesian Artemis 
 London, Soane 3 
 
 Stag’s heads on cinerarium Holkham 
 49 
 
 Stamps on bronze Rossie 147; on tiles 
 Oxford p. 592 
 
 Statue of man on column R. Cambridge 
 26 
 
 Statues composed of two pieces Holk- 
 ham 24. Oxford 1. 168 
 Steering-paddle attribute of Triton R. 
 Wilton 1 15; of Tyche St. Lowther 68. 
 Rokeby 6. R. London, Soane 25 
 SteR with Seiren on sepulchral relief 
 R. Wilton 109 
 
 Stimulus in hand of ploughman R. 
 Ince 293 
 
 Stork biting lizard R. Wilton 8 
 Strainer R. Rossie 34 
 Straps of leather (Ifsavres) St. Petworth 
 9? 
 
 Strophion Woburn 169 
 Summer see Horae. Seasons 
 Sun-dial Easton Neston 4. Ince 128. 
 Lowther 51 
 
 Suovetaurilia not represented R. Ox- 
 ford 137 
 
 Swan serving as support of crouching 
 Aphrodite St. Richmond 40; and boy 
 St. Ince 45 ; on candelabrum Oxford 
 224; on sepulchral reliefs Ince 240. 
 323- 324- 33°- 336- 352 
 Sweet-meat basket Mosaic Rossie 136 
 
 Table with prizes in scene of wrestling- 
 match R. Ince 335 
 
 Tauriskos, sculptor of Hermerotes, 
 Newby 28 
 
 Taurobolia R. Deepdene 42 ? 
 Taurokathapsia R. Oxford 136 
 Tellus lying on ground R. Ince 221. 
 London, Lansdowne 77; Soane 26. 
 Wilton 137. Woburn 86 
 Telamon on candelabrum Oxford 241 
 Telemachos H. Ince 153! R. Head 
 Rossie 81 ! 
 
 Telesphoros Br. C. Howard 56 
 Term in palaestra R. Ince 335; on se- 
 pulchral reliefs Canterbury 137. Ince 
 260. Oxford 206; on votive relief 
 Cambridge 67 
 
 Terms of Titus, paintings copied Wind- 
 sor xxv 
 
 Terpsichore Sti Boynton 4! Okford 
 3 1 
 
 Terra cottas Cambridge p. 267. Can- 
 terbury pp. 273 ff. Edinburgh, Ant. 
 Mus. p. 298; Murray 3. 4. 7. Hyde 
 p. 333. Liverpool p. 428. Ox- 
 ford pp. 572. 592. Pippbrook. 
 
 Richmond p. 63 1 . — St. Liverpool 2 1 . 
 Richmond 14- Woburn 135. — Mask 
 Rossie 150. R. Brocklesby 29. Liver- 
 pool 22. [23]. Richmond 15 — 17. 60. 
 
822 
 
 INDEX III. 
 
 Woburn 190. 236. 237; desk with 
 busts Woburn [182]; lamps London, 
 Guildhall. Rossie 148. 149; Etrus- 
 can urns Liverpool 13. Richmond 
 61 ; sarcophagus Liverpool 10 
 Thaleia n. 174. St. Ince 17 ! 
 
 Theseus X/. Ince 43; in Hades ft. Ince 
 310? 
 
 Thessalian horsemen hunting bulls ft. 
 Oxford 136 
 
 Thestiads slain by Meleagros ft. Wil- 
 ton 61 
 
 Thetis and Peleus Br. Richmond 37 ; 
 
 entreating Zeus Mosaic Ince 410? 
 Throne of marble Brocklesby 86. 87. 
 Oxford 87 ; consecrated to Apollo 
 London, Lansdowne 20 
 Thymiaterion before Zeus ft. Wilton 48 
 Thyrsi forming stem of candelabrum 
 Woburn 173; as plaything of child 
 ft. Rokeby 2? 
 
 Tiberius, sword of, § 90 
 
 Tiger attacking man ft. London, S. 
 
 Kensington 17. Tigress St. Ince 77 
 Tmolos //. Wilton [90] ! 
 
 Tombstone of Laios V. Liverpool 27 
 Tongs with anvil and hammer on se- 
 pulchral monument ft. Woburn 132 
 Torch in hand of Psyche St. London, 
 Lansdowne 70, of priestess ft. Low- 
 ther 52. Oxford 149; of unusual 
 size ft. Lowther 52 ; near death-bed 
 ft. Ince 331 ; on sepulchral monument 
 ft. Oxford 215 
 
 Tortoise St. Rossie 35 ; attribute of 
 Hermes ft. Rossie 91 
 Town, goddess of, H. Holkham 22 ? 
 Tragic head London, S. Kensington 
 18 
 
 Trajan’s column, drawings of, Windsor 
 xx. XXIV 
 
 Trapezophoron Ince 399. 400. Pet- 
 worth 49. 50. Rossie 41 
 Travellers ft. Ince 310? 
 
 'free entwined by snake see Snake 
 Tribune ( suggestits ) ft. Rossie 82 
 Trident entwined with two dolphins A’. 
 
 Cambridge 86. Holkham 49 
 Tripod from Delphi C. Howard 53?; 
 
 with four legs Newby 39; of Apollo 
 ft. London, Lansdowne 69, entwined 
 with snake see Snake ; on sepulchral 
 reliefs Cambridge 90. Ince 336. 
 London, Lansdowne 17. Wilton 
 120. 137 
 
 Triptolemos ascending his car ft. Wil- 
 ton 137 
 
 Tritons ft. Ince 254. London, Lans- 
 downe 27. 76. 104; carrying Nereids 
 on their backs ft. Wilton 105. 115; 
 male and female Mosaic C. Howard 
 65 ; head of ft. Rossie 38. Mosaic 
 Rossie 136. — Female see Mermaid 
 
 Triumphal procession Gem Bignor 3 
 
 Trojans drawing the Wooden horse, and 
 killed by Greeks ft. Oxford in. See 
 Phrygians 
 
 Tropaeon ft. Ince 303 ; in scene of 
 triumph of Dionysos ft. Woburn 144 
 
 Trough of granite Wimbledon 4. See 
 Bath 
 
 Trumpeter ft. Ince 229. 303 
 
 Tyche standing St. Holkham 28. 42. 
 London, Lansdowne 33. Rokeby 6. 
 ft. Richmond 1 ; seated St. C. How- 
 ard 3. Ince 7. Oxford 29. Wilton 
 131? ft. London, Lansdowne 1 1 ; 
 Soane 25; with other deities ft. 
 Liverpool [23] 
 
 Tydeus on Etruscan mirror Cambridge 
 
 p. 268 
 
 Tympanon on sepulchral relief Oxford 
 150; attribute of Demeter St. Ince 
 1, of Kybele Oxford 131. 132. 159. 
 St. Richmond 7, of Phrygia St. Ince 
 42 
 
 Tyrrhenian pirates transformed into 
 dolphins ft. London, Lansdowne 76? 
 
 Urania St. Ince [99] ! 52 ! 
 
 Urns see Etruscan 
 
 Vannus see Fan 
 
 Vases of bronze Edinburgh, Murray 6. 
 Richmond 32 ; of marble Boynton 
 6. Broadlands 32. 33. Addenda. 
 Deepdene 43. Ince 404. Rossie 43. 
 45. 46. Warwick 1. Wilton [ie]. 
 
SUBJECTS REPRESENTED. 
 
 823 
 
 198. Woburn 101. 147; of pu- 
 mice-stone Wilton [199].— Draw- 
 ings of marble vases London, Franks 
 11. — See Cineraria 
 
 Vases on Attic sepulchral reliefs see 
 Amphora. Hydria. Lekythos 
 Vases, Greek, painted, § 54. 61. 63. 64. 
 71. 87 — 89. 92. 94. 97. C. Ashby 
 pp. 21 1 f. Addenda. Cambridge p. 
 267 (Babington and Leake coll.). 
 Canterbury 4. m. 113. 116. 125. 
 167. Edinburgh, Ant. Mus. p. 298. 
 Deepdene p. 293 (Hope coll.). C. 
 Howard p. 332. Idyde p. 333. Ince 
 407. 408. Liverpool 25 — 27. p. 428. 
 London, Bale; Burlington; Soane 
 p. 480. Margarn 16. 17. Oxford p. 
 572. Pippbrook. Richmond p. 643. 
 Rokeby p. 647. Winton p. 721. 
 Woburn p. 753; with reliefs Canter- 
 bury 4. Richmond 66; with figures 
 Liverpool 24 
 
 Vats of must let into the ground R. 
 Ince 298 ; full of grapes in Bacchic 
 scene R. Woburn 147 ; on vintner’s 
 sign Ince 298? 
 
 Venus see Aphrodite 
 Vertumnus St. Ince 6 ! Marbury 9? 
 Vesta enthroned R. Wilton 13 a. See 
 Hestia 
 
 Vestal virgin H. Ince 207 ! 
 
 Victory see Nike 
 
 Vine executed in open work St. Rich- 
 mond 3 
 
 Vintage, genius of, St. Marbury 9 
 Vintner’s occupations R. Ince 298 
 Vittae see Fillet 
 
 Votive reliefs, to Artemis? Edinburgh, 
 Ant. Mus. 3; to Asklepios Oxford 
 203?, and Hygieia Brocklesby 10. 
 Cambridge 16; to Athene Cambridge 
 15; to Dioskuros and female? Lon- 
 don, S. Kensington 14. Petworth 72; 
 to Eleusinian goddesses? London, 
 Soane 19; to Herakles Brocklesby 
 28. Oxford 135; to Hygieia? Pet- 
 worth 13; to Nike Ince 250; to 
 Pan Cambridge 67, and Nymphs 
 Brocklesby no; to Silvanus Ince 
 
 292; to Tyche London, Soane 25; 
 to Zeus and Hera Cambridge 68. 
 Fragments containing worshippers 
 Brocklesby 14. 39. Cambridge 17. 
 69. Oxford 88; see Worshippers. 
 Sacrifice (Roman) Ince 291. Warrior 
 on chariot Brocklesby 49. Vot. rel. 
 for disease of ears Woburn 193 
 
 Votive statuette of sick man Br. Rich- 
 mond 29 
 
 Warrior St. Ince 80. London, Lans- 
 downe 6. Oxford 172. Br. Rich- 
 mond 26. Br. Stanmore 10 — 13. 
 Gems Rossiei55. 156. H. Edinburgh, 
 Ant. Mus. 13. Rossie 71. 137 
 
 Weights of bronze Liverpool p. 428; 
 with female head Richmond 1 
 
 Wheel of Tyche R. London, Soane 25 
 
 Whip in hand of Hekate R. Wilton 
 137 
 
 Window R. Ince 298? 
 
 Winds A’. Ince 221 
 
 Wings on head of Wind-god R. Ince 
 221 
 
 Winter see Horae. Seasons 
 
 Wolf, head of, 71 Canterbury 27. She- 
 wolf, Roman, and twins R. Holkham 
 49. Woburn 56 
 
 Worshippers on Greek votive and se- 
 pulchral reliefs Brocklesby 10. 14. 
 39. no. Cambridge 15. 17, 69. 
 
 London, S. Kensington 14. Oxford 
 88. 144 — 146. 203. Wilton 17 
 
 Wreath on Greek sepulchral reliefs, 
 indicating crowning of the deceased, 
 Lowther 19. Oxford 149. 204 — 206. 
 Richmond67.68. Wilton 109. Wreath 
 of laurel on pedestal of statue of 
 Apollo Petworth 5. Wreath and fillet 
 combined H. London, Lansdowne 
 62 
 
 Wrestling match of Cupids R. Ince 335 
 
 Youth. Statues: Cambridge 6. 32. 106. 
 C. Howard 15; walking Br. Rich- 
 mond 24 ; leaning against pillar Ox- 
 ford [174]; sitting on rock Oxford 
 173; with girlish head Margam 7; 
 
824 
 
 INDEX III. 
 
 In style of Pasiteles Margam 5 ; with 
 snake Br. Richmond 23 ; with attri- 
 butes of different gods Br. Richmond 
 25. Two youths holding a nude 
 corpse Br. Richmond 33. — Heads, 
 ideal : Cambridge [56]. Ince 105. 
 London, Soane 10. Oxford 71 — 73. 
 Wilton 200; of victorious youth see 
 Diadumenos. — Relief: youth and 
 
 draped female Ince 218. — Vase: 
 youths revelling Margam 17 . — See 
 Boy 
 
 Zeus. Statues: enthroned Marbury 1. 
 Oxford 18; standing Br. Cambridge 
 103. Holkham 55 (§ 34)? Ince 2, 
 with eagle Deepdene 5, as giver of 
 victory Richmond 46?; uncertain type 
 Duncombe 9. Br. C. Howard 54.— 
 Heads: Houghton 10. Ince 127! 
 
 London, Lansdowne 14; S. Ken- 
 sington 5. Newby 14. Oxford 179. 
 Rokeby 12. Rossie 42? Tunbridge 
 2. Wilton 229, crowned with oak 
 Richmond 47. — Reliefs: enthroned 
 Ince 259. London, S. Kensington 
 13, with eagle on hand Wilton 48; 
 standing Richmond [71 a], with cor- 
 nucopiae London, Lansdowne 74?, 
 with eagle on hand Wilton 113; and 
 Hera Cambridge 68. Knole 15?; 
 and one of his mistresses Wilton [32]. 
 Head T. Woburn [182 ]. — Gems : Z. 
 enthroned, with Nike and cornuco- 
 piae, Rossie 158; and Giants Rossie 
 1 5 1. Head of Z. Aigiochos Windsor 
 2. — Mosaics: Z. and Thetis Ince 
 410? Vase: — Z. and Alkmene C. 
 Howard 66. Altar of Z. Labraundes 
 Oxford 201. 
 
IV. 
 
 EPIGRAPHICAL INDEX. 
 
 Numbers immediately following the name of a collection are the numbers 
 of this Catalogue. 
 
 I. GREEK INSCRIPTIONS. 
 
 Edited. 
 
 Edited, continued: 
 
 C. /. Gr. 
 
 34 
 
 Wilton [48] 
 
 C. I. Gr. 3254 
 
 Oxford 204 
 
 38 
 
 „ [1] 
 
 3262 
 
 „ 150 
 
 271 
 
 Oxford 135 
 
 3283 
 
 London, Stafford [ 
 
 427 
 
 »* 178 
 
 
 [238]. Wilton [78] 
 
 469 
 
 Brocklesby no 
 
 33 = 8 
 
 Lowther 53 
 
 473 
 
 n 28 
 
 3333 
 
 Oxford 147 
 
 580 
 
 1 1 53 
 
 3360 
 
 »> 152 
 
 669 
 
 Richmond 69 
 
 363S 
 
 Cambridge 15 
 
 734 
 
 Brocklesby 13 
 
 3683 
 
 Oxford 236 
 
 800 
 
 Oxford 140 
 
 6079 
 
 Holkham 48 P 
 
 805* 
 
 Cambridge in 
 
 6085 
 
 Marbury 40 ? 
 
 825 
 
 Oxford 141 
 
 6138 
 
 Petworth 6 
 
 839 
 
 Cambridge 21 
 
 6197 
 
 Oxford 155 
 
 926 
 
 Wilton 138 
 
 684I 
 
 tt 87 
 
 928 
 
 Oxford 138 
 
 6855^ Richmond 29 
 
 989 
 
 >» 177 
 
 6861 
 
 Cambridge no 
 
 1064 
 
 Brocklesby 26 
 
 6893 
 
 Oxford 21 1 
 
 1091 
 
 „ 65 
 
 6894 
 
 „ 209 
 
 2033 
 
 Cambridge 22 
 
 6914 
 
 »» 154 
 
 2127 
 
 27 
 
 6915 
 
 153 
 
 2262 
 
 1 1 24 
 
 6962 
 
 „ 91 
 
 2750 
 
 Oxford 201 
 
 6966 
 
 Cambridge 23 
 
 3212 
 
 >. 136 
 
 6975 
 
 Oxford 143 
 
 3219 
 
 ,» i 49 
 
 7002 
 
 Richmond 10 
 
 3224 
 
 Richmond 67 
 
 7023 
 
 Oxford 221 
 
 3231 
 
 Wilton 109 
 
 7026 
 
 Wilton 152 
 
 3245 
 
 Lowther 52 
 
 8194 
 
 Cambridge, p. 267 
 
 3253 
 
 Richmond 68 
 
 8237 
 
 ,, p. 267 
 
826 
 
 INDEX IV. 
 
 Edited, continued : 
 
 C. 1 . Gr. 8492 C. Howard 66 
 C. /. Att. in. 119 Oxford 135 
 75i ,> 178 
 
 Inscr. Antiguiss. 474 Cambridge 13 
 
 Unedited. 
 
 Brocklesby 67. Canterbury 150. Liverpool 6. 
 9. 10. 27. [28]. London, Lansdowne 1; 
 Soane 15; S. Kensington 15. Lowther 54. 
 55. Marbury 37. 38. Oxford 85. 206. Pet- 
 worth, p. 606. [Ramsgate.] Richmond 
 [64]. Rokeby 4. Wilton 125. Wimbledon 
 1. Winton 1. 2. Woburn 148. 193. 
 
 Proper Names. 
 
 ’ AfUaiTKavTos EvpiAirov Oxford 135 
 ’ Aya&apxos Marbury 38 
 ’A yddoiv Liverpool 10 
 ’ ABpvd Cambridge 15 
 ' A 0 pvai.os 'Ztt£v 8 ovtos Oxford 1 35 
 AWos Wilton [48] 
 
 ’ AKeareLpp Arjpaybpov Oxford 150 
 ’AX^£ai/ 5 pos Canterbury 150 
 'AAKppvp C. Howard 66 (vase) 
 ’AficpiTpvuv C. Howard 66 (vase) 
 "Avov/Bis Oxford 87 
 ’ Avrpvup C. Howard 66 (vase) 
 
 ’ AwoAAas Richmond 68 
 ’AiroAAiSupos Cambridge 23 
 ’ AwoWwvla Kpcf>iao(pwvTos Oxford 149 
 ’AiroXXtvutos Petwortli [6], Wilton 125. 
 
 ’A tv. MpooipiXov Lowther 54 
 ’ Apiarias 'Lwalpov Cambridge 24 
 ’Aptoro/cXeta Brocklesby 65 
 ’Apiaropaxp Winton 1 
 ’Aprepidupos Oxford 150 
 ’’Aprepis ’Opdwair) Brocklesby 26 
 ’ ApTepui) ’ AiroAAwviov Lowther 34 
 ’ ApxtSapos $L\a.Li>iTov Oxford 87 
 ”Apxi7T7ros A Lwvos Richmond 67 
 ’ AaKXijTrias Brocklesby 26 
 ’Anna Adp.xpi.oi Oxford 21 1 
 Koh'tos AftXXtos Vaiov vlos Oxford 209 
 4 ’Xaotita Avprfkla Maxap/a Ince 366 
 At’prjXios ’E7ra0p6oeiros Wilton 138 
 Avpr/Aios 'Tyeiviavds Ince 366 
 “A00tn' Winton 2 
 Avp. ’ Acfxpiavbs Xpparos Oxford 178 
 At is C. Howard 66 (vase) 
 
 Proper Names, continued : 
 
 ’ Avriovla BaAepia Wilton 138 
 Bias Meve/cparoi/s Lowther 55 
 BoibraXos iiroiei Ince [30] 
 
 TXavKirps Oxford 138 
 Aa.aevs? Cambridge 27 
 Appayopas Oxford 150 
 AppoieXps Lowther 52 
 AioSApa N LKTjcpo pov Oxford 141 
 Aiovvaios Aiovvatov tov Alprpooibpov Wil- 
 ton 109 
 
 AtoVucros ayXaopoprpos fUaKxevTwp |av- 
 doKdppvos Wilton [1] 
 
 Aiotpavros AiocpdvTov Oxford 153. 154 
 AIojv Richmond 67 
 Ao/aptos Cambridge no 
 ’EiracppoSiTos Liverpool 9 
 ’ErriKoopos [Ramsgate] 
 
 'EidKrpaLS 'Ovdoov dirydrpp Richmond 
 69 
 
 “ Eppiirnos Oxford 147 
 'Eppoyivps Rokeby 4. 'E pp. inotpae 
 epi Cambridge p. 267 (vase) 
 
 'Eorta Wimbledon 1 
 EiiSapiSas HepdiKKa Richmond 29 
 EvdvKpiTos Cambridge in 
 Ei 5 /cX<fa Wilton 125 
 EtVXt 5 as EtR-XtSov Cambridge 2r 
 EvKripevos ’AaKApwidbps Brocklesby 26 
 Ei!/ioX7ros Oxford 135 
 Ei Ixdptffros Woburn 148 
 
 Zeiis C. Howard 66 (vase). Wilton 
 [48]. Z. Aappavvbps Oxford 201. 
 Z. piyi.OTos Oxford 201 
 Ztuirt ipos Zonrvpov Wimbledon 1 
 Z waipos Cambridge 24 
 "B.yppwv Cambridge 22 
 
 'Hpa/cXi)s Cambridge p. 267 (vase). 
 Oxford 135 
 
 'HpoSoros Z/oiXXtWos Liverpool 6 
 'HpoStupos Oxford 21 1 
 'H potpdvra Tipuvos Lowther 52 
 QeoyvwoTos London, Soane 15 
 QeotpLXp Marbury 37 
 OevSoros Lowther 53. Oxford 147 
 'I/ceVtos Oxford 147 
 Herts Oxford 87 
 “law Brocklesby 65 
 KaXXt7T7ros Oxford 206 
 
EPIGRAPHICAL INDEX. 
 
 8-7 
 
 Proper Names, continued: 
 
 KoWkttos Canterbury 150 
 K a<rl. ’ AiroXXuwios Oxford 135 
 Ka <t>i<r'uav Brocklesby 65 
 Kr)<pioo(pQiv Oxford 149 
 ’K.Xavfila” Acfxfreiv Winton 2 
 KXavSios 'Ayadr/pt.epos Oxford 155 
 Aappavv 5 -qs Zeus Oxford 201 
 Acti(os) Liverpool 27 (vase) 
 
 Aap^is Oxford 21 1 
 A ewcdios KaXXltnrov Oxford 206 
 A r)Tiols Kovpr) Brocklesby 26 
 A ucri/rdx»? Tipoyeiroi/os Oxford 140 
 Mdu 0 eos A’idov Wilton [48] 
 
 M apiSia IlioXXa Woburn 193 
 M^pi/aw Oxford 204 
 MivavSpos Marbury 40 
 Mei/exparijs Biauros Lowther 55 
 MfuAaos MeueXdou Oxford 91 
 M? ii>o<piXos Lowther 54 
 M?/rpls Oxford 147 
 
 M-prpoSaipos [Ramsgate]. Wilton 109. M. 
 
 'A-rroXXodupov Cambridge 23 
 M. MoStos ' Actccltikos London, Stafford 
 [3]. Oxford [238]. Wilton [78] 
 Mocrxos Brocklesby 67 
 Mi ipraAr) Oxford 155 
 N eucptpopls Brocklesby 26 
 Nciajcrios Oxford 143 
 T$LKri<p 6 po 5 Oxford 14 1. 152 
 ’'CWcros Richmond 6 9 
 "Ocripis Oxford 87 
 Oil pSios Bapyos Oxford 236 
 ]la7n'as Hacr^pdrovs Cambridge 1 10 
 llao-ixpar^s Cambridge IIO 
 II epSlKKas Richmond 29 
 llXarow Richmond [64] 
 
 HXo7rXela Liverpool 10 
 lIoXu 5 eu/daw -rjpios Oxford 177 
 Uofmjia Xpvocipcov Lowther 54 
 IIoTrXia see IIXo7rXela 
 HocrlSeos Ai/po/cXetous Lowther 52 
 lluduw ty pa<pe C. Howard 66 (vase) 
 XarSloxXos London, S. Kensington 15 
 2 /cuXXW Liverpool 6 
 Spcxpi'as Marbury 37 
 Scx/uXos Oxford 140 
 XirivSwv Oxford 135 
 Sra. 'Zepaidbiv Oxford 135 
 
 Proper Names, continued: 
 
 2up?7 'EppoyAou Rokeby 4 
 SuKp&TTjs Ince 164 
 XwcTparos Lowther 53 
 Teip6#eos Aac relos Cambi'idge 27 
 T Fip.aios Brocklesby 28 
 T ip-apirri Richmond 10 
 TipoydTuw Oxford 140 
 Tip.au/ Lowther 52 
 
 TXiprou/ 6 Neapxou Liverpool [28] (vase) 
 TpiVou/ Cambridge p. 267 (vase) 
 
 Ti ixa Lowther 53 
 tyavoScKi] ’ AyaSapxov Marbury 38 
 iriXiKdra London, Soane 15 
 d’l'Xa’ A7 toXXi£5os Richmond 68 
 ‘PiXaii'e-ros Oxford 87 
 4 >iXapyupos Wilton 152 
 •PiXtirra Mipivovos Oxford 204 
 duXioijpos Xo<plXov Oxford 140 
 Xaiplwv Mu - - Brocklesby 13 
 XaxpuXlau/ iwolr/ocv Cambridge p. 267 
 (vase) 
 
 Xpvtrnnros Liverpool 27 (vase) 
 
 .cp kXsjs IloXuap- - Brocklesby 53 
 
 - ■ l-mrov Brocklesby no 
 
 - - Xaos Cambridge 15 
 
 - - paw typa<p£ pe Cambridge 13 
 
 - -ope'uous dvyartjp London, Lansdowne 
 
 1 
 
 AHMOTIKA. 
 
 ' AXcoTTCKriSev Brocklesby no 
 ’A (piSvaios Marbury 37 
 ’EXeuods Oxford 135. ’EXevoinos Ox- 
 ford 135 
 
 ’Ewi.KT](j>lcnos Cambridge 22 
 Kri<picnevs Oxford 1 35 
 Ku^?;pios Richmond 69 
 Mapa(?du/uos Oxford 178 
 £k MeXirAw Winton 2 
 Sreipietis Oxford 135 
 <PXueus Brocklesby no 
 XoXXeldr ] s Oxford 140 
 
 E9NIKA. 
 
 ’A unox^ira Oxford 14 1 
 A oxipoio x^‘uu=A oxipta Cambridge no 
 'EpiMooevs Cambridge 21 
 ’ HpaxXeiirrjs Broadlands 28 
 
828 
 
 INDEX IV. 
 
 EGNIKA, continued: 
 
 II in pa Cambridge ■27 
 ' \*w polos Oxford 209 
 
 Miscellaneous. 
 
 dyaXpceruv eldve s Kal Teipal Oxford 177 
 "AiSas dXapTreTOs Oxford 147. 'AISqs 
 Rokeby 4 
 
 ai’TiKoofx.TtTCveit' Oxford 135 
 apd Oxford 177 
 
 ■q d; ’Apdov ndyov [ 3 ovXt) Oxford 178 
 /3 a<ras Oxford 177 
 6 Adpos Wimbledon 1 
 6 SiJ/ros Lowther 52. Oxford 149. 204. 
 
 Richmond 67. 68. Wilton 109 
 * = S-qodpioi Oxford 221 
 Aioylveiov Oxford 178 
 eUioes ayaXpaTwv Oxford 177 
 (widip-ara two popcpwv Oxford 177 
 ei)xapt<rraV Wilton [48] 
 tvx a P l<rr yp L ° v wtLov depairdas Woburn 
 *93 
 
 ttp-qfloi Oxford 135 
 
 'llXvetoii Oxford 155 
 
 dprjvov pdrTeiv worpois Rokeby 4 
 
 lepdis Oxford 87 
 
 iep-qls Woburn 193 
 
 Iarpbs pedoSiKos London, Stafford [3], 
 Oxford [238]. Wilton [78] 
 
 IrjT-qp Oxford 155. I. pedidov irpoord- 
 rrjs see larpis 
 
 Ka loapos cploKos Oxford 221 
 KaXal Brocklesby 65 (Attica) 
 KooprjTeiecv Oxford 135 
 KO<rp-qT r qs Oxford 178 
 velKq "q ev ’EXemrrm Oxford 135 
 vlKt) ncvTddXov 7rai5o's Wilton [48] 
 ot kos Wimbledon 1 
 iradoTpi^dv Oxford 135 
 trtvTadXov sraioos Wilton [48] 
 
 ■q 7r6Xis Oxford 221 
 
 npbs ddui > Kal ppdoiv Oxford 177 
 
 Miscellaneous, continued: 
 oweppovioTqs Oxford 135 
 TavpoKada^/liov -qpdpa ( 3 ' Oxford 1 36 
 rpo<p 6 s Liverpool 6 
 xnrooT-qpaTa Oxford 177 
 (pics kos Kaitrapos Oxford 221 
 Xa.pi(TTriptot> Oxford 87 
 xXawav 7rc pi auxdi PlaOai Oxford 178 
 Cnlov depairelas evxo-P^TTipLoo Woburn 
 193 
 
 GRAMMATICAL : yeviaOqv = iyevr/dqv 
 
 Brocklesby 26 (Megara). SeKaras — 
 SeKaSas Cambridge 27 (Crimea). 
 itpdoe = iTreiSe Oxford 147 (Smyrna). 
 avv r)pwuv = pc 9 ' -qpduv Cambridge 27 
 (Crimea). Doric forms in Ionian in- 
 scriptions "Ai 5 av, piords, yfiav, pvpo- 
 pda Oxford 147. ’AlSa Rokeby 4 
 METRICAL. ’0 p 6 uoi-q( — ■ — ) Brocklesby 
 26 (Megara). Heptameter dactylicus 
 Brocklesby 26 (Megara). Verses: 
 
 ' Afap.tvr) Koitp-qv ArjTulda. Brocklesby 
 26 (Kaibel 870) 
 
 Aei vr) p els ’AISqo Rokeby 4 
 ’EptfaSe y-q Karix^ Cambridge no 
 (Kaibel 666) 
 
 'EivdaSe too Trda-q s Cambridge in 
 (Kaibel 49) 
 
 "HXudes ovk dfidaros Lowther 53 (Kai- 
 bel 240) 
 
 'l-qr-r/p pedoSou London, Stafford [3]. 
 Oxford [238]. Wilton [78] (Kai- 
 bel 306) 
 
 KXavoios IrjT-qp Oxford 155 (Kaibel 
 554) 02 5 ctr<rol <rw 6 pat.poi Oxford 
 
 147 (Kaibel 241) 
 
 ” Ootis Kal tIvos dpi Oxford 178 (Kai- 
 bel 1 14) 
 
 TataSe itot ev rpiodms Oxford 177 
 - - 6 a]upa to tv ep pampuiv Woburn 
 
 148 
 
 Cf. MiX7ra>peo A wvvcov Wilton [1] 
 
ETIGRAPHICAL INDEX. 
 
 829 
 
 II. ROMAN INSCRIPTIONS. 
 
 Edited. 
 
 C . T . L . hi. 435 Oxford 214 
 
 vi. 1. 322 Liverpool 2 
 
 593 Ince 292 
 787 Wilton 13a 
 1326 London, Apsley 1 
 1432 „ „ 3 
 
 2503 Broadlands 7 
 3174 London, Soane 25 
 3715 Ince 292 
 
 vii. 218 Cambridge 118 
 
 /. R . N . 2489 ,, 81 
 
 2589 Marbury 36 
 Gruter 6oi, 4 Broadlands 30 
 
 613, 9 London, Lansdowne 16 
 
 675, 1 m ,, 24 
 
 676, 13 ,, t , 71 
 
 988, 4 Holkham 49 
 
 ion, 3 Marbury 36 
 Muratori 884, 8 C. Howard 50 
 
 996, 9 
 
 Ince 240? 
 
 999, 6 
 
 Rossie 91 
 
 1144, 7 
 
 Woburn 186 a 
 
 Ir 53, 5 
 
 Ince 
 
 356 
 
 1164, 8 
 
 „ 
 
 362 
 
 1198, 10 
 
 ,, 
 
 316 
 
 1213, 9 
 
 cf. Cambridge 
 
 1224, 3 
 
 Ince 
 
 239 
 
 1252, 10 
 
 ,, 
 
 330 
 
 I2 73, « 
 
 „ 
 
 322 
 
 1296, 10 
 
 Wilton 198 
 
 1316, 11 
 
 Cambridge 89 
 
 1319, 8 
 
 Richmond 80 ? 
 
 1327. 11 
 
 Cambridge 88 
 
 1476, 10 
 
 Ince 
 
 313 
 
 1524, 1 
 
 „ 
 
 318 
 
 1539, 6 
 
 ,, 
 
 22 6 
 
 1545, 9 
 
 ,, 
 
 [379] 
 
 1598, 11 
 
 „ 
 
 35o? 
 
 1634, 10 
 
 ,, 
 
 354 
 
 1650, 13 
 
 ,, 
 
 311 ? 
 
 1665, 4 
 
 
 3*7 
 
 1695, 3 
 
 
 312 
 
 1698, 9 
 
 „ 
 
 320? 
 
 >, 14 
 
 „ 
 
 235? 
 
 i7°5* 11 
 
 n 
 
 364? 
 
 1738, 9 
 
 
 35o? 
 
 1745, 15 
 
 „ 
 
 231 
 
 Orelli- ) 1308 Rossie [103] 
 
 Henzen) 1450 Marbury 36 
 
 6570 Cambridge 81 
 
 Not Edited in these Collections. 
 
 broadlands 8. Brocklesby 66. Cambridge 
 82 — 87. 90. 91. Canterbury 44. 45 135. 
 Deepdene [10]. Holkham 50 58. C. 
 
 Unedited, continued: 
 
 Howard 51. 52. Ince 37. 150. 214. 228 — 
 230. 232. 234. 236—238. 245. 291. 302. 307. 
 3 T 4- 3i5- 32i- 3 2 3 3 2 9- 331—349- 351—353- 
 355- 357—36I- 363- 365- 367— 37 1 - Liver- 
 pool u. p. 428. London, Holland; Lans- 
 downe 15. 17. 18. 23. 73. 76. 79. 82. xoo. 
 101 ; Stafford 1. Lowther 48. 59 — 61. 66. 
 108. Marbury 42. Oxford 200. 202. 209. 
 212. Richmond 81. Rossie 147. Wilton 
 [ie], [120.] Woburn 104. 132. [182.] 186 c 
 
 Mythological. 
 Anchyrrhoe Ince 37 
 Apollo Marbury [42] 
 
 Fatus praefestinas London, Lansdowne 
 
 23 
 
 Fors London, Lansdowne 23 
 Fortuna London, Lansdowne 23; Soane 
 
 25 
 
 Hercules ( invictus ) Liverpool 2 ; sanctus 
 Lowther 66 
 
 luno S. M. R. Rossie [103] 
 
 Sil(vanus) sal(utaris) Ince 292 
 Vesta Wilton 13 a 
 
 Proper Names. 
 
 Abascantus C. Howard 52 
 Accia P.f. Tullia Cambridge 83 
 Acellius Ince [230] 
 
 P. Aelius Annius London, Soane 25 
 P. Aelius Lucanus Ince 238 
 T. Aelius Maximus Lowther 48 
 P. Aelius Aug. lib. Taunts C. Howard 
 50 
 
 Aelia Postumia verna Cambridge 87 
 Putt. Aelia Rufina Lowther 48 
 Aemilia Cantria Ince [315] 
 Emilianus Ince 229 
 C. Amaryllis Ince [336] 
 Amianthus C. Howard 52 
 Aninia Astcrio Ince 361 
 Annia Trophime Wilton 198 
 Antcsforus Ince 214 
 L. Antonins Felix Ince 354 
 Antonia Gemella Ince 342 
 T. Aquilius T. 1 . Pelorus Broadlands 
 8 
 
 T. F. Qu. Aristaeus Ince 214 
 
8 3 o 
 
 INDEX IV. 
 
 Roman Proper Names, continued: 
 Arronia Restituta Ince 226 
 Asclepiadcs Ince 226 
 As tec tits Aug. lib. Ince 332 
 Athaierus Inoi Canterbury 135 
 Atilia Phlcgusa Ince 359 
 Audax Broadlands 7 
 Q. Avilius C. f. Lanvinus Oxford 209 
 L. Avillant. Deepdene [10] 
 
 L. Aurelius Aufidi\anus ?\ Ince 245 
 Aurelius Ingenuus Ince 347 
 Aur(elius) Iobinus Ince 368 
 
 T. Aurelius Mansuetinus Ince 238 
 Aurelius') Martinus Ince 368 
 Aurelius Philander Ince 347 
 AI. Aur(elius ) AI. f. Vivinacius Cam- 
 bridge 82 
 
 Aurelia Hermione Ince 347 
 Aurelia Nice Cambridge 82 
 
 P. Betilienus Cures Rossie 101 
 
 M. Burrius Abascantus Ince 318 
 
 AI. Bitrrius Alticus (Atlicus) Ince 318. 
 Addenda 
 
 AI. Burrius Curius ( Pulpits ) Ince 318. 
 Addenda 
 
 HP. Burrius Felix Ince 318 
 PI. Burrius Hcrntes Ince 318 
 
 AI. Burrius Vannius ( Puncilus ) Ince 
 318. Addenda 
 
 Burria \PhiI\umen\e\ Ince 3 1 8. Ad- 
 denda 
 
 Celius Cortos Ince 292 
 Celius Hermes Ince 292 
 Cn.Caesius Atticus Cambridge 89 
 L. Calidius Bitculus Ince 346 
 
 Calidius Eleuthr. 1. Cambridge 90 
 
 Q. Calidius Pothus Cambridge 90 
 Calidia Vrsil\l\a Ince 346 
 
 C. Calpurnius Cognitus Holkham 50 
 Calpurnia Chrysis Holkham 50 
 Calpurnia Felicitas Woburn 186 
 
 T. Camdenius Eutuches Ince 3 1 1 
 Cantenius Ince 229 
 
 AI. Carienius Felix London, Lansdowne 
 
 24 
 
 AI. Carienius AI. f. Venustus London, 
 Lansdowne 24 
 
 Carienia Venusta London, Lans- 
 downe 24 
 
 Roman Proper Names, continued: 
 Carpus Rossie 101 
 Carvilia Ince 358 
 
 L. Casperius Epaphroditus Richmond 
 80 
 
 AI. Cato Ince 150 
 AI. Chri. 97 Canterbury 44 
 Nero Clavdivs Caesar Avgvstvs 
 London, Lansdowne 15 
 Ti. Claudius Epaphra Ince 349 
 Claud(ius Esychus) Liverpool 2 
 Ti. Claudius Hermias Cambridge 88 
 Claudius Hylltts London, Lans- 
 downe 71 
 
 Ti. Claudius Onesimus Actes lib. Ince 
 
 345 
 
 AI. Claudius Paetus Ince 360 
 
 Ti. Claudius Quir. Plolus Ince [240] 
 Claudius Rufianus Broadlands 7 
 Claudius Rufus Ince 236 
 Ti. Claudius Rufus Ince 365 
 
 T. Claudius Secund[i\o Ince 307 
 Claudius Tauriscus London, Lans- 
 downe 71 
 
 ( Claudia ) Acte Ince 345 
 Claudia Felicula Ince 345 
 Claudia Aug. 1. Quieta Ince [240] 
 AI. Clodius Castor Ince 356 
 
 Cicero London, Apsley 1 
 AI. Cocceius Crescens Rossie 91 
 Cocceia A uge Rossie 9 1 
 Coclia Amanda London, Lans- 
 downe 82 
 
 Corn(elius) Autolycus London, Lans- 
 downe 101 
 
 L. Cornelius Clemens Ince 330 
 I.. Cornelius lason Ince 330 
 
 P. Cornelius Iaso London, Lansdowne 
 16 
 
 Corn(elius) Theseus London, Lans- 
 downe 101 
 
 Cornelia Briseis London, Lans- 
 downe 101 
 
 Cornelia L. 1. Staphyle Ince 327 
 Crescens London, Apsley 3 
 Crocale Ince 358 
 
 Q. Curiatius Zosimus Ince 317 
 Curtilius Woburn 186 
 
 P. Curtins P. P. /. Rossie 147 
 
EPIGRAPIIICAL INDEX. 
 
 831 
 
 Roman Proper Names, continued: 
 Diadumenus Ince 342 
 Domitia Nice Ince 338 
 Ellius Rufus S. 1 . Habra Ince [314] 
 
 P. Etrilius Abascantus Ince 331 
 
 Etrilia Danae Ince 331 
 Euphrosyne Ince [315] 
 
 Eusebia Woburn 104 
 Eutychianus Lowther 66 
 Fabius Instils Oxford 212 
 Fabius Rufinus Oxford 212 
 Faustina Woburn 104 
 Felicio Cambridge 85 
 Festiva Ince 362 
 
 T. Flavius Aug. 1 . Seda fits Antoninia- 
 nus London, Lansdovvne 16 
 T. Flavius Eutactus Ince 340 
 T. Flavius Sp. f. Eutyches Ince 325 
 T. Flabiits Hermes Holkham 58 
 Flavius Libanus Ince 370 
 T. Flavius Aug. 1 . Onesimus Broad- 
 lands 30 
 
 T. Fla(vius) Vents Aug. lib. Cambridge 
 81 
 
 T. Flavius Vitalianus Broadlands 30 
 T. Flavius Aug. 1 . Zmaragdus Ince 
 
 [323] 
 
 E'lavia Marcellina Oxford 214 
 Flavia Nysa Ince 332 
 Flavia Onesime Ince 362 
 Flavia Felons Ince 325 
 Flavia Folia Ince 340 
 Flavia Zoe Rossie 101 
 
 Fulvanus Arch. Ince [328] 
 
 Q. Gellius Chrestus Lowther 60 
 
 [Ge]rmani[cvs] ? Brocklesby 66 
 Graeccia P. f. Rufa Marbury 36 
 C. Hclvius Hermes Ince 226 
 M. Ilerennius Woburn [182] 
 
 M. Ilerennius Felix Ince 359 
 Hermes Ince 339. 362 
 Hor(atius) Flacc(us) Wilton [1 e] 
 Hyla Ince 349 
 
 C. F. Q. Ian. Carpis Ince [336] 
 
 L. Iulius Bassits Ince 338 
 Ti. Iulius Epitynchanus Ince 369 
 Ti. Iulius Heraclides London, Lans- 
 downe 79 
 
 C. Iulius Hirmaiscus Ince 312 
 
 Roman Proper Names, continued: 
 
 C. Iul(ius ) Iulianus Ince [337] 
 
 Iulius Marcianus Ince 368 
 C. Iulius Speratus Ince 361 
 
 L. Iulius Vrsus Servianus see Vrsus 
 Iulia Ince [337] 
 
 Iulia Anthis Cambridge 88 
 Iulia Cypare Cambridge 89 
 Iulia Meroe Ince [334] 
 
 M. Iunius Anoptes Marbury 43 
 C. lun(ius) Bit. Canterbury 45 
 M. Iunius Phoebus Marbury 43 
 AI. Iunius Satyr(us) Marbury 44 
 
 Iun(ia) Aelia Rufina Lowther 48 
 Junta Artemisia Marbury 43 
 Iunia Corinthis Marbury 44 
 Junta RI. f. Marcella Ince 237 
 Iunia Iuniae l. Privata Ince 237 
 Q. C. Q. F. lustus Ince [336] 
 
 Q. Laelius Primigenius Ince 320 
 Laclia Char is Ince 330 
 Lappia Prima Ince [235] 
 
 Larcia Rufina Ince 355 
 M. Lepidius Epigonus Ince 313 
 
 Lepidia M. D. 1 . Privata Ince 313 
 Q. Licinius Felix Ince 353 
 
 P. Livius Fortunatus Ince [319] 
 
 Livia P. f. Ince [319] 
 
 Macrinius Maximinus Richmond 
 
 81 
 
 Z. Macrius \_E\uelpistus London, Lans- 
 downe 18 
 
 Z. Mallius L. 1 . Clemens Ince [364] 
 Mallia Mifprofula Ince [364] 
 
 Z. Manlius Philargyrus Ince 355 
 [Alajnlia Sccunda Deepdene [10] 
 
 Z. Marcius Pacatus Oxford 202 
 Mecilia Balbilla Rossie [103] 
 
 G. Messis Lowther 108 
 
 Meltius Messor Broadlands 7 
 
 Q. Milasius M. f. Am. Bassus Ince 
 
 329 
 
 C. Minicius Gelasinus Ince 335 
 Mudasena Trophime Wilton 13 a 
 C. Munius Serenus Ince 371 
 P. Murrius Epigonus C. Howard 52 
 Murria Procula C. Howard 52 
 Nedimus London, Lansdowne r7 
 Nicostratus Neronis Claudi Caesa- 
 
INDEX IV. 
 
 832 
 
 Roman Proper Names, continued: 
 ris Augusti London, Lansdovvne 
 
 15 
 
 Nucerinus Rossie 101 
 Numisia Primigenia Ince 321 
 M. Nutonius Ccler Deepdene [10] 
 
 C. Octavius Firrnus Ince [228] 
 
 Octavia L’hetis Cambridge 8 1 
 Onesimus Ince 346 
 C. Oppius Eutyches Ince 363 
 Oppia Thisbe Ince 363 
 Paetus Ince 360 
 
 L. Papirius London, Stafford 1 
 L. Passienius Doryphorus Ince 302 
 Passienius Sabinus Ince 302 
 L. Passienius Saturninus Ince 302 
 Passienia Gemella Ince 302 
 T. Peducaeus T. 1 . Faust us Ince 316 
 T. Peducaeus T. f. Quir. Floras Ince 
 3 l6 
 
 T. Peducaeus T. f. Quir. Severus Ince 
 316 
 
 Pcducaea T. 1 . Daphne Ince 316 
 Perpernea M. L. 1 . Prima Ince [364] 
 C. Petilius Bassus Ince 329 
 
 Petronius Hedychrus Holkham 49 
 Petronia T\r\ophime Holkham 49 
 Phengis Richmond 80 
 Philetus Cambridge 86 
 Pholoe Ince 234 
 Picaria Tertia Liverpool 1 1 
 L. Pituanius Salvus London, Lans- 
 downe 23 
 
 A. Plautius Gallus Ince 339 
 Plotia Flora Broadlands 8 
 Cn. Pompeius Cn.f. Iustus Ince 324 
 L. Pompeius L.jilius Fabia Marcdlinus 
 Oxford 2 1 4 
 
 Pompcia Catullina Oxford 214 
 Pompeia Margaris Cambridge 85 
 Pompon(ia) Diana? Marbury 36 
 Poinponia Thallusa Rossie 101 
 J\d. Porcius Cato see M. Cato 
 Portia lusta Ince [228] 
 
 Primigenius Rossie 101 
 Prisca Augustor. Ince 341 
 Probus im. Claudias Wilton [120] 
 Publicia Tertia Liverpool r 1 
 Publilius Sevcrianus Ince 322 
 
 Roman Proper Names, continued: 
 
 T. Publiliu(s ) Sevcrianu(s) Ince 322 
 Publilia Spes Oxford 215 
 C. Pupius Firminus Wilton 13 a 
 A. Quintilius A. (lib.) Ero... London, 
 Lansdowne 73 
 
 \Quinf\ilia A. 1 . Secunda London, 
 Lansdowne 73 
 
 P. Quintiles Eutyches Ince 367 
 Quintius Eutychianus Ince 367 
 Quintia Victoria Ince 367 
 Rasinia Glypte Ince 234 
 
 Rodope Oxford 202 
 Rubrius Rev.ilis Ince [343] 
 
 Rubria Prima Albaniesis Ince [343] 
 Rufnits L.f. Ince [334] 
 
 Q. Rufinus Ince 368 
 
 P. Rufinus Ephestion Ince 370 
 ill. Rufrius M. 1 . Phila\deT\phus Ince 
 [35o] 
 
 Ruf\f[ia Jl/. 1 . luctin(da) Ince [350] 
 Rutilia Romana Ince [333] 
 did. Saburius Ligus Fal. Albintimili 
 Ince 357 
 
 Saenia Longina Brocklesby 66 
 Seia Helis Rossie 102 
 Sempronius 01 . Vrbanus Ince [314] 
 Sempronia P. 1 . Auge Ince [314] 
 
 L. Sentius L. 1 . Coccetus Cambridge 
 
 [84] 
 
 Serenus Aug. lib. London, Lans- 
 downe 82 
 
 Sestilia D. 1 . Secunda Ince 231 
 
 L. Severinus L.f. Ince 352 
 Severiita Procilla Ince 352 
 Sextius P. f. Cornelius Pal. Ncpti- 
 
 lianus London, Holland 
 Sintyche London, Lansdowne 1 7 
 T. Statilius Hermes Cambridge 91 
 Statilia Philaenis Cambridge 91 
 Sulpicia Canni Oxford [200] 
 
 Telesphorus Primitivus Ince 346 
 
 M. Terentius Stephani liberties Resti- 
 tutus Ince 358 
 
 Terpolia Procilla P. f. London, Lans- 
 downe 79 
 
 Trebellius Onesimus Woburn 132 
 Trebellius Reslit ulus Woburn 132 
 Trcbellia Ampliata Woburn 132 
 
EPIGRAPIIICAL INDEX. 
 
 833 
 
 Roman Proper Names, continued: 
 Trebellia Melpomene Woburn 132 
 Trophima London, Lansdowne 100 
 M. Tullius Cicero see Cicero 
 C. Tutilius Rufinus Ince 307 
 
 P. Valerius Ceria/is Woburn 186 
 Valeria Ias(o ) Cambridge 90 
 Valeria Maxima Cambridge 90 
 Valeria M. f Prisca Ince 239 
 Valeria P.f. Valeriana Woburn 1 86 
 Verria Nicopolis Ince 369 
 
 Vestalis Aug. lib. Rossie 91 
 Vicamts London, Lansdowne 17 
 M. Vigellius Logus C. Howard 51 
 Vigellia Anthusa C. Howard 5 r 
 Vigellia Iucunda C. Howard 51 
 M. Vlpius Aug. lib. Clemens Marbury 
 45 
 
 M. VI pit ts Ei tty dies Ince 348 
 M. Vlpius Aug. lib. Fortunatus Cam- 
 bridge 86 
 
 M. Vlpius Pliilocahis Ince 348 
 M. Vlpius Vestalis Rossie 9 1 
 
 Vlpia M. f. Clementina Marbury 
 45 
 
 Vlpia P/usias Cambridge 86 
 Vlpia Sabina Ince 370 
 
 Q. Volusius Vents Wilton 198 
 
 L. Vi sits cos. Ill London, Apsley 3 
 Zotice London, Lansdowne 100 
 
 Geographical. 
 
 Aclia Call(ica) Cambridge 82 
 Albintimilitim Ince 357 
 Bessus Ince 368 
 
 Lanuvium Rossie [103]. Lanviuus 
 Oxford 209 
 Noricus Ince 238 
 Palmyrenus London, Soane 25 
 Roma Oxford 214. horti Volusia ni 
 Broadlands 8 
 
 Tribvs. 
 
 Arn(iensis) Ince 329 
 Palna Oxford 214 (Ephesos) 
 
 Pal(erna) Ince 357 (Rome?) 
 
 Pal{atina) London, Holland 
 Quir(ina) Ince [240]. 316 (Rome) 
 
 M. C. 
 
 Military. 
 
 centurio leg. VII C. Ince 238 
 tri. coh. pri. Ligur. Oxford 214 
 mil. clto. Ill pr. Broadlands 7 
 mil. coh. Ill pr. \cent.\ Q. Rujini Ince 
 368 
 
 mil. coh. IV pr. Cambridge 82 
 coh. V pr. Ince 357 
 miles coh. VII pr. 3 C. Pet Hi Bassi 
 Ince 329 
 
 coh. mil. ttrb. XII Ince [337] 
 cq. singularis Ince 368 
 cq. sing. Aug. London, Soane 25 
 cq. sing. Aug. tur. Lucaniana Ince 
 238 
 
 cz'oc. Aug. sal. VI Ince 337 
 Civil. 
 
 a cognitionibus Ince 332 
 dec{uriarum) ////Broadlands 30 
 dcc(uria) Favoris Broadlands 30 
 ministrator Broadlands 30 
 sac(erdos) Rossie [103] 
 a sacris London, Lansdowne 82 
 tab(ularius) ral(iouis) aquarior(um) 
 Cambridge 8 r 
 
 vestiariusde hor(tis) Volitsianis Broad- 
 lands 8 
 
 Miscellaneous. 
 
 aedcs Iunonis S. M. R. Lanuvii 
 Rossie [103] 
 
 ara et monimentiim London, Lans- 
 downe 79 
 
 eale(ei) Rossie [103] 
 c\l]ypeus Rossie [103] 
 conmaniplits Broadlands 7 
 hast(a) Rossie [103] 
 horti Volusiani Broadlands 8 
 imago Ince 214 
 
 nolitc dolcrc , parentes, hoc faciundum 
 fuit Cambridge [84] 
 novare Rossie [103] 
 scutulus Rossie [103] 
 secitndtts hercs Ince 368 
 triclia Ince 370 
 
 verna Cambridge 87. Ince 234 
 
 53 
 
§34 
 
 INDEX IV. 
 
 Grammatical. 
 
 conquo = cum quo Cambridge 87 
 idem = eidem (dat.) Holkham 49 
 sinae—sine Ince 369 
 sivi=sil>i Cambridge 87 
 
 Notae. 
 
 D London, Lansdowne 76 
 H. M. [//. N.\ S. Oxford 214 
 S. P. S. C. P. S. Marbury 36 
 k" London, Lansdowne 73 
 
 III. ETRUSCAN INSCRIPTIONS. 
 
 Amphiare Cambridge p. 268 
 Atrste Cambridge p. 268 
 Perse Liverpool [20] 
 
 Mener[f~\a Liverpool [20] 
 
 Tide Liverpool [20] 
 
 IV. EGYPTIAN INSCRIPTIONS. 
 
 See Rokeby p. 647. Wilton 74 
 
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