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THE 
 
 ROMAN COURT 
 
 (INCLUDING THE ANTIQUE SCULPTURES IN THE NAYE) 
 
 ERECTED IN THE 
 
 CRYSTAL PALACE, 
 
 By OWEN JONES. 
 
 DESCRIBED BY GEORGE SCHARE, Jun. 
 
 F.S.A., F.R.S.L., &c. 
 
 CRYSTAL PALACE LIBRARY; 
 
 AND 
 
 BRADBURY & EVANS, 11, BOUYERIE STREET, LONDON. 
 1854. 
 

 ■ * fasti 
 
 V .'-.?T.r:5 
 
 . . iqCifl 
 
 iti 
 
 BRADBURY AND EVANS, 
 
 PRINTERS TO THE CRYSTAL PALACE COMPANY, 
 WHITEPRIARS. 
 
 
PREFACE TO ROMAN COURT. 
 
 —♦— 
 
 The arts practised and elaborated amongst the Romans, owed 
 their origin to the inspiration of the genius of the Greek, and 
 served as a secondary development or continuation of his 
 wonderful achievements. On that account this little book can 
 only be regarded as an extension of the Greek Court Catalogue. 
 I have therefore but to refer the reader of prefaces to the 
 preliminary observations appended to that work. I anxiously 
 hope that friends will make every allowance for the unavoidable 
 haste with which the following pages have been prepared, and 
 that they will favour me with their suggestions and corrections 
 in time for the second edition. In quotation, I have availed 
 myself of the vigorous language of Sir Thomas North, and the 
 learned Philemon Holland. The friends named in my preface 
 to the Greek Court Catalogue have rendered me equal assist¬ 
 ance with regard to the sculptures in this department. 
 I therefore take this opportunity of repeating my cordial 
 gratitude to them. 
 
 ], Torrington Square, 
 
 May 27th. 
 
CONTENTS, 
 
 PAGE 
 
 ARCHITECTURE OP THE ROMAN COURT.3 
 
 HISTORY OF THE PROGRESS OF ROMAN SCULPTURE . . . . 5 
 
 ETRUSCAN PERIOD. 5 
 
 CONSTANTINOPOLITAN AGE . • ..17 
 
 NOTES ON THE PRINCIPAL COLLECTIONS OF ANCIENT SCULPTURE IN 
 
 EUROPE .......... 19 
 
 THE VATICAN MUSEUM.20 
 
 THE CAPITOL MUSEUM . . . . . . .20 
 
 THE FARNESE COLLECTION . . . . . . . . 21 
 
 VILLA BORGHESE ..21 
 
 VILLA ALBANI. . . . . . . . . . 21 
 
 VILLA LUDOVISI . . . . ' . . . .21 
 
 VILLA MEDICI . . . . . . . . . . 21 
 
 PALAZZO SPADA ......... 21 
 
 VILLA MONTALTO.22 
 
 MUSEO BORBONICO, NAPLES.22 
 
 GALERIA IMPERIALE IN THE UFFIZII, FLORENCE . . . . 22 
 
 CAMPO SANTA, PISA. 
 
 THE LOUVRE, PARIS.23 
 
 THE BRITISH MUSEUM, LONDON . . . . . .24 
 
 THE ROYAL ACADEMY OF ARTS, LONDON. 25 
 
 Munich .. 25 
 
 Berlin . . . . .. 25 
 
 DRESDEN.26 
 
 VIENNA ........... 26 
 
 MADRID.26 
 
 LIST OF THE PRINCIPAL ILLUSTRATED WORKS IN SCULPTURE . . 26 
 
 ROMAN COURT CATALOGUE ........ 31 
 
 ASGINA MARBLES . . . . . . . . . 47 
 
 MONUMENT OF LYSICRATES.62 
 
THE ROMAN COURT. 
 
 ARCHITECTURE OP ROMAN COURT. 
 
 The Roman Court externally to the nave presents three arches 
 of the Tuscan order, which is the earliest style of columnar 
 architecture found in Italy. This fagade is taken from the lowest 
 range of columns on the outside of the Coliseum at Rome. The 
 arch, as a decoration to buildings, has until very lately been 
 regarded as peculiar to the Romans ; nevertheless it was long known 
 to the Egyptians, and consequently to the Greeks, but not used 
 by them for any external purposes. In Assyria, on the other 
 hand, the most recent discoveries prove that it was not only 
 employed for vaulting and underground support, but that at 
 
4 
 
 THE ROMAN COURT. 
 
 Nineveh it was used as a grand architectural feature, and a power¬ 
 ful means of producing combinations with other forms. 
 
 Among all the architectural designs of the ancient Greeks, seen 
 so abundantly in their small tombs, stelse, and cippi, the arch— 
 even as a mere form—is avoided. They seem always to have 
 
 preferred the triangular, pedimental 
 form, or the fleuron (woodcut, 
 No. 149, page 87 of Greek 
 Court) as a heading. In very 
 few instances of a late period, 
 judging from the style of 'art, and 
 the inscription in Greek characters, 
 is the arch form to be seen. These 
 examples are in the British Museum 
 and the Louvre (see woodcut, 
 where a niche containing figures 
 appears upon the flat surface of the 
 usual formed cippus). These works 
 are probably of the period of the 
 Antonines, when Roman fashion 
 predominated, and they accord 
 with a figure in a niche at the 
 back of the theatre at Myra in 
 Lycia, where the Greek inscription 
 also marks a Roman age. Large 
 niches and surfaces decorated with 
 square, diagonal, and circular lines 
 seem to have been the predominant 
 characteristics of the ancient Roman 
 decoration for internal walls. The 
 existing paintings of the baths of 
 Titus and Livia, at Rome, lead to this conclusion. Their ceilings 
 were divided into numerous little compartments of this kind, and 
 not unfrequently niches were painted with rich flutings in the 
 upper part, like the ribbing of a shell, with the hinge uppermost. 
 
 The profuse extent to which the Romans employed precious marbles 
 has led very materially to the decoration of the interior of this court, 
 and the rarest marbles have been accordingly imitated upon the walls. 
 
 The ceilings of the corridors, which open upon the long gallery, 
 have been painted and decorated in accordance with remaining 
 examples at Rome. Although at this time, the ceilings of the 
 imperial baths in that city are almost obliterated, careful engrav¬ 
 ings and copies were made from them, and we possess in the 
 
 Greek Cippus, with an arch introduced 
 in it, from the Louvre. 
 
PROGRESS OF ROMAN SCULPTURE. 
 
 5 
 
 designs of Raphael, and the arabesques of Giovanni da Udine and 
 Giulio Romano, studies and transcripts of some of their finest 
 compositions. 
 
 INTRODUCTORY OUTLINE OF THE PROGRESS OF ROMAN SCULP¬ 
 TURE, TAKEN FROM ANCIENT AUTHORS, AND ILLUSTRATED 
 BY EXAMPLES IN THE VARIOUS MUSEUMS OF EUROPE. 
 
 The Romans were not originally an art-loving people. They 
 began by conquest, and at once employed the talents of those 
 whom they subdued. By the assistance of their neighbours the 
 Etruscans, they overcame other neighbouring tribes, and erected 
 great public works in their city. Vastness of size characterised 
 these productions. The arch which the Etruscans had brought 
 with them from Asia Minor, derived thither from Assyria, was 
 employed as the most powerful principle of support, and the whole 
 city was undermined by drains, arched over with cuneiform stones. 
 The Etruscans seem to have been an industrious people ; they 
 cultivated the arts, and carried on extensive commerce even 
 whilst the Roman state was struggling into existence. 
 
 Etruscan Period, 510—167, b.c. 
 
 B.C. 510. EXPULSION OF THE TARQUINS FROM ROME, AND THE PISISTRATID^E FROM 
 ATHENS. DARIUS HY6TASPES KING OF PERSIA AND OF EGYPT ALSO. 
 
 The Romans did nothing for themselves. In their earlier 
 days they depended upon the Etruscans for all refinements of 
 art, in the same way as at a later period they depended upon the 
 Greeks, and accordingly, when workmen were required for any 
 purpose, they were sent for from Etruria. 
 
 The Tuscans prepared baked clay, or terra-cotta, figures for the 
 great temple of Jupiter Capitolinus, and when finished, sent them 
 to Rome. Their style of architecture was peculiar ; it was an 
 offshoot from the Doric. This also was soon introduced into 
 Rome. The early statues which decorated the city were remark¬ 
 able for their magnitude. Many were wrought in clay, and others 
 in bronze ; but wood seems to have been rarely used amongst 
 them. Carvilius made a bronze colossus of Jupiter from the 
 armour taken in the Samnite war, so vast, that as it stood on the 
 capitol, it was distinctly visible from the Jupiter Latiaris on 
 the Alban Mount.* One of the annual ceremonies at Rome 
 consisted in fresh painting the statue of Jupiter in the capitol with 
 
 * It was so large that a complete statue of Carvilius himself was made out 
 of the mere filings of the metal, which was placed at the foot of the other. 
 
6 
 
 THE HOMAN COURT. 
 
 bright‘vermilion. An early metal work of the Etruscan period is 
 the celebrated Wolf of the capitol, given in the frontispiece of this 
 catalogue. The boys are modern, but the wolf is executed in all 
 the rigidity and elaboration peculiar to early art. 
 
 Pliny mentions a superb Etruscan colossus of bronze, fifty feet 
 high, representing Apollo, placed in the Palatine library belonging 
 to the temple of Augustus. However wonderful the size, he says, 
 nothing can compare with the beauty of the figure, or the work¬ 
 manship of the metal. 
 
 A bronze statue of a Chimsera, and a life-sized portrait of an 
 orator in the toga, with an inscription on the border, display great 
 proficiency in the art of metal casting : these two last-mentioned 
 statues still exist at Florence. Another class of art peculiar to 
 the Etruscans was the engraving of various figures and devices in 
 pure outline upon smooth pieces of bronze, which were used for 
 mirrors and mirror cases, or to adorn metal boxes containing various 
 articles of the toilet. It has always been a matter of surprise 
 that this process did not lead earlier to the art of printing. The 
 ancients had their wooden stamps and stencillings, as we see by 
 Assyria and Pompeii, a still closer approximation to our modern 
 practices, and yet they never seem to have advanced beyond the 
 multiplication of seals and coins. In the time of the Republic, 
 the Romans devoted especial attention to military works, road¬ 
 making, and aqueducts often extending many miles upon a series 
 of arches. Few monuments of the republican period still remain. 
 One distinguished Roman, the founder of the Fabian house, cultivated 
 painting, and adorned the temple of Salus (Health), at Rome, with 
 his works, b.c. 304. Hence he received the name of Fabius 
 Pictor. We read also of numerous statues to great men being 
 erected in the forum and other places ; and the custom of elevating 
 statues upon columns seems peculiar to the Romans. The sarco¬ 
 phagus of Scipio, now in the Vatican, exhibits all the strength of 
 Tuscan influence. The early Roman coins are especially bad, and 
 those of the various families preserved in the cabinets of collectors 
 are clumsy imitations of Greek types ; but they belong to a 
 very recent period of the republic. The year 275 b.c. is remark¬ 
 able, as it witnessed the first Roman triumph over a Grecian army. 
 Pyrrhus, king of Epirus, crossed to Italy in defence of the people 
 of Tarentum, but was driven back by the Romans ; and the war 
 terminated in the most brilliant triumph Rome had then achieved. 
 These successes, together with the subjugation of Sicily, and the 
 prosperous progress of the war with Carthage, determined the 
 Romans to carry their arms into Greece itself. War commenced 
 
THE TRIUMPH OF ^MILIUS. 
 
 ( 
 
 accordingly, and in tlie year 168 b.c. Panins jEmilius sent Metellns 
 to Pome to announce the overthrow of Perseus, king of Macedonia, 
 at the battle of Pydna. 
 
 Grecian Influence. 
 
 B.C. 167. CONQUEST OF MACEDON. PERSEUS LED CAPTIVE THROUGH ROME, ANTIOCHUS 
 
 KING OF SYRIA, PHARNACES OF PONTUS, EUMENES OF PERGAMUS, PTOLEMY OF EGYPT. 
 
 ENNIUS AND TERENCE FLOURISH IN LITERATURE. 
 
 The triumph of Paulus rEmilius the following year is 
 minutely recorded by Plutarch, and affords the first instance of 
 those magnificent spectacles for which Pome became after¬ 
 wards so celebrated. Every variety of foreign production that 
 could be brought by way of plunder was displayed ; costly armour, 
 vases, and precious metals, delighted the gazing multitude ; and the 
 captives, with their families, added to the dreadful reality of the 
 scene. Even Perseus himself walked before the chariot of the 
 conqueror. Paintings and statues of enormous size, mounted upon 
 platforms, were drawn along upon 250 chariots. Plutarch’s descrip¬ 
 tion of the triumph of iEmilius, in the words of his quaint translator 
 Sir Thomas North, gives too complete a picture to be omitted : 
 
 ££ First, the people having set up sundry scaffolds as well in the 
 lists and field called Circos by the Latins, where the games and 
 common running of horses and chariots are made, as also about the 
 market-place, and in other streets of the city, which the shew of 
 the triumph should pass ; they all presented themselves in their best 
 gowns to see the magnificence and state thereof. All the temples 
 of the gods also were set wide open, hanged full of garlands and 
 flowers, and all perfumed within ; and there were set through all 
 the quarters of the city, numbers of sergeants and other officers 
 holding tipstaves in their hands to order the stragling people, and 
 to keep them up in corners and lane-ends that they should not 
 pester the streets and hinder the triumph. Furthermore, the sight 
 of this triumph was to continue three days, wherof the first was 
 scant sufficient to see the passing-by of the images, tables and 
 pictures, and statues of wonderful bigness, all won and gotten of 
 their enemies, and drawn in the shew upon 250 chariots. The 
 second day, there was carried upon a number of carts, all the 
 fairest and richest armour of the Macedonians, as well of copper 
 as also of iron and steel, all glistering bright, being newly furbished, 
 and artificially laid in order (and yet in such sort as if they had been 
 cast in heaps, one upon another, without taking any care otherwise 
 for the ordering and laying of them), fair burganets upon targets ; 
 habergions, or brigantines and corslets, upon greaves ; round targets 
 of the Cretans, and javelins of the Thracians, and arrows amongst 
 
8 
 
 THE ROMAN COURT. 
 
 the armed pikes ; all this armour and carriage being bound one to 
 another so trimly (neither being too loose nor too straight) that 
 one hitting against another as they drew them upon the carts through 
 the city, they made such a sound and noise as it was fearful to 
 hear it : so that the only sight of these spoils of the captives being 
 overcome made the sight so much more terrible to behold. After 
 these carts, laden with armour, there followed 3000 men which 
 carried the ready money in 750 vessels, which weighed about three 
 talents a-piece, and every one of them were carried by four men ; 
 and there were other that carried great bowls of silver, cups 
 and goblets fashioned like pitchers, and other pots to drink in, 
 goodly to behold, as well for their bigness, as for their great and 
 singular imbossed works about them. The third day, early in the 
 morning, the trumpets began to sound and set forwards, sounding 
 no march, nor sweet note to beautifie the triumph withall ; but they 
 blew out the brave alarum they sound at an assault to give the 
 soldiers courage for to fight. After them followed sixscore 
 goodly fat oxen, having all their horns gilt, and garlands of 
 flowers and nosegays about their heads, and there went by them 
 certain young men, with aprons of needlework, girt about their 
 middle, who led them to the sacrifice, and young boys with them 
 also, that carried goodly basons of gold and silver, to cast and 
 sprinkle the blood of the sacrifices about. And after these followed 
 those that carried all coins of gold, devided by basons and vessels, 
 and every one of them weighing three talents as they did before, 
 that carried the great holy cup which Emylius had caused to be 
 made of massive gold, set full of precious stones, weighing the 
 weight of ten talents, to make an offering unto the gods. And 
 next unto them went other that carried plate made and wrought 
 after antique fashion, and notable cups of the ancient kings of 
 Macedon ; as the cup called Antigonus, and another Seleucus ; and 
 to be short all the whole cupboard of plate of gold and silver of 
 King Perseus. And next them came the chariot of his armour, 
 in the which was all King Perseus’ harness, and his royal band (they 
 call a Diadem) upon his armour. And a little space between them 
 followed next the king’s children, whom they led prisoners, with 
 the train of their schoolmasters and other officers, and their 
 servants weeping and lamenting; who held up their hands unto the 
 people that looked upon them and taught the king’s young children 
 to do the like, to ask mercy and grace at the people’s hands. 
 There were three pretty little children—two sons and a daughter— 
 amongst them, whose tender years and lack of understanding made 
 them (poor souls) they could not feel their present misery, which 
 
THE TRIUMPH OF MILIUS. 
 
 9 
 
 made the people so much the more to pity them, when they saw 
 the poor little infants that knew not the change of their fortune ; 
 so that for the compassion they had of them, they allmost let the 
 father pass without looking upon him. Many people’s hearts did 
 melt for very pity, that the tears ran down their cheeks, so as 
 this sight brought both pleasure and sorrow, together, to the 
 lookers-on, until they were past and gone a good way out of sight. 
 King Perseus the father followed after his children and their train, 
 and he was clothed in a black gown, wearing a pair of slippers on 
 his feet, after his country manner. He shewed by his countenance 
 his troubled mind, oppressed with sorrow of his most miserable 
 state and fortune : he was followed with his kinsfolks, his familiar 
 friends, his officers and houshold servants, their faces disfigured 
 by blubering, shewing to the world by their lamenting tears and 
 sorrowfull eyes cast upon their unfortunate master, how much 
 they sorrowed and bewailed his most hard and cruel fortune, little 
 accounting of their own misery. The voice goeth that Perseus 
 sent unto AEmylius to entreat him that he should not be led 
 through the city in the shew and sight of the triumph. But 
 iEmylius mocking (as he deserved) his cowardly faint heart, 
 answered : As for that, it was before, and is now in him to do 
 if he will. Meaning to let him understand thereby, that he might 
 rather choose to die, than living to receive such open shame. 
 Howbeit his heart would not serve him, he was so cowardly and 
 made so effeminate by a certain vain hope, he knew not what, that 
 he was contented to make one among his own spoils. After all 
 this there followed 400 princely crowns of gold which the cities 
 and towns of Greece had purposely sent by their ambassadors unto 
 vEmylius, to honour his victory ; and next he came himself in his 
 chariot triumphing, which was passing sumptuously set forth and 
 adorned. It was a noble sight to behold, and yet the person of 
 himself only was worth the looking on, without all that great 
 pomp and magnificence. For he was apparelled in a purple gown 
 branched with gold, and carried in his right hand a laurell-bough, 
 as all his army did besides ; the which being divided by bands and 
 companies, followed the triumphing chariot of their captain, some of 
 the soldiers singing songs of victory which the Homans use to 
 sing in like triumphs, mingling them with merry, pleasant toyes, 
 rejoicing at their captain ; other of them also did sing songs of 
 triumph, in the honour and praise of ^Emylius’ noble conquest and 
 victory. He was openly praised, blessed, and honoured of every¬ 
 body, and neither hated nor envied of honest men.” 
 
 iEmilius himself is said to have been a great admirer of the fine 
 
10 
 
 THE ROMAN COURT. 
 
 arts ; he paid an express visit to the statue of Jupiter, by Phidias, at 
 Olympia ; but where Perseus had intended to dedicate a golden statue 
 at Delphi, the conqueror ordered his own image to be set up instead. 
 
 Another triumph, that of Metellus, 146 b.c., was still further 
 connected with Greek art. He had, in order to give effect to his 
 procession, brought over the group of Alexander and the horse¬ 
 men who fell at the battle of the Granicus, by Lysippus. This is 
 the first record of any particular work of Grecian fame being 
 introduced into Pome. 
 
 Mummius completed the conquest of Greece, 146 b.c., the 
 same year that Carthage was razed to the ground. The Car¬ 
 thaginians themselves had formerly plundered the maritime towns of 
 Sicily, and the Persians and Macedonians had, in their victories, 
 carried off all works of art as a lawful prize of conquest; so 
 that the Romans did not act without precedent. Mummius, it 
 is said, plundered more works of art than all his predecessors put 
 together. He destroyed many works through ignorance of their 
 value ; and his soldiers were seen playing at dice upon one of 
 the celebrated pictures of Aristides. 
 
 When Pompey triumphed over Mithridates, the chief attraction 
 was the display of engraved gems, pearls, and golden statues. 
 These new luxuries of the Romans are noticed also by Pliny (His. 
 Hat. Bk. 37, ch. i.); he says— 
 
 “ Caesar, when Dictator, consecrated, in the Temple of Yenus 
 Genitrix, six cabinets or caskets of rings and jewels ; and Mar- 
 cellus, son to Octavia, dedicated one in the Temple Palatine of 
 Apollo. Finally, this is to be observed, that the said victorie of 
 Pompeius, which he atchieved over K. Mithridates, set men’s teeth 
 at Rome a watering after pearls and precious stones ; like as the con¬ 
 quest obtained by L. Scipio and Cn. Manlius brought them into love 
 with silver plate curiously enchased and embossed : also with rich 
 hanging of cloth of gold, silver, and tissue ; together with beds 
 and tables of brass ; even as the brasen statues and vessels of 
 Corinthian brass, and the curious painted tables, came in request 
 upon the victory that L. Mummius gained over Achsea. 
 
 <e To the end that it may appear more evidently what the triumph 
 of Pompey wrought in this respect, I will put down, word for word, 
 what I find upon record in the registers that bear witness of the 
 actes which passed during those triumphs. In the third triumph, 
 therefore, which was decreed unto him (for that he had scoured the 
 seas of pirates and rovers, reduced Hatolia, and the kingdom of 
 Pontus, under the dominion of the Romans, defeated kings and 
 nations, according as I have declared in the seventh book of my 
 
INFLUENCE OF WAR UPON THE ARTS. 
 
 11 
 
 history), he entered Rome the last day of September, in the year 
 when M. Piso and M. Messala were Consuls, on which day there 
 was carried before him, in shew, a chess-board with all the men, 
 and the same board was made of two precious stones, and yet it 
 was two foot broad and four foot long ; and lest any man should 
 doubt hereof, and think it incredible, considering that no gems at 
 this day come near thereto in bigness, know he, that in this triumph, 
 he shewed a golden moon weighing thirty pounds ; three dining 
 tables, also of gold ; other vessel, likewise of massive gold and 
 precious stones, as much as would garnish nine cupboards ; three 
 images of beaten gold, representing Minerva, Mars, and Apollo ; 
 coronets made of stones, to the number of three-and-thirty ; a 
 mountain made of gold four square, wherin a man might see red deer, 
 lions, fruit-trees of all sorts, and the whole mountain environed 
 and compassed all about with a vine of gold ; moreover, an oratory 
 or closet consisting of pearl, in the top or louver whereof there 
 was a clock or horologe. He caused also to be borne before him, in 
 a pompous shew, his own image, made of pearls ; the portraiture 
 (I say) of that Cn. Pompeius, whom regal majesty and ornaments 
 would have better beseemed ; and that good face and venerable 
 visage so highly honoured among all nations, was now all of pearls ; 
 as if that manly countenance and severity of his had been van¬ 
 quished, and riotous excess and superfluity had triumphed over 
 him, rather than he over it. 
 
 ******* 
 
 u This victory of his brought into Rome, first our cups, and other 
 vessels of Cassidoine ; and Pompey himself was the first who, that 
 very day of his triumph, presented unto Jupiter Capitolinus six 
 such cups ; and presently, from that time forward, men also began 
 to have a mind unto them in cupboards, counting tables, yea, and 
 in vessel for the kitchen, and to serve up meat in.” 
 
 Sylla committed heartless and systematic depredations at Athens 
 and Olympia, and his soldiers were permitted to ravage to any extent. 
 Verres also, when governor of Sicily, was accused of plundering 
 the island of its finest works of art; he had previously devastated 
 Achaia, Pontus, and other parts of Asia Minor in the same manner. 
 
 Augustan Age. 
 
 B.C. 30. CONQUEST OF EGYPT. DEATH OP ANTONY AND CLEOPATRA. HORACE, VIRGIL, 
 AND LIVY FLOURISH IN LITERATURE. 
 
 When Octavius won the victory at Actium, he enlarged the temple 
 of Apollo upon that promontory, and expressed his gratitude by 
 dedicating the statue of Apollo, by Scopas, in a temple at Rome, 
 on the Palatine hill. Augustus declared that he had found Rome 
 
12 
 
 THE ROMAN COURT. 
 
 of brick, and would leave it of marble. At first the Romans seem 
 to liave contented themselves with good copies of the celebrated 
 sculptures in Greece, and therefore we may assign to this period 
 many of the fine works which are still extant. Such copies must 
 have been multiplied extensively, in order to gratify various tastes ; 
 but they are rarely exactly alike—differences between them, easily 
 seen on comparison, occur, as in the Apollo Sauroctonos, Nos. 298 
 and 301, and the Jason, Nos. 21 and 25. There seems even to have 
 been some scruple with regard to direct imitation. That they did 
 closely imitate is proved, however, by the singular circumstance 
 that in many instances several repetitions of the same statue have 
 been found together. As many as four in the same place of the Boy 
 and Goose, No. 269, and three of the Boy and Bird, No. 263. The 
 Laocoon also was found in close connection with a second group 
 greatly mutilated ; and in the villa of Hadrian several figures were 
 discovered under similar circumstances. Much occupation was given 
 in the Augustan age to statuaries by portraiture, and to this period 
 we owe some of the finest examples of statesmen in that most noble 
 of all dresses, the Toga. The Toga was 
 originally derived from the Tuscans, but 
 it appears to have become more amplified 
 in course of time ; for, although clearly 
 recognisable on Etruscan monuments, it 
 is by no means so full, and differs little 
 from the pallium of the Greeks, beyond 
 the mode of adjustment. Portrait statues 
 of Augustus and Tiberius in the toga are 
 particularly fine. Numerous basreliefs 
 representing religious ceremonies and 
 sacrifices are of good workmanship, and 
 accord with the coins of the period. 
 The worship of Isis, introduced at the 
 beginning of the Empire, brought with 
 it strange tastes, and led to peculiar 
 varieties of dress and manners. Nero 
 threw down the statues of victors in 
 Greece out of envy, and further evinced 
 his bad taste by gilding a statue of Alex¬ 
 ander, by Lysippus. He displayed his 
 extravagance in his Golden House, for 
 which from Delphi alone he brought 
 500 statues ; and his vanity may be estimated by his having 
 had his portrait painted 120 feet high. Buildings crowded more 
 
 Statue of Didius Julianus, 
 from the Louvre, 
 showing the Toga. 
 
THE ARTS UNDER THE EARLY EMPERORS. 
 
 13 
 
 and more round the Palatine hill ; and pile was raised upon pile 
 with no other object than to gratify the builder and minister to 
 the grossest licentiousness. Works of a more public utility were 
 constructed by the Flavii. The amphitheatre called the Coliseum 
 was founded by Vespasian, a.d. 72, and completed by Titus eight 
 years later. Calculated to hold 87,000 spectators, it was chiefly 
 built by the Jewish exiles. Externally it presented the form of 
 an ellipse, decorated with four ranges of arches, one above the other. 
 
 The baths of Titus, many portions of which still exist, afford 
 us sufficient examples of the taste of the day in pictorial deco¬ 
 ration. The ceilings aud walls of the apartments are covered 
 with the lightest and most beautiful paintings, similar in style 
 to those found at Pompeii and Herculaneum, cities that were 
 overwhelmed in this reign. A great part of the baths of Titus 
 occupied the site of the Golden House of Nero, which was origin¬ 
 ally built upon the house and gardens of Maecenas. Nero, it 
 seems, embodied the villa of Maecenas in his design, and these 
 were again made use of by Titus ; so that we probably behold in 
 these decorations some of the very 
 images which were devised by 
 the patron of Horace and the 
 friend of Augustus. In these 
 chambers were found the Pluto and 
 Cerberus, and the Meleager of the 
 Vatican, also the celebrated paint¬ 
 ing called the Nozze Aldobrandini. 
 
 The famous group of the Laocoon, 
 found in the neighbourhood of the 
 baths of Titus, and supposed to 
 have been executed in this reign, is 
 minutely described by Pliny. 
 
 Trajan indulged a passion for 
 architecture, and, with the assist¬ 
 ance of Apollodorus, erected many 
 splendid buildings in Pome. His 
 own forum was the most famous of 
 all. Some very rich ornamental 
 pieces of architecture, Nos. 96 
 and 98, belong to this period. 
 
 Hadrian, who pretended to a know¬ 
 ledge and practice of architecture, 
 put Apollodorus to death because he had criticized the emperor’s 
 
 c 
 
14 
 
 THE ROMAN COURT. 
 
 works too boldly. The age of Hadrian was notwithstanding a flourish¬ 
 ing period for art. Every possible excellence as regards execution 
 seems to have been revived ; but still the creative power of inven¬ 
 tion was wanting. How superlatively excellent the technical art 
 was in these days may be seen by the 
 many figures of Antinous. This favourite 
 of the emperor seems to have been repre¬ 
 sented in almost every variety of size, 
 character, and material. The most beau¬ 
 tiful examples are the Capitol and Far- 
 nese statues, Nos. 280 and 288, and 
 the Albani basrelief, No. 143. Copy¬ 
 ing any of the finest Greek statues, with 
 such powers of workmanship, the sculptors 
 might well produce specimens not to be 
 distinguished from the originals. Hadrian 
 erected a villa at Tibur — the modem 
 Tivoli—where he designed to include in 
 one spot all the most striking objects 
 noted in his travels. It contained a 
 Lyceum, an Academy, a Pcecile, in imita¬ 
 tion of that at Athens, a Yale of Tempe, 
 Serapeon of Canopus, a Library, a Tartarus, 
 Elysian fields, and numerous temples and 
 theatres. Here were deposited number¬ 
 less statues, many of them copies or 
 recollections of foreign works, mosaics, 
 and costly vases of every description. 
 During his reign, Hadrian had visited the principal parts of 
 his vast empire, conferring benefits wherever he went, and in 
 almost every instance leaving some monument of his generosity 
 behind him. His numerous medals show his progresses :— 
 each grateful place or city being represented upon a distinct coin 
 as a female figure welcoming him. When a town was rebuilt, or 
 a province colonized anew, it was represented as a prostrate 
 female, and the emperor raising her by the hand. 
 
 The temple of Jupiter Olympius at Athens was crowded with 
 bronze statues of the emperor Hadrian, each having been contri¬ 
 buted by olie of the cities that had received benefits from him. 
 They were placed in front of the columns. The enclosure surrounding 
 the temple, to the extent of more than half a mile, was also full of 
 statues. This fulsome repetition of one personage did not originate 
 
 Colossal statue of Antinous, 
 formerly in the Braschi Palace, 
 now in the Lateran Museum at 
 Rome. See No. 347 of the Cata¬ 
 logue. 
 
HADRIAN AND THE ANTONINES. 
 
 15 
 
 with the age of Hadrian. Demetrius Phalereus was honoured by the 
 Athenians with 360 statues, and yet before the same number of days 
 had elapsed they were all broken to pieces. The people of Home 
 ordered a statue of Marius Gratidianus to be erected in every 
 street , and these were overthrown upon the approach of Sylla. 
 Pausanias says that Hadrian dedicated the temple of Jupiter 
 Olympius with an ivory and gold statue of the deity, not inferior 
 in size to a Homan or Hhodian colossus. The Athenians sur¬ 
 passed the votive statues of all other cities in a colossus of 
 the emperor, which was placed between the Temple and the 
 Parthenon. Hadrian also built a temple of Juno and of Jupiter 
 Panhellenius ; one of his edifices at Athens was supported by 120 
 pillars of Phrygian marble, with a portico of the same, and 
 ceilings of alabaster enriched with gold. The side walls were 
 adorned with pictures and statues. He also gave the Athenians 
 a library and gymnasium supported by 100 columns of Libyan 
 marble, which bore his name. 
 
 In these works he seems to have emulated the liberality of 
 a private individual named Herodes, a native of Athens, who 
 lived in the reign of the emperor Nerva. This Herodes Atticus 
 became suddenly rich by the discovery of vast treasure, and his 
 chief gratification was to enrich the city of his birth with public 
 buildings and useful works. 
 
 Hadrian constructed his own monument—now the castle of 
 St. Angelo—at Home, and his remains were conveyed to it from 
 the neighbourhood of Baise, where he died. The tomb was most 
 probably finished by his successor, Antoninus Pins. It was built 
 of Parian marble, adorned with statues of men and horses, and 
 rose high above the walls of the city. When, in subsequent 
 times, the Goths besieged the city, the statues were tom down 
 from their pedestals and hurled upon the assailants. Many 
 valuable fragments have been discovered at the foot of this 
 structure, among them the famous Barberini Faun, jNo. 19. 
 The age of the Antonines was also favourable to art, and the 
 series of medals stmck in their time exhibits the finest examples 
 of mythic illustrations and historical events of any known period. 
 The coins of Greece struck during the Homan empire are extremely 
 interesting for the subjects they represent—frequently, celebrated 
 statues, and sometimes buildings ; but the style of art is so coarse 
 and inferior that only a general idea of what is intended can be 
 obtained. Cameos, in the early period of the Roman empire, 
 were wrought extensively, and some of the best portraits have 
 
 c 2 
 
16 
 
 THE ROMAN COURT. 
 
 been preserved in tliis manner. Particularly fine specimens are 
 extant in the collections at Paris and Vienna. Cameos and gems 
 are less satisfactory as evidences of the progress of art, because 
 they were mostly done to gratify private caprice or some particular 
 taste. Coins, on the other hand, were the affair of the state, and 
 regarded also in a religious light. 
 
 A fine sculpture of the time of the Antonines is in the Louvre, 
 representing Achilles among the daughters of Lycomedes. It is 
 probably in itself a copy from a still better work, but an inferior 
 repetition now at Rome affords the connoisseur an opportunity of 
 judging how the same subject borne down the stream of time loses 
 in spirit, and in the original intention. The Roman copy is the 
 celebrated sarcophagus of the capitol in which the Portland vase 
 Avas discovered. A cast of this sarcophagus is now in the British 
 Museum. 
 
 Fashion, especially in arranging the hair, occupied much of the 
 attention of the Roman ladies. Romans were frequently repre¬ 
 sented as Greek divinities, and denuded accordingly, but the 
 hair, a never failing distinction, was allowed to remain in the 
 fashion of the day, however extravagant it might be. Julia, 
 the daughter of the Emperor Titus, figures thus as a statue of 
 Venus. Noble Romans and their wives are immortalized as Venus 
 and Mars, some as Juno, and not a few fond mothers and ugly 
 children are perpetuated as Venus and Cupid. 
 
 In ornamented sarcophagi of late times, the multitude of subjects 
 corresponds with the overloaded images in Latin poetry. Exuberant 
 architectural ornament answers to a profusion of words, and after 
 the period of Commodus, the sculptor seems to have worked merely 
 from that which had been done by his predecessor, Avithout the 
 least regard to the fountain of all truth— nature. Even in the 
 triumphal arches of Septimius Severus, the figures are deficient in 
 life ; they are only interesting to the antiquary as minute copies of 
 armour, costume, and military engines. The ideal figures, such 
 as the River gods in the spandrils of the arches, and Victories on 
 the pedestals, are miserably bad. The features are exaggerated, 
 and the outer folds of the drapery strongly marked, without 
 any regard to the moulding of the limbs upon which they ought 
 to rest. In sarcophagi, when the forms are so closely crowded, we 
 often find small figures placed at the feet of larger ones, nay, in 
 the very front of them, and every opening is filled with some 
 secondary device either of figures or emblems. Architectural 
 ornament gradually superseded the human figure, and we find 
 
ART IN THE REIGN OF CONSTANTINE. 
 
 17 
 
 large niches and Anted columns, dividing the figures even where 
 a connection seems to be intended. 
 
 Apollo, Aurora, and the Earth, occupy the background. Specimen of late Grecian art, 
 under Roman influence. 
 
 The coins of the late period mark the same decline. Even 
 portraiture upon them loses its force, and the artist seems to have 
 depended more upon the name inscribed, and the ornaments of dress, 
 and emblems, for recognition, than upon any particular character 
 in the features. In many of the coins of this period of the empire 
 we find the dresses and insignia most carefully elaborated, and 
 therefore for purposes of costume, they are invaluable. 
 
 The arch of Constantine at Rome, to commemorate his victory 
 over Maxentius, is only the reconstruction of a former arch, built 
 in honour of Trajan. The greater part of the basreliefs refer to the 
 actions of Trajan, and a few figures of Victory, and a frieze showing 
 the conquest of Verona and the fall of Maxentius are all that 
 belong to Constantine’s own time. These sculptures are wretched 
 in the extreme, and contrast sadly with the Trajan basreliefs, 
 which are so excellent that Raphael has taken some of his finest 
 compositions from them. 
 
 CoNSTANTINOPOLITAlSr AGE. 
 
 A.D. 330. REMOVAL FROM ROME TO CONSTANTINOPLE, DESTRUCTION OF THE HEATHEN 
 TEMPLES, THEODOSIUS THE GREAT, EMPEROR OF ROME. 
 
 When the seat of the empire was removed to Constantinople, few 
 artists remained, and all the finest works went thither also. The 
 
18 
 
 THE ROMAN COURT, 
 
 most celebrated statues tliat bad been brought over from Greece, 
 both in bronze and marble, were required to decorate the palaces 
 of the Emperor and his nobility. Much may have perished on the 
 way, but in the wars that ensued during the decline of the empire, 
 all taste or regard for art seems to have been abandoned. The 
 barbarians, during their inroads for plunder, sought only for 
 precious material, bronze and silver statues rarely escaped, but marble 
 works were broken into pieces, or used as mere building material. 
 Statues were often coined into money. When Constantinople was 
 taken by the Latins at the beginning of the 13th century, a.d. 1204, 
 the remains of art appear to have suffered the greatest destruction ; 
 Nicetas, an eye-witness, describes the ruthless outrage and wanton 
 destruction of every work of refinement. He records the glorious 
 works of Polycletus, Lysippus, and other great sculptors as perishing 
 on that occasion, but repeated conflagrations in the imperial palaces 
 
 Bas-relief of late Roman times, from the Vatican. 
 
 had already lessened the number of illustrious works. Even the 
 
DESTRUCTION OF WORKS OF ART. 
 
 19 
 
 Venus of Cnidos, and the ivory statues of Phidias, which had not 
 been allowed to remain on the spot where they had so long been 
 worshipped, perished at Constantinople before the calamities 
 recorded by Nicetas took place. The four bronze horses now at Venice 
 were saved from this destruction. They had been brought from Corinth, 
 and are now attributed, but with little authority, to Lysippus. 
 They are certainly far inferior to the masterpieces of Greece, and 
 do not resemble the horses of that country in general appearance. 
 From this period all collections and encouragement of art seem to 
 have ceased. It was not till after Constantinople was captured by 
 the Turks in the 15th century, when the remaining Greek families 
 were expelled, that a taste for ancient literature arose in the West. 
 These fugitive Greeks carried with them the taste for the ancient 
 Greek language. Ancient manuscripts were sought for in Italy, 
 and relics of statues supposed to illustrate them carefully treasured. 
 From this age—the age when printing was first introduced—art 
 was recognized. Wealthy individuals formed private galleries 
 which were assiduously frequented by a privileged few. Collec¬ 
 tions of pictures and statues then became necessary adjuncts to the 
 palaces of enlightened rulers. Now they are not only recognized 
 as a means of public instruction, but enjoyed as a very considerable 
 source of popular recreation. 
 
 NOTES ON THE PRINCIPAL COLLECTIONS OF ANCIENT 
 SCULPTURE IN EUROPE. 
 
 When the Florentine, Poggio Bracciolini, wrote in 1430, he 
 described six statues as all that remained then visible in Rome. 
 He was Apostolic secretary to Pope Martin V., and busied himself 
 especially in collecting ancient MSS., and making records of 
 antiquarian subjects. 
 
 The six statues consisted of the two colossi, with their horses 
 now on Monte Cavallo, two recumbent statues representing the 
 Nile and Tiber, the fifth a reclining colossal figure of Ocean, known 
 by the name of Marforio, removed by Sixtus V. to the Capitol 
 (Bunsen, vol. iii., p. 138) ; the sixth, the famous bronze gilt statue 
 of Marcus Aurelius on horseback, which stood at that time near 
 the Lateran palace. 
 
 These were all the statues then to be seen in Rome, nor had 
 any one begun to form collections of antiquities in that city, but 
 Bracciolini had himself amassed many curiosities in his own country, 
 
20 
 
 THE ROMAN COURT. 
 
 and even sent to Rhodes in order to obtain sculptures of genuine 
 Greek origin ; his collection included choice intaglios, gems, and 
 antique coins. Inspired by his enthusiasm, Cosmo di Medici began 
 to form a museum at Florence, 'which increased afterwards under 
 the auspices of Lorenzo into the far-famed Museum Florentinum. 
 
 THE VATICAN MUSEUM 
 
 Was founded by Julius II. It is the finest collection of 
 statues in the world. Julius employed the famous Bramante 
 to erect a vast niche surmounted by a gallery called Belvedere, 
 and in front of this he collected in a garden the choicest 
 statues extant in his day. These were the Nile and Tiber 
 already described, a sarcophagus with the fable of Meleager, 
 the famous Torso of Hercules (No. 67), and the celebrated 
 group of Laocoon, which was kept in a separate alcove. To 
 these his successor, Leo X., added the famous statue of the 
 Mercury (No. 316), and the Apollo. The reclining Ariadne at that 
 time adorned a fountain in the adjacent corridor. 
 
 Towards the end of the last century, Clement XIY. (Ganganelli), 
 and Pius YI. (Braschi), formed the magnificent galleries in the 
 Yatican, which bear their conjoined names in the Museo Pio 
 Clementino. Many purchases were made from the collection of 
 the Yilla Negroni, previously Montalto, formed by Sixtus Y., and 
 from a series of excavations carried on among the ruins of Hadrian’s 
 Yilla and elsewhere, by an energetic Scotchman named Gavin 
 Hamilton. At the treaty of Tolentino in 1797 all the most cele¬ 
 brated works of art were removed to Paris, but in 1816 they were, 
 with the exception of the colossal Melpomene, the statue of Augustus 
 in the toga, the Yelletri Minerva, and the Tiber, restored to the 
 Yatican. Pius VII. added a long gallery of sculpture, which bears 
 his name, Chiaramonti; a magnificent hall erected by the same 
 Pontiff was opened in 1821, under the name of the Braccio Nuovo. 
 It contains the beautiful Minerva Medica (No. 18), the Nile, already 
 described, the standing Demosthenes (No. 321), the Faun of Praxi¬ 
 teles (No. 10), and the Little Ganymede of Phaidimos (No. 227). 
 
 THE CAPITOL MUSEUM, 
 
 The second collection of importance in Rome, was founded by 
 Innocent X., continued by Clement XII., and considerably 
 increased by Benedict XIY., and Clement XIII. Several of its 
 figures were removed from the Yatican, and some of the choicest 
 specimens from the Yilla Ludovisi. 
 
EUROPEAN COLLECTIONS OF SCULPTURE. 
 
 21 
 
 A few of the sculptures have been detained in Paris since 1816, 
 among them the Nereid Sarcophagus (No. 140), and the Muses 
 (No. 133). 
 
 THE FARNESE COLLECTION, 
 
 Founded by Paul III., became the property of the King of 
 Naples upon the death of the Duke of Parma in 1786, and has 
 been entirely transferred to Naples, where it is incorporated in the 
 Museo Borbonico. 
 
 The principal Farnese treasures were the colossal Hercules, the 
 so-called Flora, Dirce tied to the Bull, torso of Bacchus, and a 
 statue of Antinous. 
 
 VILLA BORGHESE. 
 
 The collection of the Villa Borghese was sold by Prince Camillo 
 Borghese in 1806 to his brother-in-law, Napoleon, and transported 
 in 1808, entire, to Paris, where it is now incorporated with the 
 other antiques of the Louvre. Since that time another rich 
 collection has been formed at Rome to replace it. 
 
 VILLA ALBANI 
 
 Contains rich treasures, that formed the basis of Winckelmann’s 
 studies. A few of these passed to Munich, Paris, and Dresden. 
 All the principal antiques will be found engraved in the (< Monu- 
 menti inediti ” of Winckelmann. 
 
 VILLA LUDOVISI 
 
 Still retains some very superior works of art found principally in 
 the gardens of Sallust; they consist of the Mars, Orestes and 
 Electra, or Penelope and Telemachus, and the group of Psetus 
 and Arria, Pan teaching the young Olympus, together with two 
 heads of Juno—one of them colossal—the other of an early style 
 of art. 
 
 VILLA MEDICI 
 
 Formerly contained the celebrated statues now in the Florence 
 gallery (see Florence). 
 
 PALAZZO SPADA 
 
 Possesses some very fine bas-reliefs, published also by Winckelmann 
 
22 
 
 THE HOMAN COURT. 
 
 and Dr. Emil Braun. The most important are Bellerophon and 
 Pegasus, Paris and Helen, Pasiphae, Death of Archemorus, 
 Meleager leaning on his spear. Also a very interesting sitting 
 statue, regarded by Yisconti as Aristotle, Part of the name is 
 inscribed. 
 
 VILLA MONTALTO, 
 
 Founded by the Pope Sixtus V., contained many fine works. 
 Among them the statues of Menander and Posidippus. The 
 villa was afterwards called Negroni, and now Massimi. Most 
 of the sculptures passed to the Museo Pio Clementino. 
 
 NAPLES. 
 
 MUSEO BORBONICO. 
 
 Naples is rich in antique works of every description. The most 
 important source is the excavations carried on at Pompeii and 
 Herculaneum, and discoveries continually made at Nola and 
 Canosa. The Farnese collection already adverted to, and the 
 sculptures forming the Museo Borgia, consisting of specimens found 
 especially at Yelletri, greatly contribute to the importance of the 
 Studij as a resort for the learned. 
 
 FLORENCE. 
 
 VALERIA IMPERIALE IN THE UFFIZII 
 
 Contains several antiquities of great importance. The chief 
 statues were in the Yilla Medici at Rome until 1680 and 1775, 
 when they were transported to Florence by the Grand Dukes, 
 Cosmo III. and Peter Leopold. The principal statues are the 
 Yenus, the Apollino, Wrestlers, the series of Niobe, and the fine 
 vase with the sacrifice of Iphigenia. 
 
 PISA. 
 
 THE CAMPO SANTO 
 
 Cloisters are adorned with a most splendid and interesting 
 collection of sepulchral monuments, many of them are Sarcophagi 
 
EUROPEAN COLLECTIONS OF SCULPTURE. 
 
 23 
 
 of Roman times, with fables of the Pagan religion sculptured upon 
 their sides, and from this source the illustrious sculptors NTiccolo 
 and Andrea Pisano, from a.d. 1200 to 1330, derived much of 
 their inspiration. The front of a large Sarcophagus and a Bacchic 
 Yase may be seen in this collection, JSTos. 118 and 356. 
 
 FRANCE. 
 
 THE LOUVRE 
 
 Contains a rich collection of ancient sculpture founded by 
 Francis I. He employed Primaticcio, a pupil of Giulio Romano, 
 to visit Italy for the express purpose of purchasing antique statues. 
 One hundred and eighty-four statues and numerous busts were 
 acquired in this manner, and collected at Fontainebleau, which then 
 became, in the words of Yasari, a second Rome. The celebrated 
 Diana, JNo. 261, has been in France ever since this period. Henry 
 IY. greatly increased the collection, and Richelieu and Montmorency 
 procured many fine remains from Italy, some of which were 
 deposited in the Chateau at Ecouen. Louis XIY. assembled the 
 finest works of art at Versailles ; and in 1796 the Louvre was 
 destined to comprise the most celebrated antiques from all parts of 
 Italy. The Borghese collection was transferred to Paris in 1808. 
 but in 1816 nearly all the chef d’oeuvres of Italy were restored. 
 A few only remained from the Vatican, Capitol, and Villa Albani. 
 The Count Choiseul and MM. Laborde and Texier have since contri¬ 
 buted materially to increase the collection, various sculptures 
 brought from Assos, Pergamos, and Magnesia, in the Meander, 
 have been added to it. The most recent acquisition made is the 
 series of Assyrian works of art procured by the zeal and enterprise 
 of MM. Botta, Flandin, Mohl, and De Saulcy. 
 
 The chief private collections in France are those of the Due de 
 Blacas, Count Pourtales, and Baron Beugnot. 
 
 ENGLAND. 
 
 Is rich in works of art. Private collections contain very fine 
 specimens, chiefly through the energy of Gavin Hamilton, Brown, 
 and Byres. Woburn Abbey, Marbury Hall, Ince Blundell, Pet- 
 worth, Wilton House, Deepdene, and Lansdowne House, are 
 
24 
 
 THE ROMAN COURT. 
 
 among tiie richest with respect to these antiquities. The Arundel 
 collection at Oxford, formed by the Earl of Arundel (1634), con¬ 
 tained when entire 37 statues, 128 busts, and 250 inscribed 
 marbles, exclusive of sarcophagi, altars, fragments, and gems. 
 
 THE BRITISH MUSEUM 
 
 Is the most recent of national collections of sculpture, and, in many 
 respects, the most important of all. 
 
 Mr. Gavin Hamilton, a Scotch artist of considerable learning and 
 ability, resident at Rome, in 1770, proposed to the Papal government 
 to undertake excavations among the well-known ruins of former 
 grandeur, and to share the results with them. An arrangement 
 was thus entered upon. The antiquities were to be divided into 
 four shares. The first to go to the Pope, the second to his 
 ministers of state, the third to the possessor of the soil, and the 
 fourth to the adventurer. By this means, the Popes Clement XIV. 
 and Pius VI. acquired their rich treasures, which induced them to 
 commence the celebrated Vatican Gallery, called the Museo Pio 
 Clementino. A portion of these discoveries found their way to 
 Great Britain, and were purchased by several private gentlemen, 
 but principally by Mr. Townley. 
 
 Mr. Charles Townley, whose taste and accomplishments enabled 
 him to appreciate the refinements and excellences of art, spared 
 no pains or expense to procure the choicest specimens. He spent 
 a considerable time in Rome, and devoted himself to watch the 
 excavations, and finally deposited his rich collection at his residence 
 in Park Street, Westminster. The most profitable excavations 
 were made on the site of Hadrian’s Villa at Tivoli (see page 14), 
 at the ancient Gabii, Tor Columbaro, Albano, Velletri, and Ostia. 
 Mr. Jenkins, the English banker at Rome, also materially assisted 
 Gavin Hamilton. 
 
 On the death of Mr. Townley, in 1805, his collection of ancient 
 marbles and terra-cottas was purchased by the nation for the sum 
 of £20,000, and an additional edifice was built at the British 
 Museum for their reception. It was opened to the public in 1808. 
 Among the treasures thus acquired were the famous Dione (No. 3), 
 a repetition of the Discobolus (No. 4), and also of Cupid bending 
 his bow (No. 191). 
 
 The most important acquisition ever made of ancient sculpture 
 took place in 1816, when England became possessed of the original 
 marbles from the Parthenon, executed by the best artists of the 
 finest period of Greek art. Nothing has ever since equalled them, 
 
EUROPEAN COLLECTIONS OF SCULPTURE. 
 
 25 
 
 and their shattered condition is on that account the more deeply to 
 be lamented. 
 
 The Phigaleian, Lycian, Halicarnassian, and Assyrian marbles have 
 been successively added, and their superior importance over all the 
 bassi rilievi of Italy and other collections consists in the fact 
 that the history of the buildings to which they belonged, and in 
 which they had remained, is well known ; consequently, we are in 
 possession of information respecting the period at which they were 
 produced, and the artists who executed them. In Italy, on the 
 contrary, detached fragments of Greek art are frequently discovered, 
 but having been transported from some other country, all clue to 
 their original connection is lost. Even in Hadrian’s Villa every¬ 
 thing is uncertain, from the fact that that Emperor is known to 
 have delighted in copies, and to have had great numbers made 
 when he was unable to transport the originals to his own halls. 
 
 THE ROYAL ACADEMY OF ARTS IN TRAFALGAR SQUARE. 
 Possesses a collection of the finest casts ever executed from the antique 
 statues in Italy. Before the French conveyed the ancient marbles 
 from Rome, a series of casts were taken with the utmost skill and 
 precision from the originals, in order to supply their places on the 
 pedestals of their prototypes. When the marbles were restored to 
 Italy, the Sovereign Pontiff, in acknowledgment of the part under¬ 
 taken by this country, presented the casts to the Prince Regent, by 
 whom they were bestowed upon the Royal Academy. 
 
 MUNICH. 
 
 THE GLYPTOTHEK OR SCULPTURE GALLERY 
 
 At Munich consists principally of statues and reliefs purchased from 
 the Villa Albani, and the Barberini, Roudanini and Braschi palaces. 
 The Sleeping Faun, Ilioneus, Venus of Cnidos, and Alexander the 
 Great, also the busts of Minerva, Medusa, and Laughing Faun, are 
 among the principal treasures. The HCgina statues are second in 
 importance only to the Parthenon marbles now in the British 
 Museum, and -were purchased by the ex-king in 1812. 
 
 BERLIN. 
 
 Contains few objects of especial celebrity. The bronze youth suppli¬ 
 cating (No. 232), and the great Antinous (No. 314), are among the 
 principal. The greater part came from Sans Souci and Potsdam, 
 
26 
 
 THE ROMAN COURT. 
 
 and were made up by Cavaceppi. The so-called family of Lyco- 
 medes, bequeathed by Cardinal Polignac, are in reality figures of 
 the Muses converted by the restorer ; but fortunately, at the 
 suggestion of Levezow, the greater part have been made to resume 
 their original appearance. The Polymnia (No. 50) is especially 
 fine. No. 49 remains unaltered. 
 
 DRESDEN. 
 
 Contains two interesting statues of Minerva (Nos. 54 and 48), the 
 base of a large candelabrum of elaborate workmanship, and many 
 statues restored by Cavaceppi. A few figures from the first exca¬ 
 vations at Herculaneum, and others from the Yilla Albani. See 
 p. 17 of description of Pompeian Court. 
 
 VIENNA. 
 
 Has few ancient works of importance in marble, with the exception 
 of the torso of an Amazon, and the celebrated Fugger Sarcophagus 
 (No. 58), found at Laconia. The collection of gems is the finest 
 in existence. They have been ably illustrated by the Abbe Eckhel. 
 
 MADRID. 
 
 Possesses two ancient works of interest ; one, the Young Faun 
 carrying a goat, and the other a group of two figures, called 
 Antinous and his Genius ; both of which belonged to Christina, 
 Queen of Sweden. The nine Muses, which were her property also, 
 are for the most part modern. 
 
 LIST OF PRINCIPAL ILLUSTRATED WORKS ON SCULPTURE AND 
 SERVICEABLE DESCRIPTIONS REFERRED TO IN THE CATA¬ 
 LOGUES. 
 
 Admiranda Romanorum Antiquitatum, a P. S. Bartolo incisa, Notis Bellorii 
 Ulustrata, fol., Romse, 1693. 
 
 Very spirited etchings of bas-reliefs and paintings in the usual bold style 
 of Santi Bartoli, who was a pupil of Nicolas Poussin. 
 
 Ancient Marbles in the British Museum, 4to., London, 1812-45. 
 
 Excellently engraved plates from the truly artistic designs of Corbould. 
 Ancient Terra-cottas in the British Museum, 4to., London, 1810. 
 
 Annales du Musee, 17 vols., 8vo., Paris, 1801-9. 
 
ILLUSTRATED WORKS ON SCULPTURE. 
 
 27 
 
 Aimali dell’ Instituto di Corrispondenza Archeologica' di Roma, 8vo text, and 
 large Atlas of Plates, 1829-54. 
 
 A valuable series of outline engravings, a few slightly shaded, of every 
 new monument worthy of record, or admitting a fresh interpretation. 
 
 Antichita di Ercolano esposte, Pitture antiche d’Ercolano, 9 vols. Napoli, fol., 
 1757. 
 
 An admirable series of highly finished engravings, from both pictures and 
 bronzes, worthy of note for their artistic freedom and faithfulness to 
 the originals, a great contrast to the plates in the Museo Borbonico. 
 
 Bartoli, P. S., Gli Antichi Sepolcri Romani, sm. fol., Rom., 1704. 
 
 Becker, Augusteum des Monumens Antiques a Dresden, 3 vols., sq. fol., 
 Leipsig, 1804-11. 
 
 Hard shaded plates, failing to express the style of the originals. 
 
 Bello ri, Yeteres Arcus Augustorum, fol., Romse, 1690. 
 
 Bello rius, Colonna Trajana, oblong fol., Roma, 1690. 
 
 Blewitt’s Handbook to Naples, Murray, 8vo., 1853. 
 
 Bouillon, Musee des Antiques, 3 vols., fol., Paris. 
 
 By far the finest work that has ever appeared upon ancient sculpture. An 
 excellent draughtsman has transferred his taste and skill upon the copper 
 itself. Bouillon engraved all the plates of statues with his own hand, 
 and has rendered with the most scrupulous exactness not only the forms 
 but every perceptible variety of surface upon the sculpture. His 
 points of view are, for the most part, admirably chosen. How far his 
 talent suffered through other engravers may be seen in the plates of 
 the Musee Francais. 
 
 Braun, E., Antike Marmorworke, fol., Leipzig, 1843. 
 
 Braun, E., Zwolf Basreliefs Griechischer erfindung aus Palazzo Spada, Capitol 
 und Villa Albani, fol., Rom., 1845. 
 
 Gracefully shaded large plates, which well exhibit the character of relief 
 in these interesting sculptures. 
 
 Braun, E., Yorschule der Kunst Mythologie, Gotha, 1854. 
 
 Bronsted, Voyages dans la Grece, 2 vols., 4to., Paris, 1826-30. 
 
 Bronzi di Ercolano, Busti, Napoli, fol., 1767. 
 
 Bronzi di Ercolano, Statue, Napoli, fol., 1771. 
 
 Bunsen, Beschreibung der Stadt Rom., 5 vols., 8vo., Stuttgart, 1830-42. 
 
 An invaluable work for information in every department, written in 
 German. The antiquarian part chiefly by Gerhard and Platner. 
 
 Causeus, Museum Romanum, vol. i., Divinites, fol., Romse, 1746. 
 
 Cavaceppi, Raccolta d’Antiche Statue, 3 vols., fol., Roma, 1768-72. 
 
 Clarac, Musee de Sculpt. Paris, 8vo texte, 4to Atlas, 1826-51. 
 
 A very useful series of outlines of the Louvre sculptures and nearly all 
 the statues extant, classed according to names of divinities and heroes. 
 Foreign bas-reliefs are totally wanting. 
 
 Clarac, Venus de Milo, et sur la Statue du Germanicus, 4to., Paris, 1821. 
 
 Dela Chause (Causeus). 
 
 Denkmaler, der Alten Kunst, von Oesterley, oblong fol., Gottingen, 1832-54. 
 A most useful series of small outlines of the principal ancient monuments. 
 The best for ready reference. 
 
 Desgodetz, Edifices Antiques de Rome, folio, Paris, 1682. 
 
 Dilettanti Society’s Specimens of Antient Sculpture, 2 vols., fol., London, 
 1809-35. 
 
 Profusely shaded drawings of sculpture in England only. Very .important. 
 
28 
 
 THE ROMAN COURT. 
 
 Eastlake, Literature of tlie Fine Arts, 8vo., London, 1848. 
 
 Fabretti, de Columna Trajani, fol., Rom., 1683. 
 
 Fau, Anatomy for Artists, by Knox, Bailliere, Lond., 8vo., 1849. 
 
 The text, by Dr. R. Knox, contains many valuable criticisms upon antique 
 statues, which, not being merely anatomical, may be read by every one. 
 Flaxman’s Lectures, 8vo., Lond., 1838. 
 
 Galleria Giustiniana, 2 vols, fol., Roma, 1631. 
 
 Gerhard, Antike Bildwerke, fol., Munich, Stutgard and Tubingen, text, 4to., 
 Munich, 1820. 
 
 Highly valuable plates of monuments in pure outline. 
 
 Gerhard, Archaologische Zeitung, 4to, Berlin, 1843-48. 
 
 A valuable record of new discoveries and opinions. The plates, for the 
 most part in outline, are remarkably excellent. 
 
 Gerhard and Panofka, Neapels Antike Bildwerke, Stutgardt and Tubingen, 
 8vo., 1828. 
 
 Gruner’s Specimens of Ornamental Art, with Descriptions by Emil Braun, 
 large folio, London, 1850. 
 
 Very important for the artistic accuracy and completeness both of form 
 and colour with which everything is rendered. 
 
 Guattani, Monumenti Antichi inediti, 6 vols., 4to., Roma, 1784. 
 
 Hirt, Bilderbuch fur Mythologie, Archaologie, und Kunst, 4to., Berlin, 
 1805. 
 
 Hope, Costume of the Ancients, 2 vols., 8vo., London, 1841. 
 
 Inghirami, F., Monumenti Etruschi odiEtruscho nome, 4to., Badia di Fiesole, 
 1820-4. 
 
 Lamberti, Sculture della Villa Borghese, 2 vols, 8vo., Roma, 1796. 
 
 *Le Musee Frangais, 4 vols., fol., Paris, 1803-9. 
 
 Large elaborate plates from excellent drawings, impaired by the engravers. 
 Le Musee Royal, par Henri Laurent, 2 vols., fol., Paris, 1816-8. 
 
 Shaded figures in a better style than the preceding. 
 
 Le Plat, Receuil des Marbres Antiques qui se trouvent dans la Galerie du Roy 
 de Pologne a Dresden, fol., 1 vol., 1733. 
 
 Levezow, liber den Antinous in den Kunst, 4to., Berlin, 1808. 
 
 Lucerne edi Candelabri d’Ercolano, Napoli, fol., 1792. 
 
 Lyon’s iEgina Marbles, long fol., Liverpool. 
 
 Badly executed outlines. 
 
 Maffei, MuseumVeronese cui Taurinienses et Vindobonenses adjungitur, fol., 
 Veronae, 1749. 
 
 Maffei, Raccolta di Statue Antiche e Moderne, fob, Roma, 1704. 
 
 Serviceable for reference, but engraved without any regard to style. 
 Marmora Oxoniensia, sm. fol., Oxon., 1676. 
 
 Mazois, Les Ruines de Pompeii, fol., 2 vols., Paris, 1812. 
 
 Micali, Monumenti inediti, fol. atlas, with 8vo. vol., Firenze, 1844. 
 
 Millin, Galerie Mythologique, 2 vols., 8vo., Paris, 1811. 
 
 A series of small outlines, chiefly copied from other publications, im¬ 
 portant as very generally referred to. A new edition, by Guigniaut, 
 1850, has appeared, but the figures of reference are altered, and I con¬ 
 ceive it more acceptable to retain the old. 
 
 * The plates in the Musde Fran^ais, Musde Royal, and Wicar’s Galerie de Florence are 
 unfortunately not numbered, but the numbers of volumes have been carefully marked 
 as they are bound in the British Museum Reading-room copy. The antique sculp¬ 
 ture of the Musde Fran?ais is all collected in the last volume. 
 
ILLUSTRATED WORKS ON SCULPTURE. 
 
 29 
 
 Millin, Monumens Antiques inedits, 2 vols., 4to, Paris, 1802. 
 
 Millingen, Ancient Unedited Monuments, 4to, Lond., 1822. 
 
 Valuable especially for the style of illustration and sound system of 
 explanation. 
 
 Mongez, Iconographie Romaine (a continuation of Visconti, whose work termi¬ 
 nates w'ith the period of the Republic). 
 
 Mori, Ricordi di Napoli, 8vo, 1843. 
 
 Muller, C. 0., Athenian Monuments, Hinterlassenen Papieren, von Adolf 
 Scholl, Frankfurt, 1843. 
 
 Muller, C. 0., Archaologie der Kunst, edited by Welcker, 8vo, Breslau, 
 1848. 
 
 A highly important manual of antiquarian subjects and information. 
 German text only. 
 
 Murray’s Handbook to Rome, 1853. 
 
 Highly valuable ; both this and the Naples handbook contain a fund of 
 information on all matters. 
 
 Murray’s Handbook to Greece, 8vo, 1854. 
 
 The Athenian portion written by Mr. F. C. Penrose. 
 
 Museo Borbonico, 15 vols., 4to., Napoli, 1824-53. 
 
 A series of small, slightly shaded outlines, from pictures, statues, and 
 bronzes ; text of little service, and the subjects chosen without discri¬ 
 mination ; valuable only for reference as an authorised series. A sur¬ 
 prising contrast to the magnificent work, “Antichita di Ercolano,” 
 mentioned above. 
 
 Museo Capitolino da Ferdo. Mori, 4to., Roma, 1806. 
 
 Museo Pio Clementino. (See Visconti.) 
 
 Museum Capitolinum, by Bottari and Foggini, 4 vols., fol., Romse, 1741-82. 
 Carefully shaded engravings, and vigorously drawn, but the restorations 
 not attended to. 
 
 Museum Florentinum, by Gori, Statues, 2 vols., fol., Florence, 1734. 
 
 Museum of Classical Antiquities, Edited by E. Falkener, Lond., 1852. 
 
 Containing valuable articles, by W. Lloyd, upon Polygnotos, Ch. Newton, 
 upon collections of Ancient Art, E. Falkener, upon a Pompeian house, 
 J. Hittorf, on the Polychromy of Greek Architecture, and G. Scharf, 
 jun., upon Ancient Athenian Sculptures and the Polychromy of 
 Sculpture. 
 
 Panofka, Terra-cotten des Museums zu Berlin, 4to, Berlin, 1841. 
 
 Penrose, Principles of Athenian Architecture, published by the Society of 
 Dilettanti, folio, London, 1851. 
 
 Pictures Antiques, Criptarum Romanorum et Sepulcri Nasonum, fob, Romse, 
 1750. 
 
 Pistolesi, II Vaticano, 8 vols., fob, Roma, 1829-38. 
 
 A very important series of lightly shaded outlines, of every variety of 
 works of art; for the most part accurately drawn ; the text of no 
 antiquarian use whatever. 
 
 Pompeii, by A. T. Malkin, 2 vols., 8vo., 1831, published in the library of 
 Entertaining Knowledge. 
 
 Ponce, Collection des Tableaux, &c. Trouvees a Rome dans les Thermes de Titus, 
 fob, Paris, 1819. 
 
 Carefully engraved plates, the borders surrounding the larger composition, 
 entirely made up. 
 
 Pitture (see Antichita di Ercolano). 
 
 L> 
 
30 
 
 THE HOMAN COUHT. 
 
 Eaoul Eoohette, Choix de Peintures de Pompeii, fol. (in progress), Paris, 
 
 1844-6. 
 
 A series of 'beautiful fac-similes of tlie paintings printed in full colours. 
 
 Eaoul Eochette, Monumens inedits d’Antiquite, fol., Paris, 1833. 
 
 Eaoul Eoohette, Yenus de Milo. 
 
 Eevue Archeologique. 
 
 Stuart’s Antiquities of Athens, edited by William Kinnaird, 4 vols., sm. fol., 
 
 London, 1825. 
 
 Yery valuable, containing much additional matter from recent discoveries, 
 and with important information by Cockerell, Donaldson, and others. 
 
 Thiersch, Uber die Epochen der Bildenden Kunst, 8vo, Munchen, 
 
 1829. 
 
 Yaux, Handbook to the Antiquities of the British Museum, 8vo., London, 
 
 1851. 
 
 Yery useful as containing in one portable volume the most recent informa¬ 
 tion with a series of bold and accurate woodcuts. 
 
 Visconti, Monumenti Gabini, 1797. 
 
 Visconti, Museo Pio Clementino, &c., 12 vols., 8vo., Milan, 1818. 
 
 Containing all the works of Visconti, except Monumenti Grabini, in simple 
 outline. The large work from which this has been copied contains less 
 information in text, and the plates, although very highly shaded, are of 
 no service in expressing style or character. 
 
 Visconti, Notice des Statues du Musee Napoleon, 12mo., Paris, 1811. 
 
 Waagen, Treasures of Art in Great Britain, 3 vols., 8vo, 1854. 
 
 Welcker, Alte Denkmaler, 3 vols., 8vo., Gottingen, 1849-51. 
 
 Welcker, Zeitschrift der Alten Kunst, 8vo., Grottingen, 1817. 
 
 Wicar, Galerie de Florence, fol., Paris, 1789-1807. 
 
 Elaborately shaded engravings, in which style and character have been 
 totally neglected. The text is neither serviceable to the artist nor the 
 antiquary. 
 
 Winckelmann, Monumenti inediti, 2 vols., fol., Eoma, 1767. 
 
 Notwithstanding the miserable style of the engravings, this work is espe¬ 
 cially valuable as a series often referred to, and the text worthy of 
 regard, as produced by an antiquary who was the first to combat long- 
 established prejudices and to place archaeology as a science upon a firm 
 basis. 
 
 Winckelmann, Samliche Werke von Eiselin. 
 
 Zahn, large folio, 2 vols., Berlin, 1828-9. 
 
 A very large work, with ornaments and pictures same size as the originals, 
 beautifully coloured. 
 
 Zanetti, Statues di S. Marco, 2 vols., fol., in Venezia, 1740. 
 
 Zannoni, Eeale Galleria di Firenze Illustrata, SerialV., Statue eBronzi, 3 vol. 
 
 8vo., Firenze, 1817. 
 
 A series of tame outlines not well selected. 
 
 Zoega, Bassi-rilievi Antichi di Eoma, 2 vols., 4to., Eoma, 1808. 
 
 Admirable outline engravings, by Piroli, and very sound criticism in 
 text. 
 
 Zoega, Abhandlungen, von Welcker, 8vd., Gottingen, 1817. 
 
ROMAN COURT CATALOGUE. 
 
 218. MODEL OF THE FORUM OF ROME. 
 
 Exhibiting the Capitoline Hill, the Ruins of the Temples of Saturn, 
 Vespasian and Concord at its base ; the arch of Septimius Severus, the column 
 of Phocas, the Mamertine prisons, traces of the Basilica Julia, the Temple of 
 Antoninus and Faustina, Church of S. Cosmo and Damian, the Temple of 
 Peace, the Church of S.S. Francesco, Temple of Venus and Rome, the Coliseum, 
 Arch of Constantine, Meta Sudans, Via Sacra, Arch of Titus, Palatine Hill, 
 and three columns of the Comitium. 
 
 221. FAUN (Satyr), with right Arm raised. 
 
 Small life Statue. From Dresden. 
 
 Very like the one in the British Museum. A slender and noble form. 
 Restored by Rauch. 
 
 Engraved in Becker, Augusteum, No. 25 ; Le Plat, No. 16. 
 
 222. STATUE OF DRUSUS. 
 
 Greek Marble, life-size. From Naples. Found at Pompeii, with a statue of 
 Livia, No. 273. 
 
 The flesh of the body somewhat hard in treatment. It greatly resembles 
 the style of the Germanicus, No. 312. 
 
 Red colour still remains on the drapery of the original. Two statues of 
 Tiberius and Germanicus, of Luna marble and heroic size, very similar to 
 this and greatly resembling each other, were found at Gabii (see Mon. Gab. 
 Nos. 5 and 7). Compare the arrangement of drapery in this portrait statue with 
 that of the Youth, in No. 85. 
 
 Engraved in Mus. Bor. iii. 38 ; Comp. Visconti, Icon. Rom. 3, p. 24; 
 H. B. p. 162, says -Carrara marble instead of Greek. 
 
 Dimensions: Height, 6'* 3"’3* 
 
 223. YOUNG FAUN (Satyr), carrying a Goat. 
 
 From Madrid. Discovered in Rome near the Church of Sta. Maria in 
 Vallicella (S. Bartoli, Memorie, No. 68, 69, p. 315). 
 
 The trunk of tree at his side is very roughly carved, the syrinx, or shep¬ 
 herd’s pipe, hanging on it, being merely, as sculptors would say, blocked 
 in. His flourishing crown of fir is too like the hair ; but I found, upon 
 examining the beautiful cast in the Royal Academy (see page 25), that all 
 that portion of crown seen in front remains as unfinished as the stem and 
 syrinx just described, and that those effects which any thoughtful person would 
 at once condemn, are solely attributable to modern plasterers and modellers. 
 
 d 2 
 
32 
 
 ROMAN COURT CATALOGUE. 
 
 Restorations: Both arms from shoulders, the pedum, and also left leg, from below 
 knee to middle of the foot. The restorations were made by Ercole Ferrata. 
 Engraved in Maffei, tav. 122 ; Clarac, Musee, pi. 726 e, No. 1671 h. 
 Dimensions: Height, 4'* 6" 1 0* 
 
 224. DRAPED VENUS (AphroditS) AND CUPID (Eros). 
 
 Group, life-size, in Parian Marble. From the Louvre. Formerly in the 
 Chateau de Richelieu. 
 
 The head and bust of the goddess are antique, but have been appropriated 
 to this group. The peculiarity here is that Venus is draped, reminding one of 
 the story told of Praxiteles having made two statues of Venus, one draped, 
 the other naked. The name of Praxiteles is inscribed upon the original plinth, 
 but it can only be regarded as an addition of a subsequent period to the execu¬ 
 tion of the figure. The group was originally a portrait of Roman personages. 
 
 Restorations : The nose, chin, and right fore-arm of Venus, and right arm 
 and left hand of Cupid. 
 
 Engraved in Bouillon, vol. iii. pi. 6, No. 7; Cl. Cat. p. 85, No. 185; 
 Clarac, Musee, pi. 341, No. 1291. 
 
 Dimensions: Height, 5'* 9' 1 • 2* 
 
 225. YOUNG HERCULES (HeraklSs). 
 
 Small Statue of Parian Marble. From the Louvre. 
 
 Hercules a follower of Bacchus. Small standing figure crowned with vine, 
 holding club downwards in his left hand. Remarkable for the freshness of its 
 preservation. The work of a refined artist, firm and correct in execution, and 
 full of animation ; belonging to the best period of art. 
 
 Restorations: Both arms from above elbow, the right leg from above the 
 knee-pan, and left leg. 
 
 Engraved in Bouillon, vol. iii. pi. 16, No. 4 ; Cl. Cat. p. 191, No. 485 
 Clarac, Musee, pi. 276, No. 1640. 
 
 Dimensions: Height, 4'* 5" ‘ 3* 
 
 226. VENUS (Aphrodite:) OF THE CAPITOL. 
 
 Statue, life-size, of Parian Marble. From the Capitol, in Rome. Found in 
 a house in the Suburra. The only restorations are the nose and some 
 of the fingers. 
 
 Flaxman (p. 25) says : “An example of more dignified and less insinuating 
 beauty than the Venus de’ Medici, certainly a copy from one of the three 
 enumerated by Pliny among the works of Praxiteles.” “ The Venus is beauti¬ 
 fully displayed ; there is a purity about the general form more elevated to me 
 than the one of Florence. The limbs are all thicker and less soft; the surface 
 is pale and unpolished ; even the extremities are quite unbroken, excepting 
 two or three fingers that have been supplied in terra-cotta. The general style 
 and turn of the head seems much more consistent with the rest of the figure 
 than in the Medicean Venus. The hair only seems too bulky and heavy for 
 the head. The turn of wrist and expression of the feet, as well as the unin¬ 
 jured neck, deserve especial attention” (MS. Journal, Rome, April 25, 1844). > 
 A statue preferred by many to the Venus in the Medici collection, No. 198. 
 It is hardly necessary to observe that the sentiment is perfectly different. 
 
ROMAN COURT CATALOGUE. 
 
 33 
 
 Notwithstanding the elegance of the forms, there is a coldness about the figure 
 suitable rather to Diana than to Yenus, and this opinion is also favoured by 
 the peculiar arrangement of the hair, which closely resembles that of her 
 brother Apollo in numerous statues. The goddess is just prepared to enter 
 the bath, which is indicated by the drapery laid upon the vase, and under 
 the same circumstances as when she was seen inadvertently by Action. 
 
 Engraved in Bouillon, vol. i. pi. 10 ; Mus. Capit. vol. iii. tav. 19; Bunsen, 
 vol. iii. p. 252; Mori, vol. ii., Sala Grande, tav. 25. Musee Frangais. 
 
 Dimensions: Height, 6 /# 0"' 2* 
 
 227. GANYMEDES. 
 
 Life-size, of Greek Marble. From the Vatican. Found at Ostia, in 1805. 
 
 The statue when discovered was still in its original niche, ornamented with 
 mosaic, where it served as a fountain ; a channel for the passage of the water 
 was made in the trunk, and communicated with the original pitcher to which 
 it was attached, so that the water flowed through that aperture. Inscribed on 
 
 the tree-stem [ . 
 
 M Og 
 
 Restorations: The fore-arms, hands, and vase. 
 
 Engraved in Visconti, vol. viii. tav. 11 ; Clarac, Musee, pi. 407, No. 703 ; 
 Pistolesi, vol. iv. tav. 13 ; Bunsen, vol. ii. part 2, p. 103. 
 
 Dimensions: Height, 4 /- 1"- 7‘ 
 
 228. VENUS GENITRIX. 
 
 Statue, life-size, of Parian Marble. From the Louvre. Previously in the 
 gardens at Versailles. 
 
 This Venus is represented on imperial Roman coins with the inscription 
 VENVS GENITRIX—see Sabina medals — 
 because the Romans regarded her as the mother 
 of their ancestors. The original of this statue 
 has the ears bored for earrings. She holds the 
 apple of Paris in her hand, and this also is seen 
 on the medals. She is habited in thin and 
 close-fitting tunic, which displays the contour 
 of her limbs to great advantage; but the style 
 of workmanship is hard, and wanting in senti¬ 
 ment, evidently copied from a superior original. 
 
 Flaxman considered the original of this figure 
 to have been the draped Venus of Cos, which 
 the inhabitants purchased from Praxiteles 
 (p. 91). A similar statue also from the Famese Palace, now at Naples (Mus. 
 Bor. vol. xiv. tav. 23). Another also at Holkham, restored with a vase in her 
 left hand (Clarac, Musee, pi. 594, No. 1449 a). 
 
 Engraved in Bouillon, vol. i. pi. 12 ; Gal. Nap. No. 57; Cl. Cat. p. 23, 
 No. 46 ; Clarac, Musee, pi. 339, No. 1449 ; Compare a V. Genitrix at 
 Florence, Gal. di Fir. vol. i. pi. 10, and a graceful V. Sabina in the Vatican, 
 Mus. Pio Clem. vol. iii. tav. 8. Musee Frangais. 
 
 Dimensions : Height, 5'" 4"* 7. 
 
34 
 
 ROMAN COURT CATALOGUE. 
 
 229. GIRL, galled JULIA, daughter of Augustes. 
 
 Statue, life-size, of Pentelic Marble. From the Louvre. 
 
 Portrait of a Roman girl of the early period of the Empire, as the hair is 
 arranged according to the fashion then prevailing. Attitude graceful and 
 draperies well adjusted and executed. 
 
 Engraved in Cl. Cat. No 481 ; Clarac, Musee, pi. 300, No. 2265. Musee 
 Francais. See Portrait Gallery, No. 95. 
 
 Dimensions: Height, 4'’ 5" 9* 
 
 230. PORTRAIT OF A MUSICIAN. 
 
 FEMALE PERFORMER ON THE LYRE. 
 
 Statue. From the Louvre. 
 
 The style of hair indicates this statue to he of the period of Trajan or 
 Hadrian, the form of the lyre is elaborated, and not characteristic of purer 
 times. She holds the plectrum in her right hand. 
 
 Restorations: Entire of left arm and most of lyre, right fore-arm and hand,. 
 several portions of drapery. 
 
 Engraved in Clarac, Musee, pi. 310, No. 2221; Clarac, Cat. p. 134, No. 314. 
 Dimensions : Height, 
 
 231. SMALL FEMALE FIGURE attired like a 
 
 VICTORY (nikis). 
 
 Right hand raised, the left holds a wreath ; the hair gathered in a large knot 
 behind ; a band descends across the body from the right shoulder. Very poor 
 work ; drapery common. 
 
 232. YOUTH INVOKING THE GODS— Supplicant. 
 
 Bronze Statue, small life-size. From Berlin. 
 
 Found in the Tiber, and presented by Clement XI. to Prince Eugene of 
 Savoy. It was afterwards possessed by Prince Lichtenstein, who sold it to 
 Frederick II. for ten thousand crowns. Some authorities say that it was 
 found at Herculaneum previous to the discovery of the city ; but this is 
 unlikely, as everything in the latter place lay seventy feet below the modern 
 surface of the soil, and was only to be approached by deep shafts for wells. 
 Entirely naked, according to the custom of the gymnasts. He appears to 
 be invoking success, perhaps before the games begin ; there is much expression 
 in the face. It is an interesting subject for comparison with the bronze boy 
 of the Capitol, No. 247. 
 
 Restorations: Part of right arm and hand. 
 
 Engraved in Bouillon, vol. ii. pi. 19; Berlin Cat. No. 140, p. 13; Clarac, 
 Musee, pi. 777, No. 1942; Mus. Nap. No. 237. Musee Francais. 
 Dimensions: Height, 4'* 2"’ 4* 
 
 233. MARINE VENUS AND CUPID. 
 
 From the Louvre. 
 
 Very like the Capitol Yenus, No. 226, Cupid at her left stanling on a 
 Dolphin, and looking up pertly. He holds the dolphin’s tail in his left hand. 
 
ROMAN COURT CATALOGUE. 35 
 
 Engraved in Villa Borghese, St. 5, No, 9 ; Cl. Cat, No. 174 ; Clarac, Mpsee, 
 pi. 344, No. 1398. 
 
 Dimensions: Height, 6'* O''* 7’ 
 
 234. CAMILLUS. 
 
 A Bronze Statue. From the Capitol, at Rome. 
 
 Camillus, or boy attendant at sacrifices. Compare a similar bronze figure in 
 Mus. Bor. vol. vi. tav. 8 ; and another with bronze extremities in Clarac, 
 Musee, pi. 278, No. 1913 ; and Cl. Cat. No. 739. Eyeballs indicated by lines. 
 Engraved in Mus. Capit. ; Mori; Maffei, tav. 24 ; Bunsen, vol. iii. p. 214. 
 Dimensions: Height, M' 7"’ 6’ 
 
 235. LARGE FEMALE FIGURE, called MNEMOSYNE. 
 
 From Berlin. 
 
 Evidently the portrait of a Roman Lady. A broad band or kerchief passes 
 over the upper part of her head, the drapery lies elegantly on the right 
 shoulder, and is very well arranged ; the execution of it is, notwithstanding, 
 coarsely executed. The figure stands on a circular base, much corroded. 
 Engraved in Clarac, Musee, pi. 540, No. 973d. 
 
 236. YENUS (Aphroditi5), with a Frontlet on Head, 
 
 and Armlet. 
 
 From Florence. 
 
 With the left hand she holds the drapery which envelopes the lower part 
 of her figure, the right is raised to the hair, a bracelet on the right arm, and 
 remains of red and gold are to be seen on the frontlet. A much admired 
 statue, and, in the opinion of many, it ranks next to the Venus de’. Medici. 
 
 Engraved in Gfori, Mus. Flor. Statue, tav. 30 ; Florence Guide, p. 151 ; 
 Meyer, Geschichte der Kunst, taf. 11, e. ; Wicar, Galerie de Florence, vol. i. 
 
 237. YENUS (Aphrodite) YICTRIX. 
 
 Statue, heroic size, of Greek Marble of Mount Hymettus. 
 
 From the Louvre. Called Venus op Arles. 
 
 This statue was found at Arles, in Provence, in 1651, and remained long at 
 Versailles. The execution of the entire figure is admirable, the drapery excel¬ 
 lent ; but there is a deficiency in the general appearance when viewed as a 
 whole. This Venus, so called from the place where she was discovered, is 
 clothed only in the lower half of the figure ; her head, rarely so well pre¬ 
 served, and of extraordinary beauty, is bound by a delicate band, which adds 
 materially to the elegance. She is holding the apple of Paris in her right hand, 
 and the handle of a mirror in the other. The town of Arles was a Roman 
 colony, Municipium Arelatense, and therefore it would be natural to find the 
 statue of the goddess from whom their founder was said to have sprung. 
 
 Engraved in Bouillon, pi. 13 ; Cl. Cat. p. 123, No. 282 ; Clarac, Musee, 
 pi. 342, No. 1307 ; Mus. Nap. No. 138. Musee Fran?ais. 
 
 Dimensions: Height, 6'' 5"* 5* 
 
 238. YENUS (Aphrodite)—Callipygos (KaWnrvyos). 
 
 Statue, life-size, of Greek Marble. From Naples. Formerly in the Farnese 
 Collection at Rome. Found in the ruins of the Golden House of Nero. 
 Winckelmann places this statue in the second order of excellence. ‘ ‘ The 
 
36 
 
 ROMAN COURT CATALOGUE. 
 
 drapery is close, the folds are small, and at the lower part fall in particularly 
 straight lines, like those in Rome, from the small temple of Minerva. The 
 feet are beautifully pronounced ; the knee-joint and adjacent parts slight and 
 flat; the crease at the bend of the right arm long and sharp. The face 
 approaches the L. da Yinci chai’acter, but the head and left arm are 
 modern, restored by a Roman sculptor” (MS. Journal, Naples, April 20, 1844). 
 
 Restorations: The head, neck, and naked part of breast; right leg, right 
 hand from wrist, left arm, and portion of drapery raised by that hand. 
 
 Engraved in Mus. Bor. No. 288 ; Clarac, pi. 611, No. 1352 ; Neapels, 
 p. 119, No. 429 ; H. B. p. 171 ; Piranesi, tav. 7. 
 
 Dimensions: Height, 5'‘2"'5. 
 
 239. URANIA. 
 
 Statue, life-size, of Carrara Marble. From the Louvre. Formerly in the 
 Gallery at Versailles. 
 
 The body of this figure is alone antique ; the head and arms were restored 
 by Girardon, who crowned her head with stars, and destined a volume for 
 her hand. It may have been originally a figure of Hope, raising her tunic, 
 as in many other instances. This action is clearly indicated by the folds in 
 the drapery, which are very well arranged. 
 
 Engraved in Bouillon, pi. 41 ; Cl. Cat. No. 321 ; Clarac, Musee, pi. 339, 
 No, 1898. Musee Royal, vol. ii. 
 
 Dimensions: Height, 
 
 240. BACCHUS (Dionysos). 
 
 Statue, small life, of Marble. From Berlin. 
 
 Standing naked, leaning the left elbow on a tall stem, encircled with vine- 
 leaves and clusters. The right hand holds part of a thyrsus, and his head 
 is crowned with ivy. 
 
 Engraved in Clarac, Musee, pi. 690 b, No. 1600 b. 
 
 Dimensions: Height, 4'* 10"* 0* 
 
 241. RICHELIEU BACCHUS (Dionysos). 
 
 Life-size Statue of compact Greek Marble. From the Louvre. It 
 was brought from the Castle of Richelieu ; hence it is known as the 
 Richelieu Bacchus. 
 
 The son of Semele wears a band called credemnon. One of the finest statues 
 of Bacchus known. 
 
 Restorations: Right arm from above the elbow ; also the left hand and fore¬ 
 arm, and the lower part of the left foot. The right leg from knee to ankle. 
 
 Engraved in Bouillon, vol. i. pi. 31; Cl. Cat. p. 72, No. 154; Clarac, 
 Musee, pi. 272, No. 1570. Musee Frangais. 
 
 Dimensions: Height, 6'* 2"* 4* 
 
 242. FAUN. 
 
 Leaning his right elbow on a wine-skin, or aslcos, which rests on a square 
 pedestal. 
 
 The general attitude is strained and drunken, the caudal development is very 
 small, and the ears, instead of being pointed, are round. The figure is said to 
 come from Naples. ? modern. 
 
ROMAN COURT CATALOGUE. 
 
 37 
 
 243. VENUS (Aphrodite) AND CUPID (Eros). 
 
 Group in Parian Marble, of life-size. From tlie Louvre. It was pre¬ 
 viously in the Villa Borgbese, and liad belonged to Pope Julius III., and 
 the Palazzo della Valle. 
 
 The goddess is arming herself with the sword and helmet of Mars, in which 
 Cupid is assisting her. She has an armlet on her left arm. This group is in a 
 wonderfully perfect condition, as the tip of the sword is the only restoration. 
 But unfortunately a modern sculptor went over the entire surface with rasp 
 and polisher, so as to destroy all the original delicacy. Clarac marks the 
 right arm and the left leg from below the knee to the ankle as restored. 
 
 Engraved in Bouillon, vol. i. pi. 16 ; Villa Borghese, St. 5, No. 7; Cl. 
 Cat. p. 83, No. 180; Clarac, Musee, pi. 343, No. 1399. 
 
 Dimensions: Height, 
 
 244. FEMALE READING A SCROLL, seated on a square 
 
 POUR-LEGGED STOOL. 
 
 Statue, life-size. From Berlin. 
 
 Called by some Calliope, and by others a Sibyl. 
 
 Engraved in Cavaceppi, vol. i. No. 45 ; Berlin Catalogue, No. 145; 
 Clarac, Musee, pi. 534, No. 1121. 
 
 Dimensions: Height, 
 
 245. VENUS (Aphrodite). 
 
 Small Statue of Parian Marble. From the Louvre. 
 
 Of delicate and careful execution. Smaller than the Vatican Crouching 
 Venus, as it is often called, No. 248. It has the right hand raised above the head. 
 
 Restorations: Tip of nose, the right hand, entire left arm and leg, the 
 bottom extremity of the foot, and part of the thigh. 
 
 Engraved in Bouillon, vol. i. pi. 15 ; Cl. Cat* No. 698 ; Clarac, Musee, 
 pi. 345, No. 1417. Musee Royal, vol. i. 
 
 Dimensions: Height, 2'* 3"* 2* 
 
 246. CUPID (Eros) AND PSYCHE, with Wings. 
 
 From Florence. Very inferior to No. 78. Found at Rome on the Cselian 
 Hill during the pontificate of Clement X., according to S. Bartoli (Memorie, 
 No. 53); or in 1666, according to other authorities. 
 
 Cupid has the bird wings, as usual upon all works of early art, and Psyche 
 with the butterfly wings which are peculiar to her. 
 
 Restorations: Cupid—all the right leg, half the left, and the wings, but suffi¬ 
 cient indications of them remained on the back. Psyche—all the surface 
 below the knees, and more than half the wings. 
 
 Engraved in Galleria di Firenze, vol. i. tav. 43 ; Clarac, Musee, pi. 652, 
 No. 1496 ; Wicar, Gal. de Florence, vol. i. ; Gori, Mus. Flor. tav. 43, 44. 
 
 24f. BOY EXTRACTING THORN. 
 
 A small Bronze Statue. From the Capitol. 
 
 Several holes in this statue, worn by time, were carefully mended in the 16th 
 century. The rock support is entirely antique, and of one piece with the rest. 
 
38 
 
 ROMAN COURT CATALOGUE. 
 
 V isconti imagines it to be a young Greek victor in the races of the stadium; he states 
 that young boys were allowed to race at the public games, and that youthful 
 victors were honoured with statues. The perfect nudity of this figure is the 
 best argument in favour of his opinion. The execution of the head and hair 
 is an excellent instance of the refinement of ancient bronze workmanship ; 
 and altogether the figure may be regarded as one of the finest bronzes in 
 existence. 
 
 Engraved in Mus. Cap; Maffei, tav. 23 ; Bouillon, vol. ii. pi. 19 ; Bunsen, 
 vol. iii. p. 119 ; Clarac, Musee, pi. 714, No. 1702 ; Mus. Nap. No. 128, 
 Musee Frangais. 
 
 Dimensions: Height, 2'* 4"* 2* 
 
 248. VENUS (Aphrodite). 
 
 Statue, less than life-size, of Pentelic Marble. From the 
 Vatican. 
 
 It was found at the end of the last century at Salona, to the right of the 
 road leading to Prseneste. The vase and a portion of the plinth are antique. 
 The following inscription is upon the plinth of the original. 
 
 BOTnAAOS ETIOIEI. 
 
 It is, however, regarded as modern. At the moment of leaving the bath the 
 goddess seems to be waiting for some one to throw a veil over her, or to be in 
 the act of anointing herself. 
 
 Restorations : The end of right foot, the left hand, right fore-arm, the hair, 
 and ail the upper part of the head. The face has been unfortunately retouched 
 by a modern hand. The bracelet remarked by Visconti is no longer to be 
 seen. It was either removed during an improvement of the restoration at 
 Paris, or since its return to Rome. 
 
 Engraved in Bouillon, vol. i. pi. 14 ; Mus. Pio Clem. vol. i. tav. 10 ; 
 Pistolesi, vol. v. tav. 63; Clarac, Musee, pi. 629, No. 1414; Galleria 
 Giustiniani, vol. i. No. 38 ; Bunsen, vol. ii. part 2, p. 203 ; Mus. Nap. No. 52. 
 Musee Royal, vol. i. 
 
 Dimensions: Height, 2' 1 7 // * 6. 
 
 249. CERES. 
 
 A small standing figure, veiled. 
 
 250. ANCHIRHOE1. 
 
 Small Statue of Parian Marble. From the Collection of Baron Von Humboldt, 
 at Tegel, Berlin. 
 
 Advancing the right foot and raising her dress with right hand. She holds 
 a jar on the left shoulder. Perhaps Nausicaa. Pausanias describes a statue 
 of Anchirhoe in accordance with the action of the present figure (Visconti, 
 vol. iii. pp. 257-8). Compare Mus. Pio Clem. vol. iii. tav. 5a ; and Ince 
 Blundel Collection. The latter, from the Villa d’Este at Tivoli, bore the name 
 ANCHYRRHOE on the plinth. It is at present near Liverpool. See Waagen. 
 Treasures of Great Britain, vol. iii. p. 257. 
 
 Engraved in Pausanias, lib. viii. ch. 31, p. 328 (Taylor) ; Bouillon, pi. 57; 
 Cl. Cat. p. 35 ; Clarac, Musee, No. 73, p. 35. Anchirhoe was the daughter 
 of Nilus, and wife of Belus, by whom she became the mother of iEgyptus and 
 Danaus. See Danaid, No. 14. 
 
ROMAN COURT CATALOGUE. 
 
 39 
 
 251. NYMPH EXTRACTING A THORN. 
 
 Small Statue. From Florence. Repetition of a Greek Marble statue found 
 at Pompeii (Mus. Bor, vol. x. tav. 47). 
 
 Muck restored ; the head characteristically modern ; probably one of a group 
 which may be traced through the Vatican. The head turned over the left 
 shoulder, but Visconti pronounces this modern. The same attitude and drapery 
 will be found in a Vatican group of Satyr and Female (Mus. Pio Clem. vol. i. 
 pi. 49). The antique head is seen in the Vatican example (Visconti, p. 332). 
 
 Engraved in Gall, di Firenze; Guide de Florence, p. 245 ; Gori, Statue, 
 tav. 33 ; Clarac, Musee, pi. 609, No. 1351, 
 
 Dimensions : Height, 3/' 4"* 5* 
 
 252. BELVEDERE APOLLO. 
 
 Statue, heroic size, of Luni Marble. From the Vatican. 
 
 It was found towards the close of the 15th century, among the ruins of 
 Antium, on the sea-coast. Julius II., whilst a cardinal, purchased it, and 
 retained it in his Palazzo Colonna, near the church of SS. Apostoli. It was 
 afterwards transferred by this pontiff to the Belvedere of the Vatican ; hence 
 the name. This statue was excellently engraved by one of the Marc Antonio 
 school, in the time of the great Raphael. The mutilations of the figure are 
 here shown. M. Visconti produces a certificate attested by many professional 
 judges, that the marble is not Luni or Carrara (p. 154); when the statue was in 
 Paris, the most experienced mineralogists pronounced it to be unlike any Greek 
 marble they were acquainted with (Bunsen, p. 158). 
 
 “ What a great idea it gives us of God, to think that He has created a 
 human being capable of fashioning so divine a form I" 1 ' was the noble exclama¬ 
 tion of Mrs. Siddons on first beholding the Apollo in the Louvre. No statue has 
 commanded such universal admiration among artists, and notwithstanding the 
 discussions raised with regard to its originality, all seem to recognise and 
 acknowledge the excellence of the first conception. The fiery animation of the 
 countenance, and the snaky treatment of the hair, point very strongly to the age 
 of Lysippus (see page 41 of Introduction to Greek Court), and favour the supposi¬ 
 tion that it is an excellent copy executed in the Augustan age. German critics go 
 so far as to perceive in the countenance evident traces of the features of Nero. 
 The remarkable breadth of nose seems the only circumstance in their favour. 
 Whenever Nero appears in the character of any of the deities, his peculiar 
 fashion of wearing the hair is always the same. The original statue is admirably 
 placed in the Vatican, in front of a niche of grey marble, and in a separate 
 building from the rest of the sculptures. 
 
 The son of Latona has just discharged the fatal arrow against the serpent 
 Python. The bow still remains in his firm left hand, and the god appears to be 
 watching the effect of his vengeance. Indignation is expressed in his countenance, 
 especially by the dilated nostril and the curled lip. The eye seems starting, and 
 the hair, light and flowing, contributes powerfully to the expression. It is bound 
 by a band or strophium, and gathered in a knot over the forehead, as seen in 
 many statues of Apollo and Diana. A quiver hangs at his right shoulder, and 
 his feet are adorned with rich sandals. His mantle or chlamys is fastened on his 
 right shoulder. It falls chiefly on his left side, and is thrown over that arm, 
 so as to display both his form and action with the utmost grace. A feeling of 
 perpetual youth pervades the whole figure, and at the first glance, vigour, 
 
40 
 
 ROMAN COURT CATALOGUE. 
 
 agility, and elegance, combined with a noble expression of indignation, impress 
 the beholder. The trunk of the tree seems allusive to the ancient olive of 
 Delos, and the serpent twining round it, is the emblem of health and medicine, 
 of which he was the presiding genius. It may therefore have been the statue 
 described by Pausanias, dedicated to the god in his medical capacity after the 
 plague at Athens. It is most probably a copy from a bronze ; the treatment 
 ftnd elaborate execution of the hair could not have been devised for a marble 
 statue : the drapery hanging from the left arm confirms this opinion; it represents 
 a single piece of stuff, forming loose folds which should correspond on both 
 sides ; but this is not the case : the sculptor did not venture, on account of 
 the thinness of the marble, to follow the original in this respect: although in 
 the bronze itself, nothing can have been easier. It is most likely a first-rate 
 copy executed in the Augustan age. Flaxman remarks (p. 133): “The 
 energetic Apollo Alexicacos, or the Driver away of Evil, commonly called 
 Belvedere, is ‘ severe in youthful beauty ; ’ he supplies Homer’s description to 
 the sight — his golden locks are agitated, his countenance is indignant— 
 the quiver is hanging on his shoulder, and he steps forward in the discharge 
 of his arrow.” Again, in comparison he says (p. 139): “ The boundaries 
 of personal beauty are the Apollo and Hercules ; a more slender form than 
 the Apollo is maigre, and one more covered with flesh than the Hercules must 
 be clumsy; as one in which the parts are more forcibly marked than in the 
 Laocoon, would be a dissected figure.” 
 
 Restorations: The entire right fore-arm and left hand were restored by 
 Montorsolo, a pupil of Michel Angelo. 
 
 Engraved in front view by Agostino Yeniziano, with the letters A • Y, in 
 the centre below, Bartsch, vol. xiv. No. 328; another view engraved by 
 Marc Antonio, Bartsch, vol. xiv. p. 249, No. 330; Mus. Pio. Clem. vol. i. 
 tav. 14; Bouillon, pi. 17; Pistolesi, vol. iv. tav. 106; Bunsen, vol. ii. 
 part 2, p. 156; Maffei, tav. 2; Mus. Nap. No. 137. 
 
 Dimensions: Height, 7'* 2" 4 0 4 
 
 253. YOUNG FAUN (Satyr), playing the Pipe. 
 
 Small Statue of Parian Marble. From the Louvre. Previously in the 
 Villa Borghese. 
 
 He rests with the nebris, or fawn-skin, upon a square plinth. A similar 
 figure, somewhat smaller, belongs to the same collection; but it is of inferior 
 art. Both, however, seem to have been copied from a much better original, 
 perhaps suggested by the Anapauomenos of Protogenes. 
 
 Protogenes, the great Rhodian painter, represented a young faun leaning 
 against a column, with a flute in his hand, whilst in the act of taking breath. 
 
 Restorations : The hands, part of flute, and head of the nebris are modern, 
 
 Engraved in Cl. Cat. p. 69, No. 146; Bouillon, vol. i. pi. 53 ; Clarac, 
 Musee, pi. 296, No. 1671. 
 
 Dimensions : Height, 
 
 254. CUPID (Eros) as the REPOSING HERCULES (HerakA). 
 Small statue of Parian Marble. From the Louvre. Found at Gabii, whence 
 
 it was transferred to the Borghese Collection at Rome. 
 
 Engraved in Bouillon, vol. iii. tav. 9, No. 2 ; Villa Borghese, Mon. Gal. 
 No. 13 ; Cl. Cat. p. 123, No. 279 ; Clarac, Musee, pi. 282, No. 1478. 
 
 Dimensions: Height, 3' 4 0 //4 8 4 
 
ROMAN COURT CATALOGUE. 
 
 41 
 
 255. HERCULES AND OMPHALE. 
 
 A small Group in Grechetto Marble. From Naples. Previously in tbe 
 Farnese Collection. 
 
 Hercules clothed in a long tunic girded below tbe breast, and falling from 
 tbe right shoulder, wearing a kind of long hood, and holding in his left hand a 
 distaff, and spindle in the other. Omphale stands on his right, her head covered 
 with the lion’s skin, holding a club in her right hand. Well preserved and 
 excellently wrought. 
 
 Restorations : The plinth and legs of both figures, right arm and club of 
 Omphale, left arm and spindle of Hercules. 
 
 Engraved in Mus. Bor. vol. ix. tav. 27; Clarac, Musee, pi. 793, No. 1995; 
 Neapels, p. 71; Gerhard, Ant. Bildw. pi. 29. 
 
 Dimensions: Height, 
 
 256. YOUNG FAUN (Satyr), playing the Pipe. 
 
 Statue. From the Vatican. 
 
 One of the best among the numerous repetitions of this subject. It was 
 found among the ruins of the villa of Lucullus in the Circsean Lake, where the 
 waters had considerably damaged the surface of the statue. He is leaning with 
 his left arm against the trunk of a tree. The nebris, fastened on the right 
 shoulder, crosses over the left arm and falls down the tree-stem, which is more 
 knotty than in the other repetition (No. 260). The statue is now in the 
 Braccio Nuovo of the Vatican. The inscription on front of the pedestal is 
 modern. 
 
 Engraved in Pistolesi, vol. iv. tav. 24; Bunsen, vol. ii. part 2, p. 95 ; 
 H. B. p. 409. 
 
 Dimensions: Height, 
 
 257. FAUN (Satyr) ASKOPHOROS. 
 
 Small Statue. From the Villa Albani, at Rome. 
 
 With pointed ears, carrying a wineskin or aslcos on his left shoulder, which 
 he tilts forward to pour out the liquor. A great part of the wineskin and 
 legs from above halfway up the thighs are entirely restored. 
 
 Praxiteles is said to have made a group of Pan, carrying a leather bottle, 
 surrounded by the Nymphs. (Sillig. s. v. Praxit, No. 7, p. 110.) 
 
 Engraved in Clarac, Musee, pi. 704 c, No. 1730. 
 
 Dimensions: Height, to top of head, 3'* 9"‘ 3*; to top of skin, 3'* 10" • 3* 
 
 258. APOLLO SAUROCTONOS. 
 
 Size small half-life ; no Lizard. From the Louvre. 
 
 The head large in proportion to the rest of the figure. Not so large as the 
 other repetitions (see No. 373). 
 
 Engraved in Clarac, Musee, pi. 268, No. 905 ; Cl. Cat. No. 19 ; Bunsen, 
 vol. iii. part 2, p. 518. 
 
 259. FAUN (Satyr) and YOUNG PAN (Paniscus). 
 
 Small Group in Parian Marble. From the Louvre. Formerly in the 
 Borghese Collection, at Rome. 
 
 Of very inferior workmanship, but full of character and skilful composition. 
 
42 
 
 HOMAN COURT CATALOGUE. 
 
 No doubt from a superior original, as other repetitions are known to exist. 
 Both these figures have tails. 
 
 Restorations: The right shoulder and arm and part of the left arm of the 
 Faun are modern. 
 
 Engraved in Bouillon, vol. iii. pi. 13 ; Villa Borghese, St. 4, No. 12 ; Cl. 
 Cat. No. 290 ; Clarac, Musee, pi. 297, No. 1741. 
 
 Dimensions: Height, 2'* l"* 6’ 
 
 260. YOUNG FAUN (Satyr), playing the Pipe. 
 
 A small Statue of Parian Marble. From the Louvre. Formerly in the Borghese 
 Collection at Home. 
 
 It is very similar in attitude, and accessories to No. 256, from the Vatican, 
 with the exception that the trunk of the tree is singular, and the plinth on 
 which he stands is round. The general character of the figure is more erect 
 than the other two. 
 
 Restorations: The flute and fingers of both hands. 
 
 Engraved in Bouillon, vol. iii. pi. 12, No. 2 ; Maffei, tav. 80 ; Clarac, 
 Musee, pi. 296, No. 1670. 
 
 Dimensions: Height, 
 
 261. DIANA (Artemis). 
 
 Heroic Statue of Parian Marble. From the Louvre. Previously at Versailles. 
 With her left hand she holds a stag by the horns ; hence the common 
 French name for the group, La Diane a la Bighe. It is also called 
 De Versailles. 
 
 The exact time at which this statue came into France is not known, ndr 
 is there any record of the place where it was first discovered. Most probably 
 it was brought from Italy by Primaticcio, in the reign of Francis I. The 
 statue represents Diana, in the dress of a huntress, without sleeves, girded 
 up above the knees, with a scarf or clilamys rolled like a sash round her waist, 
 and passed belt-like over her left shoulder, holding the bow down in her left 
 hand, whilst with the right she is about to draw an arrow from the quiver 
 at her back. The legs are bare, but the feet are adorned with elegant sandals. 
 A small frontlet or diadem surmounts her hair, which is gathered into a 
 knot behind. The hind at her left side is very ingeniously contrived to serve 
 as a support to the arm, for the horns of the animal are almost entangled 
 in the bow which the goddess holds in her hand. The same clever connection 
 of parts may be observed in the contact of the right arm with the quiver. 
 From the circumstance of the hind being furnished with horns, we perceive in 
 this animal no mere symbol of the chace, but the stag of Ceryneia in Arcadia, 
 which, although a female, had horns of gold and brazen feet. It had been 
 dedicated to Diana by the nymph Taygete, and its capture formed the third 
 labour of Hercules. When on the point of bearing it off, Diana descended and 
 took away the prize, and only restored it to the hero after earnest prayers and 
 supplications. There is a striking similarity between this statue and the 
 celebrated Apollo of the Belvedere (No. 252) in size, execution, and general 
 sentiment. Both seem excited by anger, and have recourse to their peculiar 
 weapons to avenge (No. 2 of Mus. Nap.), and may not improbably have been 
 connected with other figures relating to the punishment of Niobe, as seen in 
 a bas-relief of the Villa Albani (Zoega) and a sarcophagus in the Vatican 
 (Mus. Pio Clem. vol. iv. tav. 17). 
 
ROMAN COURT CATALOGUE. 
 
 43 
 
 Restorations: The left arm is entirely modern ; the right arm was much 
 broken, but is original. The stag was much injured, and has been very well 
 restored. The tip of nose and extremities were quite destroyed. 
 
 Engraved in Mus. Bouillon, yol. i. pi. 20 ; Landon, Annales du Musee, vol. 
 viii. pi. 72; Cl. Cat. p. 81. No. 178 ; Clarac, Musee, pi. 284, No. 1202. Musee 
 Frangais. 
 
 Dimensions: Height, 6'* 7"* O' 
 
 262. BOY AND GOOSE. 
 
 From the Louvre. 
 
 Engraved in Clarac, Musee, pi. 293, No. 2226 ; Clar. Cat. No. 694 ; a 
 similar group at Munich, Clarac, Musee, pi. 875, No. 2232 ; Glyptothek, 
 No. 123. 
 
 263. BOY AND BIRD. 
 
 Sitting on the ground, he holds the duckling beneath his left hand, and is 
 pressing it to the ground. The bird is struggling. Numerous repetitions of this 
 group are known ; a second one, apparently similar in every respect, is in the 
 Florence gallery also. 
 
 Engraved in Mus. Pio Clem. 3, tav. 36 ; Gall, di Fir. vol. ii. pi. 70 and 
 71; Pistolesi, vol. vi. tav. 43 ; Clarac, Musee, pi. 877, No* 2229. 
 
 Dimensions: Height, 1'* 9"* 
 
 264. BOY WITH MASK. 
 
 From the Museum of the Capitol, at Rome. 
 
 A boy, sitting upon a pedestal covered with a goat-skin, is in the act of 
 putting on a Silenus mask. Full of nature, and a good work of art. 
 
 Restorations: The right hand and both legs. 
 
 Engraved in Mus. Capit. vol. iii. tav. 40 ; Mori. vol. ii. Stanza dell’ Ercole; 
 tav. 6; Clarac, Musee, pi. 540, No. 1134 ; Bunsen, vol. iii. p. 246. 
 
 265. URANIA. 
 
 Small sitting Statue. From the Vatican. Found in 1774, at la Pianella 
 di Cassio, the site of a villa of Cassius, near Tivoli. 
 
 When discovered, this beautiful statue had neither head nor arms. Visconti 
 Says if this statue be smaller than the other Muses, it surpasses them in 
 beauty and delicacy of execution. Found at Cassiano (text, p. 217). (See 
 Visconti’s notes on the drapery also, at p. 222.) The Muse of Astronomy is 
 seated on one of the rocks of Mount Parnassus ; the two feathers over her 
 forehead are some of those which the Muses plucked from the Sirens when 
 they presumed to compete with them. She is holding a globe in one hand, and 
 a radius or wand in the other, both emblems of the science over which she 
 presides. Her tunic has no sleeves, and one side falls gracefully lower on her 
 left arm ; it is fastened with a fibula on the right shoulder. The lower 
 pai’t of the drapery is doubled, and the transparency of the folds, and their 
 delicate arrangement and execution, merit especial attention. 
 
 Engraved in Mus. Pio Clem. vol. i. tav. 25; Bouillon, pi. 46; Pistolesi, 
 vol. v. tav. 42 ; Mus. Nap. No. 90. 
 
 Dimensions: Height, 2' 1 10"• 3* 
 
44 
 
 ROMAN COURT CATALOGUE. 
 
 266. PENELOPE, restored as a CERES. 
 
 Small life Statue. From Berlin. 
 
 Sitting on a four-legged stool, with the right hand planted on the seat. 
 It is very similar to a figure in the Pompeian painting (Mus. Bor. 9, 51) and 
 to the Penelope representations in terra-cotta, both in the British Museum and 
 Millin’s Mon. Ined. 
 
 Restorations: Parts of face, the hand with flowers, and legs of stool. 
 
 Engraved in Clarac, Musee, pi. 429, No. 772 ; British Museum, Terra 
 Cottas, No. 12, pi. 8 ; Millin’s Mon. Ined. vol. ii. pi. 41, p. 317. 
 
 Dimensions: Height, 
 
 267. GANYMEDES, with Bird and Eagle. 
 
 A small Statue. From Florence. Restored by Benvenuto Cellini. 
 
 This figure displays in the strongest light the difference between genuine 
 antique art and that of the 15th century. The curly hair and countenance of 
 Ganymedes have all the peculiarities belonging to Da Yinci and Correggio : the 
 expression is mischievous, and the clever Florentine, in placing a little fluttering 
 bird in the hand of the boy, for purposes of torment, thought little of the 
 signification of the fable he professed to illustrate. The money-bags also on 
 the ground are a strange and unclassical accessory, and but for the words of 
 Cellini himself, we might doubt his ever having meant the figure for Ganymedes 
 at all. It is almost superfluous to add that the figure becoming a Ganymedes 
 was an arbitrary matter with the sculptor. He might with greater 
 propriety have placed a pitcher in the upraised hand. Ganymedes was often 
 represented in ancient art giving drink to the bird of Jove. 
 
 Restorations : The only original part is the mere trunk of the figure (Mus. 
 Pio Clem. vol. ii. p. 252 of text). 
 
 The following extract is taken from Cellini’s own account of himself, as the 
 best explanation of the artist’s intention :—“ ‘ Take this little chest, which was 
 sent me as a present by Signor Stefano, and let us see what it contains.’ I 
 instantly opened it, and answered the duke, ‘ This, my lord, is the figure of 
 a little boy in Greek marble, and is indeed a very extraordinary piece. I don’t 
 remember ever having seen amongst the antiques so beautiful a performance, 
 or one of so exquisite a taste ; I therefore offer your excellency to restore its 
 head, arms, and feet, and make an eagle for it, that it may be called a 
 Ganymede ; and though it is by no means proper for me to patch up old 
 statues, as that is generally done by a sort of bunglers in the business, who 
 acquit themselves very indifferently, the excellence of this great master is such 
 that it powerfully excites me to do him this piece of service.’ ” 
 
 Engraved in Gori, Mus. Flor. Statue, tav. 5 ; Gall, di Firenze, vol. ii. pi. 
 103 ; Galerie de Florence, Wicar, vol. i. 
 
 Dimensions: Height, 3'* 0"' 3* 
 
 268. GIRL, playing at Osselets, or Astragals. 
 
 Statue, life-size, of Grechetto Marble. From Berlin. Found at Rome, on the 
 Cselian Hill, in 1730. Formerly in the Polignac Collection. 
 
 The game of knuckle-bones was a very favourite one with the ancients, and 
 chiefly among women and children : it consisted in throwing the bones up in 
 the air, and catching them on the back of the hand. Polygnotus painted the 
 
ROMAN COURT CATALOGUE. 
 
 45 
 
 two daughters of Pandarus playing at this game, and a picture on marble was 
 found at Herculaneum with females engaged in the same manner. A group in 
 sculpture of two hoys playing is in the British Museum, and Polycletus 
 executed a fine bronze of two boys at this game, called Astragalizontes. Pliny 
 saw them in the palace of Titus. The knuckle-bone was called astragalos by 
 the Greeks, and talus by the Romans. They were the bones of sheep and 
 goats. These have been found in the tombs. They were often made artificially 
 of ivory, bronze, glass, and agate. 
 
 Restorations: The right hand, neck, left shoulder, and the two osselets on 
 the ground. 
 
 Engraved in Bouillon, vol. ii. pi. 30 ; Berlin. Cat. No. 74, p. 7 ; Clarac, 
 Musee, pi. 578, No. 1249. Musee Fran 9 ais. 
 
 Dimensions: Height, 
 
 269. BOY AND GOOSE. 
 
 Statue of Pentelic Marble. From the Capitol. Found at Roma Vecchia in 
 1789, on the Via Appia, at a place called Pagus Lemonius. Compare 262. 
 
 A modern inscription on the pedestal. “ Munificentia, S.S.D.N., Benedict 
 Pii, &c.” The hair of boy is more worn than in No. 262. Eyeballs are 
 indicated. The goose’s beak is turned towards boy’s face. This has a much 
 more genuine surface than the other. 
 
 Pliny mentions Boethus having made a boy strangling a goose : “Boethi 
 puer eximie anserem strangulans.”—Hist. Nat. lib. 34, 8, 19, 23. Four 
 repetitions of this group, exactly alike, were found in the same locality. 
 
 Engraved in Bouillon, vol. ii. pi. 30; compare Pistolesi, vol. vi. tav. 36 ; 
 Mus. Capit. vol. iii. tav. 64 ; Mori, vol. ii. Stanza dell’ Ercole, tav. 7 ; 
 Clarac, Musee, pi. 874, C. No. 2227 A ; Munich Glyptothek, No. 123, for¬ 
 merly in Palazzo Braschi; Munich, one in Clarac, Musee, pi. 875, No. 2232 ; 
 Bunsen, vol. iii. p. 247 ; Mus. Nap. No. 219. Musee Fran 9 ais. 
 
 Dimensions : Height, 2'* 9''* 9’ 
 
 270. EUMACHIA. 
 
 A Statue, life-size, in white Marble. From Pompeii. 
 
 Found, 1820, in the Chalcidicum at Pompeii, where this statue had been 
 erected by the dyers. She was a public priestess, and patroness of the Ful- 
 lonica at Pompeii. The original pedestal is inscribed on the front— 
 
 EVMACHIAE’L'F 
 SACERD 'PUBL. 
 
 FVLLONES. 
 
 Engraved in Gell’s Pompeiana, 2nd Series, vol. i. page 21 ; H.B. page 159. 
 Dimensions: Height, 6'* V' 2' 
 
 271. PUDICITIA. 
 
 Statue, life-size, of Parian Marble. From the Louvre. Formerly in the 
 Gallery at Versailles. 
 
 The figure is wrapped in a thick kind of mantle called gausapa. It came 
 into fashion in the age of Augustus, and was worn indifferently by both sexes. 
 Sometimes it was made of the finest wool, and occasionally of linen. This 
 garment in the statue before us is remarkable for the length of fringe upon the 
 
ROMAN COURT CATALOGUE. 
 
 border. The figure is not free from affectation, and seems to have suffered 
 under the restorations effected by Girardon. The soles of the sandals are high 
 enough for the cothurnus , but the restorer has forgotten to add the usual . 
 ligatures upon the foot. Compare Mus. Capit. vol. iii, tav. 44 ; Bunsen, vol. 
 iii. part 1, p. 235. 
 
 Engraved in Clarac, Musee, pi. 331, No. 1885; Clarac, Cat., p. 60, No. 124. 
 Dimensions: Height, 
 
 272. PORTRAIT STATUE OF A ROMAN LADY. 
 
 Bronze, life-size. From the Glyptothek. A remarkably fine work. 
 
 The pallium is adjusted with great skill, to display the forms beneath it. 
 There is much dignity in the countenance, increased by the elegant arrangement 
 of the hair, and proportion of the frontlet. The surface of the bronze has 
 suffered much from efflorescence, while it remained underground. 
 
 Dimensions: Height, 
 
 273. LIVIA DRUSILLA. 
 
 The wife of the Emperor Augustus. A Statue, life-size, of Grechetto Marble. 
 Found at Pompeii, in the house of the Augustals or Pantheon, 1821. 
 
 This statue, and another of Drusus her son, No. 222, were found prostrate on 
 the ground, near two niches that formerly contained them. The empress is repre¬ 
 sented as in the art of sacrificing ; her head is encircled by a rich crown, probably 
 of gold, and veiled with part of the pallium, or palla, drawn over it. The stola 
 was a long dress reaching to the feet and worn over the tunic ; it had a kind of 
 flounce at the lower part. Sleeves were sometimes attached to it, and a girdle 
 was generally fastened round the waist. A fibula or clasp was employed to 
 fasten it at the shoulders. The stola for women corresponded to the toga 
 for men. In her left hand she holds a small vessel, acerra , containing 
 incense. The right fore-arm is wanting. A similar incense box in Clarac. 
 Musee, pi. 886, No. 2269. Compare an ancient painting in the Yilla Albani 
 at Rome of Livia and Octavia sacrificing (Winckelmann, Mon. Ined. No. 177.) 
 
 Engraved in Mus. Bor. vol. iii. tav. 37 ; Clarac, Musee, pi. 918, No. 2342a ; 
 H. B. p. 350. 
 
 274. VASE. 
 
 From Naples. Museo Borbonico, with diagonal fluting, and figures on that. 
 
 275. CANDELABRUM. 
 
 Of Pentelic Marble. From the Louvre. Originally in the 
 Vatican. 
 
 The triangular base is ornamented with ox-skulls on the sides, and hoofs at 
 the angles. Salle de la Paix. Remarkable for the elegance and beauty of 
 the leaves around it. 
 
 Engraved in Bouillon, vol. iii. Candelabres, pi. 3, No. 2 ; Cl. Cat. p. 45, 
 No. 85 ; Clarac, Musee, pi. 257, No. 643 ; Mus. Nap. No. 185. 
 
ROMAN COURT CATALOGUE, 
 
 47 
 
 AT THE EXTREME NORTH END OF NAVE. 
 
 JEGINA MARBLES. 
 
 From Munich. Statues not quite life-size, of Parian Marble. They occupied 
 tbe two pediments of the Temple of Minerva, at iEgina. 
 
 These sculptures were discovered by Baron Haller, Messrs. Cockerell, Forster, 
 Linkh, and Yon Stackelberg, in 1811. They had been thrown down by an 
 earthquake, and were shattered into numerous pieces. The entire collection 
 was purchased by the King of Bavaria in 1812, and restored at Rome by the 
 celebrated sculptor, Thorwaldsen. They were arranged according to the 
 theory of Mr. Cockerell, and are now among the most interesting monu¬ 
 ments of the Glyptothelc. The remains from the western end are the most 
 numerous, but those of the eastern are on a larger scale, and much better 
 executed. The subject of the western pediment is the Contest of the Greeks 
 and the Trojans, around the body of Patroclus. Minerva herself appears 
 in the centre, completely armed, filling the entire height of the pediment. 
 The differences of costume between the Greeks and Asiatics are charac¬ 
 teristically observed. Paris is recognized by his tall cap and close-fitting 
 dress. This was originally painted to give the appearance of scales such as 
 may be seen in the armour of some of the Assyrian soldiers upon the bas- 
 reliefs. The hair was partly composed of wire, and the holes remain in the 
 marble which indicate where gilded bronze was originally attached. Traces 
 of colour are to be found upon the hair, eyes, lips, clothes, weapons, and 
 wounds. The temple itself, which was built of yellowish sandstone, was also 
 painted in bright colours. The cella was painted red, the tympanum blue, 
 with yellow and green foliage on the architrave. The small female figures 
 stood on either side of the Acroteria in the centre. The angles were ornamented 
 with griffins and lions’ heads. 
 
 Engraved in Clarac, Musee, pi. 815, No. 2051 ; ib. pi. 821, No. 2063; 
 find Lyons’ iEgina Marbles. 
 
 STATUES IN THE NAVE ARRANGED IN FRONT OF THE GREEK AND 
 ROMAN COURTS. 
 
 270. TORLONIA HERCULES. 
 
 Colossal Statue of Greek Marble, 
 
 Engraved in Clarac, Musee, pi. 790, No, 1970. 
 
 27 7. DOG, from Florence. 
 
 A similar one in the Vatican, Molossus. 
 
 Engraved in Pistolesi, vol. iv. tav. 100. 
 
 Dimensions: Height, 3'* 8" # 5. 
 
 278. COLOSSAL CUPID, as HERCULES. 
 
 Colossal Statue of Green Basalt. From the Capitol, at Rome. Found, according 
 to Flaminio Yacca, upon the Aventine Hill, in the Vigna of Monsignor de’ 
 Massimi, near Monte TeStaccio. 
 
 The head is covered with a lion’s skin, tied round the neck. At Rome, the 
 
43 ROMAN COURT CATALOGUE. 
 
 original figure stands upon the square altar with reliefs of the birth of Jupiter 
 (See No. 205). 
 
 Restorations: The right fore-arm and left hand holding the apples of the 
 Hesperides. 
 
 Engraved in Mus. Capit. vol. iii. tav. 26 ; Mori; Maffei, tav. 19 ; Bunsen, 
 vol. iii. p. 229 : Clarac, Musee, pi. 781, No. 1956. 
 
 Dimensions: Height, 6 /l 8"' 1* 
 
 279. BACCHUS (Dionysos). 
 
 Statue, life-size, of Parian Marble. From the Louvre. 
 
 The antique portions of this statue were chiefly destroyed, and have been 
 miserably restored. It must have originally been a very fine figure. 
 
 Engraved in Bouillon, vol. iii. pi. 7, fig. 1; Cl. Cat. No. 203; Clarac, 
 Musde, pi. 272, No. 1571. 
 
 280. ANTINOUS. 
 
 Statue of Carrara Marble. From the Capitol, at Rome. Found in Hadrian’s 
 Yilla. Presented by Cardinal Alexander Albani to Clement XII. 
 
 The favourite of the Emperor Hadrian was drowned in the Nile, a.d. 122. 
 The young and handsome Bithynian is represented in the period of adolescence. 
 The attitude and arrangement of the hair is evidently meant to represent 
 Mercury. The right hand originally held a caduceus. This accords with other 
 known statues of the deity Antinous is here made to personify. Notwithstand¬ 
 ing his extreme youth, there is a melancholy expression in the downcast 
 face. In other statues, No. 288 for instance, and on coins, the hair is treated 
 in a very different manner. 
 
 Restorations : The right leg has not been properly readjusted ; all below the 
 right knee is modern ; the left foot, the left fore-arm, and two fingers of the 
 right hand have been restored. 
 
 Engraved in Mus. Cap. vol. iii. tav. 56 ; Bouillon, vol. ii. pi. 49 ; Mori, 
 vol. ii. Stanza dell’ Ercole, tav. 4 ; Visconti, Icon. Grecque ; Bunsen, vol. iii. 
 p. 251. See Portrait Gallery, No. 79. 
 
 Dimensions: Height, 6'* 6"* 7' 
 
 281. AGRIPPINA THE ELDER. 
 
 Life-size Statue, of Grechetto Marble. From Naples. Formerly in the 
 Farnese Palace, at Rome. 
 
 The costume is very simple, consisting of a tunic, with short buttoned sleeve, 
 and a mantle thrown over it. The hair, as seen on her coins, is very artistically 
 arranged, and gathered in a knot behind. The drapery is excellent. The 
 expression of face, and indication of age in the features, scarcely accord with 
 the slender grace and ease of the rest of the figure. The feet, one crossed over 
 the other, rest negligently upon a footstool. A workbasket or calathus 
 beneath the chair, which is cleverly arranged to serve at the same time as a 
 support to the marble figure. 
 
 Restorations : Only the hands and the footstool. 
 
 Engraved in Mus. Bor. iii. 22 ; H. B. 162 ; Neapels, 43, No. 124 ; Clarac, 
 Musee, pi. 929, No. 2363. Comp, sitting Agrippina, of Yilla Albani and the 
 Capitol. See Portrait Gallery, No. 96. 
 
 Dimensions: Height, 4 /# 0"* 2‘\ Length, 4'* 6"* 8* 
 
ROMAN COURT CATALOGUE. 
 
 49 
 
 282. ADONIS. 
 
 Statue, life-size, of Grechetto Marble. From the Vatican. 
 
 Found on the Via Labicana in 1780, among some ruins called Centocelle. 
 Pius VI. placed it in his museum. It was much broken, but well restored 
 by Albacini. Both arms were wanting from the shoulders, the entire right 
 leg, the left foot, and tip of the nose. The head had been separated. Visconti 
 says that the inclination of the head is a sign of apotheosis (p. 229). 
 Probably this statue was originally an Apollo, or an Eros. It has wonderful 
 grace about the shoulders. 
 
 Engraved in Mus. Pio. Clem., vol. ii. tav. 32 ; Bouillon, vol. ii. pi. 12; 
 Pistolesi, vol. v. tav. 74 ; Clarac, Musee, pi. 633, No. 1424 a ; Bunsen, 
 vol. ii. part 2., p. 204; Mus. Nap., No. 118. Musee Frangais. 
 
 Dimensions: Height, 5'" 8"‘ 1" 
 
 283. BACCHUS. 
 
 Statue life-size. From Berlin. 
 
 The god is crowned with ivy, and holds a patera in his right hand to a panther 
 on the ground at his feet. The figure is naked, except a nebris or fawn-skin 
 cast over the left arm, which is raised as the hand grasps the rod of a thyrsus. 
 The antique portion is remarkably fine. 
 
 Restorations : Head, arms, legs, and tiger. 
 
 Dimensions: Height, 5' - 2 //> 8• 
 
 284. FAUN (Satyr) OF THE CAPITOL, 
 
 with Goat, Pedum, and Cista. 
 
 Rosso Antico. From the Capitol, at Rome. Discovered in Hadrian’s Villa. 
 
 Restorations: The right arm and grapes, the left hand with pedum, thigh, 
 and leg ; the foot is ancient. The head of goat, portion of its neck, and tree- 
 stem with syrinx are also modern. 
 
 Engraved in Mus. Capit. vol. iii. tav. 34 ; Bunsen, vol. iii. p. 241 ; Clarac, 
 Musee, pi. 706, No. 1685 ; compare a better preserved statue in the Vatican 
 Mus. Pio Clem. vol. i. tav. 46 ; Mus. Cap. vol. iii. tav. 33 ; Cavaceppii 
 vol. i. No. 28. 
 
 Dimensions : Height, 5'’ 2"* 7* 
 
 285. MERCURY (Hermes). 
 
 Reposing, with his right arm upon the trunk of a tree, over which a skin 
 is hung. The right foot is crossed in front of the other. From Florence. 
 Restorations: The greater part of the petasus, the right arm from below 
 the elbow, the left also, a portion of the left thigh in front, above the 
 knee, and part of the knee itself. 
 
 Engraved in Gori, Mus. Flor. Statue, tom iii. tav. 38 ; Gall, di Firenze, 
 vol. iii. tav. 130 : Maffei, tav. 57 ; Clarac, Musee, pi. 660, No. 1518. 
 Dimensions : Height, 4' 1 10"* 8* 
 
 286. TRAJAN, sitting, holding a Globe. 
 
 Life-size, of Pentelic Marble. From Rome. Formerly in the Villa Mattel. 
 The head, although antique, does not belong to the statue ; the hand and 
 globe a modern addition, and one of the feet also has been restored. The 
 
50 
 
 HOMAN COURT CATALOGUE. 
 
 figure seems to have been originally that of a philosopher sitting upon a simple 
 chair (certainly not curule), covered with a cushion. 
 
 Engraved in Mus. Pio Clem. vol. iii. tav. 7 ; Bouillon, vol. iii. pi. 19 ; Cl. 
 Cat. No. 95 ; Clarac, Musee, '.pi. 337, No. 2415. See Portrait Gallery, No. 45. 
 Dimensions: Height, 4'* 5"’ 4‘ 
 
 287. MERCURY OF THE VATICAN. 
 
 Same as No. 316, with the exception that the drapery has been clumsily 
 restored. 
 
 288. ANTINOUS. 
 
 Statue, life-size, in Grechetto Marble. From Naples. Formerly in the 
 Farnese Collection at Rome. 
 
 The celebrated Bithynian Ganymede is here represented in the attitude of 
 Mercury. So also the famous Capitoline statue, No. 280. The eyeballs are 
 marked. Well worthy of the fame this statue has acquired. 
 
 Restorations : The arms and legs. See Portrait Gallery, No. 79. 
 
 Engraved in Mus. Bor. vol. vi. tav. 58 ; Neapels, p. 107, No. 367. 
 Dimensions: Height, 
 
 289. MELEAGER OF BERLIN, with Dog and Spear. 
 
 Statue, heroic size, of Greek Marble. From Berlin. Found at Sta. Mari- 
 nella, near Civita Vecchia. Formerly in the Collection of the Duchess of 
 Sermoneta. 
 
 Engraved in Clarac, Musee, pi. 811 a, No. 2020 b ; Berlin Catalogue, 
 No. 33. 
 
 290. MENANDER. 
 
 Sitting Statue, life-size, of Pentelic Marble. From the Vatican. 
 
 Found, together with Posidippus (No. 291), on the Viminal Hill, at Rome, 
 in a circular hall, supposed to have belonged to the baths of Olympias. 
 Sixtus V., in whose reign they were discovered, placed them in his Villa 
 Negroni or Montalto. They were afterwards purchased for the Vatican by 
 Pius VI. A large iron nail was fixed at the top of the head of both figures, for 
 the attachment of a circular plate or meniscus, which was used to protect 
 statues exposed in the open air, Bunsen, 171; but the introduction of the iron 
 nail seems to have touched the cleavage of the stone and entirely separated the 
 mask from the rest of the head. It had evidently been reattached with great 
 care. See essay, by G. Scharf, jun., in the Trans, of Royal Soc. Lit. 1853. 
 Menander is seated on a chair, called hemicycle, from the semicircular shape of 
 the back ; his portrait is identified by means of an inscribed bas-relief, by 
 Visconti. The face is beardless, but very characteristic. He is resting his left 
 arm upon the back of the chair. His tunic is partly covered up by the large 
 square mantle or pallium ; the general adjustment of his garments accords with 
 the tradition of his carefulness in dress. 
 
 Restorations : Left hand and ring. 
 
 Engraved in Mus. Pio Clem. vol. iii. tav. 15 ; Bouillon, vol. ii. pi* 25 ; 
 
ROMAN COURT CATALOGUE. 
 
 51 
 
 Pistolesi, vol. v. tav. 45 ; Visconti, Icon. Grecque, vol. i. tav. 6; Bunsen, ii. 
 part 2, p. 169 ; Clarac, Musee, pi. 841, No. 2118; Mus. Nap. No. 76 ; 
 Musee Fran£ais. See Portrait Gallery, No. 32. 
 
 Dimensions: Height, 4'* 7"’ 6* 
 
 291. POSIDIPPUS. 
 
 Sitting Statue, life-size, of Pentelic Marble. From the Vatican. 
 
 Found with the Menander (No. 290), on the Viminal Hill, at Rome, in 
 the reign of Sixtus V., who transferred them to his Villa Montalto. The 
 name of this statue is inscribed on the front of the pedestal— 
 
 norEJAinrroS 
 
 This statue had an iron spike at the top of the head to support a meniscus 
 or metal plate, the object of which was to protect the sculpture from injury of 
 the weather in open air ; hence the origin of the nimbus or golden plates attached 
 to the representation of saints in early paintings. Inscription very clear. The 
 chair and costume are very similar to the Menander statue, but there is less 
 dignity and self-possession in the bearing of this figure ; he seems somewhat 
 bent with age. Like Menander, his feet are enveloped in thong sandals. 
 The mask of this statue also had been detached by the insertion of the iron 
 nail for the meniscus. These statues are supposed to have originally adorned 
 the theatre at Athens, described by Pausanias. 
 
 Engraved in Mus. Pio Clem. vol. iii. tav. 16; Bouillon, vol. ii. pi. 25 ; 
 Pistolesi, vol. v. tav. 45; Bunsen, vol. ii. p. 170; Vise. Icon. Grecque; 
 Clarac, Musee, pi. 841, No. 2120; Mus. Nap. No. 77. Musee Frangais. (See 
 Portrait Gallery, No. 31.) 
 
 Dimensions : Height, 4'* 55. 
 
 292. BOAR (Aper Calydonius). 
 
 Engraved in Gori, Mus. Flor. Statue, tav. 69. 
 
 293. MELEAGER OF THE VATICAN. 
 
 Statue, life-size, of grey Greek Marble. From the Vatican. Removed thither 
 by Clement XIV., from the Palazzo Pighini, or Picchini. 
 
 Found, according to Flaminio Vacca, near the Basilica of Caius and Lucius, 
 but, according to Aldrovandi, in a vineyard, near the Tiber, beyond the 
 Porta Portese, in the 16th century. It originally belonged to Fusconi, physi¬ 
 cian to Paul III. This statue is wonderfully perfect: only the left hand 
 missmg, which no one has ventured to restore. It originally held a spear, as the 
 traces still remain on the pedestal. A few fingers of the other hand have been 
 completed. At his right side is a dog, and on the left a boar’s head, placed on 
 a rock, all of which are antique, and determine the character of the figure. It 
 was formerly called an Adonis. The execution of this statue is very good, but 
 not proportionate to its great celebrity. Meleager, son of the Calydonian 
 King CEneus, who had taken a part in the Argonautic expedition, slew the 
 
52 
 
 ROMAN COURT CATALOGUE. 
 
 monstrous boar which had ravaged his father’s country. The hero is here 
 represented resting after his victory ; the head of the animal is on one side, and 
 his faithful dog sits on the other. 
 
 Engraved in Mus. Pio Clem. vol. ii. tav. 34 ; Bouillon, vol. ii. pi. 7 ; 
 Maffei, tav. 55 ; Pistolesi, vol. iv. tav. 86 ; Clarac, Musee, pi. 805, No. 2021; 
 Bunsen, vol. ii. part 2, p. 123 ; Mus. Nap. 117; Musee Franjais. 
 Dimensions: Height, 6'* 6"' 1' 
 
 294. QUOIT-PLAYER (Discobolos), in Repose. 
 
 Statue, life-size, of Pentelic Marble. From the Vatican, where it had been placed 
 by Pius VI. Found about eight miles from Rome, at Colambaro on the Via 
 Appia, where Gallienus is supposed to have had a villa. 
 
 This statue is conjectured to be the work of the Argive sculptor Naucydes, 
 mentioned by Pliny in his 34th Book. Few antiques have suffered so little 
 injury as this: it has no fracture, but the surface of the body is corroded by the 
 action of th e damp. Tenons had been inserted in the marble and remain undis¬ 
 turbed. Were it not that the statue in many parts remains unfinished, we 
 might fairly conclude this to be the actual chef d? oeuvre of Naucydes, such is its 
 superlative excellence. The discus is, exactly as described by Lucian, without 
 aperture, handle or loop (Anacharsis seu de Gymn.): it is also seen in a painting 
 from Stabile, Pitt Ere. vol. iii. tav. 25. A similar statue exists in England, with 
 the right hand restored, quite open. The trunk is of a palm-tree with clusters of 
 fruit. It belonged to Mr. Lock in the time of Cavaceppi, vol. i. pi. 42, and came 
 from Villa Montalto. (See a note at p. 132 of Mus. Pio Clem. vol. iii.) 
 Another in the Borghese, naked and erect This young Athlete holds the discus or 
 quoit in his left hand : he seems to be marking the distance he has to throw. 
 The band round his head is the crown usually worn by the victors. 
 
 Engraved in Mus. Pio Clem. vol. iii. tav. 26 ; Bouillon, vol. ii. pi. 17 ; 
 Pistolesi, vol. vi. tav. 9 ; Annales du Musee ; Clarac, Musee, pi. 862, No. 
 2194c ; Bunsen, vol. ii. pt. 2, p. 242. Musee Fran§ais. 
 
 Dimensions: Height, 5 /- 4"‘ 3* 
 
 295. FAUN (Satyr), snapping his Fingers. 
 
 Bronze Statue, life-size. From Naples. Found at Herculaneum, July, 1754. 
 
 The eyes of the original are filled with a vitreous paste of natural colours. 
 Two glands hang on the neck, like on a goat; askos , upon a lion’s skin. 
 
 Engraved in Mus. Bor. vol. ii. tav. 21 ; Clarac, Musee, pi. 719, No. 1720; 
 compare a similar statue, Mus. Pio Clem. vol. i. tav. 47 ; Pistolesi, vol. v. 42 ; 
 also at Munich, Glyptothek, No. 102. 
 
 296. 
 
 ADONIS. 
 
 297. 
 
 POLYMNIA. 
 
 Statue life-size, of Greek Marble. From the Louvre. Previously in the 
 Borghese Collection at Rome. 
 
 The greater part of this statue is modern, having been excellently restored 
 by Penna, a Roman sculptor. The portions of antique drapery that remain 
 are of superlative excellence. 
 
ROMAN COURT CATALOGUE. 
 
 53 
 
 Engraved in Bouillon, vol. iii. pi. 11; Villa Borghese, st. 7, No. 12; Cl. 
 Cat. 131, No. 306; Clarac, Musee, pi. 327, No. 1083. Musee Royal, vol. ii. 
 Dimensions: Height, 
 
 298. APOLLO SAUROCTONOS (the Lizard-Killer). 
 
 From the Vatican. 
 
 Discovered by Gavin Hamilton in 1777, on the Palatine Hill, among the 
 foundations of the Villa Magnani, where Augustus is said to have had a 
 residence. The marble is remarkably pure and beautiful. A repetition more 
 injured was found at the same time. 
 
 Restorations : The right arm from above the elbow, left hand, part of face, 
 and front of neck. The tree stem and lizard excepting the tail, left leg from 
 below knee, and right leg from half way down the thigh. 
 
 Engraved in Mus. Pio Clem. vol. i. tav. 13; Pistolesi, vol. 6, tav. 11; 
 Winckelmann, Mon. Ined. No. 40; Clarac, Musee, pi. 475, No. 905 a; 
 Bunsen, vol. ii. part 2, p. 243. 
 
 299. ATHLETE, or BOXER. 
 
 Standing Figure with Raised Arms, bound in cestus. From the Collection 
 at Arolsen. 
 
 Probably from a bronze much restored. Very weak. The cestus , or 
 himantes (‘{/j.avTes), were thongs bound round the hands and arms of the 
 boxers to strengthen the blow. The cestus was used in very early times, and 
 is often represented in ancient art. 
 
 Dimensions: Height, 5' * 1"* 5. 
 
 300. THE CLAPPING FAUN (Satyr). 
 
 Statue, life-size. From Florence. 
 
 Pronounced by Mengs as flabby and inflated. The flesh has certainly that 
 character, and indicates a satyr at a very different period of life from what we 
 see represented in the Periboetos or Anapauomenos, Nos. 10 and 12. The in¬ 
 strument under his foot was called a scabellum ; it is seen in various bacchanal 
 sculptures, and under the foot of a female statue in the Capitol, Museum 
 Capitolinum, vol. iii. tav. 36. Also in statue No. 303. 
 
 Restorations : The head and arms, by Michel Angelo Buonarotti. 
 
 Engraved in Gall, di Firenze; Maffei, tav. 35; Clarac, Musee, pi. 715, 
 No. 1709 ; Wicar, Galerie de Florence, vol. iv. Musee Royal, vol. ii. 
 Dimensions: Height, 4'* 8"* 6' 
 
 301. APOLLO SAUROCTONOS (the Lizard-Killer.) 
 
 A Statue of Parian Marble, small life. From the Louvre. Formerly in the 
 Borghese Collection. 
 
 Restorations: The entire right hand from above the wrist. This Borghese 
 one, with a repetition also in the same collection, are mentioned by Visconti, in 
 text, vol. i. p. 131. 
 
 Engraved in Bouillon, vol. i. pi. 19; Villa Borghese, st. ii. No. 5; Cl. Cat. 
 p. 10, No. 19; Clarac, Musee, pi. 267, No. 905. Musee Royal, vol. ii. 
 Dimensions: Height, 
 
U ROMAN COURT CATALOGUES. 
 
 302. AMAZON. 
 
 Heroic size Statue of Grechetto Marble. From the Vatican. The original was 
 formerly in the Villa Mattei, on the Cselian hill, at Rome. 
 
 It was placed by Clement XIV. in the Vatican Museum. Perhaps the Amazon 
 of Polycletus (Visconti, text, p. 269). See Pliny’s story of the five Amazons made 
 to adorn the temple of Ephesus (Hist. Nat. lib. xxxiv. c. 19). The statue is 
 in the act of loosening her bow, the right arm raised over the head ; a quiver 
 is suspended at her left side, and a helmet lies at her left foot. The pelta 
 lunata, a light shield of peculiar shape, and the bipennis, or double axe, are 
 attached to the trunk on the other side ; her tunic is high girt, and executed 
 with much elegance ; the fine small lines of the folds afford a greater contrast 
 to the breadth and fulness of the limbs. The inscription on the horizontal 
 surface of the plinth, translata be schola medicorvm, although Gerhard 
 will not vouch for its genuineness, informs us that the statue was formerly 
 placed in the portico built by Augustus for the use of medical practitioners. 
 The place where it was found in modern times is not recorded. A repetition 
 is in the Capitol, and placed there by Benedict XIV., 1753 (Mori, vol. ii. 
 Sala Grande, tav. 22). Compare a Wounded Amazon statue with less drapery 
 and no quiver (Pistolesi, vol. iv. tav. 15); and another in the Capitol (Mus. 
 Capit. vol. iii. tav. 46 ; Mori, vol. ii. Sala Grande, tav. 21). They both have 
 a peculiar piece of drapery round the neck ; so also the Richelieu one in the 
 Louvre. A similar statue at Petworth (Clarac, Musee, pi. 808, No. 203). 
 
 The Amazons were a race of warlike females, said to have come from the 
 Caucasus, and to have settled about the river Thermodon, in Asia Minor, 
 where they founded the city Themiscyra. Their queen was Hippolyte, and to 
 obtain her girdle was one of the labours of Hercules. The Amazons 
 invaded Attica in the reign of Theseus; and went with their queen, Penthesilea, 
 to assist the Trojans. She was slain by Achilles. 
 
 Restorations: The arms. 
 
 Engraved in Bouillon, vol. ii. pi. 10; Maffei, tav. 109 ; Mus. Pio, Clem, 
 vol. ii. tav. 38 ; Pistolesi, vol. iv. tav. 20; Clarac, Musee, pi. 811, No. 2031; 
 Bunsen, vol. ii. part 2, p. 168 ; Musee Frangais. 
 
 Dimensions: Height of figure, 6'* 2"’ 3*; to top of hand, 6'* 3" 0‘ 
 
 303. FAUN (Satyr), like CLAPPING FAUN. 
 
 From Paris. 
 
 Restored with syrinx in right hand, and holding a branch of support-stem in 
 the other. Bellows under right foot. 
 
 304. ' WRESTLERS (Pancratiasm). 
 
 From Florence. 
 
 The group is, in the opinion of some, connected with the Niobe family. 
 One version of the fable says that the vengeance of Apollo and Diana came 
 upon them, whilst the sons were exercising in the plain—the elder with their 
 horses, the younger at wrestling. Moreover, Flaminio Vacca says that this 
 group was disinterred at the same time, and in the same place, with the 
 Niobe statues—namely, a little beyond the gate of S. Giovanni. They were 
 purchased by the Grand Duke Ferdinand of Tuscany, who placed them in 
 
Homan couet catalogue. 
 
 56 
 
 Lis garden on the Pincian Hill (Flaminio Yacca, Memorie, No. 79, p. 247). 
 Flaxman (p. 96) calls them a fine example of anatomical study in difficult 
 hut harmonious composition. The Medici family paid 1800 crowns for this 
 group when first found, a sum equal to 2000?. of our money at the present 
 day (Flaxman, p. 28). They are properly called Pancratiastse (nayicpanatTrai) 
 from Tra'yKpa.Tiov, which strictly means a complete contest, —hence an exercise 
 of the Greek youths, which combined both wrestling ( iraAri) and boxing 
 (irvy/jLT]). Athletse (a0Ar)rcu) were persons who contended for prizes 
 (aOAa), and made it a profession. These boys are not even to be called Palsestse 
 (7ra\aurTai) because throwing decided, but with the Pancratiastae, the chief 
 wrestling took place on the ground. The passionless heads of these youths 
 accord strangely with other figures of the same epoch. These statues belong 
 to a late period of Greek art, and we may expect the same amount of ani¬ 
 mation of countenance with the Niobid figures, or the statues of Scopas and 
 Apollodorus. The heads are, in fact, not antique, which is proved by an old 
 engraving, representing them in their original condition as when first discovered 
 (Meyer, taf. 14 a). They may have been executed after the famous symplegma 
 of Cephisodotus, son of Praxiteles, mentioned by Pliny, 36, cap. v. page 302. 
 Sillig. 
 
 Restorations: Both heads, the left arm of uppermost figure, his left foot, 
 right leg from the knee. Lower figure : right arm and right leg from above 
 the knee. 
 
 Engraved, in the condition in which found, in pi. 109 of Insigniores Statu - 
 arum Bomse leones ; also in Meyer, taf. 1 a ; Galleria di Fir. vol. iii. pi. 121; 
 Meyer, taf. 14 a; Maffei, tav. 29; Gori, Mus. Flor. tav. 73; Clarac, Musee, 
 pi. 858 a, No. 2176; Wicar, Galerie de Florence, vol. ii. 
 
 Dimensions: Height, 2'* 10"* 4*; Length, 3'* 11"* 0* 
 
 805. YOUNG FAUN (Satyr), carrying the Infant Bacchus 
 (Dionysos) on his Shoulders. 
 
 He plays cymbals. A syrinx and pedum hang upon the vine-stump. Group 
 in Greek Marble. From Naples. Formerly in the Farnesina at Home ; 
 found in the Campagna di Boma. 
 
 Greek art. The only antique portion of the boy is the thighs, and parts of 
 the figure attached to the shoulders of the faun. The face of the faun is 
 modern. He has a tail. The extremities of the figure and part of the base 
 also are restored. A similar statue with more of the child perfect in the Villa 
 Albani. Clarac. Musee, pi. 704, B. No. 1628, B. The faun tripping on his 
 toes carries the infant Bacchus on his right shoulder. The accessories seem to 
 be ancient, and merit attention. The stem on the left bears vine-leaves and 
 grapes. A pedum and syrinx are also attached. 
 
 Engraved m Mus. Bor. vol. ii. tav. 25 ; Clarac, Musee.pl. 704, B. No. 1628 a; 
 Neapels, p. 35, No. 103. 
 
 306. SILENUS, carrying the Infant Bacchus (Dionysos). 
 
 Statue, Grechetto Marble. From the Louvre. Formerly in the Villa Borghese 
 ' at Borne. 
 
 Discovered in the 16th century on the Quirinal, in the gardens of Sallust, 
 together with the famous Borghese Vase (No. 352), a work that may rank with 
 
56 
 
 HOMAN COURT CATALOGUE. 
 
 the Torso, Laocoon, the Nile, and many other chef d’oeuvres. Most probably 
 of Roman time (Glypt. p. 103). In the Vatican Chiaramonti group the trunk 
 is covered with vine-leaves and clusters (Pistolesi, vol. iv. tav. 7). A statue 
 also is in the Glyptothek at Munich, besides the Museo Chiaramonti one 
 (Glypt. Cat. No. 115). Musee Royal, vol. i. 
 
 Restorations: The hands and half the right fore-arm, and the extremities 
 of the right foot of Silenus. The left leg, left arm, and a portion of the 
 right arm of the infant; also the trunk of tree as far as the nebris or fawn- 
 skin. 
 
 Engraved in Cl. Cat. p. 257, No. 709 ; Clarac, Musee, pi. 333, No. 1556; 
 Bouillon, pi. 54; MafFei, tav. 77; Villa Borghese, st. 9, No. 13. 
 
 Dimensions: Height, 6'* l"* 4* 
 
 307. POSIDONIUS. 
 
 Sitting Statue, life-size, of Pentelic Marble. From the Louvre. Previously in 
 the Borghese Collection. 
 
 Formerly called Belisarius. Identified by an inscribed bust in the Far- 
 nesina Collection. Left side of square block carved into folding chair. The 
 general conception of this figure, both in its attitude and the arrangement of the 
 drapery, is excellent, but the original execution has been destroyed in many 
 parts, especially the face, by a modern chisel. 
 
 Restorations: The hand, fore arm, and a great portion of the feet are 
 modern restorations ; also many parts of the drapery. 
 
 Engraved in Bouillon, vol. ii. pi. 28 ; Clarac, Cat. p. 46, No. 89 ; Visconti, 
 Icon. Gr. vol. i. pi. 24 ; Villa Borghese, St. 4, No. 4; Clarac, Musee, pi. 327, 
 No. 2119. See Portrait Gallery, No. 33. 
 
 Dimensions: Height, 3'* 10" - 6‘ 
 
 308. DEMOSTHENES. 
 
 A Sitting Statue, life-size, of Pentelic Marble. From the Louvre. Formerly in 
 the Vatican, whither it had been transported by Pius VI. from the gardens 
 of Pope Sixtus V. in the Villa Negroni or Montalto. The head did not 
 originally belong to this statue, although antique. Bought by Jenkins. 
 Covered with a simple mantle or pallium, he opens the roll upon his 
 knees, and seems to meditate profoundly. 
 
 Restorations : The right hand and part of the fore-arm, the entire left arm 
 and drapery near it. The nose, left ear, portion of right leg, feet, and part of 
 the neck. 
 
 Engraved in Visconti, Mus. Pio. Clem. vol. iii. tav. 14 ; Bouillon, vol. ii. pi. 
 22 ; Guatt. Mon. In., vol. iv. Giugno, tav. 1 ; Cl. Cat. No. 92 ; Clarac, Musee, 
 pi. 283, No. 2099a ; Mus. Nap. No. 72. See Portrait Gallery, No. 19. 
 Dimensions : Height, 4'' 7"' 9* 
 
 309. GLADIATOR, wounded and prostrate. 
 
 Statue, life-size, of Luni Marble. From the Capitol, at Rome, whither 
 it was transferred by Clement XII. from the Villa Ludovisi. Found among 
 the ruins of the gardens of Sallust—the Hand-book to Rome says at Antium 
 —in 1770. 
 
 Mr. James Yates has recently published a learned essay upon this figure, of 
 which the following is the substance. The statue was made in Italy, under 
 the early emperors, perhaps Hadrian. It represents a native of one of the 
 
ROMAN COURT CATALOGUE. 
 
 57 
 
 northern nations opposed to the Romans, either Gauls, Germans, Dacians, 
 Goths, or others. He was a man of some rank in his native army, perhaps 
 the Cornian, or blower of the horn as signal for battle, which instrument lies 
 on the ground. Having been taken captive, he has been condemned to be 
 trained by the Lanista, and is supposed to be expiring in the arena, thinking 
 of his home and country, as described by Lord Byron. This statue was found 
 together with the so-called Paetus and Arria, still in the Villa Ludovisi; 
 and they most probably formed part of the ornaments of some vast Roman 
 monument commemorating a victory over barbarians. “The surface of the 
 Dying Gladiator seems rubbed so as to give an extra polish. There is a want 
 of sharpness, precision, and fulness about the forms. His ears are almost 
 lost, but the bottom of one is clearly traceable, although it much resembles 
 a lock of hair.”—MS. Journal, Rome, April 25th, 1844. He wears a gold- 
 twisted ornament called a torque round his neck. This was a sign of wealth 
 and rank among foreign nations, and is also seen on the sarcophagus, 
 No. 125, in the Bas-relief gallery. 
 
 ‘ ‘ The ‘ dying gladiator ’ is one of those masterpieces of antiquity which 
 exhibits a knowledge of anatomy and of man’s nature. He is not resting ; he 
 is not falling ; but in the position of one wounded in the chest and seeking 
 relief in that anxious and oppressed breathing which attends a mortal wound 
 with loss of blood. He seeks support to his arms, not to rest them or to 
 sustain the body, but to fix them that their action may be transferred to the 
 chest, and thus assist the labouring respiration. The nature of his sufferings 
 leads to this attitude. In a man expiring from loss of blood, as the vital 
 stream flows, the heart and lungs have the same painful feeling of want, which 
 is produced by obstruction to the breathing. As the blood is draining from 
 him he pants and looks wild, and the chest heaves convulsively. And so the 
 ancient artist has placed this statue in the posture of one who suffers the 
 extremity of difficult respiration.”— Sir Charles Bell, Anatomy of Expres¬ 
 sion, p. 194. 
 
 Restorations : The entire right arm, the extremities of the feet, and part of 
 the plinth. 
 
 Engraved in Mus. Cap. vol. iii. tav. 67 ; Bouillon, vol. ii. pi. 20 ; Maffei, 
 tav. 65 ; Righetti ; Mori, vol. ii. Sala Grande, tav. 31 ; Bunsen, vol. iii. 
 p. 248 ; Clarac, Musee, pi. 869, No. 2214 ; Mr. Yates’s Memoir to the 
 Archaeological Institute at Bristol, 1853. Musee Fran 5 ais. 
 
 Dimensions: Height, 2' 1 9"* 0; Length, 5'* 5”’ 9* 
 
 310. ACHILLES. 
 
 Heroic Statue of Parian Marble. From the Louvre. Previously in the 
 Borghese Collection at Rome. 
 
 A ring above the right ancle. The workmanship of the knees and thighs is 
 remarkably excellent, but the body is hard and swollen in parts. The right 
 arm looks well in front, but viewed sideways, is heavy and incorrect. The 
 features want grandeur of treatment. 
 
 Restorations: The left fore-arm, fingers of right hand, and the tips of 
 some of the toes. 
 
 Engraved in Bouillon, vol. ii. pi. 14 ; Villa Borghese, st. 1, No. 9 ; Cl. 
 Cat., p. 68, No. 144 ; Hirt. B. B., tab. 7, No. 2 ; Clarac, Cat., pi. 263, No. 
 2073. 
 
 Dimensions: Height, 6“ 11"' 6' 
 
58 
 
 ROMAN COURT CATALOGUE. 
 
 311. BACCHUS. 
 
 Statue, life-size. From Naples. 
 
 Raising tlie right hand with a bunch of grapes, and holding a cctntharus 
 in the left. The stem on that side ornamented with vines. 
 
 Engraved in Clarac, Musee, pi. 659, No. 1586 ; Mus. Bor. t. 1, No. 120. 
 
 312. ' GERMANICUS. 
 
 Statue, life-size, of Parian Marble. From the Louvre. Placed by Louis XIY. 
 at Versailles, and previously in the Villa Negroni at Rome. 
 
 On the shell of the tortoise, beneath the drapery is the following Greek 
 inscription : 
 
 kaeqmenhc 
 
 KAB2M.ENOYC 
 As HU.A1 dcE 
 
 The forms of the letters are remarkable. The inscription in this cast is 
 unfortunately illegible. Hitherto this figure has been called Germanicus, son 
 of Drusus and Antonia, the niece of Augustus. From the peculiarity of 
 countenance, and arrangement of the hair, it is the portrait of a somewhat 
 aged Roman personage; not Germanicus certainly, because he died in the 34th 
 year of his age, and the features do not at all correspond with his portrait on 
 ancient coins. The attitude is that of a Mercury ; his left hand originally 
 held a caduceus; and the chlamys upon the left shoulder, which might have 
 appeared to be kept from further falling by the upper part of the caduceus, 
 and the tortoise below, are only further indications of the god of eloquence. 
 Restorations: The thumb and fore-finger of the left hand. 
 
 Engraved in Bouillon, vol. ii. pi. 36 ; MafFei, tav. 69 ; Cl. Cat. p. 259, 
 No. 712 ; Clarac, Musee, pi. 318, No. 2314; Mus. Nap. No. 83. Musee 
 Francais. See Portrait Gallery, No # . 115. 
 
 Dimensions: Height, 5'. 11"* 0' 
 
 313. ADONIS, or APOLLO, of Capua. 
 
 Statue heroic size, of Grechetto Marble. Fom Naples. 
 
 Found in the Amphitheatre, at Capua. The head, very like that of an Eros, 
 is turned to the left, as if listening. Gerhard considers the figure to have 
 been somewhat overrated. It belongs to the age of Hadrian. 
 
 Restorations : Part of the thighs and legs, the trunk of tree, with bow and 
 quiver, the right hand and left arm,—by the modern sculptor, Cali. 
 
 Engraved in Mus. Bor. vol. ii. tav. 24 ; Clarac, Musee, pi. 484, No. 932, 
 pi. 650, No. 1492 ; Neapels, p. 87, No. 287. 
 
 Dimensions: Height, 7 / * 3"* 5* 
 
 314. ANTINOUS, as a Good Genius (agathodaimon). 
 
 Statue, heroic size, of Parian Marble. From Berlin. Formerly at Sans Souei. 
 It belonged to Cavaceppi. 
 
 The hands and feet of this figure are antique and remarkably fine. One 
 
ROMAN COURT CATALOGUE. 
 
 59 
 
 fingeif of the right hand has been replaced. It is altogether wonderfully pre¬ 
 served. The eyes are hollowed to receive glass or stones. The serpent, as 
 the emblem of the good genius, occurs on coins of Nero struck at Alexandria. 
 Neos ayaOos Saigwi/. The elephant’s trunk and serpent seem to bear a 
 reference to the Indian Bacchus, and therefore Visconti prefers to call it 
 Antinous-Bacchus, rather than Agathodaimon. See a little double Hermes, 
 No. 385. Levezow says, page 82, that the statue is of Luni marble. 
 
 Engraved in Bouillon, vol. ii. pi. 51 ; Berlin Cat. No. 264, p. 24; 
 Levezow, iiber Antinous, tav. 6 ; Cavaceppi, vol. i. No. 24; Mus. Nap. 
 No. 194 ; Musee Royal, vol. i. 
 
 Dimensions: Height, 
 
 315. DISCOBOLUS. 
 
 This cast is much distorted. 
 
 316. MEKCURY (Hermes). 
 
 Statue of Parian Marble. From the Vatican. Found in the pontificate of 
 Paul III., at Rome, upon the Esquiline, nearS. Martino dei Monti, in a 
 spot formerly called Adrianello. 
 
 Placed by Paul III. in the Belvedere of his palace; it was known by 
 the name of the Antinous of the Vatican. Not superior to the Jason or 
 Germanicus. A similar statue is in the possession of Lord Lansdowne, with the 
 bent arm perfect. A repetition exists in Munich (Glyptothek, No. 127). Visconti 
 was the first to consider it a Mercury. Very probably a Meleager, and in this 
 opinion Winckelmann concurs. The right arm and left hand are modern. 
 Gerhard says, although the head bears resemblance to the favourite of Hadrian, 
 the style of art bespeaks an earlier and superior time. The probability of this 
 statue being a Mercury rests upon the shortness of the hair, naturally curling, 
 the delicacy of the form, and a slight inclination of the head. Visconti regards 
 the light chlamys which enfolds the right arm as symbolical of his^readiness to 
 execute the commands of the gods. It is true that we neither see the petasus, 
 caduceus, purse, or talaria, but they are not absolutely essential to identify 
 the son of Maia. The style of head, character of the limbs, and general 
 attitude would suffice. But a statue of Mercury, with caduceus and winged 
 feet, and in precisely the same attitude, existed in the Farnese Palace, at 
 Rome. A statue formerly at Versailles, and now in the Louvre, is also 
 quite similar (engraved in vol. i. pi. 26, of Bouillon) : 'it is of mediocre 
 workmanship, but the attitude and peculiar throw of the chlamys round the 
 arm, together with the short round curls of the hair, accord with the statue 
 of the Belvedere. In addition, there are unequivocal remains of the wings 
 to the head of the Versailles figure, and a fragment of the caduceus remained 
 in his left hand. Compare No. 287 for the same figure restored. The origin 
 in the Vatican remains as in the statue before us. 
 
 Engraved in Mus. Pio Clem. vol. i. tav. 7; Bouillon, pi. 27; Bunsen, 
 vol. ii. p. 141 ; Pistolesi, vol. iv. tav. 97 ; Maffei, tav. 3 ; Clarac, Musee, pi’. 
 665, No. 1514 ; Bunsen, vol. ii. part 2, p. 141; Mus. Nap. No. 129 ; Musee 
 Fran§ais. 
 
 Dimensions: Height, 6'* 7"' 8’ 
 
60 
 
 ROMAN COURT CATALOGUE. 
 
 317. HERCULES (Herakl^s) (Reposing). 
 
 Colossal Statue of Grechetto Marble. The work of Glycon. From Naples. 
 Formerly in tbe Farnese Collection at Rome. 
 
 Commonly called the Farnese Hercules. Found in the baths of Caracalla, 
 at Rome. The accounts, however, of the discovery of this statue vary in the 
 most extraordinary manner. Inscribed— 
 
 TAYKCON 
 
 A0HMAIOC 
 
 enoiei 
 
 The work is well preserved. “There is a joint visible in the statue above 
 
 the knees, which passes in the left 
 knee directly through the ligament 
 under the patella; the same in the 
 other leg, but it slopes upwards and 
 outwards, almost bounding the tendon 
 of the vastus externus. The toes 
 have been restored in plaster. In¬ 
 scription is cut in thin sharp letters” 
 (MS. Journal, Naples, April 20th, 
 1844). Mengs (vol. ii. p. 21) sus¬ 
 pects, from the silence of Fulvio 
 Orsini and Flaminio Yacca respect¬ 
 ing the inscription, that it has been 
 added since the discovery of the 
 statue. Flaxman says (page 229) : 
 ‘ 1 The Hercules Farnese was evi¬ 
 dently one of the first favourites of 
 Coin of Caracalla, struck at Philippopolis, in antiquity, from its frequent repetition 
 Thrace, showing the statue of the reposing in p ronze and mar ble, on gems, and 
 
 ercu es ‘ coins. It is worthy of remark that 
 
 some statues of Hercules, in the same attitude of repose with that sumamed Far¬ 
 nese, but of much earlier date, have the proportions of common men, and that a 
 series of them may be found in various collections, gradually increasing to the 
 terrific strength of Glycon’s statue. The head of this formidable hero bears a 
 noble resemblance to his father Jupiter. The anatomical detail in the body and 
 limbs is more distinct than in any other work of antiquity.” 
 
 This statue is represented on the reverse of a coin of Caracalla, struck at 
 Corinth, inscribed CLI. COR., now in the British Museum, and on another 
 coin of the same emperor struck at Philippopolis in Thrace. 
 
 Restorations: Half the left fore-arm, and the hand, also the toes of both 
 
ROMAN COURT CATALOGUE. 
 
 61 
 
 feet. The head and extremities were mu eh broken. The right hand holding 
 the apples is ancient. The legs, which were not found at first were supplied 
 by Guglielmo della Porta, until 1787. 
 
 Engraved in Mus. Bor. vol. iii. tav. 24; Maffei, tav. 49; Clarac, Musee, 
 pi. 789, No. 1978; Neapels, p. 31, No. 97. 
 
 Dimensions: Height, 
 
 318 and 319. DIOSCURI. 
 
 CASTOR AND POLLUX. THE COLOSSI OP MONTE CAVALLO. 
 
 These stupendous groups were found in the baths of Constantine on the Quirinal 
 Hill, now called Monte Cavallo. Flaminius Vacca relates a tradition that Con¬ 
 stantine had brought them to this spot from the vestibule of the palace of Nero, 
 and that many architectural fragments, found together with the figures, confirm 
 this opinion. Visconti believes them to be copies made at Rome in the time of 
 Nero, from bronze statues of considerable celebrity. They have never been 
 thoroughly finished, many masses upon them remain imperfect, and the same 
 also is the case in the colossal figures of the Nile and Tiber found at the same 
 time. Flaxman says (p. 94) : “We may fairly presume the colossal statues on 
 Monte Cavallo, in Rome, to be the works of Phidias and Praxiteles, as inscribed 
 on their pedestals, because the animated character and style of sculpture seem 
 peculiar to the age in which those artists lived ; and because in the frieze of the 
 Parthenon there is a young hero governing a horse, which bears so strong a 
 resemblance to those groups, that it would be difficult to believe it was not a 
 first idea for them by one of those artists.” 
 
 I have already expressed my conviction (in the Introduction, page 42 of 
 Greek Court) that these statues are copies from bronze originals belonging 
 to the Macedonian epoch. The rising and snaky hair on the forehead, and 
 exaggerated expression of the eyes and mouth, have also 
 a strong affinity to the age of Alexander. The surface 
 of the flesh is very much corroded, but in some parts 
 where it has been protected, as, for instance, down the 
 cheek of the left-hand figure, we observe that it has 
 been elaborately finished. The warts or mammiform 
 projections on various parts of this figure are very remarkable. There is a 
 grand massiveness about the limbs and trunk in both groups. The arms 
 and legs taper remarkably towards the extremities, and the hands appear 
 very small in proportion. The drapery folding round the arm of the right- 
 hand figure is wrought in the true grand style. The hollows and grooving 
 of the folds are wonderfully executed. It is worthy of the statutes in the 
 Parthenon pediment. The veins are delicately shown in several parts, 
 and clearly to be traced inside one of the arms where the surface has been 
 sheltered from the action of the weather. A vein is also traceable upon the 
 shoulder muscle. In the open mouth of the right-hand figure the 
 teeth are distinctly marked ; the eye-balls also are strongly indi¬ 
 cated by deep-cut lines, and the pupil hollowed out into a peculiar 
 form. The eyelids are made more effective by very deep chan¬ 
 nelled lines above and below : this gives a surprising force of expression. 
 The eyeballs of the horses are also marked in the same manner, the centre or 
 pupil being very deep. This expedient is not to be seen in any of the 
 sculptures of the Parthenon, the projecting eyeball of the celebrated 
 horse (No. 185, c.) is perfectly smooth, and the bronze horse, from 
 Florence, also, Nos. 71 and 69. The cheeks of these horses are remarkably 
 
62 
 
 ROMAN COURT CATALOGUE. 
 
 broad and the bones quite flat: there is great animation of expression about 
 them. Their faces are traversed by veins, which show very strongly 
 f upon the bellies. The creases of the skin at the junction of the 
 
 head with the throat are somewhat exaggerated. The breast¬ 
 plate or lorica standing at the side of the figure does not accord 
 with the formation of such armour at the time of Phidias. Neither upon 
 the Parthenon nor upon the painted vases of the next period do we find such 
 an arrangement of straps at the shoulders and round the hips ; but we do 
 find them in connection with statues of Alexander the Great, and used 
 then on the ground for support also. Thus it is in the famous statue 
 of Alexander, found at Gabii, and in the Rondanini Alexander, now at 
 Munich. The celebrated equestrian bronze of Alexander, found at Hercu¬ 
 laneum, has a somewhat similar style of armour. In that group the eyeballs 
 of the hero and his charger are deeply pierced. Whatever the exact epoch of 
 these Monte Cavallo figures may be, there can be no doubt that they belong to 
 a very superior class of art, admitting of comparison, for grandeur of style and 
 conception, with the well-ascertained works of Phidias in the pediments of the 
 Parthenon. These statues occupy a prominent position at Rome on the ancient 
 Quirinal hill, which is now called, from these groups, Monte Cavallo. They stand 
 in front of the Pope’s Palace. The names of Phidias and Praxiteles are inscribed 
 in modern Italian letters upon the pedestals, but not traceable further back 
 than the time of Sixtus V. 
 
 Engraved in Meyer, taf. 15, figs, a and b ; Maffei, tav. 11 to 13 ; old 
 engraving, by Bunsen, vol. iii. part 2, p. 404 ; Clarac, Musee, pi. 812 a ; 
 No. 2043 ; referred to in Mus. Pio Clem. vol. i. p. 288, note (2). 
 
 319. Vacant. 
 
 320. MONUMENT OF LYSICRATES. 
 
 Choragic Monument at Athens, erected, according to the inscription on it at 
 the time that Evanetus was Archon, b.c. 335-4, whilst Alexander the Great 
 was invading Persia. The entire height is thirty-four feet. It is circular, and 
 the diameter eight feet. Upon the upper part of the wall, between each of the 
 columns, are two tripods in low relief. The roof elegantly tends to a summit 
 upon which a bronze tripod originally stood. It was customary for those who 
 obtained the tripods as prizes in musical contests to dedicate them in some 
 temple, or in separate buildings erected for them along a street on the east side of 
 the Acropolis, which obtained the name of the street of the tripods. This monu¬ 
 ment is the earliest known instance of Corinthian architecture, the capitals of 
 the columns are very beautiful, and the shafts are fluted in a peculiar manner. 
 The frieze is ornamented with figures illustrative of the adventures of Bacchus 
 and the Etruscan pirates, narrated in the hymns of Homer. Bacchus was 
 seized sleeping by pirates and conveyed on board their ship ; he punished them 
 by converting the ship into a vine and the pilot into a raging lion. As the 
 mariners leapt into the sea, they were changed into dolphins. This transforma¬ 
 tion is represented on the frieze. Satyrs appear also punishing 'the snake-bound 
 Etruscans with fire. These sculptures are valuable examples of the age of 
 Lysippus. The monument was only used as a pedestal for the tripod belonging 
 to Lysicrates, but in later times when a monastery was built around it, the 
 interior was converted into a sanctum for the Prior. A view of the interior 
 may be seen in Dodwell’s Travels (vol. i. p. 289). 
 
 Engraved in Stuart’s Antiquities of Athens, vol. i. pi. 24. 
 
ROMAN COURT CATALOGUE. 
 
 63 
 
 321. DEMOSTHENES. 
 
 Standing Figure, life-size, of Greek Marble. From the Vatican. 
 
 A scrinium at his feet. Standing statue, life-size, bare-breasted, with 
 mantle thrown over the left shoulder. 
 
 Restorations: The hands and the scroll. 
 
 Engraved in Clarac, Musee, pi. 842, No. 2122 ; Pistolesi, vol. iv. tav. 19 ; 
 Bunsen, vol. ii. part 2, p. 94. 
 
 See Portrait Gallery, No. 19. 
 
 Dimensions: Height, 6'* 5"' 2. 
 
 322. SOPHOCLES. 
 
 Standing Statue, life-size. From the Lateran Museum, at Rome. Found 
 at Terracina, and presented by Cardinal Antonelli. 
 
 A remarkably fine figure, and very similar in attitude and costume to the 
 statue of .ZEschines, No. 326. H.B. last ed. p. 204. The round box at his right 
 side serves as a bookcase. It contains 8 papyri, viz., rolls or books (for binding 
 was unknown in those days), and this affords us a very interesting opportunity 
 of observing the different ways in which they might be arranged. Sometimes 
 they were rolled up entirely—sometimes from both ends ; the latter when 
 they were only half read through, as persons were compelled to unroll as they 
 read. The lines of writing, however, did not continue the whole length of the 
 sheet, but were broken into columns as our newspapers and dictionaries.— 
 (See, for further illustration, p.p. 20 and 50 of Pompeian Court Catalogue.) 
 The statue of Demosthenes, No. 308, has also a scrinium, or bookcase ; but 
 it is closed, and does not afford us the same curious particulars. 
 
 Dimensions: Height, 
 
 323. Vacant. 
 
 324. PHOCION. 
 
 Statue, life-size, of Pentelic Marble. From the Vatican. Found at Rome, 
 among the foundations of the Palazzo Gentili. 
 
 Altogether a fine work. Statue of a warrior wearing the chlamys, a simple 
 cloak, and helmet. Visconti saw a similarity between the workmanship of this 
 figure, and that of the Demosthenes now in England at Knowle. Visconti after¬ 
 wards thought it might be one of the seven chiefs against Thebes. The legs are 
 modern and fairly restored, so also the left hand. No doubt the portrait of 
 an ancient Greek, but we have little evidence of its being the actual portrait 
 of Phocion (Mus. Pio Clem, text, p. 310). Standing with bare feet, a helmet 
 on head, and the body enveloped in a thick mantle, or chlamys. The ideal 
 beauty of this figure renders it much more probable to have been one of thp 
 heroes of the ancient games, perhaps one of the founders, Adrastus or An 
 phiaraus. A small repetition also in the Vatican. 
 
 Engraved in Mus. Pio Clem. vol. ii. tav. 43; Bouillon, vol. ii. pi. 23; 
 Pistolesi, vol. vi. tav. 10; Bunsen, vol. ii. part 2, p. 242; Mus. Nap. No. 75; 
 Pistolesi, vol. vi. tav. 59; Clarac, Musee, pi. 842, No. 2117 ; Musee Franyaise. 
 See Portrait Gallery, No. 23. 
 
 Dimensions : Height, 6'’ 11" • 4. 
 
 f 2 
 
64 
 
 ROMAN COURT CATALOGUE. 
 
 325. Vacant. 
 
 326. ARISTIDES, on JSSCHINES. 
 
 Statue, life-size, of Greek Marble. From Naples. Found in Herculaneum. 
 
 This portrait is rather, from the general appearance, to he ranked among 
 philosophers than statesmen, and is remarkably like a statue of Marcus 
 Aurelius at Venice, engraved in Ferrarius, p. 145, and Zanetti, Stat. di 
 S. Marco, vol. i. No. 27. This statue was found in the Villa of the Papyri, 
 at Herculaneum : the name of an orator or a literary man would therefore be 
 much more appropriate than Aristides, whose portrait has never yet been 
 satisfactorily ascertained. 
 
 Engraved in Mus. Bor. vol. i. tav. 50; Clarac, Musee, pi. 843, No. 2136; 
 Mus. Bor. No. 2136; Neapels, p. 105, No. 363; H. B. p. 169. 
 
 See Portrait Gallery, No. 8. 
 
 Dimensions: Height, 6'’6'''4. 
 
 32T. PHILOSOPHER, known by the name of ZENO. 
 
 Statue, life-size, of Grechetto Marble. From the Capitol. 
 
 Found in 1701, near Lanuvium, the modern Civita Lavinia, where Marcus 
 Aurelius had a villa. In the same spot, and at the same time, was discovered 
 the beautiful faun called -irepifioriTos (No. 12). A similar statue at Munich 
 (Glypt. Cat. No. 162). The square mantle, or pallium, which envelopes the 
 figure, the cut of his beard, and style of hair, and the scrinium, or box for 
 rolls at his feet, show him to be a philosopher. 
 
 Restorations: The right arm and the feet. 
 
 Engraved in Mus. Cap.; Bouillon, vol. ii. pi. 20; Vise. Icon. Grecque; 
 Bunsen; Mus. Nap. No. 71. 
 
 See Portrait Gallery, No. 21. 
 
 Dimensions: Height, 5'‘7" ‘4. 
 
 328. MINERVA (Athene). 
 
 Colossal Bust of Pentelic Marble. From Munich. Formerly in the Albani 
 Collection. 
 
 A portion of a statue exactly like the Minerva of Velletri (No. 351), only far 
 superior in execution. The eyes were hollow to receive coloured stones, and 
 very probably both have been copied from a Phidiac original, which, to judge 
 from the execution of this and other repetitions, must have been a bronze, perhaps 
 the Lemnian Minerva which stood on the Acropolis at Athens (see p. 29 of 
 Introduction to Greek Court). The eye-sockets have been filled up, and the 
 plates of the helmet, the nose, part of the under-lip, and some of the snakes of 
 the iEgis, are modern restorations. It was found in the ruins of the villa of 
 Licinius Murena, near Tusculum. Instead of the usual plume or crest at the 
 top of the helmet is placed a serpent. The hair is gathered behind in a mass 
 and falls down the neck, in the manner called by the Greeks irapanevKe'ygivy] 
 (_cos, Liddle and Scott). 
 
 Engraved in Millin. Mon. Ant. Ined. ii. 24; Bouillon, vol. i. pi. 70; 
 Glyptothek Cat. No. 84. 
 
ROMAN COURT CATALOGUE. 
 
 65 
 
 329. MELPOMENE. 
 
 A Colossal Bust of fine-grained Parian Marble. From the Vatican. Found 
 at the entrance of the Theatre in Hadrian’s Villa, at Tivoli. 
 
 The hair is arranged like that of a tragic mask. 
 
 Visconti, Mus. Pio Clem. vol. vi. tav. 10. 
 
 330. YOUNG JUPITER. 
 
 A colossal Head. Very fine. From Naples. 
 
 331. LUCIUS VERUS. 
 
 Colossal Head. See Portrait Gallery, No. 50. 
 
 332. PLOTINA. 
 
 Colossal Head. See Portrait Gallery, No. 99. 
 
 333. LUCIUS YERUS. 
 
 334. JULIA DOMNA PIA. 
 
 Colossal Head. See Portrait Gallery, No. 94.* 
 
 335. JUNO. 
 
 From Ludovisi Collection at Rome. 
 
 336. MEDUSA HEAD, from Cologne. 
 
 From Cologne. In the Museum bequeathed by Prof. Wallraff to his native 
 city. Very little of the sculpture is really antique. Compare the Medusa 
 mask from Munich, No. 410. 
 
 337. OLYMPIAN JUPITER (Zeus). 
 
 Colossal Bust of Italian Marble. From the Vatican. Found at Otriculum during 
 the excavations carried on by Pius VI. 
 
 The largest and finest head known of this divinity. No other representation 
 of the countenance of the chief of gods and men can be compared with this 
 sublime work of art. It accords more completely with the description of Homer 
 and the statue of Phidias than any other. Benignity, serenity, power, and 
 majesty, seem all united in this magnificent head. What then must have been 
 the glory of the entire statue of which this only formed a part ? 
 
 Restorations: The head-band, back of the head, and neck. 
 
 Engraved in Bouillon, vol. i. pi. 65 ; Mus. Pio Clem. vol. vi. tav. 1 ; Pistolesi, 
 vol. v. tav. 103 ; Bunsen, vol. ii. part 2, page 225 ; Mus. Nap. No. 116. Musee 
 Frangais. 
 
 338. TITUS VESPASIAN. 
 
 Colossal Bust of Greek Marble. From Naples. Formerly in the 
 Farnese Collection. 
 
 See Portrait Gallery, No. 39. 
 
 Engraved in Mus. Bor. vol. xiii. tav. 24. 
 
66 
 
 ROMAN COURT CATALOGUE. 
 
 339. JUPITER SERAPIS, with Modius and Rays. 
 
 Bust, colossal, of Pentelic Marble. From the Vatican. Found on the 
 Via Appia, at a place called Colombaro, in the same excavation as the 
 Discobolus, No. 294. 
 
 Serapis was an ancient Egyptian divinity who presided over the dead. His 
 worship increased at the time of the foundation of Alexandria, and Ptolemy the 
 first was impelled by a dream to bring to Egypt an old statue of the Infernal 
 Jupiter from Sinope, which was soon associated with Serapis by the Egyptians. 
 The emblems of Pluto and the earlier Serapis were thus united and introduced 
 into Rome as one divinity. The age of Hadrian seems to have been the most 
 productive of images of this kind, and of a very superior style of art. The 
 Egyptian Goddess Isis was introduced into Rome about the same time as 
 Serapis. The execution of this bust falls very short of the grand conception 
 and invention of the character. 
 
 Restorations : The nose and a portion of the left shoulder. The seven spikes 
 to represent rays are modern, but the holes in the marble and representation 
 on coins clearly prove them to have formerly existed. 
 
 Engraved in Mus. Pio Clem. vol. vi. tav. 15 ; Pistolesi, vol. v. tav. 110 ; 
 Bouillon, vol. i. pi. 70 ; Bunsen, vol. ii. part 2, page 226 ; Mus. Nap. No. 7. 
 
 340. MARINE DEITY —Oceanus, oh, more probably, Triton. 
 
 Terminal Bust of Hermes, of Grechetto Marble. From the Vatican. Found 
 near Pozzuoli, by Gavin Hamilton, vho ceded it to Clement XIV. for 
 his museum. 
 
 Crowned with vine-leaves and grapes, with two horns at the top of his head, 
 scales or vine-leaves over his countenance and breast. Two dolphins are 
 starting out of his beard, the hair of which, and of the head, also resembles 
 flowing water. The front of this terminal bust is marked with undulations 
 like waves. 
 
 Restorations : The nose and mouth. 
 
 Engraved m Bouillon, vol. i. pi. 65 ; Mus. Pio Clem. vol. vi. tav. 5; 
 Pistolesi, vol. v. tav. 106 ; Bnnsen, vol. ii. part 2, p. 225 ; Mus. Nap. No. 
 113. Compare a very similar bronze bust of a younger Triton in the 
 British Museum, engraved in the Dilettanti Specimens, vol. i. pi. 55. Musee 
 Frantjais. 
 
 341. 
 
 JUNO. 
 
 Colossal Head. Found at Carthage. 
 
 342. 
 
 PERTINAX. 
 
 Colossal Head. See Portrait Gallery, No. 49. 
 
 343. 
 
 TRAJAN. 
 
 344. 
 
 Colossal Head. See Portrait Gallery, No. 45. 
 
 MARCUS AURELIUS. 
 
 Colossal Head. See Portrait Gallery, No. 48. 
 
 345. 
 
 M. AGRIPPA. 
 
 See Portrait Gallery, No. 113. 
 
ROMAN COURT CATALOGUE. 
 
 67 
 
 346. THALIA. 
 
 Colossal Bust of fine-grained Parian Marble. From the Vatican. Found at 
 the entrance to the Theatre to Hadrian’s Villa, at Tivoli. 
 
 The hair is adorned with vine, and arranged altogether like that of a mask. 
 Visconti, Mus. Pio Clem. vol. vi. tav. 10. 
 
 347. ANTINOUS. 
 
 Colossal Bust of the Braschi Statue, of Carrara or Luni Marble. 
 
 For the entire figure see page 14 of Introduction. 
 
 The entire statue, eleven feet high, is now in the Lateran Museum ; it was 
 formerly in the Palazzo Braschi at Rome. Found at the close of the last 
 century by Gavin Hamilton, at Sta. Maria della Villa near Palestrina; it was put 
 together by Pierantoni. Pope Pius VI. gave it to his nephew, Duke Braschi, 
 from whose palace in the Piazza Navona it was removed to the Lateran. 
 
 Engraved in Levezow fiber Antinous, tav. 7 and 8 ; Guattani, per 1805, 
 Genarro ; Bunsen, vol. iii. part 3, p. 405. See Portrait Gallery, No. 79. 
 
 348. HEAD OF THE YOUTHFUL BACCHUS. 
 
 From the Museum at Leyden. Brought originally from Asia Minor. 
 
 It is in reality part of a statue ; a broad band passes across the forehead, 
 and causes a peculiar starting of the hair, above which, mingled with the ivy 
 berries, it has a very singular effect. 
 
 Restorations: The nose, lips, and some portions of eyelids, part of hair also 
 on each side of the head. 
 
 Engraved in Mon. dell’ Inst. vol. iii. tav. 41, 1. 
 
 349. JUNO (Heke). 
 
 Colossal Head. Fom the Villa Ludovisi. 
 
 The most celebrated and grandest representation of the countenance of the 
 Queen of the Gods. This enormous head is surmounted by a frontlet or tiara, 
 adorned with palmettes and a row of beads, which hang down on each side of 
 the neck. 
 
 Restoration: The tip of the nose. 
 
 Engraved in Meyer; Geschichte der Kunst. taf. 20; Bunsen, vol. iii. 
 part 2, p. 582. 
 
 350. DIRCE, tied to a Bull ; commonly called the Toro 
 
 Farnese. 
 
 A colossal Group of Grechetto Marble. From Naples. 
 
 Formerly in the Farnese Collection, where it occupied the second court of the 
 Farnese Palace, and ornamented a fountain. It was removed to Naples in 1786. 
 For a long time this group was placed in the Villa Reale, and seen to great 
 advantage in the open air, but it has since been united with the other master¬ 
 pieces of sculpture in the Gallery of the Studij. It was found originally in the 
 baths of Caracalla, with the Hercules, No. 317, during the pontificate of Paul III. 
 
 This celebrated group is especially interesting as one of the few works 
 remaining to us which has been described by Pliny, xxxvi. 5-4. He tells us that 
 it is the work of two Rhodian sculptors, Apollonius and Tauriscus, sons of 
 Artemidorus, and carved in one block of marble. He further states that it 
 was brought from Rhodes to Rome by Asinius Pollio in the age of Augustus. 
 
68 
 
 ROMAN COURT CATALOGUE. 
 
 There seems no reason for doubting that this is the very group mentioned by 
 Pliny, and we may regard it as the best, if not the only example of that 
 colossal style of sculpture which had its origin in the south of Asia Minor, and 
 was perfected by Chares of Lindus. The infuriated bull is being restrained for 
 a moment by the two sons of Antiope and Jupiter, whilst Dirce, their victim, 
 lies almost prostrate on the ground, attempting to moderate the wrath of 
 Amphion, who is distinguished by a lyre placed at his feet. Antiope stands 
 behind, in so insulated a position that it is doubtful whether she belonged to 
 the group originally. This wonderful composition is overloaded with acces¬ 
 sories ; it has been much restored, but that the general appearance has not 
 undergone much change may be seen in two ancient representations upon coins 
 here appended. Flaxman says (p. 95): “Zethus and Amphion, tying Dirce 
 to the bull’s horns, an example of filial vengeance for a persecuted mother, is 
 as hei'oic in conception as vast in execution. The restorations of this group 
 are so bad, that thejy become only tolerable by something like an assimilation of 
 spirit in their union with the ancient and venerable fragments.” 
 
 Restorations : All the figure of Dirce above the middle of the body, the head 
 and neck of Amphion, both arms and part of the hands, the legs from the ankles 
 to above the knee, three middle toes of left foot, are antique. Part of the 
 chlamys on his shoulder has been restored. The entire head of Zethus, the 
 left leg from foot to the attachment of thigh to the tree, the right knee and 
 part of leg, the right arm between wrist and shoulder, and left fore-arm with 
 drapery and the hand holding chords. Antiope, entire head and neck, right 
 arm and hand, left arm and hand holding a lance, part also of the left leg. 
 The bull has the ears, horns, fore-legs, and lower part of hind legs restored. 
 The bacchanal boy seated, his right leg attached to the rock, the right fore-arm 
 and hand andentireleftarmto the wrist, together with a few restorations in the 
 head, goat’s skin, and tunic. The Dog, excepting a paw, is entirely modern. The 
 sides of the base, which seem teeming with animal life, are more or less restored. 
 
 Coin of Alexander Severus, struck at From a Contorniate Medal in the 
 Acrasus, in Lydia. From the Imperial British Museum. 
 
 Cabinet at Vienna. 
 
 Dirce was the wife of Lycus, King of Thebes, who had divorced his former 
 wife, Antiope. Dirce treated Antiope with great cruelty, so that when Zethus 
 
ROMAN COURT CATALOGUE. 
 
 69 
 
 and Amphion, the sons of Antiope, obtained possession of Thebes, they took 
 vengeance upon Dirce. They tied her to a wild bull of Mount Cithseron, 
 which dragged her about till she perished. 
 
 Engraved in Mus. Bor. vol. xiv. tav. 5 and 6; Mallei, tav. 48 ; Clarac, 
 Musee, pi. 811, No. 1952 ; 811 a. No. 1952. 
 
 Dimensions: Height, 12'*4"'O. 
 
 351. PALLAS. 
 
 A colossal Statue of Parian Marble. From the Louvre. 
 
 It was discovered 1797, in the neighbourhood of Yelletri, among the ruins 
 of an ancient villa. The name Pallas was given to Minerva from Pallo , naAAa>, 
 to brandish a spear, as she was a goddess of war. Others derive the name 
 with greater probability from Paliax (IIaAAa£) a very ancient Greek word, 
 signifying a virgin. Homer uses the combined epithet Pallas Athene. 
 Restorations: The whole right hand, and some portions of the left. 
 Engraved in Bouillon, vol. i. pi. 23 ; Cl. Cat. p. 133, No. 310 ; Clarac, 
 Musee, pi. 320, No. 851. Musee Fran 9 ais. 
 
 Dimensions: Height, 10' , 1" , 1. 
 
 352. BORGHESE VASE. 
 
 Of Parian and Pentelic Marble. From the Louvre. Formerly in the Borghese 
 Villa at Rome. 
 
 The two satyrs’ heads originally had a curving handle over them, which the 
 modern chisel has destroyed. The vase is otherwise quite perfect, and free 
 from restoration. 
 
 Engraved in Bouillon, vol. i. pi. 80 ; Villa Borghese, St. 2, No. 9 ; Admi- 
 randa, tav. 50 and 51; Cl. Cat., p. 259, No. 711; Clarac, Musee, pi. 130, 
 No. 142. 
 
 353. MEDICI VASE. 
 
 Of Marble. From the Florence Gallery. 
 
 The upper half of this vase lay many years in a storehouse belonging to the 
 Gallery, regarded as a superior piece of sculpture, and supposed to belong to 
 the Medici Vase, then at Rome, which consisted of the lower half only,— 
 Zannoni, p. 262. The head of Achilles is not in the middle of the body, but 
 nearer to the left shoulder,—Zannoni, p. 267. 
 
 Engraved in Galleria di Firenze, vol. iii. p. 156; Admiranda, Nos. 18, 19. 
 
 354. YASE (Crater), with Heads. 
 
 Carrara Marble. From the Louvre. Formerly in the Palazzo Lanti at Rome. 
 Handles gracefully twisted. 
 
 Engraved in Clarac, Musee, pi. 145, No. 124. 
 
 355. YASE, with Bacchic Masks. 
 
 Of Parian Marble. From the Louvre. Formerly in the Villa Borghese 
 at Rome. 
 
 The form of this vase shows it to be of the class of vases called crater. They 
 were generally large, and used at entertainments for mixing the wine, which 
 was never drank without a certain admixture of water in a fixed proportion. 
 
70 
 
 ROMAN COURT CATALOGUE. 
 
 The masks represent a young faun’s head with pointed ears, and three of 
 Silenus, crowned with ivy and a fir branch. Near the ivy-crowned Silenus 
 mask lie the cymbals, and on the sides the pedum and thyrsus mark the 
 connection between Bacchus and the fauns. The curved sides of the vase are 
 gracefully curtained by a nebris , or fawn-skin, hanging by a fillet from thyrsus 
 to thyrsus. This vase is remarkable for the beauty of its design and execution. 
 It is fortunately in excellent condition. 
 
 Restorations : The foot, and some portions of the lip. 
 
 Engraved in Bouillon, vol. iii. Yases, pi. 9. 
 
 356. YASE (crater). 
 
 From the Campo Santo, at Pisa. 
 
 With Nymphs and Bacchus, and Pan with ox-feet. Bacchus (Dionysos), 
 Pan and the Hours. 
 
 Engraved in Lasinio, Sculture del Campo Santo, tav. 61; Gerhard, Ant. 
 Bild. pi. 45, No. 3 ; compare Mus. Bor. 7, 9. 
 
 *357. FOUNTAIN" IN FORM OF A TRIPOD. 
 
 One block of Pentelic Marble. From the Louvre. Found in Hadrian’s Villa 
 at Tivoli. It formerly stood at the entrance of the Capitol at Rome. 
 
 The basin part of the tripod is fluted, and the pipe for water was conveyed 
 through the baluster in the centre; each capital is adorned with a figure of 
 Scylla, but no two are alike; Lion’s masks project between the capitals. Caylus 
 describes this falsely as of black marble. 
 
 Engraved in Bouillon, vol. iii., Fontaines, No. 1 ; Clarac, Musee, pi. 260, 
 No. 647 ; Cl. Cat. No. 207 ; Mus. Cap. vol. iv. p. 370 ; Mus. Nap. No. 15. 
 Musee Fran 9 ais. 
 
 358. CUPID ENCIRCLED BY DOLPHIN. 
 
 A Group in Grechetto Marble. From Naples. Formerly in the Farnese 
 Collection at Rome. 
 
 Restorations : The head and feet of Cupid, by Solari ; also tail of dolphin. 
 Engraved in Mus. Bor. vol. ii. tav. 9 ; Clarac, Musee, pi. 646, No. 1468 ; 
 Neapels, p. 119, No. 428. 
 
 359. AMAZON. 
 
 From the Vatican. 
 
 360. CERES. 
 
 Little Statue. From the Vatican. 
 
 361. MERCURY. 
 
 Sitting Bronze Figure. From Herculaneum. 
 
 MEDICI VENUS (Aphrodite). 
 
 ATHLETE. 
 
 362. 
 
 363. 
 
ROMAN COURT CATALOGUE. 
 
 71 
 
 364. 
 
 POSIDONIUS. 
 
 See Portrait Gallery. 
 
 365. 
 
 POLYMNIA. 
 
 Statue. From Naples. 
 
 366. 
 
 BRONZE STATUE OF A YOUTH. 
 From Berlin. 
 
 367. 
 
 FAUN. 
 
 From the Capitol. 
 
 368. 
 
 ANTINOUS and his GENIUS. 
 
 A group. From Madrid. 
 
 369. DANCING FAUN. 
 
 From Florence. 
 
 Presented by the Hon. E. Stanhope. 
 
 370. 
 
 SLEEPING FAUN. 
 
 Upper part of figure, see statue No. 19. 
 
 371. 
 
 BUST OF MELEAGER. 
 
 372. 
 
 BRONZE FAUN (Satyr) sleeping. 
 
 Statue, life-size, of Bronze. From Naples. Found in Herculaneum, 
 1756, March 6th. 
 
 Two glands under the chin are very remarkable. Yery slim boy. The action 
 closely resembles that of the famous Barberini Faun, now at Munich, No. 19. 
 This young faun sleeps sitting upon a mass of rock, his right arm bent over his 
 head, and the left hanging lifelessly at his side. The two excrescences on 
 his neck, resembling those of goats, are called by Hippocrates Satyriasmoi 
 or Pherece. 
 
 Dimensions: Height, 4'*3" , 0. 
 
 373. APOLLO SAUROCTONOS, with delicately minute 
 
 Lizard upon a knotty Tree. 
 
 Small Bronze Statue. From the Villa Albani. 
 
 Restorations : The lizard, which is exactly like a modern Roman bronze. 
 Comp. Clarac, Musee, pi. 486a, No. 905e (see No. 258). 
 
 Dimensions: Height, 3'‘l” ‘7. 
 
 374. SMALL SITTING FIGURE OF URANIA. 
 
 375. BRONZE STATUE OF A YOUTH. 
 
 From Florence. 
 
ROMAN COURT CATALOGUE. 
 
 72 
 
 376. SMALL FIGURE OF CERES. 
 
 From the Vatican. 
 
 377. APOLLO LYCIUS. 
 
 From Florence. 
 
 378. THE DOG MOLOSSUS. 
 
 From Florence. 
 
 379. WRESTLERS, OR PAINCRATIASTH3. 
 
 From Florence. 
 
 380. BRONZE STATUE OF A BOY EXTRACTING A THORN. 
 
 
 From the Capitol, at Rome. 
 
 381. 
 
 ANTONINUS PIUS. 
 
 
 See Portrait Gallery, No. 47. 
 
 382. 
 
 INDIAN BACCHUS. 
 
 A Bronze Bust. From Herculaneum, discovered in 1759. Called, at first, Plato. 
 
 A remarkably fine bronze. The hair is long and crisp ; it is bound 
 immediately over the forehead by a band. The expression of the downcast 
 face is somewhat melancholy. A peculiar tuft beneath the lower lip is 
 observable, and to be seen in other statues of the Elder Bacchus also. 
 
 Engraved in Mus. Bor. vol. i. tav. 46; Bronzi d’Ercolano, vol. ii. tav. 29; 
 Antichita d’Ercolano, vol. v. tav. 29. 
 
 383. BUST OF LAUGHING FAUN (Satyr). 
 
 Known as Fauno colla Macchia, of Parian Marble, resembling ivory in its 
 whiteness and fineness of grain. From Munich. Formerly in the Villa 
 Albani; said to have been found in the tomb of Cecilia Metella, in the 
 Campagna of Rome. 
 
 The name colla Macchia or a la tache is derived from an iron tinge upon the 
 right cheek and shoulder. One of the most beautiful and precisely modelled 
 heads of antiquity ; the entire work displays the most refined delicacy and 
 softness of texture appropriate to youth. The ears are pointed, and the bair is 
 short. One projection peculiar to goats is observable on the right side of the 
 neck. The ancients called them (prjpea. The other projection was destroyed 
 by some injury to the marble. On the right side of his neck appears one of the 
 goat-like warts peculiar to the satyrisk tribe. 
 
 Engraved in Glyptothek Cat. No. 100 ; Bouillon, vol. i. pi. 76. 
 
 384. 
 
 BUST OF ACHILLES. 
 
 Similar to No. 398, but in much worse condition. 
 
ROMAN COURT CATALOGUE. 
 
 73 
 
 385. DOUBLE HERMES, or TERMINAL BUST. 
 
 Small heads, one of a laughing Faun and the other like Alexander, which is 
 covered with skin of elephant’s head, without extending over the Faun. The 
 elephant’s flat ears hang down on each side, forming a separation between the 
 two busts. 
 
 x 386. BEARDED BACCHUS. 
 
 A bust crowned with vine leaves and fillets on each side. The hair of head 
 and heard is divided into numerous distinct locks, as in several examples in 
 the British Museum (see Yaux, p. 195). 
 
 387. BACCHUS (Dionysos), Winged and Beardless. 
 
 Small Marble Bust. From the Museum of Berlin. Found at Narni. 
 
 Restorations : The nose and bust. 
 
 Published by Dr. Emil Braun. 
 
 388. ZEUS TROPHONIOS. 
 
 A Marble Head, belonging to Prince Talleyrand ; called by others Croesus, 
 Polycrates, and Porsenna. 
 
 Engraved in Gerhard Archaologische Zeitung, No. 1, taf. 1. 
 
 389. HEAD OF APOLLO, with hair gathered into a 
 
 PECULIAR KNOT. 
 
 390. JUPITER, 
 
 Bust with drapery over left shoulder ; strophium round head ; nose remark¬ 
 ably long. 
 
 391. DOUBLE HERMES, or TERMINAL BUST. 
 
 Two female heads, one with plain band like Ariadne ; the other with a band 
 of triple-plaited hair arching over head. 
 
 392. HEAD OF APOLLO. 
 
 The hair braided in an archaic manner. The eyeballs are indicated. 
 
 393. JUPITER SERAPIS. 
 
 Small bust with modius upon head. The hair arranged in double row of 
 locks over forehead. The eyeballs are marked. Neck bare. 
 
 394. THE SUN (Helios). 
 
 Called the Alexander of the Capitol. A Bust in Pentelic Marble. From 
 the Capitol at Rome. 
 
 Ancient art and mythology frequently exhibit the sun with attributes 
 different from those of Apollo. The god of day is represented with a serene 
 and tranquil physiognomy ; his floating curls are restrained partly by a band 
 or strophium, in which may be seen seven holes for the insertion of bronze gilt 
 
74 
 
 ROMAN COURT CATALOGUE. 
 
 rays or spikes. The same character of head and hair are preserved on the 
 coins of Rhodes, which hear the head of the colossus representing the sun. 
 Hesiod and Apollodorus, in their genealogies, both distinguish the son and 
 daughter of Hyperion from the children of Jupiter. When Homer relates the 
 story of Sol, or the sun, detecting the crime of Yenus and Mars, he includes 
 Apollo among the gods of Olympus to witness the strange sight afforded by 
 Yulcan. Diana, in the same way, invariably chaste, is distinct from the 
 Selene or Moon, who visited Endymion upon Mount Latmos, and was known 
 also for other attachments of the same kind. 
 
 Engraved in Bouillon, vol. i. pi. 75; Mus. Nap. 189. 
 
 395. JUNO. 
 
 With large plain spTiendone , or frontlet. Hard in execution, and very 
 much distorted. 
 
 396. APOLLO. 
 
 Head of a Statue. From the Cabinet of Count Pourtales-Gorgier, at Paris. 
 Formerly in the Griustiniani Collection at Rome. 
 
 The exuberance of hair is quite extraordinary ; the style and arrangement of 
 it remind us, notwithstanding, of the Belvedere Apollo. There is an expression 
 of pain in the countenance, which does not accord with other representations of 
 the divinity. 
 
 Engraved in Antiques du Cabinet Pourtales, pi. 14 ; and in Oesterley, 
 Part ii. taf. 11, No. 123. 
 
 397. HEAD OF THE LAOCOON. 
 
 From the Gallery of the Duke d’Aremberg, at Brussels. 
 
 Although evidently a repetition of the head of the celebrated Laocoon found 
 near the Palace of Titus, it displays several essential differences in respect to 
 style of art. The entire forms seem more softened—melted down, if the 
 expression may be permitted—the hair rounder and less picturesque than in 
 the Yatican statue, and the eyeballs marked, which cannot be traced in the 
 Yatican figure. The mouth is wider and more open, strongly displaying the 
 teeth. The expression in this head is vehement and agonised, imparting 
 a feeling of pain to the beholder which no work of art should do. The Yatican 
 head exhibits the teeth also, but with less distortion of the mouth. An 
 opinion was circulated in the French papers about February, 1841, that this 
 was the original head of the Yatican figure. The story ran, that when the 
 group was first discovered the head was wanting , and that one had been 
 supplied by a practised sculptor from an antique bas-relief. Subsequently the 
 original was found by some Yenetians, who sold it to the father of the Prince 
 for 160,000(5.; and the story proceeds to say that Napoleon offered the Duke 
 its weight in gold for it. See No. 16 for account of the original and its 
 restorations. This head is most probably a modern work. 
 
 398. ACHILLES. 
 
 Bust of Parian Marble. From Munich. Formerly in the Yilla Albani, at Rome. 
 
 Named in the numerous repetitions in other collections either Mars or 
 Achilles. (Compare statue No. 310.) The helmet has a sphinx instead of crest, 
 
ROMAN COURT CATALOGUE. 
 
 75 
 
 and a griffin on either side; the frontlet is ornamented with two dogs, having a 
 palmette between them. The whiskers are strongly marked, and the bust 
 altogether is a repetition of No. 384. It is a fine work of Grecian art. 
 Restorations : The crest and sphinx. 
 
 Engraved in Piroli, Mns. Nap. ii. 59 ; Glyptothek, No. 83. 
 
 399. JESCULAPIUS (AsklSpios). 
 
 Bust of Parian Marble. 
 
 The head is characterized by a kind of turban or twisted band, called 
 theristrion (deptarpiov), peculiar to this god. The countenance displays con¬ 
 siderable resemblance to Jupiter. This is a portion of an entire statue 
 attributable to the best period of Grecian art. The figure is continued consi¬ 
 derably below the chest. The body is bare. 
 
 Engraved in Bouillon, vol. i. pi. 71 ; Mus. Nap. No. 14. 
 
 400. FEMALE BUST. 
 
 The fragment of a Statue. From the Arundel Collection, at Oxford. 
 The drapery covering one breast. The largeness of the forms and the treat¬ 
 ment of the marble show a decided affinity to the sculptures of the time of 
 Phidias, which Mr. Newton was the first to point out. 
 
 The nose has been very badly restored. 
 
 Described by Dr. Waagen, Treasures of Art, vol. iii. p. 52. 
 
 401. PHILOSOPHER. 
 
 Very small Bust. 
 
 402. BUST OF DRAPED FEMALE. 
 
 403. PLUTO. 
 
 404. OMPHALE. 
 
 A Bust of Pentelic Marble. From the Louvre. Formerly in the Villa Albani 
 where it was called Iole. 
 
 A very superior work of art. 
 
 Restorations : All except the mask. 
 
 Engraved in Bouillon, vol. ii. pi. 67 ; Cl. Cat. No. 193, p. 88. 
 
 405. BUST OF ARIADNE, or ARETHUSA. 
 
 A band passes across the forehead. 
 
 40G. SERAPIS, or INFERNAL JUPITER. 
 
 Head set on to another bust, which is naked, with the exception of a mantle, 
 fastened by a clasp or fibula on the right shoulder. 
 
 407. PARIS. 
 
 Bust of Pentelic Marble. From the Villa Albani. 
 
 The lover of Helen is dressed in the Phrygian cap, his beautiful hair in 
 curls more like a woman’s style ; for this his noble brother Hector reproaches 
 him in the Iliad. 
 
76 ROMAN COURT CATALOGUE. 
 
 408. BUST OF MINERVA MEDICA. 
 
 See statue No. 18. 
 
 409. BUST OF PALLAS. 
 
 410. MEDUSA. 
 
 From the Glyptothek, at Munich. Formerly in the collection of the 
 Marquis Rondanini at Rome. 
 
 This mask has suggested to our illustrious Flaxman the Gorgon expression 
 in some of his outline illustrations to iEschylus. 
 
 Restorations: The tip of the nose and one of the nostrils ; part of the 
 hair ; and the side portions of the serpents. 
 
 Engraved in Guattani, Monumenti inediti, 1788; Aprile, tav. 2. p. xxxiv. ; 
 Glyptothek Catalogue, No. 132. 
 
 411. BUST OF REPOSING FAUN. 
 
 See statue No. 12. 
 
 412. HEAD OF A CHILD. 
 
 Crowned with ivy leaves and berries. At the hack of the head, where the 
 hair is sometimes gathered in a knot, is a small ox-head and horns. 
 
 413. JUPITER. 
 
 Small Bust. 
 
 414. Part of a SEPULCHRAL ALTAR. 
 
 Of Marble. From the Vatican. Found on the Esquiline hill, and formerly 
 in the Villa Negroni. 
 
 This remarkably shaped monument is supported by four feet made out of 
 the same piece with the rest; it is highly decorated on the four sides with 
 architectural ornaments. The bas-relief on the principal front represents 
 the Visit of Bacchus to Icarius—a subject often repeated in ancient art. 
 Repetitions will be found in the British Museum and the Louvre. Icarius, 
 with his daughter Erigone, on the couch, welcome their divine visitor, who 
 appears as a corpulent person with flowing beard. A young satyr takes off 
 his shoes, and another supports him. His attendants follow,—two fauns, and 
 Silenus, who plays the double flutes; an old man supports a female ; and the 
 scene is terminated by a phallic figure upon a pedestal. A curtain is extended 
 behind the principal personages. At the back of this pedestal are two centaurs 
 with smaller figures upon them, and between the centaurs are two cupids, 
 each holding a butterfly over a candelabrum and two burning torches. The 
 sides are ornamented with pastoral subjects. On one, a man milking a goat, 
 a tree, and female statue behind him ; a young woman is caressing the goat. 
 On the other side, a doe and its young, observed by a girl and youth : a 
 standing figure of Hercules on pedestal to the right. This monument is now in 
 the Braccio Nuovo, and serves as a pedestal for a small group of the Graces. 
 
 Engraved in Mus. Pio. Clem. vol. iv. tav. 25 ; compare Admiranda, tav. 
 43 ; Terra-cottas of British Museum, No. 47 ; Vaux’s Handbook, p. 241. 
 Bunsen, vol. ii. part 2, pages 97 and 98. 
 
ROMAN COURT CATALOGUE. 
 
 77 
 
 415. OMPHALE. 
 
 Bust, with lion’s skin covering head. The legs of the skin tied over breast. 
 "Very poor work, probably cinque cento. 
 
 416. STAG REARING, with a Dog oh its Back. 
 
 694 R., E. B. From the Sala Degli Animali, in the Vatican. The greater 
 part modern. 
 
 Engraved in Pistolesi, vol. v. tav. 15 ; Bunsen, vol. ii. part 2, page 162. 
 
 417. ROEBUCK STANDING, with Dog oh its Back. 
 Small-sized Group. From the Vatican, in the Sala degli Animali. 
 
 Engraved in Pistolesi, vol. v. tav. 4 ; Bunsen, vol. ii. part 2, p. 162. 
 
 418. NYMPH. 
 
 A small Statue of Greek Marble. From the Louvre. Formerly in the Borghese 
 
 Villa. 
 
 Probably the figure was an astragal player, but has been converted into 
 ‘‘ La Venus a la Coquille.” The fine and delicate drapery reminds the spectator 
 of the little statue (20 R.) for similar treatment. The right shoulder and both 
 arms are modern restorations. A similar figure in the British Museum, 
 Ancient Marbles, part 2, pi. 28. 
 
 Engraved in Bouillon, pi. 15 ; Villa Borghese, st. 4, No. 11. 
 
 Dimensions: Height, l'TO"'!). 
 
 419. NYMPH AT FOUNTAIN. 
 
 From the British Museum. 
 
 420. SMALL STATUE OF SITTING HERCULES. 
 
 421. CATO AND PORCIA. 
 
 Half-figures from a Roman Tomb. Of Luni Marble, life-size. From the 
 Vatican. 
 
 Purchased by Clement XIV., in 1770, from the Villa Mattei. These 
 figures are excellent portraits of a Roman and his wife together, as often seen 
 upon Roman tombs ; they belong to the time of Augustus, conjecturing .from 
 the arrangement of the lady’s hair. 
 
 Engraved in Visconti, Mus. Pio Clem. vol. vii. tav. 25 ; Pistolesi, vol. v. 
 tav. 47 ; Bunsen, vol. ii. part 2, p. 187 ; Mus. Nap. No. 125 ; Musee Royal, 
 vol. 2. 
 
 422. BRONZE PLATES FROM ETRUSCAN CHARIOT. 
 
 From Munich. 
 
 These plates formed part of an Etruscan chariot discovered at Perugia in 
 1812 ; it was probably coated on both sides with bronze. They were found in 
 fragments; some portion went to the Museum at Perugia ; the greater part 
 
78 
 
 ROMAN COURT CATALOGUE. 
 
 was acquired by Mr. Dodwell, from whom they passed into the hands of the 
 King of Bavaria. 
 
 A. Originally formed of two parts, bnt found united ; to the left a boar-hunt, 
 a man with dog in a leash, followed by a sea monster or hippocamp. Next 
 to this, turning away to the right, is a floating female, with four wings or fins, 
 she is dressed in a long garment, like the dresses seen in the sculptures from 
 Nineveh (Layard, pi. 83 of Monuments of Nineveh, 1st series, 1849); an 
 archer precedes the winged female. 
 
 B. A gorgon seizing two lions ; a hippocamp and long-necked bird in the 
 spaces to the right. The style remarkably like that seen on the metal work, 
 recently brought home by Mr. Layard. 
 
 C. Minotaur. 
 
 D. Female figure, called Spes (Elpis), holding her garment with the left 
 hand, and a flask in her right. 
 
 Engraved in Inghirami, Mon. Etruschi, Serie 3, tav. 23 ; Glyptothek 
 Catalogue, Nos. 32—38. 
 
 423. ^ESOP STATUE. 
 
 From Villa Albani. 
 
 Engraved in Bunsen, vol. iii. part 2, page 541 ; Visconti, Icon. Grecque, 
 vol. i. PI. 11. No. 12. 
 
 See Portrait Gallery, No. 3. 
 
 NOT YET ARRIVED. 
 
 219. MODEL OF THE COLISEUM AT ROME. 
 
 220. MODEL OF THE TRAJAN COLUMN AT ROME. 
 
 ADORANTE, restoree en Euterpe. 
 
 Statue, large life, of Greek Parian Marble. From the Louvre. Formerly in the 
 Borghese Collection. 
 
 Restorations: Feet, arms, attributes, nose, lips, chin, and portions of 
 drapery. 
 
 Engraved in Bouillon, pi. 44 ; Villa Borghese, St. i., No. 8 ; Cl. Cat, No. 
 299, p. 129. 
 
 ADORANTE, with open Hands. 
 
 Statue, life-size. From the Louvre. Formerly in the Borghese Collection, 
 at Rome. 
 
 Engraved in Bouillon, vol. ii. pi. 29 ; Villa Borghese ; Cl. Cat. 
 
 H3NEAS. 
 
 A Bust of Pentelic Marble. From the Louvre. Formerly in the Villa Borghese. 
 
 The head does not belong to the bust : it is of different marble ; but both 
 are of excellent workmanship. The back of the head and helmet is modern. 
 
ROMAN COURT CATALOGUE. 
 
 79 
 
 JThe hero looks upwards with an agonized expression. The helmet is very low, 
 and scarcely perceptible from the front. The hair starts all round from the 
 face and cheeks. 
 
 Engraved in Bouillon, vol. ii. pi. 68. 
 
 AESCULAPIUS (Asklepios). 
 
 Statue of Pentelic Marble, heroic size. Formerly in the Villa Albani, at Rome. 
 
 This specimen is much injured by extensive and ill-executed restorations ; 
 the form of the thighs and knee-caps seen through the drapery has been 
 almost entirely destroyed. The right fore-arm and left leg are of modern and 
 clumsy work. The back part of the serpent is. all that is antique. The head 
 of iEsculapius is well preserved, and perfect, with the exception of the nose. 
 
 Engraved in Bouillon, vol. i. pi. 48 ; Millin, Gal. Myth No. 99, pi. 31 ; 
 Annales du Musee, vol. vi. pi. 54. 
 
 APIADIVE. 
 
 Bust of the Capitol, of Pentelic Marble. 
 
 The beloved of Bacchus is seen here in all her beauty; her forehead is 
 encircled with a Bacchic diadem; her tresses, interwoven with the leaves of ivy, 
 are gathered into a knot behind, escaping from which, they fall joyously over 
 the neck. Winckelmann especially admired the graceful contour of the eyes 
 and cheeks. 
 
 Restorations: The tip of the nose, also the greater part of the breast. The 
 lower lip, and part of the upper ; they have been very badly executed. 
 
 Engraved in Bouillon, vol. i. pi. 74; Winckelmann, Mon. Ined. No. 55; 
 Bunsen, vol. iii. part 1, p. 255; Mus. Nap. No. 150. 
 
 BAS-RELIEF OF A COMIC SCENE. 
 
 BAS-RELIEF —Horses. 
 
 Two horses in basso-rilievo, in good action, but rather hard style. The part 
 to the left, containing a chariot, is wanting, but a left hand of the driver 
 remains. The hardness of workmanship, together with the great spirit of 
 the animals, remind one of the celebrity that Calamis obtained for representing 
 horses, accompanied by the remark of Quintilian that there was a certain 
 hardness about the works of this artist. 
 
 Restorations : The right hoofs, before and behind, and front knee. 
 
 Engraved in Gall, di Fir. vol. ii. tav. 86. 
 
 BOY AND GOOSE 
 
 Of Pentelic Marble. From the Louvre. Found at Roma Vecchia, the site of 
 the ancient Pagus Lemonius. Compare 269. 
 
 Engraved in Cl. Cat. No. 694 ; Clarac. Musee, pi. 293, No. 2226. 
 
 BUST OF SCIPIO AFRICANUS. 
 
 Found at Herculaneum, in the villa of the Papyri. 
 Engraved in H. B. South, p. 177. 
 
80 
 
 ROMAN COURT CATALOGUE. 
 
 CENTAUR BORGHESE. 
 
 Found on the Cselian Hill at Rome. (S. Bartoli Memorie. No. 51.) 
 
 Engraved in Villa Borghese, St. 9, No. 1 ; Bouillon, vol. i. pi. 64 ; Clarao, 
 Musee, pi. 277, No. 1782 ; Cl. Cat. No. 134. 
 
 CERES (Demeter). 
 
 A Colossal Statue of Pentelic Marble. From the Vatican. Found among the 
 ruins of the Theatre of Pompey at Rome. 
 
 Restorations : The two arms, the right foot, and four toes of the left foot. 
 Engraved in Bouillon, pi. 3 ; Mus. Pio Clem. vol. ii. pi. 27 ; Pistolesi, 
 vol. v. tav. 105. 
 
 CROUCHING VENUS (Aphrodite). 
 
 Similar in action to the Vatican one : a bracelet on right arm. Venus 
 accroupie. 
 
 Engraved in Bouillon, vol. iii. pi. 6, No. 6 ; Cl. Cat. No. 681 ; Clarac, 
 Musee, pi. 345, No. 1416. 
 
 DOMITIAN. 
 
 Colossal Bust. From Villa Albani. 
 
 Engraved in Mus. Nap., No. 13. 
 
 EUTERPE. 
 
 Life-size. From Berlin. 
 
 A beautiful portrait of a Roman lady, with crimped hair. Very similar to 
 one of the daughters of Balbus, found at Herculaneum. 
 
 Engraved in Mus. Bor. vol. ii. t. 41. 
 
 FLORA (Chloris). 
 
 Colossal Statue of Grechetto Marble. From Naples. Formerly in the Farnese 
 Palace at Rome. Found in the Baths of Caracalla, together with the 
 Farnese Hercules. Commonly called the Farnese Flora. 
 
 Visconti would infer, from the action of raising the garment, that the original 
 character of the figure was the goddess Spes (Elpis.) Della Porta first made it 
 into a Flora (Mus. Bor. text, p. 2). The head, arms, and legs were first restored 
 by Giacomo della Porta, and afterwards by Albaccini and Tagliolini, but without 
 any authority. 
 
 Engraved in Mus. Bor. vol. ii. tav. 26 ; Maffei, tav. 51; Clarac, Musee, pi. 
 438, No. 795 d. ; No. 200 of Naples Catalogue ; Neapels, p. 63, No. 200. 
 
 FLORENCE HERMAPHRODITE. 
 
 Recumbent Statue of Parian Marble. From the Uffizii at Florence. Transferred 
 by the Grand Duke Frederick II. from the Villa Ludovisi. 
 
 The difference in the present appearance of this statue from the Borghese 
 and Louvre ones consists in the absence of drapery upon the legs. 
 
ROMAN COURT CATALOGUE. 
 
 81 
 
 Restorations : The right leg and thigh, and half the nates, the left leg, and 
 half the thigh, and part of the bed on that side. 
 
 Engraved in Museum Florentinum, tav. 40; Gall, di Firenze, vol. ii. 
 tav. 58; Clarac, Musee, pi. 668, No. 1547; Wicar, Gal. de Florence, vol. i. 
 
 HERCULES (HeraklSs). 
 
 Bust of Pentelic Marble. From the Y illa Albani. 
 
 Wrought with wonderful facility and general effect. Hercules is crowned and 
 adorned with broad fillets, which hang on each side of his neck. He is repre¬ 
 sented here as a victor in the Olympian games. 
 
 Restorations : The tip of the nose. 
 
 Engraved in Bouillon, vol. i. pi. 75. 
 
 HERMAPHRODITE. 
 
 With drapery on right leg, and toe entangled. 
 
 Engraved in Bouillon, vol. iii. pi. 14; Maffei, tav. 78. 
 
 HERMAPHRODITE. 
 
 Statue, less than life, of Pentelic Marble. From the Louvre. Formerly in 
 the Borghese Collection. 
 
 Many repetitions of this statue exist in other galleries. The mattress is 
 antique, and very little of the figure betrays restoration. An imitation of 
 No. , in the Louvre also. A peculiarity of this figure consists in the bed 
 being less level than in the Louvre or Florence statues. It affords a more 
 graceful pose for the figure. The ground slopes down considerably to the left 
 side of the figure, and displays the long-drawn folds passing from the body 
 across the arm to great advantage. 
 
 Restorations: The entire right arm, a great part of the face, neck, and 
 portions of the body and thighs, and half the legs, but executed in the most 
 skilful manner. 
 
 Engraved in Clarac, Cat. No. 461, p. 184; Bouillon, vol. iii. pi. 14 ; Villa 
 Borghese. 
 
 INDIAN BACCHUS. 
 
 Colossal Bust of Pentelic Marble. From the Louvre. Formerly in the 
 Villa Borghese. 
 
 This bust is treated in a grand manner, and is fortunately well preserved. 
 The mouth and eyes deserve especial attention for their beauty of form and 
 truth to nature. The drapery is modern. The hair is carefully parted in the 
 middle, and arranged in long metallic lines; a narrow cord encircles the head. 
 Immediately beneath the lower lip distinct series of small curls appears. 
 
 . Engraved in Bouillon, vol. i. pi. 72. 
 
 INDIAN BACCHUS. 
 
 Bust of dark Rosso-antico Marble. Found at Rome in 1791, between the 
 Csslian and Esquiline hills, in the quarter called Merulana. 
 
 Bacchus, the conqueror of the East, wearing along beard, and having his hair 
 arranged in long tresses entwined with a band. The eyes were hollowed to receive 
 
82 
 
 ROMAN COURT CATALOGUE. 
 
 enamel or precious stones. The oldest representations of Bacchus were always 
 bearded. He was represented as a serious majestic old man, with luxurious hair, 
 encircled with a band, holding the wine-cup and 'vine-branch in his hands. His 
 dress was long and full, almost effeminate. This accords with the description of 
 the deity given by Pausanias as represented on that primitive work, the Chest of 
 Cypselus. On the early stage also, he wore the long robe, and over that again 
 the peplos or mantle, woven by the Graces. Thus he invariably appears on 
 the ancient painted vases, many of which may be seen in the British Museum. 
 The nebris, or fawn-skin, became an early attribute of the god. It was not 
 until the age of Praxiteles that Bacchus acquired the slender youthful form in 
 which an effeminate character prevailed. No covering then remained, with 
 the exception of the nebris; but in all the more sacred representations, the 
 robe and beard seem never to have been set aside. We may therefore regard 
 what is called the Indian Bacchus as the Elder Bacchus. 
 
 Engraved in Mus. Nap. No. 43. 
 
 INDIAN BACCHUS (Dionysos). 
 
 Statue of Pentelic Marble. From the Vatican. 
 
 Discovered in 1761, near Frascati, six miles from Rome, in a place called 
 Prata Porzia,—the remains of a villa of Lucius Verus. It stood in a niche 
 with four Caryatides, now in the Villa Albani. The border of the mantle 
 across the breast is inscribed, 
 
 CAPAANAITAAAQC 
 
 See an interesting note upon the false inscriptions among the ancients them¬ 
 selves, in the text description of Bouillon’s pi. 28. The Caryatides are of 
 very inferior execution. Cavaceppi says, ‘ ‘ Trovato in una vigna vicino 
 Frascati in luogo chiamato Pietra Portia, presso di me.” 
 
 Restorations: The tip of the nose, the lips, and entire right arm. It 
 probably held a thyrsus. 
 
 Engraved in Mus. Pio Clem. vol. ii. tav. 41; Bouillon, vol. i. pi. 28; 
 Bunsen, vol. ii. p. 239; Maffei; Pistolesi, vol. vi. tav. 7; Clarac, Musee, 
 pi. 684, No. 1602; Winckelmann, Mon. Ined. No. 163; Cavaceppi, vol. iii. 
 No.27; Mus. Nap. No. 140 ; Musee Fran§ais. 
 
 ISIS. 
 
 A Bust of Black Marble. From the Louvre. Formerly in the 
 Villa Borghese. 
 
 The head is covered with a short veil, which terminates in fringe upon the 
 shoulders. An owl is carved on the support, which is indeed of the same piece 
 with the bust. This bust is remarkable for its complete preservation ; it is 
 intact. 
 
 Engraved in Bouillon, vol. i. pi. 77. 
 
 ISIS. 
 
 A Bust. From the Vatican. 
 
 JUNO. 
 
 Statue colossal, 7.2 of Pentelic Marble. From Berlin. 
 
 No. 14, Berlin Catalogue. 
 
ROMAN COURT CATALOGUE. 
 
 83 
 
 JUNO (H£re) OF THE CAPITOL. 
 
 Statue, heroic, of Parian Marble. From the Capitol at Rome. Formerly in the 
 Palazzo Cesi, where it was called an Amazon. 
 
 The left arm with hand upon hip most probably modern, as Maffei represents 
 it covered with drapery. Of grand style and effectively treated. The head is 
 certainly antique, but does not seem to have originally belonged to the figure. 
 
 Engraved in Bouillon, pi. 2 ; Mus. Cap. vol. iii. tav. 8 ; Maffei, tav. 129 ; 
 Bunsen, p. 253 (vol. 1-3) ; Mori, vol. ii., Sala Grande, tav. 17 ; Mus. Nap. 
 No. 147. 
 
 JUPITER SERAPIS— Bust with Modius and no Rays. 
 
 Of Parian Marble, without tunic ; the breast is bare, but drapery covers his 
 left shoulder. 
 
 The mask and beard are all that is antique ; the rest is the caprice of the 
 modern artist. The physiognomy is more in accordance with the Jupiter 
 Olympius, whose divine majesty is far above that of Serapis. 
 
 Restorations : The hair of the head, and modius and chest also. 
 
 Engraved in Bouillon, vol. i. pi. 71. 
 
 LA PROVIDENCE. 
 
 Statue, heroic, of Pentelic Marble. From the Louvre. 
 
 Engraved in Cl. Cat. p. 137, No. 323 ; Clarac, Musee, pi. 330, No. 1896. 
 
 MENELAUS BUST. 
 
 Of Pentelic Marble. Found, together with many fragments, by Gavin Hamilton, 
 in Hadrian’s Villa, at Tivoli, at a spot called Pantanello. 
 
 This head belonged originally to a group of Menelaus, carrying away the 
 body of Patroclus, who had been slain by Hector. The action is very expressive. 
 Menelaus, the King of Sparta, seems to be calling upon the Greeks to aid in 
 securing the body of the hero he is supporting, which he desires to deliver to his 
 friend Achilles. The helmet is adorned with the combat of Hercules with the 
 Centaurs, and the visor with two gryphons, which the ignorance of the restorers has 
 changed into eagles. Three groups of antique workmanship representing this 
 subject are extant. Two at Florence are in the Pitti Palace, the other upon 
 the Ponte Vecchio, and the third at Rome, under the name of Pasquino, which 
 is considered by judges to be one of the finest statues in that city (see Bunsen, 
 vol. iii. part 3, p. 399 ; Maffei, No. 42). To judge from the execution, 
 although the surface has been much corroded by time, the statue was only a 
 copy of a much superior work. 
 
 Restorations: The nose, lips, part of the left cheek, the entire bust, and 
 part of neck. 
 
 Engraved in Mus. Pio Clem. vol. vi. pi. 18 and 19 ; Mus. Nap. No. 215; 
 Bouillon, vol.ii. pi. 68. 
 
 MINERVA BUST. 
 
 Pentelic Marble. Found in the neighbourhood of the Mausoleum of Hadrian, at 
 Rome. It was for many years in the Castle of St. Angelo until removed 
 to the Vatican by Pius VI. 
 
 The goddess is armed with her helmet and aegis. The ram’s heads upon the 
 
84 
 
 ROMAN COURT CATALOGUE. 
 
 former may be allusive to the engine of war which bears the same shape and 
 name. 
 
 Engraved in Mus. Nap. No. 178. 
 
 MUSE. 
 
 Restored as one of the daughters of Lycomedes. From Berlin. 
 Engraved in Clarac, Musee, pi. 537, No. 1129. 
 
 NEBRID BACCHUS (Dionysos). 
 
 Heroic Statue of Pentelic Marble. From the Louvre. Brought from the 
 Garden at Versailles. Called sometimes the Nebrid Bacchus. 
 
 Filleted and crowned with ivy-leaves and clusters. The nebris, or fawn- 
 skin, is the only covering to his body, and lies very close upon the skin. Few 
 antique specimens have been better preserved. No restorations marked in 
 Clarac. 
 
 Restorations: The tips of fingers to both hands. 
 
 Engraved in Bouillon, vol. i. pi. 30; Cl. Cat. p. 70, No. 148; Clarac, 
 Musee, pi. 275, No. 1574; Mus. Nap. No. 144. 
 
 NIOBE SARCOPHAGUS. 
 
 From the Galleria dei Candelabri, in the Vatican. 
 
 PiETUS AND ARRIA. 
 
 From the Villa Ludovisi. Found most probably together with the Dying 
 Gladiator in the gardens of Sallust. Called by Clarac, Macareus and Canace. 
 The head of the man clearly characterises a barbarian. Very probably this 
 group, as well as the Dying Gladiator, decorated some monument to commemo¬ 
 rate a victory over barbarians. 
 
 Engraved in Clarac, Musee, pi. 825, No. 2072 ; Bunsen, vol. iii. part 2, 
 p. 587. 
 
 PAL/EMON. 
 
 A Bust of Pentelic Marble. 
 
 Very delicate feminine face, with a peculiar head-dress, like a skin tied over 
 the head, and bound by a band on the forehead : at each side remain tenons 
 of iron, by which additional pieces, perhaps, of fins, were originally attached. 
 Visconti was the first to call the statue Palsemon, a marine god worshipped 
 by the Romans as Portumnus. 
 
 Engraved in Bouillon, vol. i. pi. 76. 
 
 PROYIDENTIA —Providence. 
 
 Statue, life-size, of Pentelic Marble, the head of Grecco Marble. From the 
 Louvre. Formerly in the Ch&teau Richelieu. 
 
 A majestic standing figure, holding a globe, stephane on head; in fact a 
 Urania. The tip of the nose and both the arms and feet are modern. Similar 
 figures are seen on Roman imperial coins, inscribed Providentia. 
 
 Engraved in Bouillon, pi. 60 ; Cl. Cat. No. 323, p. 138. 
 
ROMAN COURT CATALOGUE. 
 
 85 
 
 ROME. 
 
 Bust of Carrara Marble. From the Louvre. Formerly in the Villa Borghese. 
 
 In a low helmet, with crest, and two animals on the sides ; clothed in 
 tunic, pallium over her left shoulder. The lower eyelids are marked to 
 indicate eyelashes. 
 
 Engraved in Bouillon, vol. i. pi. 78. 
 
 ROME 
 
 A Bust. 
 
 SALPION VASE. 
 
 From Naples. Found at Formise, and removed to Gaeta, where it served as 
 the Cathedral font. 
 
 Engraved in H. B. p. 167. 
 
 SIBYL. 
 
 Statue of Greek Marble. From Naples. Farnese. 
 
 Portrait of a Roman Lady, with pallium thrown over head ; hair arranged 
 peculiarly : she holds a roll in left hand. 
 
 THE TRIUMPH OF TITUS, with the Jewish Spoils. 
 Alto-Relievo, from the Arch of Titus. 
 
 THE MOST CELEBRATED BERNINI 
 HERMAPHRODITE. 
 
 Recumbent Statue of Luni Marble. From the Louvre. Formerly in the 
 Borghese Collection at Rome. 
 
 The mattress sculptured by Bernini. A repetition is in the Louvre, and 
 another at Florence. Two others still remain in the Palazza Borghese, at 
 Rome. 
 
 Engraved in Bouillon, pi. 63; Maffei, tav. 78; Villa Borghese, st. 6, 
 No. 7; Cl. Cat. p. 205, No. 527; Clarac, Musee, pi. 303, No. 1552. 
 
 TIBERIUS, in the Toga. 
 
 From the Louvre. 
 
 Engraved in Bouillon, vol. ii. pi. 34 ; Cl. Cat. p. 53, No. Ill ; Clarac, 
 Musee, pi. 336, No. 2357. 
 
 TRIANGULAR ALTAR OF THE TWELVE GODS. 
 
 From the Louvre. 
 
 VASE OF THE CAPITOL. 
 
 Engraved in Mus. Capit. vol. iv. tav. 21 ; Mori, vol. ii. ; Stanza del 
 Vaso, tav. 1. 
 
 n 
 
86 
 
 EOMAN COUET CATALOGUE. 
 
 VENUS OF CNIDOS. 
 
 From the Gltptothek, at Munich 
 
 The Venus was still at Cnidos during the reign of the Emperor Arcadius, 
 about four hundred years after Christ. This statue seems to offer the first idea 
 of the Venus de’ Medici, which is likely to he the repetition of another Venus, 
 also the work of this artist, mentioned by Pliny (Flaxman, p. 91). 
 
 Engraved in Clarac, Musee, pi. 618, No. 1377 ; Flaxman, pi. 22. 
 
 WOUNDED AMAZON, by Ctesilas. 
 
 Eestorecl in long robe. Eichelieu. 
 
 With drapery round the neck, and from the same original as the Eichelieu, 
 in Clarac, Musee, pi. 811, No. 2036. 
 
 Engraved in Cl. Cat. p. 122, No. 281 ; Comp. Mori, yol. ii. Sala Grande, 
 tav. 21 ; Clarac, Musee, pi. 265, No. 2033 ; the Capitol one, Clarac, Musee, 
 pi. 812b, No. 2032 ; Bunsen, vol. iii. pi. 232. 
 
 YOUNG HERCULES (HSrakles). 
 
 A Bust of Parian Marble. From the Louvre. Formerly in Chateau 
 Eichelieu. 
 
 The face is beardless ; part of a skin hangs over the back of the neck and 
 down the left side. The hair starts up in short curls all round forehead. A 
 band encircles the head. 
 
 Restorations: The nose, ears and mouth, which have been very inexpertly 
 supplied. 
 
 Engraved in Bouillon, vol. ii. pi. 67. 
 
 BEAD’URT AND EVANS, rRINTEBS, AVUITEBRT A R S. 
 
NOTICE. 
 
 The facade of the Roman Court is reproduced from the 
 lower story of the Coliseum at Rome, from the measurements 
 given in the published work on the “ Architectural Antiquities 
 of Rome,” by Messrs. Taylor and Cresy. 
 
 The original is thirty-four feet high from the ground to the 
 top of the cornice, whilst the fa9ade of the Roman Court is 
 twenty-two feet; thus our model is about two-thirds the size of 
 the original. 
 
 The ceilings at the back of the Roman Court are painted 
 after the manner of the Roman Baths. The cartoons were 
 made by Signor Abbate, the decorator of the Pompeian Court, 
 and the ceilings painted by Mr. W. A. Parris with foreign 
 assistants. 
 
 The imitation marbles are by Mr. Moxon. 
 larger size than would have been used by the 
 marble, but it was desirous not to disturb the 
 the sculptures by the introduction of joints. 
 
 The slabs are of 
 Romans of real 
 back ground of 
 
 OWEN JONES. 
 
 Crystal Palace, 
 June , 1854. 
 
 B 
 

 
Since this Handbook was sent to press some of the 
 objects mentioned have received a new position ; but the 
 nvMibers npon the objects correspond with the numbers 
 in the book. 
 
 June 2nd , 1854. 
 

 
 
 
 
 
 
 
 
 
mm