\.lÙ^'ri ' ' '''^ii'i'| i !i! l iliii l |ii'i'i'!'iViV!;!ili i iYi!vi' 'l i ' ' ' ''iiil ' \i'|!i!i!i!iiih!i!i!i!i!i!i!i!|!ii'i!|iilil! ,I!ji;i^|^ !|'i!f!i'i'i ii'i ,„l;l;lili!i!;Iil;!i'-''' THE GETTY RESEARCH INSTITUTE LIBRARY Halsted VanderPoel Campanian Collection THE PBINCIPAL MONDMENTS IN THE NATIONAL MUSEUM OF NAPLES NAPLES PRINTED BY JOHN TESTA Boaario di Palazto Strtet, iS. 1882 THE GETTY RESEARCH INSTITUTE LIBRABX ORIGIH ASD VICISSITUDES OF THE MTIOML MUSEUM AND ITS COLLECTIONS The edifice where the present classical monu- ments are collected and which constitute the Na- tional Museum of Naples, was originally intended fon military stables, like those stili to be seen ve- ry near « Maddalena » Bridge and the river « Se- beto». This building was begun shortly after 1582 by order of the Duke of Ossuna [the Elder), who carne over in that year as Viceroy of Spain , to govern this part of the south of Italy. The pian was assigned to M/ Fontana, who was obliged lo suspend the works^ for want of a sufficient sup- ply of water for the horses, he having found out his raistake when too late, loft it half finished. The Count of Lemos who had succeeded Ossu- na in 1610, conceived the idea of converting the 6 DESCRIPTION OF THE MUSEUM unfiaished edifìce, to a far nobler purpose. He de- creed,that the University thenexistent at the con- vent of a San Domenico Maggiore », should be re- moved to that place. The illustrious Architect , who had planned the originai design, proceeded with the undertaking, amplifying, elevating^ and suiting it to the new exigencies at that period, as it stood unfinished on the 14.*'' of June 1616, it was then inaugurated and named « Il palazzo dei Regi Studi », as it is comraonly called. — The Uni- versity was held there till 1688, but since that time, this pile underwent many modifications. It was at first used as a seat of justice; in 1701, as a barrack; afterwards in 1767, it was again con- verted for public tuition , and then amplified on the eastern side by « San Felice » the Architect. When the Jesuits were for the first time , bani- shed from the Kingdom, (which to a certainty was not the last) the seat of the University was remo- ved to the spacious convent called « Gesiì vec- chio » : applying it to the schools already esta- blished there by those monks, who are ever intent to prevail over the mind and cons3Ìence of the youth under their tuition. After so many vicissi- tudes, and other new amplifications by Fuga, this building was at last destined as a depository for the treasures of antiquity. Pompeo Schiantarelli, who succeeded Fuga, built the eastern side of the DESCRIPTION OF THE MUSEUM 7 first floor of Ihis edtfice, constructed the Staircase as it is now seen with its winding flights of stairs, though inconveniente it may please those who ad- mire it^ rather than meet the approvai of the in- telligent class in art. The whole building forms an isolated pile; the front facing the south, measures, 41.20. — metres, in length ; «20.58. in width^ and» 10.08. in height^ reckoning from the thre- shold of the main gate to the ogee of the entabla- ture. A lofty entrance, consisting of five arches and divided into three naves, leads^ to the coUec- tion in the suit of rooms on the ground floor, con- taining, ancient mosaic paintings on walls, mar- ble statues, large bronze casts^and epigraphic and Egyptian monuments. The two large court-yards, which flank the centre of the entrance , are em- bellished w^ith plants, give plenty of light to the inward parts of the edifico; they also contain ma- ny and various fragments of valuable sculptures. Ascending a flight or two of stairs at the upper end of the vestibule, or hall, a door on the right, leads to the collection of objects, denoting the re- vival of the arts, glass works, and « terra cotta» (baked day); on the left, to the rich collection from Cuma. The large door at the top of the staircase, leads to a very large hall and adjoining rooms , constituting the National Library. On the left, near the top of the same staircase. 8 DESCRIPTION OF THE MUSEUM a door leads to where the Herculanean « Papiri » are collected, and the paintings of the various Ita- lian schools ; in the two inner halls where a col- lection of the best master-pieces in painting are seen, there is a rare and rich collection of origi- nai drawings and engravings which formerly em- bellished the Royal Palace; these the King sent as a gift to the Museum, to serve as models to those who apply themselves in the study of the fine arts; on the same wing, rooms are selected for the Di- rector of the Museum, and excavations. On the other side of the staircase, to the west, the visitor is led to a cabinet of medalions, precious and por- nographic objects, small bronzes, and italo-greek vases, finally, the other portion of the gallery of paintings are on the opposide side, where several other specimens of the Italian, German, Flemish and Dutch schools are collected. It happens, as if it had been foreseen that the edifico used for so noble a purpose, and which Fontana was building to serve as a humble stable, stands on very ancient and historical ground. A few metres at the back of this classical monument, there is a garden on a piece of rising ground, which be- longs to a convent of « Theresiani » monks; under that garden, an ancient Greek sepulchre lies con- cealed: Some excavations were attempted there in 1810, many vases of rare workmanship were found DESCRIPTION OF THE MUSEUM 9 in some of the ancient graves ; however, Queen Caroline Murat took the greatest number, and left - but few to the National Museum. Above thirty years ago, the President of the Academy of fine arts^ M/ Anthony Niccolini, proposed to bave the garden restored to the Museum, since it once be- longed to it; he also denoted the means how to annex this important spot to the said edifice. But that era , was not a happy one for scientific and artistic pursuits : instead , it was favourable for convent and friars; then, it was neither easy nor free from danger to attempt to recover from the monks an inch of land, for the benefit of science. This attempt proved fruitless, but it was not gi- ven up. One of M/ Niccolini's sons, has formeda pian, to annex and adapt this ancient burying-ground to the Museum, thus, giving it much more room, (what is now much wanted), in order to contain the valuable antiquities that are every day remo- ved to the Museum^ especially, from the excava- tions at Pompei. However, it is to be hoped^ that the times having ultimately changed, the National Museum will gain additional embellishments by its conjunction to these ruins, which fortunately happen to be so near. The numerous relics which adorn the National Museum, underwent as many vicissitudes as the 10 DESCRIPTION OP THE MUSEUM edificethatcontainsthera. — Beforetheenstallraent of a Museum in this edifice, was decreed, it bore the name of « Regi Studi » ; two distinct and se- perate collections of ancient remains were in exi- stence; one attheRoyalPalaceat «Capodimonte»^ where nearly ali the works of art, and even the Library had been collected , and which , at the death of Elisabeth the last of the « Farnesi » and wife to Philip V.^ were inherited by her son Char- les III of Bourbon. The other collection was placed in the Royal Palace at « Portici » , where the objects found at the excavations of Herculanum and Pompei were collected, as well as^ other antiquities transferred there from different towns. Yet, it is remarkable that in those times , besides these collections , many statues, inscriptions, and other sculptures, had been heaped up awkwardly and lie confused on the ground floor of the edifico, without being selected to forni a branch of the Museum. — The monuments of the aforesaid collections, and those piled up on the ground floor of the « Palazzo dei Regi Studi», were to constitute the new Museum, including the Library at « Capodimonte ». At the approach of the victorious armyof the French Re- public, about the end of 1798, the Bourbons be- ing threatened by the Neapolitan patri ots, conve- yed to « Palermo » ali the most valuable things DESCRIPTION OF THE MUSEUM 11 existing in « Capodimonte » and « Portici » . This precious collection thus ransacked, was, by the French who announced themselves as deliverers, but acted as masters , pillaged what then remai- ned, and sent to Paris in the following year, the best of what they found ; luckily , the spoliation had not been totally accomphshed as it happened in Florence, Venice, and other parts of Italy^ then overrun by the French Republicans. The stolen objects having been carried to Rome , were , on account of the vicissitudes of the war^ deposited in the Palace called « Farnese » , where they re- mained. The Bourbons being re-instated in 1801, brought the monuments from the palace « Farne- se » back again , along with others purchased in Rome by the Marquis Venuti , and were after- wards replaced in the same halls from whence the French had taken them, with the exception of some paintings, which were for the moment put in the palace of Prince Cellammare Francavilla. It was otherwise with the monument taken by the Bourbons, they were sent off to Palermo, and re- mained there : when the Bourbons fled again to Sicily, on occount of the second invasion of the French, who were now Napoleonists and not re- publican soldiers , many other monuments were taken from the variousNeapolitan collections, prin- cipally from those deposited in the large establish- 12 DESCRIPTION OF THE MUSEUM ment of the Princes of Cellammare, and sent to Palermo. The government of King Joachim Murat, was at length enabled to form the new Museum , in spile of so many depredations ; by collecting the remaining Monuraents from « Portici » , « Capodi- monte», and those at « Cellammares' » , by the great alacrity displayed in the excavation at Pom- pei and Poestum, including those relics discovered occasionally, and the paintings taken from the sup- pressed religious corporations. The Bourbons having returned from their se- cond banishment , which was the last but one , they had the conscience to give the said monu- nients back again to the city of Naples^ (except a few which remai ned in Palermo) and these were reinstated in the large halls of the Museum, where they are at present. Since that time this establish- ment acquired a higher repute, from the excava- tions, the rich collections from the Museum called a Borgiano » , the vases that formerly belonged to the following gentlemen M/ Cotugno, Vivenzio , Zoratti^ Cervone, Lamberti, de Gennaro, Rispoli, Falconet, and many others; comprising those found at «Canino», «Viterbo» and «Chiusi». The medals and coins formerly possessed by M/ Noja, Forcella of Sicily, Baron Genova, M/ Arditi , Poli, and other Gentlemen , are added to DESCRIPTION OF THE MUSEUM 13 the former rich cabinet, including, the coins and medals which formed the historical collection of the Royal Mint Establishment, which are ali now deposited in Naples. — The Museum then acquired greater desert, by iraportant purchasing and pe- culiar objects, and by adding more donations , among which, the famous distinguished collection of the Cuman Monuments, excavated by order of the Count of Syracuse and afterwards bought by His Royal Highness the Prince of Carignano ; as well as, the other fine and equally important col- lections aforesaid, consisting, of classical prints and originai drawings of the raost distinguished masters in those arts, and which, King Victor Emmanuel presented to our Museum ; they may now be available to those who study fine arts, or to amateurs. Felix Nicolas, then Director of the excavations of Pompei and Poestum, was appointed. Director of the museum Joachim Murat, where he remained à very short time, scarcely adding any improvement; he was succeeded by the Marquis Arditi, who with alacrity accomplished this important undertaking. Much was left undone in this difiicult task , the rules of Science at present, require numerous and radicai alterations in regulating so many different Works, and these alterations are by degrees now taking place, by the proper adjustment of ali tho- 14 DESCRIPTION OF THE MUSEUM se objects collected in this tempie of arts. Never- theless, M/ Arditi^ did ali in bis power to attaln bis object^ as far as tbe times and means would allow hiin ; be was tbe first, in 1822, wbo occupied bimself in taking an inventory of tbe vast number of objects , wbicb formed tbe va- rious collections in the Museum : tbis inven- tory was not even accomplisbed , after M/ Ar- diti bad left , nothing better could be bad. Tbis important task is not neglected, it being at pre- sent attended to; stili, we are indebted to M/ Ar- diti , for having been tbe first to ensure for tbe Nation, by tbe inventory of 1822, tbis precious part of tbe treasures of Italy. — We learn from tbe aforesaid inventory, and tbose made out after tbat period , tbat tbe number of objects existing in tbe Museum, from tbe raanner in wbicb tbose inventories were taken, tbey cannot be said to be quite correct; so tbat, the monuments in tbe Mu- seum, may only be numbered thus. Marble Statues 1691 Large Bronzes 138 Affresco paintings and Mosaics. . . 1993 Italo-greek objects 3450 Pornograpbic objects 218 Egyptian monuments 1707 Inscriptions ....-,.. 2400 DESCRIPTION OF THE MUSEUM 15 Objects of vaine 3513 Small bronzes . . . . . . .13144 Glass ware 4466 Terracotta 8406 Collection from Cuma ..... 1802 Relics of the middle-age .... 1552 Pinacoteca 18650 We cannot bere include the number of the coins and medals, for^ up to the present moment, the catalogne of this important part of the Museum, has not been accomplished; notwithstanding the heavy sums laid out for that purpose the persi- stance of government^, and the complaints of the pubblic. Professor Fiorelli who holds the direction of the Museum and Excavations, has, however, begun to publish this wished for Catalogne, we trust he may soon complete that which was for- merly universally requested. The « Papiri » found in Herculanum and pla- ced in the N.° Vili collection, are 1764 out of which, 483 bave been unfurled, and the manu- scripts they contained bave again been brought to light; the remainder may, by the slow process of unfurling, disclose to the succeeding generations, and to the learned , some precious science of the Grecian or Latin erudition. Many of the most enlightened men of science . 16 DESCRIPTION OF THE MUSEUM in Europe , brought a great number of the disuniteci monuraents existing in our edifice to light , especially when they were stili at Por- tici, Capodimonte and even before then. The classical work on the antiquities of Her- culanum , published by the founders of the enlightened Herculanean Academy, was the first which gave an insight to so many excellent pu- blications: but this work on the antiquities of Herculanum was put a stop to , imparting a great loss to the glory of science, and to the fame of the successors of the renowned Acca- demicians who began it. Several afterwards undertook to publish so- me of the complete collections, or, the whole of the Museum. M. Mommsen wrote a treaty on that important part , which constitute epi- graphic monuments, M. Panofka and M. Ger- hard were the first who undertook, together, to illustrate the whole Museum, which, how- ever, they did not totally accomplish, this work, was followed up by de Jorio, Finali, Quaran- ta and Aloe, which served as a guide for tra- vellers , they published the reassumed descri- ption of this vast edifice, and its principal mo- numents. No complete work has been published of the Museum of Naples, except , the one which has DESCRIPTION OF THE MUSEUM 17 been extensively described and illustrated with the best finished drawings , in 16 volumes, by Niccolini, and continued and completed by bis sons. This work contains more than 1030 prints, drawn and engraved by the most able artists in Italy ; comprising , besides the illustrated rao- numents of the Museum , an account of those cxcavations of Pompei performed in the course of this extensive publication. Finally, we shall mention the « Bullettino del Museo Nazionale di Napoli » which is now oc- casionally published by Prof. Fiorelli , and in which the author has undertaken the toilsome task, to put every collection in our edifico scien- tifically in order, including in bis laborious com- pilation , quotations from every author , who bave up to the present moment;, censured the Works deposited in the National Museum. The most remarkable of the raonuments cho- sen for each collection , shall be stated in the following abridged description^ with an illustra- tion of the monuments on corresponding plates. INDEX TO THE MONUMENTS PI. 1. A. Ground Floor. 1. Principal entrance. 2. Guardroba. Where ombrellas sticks ec. ec. are left with- out pay (free), 3. Ticket office. 4. DepOSit, and sale of artistica! and modem works, taken from the best monuments of the Museum, and where this guide is to be had. 5. VeStibuluS, round which twelve inscriptions of Comm. Fiorelli the present Director are read, which state the dififerent alterations suffered by this building. 6. CÓUrtS, embellished like gardens, which contain several fragments of ancient marble sculptures. 7. Large Stair case, wMch ascends to the upper collec- tions. On the side by two colossal rivers, representing the one on the right the jYi7e, and on the left the Euphrate both from the ancient Rome. 8. Wall paintings. 9. Mosaics. 10. Epigraphs. 11. Egyptian collection. 12. Marble statuary. 13. Basreliefs. 14. Bronze Animals. 15. Small fìgured bronzes. 16. Large figured bronzes. 17. Arms Collection. 18. Glasses. 19. Terra cotta. 20. Cumean collection. 21. Controller's Office. 20 MONUMENTS OF THE MUSEUM B. Upper Floor. 22. Precious objects. 23. Medais, coins, Numismatic Library. 24. Pornographic coliectìon. 25. Pinacoteca. (Oa the right) Bolognese, Tuscan, Neapo- litan, Bisantiiies, Dutch, German, and Flaming schòols. 26. Bronze utensils. 27. Municipal COllection, contaìningYases,terrecotte,small bronzes, mosaics, and medais. 28. Italo Greek vases. 29. Library. 30. EatableS coliectìon, from Herculanum and Pomppì. This room also contains several copies of Pompeian walls, and some models. 31. Papiris. 32. Pinacoteca, (left side) containiag Roman, Parmisan, Lombard and Venician schools as well as the chief coliectìon belonging to different schools. 33. Prints and ancient drawings. MONUMENTS IN THE MUSETJM OP MP1E8 ANCIENT FRESCOES This is certaìn ìy the most interesting collection exi- sting of its kind in Europe for its immense quantity found in both the towns of Pompei and Herculanum. It shows how the Romans used the different paint- ings in ornamenting the houses both of the high and low class of people, the temples, and every kind of monument — This kind of painting partly in fresco, and partly in simple colour has given place to several artistical investigations, and even some bave believ- ed to be prepared with oil, and others with wax. It is certain however that the margin of the walls or other paintings are of beautiful fresco, as it may easily be declared by the scrubbing of the body above it. The number of frescoes, is about 1000, the greater part from Pompei, others from Stabia and Hercula- neum, and only two from Rome. In this number 17 are of an earlier date found in Greek and Samnite tombs. These paintings are now classified in different par- titions distinguished by roman number above and the- re are 85. The first hall or corridor contains 10 — The first 22 MONUMENTS OP THE MUSEUM four are walls found in the Tempie of Iside at Pom- pei, the others also of Pompei found in private houses. The pictures found in the Greek and Samnite tombs already described are at N. LVIII and LIX. At N. LXXII the six commonly called Monocromi are seen on white marble — five of them found at Herculanum, only one at Pompei, which it cannot cer- tainly be called Monocromo as being more coloured and also uncovered white marble — The other num- bers are single figures and different subject of less importance. The two above mentioned pictures from Rome seen at N. XX. We now return to the above mentioned corridor, Crossing the above room of animals, and moving from the Epigraphic corridor on the left we find on the same side another corridor for frescoes — The latter contains from N. LXXIII to LXXXV under which ar- chitectical ornaments of every kind are seen — White stucco Basrelief — other colours similar to those al- ready described — Under the arch N. LXXXIII a stone pilar plastered and paluted with figures, animals or- naments and others found in the Fellonica at Pompei. Q fine collection of mask ornaments the large niche marked N. LXXXII. Under N. LXXXIV a quantity of small fragments are disposed in small pictures which most bave cer- tainly belonged for their beauty to the fìnestat Pompei. At N. LXXXV a collection of different vases is also painted over plaster. Hereafter we give to the lover of fine arts some ancient records of the best paintings in this collection, by marking on them the numbers as they are placed. MONUMENTS OF THE MUSEUM 23 In N. X one sees the renowned Galees painted, also found in the Tempie of Iside — The room opposite the corridor contains N. XI to XIV where a quantity of small pictures of animals, fish and birds are seen. Of the lattar several dead and imfeathered; other paintings of fruit and eatables of ali kinds show that it was ìntended for a dining room. On the right of the first hall or corridor described, there is a commimication with 5 more rooms joined hy arches, of which only the last is of mosaic. On the first at the entrance under the large opening which gives light, a great quantity of colours partly grounded, and others in their naturai state are expos- ed in a glass box and were found in Pompei, which the ancient painter made use of, and which Vesu- vius has preserved us. The halls from N. XV to LXXII comprehend the Olimpie Deities both of earth and sea with their small ones as in N. XXX to XXXII from XLV to LII and subdivisions LVI,LVII,LX.LXIV and LX Vili to LXXI. The baccant at N. XLl to XLIV and LUI and the Ma- rine ones from XVI to XVIII. Heroes are shown at N. XXVI to XXIX, XXXIV, XXXVl, XXXIV and XL. Historical facts at N. XXIV. Scenes in life at N. XXXIII and XXXV. Portraits at N. XXXVIII. Landscapes and marino at N. LXI to LXIII and from N. LXV to LXVII. 24 MONUMENTS OF THE MUSEUM N. IX. PI. 2. Faun and Baccante, this group executed to paìr ■with the preceding, was also found at Pompei, and is equally praised by artists; differs from the former in a yellow ground. The large expanded garment which leaves the baccant half unco- vered, is of a purple color lined with white, like the others and they both reveal great skill in the touch ; an effect in the vivid colors, produced by the ancient painter. N. XV. PI. 3. A Genius. Representing, apparently, the deification of the majestic female borne on his wings. Bechi says, in ex- plaining this composi tion, that, the genius here represented exhibiting the horn of abundance, is the tutelar god of abun- dance, is the tutelar god of the female he sustains: the horn being the emblem of those good genii who had the care of men. This painting was probably used as an ornament to the outer court of the «Casa del naviglio» {ship's house), at Pom- pei. — The two Cupids addicted to pasturage, depicted beneath this piate, were also excavated at Pompei in the «.Tablinum-», [library) of the « Casa della seconda fontana», {house of the second fbuntain). N. XVII. PI. 4 and 5. Nereids; These two paintings were discovered at Stabia in the beginning of 1760, and then published by the Herculaneans, assimilating them to those praised by the ancient poets, the first, is the act of checking her horse has fair hair and complexion , which is relieved by the drapery waving in thfì air, and is painted over a dark green ground with a light yellow border. The horse being of a green tint, is called Hippo- campos, and has a tali like a fish. The tape across the breast of the female is of gold, supposed to hold on the garment. The second Nereid, lying on a tiger with tail and color like the pre- ceding, is offering it drink from a golden goblet. The Hercula- neans mention a hymn of Orpheus , in which the nereids are styled the first instructors in the mysteries of Bacchus. / MONUMENTS OF THE MUSEUM 25 N. XXIV. PI. 6. Charity. a young woman saving her father from starving in prison, by suckling him at ber own breast. — The subject represented in this painting, is described by Pliny and Valerio Massimo ; tbis is one of tby few historical pictures ex- cavated at Pompei. N. XXXIII. PI. 7. Telephus recognized by Hercules. This painting, discovered at Herculanum, represents the origin of Rome by allegorica! figures. From the importance of its subject; the abi- lity of the artist and the size being considerably largar than those found at Herculanum ; it is esteemed superior to others of the same kind. PI. 8. TragiC Actor. in pursuance of many arguments, the Herculanean Acadamicians defined this painting to represent, a tragic author dictating to Tragedy while she inscribes. It has since been remarked by other authors, that this picture repre- sents the scena of a theatre, in which a tragic actor is dictating meraentos to the female in a kneeling attitude, and who is at the same timo writing on a board, -which is fixed on the inside of the scena , to serve as a guide for the Choragus when he directs the various parts of the performance. The figure lean- ing on a staff, is the Choragus; and the mask, is probably meant for the female to use it. This fresco painting is carefuUy touch- ed, being one of the remarkable relics excavated at Herculanum. N. XXXIX PI. 9. The Cethern Player. It appears that the principal figure in this painting, is, a female intent on playing and har- monizing the two lyres at the same time; this picture like the preceding one, is equally appreciated and well executed; it was also discovered at Herculanum. PI. 10. Achilles recognized among the Haldens. This painting was discovered in the « tablinum » of the « Casa del Questore» [house of the quces(or) at Pompei; the subject re- 3 ■ 26 MONUMENTS OF THE MUSEUM presented here is unquestionably evident , for the visitor may easily perceive; that Achilles discovers himself by seizing the arms, in female attire, when among the maidens of Scyros ; at the back are Deidamia and King Lycomedes; Ulysses, and another greek orator are each on one side of him. The Centaur Chiron on the shield , denotes that this group had been a celebrated aneient produce of art, for the same is reproduced in a picture found at Herculanum; also existing in the National Muse um. (see pi. 35). N. XLIl. PI. 11. Faun and Bacchanle, from Pompei and drawn on a light blue ground; the type of the faun the elegant form of the bacchante; the bold efiect of the colors and shades, cause this exquisite painting to be much admired by artists; it is re- markable how gracefully the aneient painter disposed the gar- ment over the faun, it is tied over the left shoulder and held out with the right hand; and used as an apron, full of apples and grapes. P1.12.TW0 female CentaurS, skilfuUy painted over a black ground; the whitish part of the horse's body is treated so as to harmonize artistically with the delicate skin of the female's back. The Herculanean Academicians , and afterwards several others, illustrated these noted paintings found in Pompei. PI. 13. TWO CenlaurS, from Pompei, painted in the same style as the former, are equally celebrated and remarkable. It is evident, that the first Centaur is in the act of being punish- ed by a female for his uncautious desires. She after having tied his hands, grasps the lochs of his hair and is tormenting him by repeated blows. The Herculanean Academicians bave reaso- nably acknowledged the other Centaur , to represente Chiron instructing Achilles. N. XLV. PI. 14. Market of Cupìds. Not long after this picture was found at Stabia, the Herculanean Academicians wisely conjectur- ed it to symbolize three Loves; the first, leaning on the lap of Venus, with Pitho the goddess of Persuasion behind ber; the se- cond , trying to escape from the hands of Indigence ; and the MONUMENTS OF THE MIISEUM 27 third, is confined to a prison. A spirited but a disjoiated notion. It represents no other than a sale of Loves, where a woman of- fers to sell the winged articles she had in a cage, to two other young women. A -witty allusion, hinting to what a noble and inno- cent passion may be reduced through misery and wretchedness. N. LUI. PI. 15. 16. 17. 18. Danzatrici, these wall-paintings, called, the dancing girls, were gracefully executed on the walls of a chamber in Pompei ; found shortly after the first excavations of that ancient city, in the year 1749. Numerous copies were repeatedly seen, as soon as these paintings carne to be appre- ciated by artista for their antique type, and are now introduc- ed in the various decorations by our ornamentai painters. The chamber in which they were discovered, was a Triclinium {dining room). The Herculanean Academicians pronounced it to be one of those Tricliniums dedicated to Venus and Bacchus: many arguments have been largely discussed ; investigating the anti- que mode of dancing; their ancient musical instruments ; and the allegories they may probably express, though some of those figures have modest apparel, others are inconsistent with the severe laws of modesty ; however, they mostly coincide with the opinion of the Herculanean Academicians as to the palace where they were painted : implying , that mach attention and per- severance was by the ancients addicted to dancing aad enjoy- ments, N. LXIV. PI. 19. Bacclius sitling on a Throne. ah the omamented paintings found at Pompei in the «Atrium» of the house call- ed « del Naviglio » are evidently executed by the same pain- ter; this, and the one that foUows, probably are the best. — The throne of this bacchus is painted to imitate gold, gems; and porpora (purple cloth); the garment is of violet color lined with green; the tiger as usuai by his side: the whole executed on a red ground. The majestic and graceful form, and the skill with which it is treated, reasonably class this painting as the finest specimen found in Pompei. PI. 20. Ceres sitting on a Throne. This goddess, Ukewise 28 MONUMENTS OF THE MUSEUM discovered in the « Atrium » of the « Casa del Naviglio » at Pompei, is also exquisitely painted. — The throne bere is repre- sented, to be ali of gold and purple cloth; the deity is clad in a light blue tunic lined with white, and wrapt in a yellow up- per garment; the drapery, is treated with a masterly touch; the feet shod in buskins are resting on a golden foot-stool. It is useless to mention the attributes of the flambeau and ears of corn, that are bere delineated by the ancient painter. N. LXVIII. PI. 21. The seven days of the week; round paintings on a yellow ground, found in a chamber as murai ornaments at Pompei ; the days of the week are separately allegorized by those deities allotted to them, and in the following order ; Sa- turn, Apollo or the Sun, Diana or the Moon, Mars, Mercury, Jupiter and Venus: an evìdent proof, that both the Greeks and Romans, reckoned from the day dedicated to Saturn as the first of the seven. N. LXXI. PI. 22. lo at CanophuS, excavated at Pompei,where a smallar one was also found, it allegorizes the moment in which the tor- mented Io, as represented fiere sitting on the shoulder or bank of the Nile, is favourably received in Egypt, and entertained, as it were , in a place of safety. This painting denotes , that when the Egyptian religion was adopted in Pompei, the Arts vied with each other in representing the deities of that miste- rious nation. MOSAIC ROOM This collection is placed at the end on the right of the frescoes already described, and contains 45 pieces, of which 8 in vitrea paste, and the other stone. A portion of them, and the finest are from the house of the Faune in Pompei , as weli as the celebrated Battle, of which we will speak hereafter when at the hall of statues — The large circular mosaic showing the MONUMENTS OF THE MUSEUM 29 triumph of Baccus placed in the centre of the pave- ment of the hall , was also excavated at Pompei , and ornaraented the house vulgarly called of the Centaurum. In this hall 4 pillars broken at the top are also seen, and covered with vitreo mosaic, they belonged to a Villa outside Pompei in the Street of Sepolcri. Three of these mosaics, and perhaps the finest are hereafter described and printed. PI. 23. AeratUS, l m. and 66 e. square, Excavated at Pom- pei like the one before mentioned , in the « Casa del Fauno » where the finest mosaics now existing in the Museum were found; Mr. Quaranta decidedly defines the boy Acratus, a winged bac- chanalian genius, formerly designed to personate genuine wine. This mosaic is exquisìtely executed. PI. 24. A Comic scene: this picture is 44 e. by 41,made of small pieces of stona, and was found in a house outside the •walls of Pompei in Aprii 1762 — the masked figures drawn in this scene, playing the tabor, tibies, cymbals and pipe, seem to be tuning their istruments. On the back ground of this pic- ture the black inscription is in greek — « Dioscoride di Samo fece » {performed by Dioscoride of Samo) and must bave been copied from some magnificent and well known originai of an- cient date; Wincklemann states that another antique copy in drawing was found in 1779. — at Stabia. PI. 25. Dog, a pavement, Coregeo, à drawing -, the first one measures 1 m. and 22 e. by 1 m. 62 e. the second 64 e. high 55 e. Wide : the former of these mosaics, served as a pavement at the entrance of a house in Pompei, called « Casa Omerica o Casa del Poeta tragico.» {the tragic Poet's ìiouse). It is compos- ed of black and white pebblestones : representing a watchdog chained, with the inscription Cave Canem (Beware of the DogY^ this is known to have been the custom in Greece and in Rome, even in the remotest times. The latter was also found in the house above mentioned, it represents a Choragium or place for iheatrical rehearsal; va- 30 MONUMENTS OF THE MUSEUM rious actors are occupied in preparing what is wanted for the approaching production. This important mosaic is composad of small pebbles and choice «pastiglie»; described by Raoul Ro- chette, who illustrated the house where it was found. EPIGRAPHIC COLLECTION This collection has ìts origin from the Farnese Mu- seum which was brought from Rome to Naples in 1734, It was formerly enriched with marbles and bronzes from Herculanum, Pompei, Pozzuoli, Baja, Miseno, and Pietrabbondante , as well as from the tomb slabs of Carafa Noja's Museum, from Borgia, several very im- portant from Capua, and other countries from Campa- nia collected by Daniel, and at last several spread about Naples and its vicinity purchased many years ago. About 1400 of these inscriptions were in the year 1823 — classified by Guarini, and have been doubled - since; our ancient tomb stones were spread about in every corner of this Edifice, and several thrown in the garden, till 1867. When Commander Fiorelli Director of the National Museum began to collect them ali, and classify them in the two large halls within the frescoes marked N.IO. In the first of these halls are the two colossal co- lumns of Cipollino, with greek inscriptions found in Rome at the bottom of Erode Attico, also the inscrip- tions painted and marked on the walls of the house of Pompei several others of an uncertain origin, and ali the false and suspected ones — In the next hall the greek italian and latin inscriptions are kept in separate divisions. Among ali the greek, the most important are the two bronze tables of Eraclea — The italians bear the' MONUMENTS OF THE MUSEUM 31 foUowing dialects Etrusco, Volsco, Sabellico, Osco, The latin refer principally to these two regions Lazio and Campania; but Umbria. Piceno, Sannio, Apu- lia, Lucania Calabria and the Abruzii are also shown. This coUection is the only one of those admired in the European Museum, geographically ordered, there- fore very important to lovers of that science. \Ve will at last mention among the tables describ- ed the fine marble group with the Roman almanac engraved on its four sides — At both ends of the se- cond hall two fine master piece of greek sculpture are seen which will hereafter he described. In the centre a round staircase leading down to the Egyptian museum. PI. 26. Calendar, consists of a square block of -white mar- ble; 65. e. bigh, 11. e. wide, and 38. e. in length; removed from the Museo Farnese; and described by Smezio, Grutero, Ursino, Mom- msen, the Herculaneans, and others. On the four sides of which bave been inscribed the 12, months of the year; at the head of each month is a representation in relief of the signs of the zo- diac; each side contains three columns, and each column three parts; viz. scientific, rural, and religious: The first part; deno- tes the astronomica! di vision of the month, the nuraber of its days, length of day and night, the equinox and solstice. The second part; the farmer is warned of the most important agri- cultural occupations of the month and principal religious festi- vals are named, and in which, the busbandman was to entreat the protection of the deities. PI. 27. Hercules resting on his club,Coiossaistatue,2.m. and 99 e. high, Known by the denomination of «Ercole Farnese.» The sculptor's name is carved under the club in greek: Glicon the athenian wrought it: and this name is repeatedly inscribed on another bas-relief representing Hercules standing before the hermoe of a satyr. — This statue was conveyed from Athens to Rome by Caracalla, and lodged in the baths which bear his name; the figures of this same Hercules, are seen on the an- 32 MONUMENTS OF THE MUSEUM cient coins from Athens and other greek towns, and on the Ro- man money even after the time of Caracalla. This game statue was found at Rome, devoid of its legs, in the time of Paul the Third, about 1540, The pope requested Michelangelo to repair it, but he refused, and was supplied by William della Porta. — The originai legs were discovered two centuries after, in a well, belonging to the « Casa Borghese » three miles from the Cara- calla baths, they were applied again to the former trunk as it now stands, deficient of the left hand, in marble, Dut was by Tagliolini made of chalk. PI. 28. The Farnese Bull.Colossalmarblegroup.3.m.and 57. e. high, 2. m. and 93. e. wide. Denominateci as above after it was brought from the Farnesian Museum. It represents the sacrifice of Dirce, and was made by the Greek sculptors Apol- lonio and Taurisco. It was transferred from Rhodes to Rome, under the reign of Augustus, and was by Asinio PoUione, for the first time restored at that period. It was discovered at the Caracalla baths by Paul III, and found very much damaged: the sculptor Giambattista Bianchi badly reproduced the legs and tail of the bull; the head, arms, and breast of Dirco; and also the head, arms, and feet of Anttope, besides, cut of the entire fìgures of Amphion and Zethus, only one trunk and a leg are relics. — Pliny describas this Colossal monument to have been cut out of one block of marble, and was afterwards illustrated by Hardouin, W'inckelmann Lessing, Hayne , MuUer, and by other learned critics, — This group may be seen on the meda- lions of «diatira»; in a drawing found in Herculanum ; on the fragment of a «Cammeo» now among our collection of gems, and is also seen worked on ivory, ali or which, may serve for the better restauration of so excellent a monument. The Far- nese Bull was conveyed to Naples in the year 1786, and placed in the centre of the largest fountain of the National Gardens, however, to save it from the inclemencies of the weather it was in 1826, removed to where it now stands, in the centre of the epigraphic collection. EGYPTIAN COLLECTION This small collection presents nothing remarkable with the exception of a few well preserved mum- MONtJMENTS OP HTE MUSEMU 33 mies and the statue of Isis hereafter described. In the entrance roora where the staircase ends, other descrip- tions belonging to the first Christian epoch are seen, which foUow those already described. Ph 29. Isis; marble statue. 97. e. high, it stood in the tem- pie dedicated to this deity in Pompei, erected by L. Cecilio Fe- bo as is inscribed on the pedestal; it is executed by a greek artist in imitation of the egyptian style, holding a sistrum in the right band, of which. only a fragraent reraains, and the keys of the Nile in the left. The small flowers on the head; the hair; the upper seam of the garment; and the nipples were gilt. The eye-brows, eyes, and the lower seam of the other tunic and the trunk on which the statue leans, were painted red: the color and gilding are totally faded. MARBLE STATUARY Goìng back to the Entrance where Statues repre- senting Municipal personages are seen and opposite the frescoes one enters the marble statuary. This fine coUection has been recently put in order by the Director, classifying in proper halls the Olim- pie Deities, the earthen, Heroes, illustrious men, and the difierent subjects — The collection of busts placed on two largo shelves , distinguishing the greek from the latin. What was more classic for art in this marble col- lection was removed and placed in a larger hall by following the difierent periods in the time when flou- rishing among the ancient — Being this fine collection thus arranged, it must necessarily be of a great use to those intending to cultivate fine arts. On the first hall on the left there is a continuation without a repetition of Eraperors, of which the Mu- seum possesses their images and families — On the 34 MONUMENTS OF THE MUSEUM right the repetìtion , and some uncertain ones — At the end of the hall or corridor turning to the left there are fìgures of priestesses , boys , hunters, tera- moni ec, Then one enters the hall to the right which has been assigned to the foUowing deities. l.s' Jupiter — Juno, Neptune, Ceres, ApoUon, and Diana. 2.<* Baccus, Venus, Mars, and Mercury. SA Diflferent Divinities, Baccus ciclus, Love Gani- mede. 4."> Muses and Heroes. Next foUows the hall of the great Pompean Mo- saic, which is hereafter properlj described. At the end one sees the great Farnese Colossum known as Flora , and which we will after likewise describe. Four athletic figures ornament the remaining walls of this hall. Leaving this hall to the right another hall or cor- ridor, and precisely below the large arch of commu- nication one sees the two standing statues of Balbo's father and mother found at Herculanum. On the right below the large Windows the remain- ing members of Balbo's family are seen, as also of the different personages from Herculanum and Pom- pei, and other ancient Municipi — Opposi te well ar- ranged on shelves four lines of busts of illustrious Greeks are seen and on that opposite those of the Latins — The two equestrian statues of Balbo father and son are placed at the two ends of this hall — A beautiful work. Many fragments of unknown statues and busts are MONUMENTS OF THE MUSEUM 35 placed on the right end of the corridor, from where one enters to the fìnest collection already spoken of and shall hereafter describe some. PI. 30. Marco Nonio Balbo, SOn. Equestrian statue 2.m:and e. 36. high. Found at Herculanum in the year 1739, between the church and the theatre, it was first conveyed to the Mu- seum of Portici, and then sent to Naples. The following is inscri- bed on the pedestal : M- NONIO-M-F- BALBO- PR- PRO- COS- HERCULANENSES. (To Marco Nonio, of Marco Balbo, pretor, proconsul, the Herculanians) .Besìdes the great claim this monu- ment has, as well as the following one, to universal admiration, it is remarkable for the wise criticism made by Winkelmann, who observed that the horse's feet did not step out diagonal- ly, like sculptures of the same kind. This statue had no sooner been discovered, and erected in the court-yard of the Royal Pa- lace at Portici, when, in the heat of the revolution m 1799, a canon ball shattered the rider's head. Angelo Brunelli the scul- ptor gathered the fragments and put them carefuUy together as they are at present. PI. 31. Apollo CilhoerideS. a statue in a sitting attitude, of porphyry, semi-colossal; in height 1. m. and 72. e. found ia the roman « Campagna », without the head and extremities. it was thought to represent a female statue, but after deep scru- tiny, recognized to be of masculine form, and then pronounced a Pindar seated on Parnasus. This opinion was changed when compared to other monuments; last century Albaccini the sculp- tor, renewed it, as an Apollo Cithoerides, the head and hands of white marble, and crowned with laurei. AH executed with skill and taste; this shows to what perfection the ancients had attained in working the hardest marble, this art is almost for- gotten among us. This statue has been obtained from the Farnesian Museum. JPl. 32. Jupìter a bust, and Two of Junones. — The first is 82. e. high; the second 58. e. do; and the third 79. e. do — The Jupiter was discovered at Pompei in 1818; the tempie where it was found , bears the same name ; when this statue was excava ted, the hair and beard were painted red, but at pre- sent, the colour is hardly perceptible. — The two busts of Ju- 36 MONUMENTS OF THE MUSEUM nones were painted red, but at present, the two busts of Ju- nones were brought from the « Museo Farnese » N.° 2. — is well executed, nevertheless, N.» 3, is considered to be better done though not much, the nose and part of the breast of the latter are of modera restoration. PI. 33. Diana of EpheSUS. — A statue of Orientai alabaster.— 1. m. and 91. e. high; — the basis of porphyry: the head, feet. and hands are of brass. — A sculpture in an excellent state of preservation: probably the shape of a neklace, there are diffe- rent signs of the zodiac; in the centre and at the two estre- mities of which, there are four winged female figures, allusi- ve to the seasons; and various animals with their numerous dogs. intimating. that this statue represents the goddess and nurse of mankind. — This monument comes from the « Museo Farnese ». PI. 34. Flora. Colossal statue 3, m. and 54, e. high, found at Rome, like the preceding in the baths of Caracalla, deficient of ali its extremities. — « Guglielmo della Porta » repaired it, and found out it was a Flora, he adapted a bunch of flower in its left band. The head restored by « dalla Porta » was reprodu- ced by Tagliolini, and the other extremities by Albaccini, it being unfinished at the back, shows it was intended to be put into a niche, er against a wall. Winkelmann conjectured it to be one of the hours, other a dancer, and Visconti the emblem of Hope. It has been obtained from the « Farnese Museum ». PI. 35. A Battici large drawing, 5 m. and 16 e. wide, 2 m. and 70 e. e. high, This monument is the most important of ali the ancient mosaics collected up to the present day; it was di- scovered on the 23rd of October 1831, at Pompei in the « ta- blinum » of the house styled «.Casa del Fauno-». The subject of this laborious work in colored pebblestones, is, the moment in •vrhich a victorious battio is decided. It seems, that critics have not been able te explain by their infallible arguments, which of the ancient battles is here represented; who the victorious greek hero is; who is the conquered; or in which fìeld of bat- tio the action took place. By convincing proofs, we are induc- ed to suggest, that, from the outlines of the face, form, dress, and weapons of the principal figures depicted, is meant to be no other than Alexander the Great, Signor Arditi, judges this mo- MONUMENTS OF THE MUSEUM 37 saie to represent the death of Sarpede killed by Proclus; Sì- gnor Avellino and Signor lannelli, bave pronounced it to indi- cate the battle of Granicus; and Signor Quaranta, considera it to be the battle of Issus; Signor Niccolini is of opinion, that it was meant for the battle of Arabella, or an episode of the same ; and Signor Raoul Rochette decidedly admits of this interpre- tation. Many other opinions were given soon after it was di- scovered, and then, this important monument was recorded by the foUowing authors. Signori Bonucci, Salvatore Cirillo, P. Sec- chi, Marchant, Schreiber, Vescovali and many others ; however; the last definition of this classical monument has not yet been determined. PI. 36. Marco Nonio Balbo, father.Equestrian statue, 2. m. and 36. c.high. Almost the same as the preceding, it was also found in Herculanuni between the church and the theatre. Canardi reproduced the head copying it identically from another s'T,tue in a Roman garment, of Marco Nonio Balbo, father, which is also seen among the statues of the Museum. The beat of the vulcanic matter that buried Herculanum , almost calcined the marble of this excellent workmanship, as it did the aforesaid. PI. 37. Orator, a statue 1. m. and 85. c.high. Found in Her- culanum, and is well known by the name of, Aristides, given to it by the Marquis Venuti. However, no true argument con- validates this opinion; it is supposed to be either a philosopher or a greek orator, but who it really is meant for, is stili un- known. Canova appreciated this statue more than any other in the Museum , when in bis peregrination at Naples. — Another statue almost identical has been afterwards found near Rome, and now deposited in the «Museo Lateranense.» but cannotbe compared, in its artistic merits, to this famous sculpture found in Herculanum. PI. 38. A torso of Psyche, high. 85. e. discovered in the «Campania» Amphitheatre where it had been perhaps used as an ornanient; Gerhard judges it to be the part of a group, and the marks of wings on the back creates a doubt whether it really is a Psyche or a Victory ; and is thought by many to be the work of Praxiteles in the flourishing ages of Greece. PI. 39. The infant Bacchus and Faun. Marble group, i. m. 4 38 MONUMENTS OF THE MUSEUM and 76. e. in height. Found in the roman territory, without the fore part of the Faun's head and the boy so deformed that Albaccini could scarcely accomplish the restauration : which, however, he executed very well. This is the only remarkable instaace, in which the instrument called « Siringa » which may be seen hanging on the trunk of a tree, is composed ef eleven tubes, those with nine are also rarely found with other statues, there being many ancient groups like this. It was brought to Naples from the Farnesean Museum. PI. 40. Diana, a marble statue 1. m. and 10. e. in height, excavated accidentally between « Torre del Greco » and « Tor- re dell'Annunziata » (probably the ancient town of Oplonte.) It was transferred to the Museum at Portici, and from there to Naples; Winkelmann who described it as one of the most im- portant monuments of the ancient Italian art, says; the vest was painted white, and the short mantle trimmed with a narrow band of a golden colour, above which is another wider of a reddish hue, strewn with white flowers: the und(^r vest bore the same colours. The straps of the quiver and the latchets of the sandals were red. — The colours were very vivid and gpotless, at the present they are almost totally faded. PI. 41. Agrippina (the Elder). A marble sitting statue 1. m. 23. e. in height, brought from the Farnesian Museum, best roman style, of the three noted statues of the same name; this is the one from the « Museo Capitolino »; the former according to Winkelmann is the best. — Canova was inspired by this sta- tue in executing the effigy of Letizia Bonaparte mother to Napoleon I.; the footstool is modem and the hands bave been reproduced. PI. 42. VenUS CallipygeS Astatuel.m.and44.c.high.— Found in Rome under the ruins of Nero's « casa aurea »; this famous statue was conveyed to our Museum from Rome; it is called Callipyges on account of its attitude; the same posture in other monuments, implies a courtisan, and on that account it is thought to allude to the goddess of beauty. Though Win- kelmann classifìes it to be of the second order, stili, its reputa is very great, and may well vie with the celebrated Venus of Medicis, which is in Florence. Albacini supplied another new rig;ht hand and leg, as ^Iso the half of the left arra up to the MONUMENTS OF THE MUSEUM 39 wrist; unfortunately, the head is also modem; if the primitive one had beea saved, probably, every contest would cease with regard to the real attribute of this monument. PI. 43. PallaS. Marble statue, 1. m. and 87, e. in height — It is apparently in the act of hurling a spear with the right hand in a fight, and the dreadful « Egida » (the hide of a wild beast) fastened to the neck, and laid over the left arm to serve as a shield. The hair and garment were guilt over so thick, that Winkelmann remarked the easy removal of pieces of the gold. It was found in Herculanum at the first excavations, but it certainly was net executed there, and is of very antique greek style. BAS RELIEFS Going back to the Great Pompeian Mosaic above mentioned to the right, we see the bas reliefs lately put in order by the Director — This coUection which occupies two large halls of the Museum, has hitherto been unobserved by visitors, as only a few of them, and perhaps the most worthy, were placed in an ob- scure corner of the statuarv, and the rest with the sarcofagi confused among the plants in the garden dose to the entrance. On the wall opposite the entrance, halfway to the right, one sees a collection of beautiful masks in two difFerent linea found in Pompei. A quantity of shields fixed across this hall are pla- ced in such a manner as to enable the visitor to see both sides. A large vase beautifully sculptured is placed in the centre of this hall , together with the worthy Ara placed near the window and of which we shall speak hereafter, The Bargiano bas relief , a monument of the most 40 MONUMeNTS OP the MUSEtM ancient Greek art is to be noticed in this hall , it represents a dead person, and is properly believed to be Ulisses — It is also placed near the window in the hall. Several sarcofagi are also placed round the great hall some of which are finely sculptured. The small collection of bas reliefs placed to the Wall on the left of the entrance is also to be noticed. The two large Candelabra in the centre of the hall and of which we shall speak hereafter, are to be no- ticed. PI. 44. Crater, large marble vase 1. m.^ and 27. e. high and 85. e. Wide. — The basreliefs surrounding the vase, represent Mercury giving up the boy Baccus to the nymph Leucotoe. — The ancient grecian sculptor inscribed bis name on this pro- duction of bis: thus; « Salpione Ateniese fece ». [Salpione the aihenian wrought), which imparted more importance to this va- se; it was found near Gaeta under the ruins of ancient « For- mia »; it stood for many years neglected and was thought wor- thless, while lying near the beach; mariners tied ropes round it, to fasten tbeir boats, and that barbarous treatment defaced this monuraent for ever; it was after that period, removed from the sea side and used as a font in the cathedral at Gaeta, and at length brought to the National Museum ; it was made pu- blic by Spon, Montfaucon, and others. — The basrelief executed on the aitar that serves as a basis to the said crater is not so ancient, and is less appreciated: there ara seven deities discer- ned in this basrelief, and Jupiter the only one seated, the others standing, viz. Mars, Apollo, Esculapius, Bacchus, Hercules, and Mercury. — This basis is supposed to be more likely the mouth of a well than an aitar, but is without those fucrows generally made by ropes on the edging: the deities in reliefs ali round it, denote it to bave been used for worship. PI. 45. Two CandelabraS — Marble; each 2. m. and 85. e. in height: They were obtained from the « Museo Farnese » of gre- \ cian workmanship; equal in style, but differ a little in the or- namentai and in the attributes executed in them by the scul- MONUMENTS OF THE MUSEUM 41 ptor, at the same time elegantly symmetrical : they were in- tended for worship; it is said, that the storks on the candela- bras, allude to the rite of commiseration. BRONZE ANIMALS At the end of the corridor, where the equestrian statue of Balbo's son is situated, by the two openings on the left one enters to the collection of the Bronzo Animals — This hall is now repairing and only a few pieces are placed, but the colossal horses head is to be noticed. PI. 46. The head of a horse. Coiossai; i. m. 72 e. high, a magnificent grecian workmanship, which never formed part of the body of a horse, as it is thought by some, but instead, it is like those heads of horses that are seen on the coins of «Cam- pania» it may have been the emblem of the Neapolitan «.demos», which assumed after that period, the form of an entire horse. The marks of the fusion that are visible round the neck ascer- tain that, this head never was joined to a body; nor is it to be believed, as some authors also asserì, that «Corrado Svevo» after having conquered the Kingdom, had bridled this head as an in- sult to the Neapolitan people. — Both sides of the bit, now seen in the horse's raouth, are ancient and coeval: this colossal brass head, given to the Museum by Prince Colombrano, slood in his courtyard in Naples. SMALL FIGURED BRONZES The next room contains small figured bronzes which formerly were mixed with the utensils of the same description. This hall properly decorated offers now the oppor- tunity to observe from near the best cast ancient bron- zes that ever were made — If Pompei and Hercnlanum had been discovered three centuries sooner what be- nefit would not Cellini have found by it? 42 MONUMENTS OF THE MUSEUM An interesting collection of Etruscan looking glais- ses is kepi in the centre between the two entran- ce gates. The engravings hereafter desoribed with a descrip- tion of them belong to the best pieces of this collection. PI. 47. Dancing Faun. statuette 81. e. high it was used as aa ornament to the tuscan vestible of a very fine house in Pom- pei, which was, on account of this exquisitely executed statue denominated in 1830, « Casa del Fauno » house of the Faun, its uniforra proportions , nicety in the plastic and rare merits of its preservation. The weight is inscribed on its base; thus P. C. L. interpetrated (Pondo centum quinquaginta.) The eyes are of silver; which frequently occur in monuments of the sa- me kind. PI. 48. A Small full Winged Figure 46 e. high. This figure is elegànt and swift it was fouiid at Pompei in 1823. As a messenger of Peace it held in its left band an olive branch which is now missing, it has round its head a golden bracelet with a small emerald now spoiled by weather and fire. It is a great pity to see this fine monument deprived of its right arm now found at Pompei. PI. 49. NarcisSUS, statuette, 58 e. high, Excavated at Pom pei in August 1862 , the humble abode in which this grecian work of art was found, suggests, that it did not formerly be- long to that place, but might bave been conveyed there by the waters, or had rolled down from some contiguous edifice. The posture of this little statue, is, of one who listens to a distant sound, and seems pleased. •This jesture, the youthful form, and the whole type of the statuette , induced Mr. Fiorelli who was the first to hail the happy discovery, to denote it to be: «Narcissus, immoveable, « listening to the voice of Echo who languished for him filling « the valleys and wastes with loving harmony.» — The above is the denomination by which this precious and sole work of art is uniyersally known: the eyes were of silver. PI. 50. SilenuS, a statuette 59 e. high; excavated at Pom- MONUMENTS OF THE MUSEUM 43 pei on the 20ih of August 1864, under the vrali of a house of no great importance: the style reminds one of the dancing faun (pi. 19.) it neither is so well executed nor so appreciated. Over the elevated serpent in the left hand of Silenus , there must have been a larga gilt glass bowl.of which only two little frag- ments were found near this statuette, -which is in an excellent state of preservation. LARGE FIGURED BRONZES The next collection is certanly the only one in th^ world for its large colossal statues seen round the hall— They belong to ancient illustrious personages, and carne from the first escavation of Herculanum. Nor less important are, and more praiseworthy for art, the full size statues and busts about the hall, of which we shall give -an explanation. PI. 51. MerCUry seated, statue l.m. and 3. e. high. Found at Herculanum in August 1758. The Herculanean Academicians illustrated and explained this remarkable brazen monument to be; Mercury sitting on mount Ida waiting for orders from new messengers. ( Sandals with wings attached to them are allu- sive to Mercury); a part only of the cadugeus {wand) which- was lost, is stili held in the right hand; nothing else is -wan- ting to this monument which is in an excellent state of pre- servation. PI. 52. Three middle sized busts. it seems, that, the first bust suggests to the mind of the visitor « Archita of Taranto » the philosopher and illustrious commander. — The second is ge- nerally thought to be the image of Seneca, the eyes being of a glassy substance infuses in it a remarkable expression , this attribute is doubtful ever since the day in which it was di- sceveri d, as well with the Herculanean Acadamicians, as with others. It is quite certain that the same image is repeatedly met with, executed in marble, bronza, and « pietra dura » the last bust was considered to be the resemblance of Plato, but this opinion is earnestly contradicted, however, the members of the Acadamy, suppose it to be meant for Speusippo, the ne- 44 MONUMENTS OF THE MUSEUM phew and successor of the immortai Philosopher. These three ancient relics excavated in Herculaneum, seem to bave been used as ornamenta in the same place -where the rare rolls of « Papiri » were fouiid, and which are kept in the National Museum. ^ PI. 53. A Sleeping young Faun.Sitting statue l. m. and 79. e. high. Found in Herculanum in 1756. was first notified to the pubblio by the Herculanean Academicians and defined by Gerhard, who debated whether this brazen relic was to be con- sidered as a Satyr or as a Faun, nothing rough or goat-like is perceptible in this image, except the shooting horns, the sharp pointed ears, and the lengthened glands under the neck; it is executed with great taste and in a good state of preservation. PI. 54. Discobolo. (Quoit Player.) A statue 1. m. and 91. e. high. This statue supposed to match with another in a contrary position, was found in Herculanum in 1774, the body incli- ning forward, the eyes fixed, the undecided motion of the arms, ali which, certainly infers to be a Quoit player, who in the act of having thrown the Quoit, foUows with his eyes and attitu- de its direction. — The Herculanean Academicians on notifying this excavation to the public, were of opinion, that, the two statues were meant for a wrestling match; but this judgment is not considered correct.) The eyes being of glass, highly im- prove the wonderful expression of this statue. ANCIENT ARMS They were formerly confused araong the bronze utensils and could not well be judged by professional men — They are now placed separately — They are di- vided in three different partitions — Greek, Roman, Italie and Gladiators. The best of the latter are here described, together with two Silver phibules placed below the window, and which were formerly kept among the precious objects. A fine collection of Ghiande Missili, a portion of MONUMENTS OF THE MUSEtJM 45 them bought and some received as a gift from Au- gust Vecchi are also seen below the window. PI, 55. Heimet; — in bronze; found at Pompei in the quar- ter of the gladiàtors. The basrelief tbat girds it represents a naval victory, in the ceutre the conqueror is stepping on a ves- sel; two barbarians are kneeling, one at each side of him pre- senting two standards, A male and a female are dose to each of the two former; two winged Victories follow them. One of the side pìeces, represents an ermse with heads or masks; the other piece; Minerva slaying a giant. PI. 56. Helmet in bronze; represented in the two engravings A and B. The upper part or crest of the helmet « pecten » is decorated with the basrelief ìndicating a soldier: see N.° 1,- the sides with ornamentai delineation; see N. 3. In the centre of the frontlet is a fine head of Medusa: see N. 2. This helmet must have had two plumes, there being sockets for that purpose: see N. 6. The basreliefs in Nos. 4 and 2 adorned the part beneath that, which projects outward, called by the latins « Prejecture». This magnificent helmet almost like ali other armour, as seen engraved in Nos. 83, 84 and 85, was found at Pompei in the station of the gladiàtors, commonly called «Quartiere de' Sol- dati » soldiers' quarter. The proportions of the armour; the va- rious and rich decorations ; and the place where it was found: show evidently it was not meant for active service, but for sham combats and popular representations. PI. 57. Helmet and greaves in bronze.— The first is adomed with a bas-relief, representing a head of Medusa with a floa- ting dolphin on each side; having a visor and two larga side pieces like the preceding. The greave demonstrated in two different positions, was found in the quarter of the gladiàtors at Pompei without its fellow; on one side, there are rings to strap it on to the tibies, An eagle destroying a sfirpent; mask; ears of corn gracefully in- terwoven with branches of oak ; and the Arabesques seen on the lower part of this armour, are ali exquisitely executed. PI. 58. Ladies and Culender, in bronze, found in Pompei; The first four utensils engraved on this piate, were called by 46 MONUMENTS OF THE MUSEUM the romans Truae and Trullae; the latter denomination was given to the two smaller ones ; these utensils were used fòr several purposes; to measure; draw liquids; remove the liquor from one vessel into another ; peculiarly N.° 4. The culender marked N. 5 e, and N." 5 rf, were made to fit into each other; and N.» 5 e, to keep the liquid from spilling while it was di- stributed. The name of the maker is stamped on Nos. 5 h, and 5 f. PI. 59. Silver Fibulae, found in Herculanum. in the cen- tre of the two sqxiare parts of the lower Adula, the figure of a warrior is represented contemplating some armour. In one of the two circular parts, there is an Apollo in the act of driving a chariot drawn by four horses; in the other, a Diana encompassed by seven stars and a half moon ou her forehead, driving a cha- riot with a flambeau in her hand; the basrelief of the second fibula on the left of the piate, represents Minerva and Neptune disputing about what name to give Athens. The same subiect is represented in relief on a precious cameo of this same col- lection. On a fragment of the last fibula, is a Victory, crowning a female figure sitting on a heap of armour. ANCIEN! CRYSTALS From the Entrance Hall , on the first staìrcase a fine lion is seen received from Farnese — It reminds one very much of the one of the House Barberini existing in Rome as to lead one to think both made by the same hand — A few steps upwards a doorway leads to the crystal collection. This collection very rare for its fragility renders itself very important , having brought down to our times a great quantity of shapes which would bave been left unknown, had not a town buried suddenly in its full state of life been disinterred. This collection shows how well advanced was this art.with the ancients. Had we been unfortunateenough MONUMENTS OF THE MUSEUM 47 to flnd only the ash urn hereafter described, the latter would have been enough to show it. PI. 60. Cinerary urn, is of blue glass with white bas-re- liefs, representing the vintage aad genii; executed -with grace and elegance, which shows the remarkable skill the Romans had attained in this branch of manufacture : found on the 29 th. of Oecember 1837 within a tomb in the « Strada dei Sepol- cri » in Pompei , near the house commonly called of « Mar- co Crasso Frugi ». It is reckoned one of the most important monuments in the National Museum. TERRECOTTE Next to the crystals, come the terrecottas — The first room contains the fine relief red terracotta vases — It is of an exquisite taste and so fine as to appear carved as seen in the tables described by us — The next collection is very numerous in regard to what belonged to houses as amphors for wine, oil, ec. and moreover for the common lamps without any orna- ment — It also offers a fine collection of Patere vases and cups worked in finer terra and diff'erently orna- mented, as also several historical and fine lamps co- vered with vitrea paste, of which we will speak here- after. Others of little Iraportance in terracotta are seen in this collection of which two Actor are of notice also reported by us. PI. 61 . Two Actors, statues of terra cotta, the first is 1. m. and 8. e. do: the former, an actor apparently in the act of per- forming, but, difRcult to say whether in tragedy or comedy: the mask over the face does not specify which: the latter, an actress; the fillet round the head with a bow over the forehead, suggests this to represent the gaudy female described by Plau- to « loith her head deched oul with a fillet of gaudy color s ». 48 MONUMENTS OF THE MUSEUM Discovei'ed at Pompei, and are appreciated for their dimensions and state of preservation. "Winklemann illustrated and descri- bed these statues in his history of art. PL 62. LampS, of terracotta, found in Pompei; the first, wi- th one burner [monolycne); the second with two [bilycne); the- se lamps are admirable for their beautiful shape, exquisite ma- nufacture, gloss, and dimension; the basreliefs devised on the- se lamps confirm the opinion, that they have been used for the worship of Bacchus. PI. 63. Decorateci CUpS, of terracotta, discovered at Pom- pei; the first, is of a yellow color with reddish streaks imitating marble, over which is a very thin coat of solid varnish, very much like another also in the Museum with a hospitable in- scription. It is supposed to have been also used as a cup for drinking at dinner. The s'econd shallow cup, is smaller, decora- ted ali round with bunches of grapes and ivy, which denotes it was meant for convivial use. CUMA COLLECTION This collectioa has its origin from the excavation begim in the year 1853, by the Count of Syracuse under the direction of the said Com. Fiorelli then his Secretary — In one of the several tombs discovered there, a wax mask taken perhaps from the originai, was found, and which is described in this coUection as a gift from the above mentioned Count to the Mu- seum — The Count may well say that he had enrich- ed the Museum with rarity, being this the only ex- ampie received from tìie ancient Romans — We will hereafter give a full description together with a fine vase found in another tomb. After the death of H. R. H. the Count of Syra- cuse the coUection was purchased by the Prince of Carignano who kindly presented it to the Museum. PI. 64. Wax head, and terracotta Vase; the wax cast MONUMENTS OF THE MUSEUM 49 was discovered by the Count of Syracuse in the year 1851, in a roman tomb of the sepolcreto at Cuma, and presented by him to the Museura. This tomb contained four skeletons devoid of their heads, hands,and feet; two of them had heads made of wax with glassy eyes wide open. The first, was the portrait of a female, and it fell into a thousand pieces as soon as disinterred. The second, is the one here engraved,and the mould evidentely must have been taken from the dead body. The first who illustrated this relic was Fiorelli, Minervini and afterwards Quaranta, Gui- dobaldi , Raoul-Rochette and others. Fiorelli, supposed these casts to be of two Christian martyrs. This opinion was contra- dicted by other critics, except Raoul Rochette; ali guessing by turns the female wax skuU having been analized, we learn that, (these casts or raasks were composed of white wax, white lead, and a little portion of vermillion to give it a flesh color). This precious monument has not yet afforded us an insight. why, the four skeletons found in the « sepolcreto » atCumae, were head- less and mutilated. — Two coins of Diocletian were found in the aforesaid tomb. The vase was also discovered in this. « sepol- creto » the figures which represent the greeks and amazons figh- ting, have names inscribed over each of them. The olive tree where one of the greeks (Joras) is seated, according to Fiorel- li, alludes to the field of battle; the name of this greek. which means (gate warden) implies that place, meant for the confines of Attica, overrun by the fierce amazons This vase besides its archeological importance, is to be considered the finest speci- men of the flourishing epoch of the art of working in wax. It has been illustrated by Fiorelli, Minervini, Quaranta and others. PI. 65. Two Silver CUpS ; the first, is a combat of two warriors, in relief, of which only the two fragments here men- tioned have been obtained; the second, in a better state of pre- servation, has round it four branches of plane-tree exquisitely worked: both these silver cups were found at Pompei. PI. 66. Silver OrnamentS, The necklace of etruscan mode, like the engraving, in the lower part of the piate, was disco- vered in a greek "sepulchre near St. Agata dei Goti, and is to imitate a flexible braid. to which little pendents are attached; with frogs on the clasps; of the two enchased rubies one only remains. Two armlets, spirai form, with serpent heads and eyes 5 50 MONUMENTS OF THE MUSEUM of Silver. Two finger-rings moulded like serpents. A third ring, like the engraving ia the middle of the artnlet, has a beatiful head of a female on a blue stone. The earring which is below the armlet, and the one above it, with 2 pearls, were common in Pompei. A broach with a small Bacchus holding a patera and a garland in his hands, with clusters of grapes across his breast, and bats' wings. Bechi, in his ingenious interpretation of this subject, says: that those wings symbolize sleep, the con- sequence of wine. The last engraving on this pi. is a Bulla of the purest gold, worn round the neck of youthful children, it contains a peculiar sort of amulet to prevent sorcery. Ali the aforesaid articles were discovered in Pompei. P1.67.TW0 armIetS, weighlng 22 ounces; excavated at Pom- pei in 1838, in the house, called, del Fauno- The two serpents heads are cast and sodered oa wrought metal; the rubies are set to officiate as eyes, the scales are chased and the tongues flxed in each mouth; these articles are considered precious for their size and exquisite workmanship. PRECIOUS OBJECTS This collection owing to its material and 'work is considered very fine, it is situated on the upper floor at the end of the left side of the staircase — It con- tains gold, Silver, and precious stones — The silvc r collection is placed in three different shelves on thiì right of the room it contains a quantity of vases . patere, cups, spoons and several other utensils. The}- are almost ali of different shapes,ornamented and fìncly figured engraved in the most pure style that can pos- sibly be imagined as shown in prints hereafter — Oa the opposite side the golden jewellery are exposed. As fine as these ladies ornaments can be in their shape, to excite a desire to the finest lady in adorning hev- self, it is enough to admire thera, and she wili lo convinced of the superiority of the ancients over rs in ornamenting their ladies— Infact who can doubt MONUMENTS OF THE MUSEUM 51 of the present fashion not being inspired by thìs room? The large golden lamp is particularly to be observed weighing oue kilo, and show how generous were the ancient romans in employing so neh a metal in such common utensils , except if the lamp had not been employed for sacred purposes — We shail give a de- scription of each jewel. In six large glass boxes well arranged one sees the engraved cameos and jewellery and a fine collection of rings. We shall give a description of the Cameos and jewellery as also of the beautiful Farnese cup, the only one in the world as the most ancient in an- tiquity and which is exposed near the room window. Near the door a large piece of amianto cloth to show how the ancient romans could weave this stone, a thing which is not known to us — Several ivory Works are also seen in this room — finely engraved and well kept. PI. 68. « Tazza Farnese » In Sardonyx. Considered as the most precious objectof its kind. It consists of a shallow cup: 8 inches iu diameter; traasparent with yellowish, white , and red stripes. Outside it is ornamented with the head of Medusa covering the whole surface; in relief: within , with a richly sculptured group óf seven figures , forming a relief from the white stratura, on a glossy dark ground. Bianchini, MafFei, Wiackelmann , Galiani, Barthelemy, Visconti, Milligen, Jan- nelli Quaranta; in fact, these scientific man of the past and present centuries, have illustrated this matchless reìic. The first four writers ,judge the composition within the cup, to be an apotheosis. Barthelemy, to allegorize Triptolemus. Vi- sconti, the fecundation produced by the overflowing of the Ni- le — Milligen, the reception of Hadrianus in Alexandria, by the deities of the place — Jannelli, Alexander the founder of Alexan- dria-, and is allusive to the confines of that new city; lastly ; Quaranta; the festival of the harvest, instituted by Alexander the Great when he founded Alexandria. The hole in the centre 52 MONUMENTS OF THE MUSEUM of this cup , is a detriment to the head of Medusa. Quarant a? says; that , the hole was made when this precious relic was applied as aa ornament to an imperiai cuirass : though Qua- ranta is pleased to say, he was the first to suggest this opi- nion , stili, it is net accepted, Tradition , says, that when the Bourbon besieged Rome in 1527., a soldier found this cup in a ditch near the ruins of the villa of Hadrianus and thus it fell into the hands of Paul III. Farnese ; and was from that M u- seum afterwards conveyed to this. PI. 69. Three CameoS, from the Museo Farnese. The first in Sardonyx, broken and cemented, 40 mill. by 32.; representing Venus and Hymen in a chariot drawn by two Psyches; a little Love driving; and another checking one of the wheels. Illustra- ted hy Winkelmaun, Bracci. Gerardi, and Finali. The second, of orientai agate; 33. mill. by 24.; in high relief; representing a fine head of Jupiter Serapis with an ornameu- ted « modius » or peck, on his head. The third; of agate; partly chipped; 22. mill. by 21, repre- senting a very fine head of Medusa; it was by some thought to be the head of Perseus, but the outlines of a female head, are so distinct, that no one can doubt of its being a Medusa. PI. 70. Three CameOS, from the « Museo Farnese »; the first in sardonyx 35. mill. by 39. represents Jupiter in a charriot drawn by four horses; destroying two Titanes; this very beau- tiful carneo, is mentioned by the most distinguished critics in the archeological science; and is appreciated for the name of the artist « Atenione » beneath. The other marked N. 2.; of Orientai sardonyx, 19. mill. by 16.; is an old faun sitting on the skin of a panther under the shade of a tree, from which ,hangs a siringa and a tibie: has been described by Gerard and Finali. The third cameo in this pi. measures. 20 rriill., by 14.; in orientai sardonyx; representing a male figure sitting on the ground, with a hammer and a chizel, carving ornameuts on a vase; and may perhaps indicate some celebrated sculptor. MEDALS Leaving the jewellery room one enters the oppo- site room of medals — They were formerly kept in MONUMENTS OF THE MUSEUM 53 bags as current money — Several attemps were made to set them in order but in vain — In 1864 when M/Fiorelii was appointed Director of the National Mu- seum, his first thought was to classify scientifically such a monumentai collection ; a work which could Jiave scarcely been done, hàd he not been a strong persevering and profoimd scientific man. Infact after seven years of Constant laboiir and knowledge he bas shown that if a man does what he can, he can do what he will — In fact this is the only numismatic collection in Europe — The visitor can easily study tlieir origin by looking to the numerical list hung to the wall corresponding to the glass boxes. Otlier coins are also in possession of the Museuin besides the Ave lists kept therein. Greek coìns are placed in the first room of which we will give a description lined with their respective numbers corresponding with the originals. The roraans are in tha second and third. Fourth the medieval and modem coins. The fifth not yet complete contains medals of ali regions. The sixth is destined for the best work treated in numismatic labour as well as the coins received from the abolished neapolitan mint. PORNOGRAPHIC COLLECTION This collection laying to the right of the precious object has but few rare pieces in it. A marble gruppo of a Satyr and goat — A large bronzo tripod, a sarcophago in marble are distinguish- ed among them ali. 54 MONUMENTS OF THE MUSEUM The entrance to this place is forbidden to ladies and children. PI. 71, CoinS. Twelve coins are marked on this table, of which eleven silver and one bronze — According to art they are the fiaest in the Italo Greek coUection — A number is mark- ed oa each of them to correspond both to the box where the coia is kept and to the statement against the walI for those who like to read it — The small silver coin marked N. 3708 refers to Anassilao , that of N. 3709 is perhaps of the same time, for we also find it with the epigraph of the Messinesi in- stead of the Regini (which latter is in ours) it appears to an- nounce a time in which the two cities were near under the same government as it is known it was the case under Anas. silao. Beautiful and very elegant the two silver medals mark- ed by art in the most happy times under the N. 3699, 3700, and 3701. PI. 72. Small Medals. The ten we see marked on this table are six bronze and four silver, and theV ali belong to Si- cily — The first marked N, 4067 and 4072 are from the city of Agyrium. The impression on the back of the first, it has not hitherto been satisfactorily explained — The head of the Stand- ing one at N. 4072. Eckhel could not recognize the head of Hercules, and believed to be that of Joalo, who as Apollodore and Pulefato teach us was helping Hercules in the fighi with the Idra Learnea, but in our medal the short hair and wide neck clearly show without doubt the likeness of Hercules — Few and rare are those of Amestrato marked N. 4091 and 4092 — They show that our Museum possesses the two already known types of this town. In the last place of the table we mark four Camarina tetrodraimi, a city greatly remarkable for its many chiefs. PINACOTECA ON THE RIGHT From the door of the Pornographic coUection to the right one enters the Pinacoteca — The latter occupie s on the right of the edifice the halls marked in the MONUMENTS OF THE MUSEUM 55 pian B N. 25 while on the left several others , are in continuation of this coUection. The first room the Bolognese school contains 75 pictures among them Guido Reni placed in the centre of the Wall opposite the entrance — This room càUed also Caracci as having eleven of Annibale , two of Lodovico and one of Agostino — Their numbers are 2, 25, 27, 34, 36, 42, 43, 46, 55, 65 and 71. Anni- bale are 39, 67. Agostino 21. The Tuscan school follows after 58 pictures — The sacred family N, 9 placed on the wall to the left. Leaving this room, a small place on the right where the Bizantine tables are kept together with the first Tuscan school in ali N. 59. Neapolitan works foUow after occupying a large square hall a long oblong room, and a small cham- ber, where 14 tables painted in the 13'^ century are coUected — In the large square room pictures are seen of XIV, XV, and a portion of XVI in ali 36, and at last in the great ob long room the accomplishment of the XVI century as well as those of the XVII and XVIII in N. 103. In the centre of this room a large doublé faced in- laid walnut box finely ornamented with historical fi- gures — It was taken from the Vestry of the abolish- ed Monastery of « S. Agostino de' Scalzi». In this large box and in another placed between the two doors opposite, and which formerly decorat- ed the Vestry door, are deposited the carved ivory, the engraved crystals, the cuts in hard stones, the engraved metals as well as some Urbino yases, works of the XVI and XVII century, except some belong- ing to an earlier date. 56 MONUMENTS OF THE MUSEUM Near the first window a Silver gruppo, represent- ing Diana carried away by a deer — It was a play thiQg of the Farnese House, as seen by the key hole. The celebrated Farnese box is also placed by the last window one of Cellini's finest works. It is sìlver historian, with the Farnese coat of arms in the mid- dle. The six ovals round it equally historian, are rock crystal, engraved by Giovanni de Bernardi. The next room contains a coUection of German and Dutch school paintings about 43, and in the last room next to the Pinacoteca, beside several of the Dutch school one finds those of Fiammingas among them the best N. 9 and 12 both placed to the wall opposite the light on the right of the entrance — N. 9 shows the Virgin by Seghers surrounded with flowers so well painted they appear to be reàl. The N. 12 is a por- trait by Van Dyk of which the name only of the author is enough. On the left the three fine pictures by Grandman N. 93, 94, 95, show what point could the Flamish painters reach. Pi. 108. Vanìly and ModeSty an allegorical painting, on canvas; by Guido Reni; froin the Musco Farnese; 2, m. 96, e. by 2, m. 8, e; This great master from Bologna, had succoeded so well in painting the head of the Vanity, that he executed the goddess of Fortune several ti mas in the same style. The other head is supposed to be a portrait. The whole canvas is reckoned to be Reni's first style of painting; the biographer Malvasia says, that the former is the most attrative and the latter the best in execution. Reni had made several eiigravings , adding a copy of this, which was lost: it afterwards wa,s engraved by Strange. BRONZE UTENSILS After visiting this part of the Pinacoteca one en- ters the large collection of bronze utensils — It occupies MONUMENTS OF THE MUSEÙM 57 two large halls and a room — This collectìon, the only one in the world, renders our Museum more in- teresting than any other as every thing intended for the use of public as well as private life of the an- cient Romans in luxury and elegance, is found in it. In the first hall several braziers of difi'erent shapes are to be seen — The small ones, some with a reci- pient for water intended for private houses, and in order to show their elegance we will hereafter de- scribe some. The large ones were used in public baths.Near them two beautiful vases for washing hands,well kept,show clearly their elegance even in their simple shape. A beautiful table with bronze legs is seen by the side of it, and on the other an elegant lamp which we will also describe — A long iron bar is placed be- fore it, with a quantity of round rings fixed to the ground which served to stop the feet of the priso- ners — Of the same use was the next one. Close to the entrance between the two doors there is a collection of different oil-lamps some figured and others ornamented with leaves of which we shall give a description. At the end on the side, towards the light a glass case with a collection of agrarian utensils and seve- ral others in different forms as kitchen utensils. Opposite, placed in good order there are ali sorts of scales and weights generally, used by the ancients and of which we shall give a description. Among the scales there are some with the Roma- no the one side and marked with lines to show the proper weight — By the different heads marked on ^he scales we may easily suppose that it was to show 58 MONUMENTS OF THE MUSEUM the persons employed in the different trades, and there- fore left us the uame of Romano as the weight of the scales. In the middle of the room are several seats of which we shall hereafter give a description. A tripod also laying in the room will also be de- scribed. Near the wall between the two entrance doors is a fine coUection of vases of different sagoma, ali very fine for their workmanship in Silver. Several utensils for horses, are also seenon that side and a fine coUection of handles, fragments of diffe- rent vases destroyed by Vesuvius ali these objects are kept in a glass case near the window, and a col- lection of different kind of bells. Along the wall on the left side of the room a great quantity of kitchen utensils as kettles, pans, frying pans, graters ec. ec. every thing to satisfy the wants of kitchens, is here also exposed. The elegance of the sieves obliges us to give a de- scription as well as the fine calidario placed oppo- site the entrance — Every thing admired in this side is very interesting — A quantity of musical instrumenis shows that this art has greatly failed, as the quan- tity of cane mouth pieces , and size must have ccr- tainly produced deep sounds of which we have no iu- formation — There are also different marks or theaire tickets, some of which marked with a pigeon, whf re that name derived with us among the common people. (the gods in the gallery). Very important is also the coUection of surgenn's instruments exposed in the same case among which the famous forcipe found at Pompei, a few years af- ter the invention made in Paris. MONLIMENTS OF THE MUSEUM 59 A complete toilette assortment and lady's working utensils fills this case — Corabs of ali kinds, pincers, tooth picks, needles, bodkins, looking glasses — colours to paini their faces , pomade, ali what is necessary and elegant. On the walls to the right between the balconies several keys to turn the waters or stop them. One of those keys has stili some water in it which ran 18 centuries ago — Bath utensils follow after and of which we will describe some. The last of these rooms shows the always decant- ed beds discovered at Pompei , placed in the same manner as they were found — It is uselss to speak about their beauty and labour , they can be judged by those who see them — Fine are also the three boxes found at Pompei but in different places. PI. 74. TWO braziers, found at Pompei; The first; is percei- ved in the shape of a square castle, having towers at each cor- ner, and embrasures ali round it; these towers having lids with hinges are easily raised; when water is poured in, it flows into the four sides. Fire was kindled in an iron grate in the centro of this stove, to heat the room, the victuals, and the water in- side ; the latter extracted through a brass cock applied to one of the sides. This curious brazier is portable; having bronza handles' The second brazier, bronze; is also portable, but is not ma- de to contain water; however, it is more elegant, and better de- corated than the former. In the centro of two of the sides: and between the two masks is a small group , representing a lion devouring a bull; very well executed. Pi. 75. Brazier; bronzo: found at Pompei; of greater impor- tance than the preceding and as elegant. One of its corners to the right, is a place for chareoal of a semi-circular form and higher than the rim. The pots used for cooking were set upon its bird-shaped props. A boiler contiguous to the hearth dischar- ges its water through the cock projecting on one side (see sec- 60 MONUMENTS OF THE MUSEUM tion in this place). The legs of this stove are elegantly moul- ded into sphinxes with lions' feet; the ornaments and handles are gràcefuUy conceived ; this iinportant portable utensil. was used for heating rooms, water, and for cooliing. PI. 76. Lamp stand, inbronze, found in the house of Dio- medes at Pompei; in 1812; probably the finest specimen in this magnificent collection; elegantly inlaid with silver. On one side of the plinth is an aitar with a fire upon it; on the other, a youthful Bacchus riding a tiger, with the right hand he raises a drinking horn. The pillar is uot placed in the centre but at one end of the plinth, leaving a space, which may have served as a stand for the oil vase used in supplying the lamps; to clean them on; or for placing an idol. PI. 77. TWO Candelabra, in bronze-, the first found at Pom- pei, represents a tree with supporters fixed on the branches to support the lamps , This principle is often repeated in these articles. The second, is more elegant : discovered at Hercula- num; also moulded like a tree with Silenus leaning in a burle- sque attitude, against the trunk ; and a Parrot perched between the two branches ; which have supporters for lamps fixed on them, like the preceding. PI. 78. Lamp With silenus, in bronze, discovered atPompei; called bilychnes; having two burners; an arabesque on the hand le with a ring beneath, for the convenience of holding it. A Silenu?, statuette; beautifully executed, stands on the edge of the moutlx through which the oil is introduced , supposed to have repre- sented, the act of pouring a liquid from a vase into a cup of some sort, which was held with the left hand; afterwards broken and lost. PI. 79. Two Small jugs, in bronze found in Pompei. The emblems and ornaments visible in N.° 1, 2, 3, 4 and 5, create a supposition, that, these jugs may have served to contain wiiie for the use of religious ceremonies in honor of Bacchus. Their diminutive size, seems more adapted for religious than domeslic purposes; however, as a specimen of art they are richly worked. PI. 80. Steeiyards, in bronze; found at Pompei. The two Steelyards (see pi, 89) numbered 1, and 2, have numerala aud MONUMENTS OF THE MUSEUM 61 divisions on one side of the beam; Nos. 3, 4, and 5, are marked on the two sides. These objects present some points of interest fÒT science and art, with regard to their precise construction, chains, and the different {Equipadii) (counterpoises). The scale g. and h,. belongs to the steelyard N.° 5, is ornamented , and represents a satyr butting at a goat. PI. 81. A marble table. supported onbronze legs: from Pom- peii. Minervini supposes it to have been meant for an aitar, to serve for some private place of worship,* is portable without its marble slab (see second engraving in pi. 81.) The rim and legs having decorations only on the three external sides ; induces the supposition, that it was intended to stand against a -wall. PI. 82. Two biselli or stools, in bronze; the only diflference is, one being a little higher than the other; both inlaid in Sil- ver and copper; of beautiful antique workmanship; discovered in Pompei; where only authoritative persone and worthy citi- zens, were then allowed to sit on biselli. PI. 83. Tripod in bronze: one, of the finest relics in this beautiful coUection, found in Pompei, and illustrated by Qua- ranta; who says, that the three winged sphinxes allude to the obscurity of the oracles, delivered at the tripod. The inside of the vase belonging to this stand, is like the engraving in this piate. The flower-wreathes and the bull's headswhich decorate the rim that girds this vase, indicates, according to the afore- said illustrator ; that tripods , were also used for the blood of the victims, when oaths were taken for compacts. PI. 84. Vase, in bronze; fonnd in Pompei; beautifully inlaid with Silver; the handles moveable; when joined over the vase may be held with one band to keep the liquid from spilling. Cornelia chelidone being inscribed on the handles, must allude to the name of the owner. PI. 85. Hsatìng Urn, in bronze, discovered at Pompei; for- merly intended for heating water or other liquids; having a space for charcoal in the centre; supported by handsome tripod repre- senting lion^s feet. Ferdinando Mori drew and engraved the va- ri ousparts of this interesting urn (see pi. 94); N.* 1., Heating urn, in perspec^ive. N.° 2., Vertical section of the sanie with 6 62 MONUMENTS OF THE MUSEUM its lid. — a. Concavity of the urn and fluting. — b. A cylindrical fire-place in the urn, at the bottom of which , there are four flues to emit the ashes and admit air for the conibustion of the charcoal. — e, A small funnel with a tube to convey fluids into the hoUow part of the urn, and for the discharge of steam when closed. — d. A tube with a cock to it, disposed so as to draw off the fluid from the sediment. — e. Conic-shaped lid ; the cavity of which closes at the lower part throngh the action of a convex sheet, attached to the urn by a hinge, so as to cover the fire-place also. — N.° 3. A fiat lid, perforated inthe centra covers the urn, leaving a vent for the furnace — f holdfasts — ff. handles to holdfasts — h. brini, scooped in the inside and convex without, so as to fit on the edge of the furnace. N.° 5. Grate to fit the bottom of the cylindrical fire-place. N.° 5. Han- dle. N.° 6. Chased ornaraent round the rim of the urn. N.° 7. Ornamentai engraving between the rim and lid of the urn. PI. 86. Trowels and CullenderS. Pompean bronzes. The first four utensils shown in this table were Trowels , which were called by the Romans Iruae the largest , and Trullae the smallest. The first three are prettily ornamented , simple and smaller the fourth. These utensils often served to fili and measure any liquid, to pour it from a vessel into another, and to this purpose was certainly dedicated the one under N. 4. The Culiender N. 5 e , and 5 d , was kept in a Kind of un- dercup N. 5 e, and 5 a, which was to avoid spilling the liquid when dividing it in different portions. The culiender and un- dercup bears the name of the maker 5 6, and 5 f. PI. 87. Articles for the toilet, excavated at Pompei. N.° 1 a small pot of rock crystal, contains rouge. N.° 3. another pot for rouge of a lighter colour; of rock crystal. N. 2- an ivory pot with the figure of cupid, N.» 4, two figures of cupids se- ated in different ways ; and ali decorate the above mentioned rare objects. Nos. 7., and 8,, two brasa combs. Nos. 5, and 6.— Fragments of combs in bone. Nos. 9. 10, H, 12, 14, 15, 16, 17 and 19. ara ali iyory hairpins. — N.* 18. Is by Avellino styled, an au riscalpìum\ N.» 14 the use of this object is not yet explained PI. 88. Articlesfor bathing; in bronze, found in Pompei The bathing utensils attached to a pliable ring, are the follo- MONUMENTS OP THE MUSEUM 63 ■wing; a small flask for ointment; four strigili or scrapers; and a patera or pan. The said small flask contained an odoriferous ointment with which the ancients auointed their bodies before the operation of friction performed with the strigili by their attendants. A hot or a cold beverage was served up in the Patera after bathing. These utensils may be easily removed from the ring, and attached to it again; see pi. 87. L. Ausidonio, stam- ped on the handle of the patera, is the maker's name. MUNICIPAL COLLECTION Going back to the Dutch and German gallery of paintings one enters on the right a circular room , and near the window there is a collection purchased hy the Municipio from the House of Santangelo. It contains a great number of ancient coins and modem medals — Many beautiful vases perfectly well kept, and a rare collection of glasses in different shapes plac- ed to the light from the first room a few bronzes , some terracotta in fìgures, mosaics, two of which in bas relief. ITALO GREEK VASES Leaving the above room one enters the collection of Italo-Greek vases — This collection, while the most numerous of its kind (3450 pieces), is the most cre- dited for its rarety. PI. 89. Yase with three handles; found in a Roman tomb at Noia in 1797; and given up to the Museum by the Family Vincenzio , for ten thousand scudi. It contained human bones gathered at the funeral pile; five alabaster Balsamari; and a sardonyx of greek workmanship representing an eagle with a serpent in its talons ; an emblem hold in great estimation by the ancients. This vase which is of the finest ware from the renown factories of Nola; was inclosed into another of coarser terracotta, to preserve it. It represents the burning of Troy ; 64 MONUMENTS OF THE MUSEUM ^neas leading Ascanius and his father Anchises; Ajax dragging Cassandra; Pyrrhus about to give the deathblow to Priam; Ulys- ses trying to raise Andromache and Polyxena; those being the principle figures in the sanguinary scene. Genning in his voyage through Austria and Italy was the first who explained this classic monumeut. Bottiger, Panofka, Raoul Rochette, Quaranta and many other authors in archeology, illustrated the Italo greek vases. PI. 90. Yase or Olla; found at«Nocera dei Pagani » (No- cera Alfaterna); was like the preceding, ceded to the Museum by the family Vivenzio. It represents tour women attended by the same number of bacchanalians, offering libations to the image of Bacchus Brasiae, with the bearded mask; formed out of the trunk of a laurei tree. This vase is doubly interesting on account of the foUowing names; Dione, Maina, Talia, and Corea, inscribed dose to the figures of the. four women, It is remarkable, that the type of the representation on this post, is precisely like what was found in bronzo within. This olla, was illustrated by Qua- ranta, Sanchez, de Jorio, Panofka, and others. LIBRARY This Library marked in the Pian B N. 29 inde- pendant from the Museum is directed by others. It has a very large entrance hall which is certainly reckoned the largest in Europe. It was decorated when the Edifice was built and its paintings remind the House of Bourbons who were reigning at that time — Several other rooms are join- ed to, containing about 120,000 volumes of which 4000 of the 14"' Centuiy and 3000 m.m. EATABLES Leaving the Library and descending the stairs to the right and going up the opposite one, there are two rooms one on the right and the other on the left containing modeis of ancient houses and copies of the MONUMENTS OF THE MUSEUM 65 frescoes discovered — Some of them are left at Pom- pei which have been destroyed by years, but fortu- nately there are copies — In one on the left eatables found at Pompei and Herculanum are seen — They are very interesting and their shape has been left untou- ched. Eggs, olives, walnuts, carubians, dates, chestnuts, beans are there collected — Bread pies of every de- scription, and on some of them there is stili the na- me of the baker. PAPIRIS Leavìng the eatables you enter the next door to the right were the papiris are collected. This numerons collection is the only one in the world, though found in litlle room, inhthe so called Casno di Campagna at Herculanum. It contains 1790 of which about 600 have already been unfolded. Three prodigies are seen in the office where these papiris are kept — Naturai the first, ar- tistic the second, literary the third. The first object is the papiro itself, that is, a roUed cloth of ashes 18 cen- turies underground, and which has resisted to the weather better than marble and bronze. The second a small machine, the shape of a box, where the ashed cloth is unrolled, sometimes 6 metres long without the help of springs , wheels , or other tools. The third by reading solemn poetry no longer known, elo- quent precepts, phisical treaties, but also to add Greek or latin words in the space left on these thin and car- bonized pages. It was thought easy the way of unfolding them, but every body may see or judge by the people ap- 66 MONUMENTS OF THE MUSEUM pointed for this work — Inkstands in terracotta, and some small wax wooden tablets wiih letters engrav- ed on thera are kept in there. PJ. 91. Greek Papiro. Oq t'hese tablet a fact-simile is de- scribed in two pages of Metrodoro 's Greek papiro about sen- sations. On the first page the Epicurion philosopher shows so- me contradictions of the Stoics and Puripatetics; by which he asserts not to believe. On the second he endeavours, according to Epicuro, to find out whence does the immortality of the Gods derive. PINACOTECA (LEFT SIDE) Leaving the victualling rooms there is on the left the entrance to the Pinacoteca — The first hall we enter is intended for the Roman school called also Polidoro's hall having three of his pictures raarked N. 17, 23, 46, showing Christ on Calvary, the worship of the Shepherds and Jesus falling under the weight of the cross. N. 57 pictures by the Cav. d'Arpino some contain- ing the glory of the angels and several others of the same, considered very fine. The second hall, Genoese paintings including a por- tion of the Parmensi amounting to the N. 39. N. 3 by Schidone are considered fine — The first N. 14 con- tains Cliristian Charity — N. 20 a sacred family N. 37 a sacred Jesus surrounded by angels and cherubs with four saints at his feet — Those by Storez require to be attentively examined N. 2, 6, 11, 20, 36 and 39. The next room besides the Parma school compreh- ends also the Lombards — The latter is known by the name Cesare da Sesto through his fine pictures on boards containing the worshipping of the Magii N. 17. Ricca 13,Schidoni this collection as well as the others contains N. 39 pictures. MONUMENTS OF THE MUSEUM 67 The last classified school the Venetian hereafter seen. It shows Titian's manner of paiating for difFerent Works of his pupils — The two Tintoretto distinguish- ed by N. 20 and 42 — The first contains the Virgin sitting on the moon surrounded by Cherubs. The other a naked man speaking to Jesus — The twelve Canalet- ti, thus naraed after Bernardo Belletti, are to he most admired, a rare collection as to inspire envy to the most renowned Pinacoteche. They are marked N. 9, 13, 16, 22, 25, 28, 41, 44, 47, 51, 52 and 55contain- ing Venice taken from the best points. Following through the front door one reachesthe large hall called « Scuole diverse » (diiferent schools). Among the fine pictures in this hall the portrait of Cristofaro Colombo by Parmigiano is to be noticed N. 7. — Caracci's piety N. 10. — Love in repose by Schidone N. 12 and Weeping Magdalein by Titian N. 21 — Anotber by Cav. d'Arpine, Glory of Angels N. 30 considered better than those mentioned in the roman school. After the Archway in thls saloon there is a col- lection of Venus, of different schools — Among them that of Giordano N. 16— The Susan by Guarino N. 18. and another Venus by Tintoretto N. 19 are worthy to cali the attention of connaisseurs of the art. Leaving the large hall, and returning to the Ve- netian school on the left you will enter two small rooms — Capi d'opera — The first called Correggio, and the other Raffaello; they bear that name, the former having fi ve Correggio N. 3, 5, 7, 9 and 10 — Besides other master pieces — viz — three by Titian, three by Spagnoletto, one by Rubens and others Van-Dych, Sal- vatore Rosa, Guercino, and Sebastiano del Piombo, 68 MONUMENTS OF THE MUSEUM The second room four Raffaello , besides sixteen more by difFerent Painters viz — Giulio Romano, An- drea del Santo, Pietro Perugino, Luca d'Olanda ec. ec. We shall give a in description of thera different tables, as well as that by Ercole, of a Boy choking the ser- pents — A work of the 5"' century placed among those of Raffaeli! . PI. 92. Bacchanalian Scene, on canvas; i, m. 90c. by 1, m. 35 e. by Ribera, called lo Spagnolletto; was brought to Naples in 1626, from the Museo Farnese; having a serpent at the foot of this painting with the foUowing inscription ; Jose- phus Ribera Hispanus rdlentinus et accademicus Romanus faciebat Parthenope 1626. This artist was so satisfied with this painting, that he made an engraved copy , and also some others with modifications. It is meationed and highly praised by Sandrai, de Dominicis, and several Biographers. PI. 93. Danae, on canvas, by Tiziano; frora the Museo Far- nese; 1, m. 18, e. by 1, m. 70, e; executed about 1545, when- the above mentioned artist was at Home. Another originai, same subject is existent in the Ist. GaUery at Vienna; and another Da- nae, exists in the Ist. Gallery at St, Petersburg, which is also attributed to Tiziano. This painting is esteemed one of the best Works by Vicellio; engraved by Morghen; and is mentioned by ali the authors who have written on Italian art. PI. 94. Christ disputìng in the tempie, on canvas; i, m. 98 e. by 33, e; by Salvator Rosa; was executed after 1647 in Rome, for the Prince of Sennina. The Museum purchased this, with another of same dimension representing the parable of St. Mathew, from the faraily Stigliano Colonna for 3500. Ducats ; being rather dark in its coloring, is what easily reveals the style of this illustrious master of the Neapolitan school of painting. PI. 95. The marriage of St. Catherine; a smaii picture, on board, 26, e. by 22 e; by Antonio Allegri, styled « il Cor- reggio »; from the Museo Farnese. It is stated by some Critics that this painting is thè copy of another originai, now in the Louvre at Paris, by the same author, and which represents the MONUMENTS OF THE MUSEUM 69 Virgia with the Saviour, St. Catherine, St. Sebastian, and on the back-ground , the martyrdom of these saints. The picture in this Museum has only three fìgures ; therefore , it is but another beautiful originai by Correggio and not a copy. Engra- vad both by G. Felsing and G. Morghen. PI. 96. Portralt of Philip II., king of Spain, painted on canvas, 1, ra. 87 e. by 1, m.; by Tiziano. There are fìve other portraits of this king, attributed toVecellio; one in the Pitty Gallery at Florence; two in the Gallery ofpaintings at Madrid; the fourth in the palace Corsini at Rome, and the last at De- vonshire-house in England. The present painting is inscribed thus; Tizianus Eques Cae F.; from the Museo Farnese. Has never been restored, and is in good preservation. PI. 97. The Transfiguralion , painted on board; 1, m. 15 e. by 1, m. 49, e; by Giovanni Bellini; is the finest painting by illustrious master, and appreciated, above ali for the beauties of the coloring and excellent preservation. Joannes Bellinius is usually inscribed at the foot of bis works ; which is hf-re written on a label beneath this production. Is mentioned by the annotators of Vasari ; conveyed to the National Museum from the Museo Farnese. PI. 98. The Holy Fgmily; a painting on board; 1, m. 68, e. by 1, m. 41, e. commonly called the « Madonna della Gatta », by Giulio Romano; Vasari asserts that the cat in this painting is so naturai, that it seems alive. Executed about 1524, while its author was at Rome painting the Hall called of Costantino. It was removed to the Museo Farnese, and from there to the Museum at Naples. So ranch black mixed with the colois had considerably altered the whole of this work; and the repeated irestaurations spoiled instead of improving it. Atlenght it was restored, and that not long ago, by M. Achille Fiore who sup- Iplied the head of St, Giovanni which was defaced. Engravpd by Guglielmo Morghen; and mentioned by ali the biographers on "iulio Roman. PI. 99. The Holy Family, by Raffaello, on board: l,m. 38, ì. by m. 41 , e. Painted by Sanzio , for Leonello da Carpi , a gentleman of Meldola. It was a short time after removed to he « Galleria Farnese » at Parma, from whence it carne to our 70 MONUMENTS OF THE MUSEUM museum: is one of the most renown works of Urbinate; copied by Innocenzo da Imola, Giulio Romano, Penne, and other clever artists. Engraved on copper plates by Palumbi, Vallet, Guglielmo Morghen, Longhi, and others ; and is illustrated by ali the au- thors of the art of painting. In the Collection of drawings, the cartoons used by Raffaello for the execution of this painting, are from the Museo Farnese. PI. lOO.AIcides strangling the serpenls,bronzegroup,7o e. high, the base 21 e. do. This monument is by many inter- preters thought ancient, but those skilled in art are convinced it is net. The boy Alcides assailed by the serpents, boldly seizes them in both hands and squeezes them to death; this is the mo- ment represented by the sculptor. Other labors of Hercules in relief are on the basis, which has been gravely discussed, whe- ther it has or not been executed by the author of the group; however, a difference in the style is easily remarked. The opi- nion, that two different sculptors have had a hand in this Far- nesian group and its base, is considered the best. PRINTS AND ANCIENT DRAWINGS Leaving the Pinacoteca by the door on the right and precisely opposite the Papiri you enter the col- lection of Prints and ancient Drawings — The well known collection of Firmiana prints, and three fine Silver plates engraved by Caracci are found. Round the wall several Cartoons are seen drawn by celebrated artists as sketches for theìr pictures. Among them the famous Moses by Raffaello, of which we have a copy, as well as of the fine head of the Divine Poet which is here to be seen in bronze. NOTICE The winning Venus described and lined in our U ble, is seen at the Museum without Love, being thìj MONUMENTS OF THE MUSEUM 71 a modem interpretation, it has been thought fit not to include it en the collection of Capolavori. PI. 101. Moses prostrated before the burning bush. Cartoon by Raffaello from Ihe Museo Farnese; 1, m. 37 e. by 1, 40 e. This drawing is a part of the composition of a fresco painting , executed on one of thè compartments of a vault in the 3rd. hall of the Vatican , painted when Urbinate began to indroduce his third style; it represents according to Holy Writ- ings Moses terrified and prostrated, hides his face when the Lord appeared to him in a burning bush. This excellent drawing has been much damaged by restauration. Mentioned by Longhena in his annotations to Quatremère de Quince, and by Passavant. This cartoon has been illustrated in a monogram by Felix Nic- colini. PI. 102. Dante Alighieri, half bust, in bronze, 34 e. high. It is stated by Artists, that this portrait bust, was executed on a cast taken from the deceased head of Dante. This opinion being admittable, it is useless to illustrate this interesting mo- nument any further; it was conveyed to the Museo Farnese from Florence; and deposited among the works of art, as part of the dowry of Margharet of Austria the widow of Alex de Medici; who afterwards became wife to Ottavio Farnese. 1A ^^1,_ 12 25 26 Z7 Z9 30 ^-6 49 51 55 58 67 i*4^!ak^sSiè^ --«t:*iiÌ»WBN!{S«? 74 \^ ì^ \4\yV\/V^' m '^ &à &• d u Àa^-j^ \OnVJi- n rs 79 36 fi/; 8r 90 95 100 r GETTY CENTER LIBRARY ii{ iiiij ii|i jiiii! ii| Hill Mimi I ii| 3 3125 00975 0882 I%x^ #t*l.: À ^ ■^^ H ■■' .,