CATALOGUE OP THE Corcoran Gallery of Art. Prepared by WILLIAM MACLEOD, Curator. 37th EDITION. [In all, 81,000 copies.] WASHINGTON, D. C. 1884 . From the Library of Frank Simpson CATALOGUE OF THE Paintings, Statuary, Casts, Bronzes, &c. OF THE Corcoran Gallery of Srt. “ When from the sacred garden driven Man fled before his Maker’s wrath, An angel left her place in heaven. And cross’d the wanderer’s sunless path. ’Twas Art ! sweet Art ! new radiance broke Where her light foot flew o’er the ground, And thus, with seraph voice, she spoke : ‘ The curse a blessing shall be found ! ’ ” — Charles Sprague. Prepared by WM. MACLEOD, Curator. GTBSON BROTHERS, PRINTERS INDEX. PAGE. History and Description of the Corcoran Gallery of Art 5 First Floor. Main Vestibule — J apanese Porcelain Lacquered Vases, &c ft Eight and Left Corridors — B usts and bas-reliefs from the antique 10 Vestibule of Sculpture Hall — V ela’s Last Days of Napoleon 12 Sketch of Greek Sculpture 13 Frieze of the Parthenon ; Casts from the Elgin Marbles 15 Casts from the Antique — V enus of Milo, &c 18 Casts from Modern Sculpture — K inehart’s Clytie, &c 28 Casts from Sculpture of the Kenaissance — G hiberti Gate; M. Angelo’s “David” and “Slaves,” &c 29 Hall of Bronzes — H ildersheim Treasures, Kensington Museum Reproductions, Majolica ware, Marble busts 34 Second Floor. Main Picture Gallery 43, East Side Gallery 59 West Side Gallery 61 Southwest Corner Gallery — R inehart’s Sleeping Children, in Marble, in the Vatican. The original of this cast is by Naucydes, pupil of Polycletus, who was a pupil of Phidias, and consequently the work is worthy of its age and author. The head is supposed not to have formed a part of the original figure — why, it is difficult to imagine ; for its form and expression seem in harmony with the action of the body, that so well represents arrested purpose. This fine ex- pression of thoughtful suspense shows the superiority of the 'work over that of Myron, his predecessor, whose Discobolus, great as it is, merely represents physical activity. The fillet round the head was the badge of victory. 1). Venus of Melos. g rt^tu Marble, in the Louvre. The original of this cast was discovered in 1820, in the island of Milo, the ancient Melos, by a peasant, while digging near some sepulchral grottoes. The earth suddenly gave way, and this Venus was found in a rocky cave with a Mercury and some pedestals. The French Consul tried to buy it, but a cunning monk, in disgrace with the Sultan, secured it as a peace- offering to the Porte. While the statue was on its way to a ship, a French frigate arrived with a secretary of the French embassy, bearing orders to purchase and hurry it off. A fight occurred over it between the French sailors and natives, and the former carried off the prize. The peasant received six thousand francs for this invaluable statue, that went to Paris as a present to Charles X. It now stands in the Louvre, the pride of Paris, and the admiration of the world. Its sculptor is unknown, but by the grandeur of its style it is justly assigned to the era between Phidias and Praxiteles, and is considered the greatest statue of woman’s form the world now holds. The plinth, the left foot, the tip of the nose, and a small part of the lips are the only parts restored. Parts of an arm and hand also were found, but so mutilated that though casts have been taken with them attached, the glorious torso is declared by the world better as it is — the fullness of what is left, and its suggested action, being more satis- factory than any gue^s-work from an uninspired hand. When the Germans besieged Paris, this favorite statue was boxed and buried beyond reach of shot, under the Prefecture of Police; and on their withdrawal a new foe — the Commune — arose and burnt the Prefecture to the ground, to the dismay of every admirer of the statue, which it was feared was turned into lime- dust. On searching for her, it was found a bursted water-pipe had saved her — she was uninjured. The moisture, however, had destroyed the cement at the junction of the two sections at her waist, and in it were discovered some wooden wedges, which had for fifty years given to the upper part of the figure an inclination not designed by the sculptor. These were removed, and the sections closely uniting, it is said a new and more agreeable posi- tion was given to the goddess. What was the action expressed by this noble figure when complete ? There is nothing of the ordinary Cyprian Venus about it. From every point of view the form preserves its dignity and grace, and the majestic head and face are full of serene, earnest thought. Mr. Ravaisson, keeper of the Antiques at the Louvre, who discovered the wedges, and restored the statue to its original position, thinks it probable that the statue is part of a group of Venus and Mars — “ Love disarming War ” — woman taking from man the fiercer traits of character; and he has made a cast, with the arms attached, which it is said confirms his theory. Then, again, it is asserted that a small bronze copy of it has been discovered iu Pompeii representing her as looking at herself in a mirror held in her left hand, and therefore the outrageous inference is drawn by some, that this august form was once engaged in such an act of coquetry ! Mr. Millingen, a Dutch antiquary, thinks it a Victory holding a shield with both hands, and Mr. Stillman, a recent critic, contends that it is the Wingless Victory that once stood in the Temple of NikcS-Apteros, Athens, and sent to Melos at the time of a threatened invasion. HALL OF ANTIQUE SCULPTURE. 19 The Venus of Capua in the Museo Bourbonico, Naples, is like the Venus of Melos in general form, but has the head bent down and the left arm and empty hand extended towards a Cupid, who, with his bow, stands before her. It is believed to be a modified copy of the latter. All these theories, however, are set at naught, and the action of the Venus of Melos settled, if there be truth in the following evidence of its condition when found, as quoted by O’Shea, in his “Galleries of the Louvre.” The eminent traveller, Dumont D’Urville, landed from the French frigate soon after its discovery, and after an inspection, says in his account of it published in 1821 : “ The statue was in two parts, and about six feet high, representing a nude female whose left hand {raised) held an apple , and the right one held up a tunic falling gracefully from the waist to the feet. However, they (the hands) were mutilated and separated from the body.’’ An officer of the man-of-war, writing about the statue, says : “ When M. D’Urville and myself saw the statue it had the left arm raised in the air, and holding in its hand an apple , and the right arm was broken at its narrow part — d la saignee." O’Shea also states that the fore- arm and hand holding the apple are in the store-room of the Louvre. This contemporary evidence seems to prove conclusively that the statue is a Venus Victrix in the contest for the apple with Juno and Minerva. The august expression of her face and form may be explained as that of a proud consciousness that even thus much of her charms were more than enough to prove her supreme beauty — an expression and attitude showing neither the flutter of eager expectation, nor doubt of the result, nor vulgar triumph over her rivals. 10 . Venus de Medici. ^ Marble, in Florence. Presented by J. C. McGuire, Esq. This excellent cast of the Goddess of Love, though somewhat in- jured by exposure to the weather, is regarded as a perfect copy, its ex- treme fidelity having carried off a prize in Italy. The original stands in the Tribunal of tbeUffizi, Florence. It was found in the 15th century and carried to Venice during the reign of Cosmo di Medicis — hence its name. When found it was in thirteen pieces, and without arms. These were sup- plied, but it is supposed by many that the position of the original arms is not given in the substitutes. It was executed by Cleomenes of Athens at a period when Greek art was rapidly declining. Though it has been charac- terized as “the statue that enchants the world,” there is no famous work of sculpture that has been more the subject of diverse criticism. 11. Venus of the Capitol. sftmiin. Marble, in the Capitoline Museum, Rome. The back of this figure is particularly fine. The vase below the drapery is a symbol of the bath. 12. Ariadne Deserted. 5 in. 6 n.'u%. Marble, in the Vatican. Ariadne, daughter of Minos, King of Crete, was married to Theseus, who deserted her at Naxos. She was afterwards loved by Bacchus, and mar- ried to him. This supeb recumbent figure was once supposed to represent Cleopatra, but the learned critic Visconti proved that the asp on the arm — the supposed proof of its being the Queen of Egypt— was only an armlet of serpent-like form. For three centuries it adorned a fountain in the Vatican. It now stands on an ancient sarcophagus, the sides of which represent, in bas-reliefs, giants destroyed by thunderbolts. Lubke assigns the execution of this statue to the period of Augustus Caesar. 13. Euterpe. j,?; t Marble, in the Louvre. The Inventress of song and wind instruments is here crowned, and hold- ing a pipe or flute in each hand. Though the face of the original seems to have been much injured, yet its pleasant air, easy attitude, and graceful drapery are remarkable. It was once in the Villa Borghese. 20 HALL OF ANTIQUE SCULPTURE. 14. Diana di Gabia. 6 ft H 5 - in Marble, in the Louvre. This statue takes its name from the place where it was found in 1792. It is also called Atlanta adjusting her robe. This is perhaps the most beautiful draped statue known. In point of maidenly grace, purity of expression, and the exquisite lines of the drapery, it has no equal. 15. Genius of the Vatican. 3 3 °in. Marble, in the Vatican. This beautiful work was found at Centieelli, between Rome and Palses- trina, and has been by some pronounced an Eros, or Cupid, by Praxiteles. It represents that dreamy state when the form is passing into young man- hood. 1G. Abundance, oh Plenty. 6tt ®- in Marble, in the Vatican. One of the noblest draped statues antiquity bas left us. It has the cor- nucopia in the left hand, while the right holds a rudder resting on a globe, thus indicating Commerce as a source of Plenty. 17. Minerva. Marble, in the Vatican. This imposing statue of the goddess of wisdom, of war, and all liberal arts, is often called Minerva Medica. The serpent is a special attribute of Minerva as an emblem of wisdom. The griffin is also sacred to her, and appears on her helmet. In surveying the austere dignity of her statue, there seems point in the Greek epigram, “that only a cow-keeper like Paris could have preferred Venus to Minerva! ” 18. Genius of Eternal Rest. 5ft ^ in Marble, in the Louvre. The original of this impressive cast formerly belonged to Cardinal Ma- zarin. It is a perfect illustration of the Greek sentiment that always ex- pressed death with types of beauty. The figure leans against a pine tree, the resin of which was used in funeral ceremonies. The left leg is con- sidered perfect in design and delicate contour. 19. Germanicus. 5 ft ^ii in Marble, in the Vatican. Germanicus was emperor of the eastern division of the Roman Empire, A. D. 19, and celebrated for his military genius, learning, and benevolence. Some consider it to be a statue of a Roman orator, in the character of Mercury, the god of eloquence, of whom the tortoise below the drapery is an emblem. It is inscribed, “Cleomenes, son of Cleomenes, made this. •’ The head is supposed by some not to be the original one. The statue seems to represent the mature vigor of middle age, combining strength in the chest and arms, with light compactness of the legs. It is supported by a graceful fold of drapery, instead of a heavy tree-trunk, thereby leaving in full outline the contour of the lower limbs. No published authority seems to have ex- plained the action of the right arm and uplifted hand, holding a small sub- stance like a bean. It is supposed that the figure represents some solemn decision by the vote of the emperor. 20. Antinous, of the Capitol. snwk™ Marble, in the Capitol. Antinous was a handsome youth, beloved by the Emperor Hadrian, to whom he was so much attached that he drowned himself in the Nile to save his imperial master from the death foretold to him, unless saved by such a sacrifice. Hadrian immortalized his favorite by raising temples and statues to his memory. He is generally represented with a pen- sive declination of his head, as though in sad foreboding of his early doom. This statue is considered a perfect embodiment of young, graceful man- hood. 21 . The Fighting Hero, or Gladiator. Marble, in the Louvre. H. 5 ft., and from head to foot, ft. This most spirited of all statues, ancient or modern, was found on the HALL OF ANTIQUE SCULPTURE. 21 coast near Antium — very near the spot where, a century earlier, the Apollo Belvedere was found. The stem supporting it is inscribed in Greek letters, “Agasias, son of Dositheus, the Ephesian, made it,” and therefore it is a specimen of Greek sculpture of the Fourth Epoch, that ended with the Roman conquest. It is now asserted that this statue does not represent a gladiator, but a foot soldier, defending himself against a horseman; and that gladiators were principally slaves, who fought with more or less armor. Viardot insists that it is Greek, and represents an athlete of the Hellenic games, gladiators not being known to that people, but were of Roman origin. Whatever may be the character represented, the world agrees in the perfection of its bold, energetic style, the nervous tension of the whole body, the combined readiness for attack and defence, and the firm, defiant brow. 22. Group of the Laocoon. Marble, in the Vatican. H. 0 ft. K in. to top of head. This magnificent cast was made from the original in the Vatican, and was presented to George the Fourth. The original work belongs to the 4th epoch of Greek sculpture of the School of Rhodes, and in merit ranks in the second class. It was executed by three sculptors — Agesandrus, Atheodorus, and Polydorus. It was found in Rome in 1506, and the Pope ordered a public festival in honor of its discovery. According to Pliny, it once stood in the palace of Titus. Laocoon was a priest of Apollo, and the god, being offended, sent two serpents, that killed him and his two sons at the altar, while offering sacrifice to Neptune. When found in the ruins of the Baths of Titus, the right arm was want- ing. One in terra cotta, by Bernini, was substituted. Michael Angelo designed one in marble, but never finished it. Lubke and other writers insist that the right arm was not originally in the position given to it by the great sculptor, but was bent down behind the head, which was thus supported by the hand in that moment of exhausted agony. This position of the arm is often given in engravings. Lubke thus comments upon this famous work: “From three different scenes one united and strictly con- nected group is formed, depicting the one moment of utmost suffering and horror petrified with fearful truth, and the whole pathos is concentrated in the mighty figure of the father. * * * Yet we see nothing here but pure physical suffering. The impression is entirely pathological, for no moral idea, no tragic conilict, no allusion to guilt and expiation, meets us; and in this lies the barrier, the contrast, between it and the Niobe, and other works of a former age. Nevertheless, the composition and the exe- cution are masterly, and worthy of admiration.” 23. Apoxyomenos. efLs&in. Marble, in the Vatican. This cast represents an athlete scraping from his arm with the strigil the dust of the arena. Athletes were contestants in the public games, and before entering the arena rubbed their naked bodies over with oil. The victors received great honors. The original was in bronze, and executed by Lysippus, of the Argine school. He was the leader of the physical style that succeeded the grand, solemn manner of Phidias. His works were numerous, and extended to the time of Alexander the Great, who would allow no one else to model his form. He was fond of depicting the labors of Hercules, and originated the style in which that demi-god is usually rep- resented. Though his style was purely physical he followed the rules of Polycletus carefully, and gave a peculiar grace and suppleness to his figures. This statue is considered about the finest example of his work. It was found near Trastavere in 1846. Agrippa had placed it in front of the Thermae, near the Pantheon, and it was so popular that when Tiberius at- tempted its removal to his own residence, the people rose and forbade it. It is believed that the five-spot on the die (tessera) held out in the right hand signifies that the figure came out fifth in the contest. 22 HALL OF ANTIQUE SCULPTURE. 24. Bust of Nero. Marble, in the Louvre. On surveying this portrait of the most wicked of Rome’s emperors, the general idiotic mould of the head almost disposes one to think that Nero could not have been morally responsible for his cruelties, in spite of the cat-like expression of the eyes. 25. Ajax. Marble, in the British Museum. This bust of one of ihe Greek leaders at the siege of Troy, Diomede, has been erroneously called Ajax. It was found in 1771 by Mr. Gavin Hamil- ton in the Pantinella, Hadrian’s Villa. 26. Silenus AN'I) Infant Bacchus. Gft .®i n . Marble, in the Louvre. The original of this superb cast was found in the 16lh century, in the gardens of Sallust, at Rome. The hands, half of the right forearm, and right toes of Silenus, and left leg of Bacchus, are restorations. Notwith- standing the pointed ears and rude nose of the Faun, the expression of his face is benevolently human, and reflects with luminous kindliness the smil- ing face of the young Bacchus. The legs of Silenus are considered to be of remarkable excellence, and the close observer will not fail to perceive the goat-like sinewness towards the back of the ancles. Silenus, though a sylvan deity, and the tutor and friend of Bacchus, is more frequently rep- resented as a fat, intoxicated old man, crowned with ivy and flowers, rid- ing on an ass. 27. Venus Callipygos. smVin. Marble, in the Naples Museum. So called from the Greek definition of its peculiar character. It was once in the Farnese Palace, Rome. Casts of it are in great demand. The back of the figure is particularly admired. It is said that the head and the right leg below the knee are restorations. 28. Boy with Goose. 33 “‘ in . Marble, in the Vatican. Found in 1789, at Civita Vecchia, Appian Way. It is thought to be copied from a bronze work by Boetius, of Carthage. Heads of the child and goose, with the wing tips, are restorations. 29. Youth Supplicating. 4 ft.%in. Bronze, at Berlin. The original of this exquisite statuette is said to have been found in the Tiber. From Clement XI it passed through several hands to the King of Prussia. Right hand and part of the forearm are restorations. 30. Achilles Borgiiese. 6ft ®- jn Marble, in the Louvre. The original of this cast was formerly in the Villa Borghese, whence its name. Its proper name is doubtful, as the figure is not of that heroic mould we associate with the Greek hero, in spite of the helmet, the lance once held in his right hand, and the anklet supposed to guard the only vital part of his body. Clarac thought it a copy of a bronze by Alcamenes, favorite pupil of Phidias. Visconti first gave it the name of Achilles, but Winkelman thinks it a statue of Mars, and that the ring or anklet indicated the custom of the Spartans of chaining up the God of War, “that he might never leave them.” 31. Mercury. G ®- f Marble, in the Vatican. This statue was once called Antinous, but Visconti has proved it to be Mercury. It was found on the Esquiline Hill, near the baths of Titus. The right arm and left hand were never restored, but the right thigh and both lower legs are modern. The lower part of the statue is notably inferior to the bust and head, which show a blended strength and grace peculiar to the works of Lysippus, to whom Lubke attributes the work. 32 . - HALL OP ANTIQUE SCULPTURE. 23 33. Crouching Venus. art/sMin. Marble, in the Vatican. The original statuette was found at Salone, on the road from Rome to Palestrina. The left hand, right forearm, and upper part of the head are modern. The antique base found with it is inscribed “ Bovpalos made." It is said, however, that sculptor lived in an earlier age, and that the stat- uette is supposed to be by Diedalus, of the Argive school. It is mentioned by Pliny as standing in the porch of Octavia, in the Temple of Jupiter, at Rome. 34. Venus at the Bath. ^ Marble, in the Louvre. Much of this figure is of modern restoration. It is supposed to be a copy of the Venus of Polycharmes, which Pliny says was taken to Rome in his time. 35. Bone-Player. 2 ln Marble, in the Louvre. The original of this beautiful statue was found at Rome in 730. The right hand, neck, and left shoulder, are modern. The game of Tali, or playing with bones, was a favorite one with the ancients. 3G Colossal Bust of .ZEsculapius. 21 V Marble, in British Museum. ^Esculapius was supposed to be the son of Apollo, and was taught medi- cine by Chiron, the Centaur. He was the chief medical officer to the famous Argonautic expedition, and saved so many lives that Pluto induced Jupiter to destroy him with a thunderbolt. Divine honors were paid him. The original of this cast was found in the island of Milo(Melos) in 1828, and is conjectured to have been made about 300 B. C. It evidently formed part of a statue, and is of the true Pliidian grandeur in style. 37. Julia. 4ft ^ ln Marble, in the Vatican. The original of this statue was found on the coast of Barbary, at Ben Ghuzi, and is sometimes called A Young Roman Girl. Julia was the mother of the Emperor Caracalla, and, after his decease, through grief, starved herself to death. It is interesting as a study of drapery, and gives a correct idea of the costume of that age. 38. Demosthenes. cit^'in Marble, in the Vatican. This cast is from the finest statue known of the greatest Greek orator, whose denunciatory speeches against Philip of Macedon have given to that species of oratory the name of philippic. He is here represented as in the act of rolling up his speech at the close of an oration. Born 383 B. C. Died in his 62d year. 39. Sophocles. 6ft |b in Marble, in the Lateran Rome. The renowned tragic poet, soldier, and statesman of Athens, died 40G B. C., in his 91st year, from exultation over one of his prize poems read at the Olympian Games. This statue is considered an unequalled model of dignity and manly grace. 40. Aristides. 6>2 H f j Marble, in the Naples Museum. Found in Herculaneum. It is supposed to represent Aristides exhorting the Spartans to resist the Persians under Mardonius. Canova is said to have always paused before it when entering the Museum. Though Aristides was surnamed “The Just,” on account of his virtues, he was banished from Athens. Subsequently recalled, he led in the battles of Salamis and Plataea, but dying in poverty was buried at the public expense. 41. Bust of Socrates. Marble, original in the Louvre. The ugliness of this portrait of the greatest of ancient philosophers was the occasion of a noted utterance of wisdom from him ; for when a physi- ognomist said his features declared a nature depraved and licentious, Socrates restrained his disciples from killing the supposed slanderer by saying his assertions were true, for he really was by nature all he was charged with, but that he had by wisdom subdued and kept under his 24 HALL OF ANTIQUE SCULPTURE. vicious passions. He was also brave in battle, having once saved the lives of his pupils, Xenophon and Alcibiades. Notwithstanding his efforts to enforce virtue and temperance, he offended the authorities of Athens, and was condemned to death by drinking hemlock in his 70th year — 400 B.C. 42. Bust of Homer. Marble, in the Louvre. This bust is very like the one in the British Museum. The original was found inserted in a garden wall in Rome. 43. Colossal Bust of Jupiter. 32> ?; ik Marble, in the Vatican. The original in marble of this grand cast is in the Vatican, and was found at Otricoli, 40 miles from Rome. There are several copies, and all are supposed to be modelled after the head of the grand statue of Jupiter, by Phidias, at Elis, and which stood for eight hundred years, until it was destroyed in the fifth century of the Christian era. The grandeur of this head of the king of gods makes one exclaim, “The front of Jove him- self ! ” “ He spoke, and awful bends his sable brows, Shakes his ambrosial curls, and gives the nod, The stamp of fate, and sanction of the god.” Lubke says of it: “The mighty locks, raised in the centre, and falling down on both sides, the compressed forehead, with the bold, arched brows, from under which the large eyes seem to glance over the universe, the broad projecting nose, express energy and wisdom, while mild benevolence rests on the full, parted lips, and the luxuriant beard and rounded cheeks show sensual power and imperishable manly beauty.” We can imagine the grandeur of the original statue from this faint shadow of it. The tra- dition is that when Phidias finished it he prayed for a token from Jupiter whether his work was acceptable, and a flash of lightning through the roof attested the Thunderer’s approval. 44. Caryatid. 7ft H 51n Marble, in the Vatican. The original of this imposing columnar figure is from the Pantheon at Rome. It takes its name from Caryse, in Arcadia, the citizens of which aided the Persians, and, after the defeat of the latter, the Greeks severely punished them by burning their cities, killing the men, and carrying off the women into captivity. To perpetuate the record of their being enslaved, images of their forms were used to support temples and porticoes. The figure columns of men were called Atlantes. Many of these columns were brought to Rome after the conquest of Greece. 45. Polyhymnia. sitin' in. Marble, in the Louvre. The muse of song is here represented leaning upon a rock of Helicon, lis- tening to the melody around her. The statue was once in the Villa Bor- ghese. Only the lower half is said to be antique, the remainder being re- stored by Augustino Penna from a bas-relief on a sarcophagus in the Capi- tol. In addition to its air of listening repose, the figure is an admirable model of drapery. 46. Apollo Sauroktonos, (Lizard-Killer.) 4 rt. 10A in. Marble, in the Louvre. There are many copies of the original in bronze by Praxiteles, 3d or Alexandrian period. The young god is divining future events from the twistings of the lizard, which reptile was considered by the ancients a creature of presage. In this work Praxiteles has adopted the idea first embodied by Polycletus, of making his statue rest upon one leg. 47. Flora. 5 ft . 6 ^ In Marble, Capitoline Museum, Rome. The Roman Goddess of Flowers, and by its graceful drapery a fit pendant to the Diana of Gabie. 48. Pudicitia, Goddess of Modesty. 6ft n ’ 9in . Marble, in the Vatican. 49. Centaur and Cupid. 4 ft. in. Marble, in the Louvre. When celebrating the battles between the Lapithae and Centaurs the HALL OF ANTIQUE SCULPTURE. 25 Greek sculptors represented the latter as half man and half horse, from their always being mounted on horses. The original of this cast was found at Villa Fonesca. There is another in the Vatican, and it is doubtful which is the copy. The winged figure is thought by Viardot to be a Bacchus, and not Cupid, as he has an ivy- wreath — showing that the Centaur is under the effect of wine, and not of love. 50. Daughter of Niobe. „ Marble, in the Vatican. o it. b in. Niobe, proud of her seven sons and seven daughters, taunted Latonawith having but two children, Apollo and Diana. The latter avenged the insult by slaying with arrows all of the children of Niobe, who, overcome with grief, turned to stone. The story simply means the punishment by the gods of human arrogance over good fortune. This cast, headless and armless, represents one of the daughters of Niobe fleeing from the merciless arrows of Diana, and is considered the finest of the whole group of fourteen figures, by the fine portrayal of rapid flight in the action of the figure, and the breezy effect of the drapery. The original group was brought from Asia Minor by Sosius, and is supposed to be the work of either Scopas or Praxiteles in the third period of Greek art. It was found in Rome in 1583. Most of the figures, fourteen in number, are in Florence. 51. Faun of tiie Capitol. 5ft ^-. n Marble, Capitoline Museum. The original was found at Civita Lavinia in 1701, and is supposed to have been copied from the bronze statue by Praxiteles called Periboetos. Fauns were rustic deities with pointed ears and a small tail, supposed to inhabit the woods, and embody the soft, dreamy influences of nature’s sounds. The character of a sensuous sylvan life is well represented in the smiling repose of this figure. This beautiful work gave to Hawthorne the idea of his story of “The Marble Faun.” 52. 53. 54. 55. Faun, with Kid. 4ft H 5 - in _ Marble, at Madrid. The springy step and upward turn of the head of this faun, together with the struggling kid, make a rustic group of great spirit. Faun, a la Tache. Marble, in the Louvre. This bust of a laughing Faun takes its French designation from a spot or stain on the right cheek and shoulder of the original marble. Athlete Pouring Oil into iiis Hand. V 4ft. 9 M in. Taken from the original, in marble, in the Louvre, and represents an athlete preparing for a contest in the public games. It is said that the head, though antique, did not belong to this statue. The left lower leg, right arm, and parts of the feet are modern. Dying Gaul or Gladiator. h. L. 23 in. x 5 ft. 11 in. Marble, in the Capitoline Museum, Rome. Like the Fighting Hero, this famous statue is no longer considered by critics to represent a gladiator, but a savage Gaul, who has stabbed himself to avoid captivity, and fallen upon his shield, his sword lying beside him. The rough suit of hair, the rugged figure, and knotty joints are submitted as proofs of this. It is supposed to be a copy of the bronze figure, by Cte- silaus, of the School of Pergamus, 246 B. C., who chiefly represented bat- tles with the Gauls that invaded Asia Minor. It is also said that it repre- sents a Greek herald, with his horn lying beside him upon the oval shield. However satisfactory these views may he to the learned critics, the world at large agrees with Byron, who saw before him — “A gladiator lie : He leans upon his hand; his manly brow Consents to death, but conquers agony, And his droop’d head sinks gradually low, And through his side the last drops, ebbing slow 20 HALL OF ANTIQUE SCULPTURE. From the red gash, fall heavy, one by one, Like the first of a thunder shower; and now The arena swims around him. He is gone Ere ceased the inhuman shout that hailed the wretch who won!” 56. Venus Anadyojiene. 4 rejoin. Marble, in the Vatican. The title of this beautiful Venus signifies coming from the sea , and the goddess is represented nude to the waist, wringing the water from her locks. It was thought by Visconti to have been copied from a painting by Apelles, and a bronze statue found at Herculaneum in the Naples Museum resembles it. 57. Mercury in Repose. 3 it H u’in Museum, Naples. The original in bronze of this cast is classed among the finest of ancient date, and was found in Herculaneum in 1758. Its base is the only modern part. The left hand is supposed to have held the caduceus. Mercury was the messenger of the gods, and guarded the fortunes of shepherds, travel- lers, merchants, orators, and also of thieves. He was supposed to wear a winged cap, and also wings attached to his sandals. In this statue the bosses of these last under his feet would naturally prevent standing. He invented the lyre, and gave it to Apollo in exchange for the caduceus, or winged stall. He is generally represented nude and youthful. In the grace and naturalness of this statue Lubke recognizes the style of Lysippus. 58. Apollo Belvedere. 7 rt H i'in Marble, in the Vatican. The original of this very popular statue was discovered at Capo d’Anzo (Antium) early in the 16th century, and placed by Michael Angelo in the Belvedere Gallery, Rome, whence its name. The name of its sculptor is unknown. Its date is placed at B. C. 279. Canova and Visconti think it is a copy from an ancient bronze by Calamus. The arms below the elbow and part of the cloak were restored by Montorsolvo, pupil of Michael Angelo. Undoubtedly many copies of the original were made, and a bronze copy discovered in 1792 at Paramythia, and now at St. Peters- burg!), in the judgment of some has changed entirely the meaning of the action of the figure. Apollo is here represented as holding a bow and dis- charging an arrow at the serpent Python, sent by Juno to destroy his mother, Latona. In the bronze statuette referred to, there is no tree trunk, (neces- sary to support a figure in marble,) but the left hand holds a shield bearing the head of Medusa, supposed to turn all gazers into stone, and which Homer, in the Iliad, xv, 318, says Jupiter lent to Apollo. Dr. Lubke ac- cepts this explanation of the action of the figure, and says “not until now have we understood the statue.” In either case the action cf the figure is full of divine scorn, as with elastic step forward the proud head turns towards the object of his wrath. Winkelman says: “To realize its merits, the mind must soar to the realm of incorporeal beauty and imagine a celes- tial nature, for there is nothing mortal here.” Thomas Campbell, the poet, has finely said in prose: “ He looks as if he had just stepped from the sun — his limbs saturated with light, and buoyant with the spirit of Heaven !” In spite of all attempts of critics to explain away the time-honored im- pression of what this glorious figure is doing, the world will ever take Byron’s description as the true one, and view him as — — “ The Lord of the unerring bow, The God of life, and poesy and light — The Sun in human limbs arrayed, and brow All radiant from his triumph in the fight: The shaft has just been shot — the arrow bright With an immortal’s vengeance ; in his eye And nostril beautiful disdain, and might And majesty, flash their full lightnings by, Developing in that one glance the deity !” 59. Colossal Mask of Juno. 31 . t H 3 - in This superb head is from the copy, in marble, in the Villa Ludovisi, HALL OF ANTIQUE SCULPTURE. 27 Rome, of the original statue by Polycletus, the Argive sculptor, about 423 B. C. Nothing can he finer than its truly regal character, where the soft dignity of the woman blends with and tempers the severity of the queen who could restrain even Jupiter himself. When Goethe first saw this head he exclaimed : “ It is like a verse of Homer! ” 60. Meleager. 6ft J^ in . Marble, in the Vatican. The original of this fine heroic figure was found in Rome, and is sup- posed to be of the time of Hadrian, A. D. 76-130. Meleager was a famous hero of antiquity, and one of the chiefs of the Argonautic expedition. The hound and boar’s head signify his great exploit of slaying a boar that ravaged his father’s dominions. The left forearm was never restored. 61. Bust of Menelaxts. 3 h ,;. Marble, in the Vatican. The original of this grand bust, so full of martial character, was found at Hadrian’s Villa Tivoli, and is commonly, but erroneously, known as Ajax. Visconti satisfactorily proved it to be Menelaus. Bas-reliefs of Hercules fighting with Centaurs are on the helmet. 62. Bei jVedeue Torso. 4ft ^ in . Marble, in the Vatican. The original of this famous torso was found near the end of the 15th cen- tury, at Pompey’s Theatre. It represents Hercules in repose, and from an inscription on its base it was made by Appollonius, son of Nestor, Athens, It was ever a favorite study with Michael Angelo, and doubtless the inspiring source of much of his grand modelling, and it is said that in his dim old age lie was often seen tracing with trembling hands the mighty mass. 63. Jason. 5 ft V 2 - in Original, Marble, in the Louvre. This statue has been called Mercury and Cincinnatus, but is now con- sidered to represent the famous leader of the Argonauts, hurriedly tying on but one sandal in his haste to seek his uncle Pelias, usurper of his father’s throne, and who had been warned by an oracle to beware of the “ one-san- dalled man.” The work is obviously of the same style of the Fighting Gladiator, show- ing similar muscular spareness of form, small head, and short hair. It is of the Alexandrian or third era of Greek sculpture. It once stood in the Villa Negroni, was bought with the Germanicus by Louis XIV, and placed at Versailles. 64. Iris. 5ft H 3 ' in . Original (Elgin) Marble, in the British Museum. The original of this statue (by Phidias) of the Messenger of the Gods once stood in the east pediment of the Parthenon, at Athens, as announcing the birth of Minerva. Though mutilated by time and war, the observant student of Greek sculpture will see in these remains of its broad, massive treatment, a contrast with the greater grace and more elaborate detail of the succeeding third epoch, as shown in the Daughter of Niobe, by Scopas. 65. Bust of Pericles. Marble, in the British Museum. Pericles was of noble birth, a man of letters, warrior, statesman, and lib- eral patron of art. Under his rule, Athens eclipsed all other cities of Greece by her achievements in arms, sculpture, architecture, and the drama. His busts and statues always represented him with a helmet, owing to the odd shape of his head, which gained him from his enemies the nick- name of “ onion headed.” Born 499-429 B. C. 66. Bust of Periander. Marble, in the British Museum. One of the Seven Sages of Greece. 67. Bust of Julius (Lesar. Marble, in the British Museum. Decision of character is in every line of this head of Rome’s great Dictator, assassinated in the Senate House, B. C. 44, in his 50th year. 28 HALL OF ANTIQUE SCULPTURE. G8. Boy Extracting a Thorn from His Foot. Original in Bronze. Capitol, Rome. Said to have been found in the Tiber. Of the best period of Greek art. C9. Head of Alexander the Great. Marble, in the British Museum. 70. Head of Diogenes. Marble, in the British Museum. The famous Cynic philosopher died in his 90th year, fifth century B. C. 71. Bust of Dione. Marble, in the British Museum. Daughter of Nereus and Doris, and mother of Yenus. It it not known where and when the original was discovered. The head is considered of the finest period of art. 72. Bust of Clytie. Marble, in the British Museum. The artist is unknown. Clytie was enamored of Apollo, and followed him devotedly, like the sunflower, and this idea is represented in the leaves of that flower from which her bosom rises, while the delicate pensiveness of the head completes the sentiment. 73. Bust of Septimtus Severus. Marble, in the British Museum. Emperor of Rome A. D. 193-211. lie built the wall across Great Britain to repel the Caledonians. 74. Bust of Trajan. Marble, in the British Museum. Emperor of Rome A. D. 98-117, and celebrated for his virtuous and humane character, as well as for his military genius. The original of this bust was found in the Campagna of Rome in 1776. 75. Bust of Isis. Marble, in the British Museum. The Egyptian goddess, with the lotus flower above her forehead, is here represented unveiled. 76. The Wrestlers. 3 ^- t Marble, in Florence. The original of this spirited group is attributed to Cephissodotus, of the School of Rhodes, 5th period of Greek art. Having been found near the Niobe group, it was thought by many to have formed a part of it. Viardot says of it: “The head of the vanquished, purely antique, is gloomy and dis- torted, expressing impotent fury, while the head of the conqueror seems full of the pride of triumph.” 77. Diana Huntress. 6ft H 6 - iD Marble, in the Louvre. Also called Diana of Versailles, whither it was brought from Italy, for Francis I. The goddess is represented as snatching from Hercules the miraculous deer with golden horns and brazen feet, which he had chased for a year. It is of the same style of art with the Belvedere Apollo, of which it is properly the mate, and is considered to have been executed in the first Christian century. There is a maidenly severity of aspect in the chaste goddess, as though, to use the words of Viardot, “she were more ready to punish Acteon than to awaken the beautiful sleeper of Mount Latinos ” 78. Augustus (Lesar. 6 ftaoin. Marble, in the Louvre. The original of this noble robed statue is much worn, excepting the head, which bears a strong resemblance to the “Crowned Augustus,” which see page 11. 79. Hermes and Dionysos. 7ft H .; in . Original in marble. Praxiteles. The original of this superb cast, now in Athens, Greece, was found by German explorers in Olympia in 1877. It is known to be by Praxiteles, on the authority of Pausanias, (2d century A. D.,) who saw and described it. It is considered equal at least, if not superior, to any statue of antiquity. HALLS OF MODERN SCULPTURE AND OF THE RENAISSANCE. 29 Jupiter, wooed by Semele, descends to ber in thunder and lightning. Over- come with terror, she was consumed in the flames. In pity for her unborn child, he had it sewn up in his thigh until mature. After its birth he con- signed it (Dionysos) to Mercury, who bore it tenderly to Ino, sister of Semele. Hermes, (Mercury,) with his left arm resting upon a tree trunk partly hidden by his mantle, supports the infant Dionysos, whose right hand rests upon the shoulder of his guardian. The right arm of Hermes is but a stump, much elevated, but its action when entire is unknown, though Hirschfleld suggests that it held up a bunch of grapes. The attitude of the child appears as if he were eagerly grasping at something, and the pleased expression of Hermes seems to warrant the suggestion. All below the knees of Hermes is lost, save one foot, (seen on the plinth behind the cast,) the finished modelling of which is superior to that of any other foot in the collection. The loss of the lower limbs is a serious one, and when we survey the noble and beautiful head, the manly chest, the loins and thighs, wherein are blended strength, lightness, and grace, we feel what a transcendent statue it must have been when entire. The fea- tures are notably unlike those of any other antique head, where rigid classic lines show little emotion. The brow is full and broad, and the nose and other upper features suggest a Washington-like mould, while on the mouth sits a gentle gracious smile towards Dionysos, more god like than the expres- sion of Silenus over his infant Bacchus, No. 26. SIDE GALLERY, (MODERN.) 1. Venus Yictrix. 5 ft. n'q in Marble. By John Gibson. The calm self-possession in her victory of this Venus contrasts with the dainty, lively action of the same subject by Thorwaldsen. John Gibson was born in 1790 and died at Rome in 1866. He boldly used color upon his marble statues, saying that “whatever the Greeks did was right.” He made a statue of Queen Victoria in classical costume, with the diadem, sandals, and border of the drapery colored. The original in marble of this cast was also colored. The face and limbs were of flesh color, the drapery yellow, and the apple red. 2. Venus. srt^in Marble, in Florence. By Canova. It is but a modified copy of the Venus de Medici, with the addition of drapery, and the small difference that Canova’s figure rests upon the right leg, and not upon the left, as does the great Medicean statue. 3. Venus Victrix. Marble. By B. Thorwaldsen. There is but one opinion of its exquisite symmetry, purity, and grace. Thorwaldsen was born in Copenhagen in 1757 and died in 1844. His genius more than that of any other modern sculptor inclined to revive an- tique sculpture, and hence he has been called “a posthumous Greek.” 4. Clytie. 4ft.u^in. Marble. W. H. Rinehart. The original marble is in the Peabody Institute, Baltimore. It is the work of a sculptor who, from the humble position of a marble-cutter, rose to the highest rank as a sculptor. Matching, but not imitating, the pensive sweetness of the famous antique bust of Clytie, he has carried out the story of her ill-fated passion for Apollo in the drooping sadness of a deli- cate form, that puts this work of American genius not only in a proud posi- tion amid those of Thorwaldsen, Canova. and Gibson, but also of Greek sculpture. Mr. Rinehart died at Rome, in 1874, aged 46. 5 . Sleeping Child. l. 2 ft. 1 in. F. Pettrich. 30 SCULPTURE OF THE RENAISSANCE. GALLERY OF THE RENAISSANCE. 1. Cast from the West Bronze Gate of the Baptistery at Florence. By Lorenzo Ghiberti, 1381-1455. This superb cast was brought from the South Kensington Museum, Lon- don, and consists of forty-six pieces. Ghiberti was a goldsmith, and from the Goldsmiths’ Guild arose the great sculptors in bronze. He appeared before the world in that era of the Renaissance when the exhumation of the great models of ancient art inspired the whole race of painters, sculptors, and architects. He was only twenty years old when he competed for the work of making the bronze door of the north portal of the Baptistery, and got the commission, though his competitors were the famous veteran sculptors of that time. His suc- cess with that gate, which took him twenty-one years to execute, (1424,) at once obtained for him the order for the west gate — the original of this cast, which was completed in 1447, and upon it his fame chiefly rests. The de- signs for his first gate were from the New Testament, and were dictated to him by the Consuls, but in his last and greatest work he was allowed to select his own designs from the Old Testament. Michael Angelo said they were “ worthy of being the gates of Paradise.” A farm and a seat in the Supreme Magistracy of Florence were voted to him as rewards for his genius. Ten square panels contain the designs from the Old Testament, each design illustrating three or four incidents, and are surrounded by narrower panels, some of them upright, with niches containing historic per- sonages, prophets, sybils, &c., in high relief, and enriched with birds, flow- ers, fruit, &c. , delicately wrought. The left highest panel shows the Creation of Adam and Eve, the For- bidden Fruit, and the Expulsion from Eden. On the right panel opposite are Offerings of Cain and Abel, Killing of Abel, Man’s Labor, and Cain with His Maker. The left panel below has the Ark after the Deluge, Noah’s Sacrifice and Inebriation. On the right are the Sacrifice of Isaac, Servants at the foot of the Mount, and Abraham with the Three Angels. The left central panel contains Jacob and Esau, and on the right Joseph and his Brethren, their Cruelty, their meeting in Egypt, the Cup in Benja- min’s Sack, &c. The left panel below the centre shows Moses Receiving the Law, and the People at the Foot of the Mount. On the right are Joshua before Jericho, and the Division of the Tribes. The lowest panel on the left contains David and Goliah, and on the right Solomon and the Queen of Sheba. Among the statuettes in the upright panels are Sampson with the Pillar, Joshua in Armor, Judith with the Head of Holofernes, Jephthah’s Daughter. Among the heads are two on a line with the top of the second panel repre- senting the artist Ghiberti, (the bald one on the right,) and Bartoluccio, his father-in-law. The outer panels, bearing fruits and flowers, were finished by Ghiberti’s son, the artist having died ere the completion of his work, at the age of seventy-four years — more than half of which was given to these two monu- ments of his genius that after four centuries remain unimpaired wonders of art. Ghiberti boldly departed from all preceding rules that confined bas-relief to the strict laws of the plastic art, and introduced perspective and land- scape. This point in his work has been condemned by many, and among them Flaxman, Sir Joshua Reynolds, and Westmacott ; but such is the amazing relief and exquisite expression of distance in his groups, buildings, and landscape that such technical objections will find but little sympathy, and Dr. Lubke has well disposed of them in the following comment : “Ghi- berti revolutionized plastic art by his love for the picturesque, which forbids the former to enter the lists of the sister arts ; yet in the hands of a master SCULPTURE OF THE RENAISSANCE. 31 sculpture never trespassed upon forbidden soil with such inimitable grace and fullness of beauty and life, that, much as we protest against the ten- dency, we are carried away by the charm of the whole.” The cast of this gate as it stands is 18 feet 2 inches high by 12 feet G inches wide — exclusive of the walnut frame, which makes it altogether 19 feet 7 inches high by 14 feet 6 inches wide. 2, 3, 4, 5, G, 7. Bas-Reliefs of Nymphs of the Fountain of the Innocents. From the originals, in marble, in the Louvre. By Jean Goujon. (1530-1572.) Jean Goujon was the leader of the Renaissance of French sculpture, and by the graceful flowing lines of his forms, was called the Correggio of sculpture ; though in the extreme slenderness of their proportions he inclined too much to the style introduced by Primaticcio. He was slain by a stray shot while at work on the scaffold at the Louvre, during the massacre of St. Bartholomew’s Day. 8. Triton and Nereid. 9. Amphitrite, wife of Neptune. 10. Nympii of the Sea. Bas-reliefs, by J. Goujon. From the Fountain of the Innocents. Original, marble, in the Louvre. 11. The Four Evangelists. Bas-reliefs, by J. Goujon. 1541-44. Original, in marble, in the Louvre, from the Roodloft of St. Germain 1’Auxerrois. The small panels represent Religion, Faith, and Strength. 12, 13, 14, 15. Bas-reliefs of Sea-Nymphs. Original, in marble, in the Louvre. By J. Goujon. Formerly in the Porte St. Antoine. 1G. Bas-reliefs from the Tomb of Cardinal and Chancellor Duprat. Original, in marble, in the Louvre. By J. Goujon. 17. Bas-relief of History Recording the Works of President J. A. DtjTiiou, Counsellor and Historian. By Frai^ois Anguier. 1553-1617. Original, in bronze, in the Louvre. 18. Bas-relief of Victory. By Jacquet. Original in the Louvre. 19. Flying Mercury. 6ft H f in Original in bronze. Florence. The original was executed by John, of Bologna, about 1560 A. D., and is in the Ufflzi. In classic conception of the winged messenger of Jove bounding upward with airy grace, caduceus in hand, from the mouth of iEolus, this spirited figure would do honor to the genius of old Greece. 20. David and Goliah. 5ft H iin. Original in bronze. Florence. A noble work by Donatello, the great Tuscan sculptor, now in the Ufflzi. It represents the young victor nude, with an ivy-crowned shep- herd’s hat, standing with one foot on Goliali’s head, which he has dis- severed with his enemy’s sword held in his right hand. The winged helmet of Goliah bears in low relief a car of triumph drawn by children. 21 . TnE Thp.ee Graces or Charities. Carved in marble, in the Louvre. H. W. 6 ft. 6 in. x 6 ft. 4 in. By Germain Pilon. 1560. This curious example of the Renaissance of French sculpture was executed for Catharine of Medicis in memory of her husband, Henry II of France, whose heart was placed in the original urn, supported on the heads of the three female figures, standing back to back and with linked hands, upon a triangular pedestal of exquisite beauty These figures represent Catharine herself, the Duchess d’Etampes, and Madame Villeroy, three of the fairest women of that time. This work is noted for the 32 SCULPTURE OP THE RENAISSANCE. original treatment of the drapery, and was cut out of a single block of marble. The pedestal was made by a different hand, and bears on its three faces inscriptions in Latin, to the following effect : “ Here Catharine has deposited the heart of the king, her husband, wishing she could bury it in her own bosom.” “The united heart of both testifies before men enduring love — a sub- dued spirit before God.” “The Three Graces (or Charities) rightfully bear on their heads a heart once the seat of the graces (or charities) — a heart that aspired to the highest things.” This monument formerly stood in the Chapelle d’Orleans, Church of the Celestins. 22. Colossal Bust of David. 2 ftaoin. By Michael Angelo. 1504. This grand cast is taken from the original colossal statue in marble, 19 feet high, in Florence, representing David about to hurl the stone at Goliah. The statue was cut out of one block of marble. A wonderful blending of inspired heroism with the beauty of young man- hood is given in the terrible frown, the dauntless determination of the com- pressed lips, and the swollen veins and muscles of the neck. 23, 24. The Prisoners or Slaves. 7 ft ^- in Florence. Michael Angelo. These powerful statues were designed for a grand monument to Pope Julius II, planned, but never executed, by M. Angelo. The artist gave them to a friend who had nursed him in illness, and he presented them to Francis I, who, in turn, gave them to the Constable Montmo- rency for his Chateau d’Ecouen. During the troubles of the Revolution in 1793, they were found in the stables of the Due de Richelieu, and were bought for the Republic. They are now in the Louvre, and are the only great works of M. Angelo in France. They were taken to Florence in 1875 to swell the memorials of the sculptor’s mighty genius at the centennial celebration of his birthday. No better examples exist of his power in depicting physical passion. The dignity of form and expression of drooping, slumberous suffering of one figure are in singular contrast with the contorted limbs and writhing, defiant air of the other; the unfinished head of which, showing the marks of the great master’s chisel, illustrates the frequent fitful energy of his style. 25. Cupid. Marble. Michael Angelo. The original is in the Kensington Museum, and was bought from the Cam- pana collection. It is supposed to be one of his earliest works, executed soon after his first visit to Rome. 26. Singing Boys. 3ft ®-j n 2 fL2in. Original in marble. Florence. One of many alto-reliefs by Lucca della Robbia (about 1440 A. D.) for the balustrade of an organ loft, but never set up. They are now in the Uffizi. This relief is considered a master-piece for grouping and natural expression. 27. Sitting Statue of Lorenzo > de Medici. 5n H 8 - in M. Angelo. The original of this imposing figure, whose solemn, meditative air has given it the title of “II Pensiero,” is in the church of St. Lorenzo, Flor- ence, with a similar statue of his brother, Giuliano, and erected by order of Pope Leo X- Below them, on the curved tons of their sarcophagi, recline the figures of Dawn and Twilight under Lorenzo, and of Day and Night under Giuliano. Reduced copies of these symooue figures, Nos. 41 and 42, furnish an idea of the general form of the monuments. 28. Head of the Statue of Giuliano de Medici. M. Angelo. The noble grace of this uncovered head is in striking contrast with the mysterious awe of his brother’s, overshadowed by the helmet, SCULPTURE OF THE RENAISSANCE. 33 29. Mask of Moses. 2« H 7in. Marble. M. Angelo. The original of the colossal seated statue of Moses is considered one of the sublimest of the sculptor’s works, and was executed for the monument of Pope Julius II. Lubke says that in the intense energy of its expression the sculptor “does not represent the circumspect chief, the wise lawgiver, but the stormy zealot, dashing aside the tablets of the law, in furious auger at the idolatry of his people.” For an explanation of the strange error of horns being attached to the head of Moses see the notice of Cabanel’s “Death of Moses,” No 58 of the main gallery of pictures. 30. Bas-relief of an Altar-piece. h. w. •A ft. 3 3-4 in. 4 ft. 4 1-2 in. Mino da Fiesole, 1400-1486. This fine has relief in marble, in the Cathedral at Fiesole, Florence, rep- resents the Virgin between St. Remigius and St. Leonhard, with the infant Jesus below, and St. John worshipping him. One of the saints directs the sitting figure, holding a crutch, to the Saviour also. 31. Bust of Bishop Lionardi ("Sahitati. <%\ d Mino da Fiesole. The Bishop was the friend of Pope Eugenius IV, and this bust, so full of strong character, is from the original marble monument in the Cathedral of Fiesole. 32, 33, 34, 35, 36. Five Bass-reliefs. 31 ^ x 29 ^ in Benedetto da Maiano, 1142-1498. These admirable reliefs, representing scenes in the life of St. Francis, are from the marble pulpit of the Church of Sante Croce, Florence. 37. Head of St. George. ^ Donatello, 1386-1468. The marble statue of St. George, clad in armor, with cross-emblazoned shield, stands in an external niche of Or San Michelle, Florence, and is con- sidered a masterpiece of knightly grace and dignity. 38, 39, 40. Busts of Matteo Palmieri, Filippo Strozzi, and Pietro Mellini. Originals in marble in Florence, by Benedetto da Maiano. Hall of Bronzes, Ceramic Ware, &c. 1, 2. Pair of Vases, from Sevres, France, with floral decorations. 3. The Hildesheim Treasures. By Christofle & Co., Paris. Electrotype reproductions of ancient vessels found near tbe remains of a Roman camp, near Hildesheim, Hanover. On the 17th of October, 1868, some soldiers, while digging near their camp on the slope of Galgen, overlooking that town, found, at the depth of ten feet, some bits of metal that proved to be silver. Further search discovered two large bell shaped vases or bowls, inverted, under which were other ves- sels and fragments. They were strangely heaped together ; the feet and handles were detached from the vessels to which they belonged, and many were much corroded by the infiltration of a wet soil. They were placed in the hands of an expert, who succeeded in rejoining the loose feet and handles. Being subsequently taken to the Royal Museum at Benin, they were reproduced in electrotype by German artists, but in a style far inferior to these by Christofle & Co. Their discovery made a great sensation, and it was at first supposed that the original Treasures were part of the dinner service of Varus, the Roman general, who was defeated by the Germans, under Arminius, near Hildesheim, in the year A. D. 9, but the style of some of the pieces was so evidently of a later date that the idea is now abandoned. The design and workmanship of most of them certainly show their extreme antiquity; such as the four paterae or howls, containing figures in such high relief, two of which — No. 3, said to be Deus Lunus, with a Phrygian cap, with a crescent behind him, and No. 4, a female with a mural crown and shield, said to be Cyhele, or the Earth — are apparently of an Oriental character. On the other hand, the high conical cup, No. 5, is pronounced by M. A. Darcel, author of a pamphlet accompanying these Treasures, to be of a much later date, from the rude shape of the cup and semi-barbarous style of its chasings, so unlike the classical forms and decorations of the accompanying drinking cups. It is now believed these “Treasures” were the buried spoils of a robber of later times, and not the collection of some rightful owner who had hidden them in a time of invasion. Those who wish to know more of these Treasures can find their char- acter discussed at length in the pamphlet by M. A. Darcel, Paris. LIST OF THE “HILDESHEIM TREASURES.” 1 Large Miheeva Bowl. (Patera.) 2 Bowl with Hercules. (Strangling the Serpents.) 3 Bowl with Deus Lunus. (Wearing Phrgyian cap with horns of cres- cent.) 4 Bowl with Cybele. (With mural crown.) 5 Large Drinking Bowl. (Oxybaphon.) 6 Drinking Cup. (With four masks of Bacchants. ) 7 Drinking Cup. (With six masks of Fauns.) 8 Drinking Cup. (With ten masks, with scenic accessories. ) 9 Drinking Cup. (With garlands. ) 10 Drinking Cup. (With laurels.) 11 A Cup. (With handles of leaves of acanthus and flowers.) 12 Egg Dish. 13 Salt-Cellar for Egg Dish. (With carved exterior. ) 14 Saucepan. (Handle with water lilies.) 15 Saucepan. (Handle with leaf of ivy.) 16 Saucepan. (With handle knotted.) 17 Saucepan. (With handle of palm leaves.) 18 Ladle. (With handle of palm leaves.) 19 Ladle. (With handle of ivy branch. ) 20 Salt-Cellar. (With ivy leaves.) 21 Salt-Cellar. (With ivy leaves.) 22 Olive Bowl. (With three carved feet.) 23 Turnip Dish. 24 Duck Dish. 25 Tripod. (Base of a candelabrum. ) 26 Support. (With head of Bacchus ; part of Tripod.) 27 Handle of a Vase. (Fragment.) 28 Claw of Tripod. (With head of Jupiter.) 29 Conical Cup. (With rude carvings of animals.) 30 Large round Dish. (Bordered with foliage, birds, and squirrels.) 34 HALL OF BRONZES, MAJOLICA, AC. 35 4, 5, 6, 7, 8, 9, 10, 11, are various examples of Faience, after Ber- nard Palissy. 12. Bust of the late Commodore Morris, U. S. N. King. Boston. 13. Bust of ex- Vice-President John C. Breckenridge. By H. K. Brown. 18 — . Presented by Geo. Taylor, Esq. 14. Marble Statuette of Echo. 2it H ioin. Larkin G. Meade. Mr. Meade is a native of Vermont, and his first effort in sculpture was an angel made of snow, that made quite a sensation, and led to his being be- friended by Mr. Longworth, of Cincinnati. He afterwards went to Europe, and his first work was this statuette of “Echo.” 15. Bust of Alexander Von Humboldt. Christian Rauch. Berlin. 1777-1857. This fine work was executed for Mr. Corcoran at the particular request of Humboldt. Rauch was one of the most eminent sculptors of his time. His greatest work is the statue of Frederick the Great, at Berlin. 16. Prometheus Vase. (Majolica.) By Minton. England. .This superb turquoise vase, four feet high, represents the old Greek myth of Prometheus chained to a rock, with a black eagle, with distended wings, feeding upon his never-dying vitals, as a punishment for stealing fire from Heaven. Below him, on the swell of the vase, recline four figures, with manacled feel, and hands bound with ropes that extend to the han- dles of the vase, over which hang also the iron chain. The base is encir- cled with a wreath of laurel, round which are twisted four serpents, thus typifying throughout the gnawing cares of the soul lighted by genius caught from heaven, and tormented by the worm creeping among his laurels. 17a, 175. Majolica Vases, Pair of, with Japanese decorations. These vases, over four feet high, were made by Deck, of Paris, and are modern imitations of the pottery of the Moors, whose principal factory was in the Island of Majorca — in the Tuscan dialect, Majolica ; hence the name of the ware. It is simply earthenware with a strong, lustrous glaze, that remained a secret with the Moors until the Italians discovered it, and then the town of Faenza, in Italy, became famous for its ware. Hence the name Faience was given to it, and which is essentially the same as Majolica. The great artists of that era, even Raphael himself, often furnished designs for it. 18, 19. Two Vases of Sevres Porcelain, that contrast the elegance of the modern French ware with the imitations of the semi- barbarous style of Moorish pottery. 20, 21. Two Plaques of Stone-Porcelain, into which are burnt paintings of Poultry and Fish, by Schopin, of Paris. The process of baking these pictures is difficult and hazardous. The slightest mistake in the temperature in cooling the slabs is apt to ruin the work. It often happens that forty of them are spoilt before a successful picture is secured. 22. Bronzes. By Antoine Louis Barye, Paris. This collection, by the late famous sculptor and professor of animal drawing in the Jardin des Plantes, Paris, is the largest one to be found, even in Europe. The dates on some of them will show how unimpaired was his skill at an advanced age. He was born in 1796, and died on the 25th of June, 1875. He was first an engraver, next a goldsmith, and finally a sculptor, and he successively studied under Fourier, Bosio, and Le Gros. He first exhibited in 1827. So free from pride was his nature, that he often personally delivered to his patrons their purchases; a habit that 36 BRONZES BY A. BA RYE. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 caused a wrong belief that his poverty forced him to hawk his works about the streets in a basket. In 1848 he was appointed Keeper and Director of the Modelling Department of the Louvre, and in 1851 attained the post in the Jardin des Plantes held by him until his death. This position gave him his astonishing knowledge of the forms and habits, quiescent and ferocious, of the various animals there. Nor was his genius con- fined to them. The superb group of Roger and Angelique, (the old story of Perseus and Andromeda in the garb of a mediaeval ballad,) the groups of Theseus slaying the Centaur and Minotaur, show his classical taste. His horses are remarkable for their modelling and varied action ; and though perhaps over-fond of showing the ferocious instincts of the brute creation, their gentler moods are quite as successfully represented. We turn from the furious leap of the Lion, the spring of the Hound, the deep-buried bite of the Tiger, and the terrible coil of the Serpent, and see the versatility of his genius in the quiet beauty of his groups of Deer, the timid, shrinking Gazelle, the grim dignity of his sitting Lion, the knightly air of his Gaston de Foix, and the ambling grace of his Amazon. The Lion of the Tuileries, the Lion of the Column of July, and his Theseus and Centaur are considered his great master-pieces. BRONZES, by A. L. BARYE. (The smaller bronzes are in eas General Bonaparte. The Duke of Orleans. The Amazon. Gaston de Foix. Charles VII, the Victorious. Tartar Warrior checking his Horse. Two Arab Horsemen killing a Lion. African Horseman surprised by a Serpent. Indian mounted upon an Elephant crushing a Tiger. Angelique and Roger mounted upon a Hippogriff. Minerva. Juno. Theseus slaying the Minotaur. Theseus slaying the Centaur. Ape mounted upon a Gnu. Bear erect. Two young Bears. Bear sitting. Little Basset Dog. (English.) Wolf seizing a Stag by the throat. Two young Lions. Lion devouring a Hind. Lion and Serpent. Lion sitting. Lioness from Senegal. Algerine Lioness. Lion walking. Tiger walking. Tiger surprising an Antelope. Tiger surprising a Stag. Tiger surprising a Garral, (species of Crocodile.) Tiger devouring a Gazelle. Panther seizing a Stag. East India Panther. Panther from Tunis. Panther surprising a Zibet. in the windows, near the table.) 37 Jaguar walking. 38 Jaguar standing. 39 Jaguar sleeping. 40 Jaguar devouring a Crocodile. 41 Ocelot carrying off a Heron. 42 Asiatic Elephant. 43 African Elephant. 44 Horse surprised by a Lion. 45 Half-blooded Horse. 46 Turkish Horse. 47 Turkish Horse. 48 Egyptian Dromedary. 49 Elk surprised by a Lynx. 50 Deer dragged to earth by two Scotch Hounds. 51 Group of Deer. 52 Virginia Deer. 53 Bull. 54 Bull and Tiger. 55 Bull dragged to the earth by a Bear. 56 Eagle holding a Heron. 57 Crocodile. 58 Crocodile devouring an Antelope. 59 Serpent Python swallowing a Hind. 60 Serpent Python strangling a Gazelle. 61 Serpent Python crushing a Crocodile 62 Lion of July. (Bas-relief.) 63 Huntsman, Costume of Louis XV. 64 Caucasian Horseman. 65 Bear overthrown by Bull dogs. 66 Bear flying from Dogs. 67 Greyhound and Hare. 68 Wolf walking. 69 Peasant. (Mediaeval.) 70 Greyhound. 71 African Buffalo. 72 Sleeping Hound. 73 Couching Panther. 74 Group of Rabbits. 75 Couching Roe. barye’s bronzes, electrotype reproductions, &c. 37 76 Couching Fawn. 77 Axis, (a kiud of Deer.) 78 Stag of Java. 79 Deer of the Ganges. 80 Parroquet resting on a branch. 81 Pheasant. 82 Pheasant with tail closed. 83 Tortoise. 84 Leopard. (Bas-relief.) 85 Panther. ( “ ) 86 Weasel carrying off a bird. ( relief.) 87 Virginia Deer. (Bas-relief.) 88 Cup, with Fawn’s feet. 89 “ with inverted sides. 90 Perfume Burner. 91 Antique Candelabra. 92 Candelabra with figures. 93 Little Candlestick. 94 Candlestick with Serpent. 95 Greek Candlestick. 96 Candlestick with bell-flowers. 97 Candlestick with two branches. 98 Candlestick with Hares’ heads. 99 Candlestick with vine leaves. 100 Candlestick with bell-flowers. 101 Bear robbing a nest. 102 Wolf caught in a trap. 103 Camel. 104 Little Bull. ELECTROTYPE REPRODUCTIONS OF ARMOR, &c. (By Lionnet Bro., Paris.) 23- Shield from the Milan Museum. 24 Shield from the Turin Museum. 25- Bourgignotte Helmet, Museum of Artillery, Paris. 26- Cap of a Doge, “ “ 27. 28- Shield. French, 15th century. Medallions of David and Judith. Reproduction by Elkington & Co., London. 29- Breast plate, Milan Museum. 30- Suit of Armor of Henry II, France, Museum of the Louvre. 1547-59. (Attributed to Germain Pilon, the sculptor.) 31- Shield of Henry II, Museum of the Louvre. 1547-59. 32- Statuette of Henry IV, France, when a boy. By Bosio. Museum of the Louvre. Original of silver. 33- Shield, Museum of Cluny. 34- Sword of the Duke of Savoy, Turin Museum. 35- Pieces of Horse Armor, Museum of Lyons. 36- Cannon, (Renaissance,) Museum of Artillery, Paris. (Attributed to Germain Pilon.) 37- Axe of King John, France, Museum of Artillery, Paris. 1350-64. 38- Column of the Place Vendome, Paris. 5ft H 3 - in Original was erected in 1806-10, by Napoleon I, in honor of his German campaign in 1805, modelled after Trajan’s Column, Rome, and made of 1,200 pieces of Austrian and Russian cannon taken in that campaign. Its height was 135 feet, the shaft, covered with 276 bronze plates, spirally arranged, to a length of 840 feet, representing the victories of the French army, and containing 2,000 figures 3 feet high. It was the work of 31 sculptors. The original statue, by Cliaudet, 11 feet high, represented the Emperor in a Roman mantle. The whole work cost $300,000. In 1814 the royalists removed the statue, had it melted down, and converted into the horse of the statue of Henry IV on the Pont Neuf. A flagstaff and Jleur de Us took its place. These in turn were removed by Louis Philippe in 1833, and a statue of Napoleon, by Seurre, in the familiar cocked hat and overcoat, set up. In 1863 Napoleon III removed this statue to Courbevoie, and substituted a fac simile of the original one. Before the Germans entered Paris the military statue was removed from Courbevoie and hidden in the bottom of the Seine. The Commune pulled down the whole column, except its base. It was rebuilt in 1874 and the broken statue re- paired and restored; but it has been again superseded by the cocked hat and over- coat, since fished up from the Seine. The changeful fortunes of this column and its statue seem to have been foreshadowed in the fact that part of its base formed the pedestal of the statue of Louis XIV, erected in 1699, and pulled down by the mob in the Revolution of 1792. 38 ELKINQTON A CO’S ELECTROTYPE REPRODUCTIONS 39. CASE OF ELECTROTYPE REPRODUCTIONS OF OBJECTS, CHIEFLY IN THE SOUTH KENSINGTON MUSEUM. (By Elkington & Co., Birmingham.) 1. Grand Cup and Cover. Copper-gilt ; German, 16tli century. Original of silver-gilt, in Gratz, Styria. Height, 3 feet 4% inches. 2. Salver. Italian, 16th century, illustrating the siege of Tunis by Charles Y, 1535. Original in the Louvre, Paris. 3. Spiked Shield of Francis I. 16th century, silvered-oxydized. Original in the Museum of Artillery, Paris. Electrotyped by Lionnet, Paris. 4. Chalice. Spanish, 1540. Original, silver-gilt. 5. Tankard. German, 1605 ; a cock on the top. Original, silver-gilt. 6. Bedford Tankard. Italian, 16th century. Triumph of Bacchus. Origi- nal in ivory and silver. 7. Shrine or Cover of St. Patrick’s Bell. Irish, 11th century. Original, in copper, gold, and jewels, in possession of Rev. Dr. Todd. The back is silver, perforated with crosses, surrounded with Irish characters. The bell, of sheet-iron, enclosed in the original, is reputed to be of the 4th century. 8. Pyx or Pix. Portuguese, 17th century. For holding the consecrated wafer. Original, silver-gilt. 9. Tankard. German, 17th century. Original, silver-gilt. 10. Tazza or Cup. French, 17th century. Subject, Death of Meleager. Orig- inal, silver-gilt. 11. Tazza. German, 17th century ; silver-oxydized. Subject, Judgment of Solomon. Original of silver. 12. Tankard. German, 17th century. Original, silver-gilt. 13. Tankard. German or French, 16th century. 14. Salt-Cellar. Italian, 15th century. Original, silver-gilt. 15. Salt-Cellar. German, 1580. Original, silver-gilt. 16. Salt-Cellar. German, 16th century. Original, silver-gilt. 17. Salt-Cellar. German, 16th century. Original, silver-gilt. 18. Salt-Cellar. German, 16tli century. Original, silver-gilt. 19. Inkstand. Italian, 16th or 17th century. Original, silver-gilt. 20. 21, 22. Knife, Fork and Spoon. French, 17th century ; gilt, handles in imitation of carved ivory ; in the collection of R. Napier. 23. Candlestick. Italian, 16th century. Original in bronze. 34. Inkstand or Perfume-Burner. Copper-bronze ; Italian, 15tli century. With statuette of Hannibal. 25. Small Shield. By Benvenuto Cellini. Silvered-oxydized 26. Plate. German, 16th century ; with medallions of Emperors. 27. Plate. German, 16th century ; subject, Adam and Eve. 28. Plate. German, 16th century ; with arms of Swiss cantons. 29. Cup and Cover. English, 1638. Original of silver. 30. Cup and Cover. English ; Hall-mark 1676. Original of silver. 31. Incense-Holder. Spanish, about 1540-50. Inscribed with “ Oratio mea dirigalur sicut ineensum." Original in rock crystal, mounted in silver-gilt. 32. Beaker. On three ball-feet. Augsburgh. Original, silver, parcel-gilt. 33. Goblet. German, 17th century. Original, silver-gilt. 34. Tankard and Cover. German, 17th century. Man slaying a Centaur on top, with Bacchanalian group below. Original in carved ivory and silver. By Bernard Strauss. 35. Goblet. (Agate.) English ; Hall-mark 1567. Original, silver-gilt. 36. Goblet. Russian, 17th century. Medallions of the Seasons. Original, silver-gilt. 37. Beaker. Russian, 16th or 17th century. Original in silver, parcel-gilt. 38. Cocoa Cup. German, 1585. Original, silver-gilt. 39. Augsburgh Ewer. Original, silver-gilt, in the Louvre. Commemorates the siege of Algiers by Charles V. 40. Pax. For communicating the kiss of peace, and representing the Virgin giving a vestment to St. Udefonso. Spanish, 1540. Original silver-gilt. 41. Bottle. Inform of Pilgrim’s flask. French or German, 17th century. Original of silver. OF OBJECTS IN THE SOUTH KENSINGTON MUSEUM. 39 42. Helmet of Francis I. Silvered-oxydized. 1545. Original in Museum of Artillery, Paris. 43. * Head-piece. Italian, 16th century. Marine genii holding a warrior’s head, whose body forms the crest. Silvered-oxydized. Original in the Museum of Artillery, Paris. 44. *Head-piece. Italian, 16th century. David and Goliah on one side. Sil- vered-oxydized. Original in the Museum of Artillery, Paris. 45. Entombment of Christ. Bas-relief after Donatello. Italian, 15th century. Original, in bronze, in Vienna. 46. 47. Bowls, with covers. Arab. Original in brass damascened. 48 Hannibal Dish. German, 1567, with Roman figures. 49. Plaque. Entombment of Christ. Spanish, 17th century. 50. Salver. Arab, with Moresco chasings. 51. 52. Bowls. French, about 1330. Original, silver. 53 54. Salver. Italian, 16th century. Arabesque. Original in brass gilt. 55. Salver. Venetian, 16th century ; with battles, sieges. Original in bronze gilt. 56. Salver. Italian, 16th century. Medallions. Original, brass gilt. 57. Plateau. Italian, 1820. Silver-oxydized. 58. Bowl. Arab, 14th century. Original, brass damascened. 59. Bucket. Arab, 14th century. Original, brass damascened. 60. Nautilus Shell. Mounted in metal. Italian, 16th century. Supported by seated Naiad ; Sirens below. 61. Ewer. Dragon handle, with Roman subjects. Italian, 16th century. 62. Tazza. Representing the Deluge. Italian, 16th century. 63. Salver. Portuguese, 15th century. Figures in high relief. Original in silver gilt. 64. Salver. English, 1719-20. Original of silver. 65. Cup. English, 1720. Original of silver. 66. Tazza. Italian, 16th century. Classical figures. Attributed to Benvenuto Cellini. Original in the Louvre. 67. Tazza Italian. Silvered-oxydized. By Lionnet, Paris. Same subject as No. 66, by B. Cellini. 68. Tazza Italian. Silvered-oxydized. By Lionnet, Paris. Original, by B. Cellini, in the Louvre. 69. Bowl, or Plateau. Moorish. Original of brass. 70. Candlestick. (Base only.) Arab, 14th century. Original, brass damascened. 71. Candlestick. Venetian, 16th century. Persian or Moresque design. Origi- nal in bronze. 72. Plateau. Dutch, about 1690. Original in silver. 73. Ewer. Venetian, 16th century. Original in brass gilt. 74. Tazza and Cover. French, 1851. Original, silver and jewelled, parcel-gilt. 75. Candlestick. Italian, 16th century. Original of bronze. 76. Vase and Cover. English, 1772. A boy on the top ; handles of Satyr heads. Original, silver-gilt. 77. Mirror-case, or Martelli Bronze. Italian, 15th century. Allegory of Pro- ductiveness, with a legend. Original of bronze, inlaid with silver. 78. Incense-burner. Belgian, 1851. Arabesque. Original of iron damascened, by Falloise, of Liege. 79. 80. Pair of Bowls, with Covers. Arab. Original of brass damascened. 81. Sword of Francis I. Original in the Museum of Artillery, Paris. Elec- trotyped by Lionnet, Paris. 82. Real Cloisonne Enamel Dish, representing St. George and the Dragon, on enamelled stand, with pedestal of golden bronze. 83. 84. Pair of Small Plates, Cloisonne, enamelled both sides, on bronze stands. Subject: “Puck.” Centennial Exhibition. 85, 86. Two Gilt and Oxydized Dishes, representing the months of the year. Centennial Exhibition. 87. One Gilt and Oxydized Emperor’s Tankard. Centennial Exhibition. 88. Engraved Glass Magnum Bonum Claret Jug. Subject: A Fox Hunt. Height, 16 % inches; width 9 inches. This elegant article is from the * On the wall, over the Suits of Armor. 40 MONUMENT OF FREDERICK II. exhibit of John Millar & Co., of Edinburgh, Scotland, in the Centennial Exhibition. Capacity, over a gallon and a half. 89. Shakspeare Dish, gold gilt, containing Medallion of Shakspeare, 10 inches in height, surrounded by scenes from his various plays. Reproduced by Elkington & Co. from an old repoussb plate in the South Kensington Museum; artist and history of it unknown. 90. Tankard and Clover, in Fictile Ivory, mounted in metal, parcel-gilt. Same subject as No. 34, (which see;) but as the original was of carved ivory, this is a more exact imitation of it. 17th century. 40. Fire-Dogs, in copper bronze. 4 ”- Italian, 1 6th century. Subject — Venus and Adonis. Reproduced by Elkington & Co., from the original in the South Kensington Museum. 41. Copper-Bronze Knocker. i4j?in. x wii. 17th century. Orignal in the Kensington Museum, and attributed to John of Bologna. 42. 43. Statuettes of Christ and John the Baptist. 3ft .5^ in In copper bronze, by Elkington & Co., London. From the original by John of Bologna, in the Cathedral of Pisa. 44. Theseus Slaying tiie Centaur. Bronze. 4 ft H 3 ' in . 3ft 1 i'o in . A. L. Barye. A classical group, treated with immense power. The Centaurs were a savage tribe of Thessaly, and being great horsemen, the Greeks fancied them to be half man and half horse. To a feast, in honor of his marriage, Perithous, king of the Lapithse, invited the Centaurs and some of the gods ; but Mars, not being invited, revenged the slight by filling Eurythion, the Centaur, with wine and love for the bride. Theseus resented the insult by putting Eurythion to death, and in the fierce war that followed, the Centaurs were vanquished by Theseus and his allies. 45. Bronze Bust of John C. Calhoun. By Clarke Mills. 1850. The original, in plaster, was taken from life by Mr. Mills in 1845. 46. Suit of Armor in Nineteen Pieces. Italian, 16th Century. Silver-oxydized. Original in the Museum of Artillery, Paris. Repro- duced by Elkington &Co., London. 47. Monument to Frederick II, (the Great,) of Prussia. H. With Pedestal, 5 ft. 2 in. 7 ft. 7 in. A superb bronzed reduction of the original bronze work in Berlin, by Christian Rauch, 1851, considered one of the noblest monuments ever erected. The person of the king is given with all his peculiarities, and ad- mirably dominates the various masses and details of the composition. The reliefs of the upper section represent epochs in his life: 1. His birth; 2. Education; 3. Minerva presenting a sword ; 4. After the battle of Kolin ; 5. Love of Art; G. Taste for music; 7. Promotion of Commerce; 8. Apothe- osis. At the corners are figures of Moderation, Justice, Wisdom, and Strength. At the corners of the central section are equestrian statuettes of Prince Henry of Prussia, Prince Ferdinand of Brunswick, Gen. Ziethen, and Gen. Seydlitz. The lower section bears the names of many eminent generals. Height of the original monument, 40 feet. From the Centennial Exhibition. Purchased by Mr. Corcoran. 48. Bronzed Reduction of the Monument of tiie Great Elector, (on a rotary column.) By A. Schlatter. Berlin, 1703. Height of Monument., With Pedestal, 26 in. 6 ft. 2 in. ^ The figures at the corners below represent slaves. From the Centennial Exhibition. Purchased by Mr. Corcoran. 49. 50. Statuettes of the Emperor Frederick William and Crown Prince of Germany. 3% From the Centennial Exhibition. Purchased by Mr. Corcoran. 51. Bronze Japanese Yoshitauee Vase. 5ft .^ ln x ^6 ln Cent’l Exhib. This vase takes its distinctive title from its bass-reliefs of scenes in the JAPANESE AND CHINESE BRONZES, &C. 41 life of Japan’s hero, Toshitaure . On one side he is seen as a boy secluded in a ravine studying wisdom and war from old Saradahiko, chief spirit of the mountain. On the other side, after having become a great general, he attempts, disguised as a travelling priest, with his servant, to enter the terri- tory of his jealous brother. At the guard-house he is questioned by the suspicious official. Feigning rustic speech, he makes his servant knock him (Yoshitaure) down and pound him, which so pleases the guard that they are allowed to pass in. Within this section of the vase is a brazen ves- sel for fire, and the perforated upper section is a censer, surmounted by the god Hohodermi, who, descending into Japan standing on a dragon, in- troduced letters and writing. See “ The Mikado’s Empire,” by Prof. W. E. Grifl'as. The vase represents rocks, trees, and cascades, with birds, whose forms and plumage are wrought in a style equal to European art. 52. Case of Japanese Articles and Musical Instruments, the latter presented by the Kiriu Kosho Company, of Japan. 1. Gold lacquered glove-box. 2. Music-stand. 3. Black lacquered box, for holding India ink, palette, knife, &c. 4. Black lacquered box. 5. Harp. 6. Chess-board. 7. Set of checkers. 8, 9. Flutes. 10, 11. Fla- geolettes. 12, 13, 14, 15. Drums. 16. Violin. 17. Guitar. 18. Back- gammon-board. 19. Checker-board. 20. Large Drum. 53. Large “Arita” Porcelain Japanese Vase, (lacquered.) ^ Centennial Exhibition. Purchased by Mr. Corcoran. This vase, like those in the Vestibule, is of a size and style seldom made. 54. Half Size (3 feet) Corinthian Bronze Statuette of Augus- tus Cassar, in military dress. This magnificent statuette is by Boschetti. The original, in marble, was discovered in Rome in 1863, and is considered one of the finest statues of antiquity. It represents Augustus in his 45th year. The resemblance of the features to those of the “Crowned Augustus” bust and the Robed Au- gustus is obvious. 55. 56, 57. Chinese Vases and Square Table Cloisonne, 300 YEARS OLD. These are rare examples of the skill of the Chinese, who originated this style of working in metal. Cloisonne is taken from the word cloison, or cell. When a design was made on metal, brass wire was attached and soldered to the lines of the figure, and soldered to the metal plate. Into the cloisons or cells, between the wire, was placed the enamel of various hues. A close inspection of these articles will show the amount of skill and labor bestowed in this art, in which the Chinese and Japanese have taught Europe. From the Centennial Exhibition. 58. Large Japanese Porcelain Bowl, decorated, 3 feet in diame- ter, 7 inches in depth. Centennial Exhibition. 59. Colossal Head of Napoleon I. Marble. 28 H in . By A. Canova. A copy by Canova of the head of the colossal statue of Napoleon I, which he modelled from the Emperor at Paris, in 1805. Antonio Canova was born in Passagno, Italy, in 1757, and died in 1822, He displayed his genius at an early age. Hemade his first statue, Orpheus, when in his nineteenth year, and four years after he astonished the world by his “ Theseus and Minotaur.” Success and riches followed his subse- quent works, embracing almost every kind of subject. Among them was a sitting statue of Washington, for the State of North Carolina. He had great simplicity of character, and towards the close of his life his chisel was devoted to religious subjects. 60. Bust of Alsace. Original in Bronze. Gregoire. 187-. This reduced cast is to he found everywhere in France, from its forcible personation of the province taken from that country by Germany. 42 JAPANESE AND CHINESE BRONZES, AC. 61 . Jaguar Devouring a Hare. Bronze. 16 ^ x 3 ft ^- 2 in ByA.L. Barye. 62 . Antique Head of Ceres. In marble. , 3 ^- ln . The sculptor of this fine work and its history are unknown beyond the fact that it once belonged to the National Institute, was afterwards trans- ferred to the Smithsonian Institution, and by the latter deposited in this Gallery of Art. The features are of a pure classic mould, and their benig- nant expression, with the crown of bearded wheat, well represent the god- dess of grain and harvests. 63. 'J [Tie Milton Shield. Electrotype reproduction. By Elkington. The original was designed and wrought in silver and steel repoussd, by M. Morel Ladeuil, England, for the Paris Exposition of 1867. The British Government bought it for the Kensington Museum for $15,000. It repre- sents scenes from Paradise Lost. In the centre Raphael rehearses to Adam and Eve, seated in the leafy bower of Eden, the story of the war in Heaven and defeat of the rebel angels. On the left the loyal host is rushing to attack, while on the right the vanquished rebels are “ hurled headlong flam- ing” to perdition. Below these, Michael, with uplifted sword, tramples upon the prostrate body of the Dragon, and at the bottom are the repulsive forms of Sin and Death. The signs of the zodiac indicate the rolling year, and over all soar angelic shapes toward the cherub-circled emblem of Light and Life. Oval. H., 2 ft. 10 in. Width, 2 ft. 2 in. 64. The Pompeian Toilet. Electrotyped. By Elkington. From the original work, designed and hammered out (repoussS) in silver, with damascened tracery in gold and silver, by M. Ladeuil, who was two years engaged in its execution with his own hand, for the Centennial Exhi- bition. It was valued at $7,500. For classical conception and exquisite workmanship, it is pronounced unrivalled. In a court surrounded by gar- landed Ionic columns, vases of flowers, &c., a Pompeiian lady, just from the bath, reclines demi-nude on her couch, while her handmaidens perform her toilet. One ties on her sandal, another binds her locks with a chain, and a third stands ready with a robe to shroud the still unveiled charms of her mistress, who smilingly surveys herself in a metal mirror. Besides the general grace of forms, the faces are full of expression. Circular. W. , 20 in. 65. Bust of Washington. Bronze. By Clark Mills. 1849. From Houdon’s original bust in plaster, .1785. Presented by Mr. Mills. 66. Bust of Henry Clay. In marble. By Joel T. Hart. Considered the standard bust of the great orator and statesman. 67 . Marble Bass-Relief of a Bacchante. Circular. Dia. 21| in. From the Smithsonian Institution. History unknown. Said to have been found in Pompeii. 68. Bust of the late Dr. J. C. Hall. Bronze. By H. K. B. Brown. 1880. 69. Bust of the late Wm. J. Stone. Marble. Hiram Powers. Presented by Mrs. E. J. Stone. 70. Bronze Statuette of a Cow. 9 ” n . x u L i n . H. K. Bush Brown. 1883. SECOND FLOOR. HALL. 1. Colossal Bust of Lucius Verus. 2 ft. I i6in Marble, in Louvre. From the original found in RomaVecchia. Lucius Verus was the un- worthy son-in-law of the “good Aurelius,” and shared the throne of Rome from 161 A. D. to 169. He was wasteful and profligate. He fed his horse on almonds, clothed him in royal purple, and had a gold statue of him made. 2. Colossal Bust of Marcus Aurelius. 35 ^ in . Marble. Villa Borgbese. The “good Aurelius” was born 121 A. D., and reigned from 161 to 180 A. D. Main Gallery of Paintings. (second floor.) “ Oh, thou, by whose expressive art, Her perfect image Nature sees, In union with the Graces start, And sweeter by reflection pleas ! On whose creative hand the hues, Fresh from yon orient rainbow, shine ; I bless thee, Promethean Muse, And hail thee, Brightest of the Nine ! ” — Thomas Campbell. 1. Portrait of William W. Corcoran, Esq. s rt. H 2 in. x 5 tJi 6 in. By Charles L. Elliott. 1867. The artist of this magnificent work was born in 1812, and after studying his art in New York city, returned to practise portrait painting in the interior of that State. Soon after, he got possession of a head painted by Gilbert Stuart, which first opened his eyes to the dignity and splendor of true por- traiture, and the constant study of which doubtless placed his fame alongside of that of Stuart himself. He died in 1868. 2 , 3 . The Departure and The Return. as^i.xiiTn. By Thomas Cole. 1837. These pictures illustrate Cole’s peculiar genius, in associating human inci- dent with noble forms of scenery. In the first, a cavalcade of knights issue from an imposing castle on a bright summer morning on a warlike expedition. Hope and victory seem to animate them as they follow their leader mounted upon a white steed, in spite of the warning of a holy palmer, who waves a palm branch before them. Such is the Departure. The other picture shows the sad Return. At the close of an autumn day we see the wounded gay leader of the morning stretched upon a litter borne by some foot soldiers to an abbey, whence issue some monks to meet them, only one drooping cava- lier following the riderless horse. The palmer is there again, but now raises his hands in pity. Thomas Cole was born in England in 1801, and came to this country when young. His tastes and professional skill were finely cultured by two tours in Europe, but he ever preferred the scenery of the New World - — on one occasion writing that “neither the Alps, Appenines, nor TEtna itself, have dimmed in my eyes the beauty of the Catskills. ” Among his be- loved hills he died, in his forty-eighth year. The moral and religious bent of his mind was displayed in the series of pictures illustrating “ The Course of Empire” and a “Voyage of Life and he died while at work upon his “ Pil- grim Entering Heaven.” His immediate friends were men of the highest moral culture and intellectual distinction. 4. The "Watering Place. 3ft.4«i n . x5ft W 8in. By Adolphe Schreyer. The artist of this picture is famed for the spirited action he gives to his horses in a cavalry charge, or in the furious gallop of a storm-caught wagon team ; but here we see a new phase of his power in the strife of rough, worn farm horses over a water-trough. The scene is supposed to be in Hungary, and shows Schreyer’s peculiar broad, vigorous handling and vivid force of light. 5. Nedjma — Odalisque. a £1 in . z ¥ k . By G. C. St. Pierre. 1874. The high reputation of the artist is shown in the words, “ Exempt from ex- amination,” on the frame, as it was placed there when admitted to the Paris Exposition, 1874, in the catalogue of which it appears as No. 1628. This compliment is always paid to artists of established fame, and well does this picture support the honor. In rich transparency and harmony of color 43 44 MAIN GALLERY OF PAINTINGS. throughout it seems perfect. The flesh tints are nature’s own, and the tex- ture and surface of the various stuffs and other accessories are given with the highest finish. 6. Edge of the Forest. 6j4ft.x5ft W 4m. By A. B. Durand. 1871. A fine example of this veteran landscapist, the last of the trio that headed that branch of art twenty-five years ago — Cole and Doughty being his peers. Having neither the epic style of Cole, nor the poetic fancy and pastoral soft- ness of Doughty, he equalled both in representing pure nature and his close study of her subtler details. His rocks, and particularly his trees, are always rendered with a characterization that leaves no doubt of their kind. From such elements as are combined in this picture — a simple outlook across the Hudson from the skirt of a forest — he gives a picture full of feeling, of power, and of nature. Mr. Durand was born in 1796, and enjoys an honored old age, being still able to use his pencil. In early life he learned the art of engraving, and soon distinguished himself by his skill. His first work was on Trumbull’s Declaration of Independence. His engraving of Vanderlyn’s “Ariadne Sleep- ing ” gained him an European reputation. From this art he acquired the fine drawing shown in his pictures. He next took up painting, and portraits formed his first essays. Subjects of genre next occupied him, but finally his genius found its true field in landscape, with which his name and fame are mostly identified. Mr. Durand was for many years president of the National Academy of Design. 7. The Vestal Tuccia. * 8 «. in. By Hector Leroux. 1874. This picture carried off a second-class gold medal at the Paris Exposition of 1874 — on the catalogue No. 1194. The Vestal Tuccia, charged with want of chastity, stands on the brink of the Tiber with a sieve, which she raises above her head with both hands, and thus prays to Vesta : “ Oh, powerful Goddess, if I have always approached thy altar with pure hands, allow me to fill this sieve with the water of the Tiber, and carry it into thy Temple ! ” In fine harmony with this incident, the artist has employed purity of design and cool, chaste coloring. The shores and wharves of the Tiber are given with strict local truth. The whole interest converges upon the form of Tuccia, while distant masses of the people, a near group of Vestals, and a solitary fisher-boy in the foreground, watch her in eager expectation of the issue of the miraculous test. 8. Edict of William the Testy. 3 ft H 6 ^. 5 ft w 6 '^. G. H. Boughton. 1877. Illustrates the following passage in Irving’s “Knickerbocker’s History of New York,” Chap. 8 : “Finally he issued an edict prohibiting the smoking of tobacco throughout New Netherlands. * * * The immediate effect of it was a popular commo- tion. A vast multitude armed with pipes and tobacco boxes, and an immense supply of ammunition, sat themselves down before the Governor’s house, and fell to smoking with tremendous violence. The testy William issued forth like a wrathful spider, demanding the reason of this lawless fumigation. The sturdy rioters replied by lolling back in their seats, and puffing away with redoubled fury.” The humor of Irving is well conveyed by the artist’s treatment of a subject which, though essentially farcical, is free from buffoonery, and given with a solemn, Dutch gravity irresistibly droll. The “rioters” look calmly at the irate Governor, threatening with uplifted cane. His angry face and the vinegar aspect of his dame are in laughable contrast to the imperturbable rebels send- ing out defiant streams of smoke. Most conspicuous among them are the trumpeter, Antony Von Corlaer, in regimentals of scarlet and gold lace ; the burly form of Brinkerhoff, (hero of the clam and onion war against the Yankees,) with thumbs in his belt; the stiff, upright figures of two puritans in dark dress and conical hats, and a sturdy craftsman seated on an inverted basket, with face turned up to the Governor, as though saying, “ Well, what are you going to do about it ?” Beyond this group is a swarm of Dutch maidens and lads, the latter hurrying to the front with fresh pipes, and back open is the open street of the tobacco-shops, where some villagers in baggy breeches buy more “ammunition.” MAIN GALLERY OF PAINTINGS. 45 In addition to its harmony of color and transparency of shadow, there is a charming airy luminousness resting over the picture, as though it were really an out-door scene. The picture was painted to order for this Gallery. 9. The Drove at the Ford. it. * 3 rt W 2 m. By James M. Hart. 1874. Considered the finest picture ever painted by Mr. Hart. The scene is such as every rambler along a wood-stream has met with, and therefore it steals over us with all the charm of a personal reminiscence. At the close of day the drove is leaving the dusty road to cross a cool, shadowy stream, over- arched by trees. The leading animals and nearer trees of this picture are all painted from nature. James Hart is one of two brothers, born in Scotland, and coming to this country at an early age, were both apprenticed to a coach painter, and both soon took up landscape painting. James went to Dusseldorff in 1851, and, after a year’s study, returned home, and is now successfully following his pro- fession in New York city. He gives a special interest to his landscapes by the introduction of animals. 10. Shepherd and Sheep. su n .x49hi. By Eobbe. 11. Landscape. Companion to the above. X 4!Un. By Eobbe. 12. The Amazon and Her Children. 3ft H 5m. xsrt^in. ByE. Leutze. 1851. This classical work is colored much in Leutze’s early style, which was warm and florid — unlike his later manner, acquired at Dusseldorf, as may be seen by comparing “ The Amazon ” with his “ Cromwell and Milton.” 13. Ideal Female Head. 3 to 111, inclusive, (excepting President Harrison’s,) with Mr. Peabody's, No. 80, were painted for a series ordered by Louis Phi- lippe for the Versailles Gallery. Pres. Andrew Johnson. 25 x 30 Painted byE. F. Andrews. 1882. Pres. Ulysses S. Grant. “ “ Henry Ulke. 1882. Pres. Rutherford B. Hayes. “ “ E. F. Andrews. 1881. Pres. James A. Garfield. “ “ By William T. Mathews. 1883. Pres. Chester A. Arthur. “ By G. P. A. Healy. 1884. Crayon Portrait of the Hon. Stephen A. Douglas. Jules Emile Saintin, Paris. 1860. Painted from life in New York, and presented by the artist. Afternoon in Early June. m'x C. E. Brenner. 1880. The style of color of this work is at first startling to eyes accustomed to see nature treated at a later season or in a conventional way. Repeated study of it, however, will show that Mr. Brenner has displayed in it close observation of scenery and successful effort to imitate a phase of nature most difficult to be represented, and which too many landscapists fear to grapple with. He is a Kentucky artist, who has struggled in his profession with but few advan- tages, and this attempt to represent a grove of beeches in his native State gives abundant promise of a successful future. 119, 120. Portraits of Mr. and Mrs. B. O. Tayloe. mL x s^i'n. Presented by Mrs. Tayloe. By D. Huntington. 121. A Pastoral Visit. 4 "j n . 6 Yj„. R. N. Brooke. 1881. Here we have the interior of the cabin of a field-negro in soiled clothes, surrounded by his wife and children after his noon-tide meal. He has just laid down his banjo, and listens with stolid respect to the colored pastor just dropped in, who holds his plate to the wife for a mess of bonny-clabber, while he turns to address the husband. His umbrella, hat, and prayer-book are behind him. His bald head, circle of white hair, gray beard, and kindly ex- pression of his eyes, make the pastor’s figure one of faultless character, while all the accessories of the kitchen make the scene what it professes to be, one from real life. Mr. Brooke is a young Virginian who studied his art in Paris under the celebrated Bonnat, and has set a good example to his brother-artists returned from foreign study, by applying his art to a subject wholly American. 122. Portrait of the Hon. Henry Clay, Ivy. 3 " in> 2 J v m . By Ckas. B. King. 1822. Painted when the eminent statesman was in his zenith. The shirt-ruffles, plum-colored coat, stiff rolling velvet collar, brass buttons, and hair over his forehead, denote the costume of the time. This portrait was considered the best ever taken. Iu after years, Mr. Clay wore his hair combed back from his noble forehead. He holds in his right hand a paper inscribed with his Reso- lution dated Feb. 21, 1822, declaring the sympathy of the people of the United States with the struggles of the Provinces of South America for liberty, and WEST SIDE GALLERY. 61 the intention of Congress to aid the President, in a constitutional way, when he deems it expedient to recognize their independence. A very popular engraving of the portrait was published many years ago. 123. A Home in the Woods. 26 Y n . By Cbas. Lanman. 1881. 124. The Late Commodore M. F. Maury. f 6 - x ^- in . By L. M. D. Guillaume (from photograph.) 1882. 125. Piazza or St. Peter’s, Rome. 2ft H e in . x5fLin. A. Moretti. 1853. 126. The Forum from the Tabularium, Rome. 2 n, H 6 «. x 5 rJI'in. A. Moretti. 1853. 127. Portrait of John Howard Payne. fiJai By J. W. Jarvis. This interesting portrait of the author of “Home, Sweet Home” was painted by the celebrated Jarvis for Mr. Meredith, of Baltimore, when Payne was about 17 years of age. It was presented to Mr. Corcoran by Mr. Gilmor Meredith, and figured in the final obsequies of Payne at Oakhill. Though in- jured, the work shows the spirit of Jarvis’ style, who has given to the eyes a certain poetic light, and graceful air to the head that formed much of the beauty that Payne was known to possess in early manhood. 128. Portrait of Gen. R. E. Lee. « a, x s aTi in. By J- A. Elder. 129. Portrait of Gen. T. J. Jackson. x 3 ft W 4 in . By J. A. Elder. 130. Portrait of Hon. J. S. Morrill, Yt. x soli. By Healy. 1884. 131. Alexander II of Russia receiving the resolutions of congratulation on his escape from assassination, passed by Congress August, 1866, and delivered to him by the late G. Y. Fox, Ass’t Sec’y of Navy, in the presence of Prince Gortscliakoff, Minister Cassius M. Clay, Mr. John Van Buren, Capt. Murray, and Commander Beaumont, U. S. N., and their secretaries. This picture, (H. 3 ft. !)4 in. x W. 4 ft. 10 in.,) painted by L. Eug. Leroux, Paris, was exhibited in the Paris Salon of 1880. It was presented to the Corcoran Gallery by Mrs. G. V. Fox in fulfilment of her husband’s wishes. WEST SIDE GALLERY. 1. The Blonde, Brunette, and Medium. 2 9 H i' n . *36 in. By T. P. Rossiter. 2. Landscape. (Oval.) x m in. By R. Gignoux. 3. Ball-Playing Among the Sioux Indians. ” 8 x ^’ Col. Seth Eastman, u. s. a. 4. Lake Scene near Lenox, Mass. A * « in. By W. M. Oddie. 5. Out-Door Concert. 24 H in . X 2Tin. By E. T. Eckout. 6. Swiss Landscape. -An. x :n’io. By Seefiscli. 1850. 7. Allegro and Penseroso. 8 " n . * iL. By J. G. Brown. 8. Sketch of Mt. Washington, mi,. x 20 ^. By J. F. Kensett. 1851. 9. Portrait of Napoleon I. 105 f in . x 8 ^ in . This portrait was painted in Paris, from life, in three sittings to the artist while at breakfast, by a brother-in-law of Talma, the actor, and once belonged to General Winfield Scott, who brought it from Europe. 10. Return from Market. 2 x : ,Y in . By W. Brown. The artist was an Englishman, and imitated the style of Morland. 11. Portrait of Baron Humboldt. 38 " n . x 2 f; 0 . By Madame G. Richard. 62 WEST SIDE GALLERY. 12 . 13. 14. 15. 16. H. W. 17,4 io- x 15 in. Swiss Landscape. Cascade. Flemish Picture. Battle-piece, (on copper.) H. W. 27 in. x 38 in. H. W. 9 in. x 11 in. H. W. 44 in. x 7 in. By C. Fribel. 1849. By Robbe, after Achenback. Artist unknown. It is signed on the back “ Velvet Brueghel” — 15(10-1628. 17. The Village Doctor. lslD.xzYin. By Venneman. 1850. 18. Child Reading. 16 H in . x isTn. (A- copy.) By J. G. Meyer. 19. Iris, (oval.) 25 u.* 3 . x 54'in. By C. P. Cranch. 9. Portrait of a Child. " 5 X 3o; A. B. Durand. 1835 Presented by Mrs. W. J. Stone. Interesting ns a specimen of the veteran laudscapist’s work as a portrait painter in his early career. 10. Reduced copy of Raphael’s Portrait of Dante, from the original by Miss Mary E. Williams, and presented by her. ■ni.xioHin. Rome, 1882. 11. Portrait of President George Washington. sa. win.x5ft. W 2m. Copied from Gilbert Stuart’s portrait by his daughter, Miss Stuart.