CATALOGUE 
 
 OF THE 
 
 SCULPTURES 
 
 IN 
 
 The Corcoran Gallery of Art 
 
 \ 
 
 A 
 
 
 WASHINGTON, D. C. 
 
 1922 — 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/catalogueofsculpOOcorc 
 

THE CORCORAN GALLERY OF ART 
 
CATALOGUE 
 
 OF THE 
 
 SCULPTURES 
 
 The Corcoran Gallery of Art 
 
 WASHINGTON, D. C. 
 1922 
 
66th Edition 
 
 3,000 of the new revised edition 
 In all, 240,000 
 
 PRESS OF GIBSON BROS., INC. 
 WASHINGTON, D. C. 
 
 1922 
 
BOARD OF TRUSTEES 
 
 Charles C. Glover 
 William A. Clark 
 Henry White 
 C. Powell Minnigerode 
 
 George E. Hamilton 
 James Parmelee 
 Rudolph Kauffmann 
 Thomas Nelson Page 
 
 Robert V. Fleming 
 
 OFFICERS 
 
 President 
 
 Charles C. Glover 
 
 Vice-President 
 
 Henry White 
 
 Secretary and Director 
 
 C. Powell Minnigerode 
 
 Treasurer 
 
 Robert V. Fleming 
 
 Secretary to the Director 
 
 Emily P. Millard 
 
 5 
 
NOTE TO THE PUBLIC 
 
 T HE HISTORY of The Corcoran Gallery of Art, 
 and also a brief sketch setting forth the neces¬ 
 sity of erecting the present building, together with 
 a description of the building, are incorporated in the Cat¬ 
 alogue of Paintings, which is for sale by the janitor at the 
 main entrance to the building. 
 
 For the convenience of the public it may be stated that 
 the first or main floor of the Gallery is devoted to the dis¬ 
 play of works in sculpture, and that the second floor is 
 utilized for the installation of paintings. 
 
 The dimensions of all the rooms and galleries are given 
 on the accompanying floor plans. 
 
 The Gallery is open to the public as follows: 
 
 Sundays, from 1 :30 to 4:30 P. M. 
 
 On Mondays, from 12 :00 M. to 4:30 P. M. 
 
 On Tuesdays, Wednesday, Thursdays, Fridays and 
 Saturdays from 9:00 A. M. to 4:30 P. M. 
 
 On Christmas Day and July 4th it is closed to the pub¬ 
 lic, but on other public holidays it is open from 10:00 
 A. M. to 2:00 P. M. 
 
 On public holidays and Tuesdays, Thursdays, Saturdays 
 and Sundays, the admission is free. 
 
 On Mondays, Wednesdays and Fridays, an admittance 
 fee of 25 cents is charged. 
 
 For information concerning the Art School connected 
 with the Gallery see Prospectus, separately printed, to be 
 had by application to the Secretary of the Art School. 
 
 Photographs of many of the paintings and other works 
 of Art in the Gallery are for sale at the door. 
 
 In accordance with the previous policy of the Gallery 
 it is expected that a succession of various special exhibi- 
 
 6 
 
Note to the Public 
 
 tions of usual interest and educational value will be con¬ 
 tinued. These exhibitions include works in the different 
 fields of artistic endeavor—paintings, sculptures, etchings, 
 etc.—and the planning of such special displays, for the 
 education and benefit of our public, has become an import¬ 
 ant and vital part of the institution’s work. 
 
PLAN OF FIRST STORY 
 

 PLAN-OF-SECOND-STORY 
 
Plate 1 
 
 THE PARTHENON 
 
 A. Metopes 
 
 B. Pediment 
 
 C. Frieze 
 
Casts from Antique Sculpture 
 
 THE PARTHENON 
 
 Plate I, opposite page 
 
 The Parthenon, a Doric temple of white marble, erected in honor of 
 Minerva (Athene Polias), the tutelar deity of Athens, was completed 
 in the year 438 B. C., sixteen years after its commencement. The 
 temple was built during the administration of Pericles, who employed 
 Callicrates and Ictinus as architects under the direction of Phidias, 
 to whom he entrusted all works of magnificence and who embellished 
 it with statues and bas-reliefs. It was 227 feet long, 101 wide, and 65 
 in height, with 8 pillars front and back, and 17 on each side; these 
 pillars were 42 feet high and 17}4 in circumference, the distance be¬ 
 tween them being 7 feet 4 inches. 
 
 The Frieze of the Parthenon 
 Plate I, C 
 
 This frieze, in low relief, ran around the top of the inner faces of the 
 colonnade and outer wall of the cella of the temple, yet within and 
 below the roof, and 39 feet above the pavement. 
 
 As the entablature above the outer columns descended 4 feet 9 inches 
 below the lower edge of the frieze as it was placed on the wall, the 
 frieze could only receive its light diffused between the columns and 
 reflected upwards from the pavement of the colonnade. Owing to 
 this circumstance, as well as to the peculiar position of the spectator 
 when looking at the frieze, standing within the columns, the artist 
 was forced to keep his relief very flat, so that it only rises 1% inches 
 from the background, and at the highest point 2% inches; moreover, 
 it is owing to these circumstances that the relief was kept lowest 
 in the lower parts of the frieze and highest in the upper parts, where 
 even sometimes the background is sunk to gain a bolder relief. The 
 frieze was over 522 feet in length, running around the four sides of 
 the temple. 
 
 Around the cornice of the south end of the atrium first story, or 
 Statuary Hall of this Gallery, are placed 194 feet of casts from the 
 original marble slab of this frieze. The reliefs commencing with that 
 nearest to, and south of, the main entrance, presenting an unbroken 
 line of young horsemen sweeping along, with here and there a dis¬ 
 mounted group, varying the action of the cavalcade, are arranged pre- 
 
 11 
 
12 
 
 Casts from Antique Sculpture 
 
 cisely as the originals stood in the Parthenon. Following these, and 
 extending to the main staircase on the west, are broken groups rep¬ 
 resenting seated deities (see Nos. 1001 to 1009), virgins with sacri- 
 
 ficial oxen, 
 
 and charioteers. 
 
 1001 
 
 ZEUS 
 
 Frieze of the Parthenon 
 
 1002 
 
 HERA 
 
 Frieze of the Parthenon 
 
 1003 
 
 IRIS 
 
 Frieze of the Parthenon 
 
 1004 
 
 ARES 
 
 Frieze of the Parthenon 
 
 1005 
 
 ARTEMIS 
 
 Frieze of the Parthenon 
 
 1006 
 
 APOLLO 
 
 Frieze of the Parthenon 
 
 1007 
 
 HERMES 
 
 Frieze of the Parthenon 
 
 
 1008 
 
 ATHENE 
 
 Frieze of the Parthenon 
 
 1009 
 
 HEPHAISTOS 
 Frieze of the Parthenon 
 
Pediments cf the Parthenon 
 
 riATB II 
 
 B 
 
 I 
 
 p* 
 
 w 
 
14 
 
 Casts from Antique Sculpture 
 
 The Western Pediment 
 Plate II, page 13 
 
 The myth here represented is as follows: 
 
 Athene and Poseidon both claim the patronage over the land of 
 Attica. Their claims are to be decided by some token, symbol, or 
 sign of their power; and, according to various traditions, the judges 
 who are to decide which of these token contains the weightiest claim to 
 the patronage are either the Olympian gods or Kekrops, the hero-king 
 of Athens, with his family, or the Attic people themselves. 
 
 There is little doubt concerning the figures at the extreme angles 
 of the pediment, which are generally admitted to be: on the left, the 
 river god Kephissos, No. 7 1., with a nymph not extant, and at the 
 right angle the nymph (Kallirrhoe), No. 7 r., with the river Ilissos, 
 No. 6 r., crouching beside her. The real doubt exists with regard 
 to the remaining figures at either side. No. 1 on the left is called 
 by Michaelis and others Kore, holding the boy Iakchos (No. 2), 
 who is turning towards the seated female figure Demeter (No. 3), 
 while Nos. 4 and 5 are called in the British Museum Pandrosos and 
 Kekrops, and by Michaelis, Hygieia and Asklepios. The correspond¬ 
 ing figures on the other side are called (No. 1) Leukothea, with 
 Palaemon and Eros in her arms, (No. 2) Aphrodite in the lap of 
 (No. 3) Thalassa, No. 4 being a Nereid. The other system of inter¬ 
 pretation, first formed by Brunn, makes all the figures on either 
 side of Nike and Amphitrite partake of the nature of the river 
 gods at either angle, considering them personifications of Attic locality. 
 Of this pedimental group, fortunately drawn by Carrey in 1674, before 
 the destruction of the Parthenon, only more or less fragmentary re¬ 
 mains of Athene, Poseidon, Hermes, Amphitrite, perhaps Nike, and of 
 1, 6, and 7 r., and 4, 5, and 6 1. are extant in the British Museum. 
 
 1010 
 
 RIVER GOD, KEPHISSOS 
 
 Original Elgin Marble (440 B. C.), British Museum 
 
 H., 2 ft. 8 in.; L., 6 ft. 4 in. 
 
 This figure stood in the north angle of the western pediment of the 
 Parthenon, and is represented as raising himself on an arm from a 
 recumbent position, to listen to the announcement of the triumph of 
 Minerva over Neptune. 
 
 “This, one of the most famous specimens of Greek sculpture extant, 
 shows the combination of perfect modelling and grandeur which marked 
 the art of Phidias, and displays the care which was bestowed even upon 
 
Casts from Antique Sculpture 
 
 15 
 
 works of mere decoration. Note, for instance, the remains of finish 
 even on the back of the statue, which could never be seen in situ.’’ 
 
 Note.—T he measurements of the casts give the height of the statues 
 and busts exclusive of their plinths or bases. 
 
 The Eastern Pediment 
 Plate II, page 13 
 
 The subject represented in this pediment was, according to Pausanias, 
 the birth of Athene. We cannot believe that the moment represented 
 was that of the actual birth of Athene out of the head of Zeus, an 
 incident sometimes quaintly rendered on archaic vases; nor can we 
 believe that it was that immediately preceding the birth. It must have 
 been the scene immediately succeeding the birth, when Athene stands 
 fully armed before her father and the admiring gods, as described in 
 the Homeric hymn to Athene. 
 
 In Carrey’s time the centre of the pediment was no longer extant, 
 and he could only give the figures at the wings as here rendered in 
 Plate II, page 11; but there can be little doubt that the centre of the 
 pediment was occupied by Zeus and Athene, with the chief Olympian 
 gods and goddesses to their left and right. 
 
 In this plate all the extant figures from this pediment, now in the 
 British Museum, are given, with the exception of a nude male torso 
 at Athens (Michaelis, VI, H. Guide Brit. Mus., Prometheus or 
 Hephaistos, p. 16), and the torso of Nike (?), which has before been 
 ascribed to the western pediment. No. 1 1., the draped female figure 
 rapidly striding towards the angle, is admitted by all to represent 
 Iris, the fleet messenger of the gods, bringing the news of the great event 
 from the dwelling of the gods to the figures seated in the angle. In 
 
 the case of this, as in that of the western pediment, there are two main 
 
 groups of interpreters: those, namely, who see in the figures of the 
 angles gods or heroes, and those who consider them to form subdi¬ 
 visions of the composition as a whole, clearly to be distinguished from 
 the central group, and to be personifications of nature in keeping with 
 the character of the chariot-driving figures at the extreme angles, 
 which are admitted by all to represent the sun god and the moon 
 goddess. 
 
 Accordingly, the seated figures, 2 and 3 1., would be, after Brunn, the 
 two Horae who watch the gates of Olympus; the reclining nude male 
 figure, 4 1., would be the mountain god Olympus; while the hitherto 
 
 generally accepted interpretation for the two female figures has been 
 
 Demeter and Persephone, and for the male figure, Theseus, Dionysos, 
 or Herakles. Nos. 5 and 6 1. are universally admitted to represent 
 Helios, the sun god, driving his chariot. 
 
16 
 
 Casts from Antique Sculpture 
 
 No. 2 r. represents Hestia, the goddess of the human hearth, while 
 the female figure 4 r., reclining on the knees of her seated companion 
 3 r., is the sea, Thalassa, resting on the lap of the earth, Gaia. The 
 current names given to these three figures are the Three Fates, who 
 were supposed to be present at the birth, and are thus figured on the 
 late reliefs in Madrid and Dresden; 5 and 6 r. are admitted to repre¬ 
 sent Selene, the moon goddess, driving her chariot. 
 
 In the western pediment the myth represented shows Athene in 
 her local association with Athens; while in the eastern pediment the 
 birth of Athene from the head of Zeus has an universal association 
 with mankind. The one scene is local, the other cosmical, as the river 
 gods with nymphs framing one scene and the sun and moon framing 
 the other certainly indicate, and as the remaining figures probably do. 
 
 It must be remarked that the prevailing difference of opinion in 
 assigning definite names to the single figures of these pediments is due 
 not only to the fact that we have no passage in ancient authors men¬ 
 tioning them, but that the fragmentary condition of the statues has not 
 
 even supplied us with the symbols which they held in their hands, and 
 
 which made their meaning clear to every child in ancient Athens. 
 
 The Parthenon appears to have remained in its original condition 
 until the 5th or 6th century of our era, when it was converted into a 
 Christian church—at first of St. Sophia, then of the Virgin Mary. The 
 alterations necessitated by its new dedication chiefly concerned the in¬ 
 terior of the temple, and had little effect upon the sculptured decora¬ 
 tions. The entrance was transplanted from the east to the west, an 
 apse was built at the east end, and two niches were placed in the tym¬ 
 panum of the western pediment. At the beginning of the 13th century 
 
 it was converted from a Greek orthodox into a Roman Catholic church, 
 
 and in 1458 it was turned into a Turkish mosque, a minaret being 
 added to the west end of the south wall. On the whole, the building 
 and the sculptured decorations remained comparatively intact until 
 the latter part of the 17th century, when all nationalities combined in 
 destroying it. In September, 1687, during the war between the Re¬ 
 public of Venice and Turkey, the Venetian general, Francisco Morosini, 
 with an army chiefly of mercenary troops of all nationalities, under the 
 immediate command of Count Koenigsmark, a Swedish general, laid 
 siege to Athens, and bombarded the Acropolis, whither the enemy had 
 withdrawn. Upon hearing that the Turks had stored powder in the 
 Parthenon, on the 26th of September, 1687, at seven o’clock in the 
 evening, a German lieutenant succeeded in sending through the roof of 
 the Parthenon a shell, which ignited the powder and rent the great 
 temple asunder, heaping fragments on either side. In the year 1800, 
 Lord Elgin, then British Ambassador to the Porte, having received 
 permission, began his work of carrying off the Parthenon marbles. 
 
Casts from Antique Sculpture 
 
 17 
 
 After years of the greatest vicissitudes, occasioning a vast expenditure 
 of money on the part of Lord Elgin, the sculptures finally reached 
 England, in 1812, when, being forced to sell the collection, he offered 
 it to the nation for the sum he had actually expended. At last it was 
 purchased for £35,000, a sum less than half it cost him, and now forms 
 the chief treasure of the British Museum. 
 
 The following ten casts are arranged as nearly as possible in the 
 position occupied by the original marbles in the east pediment of the 
 Parthenon: 
 
 1011 
 
 HELIOS, WITH HIS HORSES 
 
 Original Elgin Marble (440 B. C.), British Museum 
 
 At the extreme angles of the pediment the neck, arm, and shoulder 
 of Helios, the sun god, rise out of the sea, and before him the heads 
 and necks of his horses are advancing towards the centre (but one of 
 the three horses is here represented). Though there are but small por¬ 
 tions of the figures of horses and man, the bold upward motion is 
 completely indicated, and the artist clearly suggests that the scenery 
 presented in the pediment takes its beginning at this side and concludes 
 at the other. 
 
 1012 
 
 OLYMPUS, commonly called THESEUS 
 
 Original Elgin Marble (440 B. C.), British Museum 
 
 H., 4 ft. 2in.; L., 5 ft. 9 in. 
 The original reclined in an angle of the east pediment, and is uni¬ 
 versally acknowledged, alike by artists and by the outside world, to 
 represent the highest stage of broad and monumental art in the repre¬ 
 sentation of the nude male figure. 
 
 1013 
 
 TWO HOR^E, commonly called CERES (or DEMETER) and 
 PROSERPINA (or PERSEPHONE) 
 
 Original Elgin Marble (440 B. C.), British Museum H., 4 ft. 9 in. 
 
 Guardians of the gates leading to the dwellings of the gods. The 
 first of these two figures, in her more erect attitude and gesture, mani¬ 
 fests the attention she is giving to the news brought by the messenger 
 of the gods, Iris; the other figure, leaning on her shoulder, has not yet 
 completely realized the importance of the scene enacted in the center. 
 Both these figures manifest in a high degree the characteristics of 
 Phidiac art. 
 
18 
 
 Casts from Antique Sculpture 
 
 1014 
 
 IRIS 
 
 Original Elgin Marble (440 B. C.), British Museum H., 5 ft. 3 in. 
 
 The fleet messenger of the gods, rapidly descending from their abode 
 to proclaim the birth of Athene, is here represented as a youthful 
 female figure, clad in the Doric chiton open at the sides. A short 
 mantle is flapping back in the wind, owing to her rapid motion, the 
 indication of which is powerfully expressed in the whole composition. 
 
 1015 
 
 HESTIA 
 
 Original Elgin Marble, British Museum H., 4 ft. 7 in. 
 
 The common view makes her one of the Three Fates. The left arm 
 of this figure was probably raised behind the shoulder of Gaia and there 
 held a scepter. The simple and solemn attitude of this figure would 
 well correspond with the nature of Hestia. 
 
 1016 
 
 THALASSA and GAIA, commonly called TWO OF THE THREE 
 
 FATES 
 
 Original Elgin Marble (440 B. C.), British Museum 
 
 H., 4 ft. 11 in.; L., 7 ft. 7 in. 
 
 The original occupied a position in the angle of the eastern pediment 
 opposite the Olympus. “Here the perfection of the modelling of the 
 texture of drapery and the nude has been attained, and this not at the 
 cost of the general breadth of composition. As regards the varied 
 treatment of drapery, notice the folds of the cloth upon which Thalassa 
 is reclining, with its broader surfaces, the more elaborate folding of the 
 upper garment round the legs, and the varied play of smaller creases of 
 the undergarment as it covers the breast, against the nude texture of 
 which it is set off in bold contrast.” 
 
 1017 
 
 HEAD OF ONE OF THE HORSES OF SELENE 
 Original Elgin Marble (440 B. C.), British Museum H., 2 ft. 6 in. 
 
 The head projected over the cornice of the eastern pediment. Double 
 holes behind the ears, on the nose, between the eyes and mouth, and 
 on the inner corner of the mouth (not well represented in the cast) 
 showed where the metal bridle had been affixed. 
 
 “This head has ever been held as the instance of sculpture in which 
 the combination of actual truth to nature, on the one hand, and the 
 
Casts from Antique Sculpture 
 
 19 
 
 insistence upon the broad, important, and general features, with the 
 avoidance of purely individual and ephemeral traits, upon the other, 
 has been successfully attained.” 
 
 We are indebted for much of the foregoing matter relating to the 
 Parthenon to Stuart and Revett, Antiquities of Athens; to Dr. William 
 Liibke, History of Sculpture; and to the writings of Charles Waldstein, 
 Litt. D., Ph. D., L. H. D., Director of Fitzwilliam Museum, Cambridge. 
 
 1017A 
 
 EIGHT SLABS OF THE METOPES OF THE PARTHENON 
 From the Original Marbles in the British Museum 
 
 These Metopes were of Pentelic Marble and were decorated with 
 sculpture in high relief. There were 92 of them, separated from one 
 another by triglyphs, and running around the whole of the temple, 14 
 on either front and 32 on each side. Each was 4.41 feet square, but 
 the top contained a projecting seam of 0.45 feet, decorated with a bead 
 ornament which must be deducted from the space left for reliefs. The 
 figures in the reliefs project from the background about ten inches, 
 probably prescribed by the thickness of the slabs. 
 
 Though there are at present no traces of color to be found on the 
 originals, there can hardly be any doubt that the reliefs were supported 
 by color. 
 
 The subjects of these Metopes are taken from the contest between 
 the Centaurs and Lapiths at the marriage feast of Peirithoos. 
 
 1018 
 
 THE DISCOBOLOS (Quoit-thrower) 
 
 Original Bronze, in the British Museum H., 5 ft. 5in. 
 
 The original statue was executed in bronze by Myron at the close of 
 the first period of Greek sculpture, about 470 B. C., and is minutely 
 described by Lucian and Quintiliian. The discus was a round, flat 
 plate of metal or stone, about ten or twelve inches in diameter. There 
 are several antique copies in marble of this figure, showing the head 
 reverted. The copy from which this cast is taken was found in 1791, 
 near Hadrian’s Villa. 
 
 1019 
 
 DISCOBOLOS 
 
 Original Marble, in the Vatican H., 5 ft. 5in. 
 
 The original of this cast is supposed to be by Naucydes, pupil of 
 Polycletus, who was a pupil of Phidias. The head is supposed not to 
 have formed a part of the original figure. The fillet round the head 
 was the badge of victory. 
 
20 
 
 Casts from Antique Sculpture 
 
 1020 
 
 VENUS OF MELOS 
 
 Original Marble, in the Louvre H., 6 ft. 8 in 
 
 The original of this cast was discovered in 1820 by a peasant, in a 
 grotto about five hundred yards from the ancient theatre of the town 
 of Melos, in the island of the same name. From its shape and charac¬ 
 ter, the grotto is supposed to have been a grave in which the statue 
 was hidden. It was bought for the sum of 6,000 francs by M. de 
 Marcellas for the Marquis de Riviere, then French Ambassador to the 
 Porte. It was carried to Paris in February, 1821, and presented by 
 Riviere to Louis XVIII. It now stands in the Louvre, the pride of 
 Paris, and the admiration of the world. Its sculptor is unknown, but 
 by the grandeur of its style it is justly assigned to the era between 
 Phidias and Praxiteles, and is considered the greatest statute of 
 woman’s form the world now holds. The plinth, the tip of the nose, 
 and a small part of the lips are the only parts restored. Parts of an 
 arm and hand were also found, but so mutilated that, though casts 
 have been taken with them attached, the torso is declared by the world 
 better as it is—the fulness of what is left, and its suggested action, 
 being more satisfactory than any guesswork from an uninspired hand. 
 
 Mr. Ravaisson, keeper of the Antiques of the Louvre, thinks it prob¬ 
 able that the statue is part of a group of Venus and Mars—“Love Dis¬ 
 arming War”—and he has made a cast, with the arms attached, which 
 it is said confirms his theory. Then, again, it is asserted that a smail 
 bronze copy of it has been discovered in Pompeii representing her as 
 looking at herself in a mirror held in her left hand. 
 
 Mr. Millingen, a Dutch antiquary, thinks it a Victory holding a 
 shield with both hands, and Mr. Stillman, a recent critic, contends that 
 it is the Wingless Victory that once stood in the Temple of Nike- 
 Apteros, Athens, and was sent to Melos at the time of a threatened 
 invasion. 
 
 The Venus of Capua in the Museo Bourbonico, Naples, is like the 
 Venus of Melos in general form, but has the head bent down and the 
 left arm and empty hand extended towards a Cupid, who, with his 
 bow, stands before her. It is believed to be a modified copy of the 
 latter. 
 
 All these theories, however, are set at naught, and the action of the 
 Venus of Melos settled, if there be truth in the following evidence of 
 its condition when found, as quoted by O’Shea in his “Galleries of the 
 Louvre.” The eminent traveler Dumont D’Urville landed from the 
 French frigate soon after its discovery, and after an inspection, says in 
 his account of it, published in 1821: “The statue was in two parts, and 
 about six feet high, representing a nude female ’whose left hand 
 
CAST FROM VENUS OF MELOS 
 (See No. 1020) 
 
22 
 
 Casts from Antique Sculpture 
 
 1024 
 
 EUTERPE 
 
 Original Marble, in the Louvre H., 4 ft. 6 in. 
 
 Formerly in the Villa Borghese, Rome 
 The head is ancient, but does not belong to the statue. The nose, 
 mouth, and chin are modern; also the neck, the right hand, and por¬ 
 tion of the arm. 
 
 1025 
 
 DIANA DI GABII 
 
 Original Marble, in the Louvre H., 6 ft. 5 in. 
 
 Found in 1792 in the neighborhood of Gabii, about ten miles from 
 Rome. At first it belonged to the Borghese Collection; since 1808 it 
 has been in the Louvre. The right hand and the lower part of the left 
 leg are restorations. 
 
 1027 
 
 ABUNDANCE, or PLENTY 
 
 Original Marble, in the Vatican H., 6 ft. 11 in. 
 
 It has the cornucopia in the left hand, while the right holds a rudder 
 resting on a globe, thus indicating Commerce as a source of Plenty. 
 
 1028 
 
 MINERVA 
 
 Original Marble, in the Vatican H., 7 ft. 3 in. 
 
 Found in Rome near the Church of S. Maria Sopra Minerva, which, 
 as its name implies, was built over a temple of Minerva. During the 
 time of the first Napoleon it belonged to Lucien Bonaparte. He sold 
 it to Pius VII, who removed it to the Vatican. 
 
 1029 
 
 GENIUS OF ETERNAL REPOSE 
 
 Original Marble, in the Louvre H., 5 ft. 11 in. 
 
 The statue is of Pentelic Marble; but it is of the Roman period, as is 
 shown by the fact that the pupils of the eyes are indicated. This is one 
 of the statues that belonged to the collection of the Cardinal Mazarin, 
 and was one of those which were left by him to the Due de Meilleraye, 
 who took the arms and the name of the Cardinal, and who, when he 
 got the statues, did with his own hands a lot of smashing to prove the 
 absolute purity of his thoughts and his abhorrence of the nudities of 
 
Casts from Antique Sculpture 
 
 23 
 
 Greek mythology. The statute has been broken in two, and all the 
 front part of it has been banged and battered. It was so mutilated 
 that at one time it passed for an Hermaphrodite. The restorations are 
 good, and the statue is recognized as a work of excellent art. Whether 
 the original composition was of Greek or of Roman art cannot as yet 
 be determined. 
 
 1030 
 
 GERMANICUS (so-called) 
 
 Original Marble, in the Louvre H., 5 ft. 11 in. 
 
 Of Parian Marble. Place and date of discovery unknown, but in 
 Italy, and probably during the last half of the 16th century. In 1685 
 it was sold by Cardinal Savelli to Louis XIV, together with the so- 
 called Jason; and placed first at Versailles, afterwards in the Louvre. 
 Some consider it to be a statue of a Roman orator, in the character 
 of Mercury, the god of eloquence, of whom the tortoise below the 
 drapery is an emblem. It is inscribed, “Cieomenes, son of Cleomenes, 
 made this.” The thumb and forefinger of the left hand are the only 
 restorations. 
 
 1031 
 
 ANTINQUS OF THE CAPITOL 
 
 Original Marble, in the Capitoline Museum H., 5 ft. 10in. 
 
 Found in Hadrian’s Villa, near Tivoli; placed in the Museum by Pope 
 Clement XII. 
 
 1032 
 
 THE BORGHESE WARRIOR 
 
 Original Marble, in the Louvre 
 
 K.. 5 ft., and from head to foot, 6 ft. 6 in. 
 
 This statue was found on the coast near Antium, early in the 17th 
 century, very near the spot where, a century before, the Apollo Belve¬ 
 dere was found. The stem supporting it is inscribed in Greek letters, 
 “Agaslas, son of Dosltheas, of Ephesus, made me!” and therefore it is 
 a specimen of Greek sculpture of the Fourth Epoch, that ended with 
 the Roman conquest. It is now asserted that this statue does not 
 represent a gladiator, but a foot-soldier, defending himself against a 
 horseman ; and that gladiators were principally slaves, who fought with 
 more or less armor. Viardot insists that it is Greek, and represents an 
 athlete of the Hellenic games, gladiators being of Roman origin, and 
 not known to the Greeks. 
 
24 
 
 Casts from Afitique Sculpture 
 
 1033 
 
 GROUP OF LAOCOON AND HIS SONS 
 Original Marble, in the Vatican H., 6 ft. y 2 in. to top of head 
 
 Date probably B. C. 100 
 
 The original was executed by three sculptors—Agesandros, Atheodo- 
 ios, and Polydoros. It was found in 1506, in the ruins of the Palace 
 of Titus, on the Esquiline, Rome, and the Pope ordered a public fes¬ 
 tival in honor of its discovery. 
 
 The right arm of Laocoon was wanting in the group as found. One 
 in terra-cotta, by Bernini, was substituted. Michael Angelo designed 
 cne in marble, but never finished it. Lubke and other writers insist 
 that the right arm was not originally in the position given to it by the 
 great sculptor, but was bent down behind the head, which was thus 
 supported by the hand in that moment of exhausted agony. This posi¬ 
 tion of the arm is often given in engravings. 
 
 1034 
 
 APOXYOMENOS 
 
 Marble, in the Vatican H., 6 ft. 5)4 in. 
 
 This cast represents an athlete scraping from his arm with the strigil 
 the sand and oil of the arena. Athletes were contestants in the public 
 games, and before entering the arena rubbed their naked bodies over 
 with oil. The original, in bronze, executed by Lysippos, was found 
 in the Trastavere, Rome, in 1849. Agrippa had it placed in front of 
 the Thermae, near the Pantheon, and it was so popular that when 
 Tiberius attempted its removal to his own residence the people rose 
 and forbade it. 
 
 It is believed that the five-spot on the die (tessera) held out in the 
 right hand signifies that the figure came out fifth in the contest, though 
 Waldstein says the die was placed in the restored right hand on the 
 strength of a misinterpretation of some words of Pliny. 
 
 1035 
 
 BUST OF NERO 
 
 Original Marble, in the Louvre H., 1 ft. 11 in. 
 
 1037 
 
 SILENUS HOLDING THE INFANT BACCHUS 
 Original Marble, in the Louvre H., 6 ft. 4 in. 
 
 The original of this cast was found in the 16th century in Rome, in 
 the gardens of Sallust. The hands, half of the right forearm, and right 
 toes of Silenus, and left leg of Bacchus are restorations. 
 
Casts from Antique Sculpture 
 
 25 
 
 1038 
 
 VENUS KALLIPYGE 
 
 Original Marble, in the Naples Museum H., 5 ft. 1 in. 
 
 So called from the Greek definition of its peculiar character. It was 
 once in the Farnese Palace, Rome. The head and the fight leg below 
 the knee are supposed to be restorations. 
 
 1039 
 
 BOY AND GOOSE 
 
 Original Marble, in the Vatican H., 2 ft. 9J4 in. 
 
 Found in 1789, at Civita Vecchia, Appian Way. It is thought to be 
 copied from a bronze work by Boetius, of Carthage. Heads of the 
 child and goose, with the wing-tips, are restorations. 
 
 1040 
 
 YOUTH SUPPLICATING 
 
 Original Bronze, at Berlin H., 4 ft. 2 y 2 in. 
 
 The original of this statue is said to have been found in the Tiber. 
 From Clement XI it passed through several hands to the King of Prus¬ 
 sia. The right hand and part of the forearm are restorations. 
 
 1041 
 
 THE BORGHESE MARS 
 
 Original Marble, in the Louvre H., 6 ft. 9 in. 
 
 The original of this cast was formerly in the Villa Borghese, whence 
 its name. Its proper name is doubtful. Clarac thought it a copy of a 
 bronze by Alcamenes, favorite pupil of Phidias. Visconti first gave it 
 the name of Achilles, but Winckelmann thinks it a statue of Mars, and 
 that the ring or anklet indicated the custom of the Spartans of chain¬ 
 ing up the God of War, “that he might never leave them.” 
 
 1042 
 
 HERMES OF THE BELVEDERE 
 
 Original Marble, in the Vatican H., 6 ft. 6 in. 
 
 Probably found about 1542 in a garden near the Castle of St. Angelo 
 (Michaelis). Purchased by Paul III, and placed by him in the Belve¬ 
 dere of the Vatican. There are no restorations. The right leg was 
 broken between the ankle and hip, and is not well joined to the foot. 
 
26 
 
 Casts from Antique Sculpture 
 
 1043 
 
 CROUCHING VENUS 
 
 Original Marble, in the Vatican H., 2 ft. 8J4 in. 
 
 The original statuette was found at Salone, on the road from Rome 
 to Palestrina. The left hand, right forearm, and upper part of the head 
 are modern. 
 
 1044 
 
 VENUS AT THE BATH 
 
 Original Marble, in the Louvre H., 2 ft. 3 in. 
 
 APOLLO SAUROKTONOS (Lizard-Killer) 
 
 Much of this figure is of modern restoration. It is supposed to be a 
 copy of the Venus of Polycharmes, which Pliny says was taken to 
 Rome in his time. 
 
 1045 
 
 BONE-PLAYER 
 
 Original Marble, in the Louvre H., 2 ft. in. 
 
 The original of this statue was found at Rome in 1730. The right 
 hand, neck, and left shoulder are modern. 
 
 1046 
 
 THE VIRGIN AND CHILD 
 
 Original in the Cathedral of Paris H., 8 ft. 9 in.; W., 4 ft. 6 in. 
 
 12th century. Sculptor unknown. 
 
 1047 
 JULIA 
 
 Original Marble, in the Vatican H., 4 ft. 5J4 in. 
 
 The original of this statue was found on the coast of Barbary, at Ben 
 Ghuzi, and is sometimes called A Young Roman Girl. 
 
 1048 
 
 DEMOSTHENES 
 
 Original Marble, in the Vatican H., 6 ft. 5 in. 
 
 Formerly in the Villa Aldobrandini at Frascati. Restorations: Both 
 wrists and hand, with the scroll. 
 
 Perhaps a copy of the bronze portrait statue by Polyeuktus at Athens, 
 3d century B. C .—\W aid stein] 
 
Casts from Antique Sculpture 
 
 27 
 
 1049 
 
 SOPHOCLES 
 
 Original Marble, in the Lateran, Rome H., 6 ft. 8J4 in. 
 
 Found at Terracina in the court of a private house. Probably a copy 
 of a bronze original of the 4th century at Athens.—[ fValdstein.'] 
 
 1050 
 
 ARISTIDES, or AiSCHINES 
 
 Oiiginal Marble, in the Naples Museum H., 6 ft. 6 in. 
 
 Found in Herculaneum in 1753, in fragments. 
 
 1051 
 
 BUST OF SOCRATES 
 
 Original Marble, in the Louvre H., 1 ft. 8 in. 
 
 “The portraits of Socrates date back to a bronze statue of him made 
 by Lysippos and erected at Athens after his death. The features of this 
 bust correspond well with the description put into Socrates’ own mouth 
 by Plato.” 
 
 1053 
 
 BUST OF HOMER 
 
 Original Marble, in the British Museum H., 1 ft. 9J4 in. 
 
 The original of this bust was found at Baiae in 1780. There are 
 many copies. 
 
 1054 
 
 COLOSSAL BUST OF JUPITER 
 
 Original Marble, in the Vatican H., 2 ft. 8J4 in. 
 
 The original in marble of this cast was found at Otricoli, a small 
 town about fifty miles north of Rome, built near the site of the ancient 
 Otriculum. 
 
 1055 
 
 CARYATID 
 
 Original Marble, in the Vatican H., 7 ft. 5 in. 
 
 The original of this figure is from the Erechtheum at Athens. It is 
 one of the six statues of noble Athenian maidens which support the 
 light roof of the southern porch of the temple. 
 
28 
 
 Casts from Antique Sculpture 
 
 1056 
 
 POLYHYMNIA 
 
 Original Marble, in the Louvre H., 5 ft. 11 in. 
 
 The statue was once in the Villa Borghese. Only the lower half is 
 said to be antique, the remainder being restored by Augustino Penna 
 from a bas-relief on a sarcophagus in the Capitol. 
 
 1057 
 
 APOLLO SAUROKTONOS (Lizard-Killer) 
 
 Original Marble, in the Louvre H., 4 ft. 10)4 in. 
 
 Found among the ruins of the house of Augustus in the Palatine, 
 during the excavations of the Abbe Rancoureil in 1777. It is mentioned 
 by Pliny as a work of Praxiteles. “The meaning of the lizard is some¬ 
 what doubtful. It is known that the lizard had certain magic prop¬ 
 erties attributed to it, and was used in incantations; but in this group 
 
 many critics prefer to see only a genre subject,—Apollo, as a boy, try¬ 
 
 ing to ‘stalk’ and pierce the lizard, simply as an exercise of agility, the 
 animal being extremely quick in its movements.”—[ Waldstein .] 
 
 1058 
 FLORA 
 
 Original Marble, in the Capitoline Museum, Rome H., 5 ft. 5)4 in. 
 
 1059 
 
 PUDICITIA 
 
 Original Marble, in the Vatican H., 4 ft. 6)4 in. 
 
 Formerly in the Villa Mattei. Placed in the Vatican by Clement 
 XIV. The statue derived its name from the long, full drapery and the 
 veiled head and shoulders, which are considered appropriate attributes 
 of the Goddess of Modesty. The name has been questioned, how¬ 
 ever, the statue being considered by some authorities as a portrait of 
 Livia, wife of Augustus. 
 
 1060 
 
 CENTAUR AND CUPID 
 
 Original Marble, in the Louvre H., 4 ft. 6)4 in. 
 
 The original of this cast was found at Villa Fonesca. There is 
 another in the Vatican, and it is doubtful which is the copy. The 
 winged figure is thought by Viardot to be a Bacchus, and not Cupid, 
 as he has an ivy wreath. 
 
Casts from Antique Sculpture 
 
 29 
 
 1061 
 
 DAUGHTER OF NIOBE 
 
 Original Marble, in the Vatican H., 5 ft. 6 in. 
 
 Discovered possibly in Hadrian’s Villa in the 16th century. For¬ 
 merly in the Papal gardens of the Quirinal. There are no restorations. 
 
 1062 
 
 FAUN OF THE CAPITOL 
 
 Original Marble, in the Capitoline Museum, Rome H., 5 ft. 7 in. 
 
 (The “Marble Faun” of Hawthorne) 
 
 Found in 1701 near Civita Lavinia, where there was formerly a Villa 
 of Antonius Pius. Placed in the Museum of the Capitol by Benedict 
 XIV in 1753. 
 
 1063 
 
 FAUN, WITH KID 
 
 Original Marble, at Madrid H., 4 ft. 5 in. 
 
 1064 
 
 FAUN (a la Tache) 
 
 Original Marble, in the Louvre H., 1 ft. 10 in. 
 
 This bust of a laughing Faun takes its French designation from a 
 spot or stain on the right cheek and shoulder of the original marble. 
 
 1065 
 
 ATHLETE 
 
 Original Marble, in the Glyptothek, Munich H., 4 ft. 9% in. 
 
 Date and place of discovery unknown. It represents an athlete pre¬ 
 paring for a contest in the public games. 
 
 1066 
 
 DYING GALATIAN 
 
 Original Marble, in the Capitoline Museum, Rome 
 
 H., 1 ft. 11 in.; L., 5 ft. 11 in. 
 
 Found in Rome in the 16th century. Formerly in the Villa Ludovisi, 
 from which it was carried to the Capitol by Clement XII (1730-1740). 
 
 Restorations: The end of the nose, the right hand and arm, part of 
 the left knee, the toes, and part of the plinth, including the sword and 
 a portion of the horn. 
 
30 
 
 Casts from Antique Sculpture 
 
 It is now generally supposed that this and the group No. 1092 (Ga¬ 
 latian and His Wife) are copies in marble of two of those erected in 
 Pergamon. 
 
 1067 
 
 APHRODITE ARRANGING HER HAIR 
 Original in the Vatican H., 4 ft. 10 in. 
 
 Aphrodite is represented in one of the many toilet scenes, chiefly 
 connected with the bath, in which she served as a subject for the later 
 Greek artists. 
 
 1068 
 
 MERCURY IN REPOSE 
 
 Original in the Museum, Naples H., 3 ft. 6 in. 
 
 The original, in bronze, of this cast is classed among the finest of 
 ancient date, and was found in Herculaneum in 1758. Its base is the 
 only modern part. The left hand is supposed to have held the caduceus. 
 
 1069 
 
 APOLLO BELVEDERE 
 
 Original Marble, in the Vatican H., 7 ft. 1 in. 
 
 The original of this statue was discovered at Cape d’Anzo (Antium) 
 in 1503. Bought by Julius II, when still a cardinal, it was placed by 
 him, when Pope, in the Belvedere of the Vatican. The name of its 
 sculptor is unknown. Its date is placed at B. C. 279. Canova and 
 Visconti think it is a copy from an ancient bronze by Calamus. The 
 left hand and wrist and the fingers of the right hand were restored by 
 G. A. da Montorsoli, pupil of Michael Angelo. Undoubtedly many 
 copies of the original were made; and a bronze copy discovered in 1792 
 at Paramythia, and now at St. Petersburg, in the judgment of some 
 has changed entirely the meaning of the action of the figure. Apollo 
 is here represented as holding a bow and discharging an arrow at the 
 serpent Python, sent by Juno to destroy his mother, Latona. In the 
 bronze statuette referred to there is no tree-trunk (necessary to sup¬ 
 port a figure in marble), but the left hand holds a shield bearing the 
 head of Medusa, supposed to turn all gazers into stone, and which 
 Homer, in the Iliad, xv, 318, says Jupiter lent to Apollo. Dr. Liibke 
 accepts this explanation of the action of the figure, and says, “Not 
 until now have we understood the statue.” Waldstein says: “The 
 statue is not an original work, but a copy, whether from bronze or 
 marble is uncertain.” After the delivery of a message the god is 
 resting before he starts with another. The motive is often found 
 
Casts from Antique Sculpture 
 
 31 
 
 on gems and reliefs. Winckelmann calls attention to the manner in 
 which the sandals are fastened. The buckle where the straps meet is 
 directly under the sole of the foot, showing that the god did not walk, 
 but flew. 
 
 1070 
 
 COLOSSAL MASK OF JUNO 
 
 H., 3 ft. 3 in. 
 
 From a copy, in marble, in the Villa Ludovisi, Rome, probably after 
 Alcamenes. 
 
 1071 
 
 MELEAGER 
 
 Original Marble, in the Vatican H., 6 ft. 6J4 in. 
 
 The original was found in Rome, and is supposed to be of the time 
 of Hadrian, A. D. 76-136. 
 
 1072 
 
 BUST OF MENELAUS, or AJAX 
 
 Original Marble, in the Vatican H., 3 ft. 
 
 The original of this bust was found at Hadrian’s Villa, Tivoli, and is 
 commonly, but erroneously, known as Ajax. Visconti satisfactorily proved 
 it to be Menelaus. Bas-reliefs of Hercules fighting with Centaurs are 
 on the helmet. 
 
 1073 
 
 TORSO OF HERCULES (the BELVEDERE TORSO) 
 
 Original Marble, in the Vatican H., 4 ft. 1)4 in. 
 
 Date and place of discovery unknown. It was taken from the 
 Palazzo Colonna to the Belvedere of the Vatican during the pontificate 
 of Clement VII (1523-1534). There are no restorations. 
 
 This figure was one of the chief promoters of sculpture during the 
 Renaissance. Michael Angelo regarded it with enthusiastic admiration, 
 and declared himself its pupil. Its influence has not declined with the 
 development of modern knowledge of Greek art, as it still retains its 
 place among the grandest statues of Rome. 
 
 1074 
 JASON 
 
 Original Marble, in the Louvre H., 5 ft. 2 in.; W. 3 ft. 
 
 Formerly in Rome, in the Palazzo Savelli; later in the Villa Montalto. 
 Purchased of Cardinal Savelli for Louis XIV in 1685, and by him 
 placed at Versailles, whence it was subsequently removed to the Louvre. 
 
32 
 
 Casts from Antique Sculpture 
 
 This statue has been called Mercury and Cincinnatus, but is now 
 considered to represent the famous leader of the Argonauts, hurriedly 
 tying on but one sandal in his haste to seek his uncle, Pelias, usurper of 
 his father’s throne, and who had been warned by an oracle to beware 
 of the “one-sandalled man.” 
 
 1075 
 
 BUST OF PERICLES 
 
 Original Marble, in the British Museum H., 1 ft. 10J4 in. 
 
 1076 
 
 BUST OF PERIANDER 
 
 Original Marble, in the British Museum H., 1 ft. 7 in. 
 
 One of the Seven Sages of Greece. 
 
 1077 
 
 BUST OF JULIUS CzESAR 
 
 Original Marble, in the British Museum H., 1 ft. 2 in. 
 
 1078 
 
 THE “SPINARIO” 
 
 Original Bronze, in the Palazzo dei Conservatori, Rome H., 2 ft. 4J4 in. 
 
 The date and place of discovery unknown, and possibly the statue 
 never was buried (Michaelis). The first date definitely associated with 
 it is 1471, when it was one of the few ancient sculptures with which 
 Sixtus IV founded the Capitoline Collection. After the treaty of To- 
 lentino, in 1797, it was carried to France by Napoleon, but subsequently 
 returned. There are no restorations. 
 
 1079 
 
 HEAD OF ALEXANDER THE GREAT 
 Original Marble, in the British Museum H., 1 ft. 2J4 in. 
 
 1080 
 
 HEAD OF DIOGENES 
 
 Original Marble, in the British Museum H., 1 ft. 2 in. 
 
 1081 
 
 BUST OF DIONE 
 
 Original Marble, in the British Museum 
 
 H., 1 ft. 11^ in. 
 
Casts from Antique Sculpture 
 
 33 
 
 1082 
 
 BUST OF CLYTIE 
 
 Original Marble, in the British Museum 
 
 1084 
 
 BUST OF TRAJAN 
 
 Original Marble, in the British Museum • H., 1 ft. 11 in. 
 
 The original of this bust was found in the Campagna of Rome in 1776. 
 
 1085 
 
 BUST OF ISIS 
 
 Original Marble, in the British Museum II., 1 ft. 11)4 in. 
 
 The Egyptian Goddess, with the lotus flower above her forehead, is 
 here represented unveiled. 
 
 1086 
 
 THE WRESTLERS 
 
 Original Marble, In Uffizi Gallery, Florence H,, 3 ft. 
 
 Found in 1583 near the Lateran, Rome. First in the Villa Medici, 
 Rome; removed to Florence in 1677. 
 
 1087 
 
 DIANA HUNTRESS 
 
 Original Marble, in the Louvre H., 6 ft. 6 in. 
 
 Also called Diana of Versailles. The statue was brought to France 
 during the reign of Francis I. It derives the latter name from the fact 
 that Louis XIV had it removed to Versailles. It was found in the 
 Louvre in 1798. 
 
 1088 
 
 AUGUSTUS C/T.SAR 
 
 Original Marble, in the Louvre 
 
 H., 6 ft. 10 in. 
 
 1089 
 
 HERMES WITH THE INFANT DIONYSOS 
 Original Marble, in the Museum at Olympia H., 7 ft. 2 in. 
 
 The original of this cast was discovered at Olympia, in the Heraeum 
 (Temple of Hera), May 8, 1877. Now in the Museum at Olympia. It 
 
34 
 
 Casts from Antique Sculpture 
 
 is known to be by Praxiteles, on the authority of Pausanias (2d cen¬ 
 tury A. D.), who saw and described it. Waldstein says: “This is the 
 only Greek statue in existence of which we can say, without hesitation, 
 that it comes directly from the hand of one of the greatest masters.” 
 
 All below the knee of Hermes is lost, save one foot (seen on the 
 plinth behind the cast). 
 
 1090 
 
 BUST OF LUCIUS VERUS 
 
 Original Marble, in the Louvre H., 2 ft. 10 in. 
 
 From the original found in Roma Vecchia. 
 
 1091 
 
 BUST OF MARCUS AURELIUS 
 
 Original Marble, in the Villa Borghese H., 2 ft. 11J/2 in. 
 
 1092 
 
 GALATIAN AND HIS WIFE 
 
 Original Group in Marble, in the Villa Ludovisi, Rome H., 6 ft. 10 in. 
 
 The date and place of discovery is unknown, but it has been in the 
 Villa Ludovisi since it was built, in 1632. 
 
 Restorations: On the man, most of the right arm, with the handle 
 of the sword and beginning of the blade, the lower half of the nose, 
 the left forearm and forefinger, and the part of the cloak which stands 
 out from the back. On the woman, the nose, the left arm above the 
 elbow, the right hand and wrist, the four smaller toes of the right foot, 
 the piece of garment that falls in front of the left shoulder. Also the 
 supports between the two figures, and small pieces inserted in various 
 places. 
 
 This group, like the Dying Galatian (No. 1066), is most probably 
 copied from the bronze figures erected by Attalos I at Pergamon in 
 commemoration of his victories over the Galatians or Mysian Gauls. 
 
 1093 
 
 BAS-RELIEF 
 
 From the Original Marble, in the Museo Bourbonico, Naples 
 
 According to the names on this cast, it represents Antiopa betweej 
 her sons, Zethus and Ampion, who released their mother from cruel 
 bondage by slaying their uncle, Lycus, her oppressor; but over the 
 figures of the original bas-relief are the names of Hermes (Mercury), 
 Eurydice, and Orpheus, indicating the meeting of the latter with his 
 lost wife in the realm of Pluto. 
 
Casts from Antique Sculpture 
 
 35 
 
 1094 
 
 FRAGMENT OF A WINGED FIGURE 
 From the Original Marble, in the Vatican 
 
 1095 
 
 ETRUSCAN ARM 
 
 Original Bronze, in the Vatican L., 4 ft. 
 
 Found in the harbor of Civita Vecchia in 1835, and supposed to be 
 part of a statue of Neptune. 
 
 1097 
 
 BUST OF ANTINOUS 
 
 Original Marble, in the Lourve H., 1 ft. 6 in. 
 
 1098 
 
 BUST OF ANTONIUS PIUS 
 
 Original Marble, in the Vatican H., 1 ft. 4 in. 
 
 The original was found by Gavin Hamilton, in Hadrian’s Villa. 
 
 1099 
 
 BUST OF COMMODUS 
 
 Original Marble, in the British Museum H. 1 ft. 4 in. 
 
 1100 
 
 BUST OF CARACALLA 
 
 Original Marble, in the Louvre H., 1 ft. 8 in. 
 
 1101 
 
 BUST OF VITELLIUS 
 Original Marble, in the Louvre 
 
 1102 
 
 HEAD OF APOLLO 
 
 Original Marble, in the British Museum H., 1 ft. 6J4 in. 
 
 Attributed to the school of Lysippus. 
 
 1104 
 
 SLAB FROM THE FRIEZE OF THE PARTHENON 
 From the Original (Elgin) Marble, British Museum 
 
36 
 
 Casts from Antique Sculpture 
 
 1105 
 
 FRAGMENT—A MASK 
 
 Original Marble, in the Vatican 
 
 1106 
 
 FRAGMENT—A HUNTER 
 
 Original Marble, in the Vatican 
 
 1107 
 
 FRAGMENT—A WALKING FIGURE 
 Original Marble, in the Vatican 
 
 1108 
 
 FRAGMENT—FRIEZE OF TRAJAN’S FORUM, ROME 
 Original Marble, in the Vatican 
 
 1109 
 
 BUST OF THE CROWNED AUGUSTUS (CAESAR) 
 
 Original Marble, in the Louvre H., 2 ft. 
 
 1110 
 
 BUST OF THE YOUNG AUGUSTUS (C/ESAR) 
 
 Original Marble, in the Vatican 
 
 H., 1 ft. 5J4 in. 
 
 1111 
 
 BUST OF SCIPIO AFRICANUS 
 
 Original Marble, in the Vatican 
 
 H., 2 ft. 1 in. 
 
 1114 
 
 HEAD OF SENECA 
 
 Original Marble, in the Louvre 
 
 H., 1 ft. 1 in. 
 
 1115 
 
 BUST OF EURIPIDES 
 
 Original Marble, in the Vatican 
 
 H., 1 ft. 9J4 in. 
 
 1116 
 
 BUST OF ARIADNE 
 Original Marble, Capitol Museum, Rome 
 Often called The Young Bacchus. 
 
 H., 2 ft. 10 in. 
 
Casts from Antique Sculpture 
 
 37 
 
 1117 
 
 BUST OF ANTINOUS AS BACCHUS 
 Original Marble, in the British Museum H., 2 ft. 
 
 The original of this head was found in the Villa Pamfili, with some 
 fragments of a wall-statue of which it had been a part. 
 
 1118 
 
 CAST OF A SMALL MODEL OF THE RUINS OF THE ACROPOLIS 
 
 AT ATHENS 
 
 1119 
 
 NIKE FROM SAMOTHRAKE 
 
 (Statue in the Louvre) H., 8 ft. 8 in. 
 
 Of Parian Marble. Found in the Island of Samothrake in 1863 by 
 M. Champoiseau, French Consul at Adrianople, and transported thence 
 to Paris. Excepting the pieces by which the fragments of the wings 
 are joined, there are no restorations. 
 
 This statue was set up by Demetrios Poliorketes to celebrate a naval 
 victory in 306 B. C. The custom of setting up such figures to com¬ 
 memorate victories had long been familiar to the Greeks. The Goddess 
 was represented as standing on the prow of a ship blowing a trumpet 
 and holding a trophy. The head and arms, with part of the wings, 
 are now wanting; but there is much to admire in what remains, in 
 the beautiful sweep of the drapery which is blown close around her 
 body by the wind, and floats out beyond on her left side. 
 
 (See No. 1127. A reduced copy of the statue, including the pedestal.) 
 
 1120 
 
 POSEIDIPPOS 
 
 Pentelic Marble (Seated Statue, in the Vatican) H., 4 ft. 5)4 in. 
 
 Restorations: The end of the nose and the left thumb. 
 
 Poseidippos, whose portrait is identified by the inscription on the 
 base, was the last of the poets of the New Attic Comedy, and flourished 
 after the death of Menander, 291 B. C. 
 
 1121 
 
 MENANDER 
 
 Pentelic Marble (Seated Statue, in the Vatican) H., 5 ft. 
 
 Date of discovery unknown. Together with its neighbor, Poseidippos, 
 No. 1120, it appears to have stood for several centuries in the Church 
 of St. Lorenzo in Panisperna on the Viminal, Rome, whence they were 
 
38 
 
 Casts from Antique Sculpture 
 
 removed by Sixtus V (1585-1590) to his Villa Montalto, now Grazioli. 
 They remained there until the time of Pius VI (1775-1800), who pur¬ 
 chased and removed them to the Vatican. 
 
 Restorations: The left hand, with the scroll; the end of the nose; 
 and part of the right foot. 
 
 Menander died in 291 B. C., at the age of fifty-two, and this por¬ 
 trait evidently represents him in the last years of his life. 
 
 1122 
 
 BOXER RESTING 
 
 H., 4 ft. 3 in. 
 
 Original Bronze, in the collection of the National Government in the 
 Baths of Diocletian, Rome. 
 
 Found in the spring of 1885 among the foundation-walls of Aurelian’s 
 Temple of the Sun, on the Quirinal Hill, Rome. 
 
 Restorations: The end of the left thumb, a piece of the right thigh, 
 and the seat. 
 
 1123 
 
 THREE SLABS IN RELIEF 
 
 From the Original in Marble, in the National Museum, Athens, 
 Greece. 
 
 The middle slab represents the musical competition between Apollo 
 and the flute-player Marsyas, with the Scythian between them pre¬ 
 pared to flay the defeated competitor. On the other two slabs are six 
 muses with their instruments. 
 
 Gift of Miss Bessie J. Kibbey. 
 
 1124 
 
 PHOTOGRAPHS OF THE RUINS OF THE PARTHENON AT 
 
 ATHENS 
 
 Giving a view of the East Pediment, from which was taken the statues 
 represented by the casts on the two large pedestals. 
 
 1125 
 
 PHOTOGRAPH OF THE ACROPOLIS from the Stadium Hill 
 
 1126 
 
 PHOTOGRAPH OF THE ACROPOLIS from the Hill of the Nymphs 
 
Casts from Antique Sculpture 
 
 39 
 
 1127 
 
 Reduced copy of Nike from Samothrake, including original pedestal. 
 (See No. 1119) 
 
 1128 
 
 SATYR PLAYING THE SCABELLUM (Dancing Faun) 
 
 Original Marble, in the Gallery of the Uffizi, Florence H., 4 ft. 10)4 in. 
 
 Date and place of discovery unknown. Restorations: The greater 
 part of the head, both arms, the left heel, toes of the right foot, and 
 possibly the tail.—[ Dutschke .] 
 
 1129 
 
 ANAKREON, THE LYRIC POET OF TEOS 
 Original Marble, in the Villa Borghese, Rome H., 5 ft. 7 in. 
 
 Seated figure. Discovered in the 16th century at Monte Calvo, in 
 Sabina.—Restoration: The nose. 
 
 1130 
 
 MARS AND CUPID 
 
 Original Marble, in the Villa Ludovisi, Rome H., 5 ft. 4 in. 
 
 Found near the Palazzo, Santa Croce, Rome. Executed in the second 
 half of the 4th century B. C. 
 
 The god Ares (Mars) is sitting in a careless, easy attitude, absorbed 
 in a dreamy reverie. His left knee is elevated and clasped by his hands. 
 The shield is resting, unusued, at his side; his left hand inactively and 
 almost absently holds the sword. The Cupid playing at his feet indi¬ 
 cates to us, moreover, that it is love for Venus which has overcome the 
 God of Battles. A mark on the left shoulder seems to indicate that 
 Venus herself stood behind him, and that thus originally the work was 
 a group. The treatment of the slender figure, especially the type of 
 head, with its refined features and flowing hair, calls to mind the Apoxy- 
 omenus of Lysippus. 
 
 1131 
 
 TRITON (Mezza) 
 
 Original in the Vatican H., 3 ft. 6 in. 
 
 Found by Giuseppe Buti at St. Angelo in the Tiburtino. 
 
 This is the statue between which and the Ceres of Cnidus Brunn 
 traces so many resemblances. If this Triton formed part of the famous 
 work by Scopas, then these resemblances offer an argument that the 
 Ceres was also by Scopas. The statue is but a torso; the parts from the 
 
40 
 
 Casts from Antique Sculpture 
 
 waist down are wanting, also the forearms. The grand style of this 
 extraordinary torso makes it one of the most beautiful and one of the 
 most precious of all representations of marine divinities. His features, 
 though mannered, are filled with an ideal beauty and a nobility which 
 make them becoming to a god, though we must refer them to a mon¬ 
 ster. The mouth, partly open, has an expression that is hardly human. 
 The scaly skin, tied under the throat, recalls the hide worn by Hercules, 
 or by the inebriate followers of Bacchus. The faun’s ears relate to 
 Bacchus, or they may have been added in order that, at the first glance, 
 a monster could be recognized. 
 
 1132 
 
 MEROPE AND zEPYTUS (ORESTES AND ELECTRA) 
 Original Marble, in the Villa Ludovisi, Rome H., 6 ft. 9 in. 
 
 Restorations: The right arm of yEpytus and the left hand of Merope. 
 
 This beautiful group, executed by the sculptor Menelaus, of Rome, 
 depicts the meeting of a mother with her long-lost son at the moment 
 when, as Welcker says, the first agitating emotion at meeting is fol¬ 
 lowed by calm and joy. After various interpretations have been at¬ 
 tempted, such as Penelope and Telemachus, Theseus and zEthra, Orestes 
 and Electra, Otto Jahn at length has given an explanation of the 
 scene which more than any other elucidates the work. It is .Epytus 
 who returns after a long absence to avenge his mother, Merope, on her 
 consort Polyphontes, the murderer of her first husband. In order to 
 make sure of the offender, zEpytus has assumed to be the murderer of 
 the son. Merope, beside herself with grief, is on the point of avenging 
 her child on the stranger, when the former pupil is recognized by an 
 old tutor, and the son is restored to the mother. This subject, which is 
 diamatically treated by Euripides, and also employed by the Roman 
 poet, Ennius, is depicted in the marble work at the touching moment 
 of recognition. The group exhibits fine action and depth of feeling; 
 but the execution, from the great care displayed in the arrangement of 
 the drapery, is not free from forced elegance, and this takes away from 
 the freshness of the first impression. 
 
 1133 
 
 I.’ARROTINO, BARBARIAN EXECUTIONER WHETTING HIS 
 KNIFE FOR THE FLAYING OF MARSYAS 
 
 Original Marble, in the Gallery of the Uffizi (Tribune, Florence) 
 
 H., 3 ft. 7 in.; L., 3 ft. 7 in. 
 
 Found between the years 1534 and 1538, at Rome. 
 
 Burckhardt, in his “Ciceroni,” ventures the supposition that the 
 statue is not antique, but a work of the time of Michael Angelo. He 
 
Casts from Antique Sculpture 
 
 41 
 
 even suggests that the great master himself was the designer. The 
 form of the head, the character of the hair, and shape of the eye are, 
 according to Burckhardt, essentially modern. 
 
 1134 
 
 THRONE OF THE TEMPLE OF VENUS, REPRESENTING THE 
 BIRTH OF VENUS 
 
 Original Marble, now in the National Museum, Rome 
 
 H., 2 ft. 11 in.; L., 4 ft. 8 in.; W., 2 ft. S in. 
 
 A work of the Archaic style. Discovered about the year 1893 in 
 the excavations of the Villa Boncompagni-Ludovisi, in Rome. 
 
 1135 
 
 ALEXANDER SARCOPHAGUS (so-called) 
 
 Original Pentelic Marble, in the Imperial Museum, Constantinople 
 
 H., 3 ft. 4 in.; L., 20 ft. 9 in. 
 
 Found at Sidon in 1887 
 
 The work, as placed on the wall, represents both sides of the sar¬ 
 cophagus—the battle side and the hunt side. 
 
 The photograph hanging over the work is, according to the statement 
 of M. Theodore Reinach, the distinguished archaeologist, a general 
 view of the most important of the Greek sarcophagi discovered in 1887, 
 in the necropolis of Azaa, near Saida, and transported to the new 
 museum at Constantinople. The monument is in Pentelic marble; its 
 length is 3.30 meters (10.8 feet), and its height about 2.S0 meters (8.2 
 feet). The photograph conveys some idea of the magnificence and 
 exquisite taste of the architectural decoration of this princely tomb. The 
 four sides and the two tympana of the pediments bear sculptures in 
 very high relief, of great finish in execution, and with rich polychrome 
 coloring, which remains in almost perfect preservation. The subjects 
 are episodes of hunting and war in which Greeks and Persians take 
 part, easily distinguishable by the difference of their dress. The figure 
 of Alexander the Great appears at least three times. It is plainly char¬ 
 acterized as well by the features, and the inclination of the head on the 
 left shoulder, as by the details of the costume—the royal fillet, the lion- 
 skin, the helmet with two large white plumes, etc. As this sarcopha¬ 
 gus is assigned by its style (which is very closely akin to that of the 
 sculptures of the Mausoleum of Halicarnassus in the British Museum) 
 to the last years of the 4th century B. C., it follows that we have 
 here the oldest and most authentic portraits of the King of Macedon ex¬ 
 ecuted, it may be, during his lifetime, or within a very short time after 
 his death. These portraits explain the title of ‘Sarcophagus of Alex¬ 
 ander,’ commonly given to our sarcophagus. It has been supposed that 
 it might have inclosed, if not the bones of Alexander the Great himself, 
 
42 
 
 Casts from Antique Sculpture 
 
 whose tomb was at Alexandria, at least those of one of his lieutenants. 
 But close study of the reliefs and even of the architectonic decoration, 
 
 in which appears distinctively Oriental motives, does not permit the 
 
 entertaining of that hypothesis. The sarcophagus is undoubtedly that 
 of a great Persian lord, satrap, or general, who, after fighting to the 
 end for his country’s cause, had at last joined the fortunes of the Mace¬ 
 donian conqueror and been admitted to his intimacy. In the compo¬ 
 sition which appears in our photograph this satrap occupies the place 
 of honor. He is fighting with a lion that has made a furious attack 
 
 upon his horse. Several hunters hurry to his aid. The one immedi¬ 
 
 ately to the satrap’s left is Alexander the Great, who wears the kingly 
 fillet, the buskins, and the purple mantle.” 
 
 Copied from the original by Joseph Lindon Smith 
 
 Born at Pawtucket, R. I., 1864. Pupil of Museum of Fine Arts, Bos¬ 
 ton; Julian Academy, in Paris. Member Mura! P. Copley Society, 
 Boston, 1882. 
 

CAST FROM THE EAST BRONZE GATE OF THE BAPTISTRY 
 AT FLORENCE 
 
 (See No. 1300) 
 
Casts from the Renaissance 
 
 (Date: Commencement of the 15th Century) 
 
 1300 
 
 CAST FROM THE EAST BRONZE GATE OF THE 
 BAPTISTRY AT FLORENCE 
 
 Lorenzo di Cione Ghiberti 
 
 Born 1378; died 1455. 
 
 These gates are historically of great interest, as they represent the 
 main work of a distinguished artist’s life; for Ghiberti, when he began 
 them, was forty-six years of age, and when he finished them he was an 
 old man of seventy-four. 
 
 (The gates were finished in 1447, but they were not gilded until the 
 month of April, 1452.) 
 
 This cast was brought from the South Kensington Museum, Lon¬ 
 don, and consists of ten square panels containing designs from the 
 Old Testament, each design illustrating three or four incidents. 
 
 The left highest panel shows the Creation of Adam and Eve, the For¬ 
 bidden Fruit, and the Expulsion from Eden. On the right panel op¬ 
 posite are the Offerings of Cain and Abel, the Killing of Abel, Man’s 
 Labor, and Cain with his Maker. 
 
 The left panel below has the Ark after the Deluge, Noah’s Sacrifice 
 and Inebriation. On the right are the Sacrifice of Isaac, Servants at 
 the Foot of the Mount, and Abraham with the Three Angels. 
 
 The left central panel contains Jacob and Esau; and on the right, 
 Joseph and His Brethren, Their Cruelty, Their Meeting in Egypt, and 
 the Cup in Benjamin’s Sack. 
 
 The left panel below the center shows Moses Receiving the Law, 
 and the People at the Foot of the Mount. On the right are Joshua be¬ 
 fore Jericho, and the Division of the Tribes. 
 
 The lowest panel on the left contains David and Goliath; and on 
 the right, Solomon and the Queen of Sheba. 
 
 Among the statuettes in the upright panels are Samson with the Pil¬ 
 lar, Joshua in Armor, Judith with the Head of Holofernes, Jephthah’s 
 Daughter. Among the heads are two on a line with the top of the sec¬ 
 ond panel, representing the artist Ghiberti (the bald one on the right) 
 and Bartoluccio, his father-in-law. 
 
 The outer panels, bearing fruits and flowers, were finished by Ghi¬ 
 berti’s son, the artist having died ere the completion of his work, 
 at the age of seventy-four years. 
 
 The cast of this gate, as it stands, is 18 feet 2 inches high by 12 feet 
 
 6 inches wide, exclusive of the frame, which makes it altogether 19 feet 
 
 7 inches high by 14 feet 6 inches wide. 
 
 43 
 
44 
 
 Casts from Renaissance 
 
 1300A 
 
 SACRIFICE OF ISAAC 
 
 Size (inside of case), 17 in. x 17 in. 
 Lorenzo di Cione Ghiberti 
 Born 1378 ; died 1455. 
 
 This is the so-called trial plate which Ghiberti designed and executed 
 when he competed for the commission of the Gates of the Baptistry, 
 Florence. 
 
 1301, 1302, 1303, 1304, 1305, 1306, 1307, 1308, 1309 
 GROUP OF NINE BAS-RELIEFS OF NYMPHS OF THE 
 FOUNTAIN OF INNOCENTS 
 From the Original Marbles, in the Louvre 
 
 Jean Goujon 
 
 Born, at Paris, 1530; died 1572. He has been called the restorer 
 of sculpture in France. (Two of these bas-reliefs inserted in wall at 
 head of main stairway.) 
 
 1310 
 
 BAS-RELIEFS OF THE FOUR EVANGELISTS 
 Original in Marble, in the Louvre, from the Roodloft of St. Germain 
 l’Auxerrois. The small panels represent Religion, Faith, and Strength. 
 Jean Goujon 
 
 1311, 1312, 1313, 1314 
 BAS-RELIEFS OF SEA-NYMPHS 
 Original Marbles, in the Louvre, formerly in the Port St. Antoine 
 
 Jean Goujon 
 
 1315 
 
 BAS-RELIEF FROM THE TOMB OF CARDINAL AND 
 CHANCELLOR DUPRAT 
 Original Marble, in the Louvre 
 
 Jean Goujon 
 
 1316 
 
 BAS-RELIEF OF HISTORY RECORDING THE WORKS OF PRESI¬ 
 DENT J. A. DuTHOU, COUNSELLOR AND HISTORIAN 
 Original Bronze, in the Louvre 
 
 Francois Anguier 
 
 Born at Eau, in Normandy, 1604; died, at Paris, 1669. 
 
Casts from Renaissance 
 
 45 
 
 1317 
 
 BAS-RELIEF OF VICTORY 
 Original in the Louvre 
 
 Jacquet 
 
 1318 
 
 FLYING MERCURY 
 
 Original Bronze, in the National Gallery, Florence 
 
 Executed about 1560 H., 5 ft. 1 in. 
 
 Gio, or Gian, Bologna (John of Bologna) 
 
 Born at Douai, in Flanders, 1524; died 1608. 
 
 1319 
 
 DAVID WITH HEAD OF GOLIATH 
 
 Original Bronze, in the National Gallery, Florence H., 5 ft. 1 in. 
 
 Donato di Betto Bardi (Donatello) 
 
 Contemporary with Ghiberti; died 1468. 
 
 1320 
 
 THE THREE GRACES, or CHARITIES 
 Original Marble, in the Louvre. 1560 H., 6 ft. 6 in. 
 
 Germain Pilon 
 
 The date of his birth is not known with certainty; it has been given 
 as 1520 and as 1515. Died about 1590. 
 
 This example of the Renaissance of French sculpture was executed 
 for Catharine of Medicis in memory of her husband, Henry II of France, 
 whose heart was placed in the original urn, supported on the heads of 
 the three female figures, standing back to back, with linked hands, 
 upon a triangular pedestal. These figures represent Catharine herself, 
 the Duchesse d’Etampes, and Madame Villeroy, three of the fairest 
 women of that time. This work was cut out of a single block of marble. 
 The pedestal was made by a different hand, and bears on its three 
 faces inscriptions in Latin, to the following effect: 
 
 “Here Catharine has deposited the heart of the king, her husband, 
 wishing she could bury it in her own bosom.” 
 
 “The united heart of both testifies before men endearing love—a 
 subdued spirit before God.” 
 
 “The Three Graces (or Charities) rightfully bear on their heads a 
 heart once the seat of the graces (or charities)—a heart that aspired 
 to the highest things.” 
 
 This monument formerly stood in the Chapelle d’Orleans, Church of 
 the Celestins. 
 
46 
 
 Casts from Renaissance 
 
 1321 
 
 COLOSSAL BUST OF DAVID 
 
 H., 2 ft. 10 in. 
 
 Michael Angelo Buonarroti 
 Born 1475; died 1564. 
 
 This cast is taken from the original colossal statue in marble, 19 feet 
 high, in Florence, representing David about to hurl the stone at Goliath. 
 
 1322, 1323 
 
 THE PRISONERS, or SLAVES 
 
 Original Marble, in the Louvre H., 7 ft. 3 in. 
 
 Michael Angelo Buonarroti 
 
 These statues were designed for a grand monument to Pope Julius II, 
 planned by Michael Angelo, but never executed. The artist gave them 
 to a friend who had nursed him in illness, and he presented them to 
 Francis I, who in turn gave them to the Constable Montmorency for his 
 Chateau d’Ecouen. During the troubles of the Revolution in 1793 
 they were found in the stable of the Due de Richelieu, and were 
 bought for the Republic. They are now in the Louvre, and are the 
 only great works of Michael Angelo in France. They were taken to 
 Florence in 1875 to swell the memorials of the sculptor’s mighty genius 
 at the celebration of his birthday. 
 
 1324 
 
 CUPID 
 
 Original Marble, in the Kensington Museum H., 4 ft. 6 in. 
 
 Michael Angelo Buonarroti 
 This statue was brought from the Campagna Collection. 
 
 1325 
 
 SITTING STATUE OF LORENZO DE MEDICI 
 
 H., 5 ft. 8 in. 
 
 Michael Angelo Buonarroti 
 
 The original, in the Church of St. Lorenzo, Florence, with a similar 
 statue of his Brother, Giuliano, was erected by order of Pope Leo X. 
 Below them, on the curved tops of their sarcophagi, recline the figures 
 of Dawn and Twilight under Lorenzo, and Day and Night under 
 Giuliano. Reduced copies of these symbolic figures, Nos. 1339 to 1342, 
 furnish an idea of the general form of the monuments 
 
Casts from Renaissance 
 
 47 
 
 1326 
 
 HEAD OF THE STATUE OF GIULIANQ DE MEDICI 
 
 H., 1 ft. 6 in. 
 
 Michael Angelo Buonarroti 
 
 1327 
 
 MASK OF MOSES 
 
 H., 2 ft. 7 in. 
 
 Michael Angelo Buonarroti 
 
 From the original of the colossal statue of Moses, executed in marble 
 for the monument of Pope Julius II 
 
 1328 
 
 BAS-RELIEF OF AN ALTAR-PIECE 
 
 H., 4 ft. 3 in.; W., 4 ft. 4 in. 
 Mino da Fiesole 
 
 Born 1400; died 1486. 
 
 The original of this bas-relief in marble, in the Cathedral of Fiesole, 
 Florence, represents the Virgin between St. Remigius and St. Leonhard, 
 with the infant Jesus below, and St. John worshiping him. One of the 
 saints directs the sitting figure, holding a crutch, to the Saviour. 
 
 1329 
 
 BUST OF BISHOP LIONARDI SALUTATI 
 
 H., 1 ft. 10 in. 
 
 Mino da Fiesole 
 
 From the original marble monument in the Cathedral of Fiesole. 
 
 1330 
 
 FIVE BAS-RELIEFS 
 
 Each, H., 2 ft. 7 l / 2 in.; W., 2 ft. 5 Yx in. 
 Benedetto da Majano 
 
 Born 1442; died 1498. 
 
 These reliefs are from the marble pulpit of the Church of Santa 
 Croce, Florence, and represent scenes in the life of St. Francis, as 
 follows: 
 
 A 
 
 MARTYRDOM OF FIVE BRETHREN OF THE ORDER IN 
 MAURITANIA 
 
48 
 
 Casts from Renaissance 
 
 B 
 
 DEATH OF ST. FRANCIS 
 C 
 
 ST. FRANCIS RECEIVING THE STIGMATA, OR IMPRESS, 
 
 OF THE FIVE WOUNDS OF CHRIST 
 
 D 
 
 ST. FRANCIS WALKING, UNINJURED, THROUGH FIRE 
 BEFORE THE SULTAN 
 
 E 
 
 POPE HONORIUS CONFIRMING THE RULES OF THE 
 ORDER OF ST. FRANCIS 
 
 1331 
 
 HEAD OF ST. GEORGE 
 
 Donato di Betto Bardi (Donatello) 
 
 From the marble statue of St. George, clad in armor, with cross- 
 emblazoned shield, which stands in an external niche of Or San 
 Michele, Florence. 
 
 1332 
 
 BUST OF MATTEO PALMIERI 
 Benedetto da Majano 
 
 1333 
 
 BUST OF FILIPPO STROZZI 
 Benedetto da Majano 
 15th Century 
 
 1334 
 
 BUST OF PIETRO MELLINI 
 Benedetto da Majano 
 
 Originals, in Marble, of the above three busts are in Florence 
 15th Century 
 
 1335 
 DAY 
 
 1336 
 NIGHT 
 
Casts from Renaissance 
 
 49 
 
 1337 
 DAWN 
 
 1338 
 
 TWILIGHT 
 
 Michael Angelo Buonarroti 
 
 The above four statuettes are reduced copies from the originals over 
 the tomb of Lorenzo and Giuliano de Medici, at Florence. 
 
 1339 
 
 SINGING BOYS 
 
 Alto-relief. H., 3 ft. 5 in.; W., 2 ft. 2 m 
 
 Luca (Della Robbia) 
 
 Born 1400; died 1481. 
 
 Original in Marble, in the National Museum, Florence. It was made 
 about 1440 A. D., for the balustrade of an organ-loft, but never set up. 
 
 1340 
 
 ARTHUR, KING OF ENGLAND 
 
 Original in Bronze. Dated 1513 H., 6 ft. 11 in. 
 
 The monument of the Emperor Maximilian I occupies the centre of 
 the nave of the Franciscan Church, or Hofkirk, at Innsbruck. 
 
 Maximilian is represented in a kneeling posture on a massive marble 
 sarcophagus, surrounded by 28 statues in bronze of his heroic an¬ 
 cestors in the guise of mourners and torch-bearers. Among these 
 statues, and the finest of all, stands that of King Arthur, attributed 
 to Peter Vischer, of Nuremberg. 
 
 1341 
 
 THE VISITATION OF THE VIRGIN MARY TO ST. ELIZABETH 
 
 H., 4 ft. 9 in. 
 
 Original attributed to Luca Della Robbia, in the Church of San 
 Giovanni fuor Civitas-Pistoja. 
 
 1342 
 
 DEATH AND TRANSITION OF THE VIRGIN 
 
 H., J1 ft. 2 in.; W., 7 ft. 3 in. 
 Andrea di Cione Orcagna 
 Born near the beginning of the 14th century. 
 
 The original is a portion of the Marble Tabernacle of the Virgin in 
 the Chapel of Or San Michele, Florence. (Wall panel inserted at head 
 of main stairway.) 
 
50 
 
 Casts from Renaissance 
 
 1343 
 
 PI ETA GROUP 
 
 Original Marble, in the Chapel in St. Peter’s, Rome H., 5 ft. 10 in. 
 Michael Angelo Buonarroti 
 
 This statue was produced by Michael Angelo in 1499, when he was 
 just twenty-five years old. It is perhaps the most complete part of 
 modern sculpture—genuinely plastic in design and constructed with the 
 finest feeling. The form of the nude figure of Christ is treated with 
 such justness and modesty that the spiritual expression of the beautiful 
 head obtains its full effect. The whole work, however, culminates in 
 the noble and elevated sorrow expressed in the countenance of the 
 mother. 
 
 It is the only statue which Michael Angelo ever signed with his name. 
 This is cut on the Virgin’s shoulder-belt. 
 
 1344 
 
 SAINT JOHN BAPTIST 
 
 Original in Marble, in the National Museum, Florence H., 4 ft. 5 in. 
 Benedetto da Majano 
 
 Born 1442; died 1497. 
 
 1345 
 
 JUDITH AND HOLOFERNES 
 Original Bronze, in the Loggia de’ Lanzi, Florence, since 1504 
 
 H., 17 ft. 6 in. 
 
 Donato di Betto Bardi (Donatello) 
 
 Contemporary with Ghiberti. Died 1468. 
 
 After the expulsion of Piero de Medici it was taken from the Plazzo 
 de Medici to the Ringhiera of the Plazzo Vecchio. 
 
 1346 
 
 SEPULCHRAL MONUMENT—PORTRAIT EFFIGY OF 
 ILARIA DEL CARRETTO 
 
 Original in the Cathedral of St. Martino at Lucca 
 
 H., 3 ft. 10 in.; L., 7 ft. 6 in.; W., 3 ft. 
 Jacopo della Quercia 
 
 Paolo Giunigi, for the time being “Signore” or political master of 
 that city, had lost his wife Ilaria, daughter of the Marchese del Car- 
 retto, and desired to erect a monument to her memory. This was in 
 1413, and Jacopo della Quercia was employed on the work. He pro¬ 
 duced a rich example of that type of structure in which the effigy of 
 
Casts from Renaissance 
 
 51 
 
 the deceased reclines on a sarcophagus supported on a basement and 
 overarched by a decorated canopy, which had been first introduced into 
 Tuscan art by Giovanni Pisano in the 13th century, and survived with 
 little organic change, only with the substitution of classical for Gothic 
 forms of design and molding, until the time of Andrea Sansovino, in 
 the 16th. But within twenty years of the completion of Jacopo’s work 
 the fury of the Lucchese populace broke out against their ruler Giunigi. 
 He was overthrown and cast out of the city, and during the out¬ 
 break even the monument he had raised in honor of his wife was 
 desecrated. Its central figure, however, the recumbent effigy of the 
 lady, with the carved sarcophagus on which it rests, escaped de¬ 
 struction, and is still to be seen where it was then deposited—on the 
 floor of the church, near the entrance to the sacristy. 
 
 1347 
 
 BACCHUS 
 
 Original Marble, in the National Museum, Florence H., 4 ft. 8 in. 
 
 Jacopo Sansovino (1477-1570) 
 
 1348 
 
 ANDROMEDA DELIVERED FROM THE SEA-MONSTER BY 
 
 PERSEUS 
 
 From the Bronze Model in the National Museum, Florence 
 
 H., 2 ft. 10 in.; W., 3 ft. 2 in. 
 Benvenuto Cellini 
 
 1349 
 
 ARCHER (Bogenschutzen Group) 
 
 H., 3 ft. 10 in. 
 
 Attributed to Peter Vischer 
 
 From the Original Bronze in the Germanic Museum, Nuremberg. 
 It is a question whether we may regard the statue of Apollo as an 
 Archer, now in the Germanic Museum, formerly in the shooting-house 
 of the town, as a genuine work of Peter Vischer, but the model and 
 cast may be ascribed with certainty to one of his sons, and this is 
 partly confirmed by the date inscribed on the base, 1532.— [Hist. Sculp., 
 Liibk e .-\ 
 
the sun vow 
 
 By H. A. MacNeil 
 
 (See No. 2037) 
 
Modern Sculpture 
 
 .Antrakosky 
 
 Russian School 
 
 2001 
 
 Cast 
 
 HEAD OF ST. JOHN THE BAPTIST 
 
 Gift of Professor Louis Amateis. 
 
 H., 1 ft. 11 in. 
 
 Bartlett, Paul Wayland American School 
 
 Born New Haven, Conn., 186S. Pupil of Cavelier, Fremiet and Rodin, 
 in Paris. Member: National Sculpture Society, 1893 ; National Institute 
 of Arts and Letters; American Academy of Arts and Letters; Amer¬ 
 ican Art Association of Paris (acting president) ; Royal Academy 
 of Belgium (associate) ; Institute of France (corresponding) ; National 
 Academy of Design (associate), 1916; National Academician, 1917. 
 Awards: honorable mention, Paris Salon, 1887 ; gold medal, Pan-Amer¬ 
 ican Exposition, Buffalo, 1901; grand prize, St. Louis Exposition, 1904; 
 first medal, Liege Exposition, 1905; Chevalier of the Legion of Honor, 
 1895, Officer, 1908. 
 
 2002 
 
 MICHAEL ANGELO 
 
 Cast. Original Bronze, Reading Room, Library of Congress 
 
 H., 7 ft. 9 in. 
 
 Gift of the Sculptor. 
 
 Boschetti, B. Italian School 
 
 2003 
 
 STATUETTE OF AUGUSTUS CAESAR 
 Bronze. Original Marble, in Vatican, discovered in 1863 H., 3 ft. 
 
 Brooks, Richard Edwin American School 
 
 Born Braintree, Mass., 1865 ; died, Boston, Mass., May 2, 1919. Pupil 
 of T. H. Bartlett, in Boston; Colarossi Academy, in Paris, under Aube 
 and Injalbert. Member: National Sculpture Society, 1907; National 
 Institute of Arts and Letters. Awards: Honorable mention, Paris Salon, 
 1895 ; third class medal, Paris Salon, 1899; gold medal, Paris Exposition, 
 1900; gold medal, Pan-American Exposition, Buffalo, 1901; silver medal 
 for medals, Panama-Pacific International Exposition, San Francisco, 1915. 
 
 53 
 
54 
 
 Modern Sculpture 
 
 2004 
 
 MEMORIAL TO ELIPHALET FRASER ANDREWS 
 (Principal of the Corcoran School of Art, 1887-1902.) 
 
 Bronze. 1917. Placed in Art School Entrance. 
 
 H., 2 ft. 7 in.; W., 2 ft. 1 in. 
 Gift of former pupils of Mr. Andrews. 
 
 Brown, Henry Kirke American School 
 
 Born Leyden, Mass., February 24, 1814; died Newburgh, N. Y., 
 July 10, 1886. Pupil of Chester Harding. 
 
 2005 
 
 BUST OF VICE-PRESIDENT JOHN C. BRECKENRIDGE 
 Marble. H., 1 ft. 9 in. 
 
 Gift of George Taylor, Esquire. 
 
 Bush-Brown, Henry Kirke American School 
 
 Born Ogdensburg, N. Y., April 21, 1857. Pupil of National Academy 
 of Design, New York; and Henry Kirke Brown; studied in Paris and 
 Italy. Member National Sculpture Society, 1893 ; National Arts Club; 
 New York Architectural League, 1892; Society of Washington Artists. 
 
 2006 
 
 BUST OF DR. JAMES C. HALL 
 
 Bronze. 1880. H., 1 ft. 10 in. 
 
 2007 
 
 STATUETTE OF A COW 
 
 Bronze. 1883. H., 9 in. 
 
 Canova, Antonio Italian School 
 
 Born Possagno, Venetian Alps, 1757; died 1822. Pupil of his grand¬ 
 father, Pasino Canova; also Toretto, a sculptor. President of Acad¬ 
 emy of St. Luke. In 1816 given title of Marquis of Ischia, with an¬ 
 nual pension of three thousand crowns. 
 
 2008 
 
 VENUS FROM THE BATH 
 
 Cast. Original Marble in Florence. H., 5 ft. 6^4 in. 
 
 2009 
 
 COLOSSAL HEAD OF NAPOLEON I 
 Marble replica, by Canova, of his head of the colossal statue of 
 Napoleon I, modelled from the Emperor at Paris in 1805. 
 
 H., 2 ft. 4 in. 
 
THE GREEK SLAVE 
 By Hiram Powers 
 (See No. 2044) 
 
Modern Sculpture 
 
 55 
 
 2010 and 2011 
 
 THE TWO BRONZE LIONS in front of the main entrance to 
 the Gallery are copies from the originals in marble by Antonio Canova, 
 at the monument of Pope Clement XIII, St. Peter’s, Rome. 
 
 Caroni, Emmanuele Milanese School 
 
 2012 
 
 YOUTH AS A BUTTERFLY 
 
 Marble. H., S ft. 4 in. 
 
 Clodion, Claude Michel 
 B orn 1738; died 1814. 
 
 2013 
 
 BAS-RELIEF 
 
 Cast. 
 
 Cast. 
 
 2014 
 
 FAUNS 
 
 Conner, Jerome 
 
 Born Ireland, October 12, 1875. Self-taught. 
 
 French School 
 
 H., 2 ft. 5 in.; W., 4 ft. 5 in. 
 
 H., 1 ft. 9 in. 
 American School 
 
 2015 
 
 THOMAS MOORE 
 
 Bronze. H., 2 ft. 9 in. 
 
 Gift of Admirers of the Poet in the District of Columbia. 
 
 Crawford, Thomas American School 
 
 Born New York City, March 22, 1813; died London, October 16, 1857. 
 
 2016 
 
 THE PERI AT THE GATES OF PARADISE 
 Marble. H., 5 ft. 5 in. 
 
 This statue embodies the poem in “Lalla Rook,” by Thomas Moore. 
 
 Dunbar, Ulric Stonewall Jackson 
 
 Born London, Canada, January 31, 1862. Pupil of Frederick A. T. 
 Dunbar and Art School, Toronto, Canada. Member Society of Wash¬ 
 ington Artists. Awards: Bronze medal, Columbian Exposition, Chi¬ 
 cago, 1893 ; prize, Pan-American Exposition, Buffalo, 1901; prize, 
 Atlanta Exposition, 1902; prize, Seattle, Washington, 1906; St. Louis 
 Exposition, 1904; silver medal, Panama-Pacific International Exposition, 
 San Francisco, 1915. 
 
56 
 
 Modern Sculpture 
 
 2017 
 
 BUST OF WILLIAM WILSON CORCORAN 
 (The Founder of The Corcoran Gallery of Art. Born December 27, 
 1798. Died February 24, 1888.) 
 
 Marble. H., 1 ft. 11 in. 
 
 2018 
 
 BUST OF VICE-PRESIDENT THOMAS A. HENDRICKS 
 Cast. H., 2 ft. 4 in. 
 
 Ellicott, Henry Jackson American School 
 
 Born in Anne Arundel County, Md., June 23, 1847; died Washing¬ 
 ton, D. C., February 11, 1901. Pupil of National Academy of Design, 
 New York; also of Brumidi, Powell and Leutze. 
 
 2019 
 
 BUST OF SAMUEL H. KAUFFMANN 
 (President, The Corcoran Gallery of Art 1894-1906.) 
 
 Bronze. H., 2 ft. 
 
 Gift of Mr. Kauffmann. 
 
 2020 
 
 BUST OF GEORGE YOST COFFIN 
 Bronze. H., 2 ft. 4 in. 
 
 Gift of Mrs. Mary A. Yost. 
 
 Galt, Alexander American School 
 
 Born Norfolk, Va., 1827; died Richmond, Va., 1863. 
 
 Marble. 
 
 2021 
 
 BACCHANTE 
 
 H., 2 ft. 1 in. 
 
 Gibson, John English School 
 
 Born Conway, North Wales, 1791; died Rome, 1866. Pupil of Canova 
 and Thorwaldsen. Member of Royal Academy of London, 1836. 
 
 2022 
 VENUS 
 
 Cast after the original marble, in London. 
 
 H., 6 ft 
 
Modern Sculpture 
 
 57 
 
 Gregoire, L. 
 
 2023 
 
 ALSACE (Bust) 
 
 Cast. H., 1 ft. 9 in. 
 
 Gift of W. G. Metzerott, Esquire 
 
 Guarnerio, Pietro 
 
 Marble. 1875. 
 
 2024 
 
 FORCED PRAYER 
 
 Italian School 
 
 H., 2 ft. 10 in. 
 
 Hart, Joel T. American School 
 
 Born Clark County, Ky., February 10, 1810; died Florence, Italy, 
 1877. Self taught. 
 
 2025 
 
 BUST OF HENRY CLAY 
 
 Marble. 
 
 H., 2 ft. 3 in. 
 
 Houdon, Jean Antoine French School 
 
 Born Versailles, March 20, 1741; died July 15, 1828. Pupil of Acad¬ 
 emy of Painting and Sculpture and Ecole des Eleves Proteges, in 
 Paris, and the Academy, in Rome. Awarded Prix de Rome, 1761. 
 
 2026 
 
 HEAD OF GEORGE WASHINGTON 
 Cast from a mould made by Clark Mills after the original cast, in 
 plaster, by Houdon. H., 10 in. 
 
 Gift of James D. Smith, Esquire 
 
 2027 
 
 MASK OF GEORGE WASHINGTON 
 Cast. H., 1 ft. 1 in. 
 
 Gift of Edward J. Stellwagen, Esquire 
 
 2028 
 
 BUST OF JOHN PAUL JONES 
 
 Cast. H., 2 ft. 4 in. 
 
 Gift of Francis D. Millet, Esquire 
 
 2029 
 
 VOLTAIRE (Sitting Figure) 
 
 Cast. Original marble in the Vestibule of Theatre Fran?ais, Paris. 
 
 H., 4 ft. 5 in. 
 
58 
 
 Modern Sculpture 
 
 2030 
 
 BUST OF JOEL BARLOW 
 
 Cast. H., 18 in. 
 
 Gift of Peter Barlow, Esquire 
 
 Ives, Chauncey B. American School 
 
 Born Hampden, Conn., 1812. Pupil of Hezekiah Augur. 
 
 2031 
 
 STATUE OF A CHILD 
 
 Marble. H., 3 ft. 1 in. 
 
 Gift of Senator John B. Henderson 
 
 Kemeys, Edward American School 
 
 Born, Savannah, Ga., January 31, 1843 ; died Washington, D. C., May 
 11, 1907. Self taught, studying in New York and Paris. Awards: 
 medal, Columbian Exposition, Chicago, 1893; bronze medal, St. Louis 
 Exposition, 1904. 
 
 2032 
 
 JAGUAR LOVERS 
 
 Bronze. H., 1 ft. 2 in.; W., 1 ft. 6 in. 
 
 2033 
 
 HOWLING COYOTE 
 
 Bronze. H., 2 ft. 1 in.; W., 9}4 in. 
 
 King, John C. Scotch School 
 
 2034 
 
 BUST OF COMMODORE CHARLES MORRIS, U. S. N. 
 
 Marble. 1850. H., 2 ft. 5 in. 
 
 La Farce, John American School 
 
 Born New York, March 31, 1835 ; died Providence R. I., November 
 14, 1910. Specialty, mural decoration and stained glass. Pupil of 
 Couture, in Paris, and William Hunt, in Boston. Awards: Gold medal, 
 Pan-American Exposition, Buffalo, 1901; Chevalier of the Legion of 
 Honor; diploma, with medal of honor, for distinguished service in 
 art, St. Louis Exposition, 1904; medal of honor, Architectural League 
 of New York, 1909. Member of National Academy of Design, 1869; 
 Society of American Artists, 1877 (president) ; National Society of 
 
Modern Sculpture 
 
 59 
 
 Mural Painters (honorary president) ; New York Water Color Club; 
 American Institute of Architects (honorary) ; National Institute of Arts 
 and Letters. 
 
 2035 
 
 HOLLYHOCKS 
 
 Gilded cast. H., 5 ft. 4 in.; W., 2 ft. 6 in. 
 
 Le Lorrain, Robert French School 
 
 Born Paris, 1666; died Paris, 1743. 
 
 2036 
 
 HORSES OF THE SUN 
 
 Cast. From the original at Hotel de Rohan, Paris 
 
 H., 17 ft. 7 in.; W., 12 ft. 
 
 MacNeil, Herman Atkins American School 
 
 Born Everett, Mass., February 27, 1866. Pupil of Massachusetts 
 Normal Art School, Boston; Chapu at Julian Academy and Falguiere 
 at Ecole des Beaux Arts in Paris. Member: National Sculpture So¬ 
 ciety, 1897 (ex-president) ; National Academy of Design (associate), 
 1905; National Academician, 1906; Society American Artists, 1901; 
 New York Architectural League, 1902; New York Municipal Art So¬ 
 ciety; National Institute of Arts and Letters. Awards: Rinehart Roman 
 Scholarship, 1896-1900; designer’s medal, Columbian Exposition, Chi¬ 
 cago, 1893; silver medal, Atlanta Exposition, 1895 ; silver medal, Paris 
 Exposition, 1900; gold medal, Pan-American Exposition, Buffalo, 1901; 
 gold medal, Charleston Exposition, 1902; commemorative gold medal, 
 St. Louis Exposition, 1904; commemorative medal, Jewish Settlement 
 in America; gold medal, Buenos Ayres Exposition, 1910; gold medal 
 for medals, Panama-Pacific International Exposition, San Francisco, 
 1915; medal of honor for sculpture, New York Architectural League, 
 1917. 
 
 2037 
 
 THE SUSf VOW 
 
 Bronze. H., 4 ft. 9 in. 
 
 Manship, Paul H. American School 
 
 Born St. Paul, Minnesota, December 25, 1885. Studied at St. Paul 
 School of Fine Arts and the Pennsylvania Academy of the Fine Arts, 
 Philadelphia. Member: National Sculpture Society 1912; New York 
 Architectural League 1913; Associate, National Academy of Design 
 1914, National Academician 1916. Awards: American Academy in 
 Rome Scholarship 1909-1912; Barnett prize, National Academy of Design, 
 
60 
 
 Modern Sculpture 
 
 1913; Widener gold medal, Pennsylvania Academy of the Fine Arts, 
 1914; gold medal Panama-Pacific International Exposition, San Fran¬ 
 cisco, 1915; Helen Foster Barnett prize, National Academy of Design, 
 1917. 
 
 2037A 
 
 DANCER AND GAZELLES 
 
 Bronze. 1916. H., 70 in. 
 
 Meade, Larkin G. American School 
 
 Born Chesterfield, N. H., January 3, 1835. Pupil of Henry Kirke 
 Brown and companion of J. Q. A. Ward. 
 
 2038 
 ECHO 
 
 Marble. 1863. H., 2 ft. 10 in. 
 
 Mills, Clark American School 
 
 Born New York State, 1815; died Washington, D. C., January 12, 
 1883. Self taught. Awarded gold medal by City Council of Charles¬ 
 ton, S. C. 
 
 2039 
 
 BUST OF GEORGE WASHINGTON 
 Bronze. 1849. From Houdon’s original plaster bust, 1785. 
 
 H., 1 ft. 6 in. 
 
 2040 
 
 BUST OF JOHN C. CALHOUN 
 
 Bronze. 1850. The original, in plaster, was taken from life by Mr. 
 Mills in 1845. H., 2 ft. 1 in. 
 
 Gift of the Sculptor 
 
 2041 
 
 STATUETTE OF THE SCULPTOR’S MOTHER 
 Bronze. Exhibited in library. H., 1 ft. 2 in. 
 
 Gift of the Sculptor 
 
 O’Connor, Jr., Andrew American School 
 
 Born Worcester, Mass., June 7, 1874. Pupil of his father; of Daniel 
 Chester French, in New York; studied in England and France. Awards: 
 Bronze medal, Pan-American Exposition, Buffalo, 1901; second class 
 medal, Paris Salon, 1906. 
 
 2042 
 
 ADAM AND EVE 
 
 Marble; Indiana limestone pedestal. H., 4 ft. 3 in.; W., 5 ft. 
 
 Gift of Edward Tuck, Esquire 
 
Modern Sculpture 
 
 61 
 
 2045 
 
 BUST OF EDWARD TUCK, ESQUIRE 
 Bronze. H., 2 ft. 1 in. 
 
 Gift of the Sculptor 
 
 Peyre, Ch. Raphael French School 
 
 Bore Paris, June 5, 1872. Pupil of Falguiere and Mercie. Member 
 of The Society of French Artists, The Society of Architects and Land¬ 
 scape Painters of France, etc. Graduate Professor of Sculpture in the 
 School of the City of Paris. Awards: Two gold medals obtained in 
 Official Expositions of The Society of French Artists. Several silver 
 and bronze medals from State Expositions. 
 
 2043A 
 
 CRUSADING FOR RIGHT 
 
 Bronze. If., 33 in. 
 
 Powers, Hiram American School 
 
 Born Woodstock, Vt., July 29, 1803; died Florence, June 27, 1873. 
 
 2044 
 
 THE GREEK SLAVE 
 
 Marble. 1846. H,, S ft. 2 in. 
 
 2043 
 
 BUST OF THE LATE WILLIAM J. STONE (Engraver) 
 Marble. II., 2 ft. 1 in. 
 
 Gift of Mrs. W. J. Stone 
 
 2046 
 
 PROSERPINE 
 
 Marble bust. 18S7. H., 2 ft. 1 in. 
 
 2047 
 
 GENEVRA 
 
 Marble bust. 1837. H„ 2 ft. 
 
 Proctor, Alexander Phimister American School 
 
 Born Bozanquit, Ontario, Canada, September 27, 1862. Pupil of 
 National Academy of Design and Art Students’ League, in New York; 
 Puech and Injalbert, in Paris. Member: National Academy of Design, 
 Associate, 1901; National Academician 1904; Society of American Artists, 
 1895; American Water Color Society; New York Architectural League, 
 1899; National Sculpture Society, 1893 ; National Institute of Arts and 
 Letters; Artists’ Aid Society. Awards: Medal, Columbian Exposition, 
 Chicago, 1893; Rinehart Scholarship to Paris, 1895-1900; gold medal, 
 
62 
 
 Modern Sculpture 
 
 Paris Exposition, 1900; gold medal for sculpture and silver medal 
 for painting, St. Louis Exposition, 1904; New York Architectural 
 League medal, 1911; gold medal, Panama-Pacific International Exposi¬ 
 tion, San Francisco, 1915. 
 
 2048 
 
 INDIAN WARRIOR 
 
 Bronze. Awarded gold medal, Paris Exposition, 1900. 
 
 H., 3 ft. 4 in.; W., 11 in.; L., 1 ft. 8 in. 
 
 2049 
 
 INDIAN AND BUFFALO GROUP 
 
 Bronze. H., 1 ft. 6 in.; W., 10 in.; L., 2 ft. 4 in. 
 
 Rauch, Christian German School 
 
 Born Arolsen, Waldeck, 1777; died Dresden, 1857. 
 
 2050 
 
 BUST OF ALEXANDER VON HUMBOLDT 
 Marble. Executed for Mr. Corcoran at the particular request of Hum¬ 
 boldt. H., 2 ft. 
 
 Remington, Frederic American School 
 
 Born Canton, N. Y., October 4, 1861; died Ridgefield, Conn., De¬ 
 cember 26, 1909. Painter, illustrator and sculptor. Studied one year at 
 Yale Art School; otherwise self taught. Member: Associate National 
 Academy of Design; National Institute of Arts and Letters. Awarded 
 silver medal for sculpture, Paris Exposition, 1889. 
 
 2051 
 
 THE MOUNTAIN MAN 
 
 Bronze. H., 2 ft. 4 in.; W., 10 in.; D., 1 ft. 6 in. 
 
 2052 
 
 OFF THE RANGE 
 
 Bronze. H., 2 ft. 7 in.; W., 2 ft. 4 in.; D., 2 ft. 
 
 Rimmer, Dr. William American School 
 
 Born Liverpool, England, February 20, 1816, died South Milford, 
 Massachusetts, August 20, 1879. Sculptor, painter and art anatomist. 
 Studied medicine and began practice at East Milton, Massachusetts, in 
 1855, after which he began to produce works in painting and sculpture. 
 He published the volume “Art Anatomy” in 1877. From 1866, Dr. 
 
Modern Sculpture 
 
 63 
 
 Rimmer taught art anatomy for several years at Cooper Institute and 
 was professor of anatomy and sculpture at the Boston Museum of Fine 
 Arts from 1876. 
 
 20S2A 
 
 HEAD OF A WOMAN 
 
 Granite. H., 2 ft. 
 
 Gift of Mrs. Henry Simonds. 
 
 Rinehart, William H. American School 
 
 Born Carroll County, Md., 1825 ; died Rome, October 28, 1874. Pupil 
 of Maryland Institute, Baltimore, Md. 
 
 2053 
 
 BUS T OF PENSEROSO 
 
 Marble. 1863. H., 2 ft. 4 in. 
 
 2054 
 
 ENDYMION 
 
 Marble. 1874. H., 2 ft. 2 in.; W., 4 ft. 4in.; D., 1 ft. 6 in. 
 
 2055 
 
 SLEEPING CHILDREN 
 
 Marble. 1874. H., 1 ft. 4 in.; L., 3 ft.; D., 1 ft. 7 in. 
 
 2056 
 
 CLYTIE 
 
 Cast. Original marble in Peabody Institute, Baltimore, Md. H., 5 ft. 
 
 Rosa, Ercole Italian School 
 
 2057 
 
 A STUDY FROM NATURE 
 
 Cast. H., 2 ft. 
 
 Gift of Professor Louis Amateis 
 
 Saint-Gaudens, Augustus American School 
 
 Born Dublin, Ireland, March 1, 1848; died Cornish, N. H., August 
 3, 1907. Pupil of Cooper Union and National Academy of Design, 
 New York City; and of M. Jouffroy, Ecole des Beaux Arts, Paris. 
 Member (corresponding) Institute of France; Officer, Legion of Honor, 
 1901; Royal Academy of the Sciences and Letters of the Beaux Arts, 
 Belgium; American Academy in Rome, 1905; International Society 
 of Sculptors, Painters and Gravers, London; Society of American 
 Artists (founder) ; National Academy of Design. Honorary degrees: 
 LL. D., Harvard University, 1897; L. H. D., Princeton University. 
 
64 
 
 Modern Sculpture 
 
 1897; LL. D., Yale University, 1905. Awards: Medal of Honor, Paris, 
 1900; Special medal of honor, Pan-American Exposition, Buffalo, 1901; 
 Grand prize, St. Louis Exposition, 1904. 
 
 2058 
 
 THE PURITAN 
 (Deacon Samuel Chapin) 
 
 Cast. From the original bronze at Springfield, Mass. Signed and 
 dated 1887. H., 8 ft. 8 in. 
 
 Saint-Gaudens, Louis American School 
 
 Born New York, January 8, 1854; died Cornish, N. H., March 8, 
 1913. Pupil of Ecole des Beaux Arts, Paris, and of his brother, Augustus 
 Saint-Gaudens. Member of National Sculpture Society. Awarded sil¬ 
 ver medal. Pan-American Exposition, Buffalo, 1901. 
 
 2059 
 
 MURAL TABLET TO PROFESSOR JOSEPH HENRY 
 Cast. Original marble in Marquand Chapel, Princeton University. 
 
 H., 7 ft. 4 in.; W., 4 ft. V/2 in. 
 Gift of Miss Henry 
 
 Simmons, Franklin American School 
 
 Born Webster, Maine, January 11, 1839 ; died Rome, Italy, December 
 6, 1913. Knighted by King Humbert of Italy. 
 
 2060 
 
 PORTRAIT OF MISS NETTIE LOUVISA WHITE 
 
 Marble bas-relief. H., 1 ft. 6 in.; W., 1 ft. 1 in. 
 
 Gift of Miss White 
 
 Sleeth, Mrs. L. MacDonald American School 
 
 Pupil of James McNeill Whistler. Member of Mark Hopkins In¬ 
 stitute of Art, San Francisco, Cal. 
 
 2061 
 
 BUST OF GENERAL JOHN M. WILSON 
 Marble. 1911. 
 
 H., 2 ft. 8 in. 
 
Modern Sculpture 
 
 65 
 
 Thorwaldsen, Bertel Danish School 
 
 Born Copenhagen, 1770; died 1844. 
 
 2062 
 
 VENUS 
 
 Cast. Original marble in the Thorwaldsen Museum, Copenhagen 
 
 H., 5 ft. 
 
 Trombetta, E. 
 
 Marble. 1876. 
 
 2063 
 
 THE FIRST STEP 
 
 Milanese School 
 
 H., 2 ft. 6 in. 
 
 Vela, Vincenzo 
 
 Swiss by birth 
 
 2064 
 
 LAST DAYS OF NAPOLEON I 
 
 Marble replica of original at Versailles. 1871. H., 7 ft. 3 in. 
 
 From the John Taylor Johnston Collection 
 
 Vonnoh, Bessie Potter American School 
 
 Born St. Louis, Mo., August 17, 1872. Pupil of Lorado Taft at the 
 Art Institute of Chicago. Member: National Sculpture Society, 1898; 
 Associate, National Academy of Design, 1906; National Association of 
 Portrait Painters. Awards: Second prize, Nashville Exposition, 1897; 
 bronze medal, Paris Exposition, 1900; honorable mention, Pan-Amer¬ 
 ican Exposition, Buffalo, 1901; gold medal, St. Louis Exposition, 1904; 
 silver medal, Panama-Pacific International Exposition, San Francisco, 
 1915. 
 
 2065 
 
 ENTHRONED 
 
 Bronze. ^ H., 1 ft.; W., 8 in.; D., 10 in. 
 
 Gift of the Sculptor 
 
 2066 
 
 DAY DREAMS 
 
 Bronze. H., 10 in.; W., 1 ft. 9 in.; D., 1 ft. 
 
 Ward, John Quincy Adams American School 
 
 Born Urbana, Ohio, June 29, 1830; died New York City, May 1, 1910. 
 Pupil of Henry Kirke Brown. Awards: Gold medal and diploma of 
 honor for distinguished service in art, St. Louis Exposition, 1904; 
 
66 
 
 Modern Sculpture 
 
 medal of honor, Architectural League of New York, 1909. Member 
 of National Academy of Design, 1863; New York Architectural League, 
 1890; National Sculpture Society (first president, 1896-1904, and there¬ 
 after honorary president) ; American Institute of Architects (honorary) ; 
 National Institute of Arts and Letters. 
 
 2067 
 
 INDIAN HUNTER 
 
 Cast. Original bronze in Central Park, New York. A bronze replica, 
 cast from this exhibit, marks the Sculptor’s grave at Urbana, Ohio. 
 
 H., 5 ft. 6 in. 
 
 Gift of the Sculptor 
 
 Whiting, Onslow English School 
 
 2068 
 
 TAKING THE GUNS INTO ACTION AT COLENSO 
 Bronze plaque from the original H., 1 ft. 6 in.; W., 3 ft. 6 in. 
 
 Gift of Alfred Mosely, C. M. G., of Hadley Wood, England 
 
 Sculptor unknown 
 
 2069 
 
 THE VEILED NUN 
 
 Marble bust. Copy. 
 
 H., 1 ft. 8 in. 
 
 Sculptor unknown 
 
 Marble bust. 
 
 2070 
 
 SHAKESPEARE 
 
 H., 2 ft. 6 in. 
 
 Sculptor unknown 
 
 2071 
 
 ISIS 
 
 Marble bust. H., 1 ft. 6 in. 
 

PANTHER SEIZING A STAG 
 
Original Bronzes by Antoine-Louis 
 
 Barye 
 
 ANTOINE-LOUIS BARYE 
 
 Born, Paris, France, September 15, 1796; died there, 
 June 25, 1875. 
 
 Barye was the only sculptor who belonged to that fa¬ 
 mous group of artists known as the “Barbizon School” or 
 the “Men of 1830.” The other members of this noted 
 coterie—Corot, Rousseau, Millet, etc.,—were all paint¬ 
 ers. He was the son of a silversmith who came to Paris 
 from Lyons. 
 
 From his earliest childhood, Barye showed a pro¬ 
 nounced inclination for the fine arts. As a youth he 
 entered the shop of an engraver by the name of Fourier. 
 In 1812, at the age of 16, he was conscripted into the 
 army, and was assigned to the topographical engineers, 
 which gave him a limited opportunity for continuing his 
 studies. In 1814, with the fall of Napoleon, he resumed 
 his work as an engraver, but abandoned it very shortly 
 thereafter in order to follow the profession of a sculptor, 
 entering the studios of the sculptor, Bosio, and of the 
 painter, Gros. 
 
 Like many great artists, Barye suffered reverses and 
 disappointments. He entered, unsuccessfully, various 
 competitions for medals and honors, and his work was fre¬ 
 quently refused by the Salon. Barye, however, was not 
 discouraged, and he lived to see the recognition of his 
 work. It is recorded that his wife once said to him, “You 
 must be more careful to see that the signature upon your 
 works is more readable,” to which Barye replied, “Fear 
 not, in twenty years it will be looked for with a maynifying 
 glass.” 
 
 67 
 
68 
 
 Original Bronzes by Antoine-Louis Barye 
 
 In the production of small sculptures of animals, in 
 bronze, Barye’s work stands today second to that of no 
 one. His knowledge of the anatomy of animals and of 
 their natural traits was so profound, and his genius as a 
 sculptor was so extraordinary, that his sculptures are rec¬ 
 ognized today throughout the world as the product of a 
 great master in his chosen field of endeavor. 
 
 The 107 examples of his work listed below (which, with 
 one or two exceptions, is the most complete collection of 
 Barye’s work extant) were all secured for this Gallery 
 directly from the great artist himself, in 1873, by one of 
 the trustees of this institution. 
 
 3001 Duke of Orleans (1840) 14x13 
 
 3002 Amazon, Costume of 1830 14)4x14 
 
 3003 Gaston de Foix (1833) 14)4x11 )4 
 
 3004 Charles VII, the Victorious (1839) 11)4x10 
 
 3005 Tartar Warrior Checking His Horse 13)4x13)4 
 
 With bronze stand, Arabesque 
 
 3006 Two Arab Horsemen Killing Lion 14)4x15 
 
 3007 African Horsemen Surprised by Serpent 8)4x10 
 
 3008 Elephant, with Indian Mounted, Crushing Tiger 10)4x12 
 
 3009 Roger and Angelica, Mounted on Hippogriff (1846) 20x27 
 
 3010 Candelabras (pair), with nine lights, decorated with six 
 
 figures, mascarons, and chimeras (1846) 37 
 
 Originals made for Due de Montpensier 
 
 3011 Minerva 12 
 
 3012 Juno 12 
 
 3013 Theseus and Minotaur (1848) 18x10 
 
 3014 Theseus and Centaur (1850) 13)4x14)4 
 
 3015 Ape Riding a Gnu 9x10 
 
 3016 Two Young Bears Fighting (1833) 8)4x 6 
 
 3017 Bear Sitting 5)4x 6)4 
 
 3018 Beagle Standing 6x 834 
 
 3019 Wolf Holding a Stag by the Throat 8x17 
 
 3020 Two Young Lions Wrestling 8x 6 
 
 3021 Lion Devouring a Doe (1837) 5x11 
 
 3022 Lion and Serpent (1832) 10x12 
 
 3023 Lion Sitting (1836) 14x12 
 
 3024 Lioness of Senegal 8x11)4 
 
 3025 Lioness of Algiers 8x11)4 
 
 3026 Lion Walking (1836) 9x16 
 
 3027 Tiger Walking (1836) 8^xl6)4 
 
Original Bronzes by Antoine-Louis Barye 
 
 69 
 
 3028 Tiger Surprising an Antelope 13)4x24 
 
 3029 Tiger Surprising a Deer 6)4x10 
 
 3030 Tiger Devouring a Gavial (Crocodile) (1831) 7)4x19)4 
 
 3031 Tiger Devouring a Gazelle 5)4x12 
 
 3032 Panther Seizing a Stag 15x22 
 
 3033 Panther of India 5x10)4 
 
 3034 Panther of Tunis (1840) 5)4x10)4 
 
 3035 Panther Surprising a Civet-Cat 4x 9 
 
 3036 Jaguar Walking 4)4x 9 
 
 3037 Jaguar Standing (1840) 5x 9 
 
 3038 Jaguar Sleeping 3)4x 9 
 
 3039 Jaguar Devouring Crocodile 3x 9)4 
 
 3040 Ocelot Carrying a Heron 6)4x11)4 
 
 3041 Elephant of Asia (1833) 5x 8 
 
 3042 Elephant of Africa 5x 7)4 
 
 3043 Horse Surprised by a Lion (1834) 15)4x15 
 
 3044 Horse, Half-Blood. Head lowered 7)4x11)4 
 
 3045 Horse, Turkish. Right foot raised 11)4x12)4 
 
 3046 Horse, Turkish. Left foot raised 11)4x12 
 
 3047 Dromedary, Egyptian. Reduction 5)4x 6)4 
 
 3048 Elk Surprised by a Lynx (1834) 8)4x11)4 
 
 3049 Deer Attacked by Two Scotch Hounds (1833) 17x21 
 
 3050 Stag, Doe, and Fawn 9x 8)4 
 
 3051 Virginia Deer Biting Its Side (1837) 10x14 
 
 3052 Bull on the Defensive (1841) 7x11)4 
 
 3053 Bull Rearing, Attacked by a Tiger (1837) 9x11 
 
 3054 Bull Dragged to Earth by a Bear (1839) 5)4x11 
 
 3055 Eagle Holding a Heron 12x12)4 
 
 3056 Crocodile Devouring an Antelope 6)4x14 
 
 3057 Python Swallowing a Doe (1840) 3)4x10)4 
 
 3058 Python Strangling a Gazelle 6x13 
 
 3059 Python Crushing a Crocodile (1840) 6)4x10)4 
 
 3060 Huntsman, Costume Louis XV 7)4x 7 
 
 3061 Bear Overthrown by Three Mastiffs (1833) 10x13)4 
 
 3062 Bear Flying from Three Dogs 12x18 
 
 3063 Greyhound and Hare 8x13 
 
 3064 Wolf Walking 9x14 
 
 3065 Greyhound Reclining 2)4x10 
 
 3066 Bufalo of Egypt 6x 8 
 
 3067 Camel. Head turned to right 4)4x 4)4 
 
 3068 Greyhound Sleeping 7)4x13)4 
 
 3069 African Badger Robbing Nest 4x 6 
 
 3070 Lion of the Column of July (1838). Bas-relief 8j4xl6)£ 
 
 3071 Warrior of the Caucasus 7)4x 6)4 
 
 3072 Peasant. Mediaeval 12x10 
 
 3073 Leopard Crouching 3x 7 
 
70 
 
 Original Bronzes by Antoine-Louis Barye 
 
 3074 Deer (Axis) 
 
 3075 Deer of the Ganges 
 
 3076 Bull Standing. Small 
 
 3077 Card Receiver, with Fawn’s Feet 
 
 Ornamented with grapes 
 
 3078 Card Receiver 
 
 Ornamented with owls and panthers’ heads 
 
 3079 Candlestick (two lights) 
 
 Ornamented with owls and panthers’ heads 
 
 3080 Candlestick 
 
 Ornamented with owls and panthers’ heads 
 
 3081 Candlestick 
 
 Greek designs, with Syracuse medallions 
 
 3082 Candlestick, with Fawn’s Feet. 
 
 Ornamented with bell-flowers and serpents 
 
 3083 Candlestick 
 
 Ornamented with bell-flowers, leaves, and scarabee 
 
 3084 Candlestick. Small, with handle 
 
 Ornamented with ivy leaves 
 
 3085 Perfume-Burner 
 
 Ornamented with chimeras 
 
 3086 Paroquet Seated on a Tree 
 
 3087 Pheasant Walking. Head turned to left 
 
 3088 Pheasant Walking. Head turned to right 
 
 3089 Wolf Caught in a Trap 
 
 3090 Virginia Deer. Left foot raised 
 
 3091 Doe Reclining (Dated 1840) 
 
 3092 Fawn Reclining (Dated 1840) 
 
 3093 Rabbits (Group, two) 
 
 3094 Turtle 
 
 3095 Crocodile 
 
 3096 Candelabras (pair), with three lights, Antique design, 
 
 ornamented with serpent, leaves, chimeras, claw feet, and 
 surmounted with storks 
 
 3097 Theseus Slaying the Centaur (1850) 
 
 3098 Jaguar Devouring a Hare (1850) 
 
 3099 Leopard. Bas-relief (1831). Bronze frame 
 
 3100 Panther. Bas-relief (1831). Bronze frame 
 
 3101 Virginia Deer, with Antlers. Bas-relief (1831) 
 
 3102 Genet Carrying a Bird. Bas-relief (1831). Bronze frame 
 
 3103 Axis 
 
 3104 Tiger Hunt. Water-color sketch 
 
 3105 Sleeping Lions. Water-color sketch 
 
 3106 Bear Erect 
 
 3107 General Bonaparte (1838) 
 
 3108 Lion Striking at a Serpent 
 
 Bequest of the late Caroline Henry 
 
 5x SA 
 
 3Ax SA 
 3^x 7 A 
 
 SAx 7 
 
 10x10 
 
 7x 3X 
 lOx 4 A 
 
 9 Ax 3A 
 
 ny 2 x 5y 
 
 3Ax 4A 
 
 4x 2A 
 
 7Ax 5 
 4Ax 8A 
 4Ax 8A 
 4Ax 5 
 
 6 l / 2 x 6 
 
 3Ax SA 
 lAx 4A 
 2x 3 A 
 1 Ax 4 
 l Ax 7 A 
 
 3\A 
 50x51 
 \3Ax38 
 3x 5 A 
 3 Ax &A 
 4x 5 A 
 3x 5 
 
 4>^x 6A 
 
 9A 
 
 14x13 
 
 7 X 5 At 
 
GENERAL INDEX 
 
 Page 
 
 List of Trustees and Officers. 5 
 
 Note to the Public. 6 
 
 Plans of the Building. 8-9 
 
 Casts from Antique Sculpture. 11 
 
 Casts from the Renaissance. 43 
 
 Modern Sculpture.. S3 
 
 Bronzes by Antoine-Louis Barye. 67