1 
 

 GUIDE 
 
 TO THE 
 
 COLLECTIONS OE CLASSICAL ANTIQUITIES 
 
 IN ROME 
 
 
 5 
 
RESPECTFULLY DEDICATED 
 
 JTO 
 
 H. I. M. 
 
 THE EMPRESS FREDERICK OF GERMANY, 
 
 PRINCESS ROYAL OF GREAT BRITAIN AND IRELAND 
 
 5 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/guidetopubliccol01helb 
 
PREFACE. 
 
 Ihe object of this handbook is to guide the student 
 of archaeology and the cultivated layman through the 
 Museums of Rome , to direct their attention to the most 
 important works, and to facilitate their appreciation of 
 these by short notices embodying the latest results of 
 scholarship and research. All the collections more or less ■ 
 accessible to the public are included except the Faliscan 
 Museum in the Villa di Papa Giulio. This museum has 
 been omitted because the Accademia dei Lincei, to which 
 I have the honour to belong, is preparing a large work 
 on the subject, and it seems pndesirable to forestall it. 
 The accounts of the Etruscan antiquities at the Vatican 
 (Museo Gregoriano) and of the Museo Kircheriano have 
 been written by Herr Emil Rei&ch , who has long been 
 engaged in preparing a scientific catalogue of the former 
 of these collections. 
 
 A very few remarks suffice to explain the plan I have 
 adopted and the manner in which I have treated my 
 material. 
 
 The description of the Vatican collections begins, not 
 with the Sala in Forma di Croce Greca, at the present 
 entrance to the museum, but with the Braccio Nuovo, at 
 the other extremity. The reason of this is that the latter 
 gallery contains copies of several famous works by cel- 
 ebrated masters, the study of which will afford the visitor 
 a clear idea of certain types which will afterwards be 
 useful to him as landmarks or standards of comparison. 
 
RESPECTFULLY DEDICATED 
 
 JTO 
 
 H. I. M. 
 
 rHE EMPRESS FREDERICK OF GERMANY, 
 
 PRINCESS ROYAL OF GREAT BRITAIN AND IRELAND 
 
PREFACE. 
 
 I he object of this handbook is to guide the student 
 of archaeology and the cultivated layman through the 
 Museums of Home , to direct their attention to the most 
 important works, and to facilitate their appreciation of 
 these by short notices embodying the latest results of 
 scholarship and research. All the collections more or less 
 accessible to the public are included except the Faliscan 
 Museum in the Villa di Papa Giulio. This museum has 
 been omitted because the Accademia dei Lincei, to which 
 I have the honour to belong, is preparing a large work 
 on the subject, and it seems undesirable to forestall it. 
 The accounts of the Etruscan antiquities at the Vatican 
 (Museo Gregoriano) and of the Museo Kircheriano have 
 been written by Herr Emil Reikch , who has long been 
 engaged in preparing a scientific catalogue of the former 
 of these collections. 
 
 A very few remarks suffice to explain the plan I have 
 adopted and the manner in which I have treated my 
 material. 
 
 The description of the Vatican collections begins, not 
 with the Sala in Forma di Croce Greca, at the present 
 entrance to the museum, but with the Braccio Nuovo, at 
 the other extremity. The reason of this is that the latter 
 gallery contains copies of several famous works by cel- 
 ebrated masters, the study of which will afford the visitor 
 a clear idea of certain types which will afterwards be 
 useful to him as landmarks or standards of comparison. 
 
VIII 
 
 PREFACE. 
 
 The notice of each piece of sculpture is preceded by 
 a paragraph in small type , naming the place where it 
 was found (when known) and indicating the restorations. 
 The kind of marble is mentioned only when it is beyond 
 dispute and of importance for a correct appreciation of 
 the object in question. An indication of the restorations 
 seemed to me imperative, as no just estimate of a plastic 
 work can be formed until the original parts have been 
 distinguished from the later additions. Where it is stated 
 that an arm or a leg has been restored, the hand or foot 
 is, of course , included unless the contrary is indicated. 
 
 The list of references printed in small type at the end 
 of the account of each work of art will enable the reader 
 to estimate the value of the statements in the text. When 
 the whole bibliography of a given work is collected in 
 one accessible volume, I content myself with a reference 
 to that. In other cases I do not profess to give an ex- 
 haustive bibliography, but supply references enough for 
 a clue to all the material available. 
 
 The ‘Beschreibung der Stadt Rom’ is not mentioned 
 except in those cases where it contains remarks taken 
 notice of in the text. In the references to Overbeck’s 
 ‘Kunstmythologie ; I have used the system to which that 
 author has given his imprimatur by employing it in the 
 text to the plates in his ‘Atlas’. Thus Vol. II means the 
 volume devoted to Zeus, Vol. Ill that on Hera, Poseidon, 
 Demeter, and Persephone, and Vol. IV that on Apollo. 
 
 This English translation of my work, prepared by 
 Messrs. J. F. and Findlay Muirhead, is based upon the 
 original German version of 1891, but also incorporates 
 the extensions and improvements contained in the French 
 edition of 1893. In the spring of 1894 Mr. J. F. Muir- 
 head visited Rome in order to revise the translation in 
 the presence of the sculptures themselves ; and I took that 
 opportunity to supply him with further modifications and 
 additions based upon the results of archaeological study 
 published since the appearance of the French guide. The 
 translation (except the section on the Museo delle Terme) 
 
PREFACE. 
 
 IX 
 
 was completed before I had examined Fur lw angler's 
 ‘Meisterwerke der Griechischen Plastik 7 (Berlin & Leipzig, 
 1893). I have thus, unfortunately, been unable to make as 
 extensive a use as I could have desired of a work which 
 is so rich in new thoughts and so suggestive even in its 
 errors. In many cases I have been obliged to limit myself 
 to brief notices of Furtwsengler’s conclusions in the biblio- 
 graphical paragraphs. The careful consideration which 
 this important work deserves has been accorded to it only 
 in my account of the Museo delle Terme. The citations 
 from Furtwsengler are taken from the English translation 
 of his work (‘Masterpieces of Greek Sculpture 7 , by Adolf 
 Furtwcengler , edited by Eugenie Sellers; London, 1895). 
 Miss Sellers had the kindness to furnish the proper page- 
 references while her translation of Furtwsengler was still 
 in the press. 
 
 The descriptions in this edition of the sculptures in 
 the Piazza del Campidoglio (Square of the Capitol) and 
 of the Museo delle Terme are new. It has, unfortunately, 
 proved impossible , in spite of the courteous cooperation 
 of Signori Barnabei and Vaglieri, to trace with certainty 
 the provenience of all the objects in the museum just 
 mentioned. This has been specially the case with the 
 objects found during the works undertaken for the regu- 
 lation of the Tiber, which form so large and important a 
 section of its contents. These objects were generally found 
 covered with a thick coat of mud , which often made it 
 impossible to distinguish the subject or even the ma- 
 terial of the monument. As the notices of these sculp- 
 tures in the ‘Notizie degli Seavi 7 were mostly published 
 before the monuments had been properly cleaned, they 
 are often vague and sometimes entirely erroneous. It is 
 thus not unfrequently difficult to identify certain objects 
 mentioned in the ‘Notizie 7 with the examples now ex- 
 hibited at the Museo delle Terme. We are reduced to 
 the consideration of a series of possibilities, which lead 
 to no definite conclusion and are foreign to the nature of 
 this book. I have therefore confined myself in these 
 
X 
 
 PREFACE. 
 
 doubtful cases to a statement that they were found in 
 the Tiber, as asserted in the list of the museum, without 
 attempting to fix their provenience more closely. 
 
 Villa Lante, Rome, Dec. 22nd, 1894. 
 
 Wolfgang Helbig. 
 
 TRANSLATORS’ NOTE. 
 
 The translators wish to acknowledge their obligation 
 to Dr. A. S. Murray of the British Museum for his ad- 
 vice on the orthography of Greek names and other tech- 
 nical points. 
 
 London, Feb. 14th, 1895. 
 
 J. F. and F. IVluirhead. 
 
CONTENTS. 
 
 The Vatican Museum 
 
 Page 
 
 Braccio Nuovo 1 
 
 Museo Chiaramonti 38 
 
 Belvedere 73 
 
 Sala di Meleagro 78 
 
 Cortile 80 
 
 Gabinetto di Canova 82 
 
 Gabinetto dell’ Antinoo 86 
 
 Gabinetto del Laocoonte 92 
 
 Gabinetto dell’ Apolline 102 
 
 Sala degli Animali 109 
 
 Galleria delle Statue 118 
 
 Sala dei Busti ... 150 
 
 Gabinetto delle Maschere 169 
 
 Sala delle Muse 180 
 
 The Rotunda 204 
 
 Sala in Forma di Croce Greca 223 
 
 Sala della Biga 233 
 
 Galleria dei Candelabri 246 
 
 % 
 
 Square of the Oapitol 286 
 
 The Capitoline Museum 
 
 Groundfloor 293 
 
 Staircase 311 
 
 Corridor 315 
 
 Room of the Doves 329 
 
 Cabinet of the Venus 336 
 
 Room of the Imperial Busts 340 
 
 Room of the Philosophers . 348 
 
 Large Saloon 364 
 
 Room of the Faun 380 
 
 Room of the Gladiator 385 
 
XII 
 
 CONTENTS. 
 
 Palazzo dei Conservation 
 
 Portico 
 
 Court 
 
 Staircase ....•••■ 
 Room to the right of the Entrance 
 Octagonal Room 
 
 Passage behind the Octagonal Room 
 Terracotta Room ..•••• 
 Room of the Bronzes • • • • 
 
 Room of the Vases 
 
 The Lateran Museum 
 
 Page 
 
 400 
 
 401 
 406 
 412 
 415 
 441 
 447 
 451 
 463 
 
 465 
 
 In the bibliographical references ‘i 2 ’ 
 second edition, Vol. n, 4th edition, etc. 
 
 'ii*', and so on, mean Vol. i, 
 The other contractions are sell- 
 
 explanatory. 
 
The Vatican Museum. 
 
 Most recent catalogue : J. H. Massi , Description des Musees 
 de sculpture antique grecque et romaine (Rome, 1890). 
 
 Braccio Nuovo. 
 
 In the pavement are several Mosaics, with black 
 figures on a white ground, the antique portions of which 
 were excavated in 1822 in an ancient Roman villa, 
 situated at Tor Marancio, outside the Porta S. Sebastiano. 
 Their original arrangement cannot now be decided, nor 
 indeed which portions are antique and which due to the 
 modern restorer. 
 
 The mosaic nearest the entrance of the hall presents 
 the following scenes: (1) Ulysses, hound to the mast, 
 sailing past the island of the Syrens; (2) Scylla brand- 
 ishing an oar, while from her body grow three dogs’ 
 heads, each of which has seized one of the companions of 
 Ulysses; (3) A Nymph on a sea-griffin, holding with both 
 hands a veil floating above her head. This last figure is 
 perhaps Leucothea, in which case the boy on a dolphin 
 near her would he her son Paleemon or Melicertes. 
 
 In the mosaic in the rear portion of the hall is a Tri- 
 ton, blowing on a horn, and surrounded by sea-monsters. 
 
 Pistolesi , II Vaticano descritto, iv, 1; Biondi , I monumenti 
 Amaranziani , T. 1. Compare Besehreibung der Stadt Rom, n, 2, 
 p. 89; Braun , Ruineil und Museen, p. 258, No. 22; Overbeck, Gal- 
 lerie heroischer Bildwerke, p. 755, No. 6; p. 794, No. 69 ; p. 798, 
 No. 82. 
 
 The beautiful cratera-shaped Vase of Egyptian Basalt 
 (catalogue -number 39), in the centre of the hall, was 
 found in the garden of the monastery of S. Andrea di 
 
 Helbig, Guide I. 1 
 
2 
 
 VATICAN. 
 
 Monte Cavallo. It has been much injured by fire. The 
 decoration refers to the Bacchic cycle. On the vase are 
 theatrical masks and thyrsi \ and the handles represent 
 twisted reeds, such as were frequently used to form thyrsi. 
 The foot, which is made of a coarse-grained stone, is 
 modern. 
 
 Visconti , Museo Pio- Clementine), vii, 35; Pistolesi , iv, 14. 
 Comp. Visconti , Opere varie, iv, p. 409, No. 249. Bescbreibung 
 Roms, n, 2, p. 97, No. 103. Braun , Ruinen und Museen, p. 257, 
 No. 21. 
 
 In examining the sculptures along the walls, we be- 
 gin to the right of the entrance. 
 
 1 (5). Caryatid. 
 
 This formerly stood in the Palazzo Paganica and came 
 in 1823, through Camuccini’s instrumentality, into the pos- 
 session of the Giustiniani, The head , both forearms , the 
 part of the robe held in the left hand , the feet, and the 
 plinth were restored under Thorwaldsen’s superintendence. 
 
 This statue is a tolerably faithful copy of the Caryatid 
 from the Erechtheion at Athens, now in the British Mu- 
 seum, but in point of execution it is far inferior to the 
 original. The Attic artist who conceived this type, towards 
 the close of the 5th cent. B. C., thoroughly understood 
 how to utilize the female form as a support for an en- 
 tablature. The powerful and somewhat thickset figure 
 bears the superincumbent architrave easily and securely. 
 The vertical folds of the peplos recall the fluting of a 
 column, while the loose gathering in front suggests a 
 pediment. Nevertheless the individuality of the human 
 organism is perfectly preserved by the fidelity to nature 
 shown in the attitude. Since 1681 at least the court of 
 the Palazzo Giustiniani has contained another Caryatid, 
 which is identified as a companion to that in the Vatican 
 by similarity of size (from the neck of the robe to the 
 plinth 1.68 metre), the quality of the marble, and the style 
 of workmanship so far as that can now be ascertained 
 from the weather-worn condition of the surface. The 
 Palazzo Giustiniani is situated close to the Pantheon, and 
 
BRACCIO NUOVO. 
 
 3 
 
 it has therefore been assumed that both these Caryatides 
 were among those executed by Diogenes for the building 
 of Agrippa. But this theory is discredited by the fact 
 that the unpretending workmanship of the Vatican statue 
 in no way raises it above the average of the other known 
 sculptures dating from the early imperial epoch; while 
 it is evident that the Caryatides of Diogenes must have 
 been distinguished by peculiar excellence, as, according 
 to Pliny’s express statement (Nat. Hist. 36, 38), they were 
 most highly esteemed among Roman connoisseurs. 
 
 Nibby , Museo Chiaramonti, n, 44. Pistolesi , iv, 5. liayet , 
 Monuments de l’art antique, i, PI. 41. Comp. Braun , Ruinen 
 und Museen, p. 229, No. 1. Notizie degli scavi, 1881, pp. 265- 
 267. Gottinger gelehrte Anzeigen, 1882, i, pp. 627, 628. Schreiber , 
 Die antiken Bildwerke der Villa Ludovisi, p. 164. Arch. Zeitung, 
 xxiv (1866), p. 231, xli (1883), pp. 200 et seq. 
 
 2 (8). Statue of a Hunter. 
 
 Formerly in the Giardino Aldobrandini. The right arm, 
 left forearm and spear, the left leg below the knee (front of 
 the foot excepted), and the tree-trunk have been restored. 
 
 This statue, of very mediocre workmanship, is a re- 
 petition of an artistic motive of an earlier period. In the 
 Belvedere (No. 128) there is a similar torso, but of super- 
 ior execution and certainly not later than the first cen- 
 tury of the Roman empire. The head of Commodus on 
 the statue before us is antique, but does not belong to 
 the body. 
 
 Guattani , Monumenti antichi inediti, 1805, T. xxvi, pp. 122 
 et seq. Nibby , Museo Chiaramonti, n, 6. Pistolesi , iv, 6. Clarac, 
 Musee de sculptures, v, PI. 901, No. 2472. Bernoulli , Romische 
 Ikonographie, ii, 2, p. 234, No. 52, p. 239. 
 
 si 3 (9). Head of a Dacian. 
 
 Discovered in Trajan’s Forum. The tip of the nose, 
 fragments of the lips and hair, and the bust have been 
 restored. 
 
 The place of discovery and the style refer this head 
 to the time of Trajan. 
 
 Nibby, Museo Chiaramonti, ii, 47. Pistolesi , iv, 6. Baumeister , 
 Denkmaler des klassischen Altertums, i, p. 251, Fig. 232. 
 
 3* 
 
4 
 
 VATICAN. 
 
 4 (11). Silenus with the infant Bacchus. 
 
 Formerly in the Palazzo Ruspoli. Most of the leaves of 
 the ivy- wreath, all the fingers, and the toes of the right foot 
 of Silenus have been restored (these perhaps dating from 
 a restoration in antiquity), and apparently also the left foot ; 
 of the Bacchus, the left part of the head from helow the left 
 eye upwards , the nose , both arms , a portion of the left 
 shoulder, the left leg and the left hip, and the right foot are 
 restorations. The lower part of the tree-trunk and the plinth 
 have also been restored. 
 
 This group must have been very popular in anti- 
 quity, for we know of several repetitions of it, among 
 which that in the Vatican is by no means the best. Silen- 
 us, leaning his left elbow upon a tree-trunk, holds his 
 little charge, the infant Bacchus, in his arms, regarding 
 him with a mixture of grave kindliness and satisfaction, 
 while the child looks up with a winning smile. The 
 form of Silenus is remarkably dignified. His animal 
 nature appears only in the pointed ears (almost wholly 
 hidden by the wreath) and the sinewy legs; his tradi- 
 tional corpulence is very moderately indicated, while 
 the dissipated melancholy, which dominates more or less 
 distinctly the facial expression of the later types of Silen- 
 us (comp. Nos. 290, 448), is refined to a mild gravity. 
 The attitude of Silenus (comp. Nos. 194, 525), the manner 
 in which he is idealized (comp. No. 525), and the scene 
 represented, which reveals a close connection with the 
 Hermes and Bacchus of Praxiteles (comp. No. 79), recall 
 the Second Attic School. At the same time the bodies 
 both of Silenus and his nursling reveal a more naturalistic 
 treatment than was customary in that school, and one 
 that certainly implies the influence of the art-method of 
 Lysippos. It would thus appear that we cannot refer 
 the group before us to an earlier date than the Hel- 
 lenistic period. Traces of a reddish-brown pigment 
 may be seen on the hair of both figures and on the tree- 
 stem. 
 
 Nibby , Museo Chiaramonti, n, 12. Pistolesi , iv, 7. Comp. 
 Braun , Rumen und Museen, p. 231, No. 2. Friederichs- Writers , 
 Bausteine, No. 1430. Brunn, Bescbreibung der Glyptothek, No. 114. 
 
BRACCIO NUOVO. 
 
 5 
 
 5 (14). Statue of Augustus. 
 
 Found in the Villa ad Gallinas , on the Via Flaminia, 
 once the property of Livia. The right ear, the fingers of the 
 right hand except the ring-finger, the left index-finger, and 
 the sceptre were restored under Tenerani’s superintendence. 
 The addition of the sceptre is evidently a mistake ; other 
 similar representations make it much more likely that the 
 emperor held a spear. The left leg and right arm had already 
 been broken in antiquity. The ancient restorer simply re- 
 flxed the detached leg in its place, but seems to have carved 
 a new arm, as that limb exhibits a smoother and less vigorous 
 treatment than the rest of the statue. The head is carved 
 from a separate piece of marble, let into the body. The statue 
 evidently must have stood in a niche , for the back is much 
 less carefully executed than the front, and a fragment of 
 the iron bar that fastened it to the wall behind still remains 
 attached to the back. 
 
 The emperor, with the spear in his left hand, is re- 
 presented as delivering a harangue (adlocutio) to his 
 troops. His lips are slightly parted. The direction of 
 the glance and the general attitude harmonize with the 
 motion of the elevated right hand ; and the statue is seen 
 to the best advantage from the point towards which the 
 emperor’s eyes are directed. The countenance expresses a 
 majestic calm, appropriate to one accustomed to com- 
 mand. The body is clad in armour, while the legs are 
 hare; a peculiarity in which , we must recognize the 
 mingling of two contemporary theories of portraiture, 
 one of which conceived the form in an ideal nudity, the 
 other clothed or armed. 
 
 The richly ornamented armour obviously represents 
 a cuirass , the surface of which was adorned with reliefs 
 wrought in the metal or with separately executed figures 
 (emblemata) affixed to it; while numerous traces of colour- 
 ing on the reliefs clearly prove that the figures were ori- 
 ginally covered with enamel of various hues. These re- 
 presentations refer partly to the reign of Augustus in 
 general and partly to special important events that hap- 
 pened under his auspices. At the top is the bearded god 
 of the sky (Caelus), who represents the vault of heaven 
 by means of his mantle held in the form of an arch above 
 
6 
 
 VATICAN. 
 
 his head. Beneath is the sun-god (Sol) in his quadriga. 
 The group in front of the latter, consisting of a winged 
 maiden holding a vase, supporting on her hack a female 
 form with a torch in the left hand, typifies the morning- 
 dew and the dawn. These figures refer to the sky, while 
 at the foot of the cuirass appears the earth, enjoying the 
 blessings of the emperor’s reign, with the horn of plenty, 
 a drum (tympanon), and a poppy-head; beside her are two 
 children, typifying the earth as the nurse of the human 
 race. The group in the middle of the cuirass represents 
 a barbarian in oriental costume handing a Roman eagle 
 to a Roman officer, symbolizing an event reckoned among 
 the greatest glories of Augustus, viz. the surrender by 
 the Parthians in B.C. 20 of the standards captured from 
 the legions of Crassus at the battle of Carrhae in B.C. 
 53. We are thus enabled to assign the year 20 B.C. 
 as the earliest possible date for the execution of the 
 statue. The dog beside the Roman is, perhaps, to be 
 taken as the symbol of a guard, as in the represen- 
 tations of Silvanus; in the present case the guard upon 
 the frontier of the empire. The female figure seated be- 
 hind the Parthian is unmistakably the personification 
 of a conquered people. In her left hand is a sheath, in 
 her right a trumpet ending in a dragon’s head; in front 
 of her is a standard surmounted by a boar. Trumpets and 
 standards of this kind were originally Celtic, though they 
 were afterwards adopted from the Gauls by neighbouring 
 tribes. We may therefore, perhaps, see in this figure a 
 reference to the victory won over the rebellious Aquitani 
 near Narbonne by Marcus Valerius Messala, the well- 
 known patron of Roman poets; for that event took place 
 in 28 or 27 B.C., i.e. after Augustus had received the 
 imperial title from the senate (29 B.C.) and so became 
 recognized as universal commander-in-chief. More prob- 
 ably, however, the reference is to the Germanic Sigam- 
 bri, who submitted in B.C. 16 to Augustus while he was 
 in Gaul, a circumstance mentioned by Horace in two of 
 his Odes, Opposite is another personification, in the 
 
BRACCIO NUOVO. 
 
 7 
 
 shape of a seated mourning figure extending a sword with 
 the right hand as though in surrender. The bare legs in- 
 dicate a people of Southern Europe, while the elegantly 
 worked sword, the hilt of which ends in a bird’s head, 
 implies a somewhat advanced degree of culture. We shall 
 probably he not far wrong if we recognize here a reference 
 to the Celtiberians, whose insurrection was suppressed in 
 B.C. 21 by Agrippa, who disarmed the rebellious pro- 
 vinces. This pacification of Spain, likewise accomplished 
 under the auspices of Augustus, was one of the events 
 specially extolled in contemporary literature. Below these 
 personifications are Apollo with the lyre, riding on a 
 griffin, and Diana with a torch, riding on a stag, both 
 favourite deities of Augustus, who assigned to them a 
 conspicuous part in the festivities (B.C. 17) commemor- 
 ating the foundation of Borne. 
 
 The beautiful motive was certainly not invented by 
 the sculptor of this statue but was borrowed from an 
 older art, apparently from that of the Hellenistic period. 
 For very similar compositions are presented in the figure 
 of a king or general on a Hellenistic cameo and in the 
 figure of a warrior in a relief (found at Cleitor in Ar- 
 cadia), which may be referred with certainty to the end 
 of the 2nd or the beginning of the 1st cent. B.C. A simi- 
 lar conclusion is suggested by the Cupid on a dolphin, 
 placed beside the right leg of the statue, which recalls 
 the descent of the Julian gens from Venus; the hole in 
 the right hand of the Cupid must have held a bow, arrow, 
 scourge, or some other attribute in metal. The striking 
 contrast between the jejune conception of the Cupid and 
 the expressive motive of the statue is most naturally ex- 
 plained by the supposition that the sculptor enjoyed the 
 advantage of an earlier model for the one, but was thrown 
 upon the resources of his own invention for the other. 
 Although the artist has succeeded in the portrait-head of 
 Augustus, this merely proves that the art of the time 
 was still powerful in copying nature, not that it wielded 
 any very lofty degree of poetic creative power. The exe- 
 
8 
 
 VATICAN. 
 
 cution of the statue is excellent. Though, perhaps, the 
 folds of the pallium are arranged in a somewhat artifi- 
 cial or affected manner, the artist has skilfully reproduced 
 the effect of the pendent garment. His skill becomes 
 more apparent by comparison with the mailed figure 
 No. 60 (129), on the opposite side of the hall, where the 
 cloak, similarly arranged, is very clumsily treated. 
 
 Traces of the original polychrome colouring still re- 
 main on several parts of the statue. The pupils of the 
 eyes are not only surrounded by a lightly chiselled line, 
 but are also defined by a pigment which is now of a 
 brownish-yellow hue. On the tunica are traces of a light 
 red colouring, on the pallium of dark-red, and on the 
 edges of the armour of yellow, the last perhaps only a 
 ground for gilding. The numerous colours still traceable 
 in the reliefs on the armour have already been referred to. 
 
 Mon. dell’ Inst., vi, vn, T. 84, 1 ; Ann., 1863, pp. 432-449. 
 O. John , Aus der Alterthumswissenschaft, T. vr, pp. 285 et seq. 
 Rayet , Monuments de l’art antique, n, PI. 71. Baumeister, Denk- 
 maler des klassischen Alterthums, i, p. 229, Fig. 183. Bernoulli , 
 Romische Ikonographie, ii, 1, pp. 24-27, Fig. 2. Brunn und Bruck- 
 mann , Denkmaler griechischer und romischer Soulptur, No. 225. 
 Comp. Arch. Zeitung, xxvn (1869), pp. 118-121, xxviii (1871), 
 pp. 34-37. Friederichs-Wolters , Bausteine, No. 1640. Journal of 
 Hellenic Studies, vn (1886), p. 134, No. 68. Heidelberger Jahr- 
 biicher, hi (1893), p. 91. For the cameo, see Jahrbuch des Arch. 
 Instituts, hi (1888), T. m, 3, pp. 113-115; iv (1889), p. 85. For 
 the relief from Cleitor, see Friederichs-Wolters, No. 1854. 
 
 6 (17). Portrait-Statue of a Physician. 
 
 Found on the Quirinal in the garden of the Monache 
 Barberine. The nose, lower lip, perhaps the entire lower 
 part of the right forearm, hut certainly the fingers of the right 
 hand, and the physician’s staff have been restored. The ori- 
 ginal existence of the staff is proved by remains on the right 
 thigh and on the plinth. 
 
 The attitude of this statue, the manner in which the 
 drapery is arranged, and the attribute of the serpent-staff 
 agree with a well-known type of Asclepios, the god of 
 healing. On the other hand, the beardless face, with its 
 individualized features is unmistakably a portrait. The 
 
BRACCIO NUOVO. 
 
 9 
 
 workmanship of this statue refers it to the beginning of 
 the imperial epoch, so that some critics have sought to 
 identify it as a portrait of the physician Antonius Musa, 
 who restored Augustus from a liver-complaint by means 
 of the cold water cure and was in consequence honoured 
 with a statue. The omphalos covered with a net (agrenon), 
 beside the left foot of the statue, occurs also in several 
 statues of Asclepios, and apparently refers to Apollo, the 
 father of that god. 
 
 Nibby , Museo Chiaramonti , n , 9. Pistolesi , iv, 8. Muller- 
 Wieseler , Denkmaler der alten Kunst, n, T. 60, 775. Clarac , iv, 
 PI. 549, No. 1159. Panofka , Asklepios und die Asklepiaden (Abh. 
 der Berlin. Akademie, 1845), T. hi, 7. Comp. Beschreibung der 
 StadtRom, n, 2, p. 104, No. 120. Furtwaengler , Masterpieces of 
 Greek Sculpture, p. 800, note 3 (where the head is declared to be 
 an ideal type related to the art of Scopas). 
 
 7 (18). Bust of the Emperor Claudius. 
 
 Part of a statue the fragments of which were found near 
 Piperno (Privernum). Another fragment (part of the draped 
 legs) is now in the Galleria Lapidaria (No. 198). The tip of 
 the nose and some other unimportant parts have been restored. 
 
 The sculptor has exerted himself to present the em- 
 peror in as dignified a manner as possible. This statue 
 therefore offers an interesting contrast to No. 53 (117), in 
 which the ludicrous peculiarities of Claudius are sharply 
 accentuated. 
 
 Guattani , Monumenti antichi inediti, 1805, T. xvi, pp. 80-84. 
 Nibby , Museo Chiaramonti, n, 32. Clarac , iv, PI. 549, No. 1159. 
 Bernoulli , Romische Ikonographie, n, 1, p. 332, No. 3, p. 346. 
 
 8 (23). So-called Pudicitia. 
 
 Formerly in the Villa Mattei and acquired under Cle- 
 ment XIV. The head, right hand, fragments of the robe, the 
 toes of the left foot, and the tip of the right great toe have 
 been restored. 
 
 Although the present head is modern, we may con- 
 clude from the analogy of similar figures that this statue 
 was originally a portrait of a Roman lady. The graceful 
 motive, which may be traced up to the end of the fourth 
 century B.C., is not original to the sculptor, though he 
 has adopted it with full appreciation of its characteristics. 
 
10 
 
 VATICAN. 
 
 We may note particularly the fidelity to nature with which 
 the left hand, covered by the veil, is represented, and the 
 skill which suggests the difference between the thick ma- 
 terial of the tunica and the thinner texture of the upper 
 garment. The beauty of the design and the general ex- 
 cellence of the execution make most observers overlook 
 a fault in the statue. The right shoulder is too narrow; 
 either because the sculptor miscalculated the breadth of 
 the marble, or because a portion split off in the course of 
 the work. 
 
 Monumenta Matthaeiana, i, 62. Be Rossi, Raccolta di statue, 
 T. 107. Piranesi , Raccolta di statue, T. 7. Visconti , Museo Pio- 
 Clem., ii, 14 (comp, i, p. 287, note*). Clarac , iv, PI. 764, No. 1879. 
 Comp. Braun , Rumen und Museen, p. 238, No. 3. Helbig , Unter- 
 sucliungen fiber die campanische Wandmalerei, p. 32. 
 
 9 (24). Bust of a Youth. 
 
 The nose and the centre of the lower lip are restored. The 
 bust appears to be antique and to belong to this head. 
 
 This head is a Roman copy of a Hellenic type, which 
 appears to have been invented about the middle of the 
 5th cent. B.C. The forms and proportions recall those 
 of the early Peloponnesian school. The expression of the 
 face is serious, almost sombre; the hair falls in careless 
 disorder over the temples and neck. Over the temples 
 are two flat protuberances, which some have taken for 
 remains of short horns springing from amidst the hair, 
 identifying the head as that of Iakchos, the Chthonian 
 Dionysos, to whom the horns would be appropriate. The 
 sombre expression would also become Iakchos in his 
 capacity as god of the underworld. Another hypothesis 
 would connect this type with the head of an Ephebos 
 with horns, seen on the coins of Byzantium. But the best 
 explanation is that which sees in this head Actseon on 
 the point of being converted into a stag, in which case 
 the upper part of the above-mentioned protuberances 
 would represent the horns, the lower part the ears of the 
 animal. This attempt at restoration will be understood 
 by a glance at the accompanying head of Actseon, taken 
 
BRACCIO NUOVO. 
 
 11 
 
 from a painted vase from Magna Greecia (Fig. 1). The 
 hair has been left unpolished, probably to enable it to 
 take on gilding; while the flesh-parts have been soaked 
 
 Fig. 1. 
 
 in an oily liquid (probably by the original sculptor, not 
 the modern restorer) for some purpose connected with 
 the application of colour. 
 
 Bonner Studien (Berlin, 1890), T. vm, ix, pp. 143-153. 
 Romische Mitteil ungen, vi (1891), p. 153. Furtwaengler , Master- 
 pieces of Greek Sculpture, p. 55, p. 81, p. 102, note 3, declares 
 the head to "be that of a horned river-god and emphasizes its resem- 
 blance to the Pallas of the Villa Albani (No. 781). 
 
 10 (26). Statue of Titus. 
 
 Found along with No. 49 (111) in the garden adjoining 
 the church of S. Giovanni in Fonte. The upper edge of the 
 ears, the right forearm, and the left hand are modern. 
 
 The head suggests in the clearest manner the two 
 most prominent characteristics of Titus ; his marked sen- 
 suality and the high degree of benevolence which, curiously 
 enough, accompanied it. The toga-draped body offers a 
 striking illustration of how well adapted the toga was to 
 lend a certain dignity even to a short and corpulent figure. 
 The perforated object on the plinth has been taken for 
 the opening of a bee-hive by some who see in it a re- 
 ference to the busy energy of Titus on behalf of the human 
 race. But a group of holes like this would be a very 
 obscure method of representing a bee-hive ; it might with 
 greater justice be taken for a wasps’ nest, which would be 
 a far from flattering symbol for an emperor. Apparently 
 
12 
 
 VATICAN. 
 
 the holes have nothing whatever to do with the person 
 represented by the statue; the sculptor probably made 
 them in testing his drills and omitted to chisel off the 
 fragment when the statue was finished. Faint traces of 
 red paint may be detected on the outside of the toga, 
 and of yellow paint on the inside. 
 
 Nibby , Museo Cliiaramonti, u, 33. Bernoulli , Romiscbe Ikono- 
 grapbie, n, 2, T. xii, p. 32, No. 2, p. 37. Comp. Braun , Ruinen und 
 Museen, p. 251, No. 16. 
 
 11 (27). Gorgon. 
 
 Found along with Nos. 21 (40) and 38 (93) beside the 
 temple of Venus and Roma built by Hadrian, and probably 
 part of tbe decoration of that building. No. 48 (110) is a 
 modern plaster-cast. 
 
 The colossal size and the style of execution, which is 
 limited to emphasizing the main outlines with the greatest 
 possible energy, render it probable that this mask was 
 intended to he viewed from some distance, and that it 
 was placed at a considerable height. 
 
 Pistolesi, iv, 13. Comp. Braun , Ruinen und Museen, p. 256, 
 No. 20. Furtwaengler , Masterpieces of Greek Sculpture, p. 156. 
 
 12-16 (32-3$). Satyrs with Wine-skins andNereids on 
 Sea-horses. 
 
 These statues, which have been very largely restored, 
 were used as decorations for fountains, and afford a graphic 
 idea of the skill with which ancient art adapted plastic 
 designs for this purpose. 
 
 For tbe Satyrs, see Pistolesi , iv, 11 ; Clarac , iv, PI. 710, 1689; 
 PI. 719, 1721. For tbe Nereids, Pistolesi , iv, 12; Clarac , iv, PI. 747, 
 1805. 
 
 17 (37). Draped Female Figure. 
 
 Found in 1851 on tbe Via Appia. 
 
 The portrait-head is ancient but does not belong to 
 the statue. The laurel- wreath is modern, but ancient 
 remains showed quite distinctly that such a wreath was 
 originally present. The lady is thus distinguished as 
 engaged in literary pursuits — a ‘bas bleu’. Judging 
 
BRACCIO NUOVO. 
 
 13 
 
 from her pretentious and self-satisfied expression, she 
 must have been the reverse of an agreeable person. 
 
 18 (38b). Statue of Narcissus (?). 
 
 Found in 1800 by the British consul, Mr. R. Fagan, in a 
 recess, decorated with mosaics, of a caldarium at Ostia. The 
 right arm and dish, the front of the left forearm with the 
 vase, and the left leg from a little above the knee to the 
 ankle are modern. 
 
 This youth, looking downwards with an expression 
 of melancholy yearning, is most probably to be identified 
 as Narcissus. A water-pipe is inserted in the tree-stump 
 on which he leans, and if this pipe discharged itself (as 
 is extremely likely) into a basin beneath the statue, the 
 youth would mirror himself in the water, precisely as 
 Narcissus is described in the myth. The restoration of 
 the hands is open to criticism. According to Ovid (Me- 
 tamor. m, 41 1 et seq.) Narcissus fell in love with his own 
 reflection, which he saw as he drank from a spring. The 
 restorer, in placing a cup in the right hand of the youth, 
 has done nothing inconsistent with this legend. Other 
 methods of restoration may suggest themselves; the right 
 hand, for example, may have been raised to express aston- 
 ishment, while the left may have grasped a spear or a 
 pedum. On the tree-stem the nalne ‘Phaidimos’ is carved ; 
 it is improbable that it yefers to the sculptor. 
 
 Visconti e Guattani , Museo Cbiaramonti, T. xi. Pistolesi , iv, 13. 
 Wieseler , Narkissos, No. 15, pp. 38-41. Comp. Fea, Relazione di un 
 viaggio ad Ostia, pp. 53-55. Braun , Ruinen und Museen, p. 255, 
 No. 19. Loewy, Inschriften griechischer Bildhauer, p. 290, No. 433. 
 Jahrbiicher des Yereins von Alterthumsfreunden im Rheinland, 
 xc (1891), p. 66. 
 
 19 (38 a). Youthful Satyr playing the flute. 
 
 Found at the Lago Circeo, in the villa said to have be- 
 longed to Lucullus. The right arm, the left forearm and flute, 
 and the lower half of the left leg have been restored ; the 
 left foot is antique. 
 
 The restoration of this figure as in the act of playing 
 the flute is vindicated by other replicas. The type ap- 
 pears closely related to that of the Reposing Satyr, which 
 
14 
 
 VATICAN. 
 
 is ascribed with great probability to Praxiteles (comp. 
 Nos. 55, 211, 525). The latter, however, has a loftier 
 ideal character, while the figure before us betrays the air 
 of idyllic content that was affected by the art of the Hel- 
 lenistic period. The execution is careful though some- 
 what dry. 
 
 Pistolesi , iv, 24. For tlie literature on this type, see Friederichs- 
 Wolters , Bausteine, Nos. 1501, 1502. The flute has been preserved 
 in the replica (among others) described in the Notizie degli scavi, 
 1893, pp. 357, 358, and in our No. 976. 
 
 20 (38). Tyche (Fortune), or, perhaps, a Hellenistic 
 
 City Goddess. 
 
 Both arms and part of the back are modern. The head 
 is ancient, but does not belong to the figure. 
 
 The interpretation of this statue is rendered possible 
 by the existence of two replicas, one of which was found 
 at Beirut in Syria, while the other used to be in the court 
 of the Palazzo Sciarra. The nude child on the plinth of 
 the Syrian replica evidently held the forefinger of his 
 right hand upon his lips, and thus must be regarded as 
 Harpocrates (comp. No. 505). In that of the Palazzo 
 Sciarra the goddess holds a horn of plenty in her left 
 hand. From this it would seem that the statue is a Hellen- 
 istic type either of Tyche or of a city-goddess (comp. 
 No. 376). The sculptor seems to have imitated the Athena 
 Parthenos of Pheidias both in the attitude and in the ar- 
 rangement of the drapery (comp. Nos. 598, 600, 870, 
 898). The head placed on the statue reproduces a female 
 type resembling that recently recognized as a replica of 
 the Athena Lemnias of Pheidias. 
 
 Clarac , iv, PI. 571, No. 1220. Comp. Jahrbucb des Arcb. Instituts, 
 v (1890), p. 93. Romische Mittbeilungen, vi (1891), p. 239. For 
 the Beirut statue, see Mittbeilungen des Arcbseologischen Instituts 
 in Atben, x (1885), T. 1, pp. 27-31. Furtwaengler , Masterpieces 
 of Greek Sculpture, p. 60. 
 
 21 (40). Gorgon, comp. No. 11. 
 
 22 (44). Statue of a Wounded Amazon. 
 
 Tbis statue, wbicb bas been restored and retouched, espe- 
 cially on the head, is probably from the Palazzo Verospi. 
 
BRACCIO NUOYO. 
 
 15 
 
 The Amazon supported herself with a spear in her 
 right hand; her left removed her garment from the wound. 
 For farther details of this type, see No. 503. 
 
 For the literature on the subject, see Jahrhuch des Arch. I 11 - 
 stituts, i (1886), p. 17 e. 
 
 23 (47). Caryatid. 
 
 Formerly in the Villa Negroni. The nose , parts of the 
 hack of the head and the calathos, the last joint of the right 
 forefinger, and the right foot are restorations. Various parts 
 have been retouched by a modern hand. 
 
 As the shape of the ‘calathos’ on the head corresponds 
 to that of a Corinthian capital, this Caryatid was prob- 
 ably designed for a Corinthian edifice. It fulfills much 
 less satisfactorily than No. 1 the conditions that are to be 
 expected in an entablature -support of this kind. The 
 position of the arms and the fact that the feet are placed 
 close together give an air of insecurity to the attitude. 
 And the free treatment of the folds, in which curves 
 prevail instead of vertical lines, is little suited for a figure 
 used as an architectural member. From these peculiarities, 
 we may conclude that this type was not invented till a 
 late -Greek period. The calathos rests upon a cushion 
 resembling those used to this day by the women of South- 
 ern Europe when they bear burcjens upon their heads. 
 
 Nibby , Museo Chiaramonti, n, 43. Pistolesi , iv, 16. Clarac , 
 in, PI. 444, 814. 
 
 24 (48). Bust of Trajan. 
 
 Nose and chin are restored. 
 
 The execution is careful but dry. 
 
 Pistolesi, iy 47. jBemowWi,R6miseheIkonographie, n, 2, T.xxvi, 
 p. 78, No. 17. 
 
 25 (50). Statue of Selene. 
 
 Found outside the Porta Cavalleggiera. The nose, both 
 arms, the right foot, and numerous fragments on the hair 
 beside the cheeks, on the drapery, and on the toes of the 
 left foot are restorations. 
 
 This statue was broken across, and the restorer has 
 placed the upper portion too far back, a fact which in- 
 
16 
 
 VATICAN. 
 
 jures the side-view especially. The two holes in the fillet 
 on the head were used in fastening a metal crescent- 
 moon. Selene stands looking down upon the spot where 
 we must imagine the sleeping Endymion to be lying. Her 
 gestures and the expression on her face reveal a curious 
 mingling of joyful surprise and shyness. From the swing 
 of her robe we clearly see that the goddess has suddenly 
 arrested her steps. The plinth tapers towards the front, 
 in the same direction as the glance of the goddess. 
 
 Nibby , Museo Chiaramonti, 11, 7. Pistolesi, iv, 16. Clarac, iv, 
 PI. 577, No. 1248. Braun , Zwolf Basreliefs, vignette above the 
 text on No. 9, Endymion. Comp. Braun , Ruinen und Museen, 
 p. 85, No. 4. 
 
 26 (53). Statue of a Tragic Poet. 
 
 Formerly in tlie Palazzo Giustiniani. The right arm with 
 the scroll, the adjoining part of the bust, the left hand, and 
 the lower part of the mask are restorations. Of the head only 
 the face is antique. 
 
 This athletic figure is indicated as that of a tragic 
 poet, by the tragic mask in the left hand. An antique 
 head of Euripides has been placed on this statue, but 
 cannot possibly have originally belonged to it, as it seems 
 much too small in proportion to the body. 
 
 Galleria Giustiniana, i, 108 (where it is shown with a different 
 head). Nibby , Museo Chiaramonti, ii, 23. Pistolesi , iv, 17. Clarac , v, 
 PI. 845, No. 2128. Comp. Braun , Ruinen und Museen, p. 236, 
 No. 5. Welcker , Alte Denkmaler, i, T. vi, pp. 486, 487. ' 
 
 27 (56). Statue of a Roman Lady of the Flavian Period. 
 
 Formerly in the Camuccini Collection. The nose, part 
 of the upper lip, both arms, and portions of the drapery are 
 modern. 
 
 The identification of this statue with Julia, daughter 
 of Titus, though by no means certain, deserves consider- 
 ation. The hair dressed high above the forehead refers 
 the statue to the time of the Flavian emperors, and forms 
 an unattractive contrast to the classic robe. 
 
 Nibby, Museo Chiaramonti, ii, 34. Pistolesi , iv, 18. Comp. Braun, 
 Ruinen und Museen, p. 252, No. 17. Bernoulli, Rom. Ikon., n, 2, 
 p. 41, p. 49, No. 3. 
 
BRACCIO NCJOVO. 
 
 17 
 
 28 (59). Statue of Fortune (?). 
 
 The right arm and shoulder, the left arm and cornucopia 
 and the part of the rohe enveloping it, the feet with the bot- 
 tom of the rohe, and the front of the plinth are modern. 
 "Whether the head (freely patched) he the original is doubt- 
 ful, for the part of the neck uniting it with the body seems 
 modern. 
 
 This statue enjoys an undeserved popularity, owing 
 to the fact that it is frequently reproduced in miniature 
 by modern Roman bronze-founders. The execution is 
 very poor. Its identification as Fortuna is doubtful. The 
 cornucopia is altogether modern, and the only ground for 
 its addition is the existence of a depression said to have 
 been visible in the left shoulder before the restoration. 
 
 Pistolesi , iv, 18. Clarac , hi, PI. 451, No. 824. Comp. OverlecTc : 
 Kunstmythologie, m, p. 471. 
 
 29 (60). Roman Portrait-Head. 
 
 Formerly in the Palazzo Ruspoli, and perhaps to be iden- 
 tified with the ‘Csesaris caput collo oblongo et pendulo, oculis 
 vigilibus cum verruca in gena dextra’ mentioned by the 
 French traveller Bellieure at the beginning of the 16th cent, 
 as being ‘in domo Roscia’ (Rev. archeol., xliii, 1882, p. 34). 
 The nose, a portion of the brow and top of the head, the 
 neck, and the bust are modern. 
 
 The current designation of this head as Sulla is quite 
 groundless. The Roman here represented was evidently 
 one of those clever, sceptical, cultured men, tinged with 
 Epicureanism, who were characteristic of the transition- 
 period between the Republic and the Empire. The sar- 
 castic air in the lines about the mouth reveal the character 
 of the man. He must undoubtedly have been well-known, 
 for two antique replicas of this portrait are extant; a bust 
 in the Museo Torlonia (comp. No. 832), and a head placed 
 on a draped statue at Lansdowne House. The very look 
 of this head convinces us that it is a good portrait. The 
 treatment of the upper lip shows that the original had 
 lost his upper front teeth. The knitted brows and the 
 wrinkles at. the corners of the eyes indicate that he was 
 short-sighted. Even a wart on the right cheek is repro- 
 Helbig, Guide I. 2 
 
18 
 
 VATICAN. 
 
 duced in the marble. A comparison of this head with the 
 adjoining statue of Demosthenes is highly instructive as 
 illustrating the advance made by ancient portraiture after 
 the time of Alexander the Great. In the statue are given 
 only the characteristics that are necessary to identify the 
 historical Demosthenes, while in the Roman head nature 
 is reproduced in the most realistic manner, with all its 
 accidents. 
 
 Bernoulli , Romische Ikonographie, i, p. 9J . For the bust in the 
 Museo Torlonia : I monument! del Museo Torlonia riprodotti con la 
 fototipia (Roma, 1884), T. 130, No. 508. For the statue at Lansdowne 
 House : Michaelis , Ancient Marbles in Great Britain, p. 444, No. 29. 
 
 30 (62). Statue of Demosthenes. 
 
 Formerly in the Villa Aldohrandini or Mondragone near 
 Frascati, and thus probably found in the district of Tuscu- 
 lum. Splinters on the nose and robe, the lower half of the 
 forearms with the scroll, the right heel, and the greater part 
 of the plinth are modern. 
 
 A bronze statue, by Polyeuctos, was erected to De- 
 mosthenes at Athens in the year 280 B.C., i.e. 42 years 
 after his death. This work represented the orator with 
 folded hands, as though mourning for the overthrow of 
 Grecian liberty, and it has been suggested that the statue 
 in the Vatican is a replica of the Athenian work, and that 
 the hands should have been restored accordingly. The 
 present mode of restoration, however, is vindicated by a 
 replica at Knole Park in England, in which the hands 
 and scroll are antique. At the same time the relation- 
 ship which exists between the two conceptions seems to 
 render it probable that the marble statues are not wholly 
 unconnected with the bronze of Polyeuctos. In later Greek 
 art the scroll became practically a universal symbol for 
 portrait-statues of men eminent in literature. And it is 
 easy to see that while the Athenians who had taken part 
 in the last struggle for freedom would prefer to repre- 
 sent Demosthenes in the guise of a mourning patriot, 
 among succeeding generations his literary eminence 
 would outweigh his political importance. We may thus 
 conclude that some later artist altered the figure of Po- 
 
BRACCIO NUOVO. 
 
 19 
 
 lyeuctos, by placing a scroll in one of the hands, thus 
 characterizing the orator as deliberating upon a speech. 
 
 The individuality of Demosthenes is indicated with a 
 master-hand in this statue. The whole history of the 
 man, filled with strife and sad experiences, may be read 
 in the clear-cut, furrowed countenance. The bodily struc- 
 ture, especially the narrow chest, clearly shows how 
 little fitted the constitution of Demosthenes was for the 
 career which he selected, and how much energy he must 
 have possessed to overcome his physical disabilities. Ac- 
 cording to a modern authority on physiognomy, the 
 curiously retreating underlip proclaims the stammerer. 
 
 Nibby , Museo Chiaramonti, n, 24. Clarac , v, PI. 842, No. 2122. 
 Baumeister, Denkmaler des klassischen Alterthums, i, p. 425, Fig. 
 465. Other authorities are mentioned in Friederichs- Wolters , Bau- 
 steine , No. 1312. For the statue at Knole Park , see Michaelis , 
 Ancient Marbles in Great Britain, p. 417, No. 1; Overbeck , Ge- 
 schichte der griech. Plastik, n 4 , pp. 115, 137; note 11. 
 
 31 (67). Apoxyomenos, after Lysipp os. 
 
 Found in April, 1849, among the ruins of a large private 
 house in the Yicolo delle Palme in Trastevere. The fingers 
 of the right hand and the die, the tip of the left thumb, parts 
 of the strigil , and all the toes were restored by Tenerani. The 
 attribute of the die was due to a misapprehension of a pas- 
 sage in Pliny (Nat. Hist., 34,* 55). 
 
 Before engaging in the exercises of the palaestra, the 
 Greek youths anointed their bodies with oil and be- 
 sprinkled themselves with fine sand, so as to afford a firm 
 grip in wrestling. At the end of the exercises they used 
 a metal scraper (strigil) to remove the oil-soaked sand. 
 The statue before us represents a youth in the act of thus 
 cleaning the lower side of his right arm, which is stretched 
 out for the convenience of the operation. The right hand 
 should be empty (see above). This is a marble copy of a 
 bronze statue by Lysippos, which stood in Rome at the 
 beginning of the Empire, and there enjoyed great popu- 
 larity. Agrippa placed it in front of his Thermae, and Ti- 
 berius, who had removed it to his palace, restored it to 
 its previous site, at the request of the people expressed 
 
 2 * 
 
20 
 
 VATICAN. 
 
 in the theatre. We recognize in this copy all the pe- 
 culiarities traditionally ascribed to the works of Lysippos. 
 That artist was said to make the figure slighter and the 
 head smaller than his predecessors. Even a comparatively 
 unpractised eye will detect the differences of the propor- 
 tions observed in the Apoxyomenos and in earlier types 
 (comp. No. 58). While a slender form appears ipso facto 
 more mobile than a thickset one, this impression of act- 
 ivity is accentuated by the attitude of the figure before 
 us. The limbs seem to work freely and pliantly in their 
 sockets; the right leg, not entirely relieved from the 
 weight of the body, conveys an impression as if the trunk 
 were moving elastically from side to side. All these pe- 
 culiarities would be still more distinct in the bronze 
 original, for in that the impression of motion would not 
 be interfered with either by the support reaching from 
 the right leg to the right arm or by the stem adjoining 
 the left leg. Every part of the body is modelled with 
 the most delicate care, and presents a charming play of 
 light and shade. The artist has admirably succeeded in 
 treating the skin as a distinct envelojoe, covering the 
 flesh, and in representing its different degrees of tension 
 on different parts of the frame. The well-marked but in 
 no degree hard manner in which the play of the muscles 
 is reproduced records distinctly the varying functions of 
 the separate muscles, thus enhancing the general im- 
 pression of lively action. The type of head is a variation 
 of the Polycleitan type, dictated by the altered spirit of 
 the age (comp. No. 58). In harmony with the more ad- 
 vanced culture , the face expresses a richer intellectual 
 life. The line crossing the brow lends a pensive, almost 
 nervous, air to the refined countenance. Both flesh and 
 hair are very freely treated. 
 
 Mon. dell’ Inst., v, 13 ; Ann., 1850, pp. 223 et seq. Baumeister , 
 Denkmaler des klassischen Alterthums, n, p. 843, Fig. 925. Loewy , 
 Lysipp und seine Stellung in der griecMsoken Plastik, p. 7, Fig. 2. 
 Brunn und Bruckmann , Denkmaler griechischer und romischer 
 Sculptur, No. 281. On the head, see also Koepp , Ueber das Bildnis 
 Alexanders des Grossen (Berlin , 1892), T. i. Farther references in 
 
BRACCTO NUOVO. 
 
 21 
 
 Friederichs-Wolters , Bausteine, No. 1264. Furtwaengler, Master- 
 pieces , p. 300. Comp, also Kekule , Uber den Kopf des praxiteli- 
 schen Hermes, pp. 24-26. 
 
 32 (71). Wounded Amazon, after Polycleitos. 
 
 Found in the Villa Aldobrandini at Frascati , and for- 
 merly in the Camuccini collection. The nose, both arms, 
 quiver, right leg, left leg from the knee downwards, support, 
 and plinth are modern. 
 
 The restorer has chiselled off several projections, the 
 
 traces of which, however, 
 are still distinct. From these, 
 and by comparison with 
 better preserved replicas, we 
 can reconstruct the original 
 motive with almost absolute 
 Certainty. The accompanying 
 sketch (Fig. 2) exhibits this 
 reconstructed motive. The 
 right hand was held above 
 the head, with at least the 
 thumb resting upon it (comp. 
 No. 65). At the left side was 
 a pillar, connected with the 
 statue by means of a sup- 
 port which joined the body 
 at the point where the resto- 
 rer has placed the qqiver. 
 On this pillar the Amazon 
 leaned her left forearm; 
 whether the left hand held 
 an attribute is uncertain. The 
 suffering expression of the 
 face finds its explanation in 
 a wound, indicated by a 
 slight chisel-mark, near the 
 right breast. The statue thus 
 represents an Amazon rest- 
 ing, exhausted and suffering 
 from the pain of a wound. 
 
22 
 
 VATICAN. 
 
 The artist, however, has designed the figure mainly accord- 
 ing to conventional ideas, and has omitted to indicate the 
 effect of the wound in a natural manner. The placing of 
 the fingers upon the head is, indeed, pathologically cor- 
 rect, for persons suffering from a sharp pain often press 
 the scalp with their fingers. But to attain verisimilitude 
 in this case, the left arm, not the right one, should be 
 raised; for the latter attitude would stretch the muscles 
 of the right side of the chest and so increase the pain of 
 the wound, which is on that side. 
 
 This statue exhibits the peculiarities that distinguish 
 the style of Polycleitos. When we compare the head with 
 that of the Doryphoros (No. 58), we seem to be looking 
 upon brother and sister. The powerful, thickset frame, 
 so appropriate to the masculine Amazon of the mythsi, 
 also corresponds to the recognized style of Polycleitos. 
 The absence of consistency in the motives which we note 
 in this Amazon, side by side with a careful finish in the 
 forms, finds its counterpart in the Diadumenos of the 
 same master (comp. No. 130). The sharply-cut features, 
 and the execution of the hair in a manner resembling 
 chasing, clearly refer us to a previous work in bronze. 
 We may, in short, assume that the original of this statue 
 was a bronze Amazon by Polycleitos, which enjoyed a 
 high reputation in antiquity. 
 
 Jahrbuch des deutschen Arch. Instituts, i (1886), p. 15 D, 
 pp. 25-27, 29-34, 39-41. Robert , Archaologische March en, p. 109. 
 Collignon, Histoire de la sculpture grecque, i, pp. 502 et seq. Furt- 
 waengltr , Masterpieces, pp. 128-141, 247, 248. 
 
 33 (72). Head of Ptolemy, son of Juba II., and last King 
 of Numidia and Mauretania (23-40 B.C.). 
 
 Formerly in the Palazzo Ruspoli. The nose , the right 
 ear, half of the left ear, and the bust are modern. 
 
 The identity of this head is established from the coins 
 of Ptolemy; another copy of this portrait has also been 
 found at Caesarea (Shershel), the former capital of Maure- 
 tania. The type of face is to this day common among 
 the Kabyles, the descendants of the Numidians; and the 
 
BRACCIO NTJOVO. 
 
 23 
 
 gloomy expression finds abundant explanation in the un- 
 happy fate of this prince. Comp. No. 714. 
 
 Visconti , Opere varie, hi, Prefazione, pp. xxii-xxvi ; Tav. 
 d’agg. Nos. 2, 3. For other portraits of this king, see Friederichs- 
 Wolters , Bausteine, No. 1645. For the portrait found at Shershel: 
 Waille, De Caesarese monumentis (Alger, 1891), Tab. No. 29, 
 
 p. 106. 
 
 34 (83). Statue of Hera, of mediocre workmanship, 
 
 erroneously restored as Demeter. 
 
 Found between 1850 and 1860 at Ostia. The head, right 
 arm, left forearm with the attributes, left foot, and nearly 
 the entire plinth are restorations. 
 
 For details as to this type, see No. 301. 
 
 Ann. dell’ Inst., 1857, Tav. d’agg. L, p. 316. Overbeck , Kunst- 
 mythologie, m, p. 55, Fig. 5a, p. 56, No. 2, p. 115, No. 5. 
 
 35 (86). Statue of Fortuna, with the cornucopia in the 
 
 right hand, and a rudder in the left; mediocre. 
 
 Found by Mr. R. Fagan at Ostia. The right forefinger 
 and parts of the fingers of the left hand are modern. 
 
 The head is antique but does not belong to this 
 statue. It probably represents Demeter, though com- 
 monly described as Hera (comp. No. 880). 
 
 Guattani , Monumenti inediti, 1805, T. xxiv, p. 111. Nibby , 
 Museo Chiaramonti, n, 14. Clarac , .jn, PI. 455, No. 835. Bau- 
 meister , Denkmaler des klass. Alterthums, hi, p. 1920, Fig. 2037. 
 Comp. Fea , Relazione di un viaggio ad Ostia, p. 49. Overbeck, 
 Kunstmythologie, hi, p. 96, No. 14. 
 
 36 (89). Greek Portrait-Statue, with the head of a poet. 
 
 The right arm and scroll, the left hand, the right leg from 
 the middle of the calf downwards with the adjacent part of 
 the robe, and nearly the entire plinth are modern. The head 
 (nose restored) is antique, but does not belong to this statue. 
 It is made of different marble and the fractures have been 
 worked over to fit into each other. 
 
 The head recalls a well-known type of Homer (comp. 
 Nos. 480-482), though the eyes are not represented as 
 blind and the expression is less inspired. There were 
 several varying portraits of Homer in antiquity and one of 
 them represented the poet as in the enjoyment of sight 
 
24 
 
 VATICAN. 
 
 (comp. Nos. 495-497), so that it is at least possible that 
 this Vatican head may also be a portrait of Homer. The 
 suggestion that it may be Hesiod, however, deserves con- 
 sideration, all the more because it has a certain resem- 
 blance to a bust of that poet, identified by an inscription, 
 on a mosaic pavement found at Treves. When it was 
 desired to invent appropriate forms for gods or heroes 
 that had not before been artistically represented, the 
 Greek artists frequently adopted as the basis of their new 
 creation some previous allied conception. It may readily 
 be supposed that a similar practice obtained in the case 
 of portraits of mythical or semi-mythical poets, and thus 
 the type for Hesiod may have been deduced from that of 
 Homer. The body of the statue seems from the costume 
 to have belonged to a Greek portrait-figure. 
 
 Pistolesi , iv, 23. Clara, c , v, PL 845, No. 2129. Comp. Braun , 
 Rumen und Museen, p. 243, No. 10. For the mosaic bust, see An- 
 tike Denkmaler, published by the Arch. Institut, i (1889), T. 49. 
 
 37 (92). Statue of Artemis. 
 
 Formerly in the Villa Mattei and presented by Prince 
 Andrea Doria-Pamfili to Pope Clement XIV. Both arms, 
 part of the left shoulder , and the toes of the left foot have 
 been restored. The head (nose restored) is ancient, but 
 does not belong to this statue. It appears too small for the 
 body , with which it is united by a piece of modern work 
 at the junction of the neck and drapery. 
 
 The statue to which the body belonged reproduces a 
 type that enjoyed great fame in ancient days; of the 
 several replicas that have come down to us the most 
 celebrated is the Diana Colonna, now in the Berlin Mu- 
 seum. The goddess appears advancing with a certain 
 degree of haste, permitting the forms of her vigorous and 
 virginal body to appear beneath her robe. The left arm 
 has been erroneously restored. From the depression in 
 the antique upper portion of the shoulder, it is evident 
 that the arm hung down instead of being raised. The 
 hand perhaps grasped a bow. We may imagine the right 
 arm hanging lightly by her side, with the hand open, a per- 
 fectly natural attitude if we suppose the goddess to have 
 
BRACCIO NUOVO. 
 
 25 
 
 just launched an arrow from the string and to be follow- 
 ing its flight with her eyes. The style refers the statue to 
 the beginning of the fourth century B.C. The supposition 
 that the original of this statue was the temple-image of 
 Artemis Laphria executed forMessene byDamophon is no 
 longer tenable, now that the excavations carried on in the 
 temple of Artemis Despoina, at Lycosura, have yielded 
 us some definite information as to the period in which 
 Damophon flourished. We now know that this artist lived 
 in the second or first century B.C., not, as was once sup- 
 posed, in the fourth. The type of the ancient head now 
 attached to this statue points to a somewhat later period 
 than that to which we must ascribe the original of the 
 body. The abundant hair is arranged with inimitable 
 grace. The two holes bored above the fillet can hardly 
 have served for any other purpose than the attachment 
 of a crescent moon in metal; and this would identify the 
 head as that of Selene. 
 
 Visconti , Museo Pio-Clem., i, 29. Pistolesi , v, 62. Clarac , iv, 
 PI. 564, No. 1207, PI. 569, No. 1213. Braun, Yorschule, i, 54. 
 Baumeister , Denkmaler des klass. Alterthums, i, p. 135, Fig. 142. 
 Comp. Jahrbuch des Arch. Inst., iv (1889), Archaol. Anzeiger. 
 p. 10. Athenische Mittheilungen, xiv(1889), p. 134. Furtwaengler , 
 Masterpieces of Greek Sculpture, p. 104, note 4. On the excavation 
 at Lycosura, see Cavvadias, Fouilles de Lykosoura, AthSnes, 1893 ; 
 Athen. Mittheilungen, xviii (1893), p. 219. 
 
 38 (93). Gorgon, comp. No. 11. 
 
 39 (94). Statue of a Woman. 
 
 Found at Tivoli, and formerly in the Quirinal Garden. 
 The right arm with the ears of corn , the left arm and the 
 end of the robe it supports , nearly the entire right foot, 
 parts of the left foot, and the plinth are restorations. 
 
 It is doubtful whether the interesting head is antique 
 and properly belongs to this statue. It recalls the por- 
 trait of Julia, daughter of Augustus, as represented on 
 coins of inferior workmanship , and also bears an extra- 
 ordinary resemblance to the head of Augustus himself. 
 The malign expression on the beautiful face is perfectly 
 appropriate to Julia. 
 
26 
 
 VATICAN. 
 
 De Cav alter iis , Antique statuse urbis Roniae, T. 42. Nibby, 
 Museo Cliiaramonti, n, 8. Penna , Viaggio pittorico della Villa 
 Adriana, hi, 26. Pistolesi , iv, 27. Clarac , in, PI. 432, No. 783. 
 Braun , Vorschule, T. 32. Comp. Arch. Zeitung, xxi (1863), p. 30. 
 Bernoulli , Romisclie Ikonograpbie, ii, 1, p. 129. 
 
 40 (97a). Bust of Mark Antony the Triumvir (?). 
 
 Found in tlie third decade of this century at Tor Sa- 
 pienza , outside the Porta Maggiore , along with the bust 
 known as Lepidus (No. 46). A bust of Octavianus, now said 
 to be in the Palazzo Casali , is reported to have been found 
 at the same time and place. 
 
 The coins on which Mark Antony’s portrait appears 
 are all so carelessly executed that they are of little use 
 in identifying a sculptured representation of the triumvir. 
 It is all the more significant that comparatively the best 
 of these coins, viz. those issued in gold and silver by 
 Gnseus Domitius Ahenobarbus, exhibit a profile corres- 
 ponding with this bust in all essential points. The latter, 
 moreover, harmonizes admirably with the historical char- 
 acter of Mark Antony. The well-moulded brow betokens 
 intellectual eminence, while the shape of the mouth in- 
 dicates frivolity and the luxurious lines of the chin a 
 strongly developed sensuality. The poor restoration of 
 the nose and of the brows unfortunately detracts from the 
 effect of the admirable original workmanship. 
 
 Pistolesi , iv, 28. Bernoulli , Romisclie Ikonograpbie, i, p. 207, 
 Fig. 30. The only portrait in tbe Palazzo Casali dating from the 
 close of the Republic or the beginning of the Empire is that of an 
 elderly man and is usually named Caesar. Bull, dell’ Inst., 1864, 
 p. 8. Arch. Zeitung, 1864, p. 156*. Comp. Bernoulli , loc. cit., i, 
 p. 158, No. 18, pp. 175 et seq. 
 
 41-45 (97, 99, 101, 103, 105). Small Statues of Ath- 
 letes, of mediocre workmanship. 
 
 No. 97 has a modern plaster head. The lowered right 
 hand seems to have held a strigil (comp. No. 31) or some 
 other implement used in the palaestra. — No. 99 (head 
 ancient, but freely worked over and not unquestionably 
 belongingto the statue) and No. 103 (with modem plaster 
 head) both represent a youth dropping oil from a flask 
 
BRACCIO NITOYO. 
 
 27 
 
 in his raised right hand into his left hand and seem to be 
 diminished copies of a type best illustrated by a statue 
 in the Dresden Museum. This type is probably connected 
 with an earlier figure of a similar subject created by Attic 
 art towards the close of the fifth century B.C. — The 
 type of No. 101 (head original, but bent a little too far 
 back when replaced by the restorer) reveals a close kin- 
 ship with the Doryphoros of Polycleitos (No. 58) and was 
 undoubtedly created in the circle of this master. In the 
 excavations at Olympia a base has been found which bore 
 a statue of the athlete Pythocles, by Polycleitos. The 
 marks left on it by the statue agree with the attitude of 
 the figure before us; and it has therefore been surmized 
 that the latter is a copy of this work of Polycleitos. A 
 replica, in which the left arm is preserved, shows that 
 the left hand held an anointing flask; the right hand, 
 perhaps, held a taenia. — The foundation for the restora- 
 tion of No. 105 (original head) was afforded by a gem, 
 on which, however, the action is not expressed with per- 
 fect distinctness. We can see that the right arm, with 
 the strigil, was held across the body, towards the left; 
 but it is not clear whether it was his left wrist or his 
 left thigh that he was scraping with the instrument. In 
 the latter case, we must assum'e that, while the right 
 hand held the handle of the strigil, the left hand grasped 
 the blade in order to make the process more effectual. 
 
 No. 97 : Furtwaengler , Masterpieces of Greek Sculpture, p. 802, 
 note 3. — Nos. 99 and 103: Ibid., p. 260, note 3. — No. 101: 
 Ibid., p. 264, Fig. III. — No. 105: Ibid., p. 262, note 1. Clarac , 
 PI. 871, No. 2183; Rom. Mitth., vn (1892), pp. 92 et seq. 
 
 46 (106). Bust of Marcus JEmilius Lepidus, the Trium- 
 vir (?). ^ 
 
 Found along with No. 40. Front of the nose restored. 
 
 The identification of this bust rests almost entirely 
 upon the belief that it was discovered along with one of 
 Oetavianus and with No. 40, the conjectured bust of Mark 
 Antony. The coins of Lepidus offer no evidence either for 
 or against, as they are much too carelessly executed to 
 
28 
 
 VATICAN. 
 
 convey any distinct idea of the countenance of this trium- 
 vir. The significance which has been attached to the dis- 
 covery of the three busts together, is much weakened by 
 the fact that the supposed bust of Lepidus seems from 
 its dry though careful style to be the work of an in- 
 ferior artist to the sculptor of No. 40. The head and face 
 here shown are those of a man distinguished neither for 
 character nor intelligence; and though that description 
 fits Lepidus well enough, it also fits the great mass of 
 average human beings. 
 
 Pistolesi , iv, 9. Bernoulli Romische Ikonographie, i p. 222 
 Fig. 32. 
 
 47 (109). Colossal Statue of the Nile. 
 
 This was found, apparently under Leo X. (1513-1522), 
 near the church of S. Maria sopra Minerva, and was placed 
 by this pope in the garden of the Belvedere (Jahrbuch des 
 Arch. Inst., v, 1890, p. 24). Its companion-piece, the Tiber, 
 now in the Louvre ( Frohner , Notice de la sculpture antique 
 du Louvre, No. 449), had previously been found in the same 
 place under Julius II. (January, 1512) and forthwith placed 
 in the Vatican (Archivio della reale society di storia patria, ix, 
 1866, pp. 534, 535). Both statues seem to have formed part 
 of the decoration of the temple of Isis that stood in this 
 district. The Nile was restored under Clement XIV. by 
 Gaspare Sibilla. Apart from unimportant patchings, the fol- 
 lowing portions are restored: the fingers of the right hand, 
 the ears of corn in that hand (the previous existence of which 
 was proved by the stumps on the left calf), the toes, the 
 upper part of nearly all the children, and in some cases still 
 more. As these restorations are easily recognizable from the 
 different quality of the marble and the peculiar treatment 
 of the surface, it is unnecessary to mention them in greater 
 detail. 
 
 The Nile shows the flowing hair and beard and the 
 wistful expression usually assigned by Greek artists to 
 water-gods, but there is also an air of benevolent mild- 
 ness, appropriate to the boon-conferring stream. The left 
 elbow rests upon a sphinx, the symbol of Egypt. The 
 wreath of lotus-flowers, reeds, and ears of wheat, the sheaf 
 of corn in the right hand, and the horn filled with flowers 
 and fruits in the left hand, all refer to the fertility bestow- 
 
BRACCIO NUOYO. 
 
 29 
 
 ed by the Nile on the valley through which it flows. The 
 pyramidal object projecting from the cornucopia, of fre- 
 quent occurrence in sculptures of sacrificial offerings, 
 apparently represents a cake or a cheese. The manner 
 in which the water wells forth near the small end of the 
 horn, beneath the robe, is perhaps a reference to the 
 mystery veiling the sources of the Nile. The boys typify 
 the cubits which the river rises at the inundation, and 
 their number (sixteen) indicates the maximum rise by 
 which the largest portion of the country is inundated and 
 so fertilized. At the feet of the god three boys are 
 grouped round a crocodile and by his left knee two others 
 beside an ichneumon. The latter appears to be crawling, 
 obviously bent on war, towards its natural enemy, the 
 crocodile. The gradual rise of the stream is typified by 
 four boys climbing up on the right leg and arm of the 
 god, a fifth standing on his right thigh, and two more 
 who have attained the culminating height, one sitting on 
 the god’s right shoulder, the other standing in the cor- 
 nucopia. Sibilla’s restoration of the child projecting from 
 the cornucopia is open to doubt. Perhaps this boy ex- 
 pressed by look and gesture his delight at reaching the 
 desired eminence. The arrangement of the children seems 
 to have been most carefully calculated. They are grouped 
 most closely together beside the right arm and at the feet 
 of the god, where empty space was most abundant, and 
 where the addition of accessories would least interfere 
 with the effect of the main figure; beside the legs and 
 trunk, on the other hand, they are more scattered. By 
 this disposition the massive figure of the god is thrown 
 into most effective contrast with the smaller figures of 
 the children, and his tranquil majesty with the lively 
 motion around him. 
 
 The reliefs on the base illustrate life in the river and 
 on its banks. Here we see fights between crocodiles and 
 hippopotami; a fight between a crocodile and an ichneu- 
 mon; waterfowl, in which some recognize the trochilus, 
 believed by the ancients to befriend the crocodile by re- 
 
30 
 
 VATICAN. 
 
 moving the leeches that fastened on its jaws; boats rowed 
 by deformed pygmies, who are threatened by crocodiles 
 or hippopotami; and browsing oxen. The flora of the 
 Nile is represented by reeds and lotus-plants. 
 
 The association of the Nile and the Tiber in the pre- 
 cincts of the Roman temple of Isis indicates, on the one 
 hand , the source of the cult of Isis , and on the other, 
 the new home which that cult found in Latium. The 
 statue of the Tiber is markedly inferior to that of the 
 Nile, both in poetic conception and in composition; even 
 the decoration on its base is bald and prosaic beside that 
 of the companion-piece. This contrast seems to prove 
 that the two statues were created at different periods. 
 The Nile, in fact, seems to be the product of an older 
 and more richly endowed art, which can only he that which 
 flourished under the Ptolemies at Alexandria. When the 
 temple of Isis came to require decoration, the Alexandrian 
 original was reproduced, and the copy received as its com- 
 panion a Tiber prepared by some Graeco -Roman artist. 
 
 Visconti , Museo Pio-Clem., i, 37 (comp. Opere vaxie, iv, p.420, 
 No. 264). Baumeister , Denkmaler des kl. AUerthums, n, p. 1028, 
 Fig. 1244. Brunn und Bruckmann , Denkmaler griech. u. rom. 
 Sculptur, No. 196. Birt , De Amorum in arte antiqua simulacris 
 (Marpurgi, 1892), T. hi, pp. xxi, xxxvii. Other authorities, see 
 Friederichs-W otters, Bausteine, No. 1543, to which Wei cker’s Zeit- 
 schrift, pp. 322-329, must he added. Comp. Helbig , Untersuchungen 
 uber die campanische Wandmalerei, p. 29. 
 
 48(110), Gorgon, a modern plaster-cast. Comp.No.il. 
 
 49 (111). So-called Statue of Julia, daughter of Titus. 
 
 Found along with the statue of Titus (No. 10). The right 
 forearm and the left hand with the ears of corn are modern. 
 
 The only reason for the general acceptance of this 
 work as a statue of Julia is the fact that it was found in 
 the same place as that of her father Titus (No. 10). The 
 difference of scale proves, however, that the two statues 
 did not form a pair. Moreover, the profile and the arrange- 
 ment of the hair differ materially from the portraits of 
 Julia on coins. 
 
BKACCIO NUOVO. 
 
 31 
 
 Nibby , Museo Chiaramonti, n, 35. Pistolesi , iv, 28. Comp. Braun , 
 Ruinen und Museen, p. 251, No. 16. Bernoulli , Rom. Ikon., ii, 2, 
 T. xv, pp. 45, 46. 
 
 50 (112). Colossal Head of Hera. 
 
 Formerly in the Palazzo Pentini, and brought to the 
 Vatican in 1838. Parts of the diadem, the nose, ends of 
 the locks of hair, upper lip, most of the under lip, the neck, 
 and the bust are restorations. 
 
 This head probably belonged to a colossal statue, as 
 it is most effective when viewed from below and from a 
 distance. In tracing the development of the Hera-ideal, 
 it is important to notice that while in the course of time 
 the goddess loses some of her severity and majesty, the 
 size of the diadem grows larger and larger, as though art 
 sought to compensate the loss of dignity in the form of 
 the goddess by the imposing character of her adornment. 
 The present head belongs to one of the latest stages in 
 this development. In contrast to the lofty mildness of 
 the Juno Ludovisi (No. 872), it exhibits a gracious and 
 amiable beauty, which in the lower part of the face, 
 especially the small mouth, assumes an almost individual 
 character. On the other hand the diadem is loftier than 
 in any other known representation of the goddess. The 
 fine oval of the delicate face is thrown into the most ex- 
 pressive contrast by the large ornamental headdress. 
 
 Overbeck , Kuustmythologie , hi, p. 97, No. 17; Atlas, ix, 13. 
 Comp. Kekule, Hebe, pp. 70-72. Friederichs -Wolters, Bausteine, 
 No. 1516. Boscher. Lexikon der griech, und rom. Mythologie, i, 
 
 p. 2121. 
 
 51 (114). Statue of Pallas. 
 
 Found near the church of S. Maria sopra Minerva ( Bartoli , 
 in Fea , Miscellanea, i, p„ ccliv, No. 112) and successively in 
 the possession of the Giustiniani and Prince Lucien Bona- 
 parte, from the latter of whom it was purchased by Pius VII. 
 for the Vatican Museum. The sphinx on the helmet (the 
 forefeet excepted), the lower half of the right forearm and 
 nearly all the spear, parts of the fingers on the left hand, 
 and the head of the serpent have been restored. The entire 
 surface has suffered from extensive reworking, and portions 
 of the robe have been retouched. 
 
32 
 
 VATICAN. 
 
 The refined face clearly indicates that the sculptor 
 who invented this type meant to depict Pallas mainly as 
 the representative of Intelligence. Both the conception 
 and the style seem to refer this statue to an Attic original 
 of the end of the 5th on the beginning of the 4th cent. 
 B.C. This supposition is supported by the fact that a 
 draped figure of Pallas is represented in relief on an Attic 
 record of a treaty concluded in 375-374 B.C. between the 
 Athenians and the Cercyrians (Fig. 3). The left hand of 
 
 Fig. 3. 
 
 the statue lightly touches the hem of the robe, but it may 
 be doubted whether in this the original has been faith- 
 fully followed. In the relief the goddess stretches her 
 hand down and seems to rest her fingers upon the rim 
 of a shield that was merely painted and not carved. In 
 any case the artificial treatment of the folds of the robe 
 of the statue reveals the taste of a later period. A temple 
 of Minerva once rose on the spot where the statue was 
 
BRACCIO NUOYO. 
 
 33 
 
 found, and it has been supposed that the latter stood in 
 the cella as the object of worship. The attempt to con- 
 nect this type with Euphranor, an artist who flourished 
 about 375-330 B.C., lacks a satisfactory basis. 
 
 Galleria Giustiniana, i, 3. Nibby , Museo Chiaramonti, ii, 4. 
 Muller - Wieseler, Denkmaler der alten Kunst, ii, T. 19, 205. Come, 
 Heroen- und Gottergestalten, T. 28. Brunn und Bruckmann , Denk- 
 maler griechi setter und romischer Sculptur , No. 200. Comp. 
 Friederichs-W otters , Bausteine, No. 1436. Roscher , Lexikon der 
 griech. und rom. Mythologie, i, p. 702. Furtwaengler, Masterpieces, 
 pp. 359-363, Fig. 157. For the Attic relief, see Arch. Zeitung, 
 xxxv (1877), T. 15, p. 170, No. 101. Bull, de correspondance 
 hellenique, ii (1878), PI. xn, pp. 560 et seq. Comp. Studniczka , 
 Yermuthungen zur griech. Kunstgeschichte, p. 10. 
 
 52 (115). Portrait-Head of a Roman. 
 
 The point of the nose, part of the back of the head, and 
 the bust are modern. 
 
 This head also, both from its facial type and its art- 
 istic character, appears to represent a Roman of the 
 transition-period between the Republic and the Empire. 
 It exhibits a certain resemblance to the portrait (shown 
 on some very rare gold coins) of Gnseus Domitius Aheno- 
 barbus, who defeated Domitius Calvinus at Brundusium 
 in 42 B.C. and abandoned Mark Antony for Octavian 
 shortly before the battle of Actium. 
 
 Bernoulli , Romische Ikonographie, i, T. 20, p. 200. 
 
 53 (117). Statue of Claudius. 
 
 Formerly in the Palazzo Ruspoli. The right forearm and 
 the scroll are modern. The head, though not in one piece 
 with the body, seems to belong to it. 
 
 In contrast to the bust No. 7 (18), this statue so ac- 
 centuates the ludicrous peculiarities of Claudius, his awk- 
 ward movement, and the stupid expression of his face, 
 that we are led to suspect it of being a deliberate cari- 
 cature. If the statue were executed after the death of 
 Claudius, this style of representation need cause no sur- 
 prise. For Nero, though he honoured his predecessor by 
 apotheosis, took peculiar pleasure in hearing the new- 
 made god contemned and dragged through the mud. We 
 Helbig, Guide I. 3 
 
34 
 
 VATICAN. 
 
 have only to recall the Ludus de morte Claudii, written 
 by Seneca, who stood in the best relations with Nero dur- 
 ing the first few years of his reign. 
 
 Nibby , Museo Chiaramonti, n, 31. Bernoulli , Romische Ikono- 
 graphie, n, 1, p. 332, No. 4. 
 
 54 (118). Head of a Dacian, probably dating from the 
 
 reign of Trajan. 
 
 The nose, parts of the hair, and the bust are restored. 
 Nibby , Museo Chiaramonti, n, 47. 
 
 55 (120). Satyr Resting. 
 
 Formerly in the Palazzo Ruspoli. The nose, right fore- 
 arm and pedum (except the upper end next the arm), two 
 fingers on the left hand, various parts of the panther-skin, 
 the left foot, the great toe of the right foot, and the upper 
 part of the stem are restorations. 
 
 This statue is a copy of a figure of the second Attic 
 school, probably by Praxiteles. But while the original 
 seems to have held a flute in the right hand, the figure 
 before us holds a pedum. Details as to this type, see 
 under No. 525. 
 
 Pistolesi , iv, 31. Comp. Braun , Ruinen und Museen, p. 249, 
 No. 15. Ann. dell’ Inst., 1877, p. 218, note 1. Furtwaengler , Master- 
 pieces, p. 329. 
 
 56 (123). Hude Statue, with the head of Lucius Verus. 
 
 Freely retouched. Both arms , the Victoria , the lower 
 part of both legs, and the plinth are modern. 
 
 The antique head of Lucius Yerus (d. 169 A. D.), 
 placed upon this statue, does not properly belong to it. 
 This head, especially the hair and beard, which are exe- 
 cuted with the drill, are examples of the careful but rest- 
 less workmanship of that date. 
 
 Nibby , Museo Chiaramonti, n, 40. Pistolesi, iv, 31. Clarac , v, 
 PJ. 958, No. 2461. Baumeister , Denkmaler des klassischen Alter- 
 thums, hi, p. 2011, Fig. 2165. Comp. Bernoulli , Rom. Ikon., ii, 2. 
 p. 208, No. 1, p. 217. 
 
 57 (124). Bust of the Emperor Philippus Arabs (244-249 
 
 A.D.). 
 
 The point of the nose is restored. 
 
BRACCIO NUOVO. 
 
 35 
 
 This animated head affords a striking proof that at a 
 period when other branches of the plastic art were at a 
 very low ebb, portraiture was still flourishing (comp. 
 Nos. 226, 309, 567). Note especially the fidelity to na- 
 ture with which the slight cast in the eye is represented. 
 
 Guattani , Monumenti anticlii inediti, anno 1784, Luglio, T. ii, 
 p. 60. Pistolesi , iv. 29. 
 
 58 (126). Doryphoros, after Polycleitos. 
 
 The nose, left forearm, most of the right arm, parts of 
 both legs, the right toes, lower part of the stem, and the 
 right side of the plinth are modern. 
 
 This statue represents a thickset youth, with the 
 weight of his body resting on his right leg, at the precise 
 moment of arresting his steps and coming to a standstill. 
 The natural supposition that the left hand held a spear 
 resting on the shoulder and that the right hand hung 
 empty by his side, is rendered probable from a figure in 
 this attitude and otherwise closely corre- 
 sponding to the statue, carved on a gem in 
 the Berlin Museum (Fig. 4). If this be in 
 truth the original conception, it seems be- 
 yond doubt that the statue in the Vatican 
 and its replicas are copies of the Doryph- 
 oros (spear-bearer) of Polycleitos,, a work in 
 bronze that enjoyed great fame in antiquity. 
 
 The statue before us displays all the peculiarities that are 
 traditionally ascribed to that master’s style. Polycleitos 
 is said to have designed his figures more massive and 
 broad than elegant and slender, and Lysippos is reported 
 to have presented in this particular a marked contrast to 
 his great predecessor. Such a contrast is at once apparent 
 when we compare this Doryphoros with the Apoxyomenos 
 (No. 31). Another report mentions it as a peculiarity of 
 figures by Polycleitos, that the weight of the body rested 
 on one leg, by which it is apparently to be understood 
 that Polycleitos found out the method of giving the human 
 figure a firm stand with the least expenditure of strength. 
 This peculiarity also appears in the figure before us. 
 
 3* 
 
 Fig. 4. 
 
36 
 
 VATICAN. 
 
 Quintilian (Inst., v, 12, 21) says of the Doryphoros that 
 he appears ready either for war or for the exercises in the 
 palaestra; and the remark applies admirably to the Vati- 
 can statue. Finally no detailed proof is necessary that 
 this statue had a bronze original (comp. No. 32). Poly- 
 cleitos intended his Doryphoros to be a pattern of the 
 proportions that, in his view, should be observed in treat- 
 ing the human figure , and thus his statue was known 
 among the ancients as the Canon of Polycleitos. Like 
 most of the types due to this master, the Doryphoros 
 displays careful finish in the forms, accompanied by but 
 an insignificant intellectual content. 
 
 Pistolesi , iv, 30, 2. Clarac , v, PI. 862, No. 2195. Comp. Ann. dell’ 
 Inst., 1878, pp. 5—10. Overbeck , Geschichte der griechischen Plastik, 
 l4 , pp. 511-513, 526-527, notes 14-18. Friederichs-Wolters , Bau- 
 steine, No. 503-507. Abhandlungen des arcli.-epigr. Seminars of 
 Vienna, viii (1890), p. 42. Loewy , Lysipp und seine Stellung in 
 der griechischen Plastik, pp. 5-7, 23, 24. Collignon , Histoire de la 
 sculpture grecque, i, pp. 488-496, Furtwaengler , Masterpieces, 
 pp. 226-231. 
 
 59 (127). Head of a Parthian, probably of the time of 
 
 Trajan. 
 
 Found in Trajan’s Forum. Parts of the cap and beard, 
 both ears, and the bust are modern. 
 
 Pistolesi , iv, 29. 
 
 60 (129). Statue in Armour, with the head of Domitian. 
 
 Formerly in the Palazzo Giustiniani. The nose, chin, 
 both arms (and the globe), the legs, stem, and plinth are 
 restorations. 
 
 The head of Domitian is let into the body, but it is 
 probably the original, as it harmonizes with the body 
 both in material and workmanship. 
 
 Galleria Giustiniana, i, 98. De Rossi , Raccolta di statue, T. 89. 
 Nibby, Museo Chiaramonti, n, 36. Clarac , v, PI. 974, No. 2502. Ber- 
 noulli^ Rom. Ikon., n, 2, T. xix, p. 55, No. 1. Comp. Winckelmann, 
 Geschichte der Kunst, xi, 3, § 21 , and Meyer- Schulze's comments 
 on the passage. Bonner Studien (Berlin, 1890), p. 15. 
 
 61 (132). Hermes. 
 
 Formerly in the garden of the Quirinal. The little finger and 
 ring-finger of the right hand, the left forearm, the front part of 
 the left upper arm, the caduceus, and the toes are restorations. 
 
BRACCIO NUOYO. 
 
 37 
 
 The restoration of this statue as Hermes, which was 
 carried out under Pius VII. on the suggestion of Canova, 
 seems correct; for youthful figures re- 
 sembling this statue in attitude and 
 clothing, and identified as Hermes by 
 the petasos and the serpent-staff, occur 
 on some carved gems (Fig. 5). The 
 head, which is antique (nose restored) 
 but does not belong to the statue, re- 
 produces the type of Hermes discussed 
 below underNo. 145. It was discovered 
 near the Colosseum in the reign of Pius VII., and placed on 
 this statue, which had previously borne a head of Hadrian. 
 
 Visconti e Guattani , Museo Chiaramonti, T. 22. Pistolesi , iv, 30. 
 Clarac , iv, Pl. 663, No. 1535. The statue in its former condition seems 
 to he represented in De Cavalleriis , Anti quae statuae urhis Romae, 
 T. 41. As to the head, see Amelung , Florentiner Antiken, p. 37. 
 
Museo Chiaramonti. 
 
 Our examination begins with Section I, adjacent to 
 the Galleria Lapidaria. 
 
 Section I. 
 
 To the left, 62 (13). Winter. 
 
 The restorations include the head, neck, right shoulder, 
 parts of the left hand and right foot, lower part of the pine- 
 hranch, and yarious portions of the Cupids. 
 
 Winter is here personified by a recumbent female 
 form. The ample, many-folded garment in which she is 
 enveloped indicates the cold of the season; the Cupids 
 playing with ducks and the tortoise symbolize the win- 
 ter-rains. 
 
 Clarac , in, PI. 448, No. 822. Museo Chiaramonti, hi, 7. 
 Muller- Wieseler , Denkmaler der alten Kunst, n, 75, 966. Bau- 
 meister, Denkmaler des kl. Altertliums, i, p. 703, Fig. 761. Birt, 
 De Amorum in arte antiqua simulacris (Marpurgi, 1892), T. iv, 
 p. xxvii. Comp. Ann. dell’ Inst., 1852, p. 229. 
 
 To the right, 63 (6). Autumn. 
 
 The head, neck, both shoulders, left arm, most of the 
 right breast and the adjacent part of the robe, right hand 
 with the grapes (traces of which were apparent), most of 
 the vine in the left hand, and many portions of the Cupids 
 are modern. 
 
 The figure is less heavily clad than its companion- 
 piece (No. 62). The bunch of grapes and the vine in the 
 hands, and the activity of the surrounding Cupids sym- 
 bolize the autumnal vintage. 
 
 Clarac , m, PI. 447, No. 821. Museo Chiaramonti, iii, 6. 
 
MUSEO CHIARAMONTI. 
 
 39 
 
 Section III. 
 
 To the left, 64 (55). Statuette of Hebe(?). 
 
 In Pentelic marble. The plinth is modern. 
 
 This torso, so fresh in execution, should perhaps be 
 restored so as to present a girl pouring some liquid from 
 a pitcher, held in her uplifted right hand, into a cup, held 
 in her outstretched left hand. The girlish figure and the 
 treatment are appropriate to Hebe, the cupbearer of the 
 gods; while the Doric chiton, open on one side, seems to 
 have been typical of Hebe in the freer style of art. 
 
 KeTcule, Hebe, T. hi, 1, p. 51. 
 
 To the right, 65 (28). Head of an Amazon. 
 
 Half of the nose is modern. 
 
 This head belonged to a copy of the Amazon of Po- 
 ly cleitos. It is important for the restoration of the statue 
 representing the same original (comp. No. 32), as the 
 thumb touching the crown of the head has been preserved. 
 Jahrbuch des Arch. Instituts (1886), p. 16 l. 
 
 Section Y. 
 
 To the right, 66 (79). Fragment of a Group, Scylla. 
 
 The hand of Scylla and the ‘head of a companion of 
 Ulysses, whom she has grasped, now alone remain. The 
 conception and style imply a Hellenistic original. 
 
 Arch. Zeitung, xxiv (1866) , T. 208, Nos. 1, 2, pp. 154-159, 
 xxviii (1870), p. 57. 
 
 Section VII. 
 
 To the left, below, 67 (166). Head of a Youth with fillet. 
 
 Freely worked over. The front of the nose and the lips 
 are restorations. 
 
 This head is a copy of a Greek bronze original, dat- 
 ing from the transition period between the archaic and 
 the freer style of art; and reveals a close relationship to 
 the Charioteer, No. 597. 
 
 Bull, della commissione archeologica communale di Roma, xvi 
 (1888), T. xv, xvi, 3, 4, p. 357. 
 
40 
 
 VATICAN. 
 
 To the left, 68 (165). Head of a Barbarian Woman, 
 
 perhaps a German. 
 
 The hose, parts of the hair, and the bust are modern. The 
 surface is injured by reckless reworking. 
 
 Comp. Lutzow's Zeitschrift fur bildende Kunst, vii (1872), 
 pp. 331, 332, and the accompanying plate. Baumeister , Denkin. d. 
 kl. Alterthums, i, p. 252, Fig. 234. Friedericka-Wolters , Bausteine, 
 No. 1565. Revue archeol., 3, serie xm (1889), p. 193. 
 
 To the right, below, 69 (139). Head of an Ephebos. 
 
 The nose, right side of the head, parts of the lillet, and 
 the bust are modern. 
 
 This type, well-known from several replicas, is ob- 
 viously derived from that of Polycleitos (comp. No. 58). 
 The fillet round the head proclaims the youth a victor in 
 athletic contests, and the swollen ears indicate that he 
 was a boxer. Two theories as to the meaning of this type 
 deserve consideration. One is based upon Pliny’s state- 
 ment (Nat. Hist., 34, 16) that all victors at Olympia were 
 honoured with statues, which, however, were portrait- 
 statues only in the case of victors in three competitions. 
 It has therefore been justly concluded that the statues of 
 those who had conquered only once or twice represented 
 some ideal type of common applicability, while it has been 
 farther suggested that the Peloponnesian sculptors adopt- 
 ed for this purpose a type derived from the work of Po- 
 lycleitos, as represented in the replica in the Vatican and 
 elsewhere. According to this theory, all these replicas 
 are Homan copies of heads of such ideal statues of victors. 
 Another scholar propounds the different view that this 
 statue is a type of Heracles, conditioned by the rules of 
 Polycleitos, a view that is endorsed by the fact that He- 
 racles was in fact frequently represented with the victor’s 
 fillet and swollen ears (comp. Nos. 113, 242, 470). 
 
 Brunn und Bruckmann , Denkmaler, No. 338. Bull, dell’ In- 
 stit., 1867, p. 35. Romische Mitteilungen , iv (1889), p. 215. 
 Furtwaengler , Masterpieces, p. 234, note 1. 
 
 To the right, above, 70 (135). Head of a Homan, with 
 the toga covering the back of the head. 
 
 The neck and bust are modern. 
 
MUSEO CHIARAMONTI. 
 
 41 
 
 The vigorous execution of this highly characteristic 
 head refers it to the end of the Republic or the beginning 
 of the Empire. 
 
 To the right, below, 71 (144). Bust of a Bearded Hero. 
 
 Formerly in tire possession of Pacetti, the sculptor. The 
 point of the nose, the left ear, and the hair surrounding the 
 latter are restorations. 
 
 This fine head shows a curious blending of majesty 
 and effeminacy. It was formerly assumed that the mass 
 of hair rising above the forehead covered the small horns 
 with which ancient art sometimes furnished Dionysos; 
 and it was accordingly supposed that the head repre- 
 sented this god. But it would have been strange indeed, 
 if the typical characteristic had been concealed in this 
 manner. The older identification has, thus, been rejected 
 by recent authorities, who see in the work the head of 
 some hero, who cannot be more closely identified at pre- 
 sent. The attempt to ascribe the original to Pheidias or 
 some closely related artist of about 450-440 B.C. is con- 
 tradicted by the individual expression, by the softness of 
 the flesh-modelling, and by the restless disposition of the 
 beard. The writer cannot date the creation of the type 
 earlier than the beginning of thp fourth century B.C. 
 
 Visconti e Guattani , Museo GMaramonti, T. 33. Furtwaenglcr , 
 Masterpieces, p. 64, Fig. 19. Comp. Amelung , Florentiner An- 
 tiken, p. 17. 
 
 To the right, below, 72 (145). Youth’s Head with fillet. 
 
 The nose, parts of the hair, and the bust are modern. 
 
 A youthful head in Parian marble was found in 1885, 
 during excavations carried on by the Greek Archaeolo- 
 gical Society in the cella of a temple near the Lesser Pro- 
 pylaea at Eleusis, at the same time with several votive 
 offerings provided with inscriptions and dedicated to the 
 infernal deities of Eleusis. The suggestion that this head 
 belonged to a statue, by Praxiteles, of the Eleusinian 
 infernal deity Eubuleus or Eubulos has recently been 
 decisively refuted, and it has been demonstrated almost 
 
42 
 
 VATICAN. 
 
 beyond a doubt that the head represents Triptolemos. 
 The type indeed shows a strong affinity with the art of 
 Praxiteles, and may have originated either with him or a 
 closely related artist. This so-called type of Triptolemos 
 was adapted in Italy, under various modifications, for the 
 personification of native religious ideas, as, e.g ., to repre- 
 sent Vertumnus, Bonus Eventus, or various genii; and 
 the head in the Vatican belongs to this class of represent- 
 ations derived from the Attic original. The manner in 
 which the brows are indicated has no analogy in the Hel- 
 lenic ideal type and is apparently an addition due to the 
 Italic sculptor. 
 
 Visconti e Guattani , Museo Chiaramonti, T. 10. Muller- Wie- 
 seler , Denkmaler der alten Kunst, n, 11, 19. Comp. Overbeck , 
 Kunstmythologie, iv, Apollo, p. 118. For the Eleusinian head, see 
 Antibe Denkmaler, published by the Arch. Institut, i (1888), T. 34. 
 Comp. Revue archeologique , 3, serie xi (1888), p. 65. Hermes, 
 xxv (1890), p. 14, remarks. Athenische Mittheilungen, xvi (1891), 
 pp. 19 et seq. Von Duhn , Verzeichnis der Abgiisse zu Heidelberg, 
 p. 57, No. 247 R. Furtwaengler , Masterpieces, pp. 330-334 (where 
 the identification with Eubuleus is defended). 
 
 Section VIII. 
 
 To the right, 73 (176). Daughter of Niobe. 
 
 Found near Tivoli, and formerly in the garden of the 
 Quirinal. 
 
 The maiden is represented fleeing towards the right, 
 where we must suppose her mother stood as the centre 
 of the original group. The right hand was raised above 
 the right shoulder to secure the fluttering mantle , while 
 the left hand was stretched in alarm to the side, with the 
 palm turned towards the beholder. This figure is one of 
 the most beautiful draped statues in Rome, and un- 
 doubtedly represents the original much more faithfully 
 than the corresponding figure at Florence, which is of 
 lower stature and less massive forms. In the Florentine 
 example the lower part of the chiton is occupied by 
 a series of small creases , which produce a restless and 
 disturbing effect, whereas the large simple folds of the 
 
MTJSEO CHIARAMONTI. 
 
 43 
 
 Vatican statue permit the movement and form of the 
 maiden to appear throughout with admirable clearness. 
 The sculptor has expressed with masterly skill the char- 
 acter of the robe as a distinct covering, even where it 
 lies close to the body. The folds at no point cut into the 
 flesh, but on the contrary seem to follow all its lines and 
 curves. The delicate handling in this particular may be 
 appreciated by comparison with the adjoining statue of a 
 Muse, in which the folds frequently seem to penetrate 
 the flesh. 
 
 Stark , Niobe, T. 12, p. 265. Gazette archeologique, hi, PI. 27, 
 p. 140, note 2, pp. 171, 172. Ouer&ecfc, Geschichte der griechi- 
 schen Plastik, n 4 , p. 87, Fig, 164, p. 88. Murray , History of Greek 
 Sculpture, n, PI. 28, p. 314. Baumeister , Denkmaler des kl. Alter- 
 fhums, hi, p. 1674, Fig. 1745. Brunn und Bruckmann , Denkmaler, 
 No. 313. Comp. Friederichs- Wolters, Bausteine, No. 1261. Furt- 
 waengler , Masterpieces, p. 394 (where it is asserted that the treat- 
 ment of the folds shows the influence of Hellenistic taste). 
 
 To the left, 74 (179). Sarcophagus, with the story of 
 Alcestis. 
 
 Found at Ostia. The inscription informs us that the 
 sarcophagus was ordered by Caius Junius Euhodus, Ma- 
 gister Quinquennalis in the 21st lustrum of the carpent- 
 ers’ guild (Collegium) at Ostia, for himself and his wife 
 Metilia Acte, priestess of the Mater Magna in the colony 
 of Ostia. 
 
 As the twenty-first lustrum of the Collegium of which 
 Euhodus was Magister fell in the first decade of the 
 reign of Marcus Aurelius, this sarcophagus must have 
 been executed between 160 and 170 A.D. Admetos is 
 represented with the portrait-head of Euhodus, Alcestis 
 with that of Acte his wife. The hair in both cases is 
 dressed in a manner customary in the time of the An- 
 tonines. In the central scene Alcestis is represented on 
 her death-bed, stretching out her hand in a last farewell 
 to her husband Admetos, who approaches her weeping. 
 In front of the couch are a boy and a girl, weeping for 
 their dying mother. Immediately behind Admetos stands 
 the children’s tutor, and behind him is Apollo, patron- 
 god of the family, on the point of quitting the dwelling, 
 
44 
 
 VATICAN. 
 
 as he may not remain under the same roof with a corpse. 
 At the extreme left are the mourning retainers of Ad- 
 metos , among whom a huntsman may he identified by 
 the spear in his left hand and by the dog which he holds 
 in a leash. On the right side two distinct episodes of 
 the story are united in a somewhat unintelligible manner. 
 The infernal deities , Hades and Persephone, appear at 
 the end of the relief to the right. The former is making a 
 gesture with his hand which can only refer to the per- 
 mission granted to Alcestis to return to earth, while the 
 following scene represents Heracles already conducting 
 the rescued queen back to her husband. Beneath the 
 hands of the two last-named figures we see the entrance 
 to the underworld, with the three-headed Cerberus within. 
 The three female figures in the background (one holding 
 a roll of destiny) are the Moirse or Fates. 
 
 Gerhard, Antike Bildwerke, T. 28 ; Prodromus, p. 273. Millin , 
 Gal. myth., PI. 154, No. 559, 560. Guigniaut, Rel. de l’ant., PI. 
 228, Nos. 771-778. Museo Chiaramonti, in, 10. For the left side of 
 the relief: Arch. Zeitung xxi (1863), T. 179, 3. For the figure of 
 Apollo : Overheck , Kunstmythologie, iv, p. 296, No. 1 ; Atlas, xxn, 
 20. Comp. Bull, dell’ Inst., 1849, pp. 101-105. Arch. Zeitung, xxi 
 (1863), pp. 106 et seq. Gazette archdologique, i (1875), pp. 105 et 
 seq. Dissel, Der Mythus von Admetos und Alkestis (Brandenburg 
 an der Havel, 1882), pp. 11 et seq. Romische Mittheilungen, vm 
 (1893) pp. 175-179. Corpus inscrip, lat., xiv, 371. 
 
 Section IX. 
 
 To the left, 75 (229). Double Hernia, uniting in a re- 
 markable manner an archaic and a free type of 
 Silenus. 
 
 Museo Chiaramonti, hi, 9. Pistolesi , iv, 55. Comp. Ann. dell’ 
 Inst., 1877, p. 199, note 1, p. 234. 
 
 Section X. 
 
 To the left, 76 (244). Colossal Head of a Water-God. 
 
 Found in Hadrian’s Tiburtine Villa. 
 
 This head, though treated as a decoration, produces 
 
MUSEO CHIARAMONTI. 
 
 45 
 
 an imposing effect. From the open mouth it may be con- 
 cluded to have served as the water-spout of a fountain. 
 
 Penna, Yiaggio pittorico della Yilla Adriana, hi, 48. 
 
 To the right, 77 (241). Goddess nursing a Child. 
 
 The right shoulder and arm are modern, hut the hand 
 is antique. 
 
 This statue is usually described as Hera suckling 
 Heracles or Ares. The features, however, are of a milder 
 cast than occurs even in the latest types of this goddess 
 (comp. No. 50), and express a maternal feeling such as is 
 found in the case of Demeter, but never in that of Hera. 
 The recently suggested identification with Rhea suckling 
 the infant Zeus is opposed to the tradition that Rhea gave 
 her son to be nursed by the she-goat Amalthea. It is 
 more probable that the statue represents some beneficent 
 goddess given to the care of children, such as the Greek 
 Ge Curotrophos or the Praenestine Fortuna Primigenia. 
 
 Winclcelmann , Monumenti antichi inediti, i, T. 14, p. 14. Vis- 
 conti , Museo Pio-Clem., i, 4. Overheck, Kunstmythologie, n, p. 832, 
 No. 16; Atlas, iv, 11. Baumeister , Denkmaler des klass. Alterthums, 
 i, p. 650, Fig. 720. Comp. Gerhard , Prodromus , p. 48. Roscher , 
 Lexikon dex griech. und rom. Mythologie, i, p. 2113. For the 
 Praenestine Fortuna Primigenia: Garrucci , Dissertazioni archeo- 
 logiche, Tab. xn, 1, p. 152, •• 
 
 Section XI. 
 
 To the right, below, 78 (263). Portrait-Bust of a Woman. 
 
 The point of the nose, the ears, the hunch of hair over 
 the hrow, and the hack-hair are restorations. 
 
 The manner in which the hair of this exceedingly 
 animated bust is arranged (the knot over the brow being 
 specially characteristic) seems to refer it to the beginning 
 of the Empire. The most prominent qualities of the sub- 
 ject of the bust appear to have been a tendency to worry 
 and a love of gossip. The mouth in particular has a very 
 individual character. 
 
 Brunn und Arndt, Griechis'che und romische Portrats, Nos. 177, 
 178. For the style of hair-dressing, comp. Ovid , Ars amandi, m, 
 
46 
 
 VATICAN. 
 
 139, and Monumenti antichi pubbl. per cura della realc Accademia 
 de’ Lincei, i (1891), p. 676, note 5. 
 
 Section XII. 
 
 To the right, 79 (295). Torso of Hermes. 
 
 This has belonged to a somewhat commonplace, though 
 not wholly unskilful, copy of the well-known group by 
 Praxiteles, in which Hermes holds the infant Dionysos 
 on his arm (discovered near its base at Olympia on May 
 8th, 1877). 
 
 Section XIII. 
 
 Let into the wall on the right, 80 (300). Fragment of a 
 Shield, with a relief of a battle between the 
 Greeks and the Amazons. 
 
 This is part of a marble copy of the Pheidian Athena 
 Parthenos, whose shield bore a similar decoration. Comp. 
 No. 600. 
 
 Jahn, Aus der Alterthumswissenschaft , T. n, 2, p. 218. Mi- 
 chaelis , Der Parthenon, T. 15, No. 35, p. 284. Comp. Abhandlungen 
 der phil.-hist. Classe der sachs. Gesellschaft der Wissenschaften, 
 vm (1883), pp. 600 et seq. Furtwaengler , Masterpieces, p. 48. 
 
 Section XIV. 
 
 To the left, 81 (356). Upper portion of a Colossal Statue 
 of a Captive Parthian. 
 
 Formerly in the Villa Negroni. The nose and hands 
 are restored. 
 
 The head is of white marble, the draped body of col- 
 oured Phrygian marble (paonazzetto). 
 
 Beschreibung der Stadt Rom, n, 2, p. 62, No. 354. 
 
 To the right, 82 (353). Girl between two Cupids. 
 
 Formerly in the Quirinal Garden. Portions of the right 
 arm, of the right hand with the apples (perhaps indeed 
 the entire hand and apples), the left forearm and arrow, 
 and parts of the left shoulder, and of the left foot, in- 
 cluding the toes, are restorations. The head may possibly 
 belong to another statue. 
 
 The maiden is represented sitting by a brook, the 
 
MUSEO CHIARAMONTI. 
 
 47 
 
 water of which is plastically reproduced. Two Cupids 
 were placed beside her, of each of whom only a single foot 
 remains ; the bow and quiver lying beside the brook must 
 have belonged to one of them. It is impossible to ascer- 
 tain the original motive of the group, owing to the very 
 imperfect preservation of the figures. It is even an open 
 question whether it represents a mythological or a genre 
 scene. In the latter case the group consisted simply of a 
 maiden toying with Cupids on the banks of a brook. The 
 decorative but elegant execution refers the work to the 
 first century of the Empire. 
 
 Clarac , iv, PI. 603, No. 1325. Ann. dell’ Inst., 1879, Tav. 
 d’agg. m 1, pp. 229-236. Comp. Johns Jahrbucher, 1881, pp. 231- 
 234. Hartwig , Herakles mit dem Fiillhorn (Leipzig, 1883), p. 721. 
 
 Section XV. 
 
 83 (360). Attic Relief of the Three Graces, above, to 
 the right, let into the wall. 
 
 Found in 1769 near the Hospital of S. Giovanni in 
 Laterano. Pentelic marble. The left lower corner of the 
 relief, the nose of the figure to the right, and patches on 
 the feet of the others have been restored. 
 
 In Athens the Graces had a shrine at the entrance to 
 the Acropolis, which, after the erection of the Propylaea, 
 was removed to some unascertained part of that building. 
 The Vatican relief and another similar to it (formerly in 
 the possession of the Giustiniani at Rome, now in the 
 Gregoire-Stroganoff collection) are votive-reliefs, origin- 
 ally placed in the temple of the Graces and thence re- 
 moved to Rome. The Vatican relief, which was found 
 buried in the ground, was probably brought to Rome in 
 antiquity, while the other (like many of the antiques be- 
 longing to the Giustiniani) was perhaps first transferred 
 from Greece to Italy by the Venetians. The Attic origin 
 is vouched for, not only by the Pentelic marble, but also 
 by the fact that fragments of similar reliefs have been 
 found on the Acropolis at Athens. The Graces are re- 
 presented holding each other by the hands and advancing 
 
48 
 
 VATICAN. 
 
 in a dance not less dignified than graceful. That all the 
 reliefs to which reference has been made above date from 
 about the second quarter of the 5th cent. B.C., is indi- 
 cated by the constrained expression of the movement, the 
 thickset bodies, and the conventional arrangement of the 
 hair, combined with a certain freedom in the handling of 
 the drapery. The principles which prevailed in the treat- 
 ment of reliefs at the zenith of art were not yet fully de- 
 veloped. In particular, the manner in which the forearms 
 of the three figures are detached from the background 
 finds no analogy in the best period. A relief at the en- 
 trance to the Acropolis, representing the draped Graces, 
 was in Athens believed to be from the chisel of Socrates, 
 son of Sophroniscos, who worked as a sculptor in his 
 youth. Since the style of the reliefs as we know them 
 harmonizes with that of the date of Socrates’s youth, it 
 has been supposed that one of the extant examples, or a 
 lost one of similar character, was the work attributed to 
 him. This supposition is supported by the fact that on 
 the reverse of some Attic tetradrachmas and drachmas 
 coined in Hellenistic times, the name of an official called 
 Socrates appears beside three female figures correspond- 
 ing to the group in the relief. It may easily be supposed 
 that this later Socrates wished in this way to recall the 
 fame of his great namesake. 
 
 Cavaceppi , Raccolta di antiche statue, in, 13. Arch. Zeitung, 
 xxvii (1869), T. 22, 1, pp. 55 et seq. Come , Heroen- und Gcitter- 
 gestalten, T. 87, 1. Baumeister , Denkm'aler des klass. Altertliums, i, 
 p. 375, Fig. 411. Comp. Arch. Zeitung, xxv (1867), p. 11 ; xxvm 
 (1870), pp. 83 et seq. Mittheilungen des Arch. Instituts in Athen, 
 hi (1878), pp. 181 etseq.; v (1880), pp.211-213. Friederichs-Wol- 
 ters, Bausteine, No. 118. Roscher , Lexikon der griechischen und 
 romischen Mythologie, i, p. 882. Bulletin de correspondance helM- 
 nique, xm (1889), pp. 472-476. Furtwaengler , Masterpieces, pp. 20, 
 23, note 1, p. 29. 
 
 Above, to the right, 84 (363). Archaic Head of a Wo- 
 man, from about the middle of the 5th cent. 
 B.C. , of great interest from its relationship to 
 the sculptures of the temple of Zeus at Olympia. 
 
 The nose is restored. 
 
MUSEO CHIARAMONTI. 49 
 
 Romische Mitteilungcn, i (1886), T. xi, pp. ‘200-202; n (1887), 
 p. 106, note. 
 
 Below, to the right, 85 (372 a). Boeotian (Sepulchral ?) 
 Belief. 
 
 Brought among the spoils of war from Greece hy the 
 Venetians under Morosini in 1687, this relief passed first 
 into the possession of Doge Marcantonio Giustiniani, 
 thence to the palace of the Giustiniani at Rome, after- 
 wards to the Camuccini Collection, and was finally added 
 to the Vatican treasures under Pius VII. The nose of the 
 rider is restored. 
 
 2>. The Boeotian, origin of this relief is proved by its 
 material, a kind of limestone peculiar to Boeotia, and 
 never known to have been used outside that region. The 
 art of Boeotia in the 5th cent. B.C. had no independent 
 course of its own, but followed Attic models more or less 
 closely. Thus the present relief is based upon the Attic 
 art of the Pheidian period. It recalls the frieze of the Par- 
 thenon, though it is in bolder relief and its style more 
 free. We may note especially the admirable representation 
 of the muscular tension of the hand holding the reins and 
 the masterly skill with which the intense physical life in- 
 spiring the rider’s body is indicated, even under his robe, 
 by the expansion of his chest. The reins, originally bronze, 
 were fastened in the hole in front of the rider’s right 
 hand. A fragment of garment below the horse’s head 
 proves that a second figure (probably another rider) ori- 
 ginally stood here. This is indicated also by the manner 
 in which the horse tosses his head and looks to one side. 
 He seems to be attempting to overtake another horse, 
 but is held back by his rider, as is apparent from the 
 position of the latter’s hand. 
 
 Nibby, Museo Chiaramonti, ii, 45. Arch. Zeitung, xxi (1863), 
 T. 170, 2, p. 12. Comp. Mittheilungen des Arch. Instituts in A then, 
 iv (1879), pp. 273, 274. Farther references are given in the latter 
 publication (p. 273, note 1) and in Friederichs-Wolters, Bausteine, 
 No. 1205. See also Haussoulier , Quomodo sepulcra Tanagrsei de- 
 coraverint (Paris, 1884), p. 46. 
 
 Helbig, Guide I. 
 
 4 
 
50 
 
 VATICAN. 
 
 Section XVI. 
 
 To the right, 86 (399). Colossal Head of Tiberius. 
 
 This was found in 1812 at Veii, along with the head 
 of Augustus (No. 88), probably a companion-piece, and a 
 statue of Tiberius (No. 87). For the discovery, see Canina , 
 L’antica cittk di Veii, pp. 83 et seq. 
 
 This head, executed in a decorative style, and two 
 statues in this gallery — one (No. 87 : 400) also from Veii, 
 the other (No. 93 : 494) from Privemum ^Pipemo) — afford 
 most interesting materials for the iconography of Tiberius. 
 The statue from Privernum represents the emperor in 
 comparative youth. The cautious and reserved character 
 that distinguished Tiberius, especially during the first 
 years of his reign, are here indicated by the thin lips, a 
 little open and drawn down on the left side. The sculp- 
 tures from Veii show him at a more mature age. The 
 mouth of the colossal head still exhibits a somewhat 
 pinched appearance, while the sculptor of the statue 
 endeavoured to banish this peculiarity, and to give the 
 emperor an expression of majestic satisfaction. 
 
 Bernoulli, Romische Ikonographie, ii, i, p. 145, No. 5. 
 
 87 (400). Statue of Tiberius, with the Corona Civica or 
 
 garland of oak-leaves. 
 
 Found at Veii. The right forearm and the inner side 
 of the right upper arm are restorations ; also the index 
 and middle fingers of the left hand , most of the sword 
 (part of the hilt is antique), the front of the right foot, 
 the lower part of the throne, and nearly the entire plinth. 
 
 Comp. No. 86 (399). 
 
 Nibby , Museo Chiaramonti, ii, 27. Pistolesi , iv, 44. Bernoulli, 
 Romische Ikonographie, n, i, pp. 145-147, Fig. 19. 
 
 88 (401). Colossal Head of Augustus. 
 
 From Veii. 
 
 This head appears to be a pendant to No. 86 (399). 
 It represents the emperor in early manhood and con- 
 siderably idealized. 
 
 Bernoulli , Rom. Ikon., n, 1, p. 27, No. 8 ; p. 28, Fig. 3. 
 
MUSEO CHIARAMONTI. 5l 
 
 Section XVII. 
 
 To the right, below, 89 (420). Hernia of Hephsestos. 
 
 Found in the Piazza di Spagna , during the excav- 
 ations for the Column of the Immacolata. The front of 
 the nose, portions of the hair, and a part of the hreast 
 have been restored. 
 
 In mythology Hephsestos is a god whose activity is 
 almost entirely confined to his workshop. There, apart 
 from the hustle of the world without, he produces splen- 
 did works of art, showing himself obliging to all the 
 gods who seek his services. This character is admirably 
 expressed in the type of the head before us. Its traits are 
 broad and powerful, the glance benevolent and passion- 
 less, while the hair and beard in which the countenance 
 is framed produce an impression of tranquillity. The oval 
 cap was the usual headgear of the mechanic. Its length 
 forms a contrast to the breadth of the face ; while the easy 
 manner in which it is worn harmonizes with the domin- 
 ant expression in the latter (comp. No. 124). The right 
 eye, and indeed the whole right side of the face, appears 
 distinctly lower than the left. Though a similar treat- 
 ment is found in many antique heads , the peculiarity in 
 the present case is so marked that it has been conject- 
 ured, with the greatest probability, that it is meant to 
 indicate a distinguishing character of the god here repre- 
 sented. Hephsestos, as is well known, was lame. Ex- 
 perience teaches us that the atrophy of a limb frequently 
 has an effect upon the shape of the face. May not the 
 artist, who conceived this type, have sought to express a 
 reflection of the lameness in the uneven face ? The style 
 of this head accords exactly with that of a colossal torso 
 in Cassel , which obviously belonged to a statue of He- 
 phsestos. It would seem , therefore , that this torso and 
 the Vatican herma reproduce the same original. As the 
 Style of both points to the development of Attic art asso- 
 ciated with Pheidias, this original may have been the 
 celebrated statue of Hephsestos by Alcamenes, a pupil of 
 the great master. 
 
 4 * 
 
52 
 
 VATICAN. 
 
 Mon. dell’ Inst., vi, vii, T. 81 ; Ann., 1863, pp. 421-430. Come, 
 Heroen- und Gottergestalten , T. 36. Baumeister , Denkmaler des 
 kl. Alterthums, i, p.641, Fig. 712. Brunn, Griecliische Gotterideale, 
 T. ii, pp. 16-25. Comp. Friederichs-Wolters , Bausteine, No. 1541. 
 Furtwaengler, Masterpieces, pp. 88, 89. 
 
 To the right, below, 90 (424b). Head of Sulla (?). 
 
 The front of the nose has been restored. 
 
 This lifelike head corresponds in its principal points 
 with the portrait of Lucius Cornelius Sulla, as it appears 
 on a denarius coined in 59 B.C. by Quintus Pompeius 
 Rufus , master of the mint, a grandson of Sulla. Fig. 6 
 
 represents this denarius, 
 magnified about three 
 times. A comparison of 
 this portrait with the 
 marble head will convince 
 us that the identification 
 of the latter with Sulla de- 
 serves more careful con- 
 sideration than has hith- 
 erto been vouchsafed to it. 
 We can at least easily 
 imagine Sulla to have had 
 features like those of the 
 marble, inwhich we recog- 
 nize an energetic , intelligent, and cultivated man. The 
 deep-set eyes correspond excellently with Plutarch’s 
 statement that the blue eyes of Sulla were distinguished 
 by a penetrating and pitiless glance. The thin, firmly- 
 closed lips indicate a decided and ruthless character. 
 
 Bernoulli , Romische Ikonographie, i, T. v, pp. 93, 94; p. 140, 
 No. 1. 
 
 To the left, below, 91 (441). Bust of Alcibiades (?). 
 
 The point of the nose and part of the left ear have 
 been restored. 
 
 That this bust is a tolerably fgi.th.ful copy of an Attic 
 original of the last decades of the 5th cent. B.C. may be 
 concluded both from the general style , which exhibits a 
 
MUSEO CHIARAMONTI. 
 
 53 
 
 certain constraint, especially in the treatment of the hair, 
 and from the calm expression. Several replicas which 
 have been preserved (comp. Nos. 478, 830) indicate that 
 the original of the bust was a celebrated person. When 
 we seek, within the limits of the above period, for some 
 illustrious Athenian whom this type might suit, almost 
 no name suggests itself except that of Alcibiades. The 
 bust before us represents a man at the age of about thirty. 
 No Athenian of the time attained celebrity at so early an 
 age except Alcibiades, who on the completion of his 
 twentieth year appeared as an orator, concluded the 
 alliance with the Argives when he was about twenty- 
 seven, and was appointed leader of the Sicilian expe- 
 dition when he was little more than thirty. The portrait 
 moreover seems to exhibit traces of a double nature in 
 which noble and meaner characteristics mingle, such a 
 character, in fact, as was peculiarly that of Alcibiades. 
 The upper parts of the face are of an almost ideal beauty, 
 while the thick lower lip and full chin indicate a pro- 
 nounced degree of sensuality. Many modern critics may 
 indeed be inclined to object that the passionate element 
 is not distinctly enough expressed — that Alcibiades, ac- 
 cording to the general estimation of him, must have had 
 a more arrogant and determined expression. But we must 
 not forget that the Attic art of that period regarded al- 
 most as a first principle the imparting of a dignified calm 
 to all its creations, and therefore lightly passed over char- 
 acteristics that were inconsistent with this. Finally the 
 shape of the mouth, with its curving upper lip and some- 
 what projecting lower lip, seems to correspond to the 
 lisping pronunciation of Alcibiades, a personal peculiarity 
 that was ridiculed by his enemies, though extolled by his 
 friends as adding a peculiar charm to his speech. 
 
 Mon. dell’ Inst., vm. T. 25; Ann., 1866, pp. 228-240. Bau- 
 meister , Denkmaler des klass. Alterthums, i, p. 48, Fig. 55. Comp. 
 Friederichs-Wolters, Bausteine, No. 1321, where the views indicated 
 above are opposed by the citation of a passage in Athen., xii, p. 534 C, 
 to the effect that Alcibiades as an ephebos did not wear his hair 
 short as was the usual custom in Attica but long for a considerable 
 time (xop.Y]v xe Ixpecpje £tiI 7xoXu tTjs ^Aixias). This, however, is 
 
54 
 
 VATICAN. 
 
 little to the purpose, as the bust before us is the portrait of an adult, 
 not of an ephebos or youth. See also Romische Mittheilungen, vi 
 (1891), pp. 244, 245. 
 
 Section XIX. 
 
 To the right, 92 (465). Penelope (?), in high relief. 
 
MUSEO CHIARAMONTI. 
 
 55 
 
 This relief represents a young woman, sunk in a 
 sorrowful reverie, seated upon a stool, beneath which a 
 basket of wool is standing. The head, which is wanting in 
 all the extant marble reproductions of this figure (comp. 
 Nos. 191, 589), may be supplied from a head in the Ber- 
 lin Museum and from another now placed upon a statue 
 belonging to the Giustiniani. It was originally bent for- 
 wards, the temple resting on the right hand; the left 
 hand was supported by the seat of the stool. Traces of a 
 bluish colour may be distinguished on the background. 
 The forms suggest an Attic original of about the middle 
 of the 5th cent. B.C. A vase of the same period, with 
 red figures, on which Penelope is represented beside her 
 loom in a similar style (Fig. 7), proves that the Attic 
 artists of that period had adopted this type for Pene- 
 lope. That the same is true also of Greeco-Boman art is 
 proved by two companion terracotta reliefs (several exam- 
 ples of which are extant), representing Eurycleia washing 
 the feet of Ulysses in presence of her mistress. But al- 
 though this figure may have originally served to represent 
 Penelope, it is still open to question whether we are 
 justified in so interpreting it on the relief before us or in 
 the two other replicas in the round (Nos. 191 and 589). 
 The idea of erecting the figure of the mourning Penelope 
 over the grave of a loyal wife as an idealized portrait of 
 the deceased easily suggested itself; and we may fairly 
 suppose that the marble replicas of the type in question 
 were executed with some such design as this. 
 
 Antike Denkmaler, published by the Arch. Inst., i (1888), 
 T. 81 B, pp. 17, 18 (where also earlier publications are referred to). 
 Comp. Overbeck, Geschichte der griech. Plastik, i 4 , pp. 196, 197. 
 Sitzungsberichte der Berliner Akademie , 1884, p. 622. Jahrbuch 
 des Arch. Instituts, ii (1887), p. 171. Bull, della commissione com- 
 munale di Roma, xvi (1888), pp. 257, 258. Athen. Mittheilungen, 
 xv (1890), p. 17, No. 2a. Romische Mittheilungen, vii (1892), pp. 72 
 et seq. Heidelberger Jahrbucher, in (1893), pp. 99 et seq. 
 
56 
 
 VATICAN. 
 
 Section XX. 
 
 To tlie right, 93 (494). Statue of Tiberius. 
 
 Found at Privernum (Piperno) in 1795. The nose, 
 right forearm, left hand and roll, right foot and end of 
 therohe, front of the left foot, and numerous parts of 
 the rohe, seat, and plinth have been restored. 
 
 The emperor is represented in the attitude and with 
 the drapery of the seated statues of Jupiter. He thus 
 probably had a sceptre in his left hand and perhaps a 
 thunderbolt in the right. Comp. No. 86 (399). 
 
 Guattani , Monumenti antichi inediti, 1805, T. vn , p. 72, 
 note. Nibby , Museo Chiaramonti , ir, 28. Muller- Wieseler, Denk- 
 maler der alten Kunst, i, 66, Nos. 355, 355a. Bernoulli , Romische 
 Ikonographie, n, 1, pp. 146-148, Figs. 20, 21. Baumeister, Denk- 
 maler des klass. Alterthums, i, p. 230, Figs. 188, 189. 
 
 To the right, 94 (495). Statue of Eros, stringing his bow 
 (freely restored). 
 
 Found near the Lateran in the same excavations that 
 yielded Nos. 10 and 49. 
 
 Details as to this type, see under No. 429. 
 
 Sehwabe , Observationum archseologicarum partioula, i (Dorpati 
 Livonorum), 1869, p. 2 U. 
 
 To the left, 95 (498). Statue of a Woman. 
 
 Perhaps found in Hadrian’s Tiburtine Villa; formerly 
 in the Villa d’Este, and transferred to the Vatican in 1788. 
 The right forearm and the left hand with the spindle are 
 restorations. 
 
 The girl’s head, placed on this statue by the restorer, 
 is antique and very interesting, but belongs to another 
 figure. Its expression is peculiarly melancholy, and the 
 heavy eyelids are weighed down as if the girl were strug- 
 gling against sleep. 
 
 Penna, Viaggio pittorico della Villa Adriana, hi, 38. Clarac , iv, 
 PI. 759, No. 1855 A. 
 
 To the left, 96 (497). Relief of a Mill. 
 
 Found in 1826 in the Vigna delle tre Madonne, out- 
 side the Porta S. Giovanni. 
 
 This rudely executed relief represents two mills, 
 
MUSEO CHIARAMONTI. 
 
 57 
 
 driven by horses moving in opposite directions (mola 
 jumentaria). The eyes of the horse in the foreground are 
 covered with leather blinders, apparently to prevent the 
 dizziness which its motion might cause. This device is 
 still used in Greece and Italy for horses and donkeys en- 
 gaged in turning mills. The mill is worked by means of 
 a chain, the upper end of which is fastened to the hori- 
 zontal beam of the framework and the lower end to the 
 breast-strap of the horse, which is prevented from describ- 
 ing too large a circle by means of a rein attached to one 
 of the vertical beams of the mill. Beside the mill on the 
 right is a man about to empty grain from a vessel. A 
 lamp and a lighted torch placed above indicate that it 
 is a night-scene. Several traces of the original colouring 
 still remain on the relief; the background seems to have 
 been covered with an ochre-yellow pigment. 
 
 Museo Chiaramonti, iii, 33. Pistolesi , iv, 46. Berichte der sachs. 
 Geselhschaft derWissenschaften, 1 861 , T. xir, 2, pp. 343,344. Blumner , 
 Technologie der Gewerbe, i, p. 44, Fig. 6. Baumeister, Denkmaler 
 des kl. Alterthums, n, p. 933, Fig. 1005. Comp. Archaol. Zeit., xxxv 
 (1877), pp. 54, 55. 
 
 Upon the relief, 97 (497 a). Sarcophagus, with relief of 
 Children playing with nuts. 
 
 Found in the Yigna Amendola, on the Yia Appia. 
 
 The reliefs refer to a game the object of which was 
 to throw a nut so as to hit and scatter a pyramid formed 
 of other nuts (nuces castellatae, ludi castellati). The na- 
 tural and expressive arrangement of the figures seems to 
 imply some admirable original. To the left is a group of 
 five girls, two of whom are in the act of deciding, by the 
 game of morra, which shall have the first throw. Next 
 appear two boys, who have fallen out over the game, and 
 one of whom has seized the other by the hair. To the right 
 are six boys engaged in the game; one is just on the point 
 of discharging his nut at the pyramid on the ground. 
 
 Atti dell’ Accademia romana di archeologia, n (1825), T. n, 
 p. 149. Comp. Gerhard , Prodromus, p. 309. Bull, della comm. arch, 
 com. diRoma, x (1882), pp. 56 etseq., -where a bibliography of this 
 game is given. 
 
58 
 
 VATICAN. 
 
 Section XXI. 
 
 To the right, above, 98 (502). Head of Apollo. 
 
 The nose, upper lip, chin, fragments of the hanging 
 locks, and the neck are restorations. 
 
 The imposing forms and calm expression point to a 
 Greek original of the best period of the 5th cent. B.C. 
 
 To the right, above, 99 (507). Head of an Athlete, in 
 the style of Polycleitos. 
 
 The nose, chin, fragments on the lips, and the neck 
 are restorations. 
 
 This head reproduces a type which is best illustrated 
 by an example in the Dresden Museum. This example 
 shows that the left arm was stretched forwards ; and it 
 may be assumed that the left hand held a victor’s fillet 
 and that the youth was looking down at this with the 
 modest expression that became a successful athlete. The 
 type shows considerable affinity to the Doryphoros of 
 Polycleitos (see No. 58), but is more youthful in its forms 
 and softer in its style. The original must have been the 
 statue of an athlete , either in the later manner of Poly- 
 cleitos himself or by one of his pupils. 
 
 Bull, dell’ Inst., 1864, p. 30, n. Verhandlungen der 29. Philo- 
 logenversammlung (Innsbruck), p. 166. Furtwaengler , Masterpieces, 
 pp. 265-268. 
 
 To the right, below, 100 (509). Head of Meleager. 
 
 Nose and upper lip restored. 
 
 This head is based on a reproduction of the type of 
 Meleager discussed under No. 133. 
 
 Romische Mittheilungen, iv (1889), p. 221, No. 16. 
 
 To the right, below, 101, 102 (510 a, 512). Two Male 
 Portrait-Heads. 
 
 Formerly in the Randanini Collection. 
 
 Both style and facial type refer these two exceedingly 
 animated portraits to the end of the Republic or the be- 
 ginning of the Empire. One (510 a) has been described 
 
MTJSEO CHIARAMO NTI. 
 
 59 
 
 as Lucius Munatius Plancus (consul in 42 B.C.), on the 
 authority of a bronze coin, not at present forthcoming, 
 and universally regarded as a forgery’; the other (512), 
 from its rustic character, has been named Gaius Marius. 
 From the strong resemblance between the two heads it is 
 probable that they represent either the same person at 
 different ages or two persons closely related to each other. 
 
 For No. 510 a, see Museo Chiaramonti, hi, 20. Bernoulli , Romi- 
 sche Ikonographie, i, p. 83, Fig. 11 ; p. 236. For No. 512, see Museo 
 Chiaramonti, in, 25. Bernoulli , i, p. 83, Fig. 10. 
 
 To the right, below, 103 (513 a). Head of Aphrodite. 
 
 Found in 1805 at the Thermae of Diocletian. The 
 point of the nose, the lower lip, and the bust are restor- 
 ations. 
 
 The type reminds us of the celebrated Capitoline 
 statue (No. 458). The execution is careful, but a little dry. 
 
 Guattani, Monumenti antichi inediti, 1805, T.xix, pp.93 et seq. 
 Visconti e Guattani , Museo Chiaramonti, T. 27. Comp. Bernoulli , 
 Aphrodite, p. 236, No. 67. 
 
 To the left, below, 104 (535). Head of a Triton or Ma- 
 rine Centaur. 
 
 The nose, hair over the brow, and bust have been re- 
 stored. 
 
 The melancholy expression, which Greek art usually 
 assigned to Tritons and Sea Centaurs (comp. Nos. 187, 
 558-560), seems here carried almost to the pitch of cari- 
 cature. The widely opened mouth suggests that this 
 Triton is actually bellowing with grief. 
 
 Section XXII. 
 
 To the left, 105 (547). Colossal Bust of Isis. 
 
 Found near Tivoli, probably in Hadrian’s Villa; at 
 one time in the Quirinal Garden. The nose and the lips 
 are restorations, as well as the lotus-flower, the presence 
 of which was proved by a fragment on the spot. 
 
 This bust at one time commonly passed for Cybele, 
 an identification which, however, is contradicted by the 
 Egyptian headdress and by the fact that the symbol over 
 
60 
 
 VATICAN. 
 
 the brow could have been nothing else than a lotus-flower, 
 the characteristic emblem of Isis. The Egyptian goddess 
 could not have been represented in Hellenic forms before 
 the Greek dynasty of the Ptolemies bore sway in the 
 valley of the Nile, so that the type before us must be a 
 Hellenistic, or, as we may affirm with greater precision, 
 an Alexandrian conception. 
 
 Gori, Inscriptiones Donianse, p. 135, Tab. vm, No. in, p. lxxi. 
 Visconti e Guattani , Museo Chiaramonti, T. i. Penna , Viaggio pit— 
 torico della Villa Adriana, in, 24. Comp. Winclcelmann, Mon. inediti, 
 i, p. 7. Nibby , Descrizione della Villa Adriana, p. 25. 
 
 Section XXIII. 
 
 To the right, let into the wall, 106 (550). Large Orna- 
 mental Slab. 
 
 The lower space is most harmoniously occupied by a 
 tastefully decorated round shield, with a Gorgon’s head 
 as the_ central . point, and by a spear projecting from be- 
 hind the shield, and cutting the rectangular field dia- 
 gonally. Along the upper edge is a frieze, representing -a 
 garden enlivened with statuettes of Cupid, hermae, and 
 hunting-scenes. The current opinion that this marble 
 originally served as the support of an altar or table is 
 rendered improbable by the consideration that the hori- 
 zontal slabs of altars or tables, so far as our knowledge 
 goes, projected considerably beyond their supports, so 
 that the carefully executed frieze would thus have been 
 invisible. This relief, perhaps as one of a series, may 
 have belonged to a pedestal or frieze. 
 
 Gerhard , Antike Bildwerke, T. 80, 2; Prodromus, p. 318. Pisto- 
 lesi , iv, 54. Museo Chiaramonti, in, 31. Comp. Braun , Ruinen und 
 Museen, p. 278, No. 34. 
 
 To the right, above, 107 (558). Head of Pallas. 
 
 The point of the visor, and the nose and bust have 
 been restored. 
 
 The type of the statue to which this head belonged 
 must have been celebrated in antiquity, as several replicas 
 both of the whole figure and of the head have come down 
 
MUSEO CHIARAMONTI. 
 
 61 
 
 to us. In this type Pallas appears as a young maiden, 
 with her left hand on her side and her right holding a 
 spear, while she gazes in front of her with a look of en- 
 thusiasm, as if she were contemplating deeds of might. 
 The small figure of a Triton is added on the plinth of a 
 replica in the Palazzo Rospigliosi — an addition of too 
 singular a nature to think that it originated with a copyist. 
 The highly probable suggestion has therefore been made 
 that the type in question may have related to the Boeotian 
 legend, according to which Pallas was horn and brought 
 up near the Triton, a mountain-torrent flowing past the an- 
 cient sanctuary of Athena at Alalcomense. The vigorous 
 conception of the youthful goddess and the form of the 
 features, of which the deep-set, strongly-framed eyes are 
 especially characteristic, recall the style of Scopas. 
 
 For the type, see Friederichs -Wolters , Bausteine, No. 1438. 
 Roscher, Lexikon der griech. und rom. Mythologie, i, p. 703. Furt- 
 waengler , Masterpieces, pp. 305, 326. 
 
 To the right, below, 108 (561). Roman Portrait-Bust. 
 
 Formerly in the Palazzo Altieri. The point of the 
 nose is restored. 
 
 The form, the style, and the cut of the hair of this 
 bust, which represents a prosperous elderly man, with a 
 shrewd and observant expression 4 , refer it to the time of 
 Trajan. Both the earlier identification of the bust as that 
 of Domitius Ahenobarbus, father of Nero, and its later 
 identification as Cneius Pompeius are quite arbitrary. 
 
 Bernoulli , Romische Ikonographie, i, T. ix, pp. 130, 131. Brunn 
 und Arndt , Griechische und romische Portrats, Nos. 177, 178. 
 
 Section XXIY. 
 
 To the right, 109 (587). Ganymede with the Eagle. 
 
 Found in 1780 in the Tenuta del Quadraro outside 
 the Porta S. Giovanni (comp. Piranesi , Raccolta di statue, 
 T. 4) and acquired hy Pius YI. The point of the cap, 
 probably parts of the brow, the nose, and the lips, and 
 certainly the chin, the right arm and cup, the left hand 
 and the lower part of the pedum, and a large portion of 
 the right wing of the eagle have been restored. 
 
62 
 
 VATICAN. 
 
 Ganymede, when cup-bearer of the gods, no longer 
 required the pedum, so that the present group apparently 
 represents him at a period before his transference to 
 Olympus. We here see him in friendly relations with the 
 eagle, which is about to carry him off to Zeus. The hand- 
 some youth stands in an easy attitude with crossed legs, 
 resting his left elbow on a tree-trunk and looking down 
 at the eagle, which in its turn looks up at him attent- 
 ively. The restorer has placed a cup in the youth’s right 
 hand, thus suggesting that he was in the act of giving 
 drink to the eagle. The idea that Ganymede is teasing 
 the eagle, by withholding the vessel, is rendered improb- 
 able by the calm attitude of the bird, which evinces no 
 impatience whatever. Some other method of restoration 
 is, however, equally possible. Ganymede, for example, 
 might be playfully menacing the eagle with his right 
 hand, as Dionysos is sometimes represented menacing 
 the panther. 
 
 Visconti, Museo Pio-Clem., n 35. Millin, Gal. myth., PI. 146, 
 534. Hirt, Gotter und Heroen, T. xix, 160. Guigniaut , Rel. de 
 l’ant., PI. 218, 746a. Pistolesi , v, 74. Ciarac , in, PI. 409, 708. Comp. 
 Riccy, Dell’ antico pago Lemonio, p. 123, No. 65. Mon. Ann. dell’ 
 Inst., 1856, p. 94. Overbeck , Kunstmythologie, ii, p. 543 a. 
 
 110 (588). Dionysos and Satyr. 
 
 Found at Frascati, in a plot of ground called Murena, 
 a name said to he derived from the similar adnomen of 
 the Licinii, who owned a villa in this neighbourhood. 
 Various fragments on the right hand of Dionysos , the 
 thumb and part of the little finger on his left hand, as 
 well as the upper part of the goblet, have been restored. 
 The nose and left foot of the Satyr, the calf, and the part 
 of the plinth below the left foot, the lower part of the 
 tree-trunk , and the lower corner of the syrinx are also 
 restorations. 
 
 Dionysos stands in an attitude of easy repose, his 
 right hand resting on the head, and his left forearm on 
 the neck of the Satyr beside him. To his right appears 
 the panther. The soft beauty of the god, with his bliss- 
 ful expression, qualified, however, by a slight tinge of 
 yearning , is thrown into relief by the lower mental and 
 
MUSEO CHIARAMONTI. 
 
 63 
 
 physical nature of the Satyr. The latter is evidently un- 
 able to comprehend the mood of his master, to whom he 
 looks up with a surprized and questioning air. The attitude 
 assigned to the god refers the work to the Second Attic 
 School (comp. Nos. 55, 194, 211, 525,749); but here the 
 tree-trunk which in the other cases furnishes support for 
 the body is replaced by the living Satyr. A passage in 
 Pliny (Nat. Hist. 34, 69) has led some authorities to at- 
 tribute the original of this work to Praxiteles, and to give 
 to the work itself the name of ‘periboetos’, — a term which 
 has provided scholars with a fruitful source of discussion. 
 The composition of the present group, however, seems 
 somewhat more severe than that of the types we are able 
 to attribute with certainty to that great artist. 
 
 Visconti , Museo Pio-Clem., i, 41. Pistolesi , v, 111. Clarac , iv, 
 PI. 694, No. 1633. Milani , in the Museo italiano di antiehitk clas- 
 sica, hi, pp. 786 et seq., holds that ‘ehriolatum’ should he substituted 
 for ‘ehrietatem’ in the passage of Pliny above referred to (Nat. Hist. 
 34, 69), usually given as follows: ‘Praxiteles * * * fecit * * * et 
 Liberum patrem ebrietatem nobilemque una Satyrum quem Graeci 
 periboeton cognominant’. Romische Mittheilungen, vi(1891), p. 242, 
 note. 
 
 Section XXY. 
 
 To the right, below, 111 (60*7). Head of Poseidon. 
 
 Probably found at Ostia ; presented to Pius VII. by 
 R. Fagan. Parts of the hair and the bust are restorations. 
 
 Poseidon always shows a distinct family likeness to 
 his brother Zeus, though, when represented in the per- 
 fectly free style of art, he reveals individual traits that 
 identify him as the ruler of the inconstant sea. The artist 
 who designed this head in the Vatican has laid more stress 
 on the connection between the god and the element over 
 which he ruled than is apparent in any other known type 
 of Poseidon. One has almost the impression of gazing 
 upon a weatherbeaten seaman. The brow is furrowed, 
 and wrinkles are indicated above the nose and round the 
 eyes ; the cheeks are treated so as to suggest the withered 
 flesh and leathery skin; the lips express stern determin- 
 
64 
 
 VATICAN. 
 
 ation; and the hair and beard appear as though matted 
 by the wind and soaked with spray. 
 
 Muller -Wieseler, Denkmaler der alten Kunst, n, 6, 67. Over- 
 beclc , Kunstmythologie, in, p. 256, p.268, No. 11 (where farther refer- 
 ences are given), p. 398, note 18; Atlas, xi, 11, 12. Brunn und 
 Bruckmann, Denkmaler griechischer und romischer Sculptur, No. 
 140. Comp. Fredericks -Wolters, Bausteine, No. 1542. 
 
 To the left, above, 112 (621). Statuette of Bes. 
 
 Most of the tiara and the eyes (in glass-paste) are 
 modern. 
 
 Scholars are not yet agreed whether Besu or Besa 
 was an originally Egyptian god, or one introduced from 
 Arabia into the Valley of the Nile. During the earlier 
 epochs in Egypt Besa was regarded as the attendant and 
 protector of the sun-god Horus, born in the East, and 
 in consequence came to be considered a representative 
 of the East, and subsequently even as a manifestation of 
 the sun-god himself. He was represented as a fat squat 
 dwarf, with a bearded face contorted into a grimace, 
 wearing a tiara of feathers and clad in skins. His cult 
 extended from the Phoenicians in the West to those in the 
 East. Larger or smaller figures of Bes, in glazed terra- 
 cotta and certainly of Phoenician manufacture, are not 
 unfrequently found in Etruscan tombs of the 6th cent. 
 B.C., and they are found, treated in the freer style, even 
 in Pompeii. On the other hand, authenticated marble 
 figures of the god are very rare', besides this Vatican ex- 
 ample, the writer knows of only a single corresponding 
 statuette, which was discovered not long ago in the ruins 
 of an ancient Homan villa at Colonna in the Alban Mts. 
 Both statuettes, from their material as well as from their 
 style, are evidently to be referred to the Hellenistic or 
 Homan period. The circumstance that they were found 
 in Italy is no proof that the worship of Bes had penetrated 
 to that country. It is more probable that these figures 
 were used by the Romans as amulets against the evil eye, 
 like many other grotesque types of foreign origin. 
 
 Clarac , iv, PI. 735, 1736 c. Comp. Berichte der sachsischen 
 Gesellschaft der Wis sens chaften, 1855, pp. 91, 92. Krall, in Benn- 
 
MUSEO OHIARAMONTI. 
 
 65 
 
 dorf und Niemann, Das Heroon von Gjolbashi-Trysa, pp. 72 et seq. 
 (sketch of this statuette, p.77, No. 99). Boscher, Lexikon der griech. 
 und rom. Mythologie, i, pp. 2880 et seq. 
 
 Section XXVI. 
 
 To the right, 113 (636). Heracles and Telephos. 
 
 Found on May 15th, 1507, in the Campo di Fiori 
 (Bull, della comm. arch, comunale, xiv, 1886, p. 243); 
 placed in the Belvedere Garden under Julius II. (Jahr- 
 buch des Arch. Instituts, v, 1890, p. 18). The point of 
 the nose of Heracles, the right forearm and the club, the 
 fingers of the left hand, parts of the lion’s skin, and the 
 toes are restored ; also the hands and left foot of the child, 
 and the outer parts of the plinth. 
 
 Heracles here holds in his arms his little son Tele- 
 phos, rescued by the interposition of the gods. He is 
 looking straight in front of him, with a serious and 
 thoughtful expression, as though reflecting on the future 
 of the child, who stretches his right hand in a childish 
 caress towards the bearded chin of his father. The ori- 
 ginal may perhaps have been erected at Pergamum, where 
 Telephos was revered as founder of the city and honoured 
 with various artistic representations of himself. The 
 composition seems to have been influenced by the cele- 
 brated group of Hermes and the infant Dionysos by Pra- 
 xiteles (comp. No. 79). The work before us is a copy 
 made in the Roman period, and exhibits remarkable in- 
 equalities in its execution. The head of Heracles is care- 
 fully handled and full of character, whereas his body and 
 the figure of the child are treated entirely in the decorat- 
 ive manner. 
 
 Antiquarum statuarum urbis Romse icones (Romse, 1621), n, 55. 
 Be Rossi , Raccolta di statue, T. 5. Visconti , Museo Pio-Clem., ii, 9 
 (comp. Opere varie, iv, p. 363, No. 141). Pistolesi, v, 103. Clarac , v, 
 PI. 800, No. 2003. Furtwaengler, Masterpieces, p. 841, Figs. 146, 
 147. Comp. Winckelmann , Monumenti ant. inediti, i, Trattato pre- 
 lim., p. 99. Beschreibung Roms, n, 2, p. 226, No. 13. Sitzungs- 
 berichte der philos.-philol. Classe der bayer. Akademie , 1892, 
 p. 662. Boscher , Lexikon der griech. und rom. Mythologie, i, 2, 
 p. 2247. 
 
 Helbig, Guide I. 
 
 5 
 
66 
 
 VATICAN. 
 
 To the left, 114 (639). Portrait-Statue of a Roman 
 Woman. 
 
 Found in the forum at Praeneste. The nose, right arm 
 below the hiceps , left forearm , fragments of the hair, 
 shoulders, and feet, the lower part of the face of the 
 Cupid, his left hand, and most of his left foot, the tail of 
 the dolphin, and part of the left fin are restorations. 
 
 This lady, whose hair is dressed in the style of the 
 first half of the 3rd cent. A.D. and whose profile recalls 
 that of Julia Sosemia, mother of Heliogabalus, is repre- 
 sented as Venus, and beside her is placed a Cupid on the 
 back of a dolphin. The hair is executed in a separate, 
 detachable piece of marble, so that, when the mode of 
 dressing the hair altered , the statue could follow the 
 fashion. 
 
 Visconti , Museo Pio-Clem., ir, 51. Millin , Gal. myth., PI. 44, 
 No. 188. Guigniaut , Rel. de l’ant., PI. 101, 396 b. Clarac , iv, PI. 607, 
 No. 1339. Muller -Wieseler, Denkmaler der alten Kunst, i, 71, 402. 
 For the head, see Visconti , Iconographie romaine, hi, p. 132, PI. 51, 
 ' Nos. 8, 9. 
 
 Section XXVII. 
 
 To the right, in the wall, 115 (641). Relief of Hera and 
 Thetis (?). 
 
 Both heads are modern, also the right arm of the sup- 
 posed Thetis and both arms of the other figure. 
 
 This relief is usually explained as Hera persuading 
 the mourning Thetis to give herself in marriage to the 
 mortal Peleus. But this explanation rests upon very un- 
 certain grounds ; for the representation is very general in 
 its style , and the character of the two figures cannot be 
 very minutely examined, as both have lost their heads. 
 The execution is mediocre, and probably dates from the 
 first century of the Empire. 
 
 Visconti e Guattani , Museo Chiaramonti, T. viii. Overbeck , 
 Kunstmythologie, hi, Hera, p. 129 G; Atlas, x. 17. Comp. Friederichs- 
 Wolters 1 Bausteine, No. 1870. 
 
 To the right, in the wall, 116 (644). Relief of Women 
 dancing, a fragment. 
 
 Found in the Villa Palombara, on the Esquiline. 
 
MUSEO CHIARAMONTI. 
 
 67 
 
 Two figures, dancing towards the left, and the draped 
 arm of a third, pouring a libation from a vase, are here 
 preserved. The presence of the arm and vase has sug- 
 gested that the figures are nymphs, perhaps Aglauros, 
 Pandrosos, and Herse, the daughters of Kekrops. The pic- 
 turesque character of the forms, and the charming grace 
 of the movements and the drapery point to the Hellenistic 
 period, while Athens is indicated as the place of origin 
 by the fact that on a fragment of a relief, found there 
 in the theatre of Dionysos, is a figure corresponding al- 
 most exactly with the foremost figure on the relief before 
 us. Moreover the execution of this Vatican relief is so 
 delicate and fresh, that it may well be ascribed to an 
 Attic chisel. The second figure is sometimes regarded 
 as a young man owing to the flat treatment of the breast ; 
 yet the first figure, about whose sex there is no doubt, is 
 treated in precisely the same manner. The costume, also, 
 and the dainty manner in which the second figure grasps 
 the dress, militate against the theory that it represents a 
 man. Finally it is abundantly evident from Attic tomb- 
 reliefs that a moderate development of the bosom was in 
 harmony with the Attic artistic ideal of women. 
 
 Built into the wall close by is another fragment (numb- 
 ered 642), with the upper part of a woman facing the 
 right, which displays a certain similarity of execution to 
 No. 116 (644). It cannot, however, have belonged to a 
 companion-piece. It is in higher relief; and it is said to 
 have been found in Hadrian’s Villa at Tivoli, not in the 
 Villa Palombara. 
 
 Visconti e Guattani , Museo Chiaramonti, i, 44, 1. See also 
 Friederichs -Wolters , Bausteine, Nos. 1876, 1877, and Hauser , Die 
 neu-attischen Reliefs, p. 44, No. 60, p. 146. For tlie Athenian frag- 
 ment, see Hauser , loc. cit., pp. 48, 59. Comp. Ahhandlungen des 
 arch.-epigr. Seminars at Vienna, viii (1890), p. 97. For No. 642, 
 see Visconti e Guattani , Museo Chiaramonti, p. 104, note. Penna , 
 Viaggio pittorico della Villa Adriana, iv, 126. 
 
 To the right, below, 117 (652). Head of a Centaur. 
 
 Formerly in the Camuccini Collection. The point of 
 the nose, and fragments on the wreath, hair, and bust 
 are restored. 
 
 5 * 
 
68 
 
 VATICAN. 
 
 This head belongs to a group representing a Centaur 
 tormented by Cupid, of which there is a replica in the 
 Capitoline Museum (No. 512). The execution of the work 
 before us is better and the Centaur’s expression less wild 
 than in the latter. The presence of a wreath of vine- 
 leaves, which is wanting in the Capitoline example, is 
 an additional touch, suggesting that the Centaur had sac- 
 rificed freely to Dionysos before falling a victim to Eros. 
 For details, comp. Nos. 512, 513. 
 
 Nibby , Museo Chiaramonti, ii, 13. Pistolesi , iv, 52. 
 
 To the left, below, 118 (674 a). Rape of Ganymede. 
 
 A badly executed and erroneously restored copy in 
 marble of a bronze original by Leochares. Details, see 
 under No. 400. 
 
 Clarac , m, PI. 410, No. 712. Comp. O. Jahn , Arch. Beitrage, 
 p. 21. Overbeck, Kunstmythologie, ii, p. 523, No. 9. 
 
 Section XXVIII. 
 
 To the right, 119 (682). Statue in Armour, with the 
 head of Antoninus Pius. 
 
 This statue is well executed but has been freely re- 
 stored. The head of Antoninus Pius obviously does not 
 belong to the body, for the muscles of the neck attached 
 to the former and those of the neck attached to the latter 
 follow different directions. The face expresses with re- 
 markable distinctness the melancholy look characteristic 
 of the portraits of this emperor. At the beginning of the 
 18th cent, this statue stood in the Villa Mattel. The state- 
 ment that it was found in Hadrian’s Tiburtine Villa is 
 insufficiently supported. 
 
 Monumenta Matthaeiana, i, 89. Be Rossi, Raccolta di statue, 
 T. 105. Pistolesi , v, 106. Clarac , iv, PI. 949, No. 2442. Comp. Be- 
 schreibung Roms, ii, 2, p. 225, No. 14. Braun , Rumen und Museen, 
 p.435, No. 151. Bernoulli , Rom. Ikonographie, ir, 2, p. 140, No. 1. 
 
 To the right, 120 (683). Asclepios and Hygieia, por- 
 tion of a group. 
 
 The head of Hygieia is modern. 
 
MUSEO CHIARAMONTI. 
 
 69 
 
 The group represented Hygieia, with Asclepios be- 
 side her, laying his right hand on his daughter’s shoulder. 
 
 Clarac , iv, PI. 557, No. 1187. 
 
 Section XXIX. 
 
 To the right, above, 121 (693). Head of Heracles. 
 
 From the Giardini Aldohrandini , according to one 
 account, or from the Yilla Bonelii, outside the Porta Por- 
 tese, according to another. The nose has been restored. 
 
 This beautiful youthful head , adorned with a fillet 
 and a garland of white poplar, reproduces in its forms 
 and in its dreamy expression, a type dating at least from 
 the second Attic school. It reveals a remarkably close 
 relationship with the heads that have been preserved of 
 the pediment- sculptures, by Scopas, from the temple of 
 Athena Alea at Tegea; and it has therefore been referred, 
 with great probability, to an original by the same master, 
 possibly to Scopas’s statue of Heracles that stood in the 
 Gymnasium at Sicyon. We shall meet this type again in 
 two repetitions of better execution (Nos. 417, 604). 
 
 Visconti e Guattani , Museo ChiaTamonti, T. 43. Pistolesi , iv, 55. 
 Comp. -Brawn, Ruinen und Museen, p. 284, No. 41. Romische Mit- 
 theilungen, iv (1889), p. 194, No. 4. For the special type, see Jahr- 
 buch des Arch. Instituts, i (1886), pp. 54-56. Roschcr, Lexikon 
 der griech. und rom. Mythologie, i, pp. 2166, 2167. Romische Mit- 
 theilungen, iv, pp. 189 et seq.; vi, pp. 241-245. Lutzow, Zeitschrift 
 fiir bildende Kunst, new series, ii (1891), p. 253. 
 
 To the right, below, 122 (698). Head of Cicero (?). 
 
 Found at Roma Yecchia on the Yia Appia. The re- 
 stored parts are the end of the nose, the right ear, almost 
 the whole of the left ear, the neck, and the bust. 
 
 The current identification of this head as Cicero rests 
 upon its resemblance to two busts with the name in- 
 scribed on them , one in London, the other in Madrid. 
 But it can no longer be accepted as assured, seeing the 
 identification of these two busts with Cicero has been 
 questioned. A prominent epigraphist has cast doubt upon 
 the authenticity of the inscription on the London bust. 
 
70 
 
 VATICAN. 
 
 As for the example in Madrid, it has been proved that 
 the head did not originally belong to the inscribed bust, 
 and a suspicion has even been expressed that it is a 
 modern work. In spite of these considerations, however, 
 it cannot be denied that this head answers admirably to 
 the portrait of Cicero which we should naturally construct 
 from his writings and from tradition. We recognize in it 
 intelligence, refinement, and a natural amiability, accom- 
 panied by a lack of energy and a strain of nervousness. At 
 all events the facial type and the style refer the work to 
 the time of Cicero ; and from the fact that several replicas 
 of this portrait have been preserved we may conclude that 
 it represents some famous man. 
 
 Bernoulli , Romische Ikonographie, i, T.xi, p. 137; ir, 1, Vor- 
 wort, p. vi. For the London bust, see Michaelis, Ancient Marbles 
 in Great Britain, p. 429, No. 1. Comp. Corpus inscrip, latin., vi, 1, 
 No. 1326. For the Madrid bust : Bernoulli , loc. cit., i, T. x, pp. 135, 
 136. Arch. Zeitung, xliii (1885), p. 235. 
 
 To the right, below, 123 (702). Head of Antoninus Pius. 
 
 This fine head was found at Ostia. The nose is re- 
 stored. 
 
 Guattani , Monumenti antichi inediti, 1805, T. xiv, pp. 69 et 
 seq. Bernoulli , Rom. Ikon., ii, 2, p. 142, No. 14. 
 
 124 (704). Statuette of Ulysses. 
 
 The point of the nose, part of the left shoulder, the 
 arms, the goblet, the right heel, and the front of the left 
 foot are modern. 
 
 The group to which this statuette belongs may be 
 completed by comparison with a marble (No. 409) in the 
 Capitoline Museum. Ulysses is represented cautiously 
 approaching Polyphemos to offer him the first draught of 
 sweet wine. He gazes fixedly at the eye of the Cyclops, 
 and while advancing the left leg, keeps the other slightly 
 bent outwards, so as to be able to dart hastily to the 
 right in case of need. The clear-cut deeply furrowed 
 countenance admirably recalls the qualities of the hero, 
 who has suffered much but is able to find a way out of 
 all difficulties. The hair and beard appear to be matted 
 
MTJSEO CHIARAMONTI. 
 
 71 
 
 together by wind and weather. The pointed cap does not 
 rest lightly and upright on the head, as in the case of 
 Hephaestos (comp. No. 89), but is pulled firmly down on 
 the head, as beseems a sailor exposed to the tempest. The 
 arms seem to be erroneously restored. A cinerary urn 
 from Volterra and several terracotta lamps have come 
 down to us, with reliefs (Fig. 8) of Ulysses offering the 
 wine to Polyphemos, apparently imitated from the same 
 
 original as the statuette before us. In these reliefs Ulysses 
 is holding a very large vessel with both hands ; and prob- 
 ably the statuette is to be restored in a similar fashion. 
 In any case we may certainly assume that the goblet, 
 whose contents overcame the mighty Cyclops, was of 
 greater capacity than the modem restorer has assigned 
 to it. As the Etruscan urn, whose reliefs imply the pre- 
 vious existence of the statuary group, was made in the 
 3rd or 2nd cent. B.C., we can assign a date, though only 
 an approximate one, before which the original compos- 
 ition must have been created. 
 
72 
 
 VATICAN. 
 
 Anil, dell’ Inst., 1863, Tav. d’agg. 0, pp. 423 et seq. Brunn , 
 Griechische Gotterideale, pp. 17-25. Baumeister , Denkmaler des 
 klass. Altertkums, n, p. 1036, Fig. 1249 ; p. 1038, Fig. 1251. For the 
 urn, see Brunn , I rilievi delle urne etrusche, i, T. 86, 2, p. 114. 
 
 To the left, in the wall, 125 (708). Satyr regarding his 
 tail, fragment of a relief. 
 
 This figure is of importance for the restoration of two 
 statuettes in the Gallery of the Candelabra (see under 
 No. 371). 
 
 Ann. dell’ Inst., 1861, Tav. d’agg. N 4, p. 332. Comp. Heyde- 
 mann, Pariser Antiken (12. Hallisches Winckelmannsprogramm), 
 p. 71, No. 20. 
 
Museo Pio-Clementino. 
 
 The Belvedere. 
 
 First Room. 
 
 In the middle, 126 (3). Torso of Heracles, known as the 
 
 Belvedere Torso. 
 
 The usual account, that this statue was found in the 
 Campo di Fiori, i.e. in the precincts of the Theatre of 
 Pompey, during the papacy of Julius II., who added it 
 to the Vatican collection, is erroneous ( Lutzow’s Zeit- 
 schrift fur bildende Kunst, xxiii, 1888, pp. 74-81). The 
 torso was in the possession of the Colonna family down 
 to the time of Clement VII (1523-34), and was first placed 
 in the Belvedere Garden hy that pope (Jahrbuch des Arch. 
 Instituts, v, 1890, pp. 29, 53). 
 
 The inscription on the rock gives the name of the 
 sculptor as the Athenian Apollonios, son of Nestor. The 
 shape of the letters employed was usual during a long 
 period, viz. during the last century of the Republic and 
 also at the beginning of the Empire, while the name 
 Apollonios is of very common occurrence ; so that it must 
 be left undecided whether the sculptor of this statue was 
 the same Apollonios that appears to have carved the chrys- 
 elephantine statue of the god for the new Capitoline 
 temple of Jupiter, consecrated in 69 B.C. as the successor 
 of the previous temple burned in 84 B.C. Many con- 
 flicting opinions have been expressed as to the manner in 
 which the torso should be restored. One theory suggested 
 that at the left side of Heracles stood Hebe, Iole, or Auge, 
 to whom the hero was looking up ; but the impossibility 
 of grouping the figure before us with another has been 
 
74 
 
 VATICAN. 
 
 demonstrated by the attempts of modern sculptors to do 
 so. Other authorities have maintained that, like the He- 
 racles Epitrapezios of Lysippos, the present figure ori- 
 ginally held the club in the left hand and a goblet in the 
 right, or had both hands on the club or a staff, or sup- 
 ported his head with the right hand , and leant the left 
 on the club. But all these suggested restorations are ne- 
 gatived by the position of the thorax, which is bent for- 
 ward and at the same time turned considerably to the 
 right of the axis of the spine, a position indicating a 
 movement in the highest degree inappropriate to a figure 
 in an attitude of rest or approaching rest. Most in har- 
 mony with the extant details is the theory that Heracles 
 was represented playing the cithara and singing, in celen 
 bration of one of his victories. In this case we must 
 suppose that the figure supported a large cithara on the 
 left thigh, while the lower edge of the lion’s skin falling 
 over this thigh provided a basis ; that the left hand grasp- 
 ed the outer horn of the instrument or rested on its 
 bridge, while the right hand struck the chords; and that 
 the head was thrown back, with the mouth opened in 
 song. The marked movement of the thorax would then 
 be explained by the enthusiasm with which the hero sang 
 and played. Certain traces on the left thigh probably 
 remain from the club that leant against it. 
 
 This Belvedere torso is one of the most important 
 monuments now extant of Graeco-Roman art. It does not 
 indeed reveal the imposing ideal conception and the 
 fresh, living execution that we are accustomed to admire 
 in works of the best period. But Apollonios has success- 
 fully endeavoured to make up for lack of creative genius 
 by minute study. In his treatment of the nude he reveals 
 throughout a thorough knowledge of the human frame 
 and the power to reproduce it in a delicately calculated 
 method. 
 
 Visconti , Museo Pio-Clem., n, 10. Overbeck , Geschichte der 
 griech. Plastik, n 4 , pp. 431-434, 439, 440, notes 9-17, pp. 446-449. 
 The suggestion that Heracles was playing the cithara is made in the 
 Archaeol. Zeitung, xxv (1867) , pp. 126-128. In addition to the 
 
BELVEDERE. 
 
 75 
 
 authorities cited in Loewy , Inschriften griech. Bildhauer, No. 343, 
 and Friederichs - Wolters , No. 1431 , we may refer to Baumeister , 
 Denkmaler des kl. Altertkums, i, p. 108, Fig. 114, to Hasse, Wieder- 
 herstellung antiker Bildwerke , Part 2 (Breslau, 1887), T. v-vii, 
 pp. 11 et seq., and to Roscher , Lexikon der griech. u. rom. Mytho- 
 logie, i, pp. 2181, 2182. Sauers treatise, Der Torso vom Bel- 
 vedere (Giessen, 1894), reaches me as this work is passing through 
 the press. The author suggests a new explanation and restoration 
 of the torso , opining that it represents the love-sick Polyphemos, 
 sitting on the rocky shore and gazing longingly at the Nereid 
 Galatea, sporting in the waves helow (comp. No. 810). The left 
 arm, on this supposition, was bent, with the hand shading the eyes, 
 while the right hand grasped the upper part of the club, the traces 
 of which are visible on the left thigh. 
 
 On the wall opposite the window, — 
 
 127 (2). Sarcophagus of Lucius Cornelius Scipio Bar- 
 batus, in peperino. 
 
 Found in the Tomb of the Scipios, on theViaAppia, 
 discovered in 1780 in the Vigna Sassi. The left half of 
 the cover is modern. 
 
 Lucius Cornelius Scipio, who was buried in this sar- 
 cophagus, was consul in the year 298 B.C., and three 
 years later, as commander of the reserves, largely contri- 
 buted to the victory gained at Sentinum by the Romans 
 over the Samnites and the allied Etruscans and Gauls. 
 The frieze, which is Doric in style, consists of triglyphs 
 and of metopes adorned with rosettes; above is a tooth- 
 ed cornice. On the lid is a torus, each end terminating 
 in an Ionic volute emerging from an arrangement of fo- 
 liage. The inscription, in Latin differing widely from the 
 tongue of Cicero and Caesar, is of great interest as indi- 
 cating the character of the Rome of those days. It is com- 
 posed in the early Italic Saturnine verse , and has been 
 translated by Mommsen, as follows: — 
 
 Cornelius Lucius — Scipio )3arbatus 
 Son of his father Gnsevus — A man as clever as brave 
 Whose handsome appearance — Was in harmony with 
 his virtue, 
 
 Who was Consul and Censor — Among you, as well as 
 iEdile. 
 
76 
 
 VATICAN. 
 
 Taurasia, Cisaunia — He captured in Samnium. 
 Utterly overcomes Lucania — And brings away hostages. 
 
 One authority supposes that this inscription was added 
 at a later date and claims to have discovered above these 
 verses traces of a line and a half of the original inscrip- 
 tion, apparently effaced by a hammer. 
 
 See authorities cited in Corpus inscr. lat. , i, p. 16 (comp, 
 p. 12), Nos. 29, 30, and vi, p. 282, Nos. 1284, 1285. Revue de 
 philologie, xiv (1890), pp. 119 et seq. 
 
 The other inscriptions discovered in the Tomb of the 
 Scipios have been let into the adjoining wall. 
 
 The laurel-crowned portrait-head in peperino (nose 
 and bust restored) , which stands upon the sarcophagus, 
 was found in the same tomb. The un-Roman type of 
 countenance and the presence of the laurel-wreath, which 
 might well be worn by a poet, have led to the conjecture 
 that this head belonged to the statue of the Calabrian 
 poet Quintus Ennius, which was erected in the Tomb of 
 the Scipios. The historical fact, however, of such an 
 honour having been paid to Ennius is not beyond doubt, 
 from the nature of the accounts which have reached us 
 on the point. Moreover, the only account that mentions 
 the material of this statue describes it as of marble, not 
 peperino. 
 
 Visconti , Opere varie, i, 7, p. 62. Comp. Venuti , Descrizione 
 delle antichita di Roma, ed. Piale, n, p. 7. Bernoulli , Rom. Ikono- 
 graphie, i, p. 34. For the material of the statue of Ennius, Cicero , 
 Pro Archia, 9. 
 
 Second Room, 
 
 128 (5). Torso of a Hunter, of fine workmanship. 
 
 Found outside the Porta Portese; formerly in the 
 Palazzo Pichini, in the Piazza Farnese. 
 
 Comp. No. 2. 
 
 Pistolesi , iv, 87. 
 
 129 (6). Lower Portion of a Statue of a Seated Woman. 
 
 The supports on the front of the seat are in the form 
 of figures. That on the left is a figure of Eros , of which 
 
BELVEDERE. 
 
 77 
 
 the upper part from the centre of the thigh upwards, 
 under a pendent garment, is preserved. Of the figure 
 to the right nothing remains except the basis with the 
 feet. Judging from the distance between the back of 
 the seat and the basis , and from a relief representing a 
 similar feminine form seated on a similarly decorated seat, 
 this right figure seems to have been, not an Eros, but an 
 archaic representation of Aphrodite, crowned with a tall 
 headdress (modius). The suggestion that the seated 
 figure is Concordia and that the supporting figure is 
 Venus Libitina is insufficiently grounded. 
 
 Gerhard , Ges. akad. Abhandlungen , i, T. 83, 3, pp. 273, 
 276, No, 11 ; p. 368, No. 3, 
 
 Below this fragment, — 
 
 130. Cippus of Tiberius Octavius Diadumenos. 
 
 The principal relief exhibits a decorative reproduction 
 of the famous Diadumenos of Polycleitos, representing a 
 youth binding a fillet round his head. The selection of 
 this subject was probably dictated by the fact that the 
 person to whom the tombstone was erected bore the 
 cognomen of Diadumenos. The inscription AD PINVM, 
 on the right side , and the pine- 4 tree on the left side , in- 
 dicate the region in which Diadumenos dwelt, a region 
 named after a pine-tree to be found there, 
 
 Pistolesi, iv, 84, C.I.L., vi, 2, No. 10,035. Comp. Ann. dell’ 
 Inst., 1878, p. 12 d. Bull, della comm, arch, comunale, xv (1887), 
 p. 117. 
 
 In the centre of the room, — - 
 131 (3). Large Basin in Phrygian Marble (paonazetto). 
 
 Found under Pius VI. in the Valle dell’ Inferno (to 
 the N.W. of Monte Mario); formerly in the Appartamenti 
 Borgia. 
 
 The foot certainly does not belong to the upper part, 
 and its antiquity is questionable. 
 
 Pistolesi , hi, 20, p. 64. 
 
 On the balcony in front of this room, which gives 
 
78 
 
 VATICAN. 
 
 the name Belvedere to the adjoining portion of the Vatican, 
 is placed, — 
 
 132. Antique Vane. 
 
 Found in 1779 in the garden of the monks of Mt. 
 Lebanon (beside S. Pietro in Vincolf). 
 
 This vane is in the form of a twelve-sided block of 
 marble , on the horizontal surface of which are the Latin 
 names of the four cardinal points, while on the twelve 
 vertical sides are the Greek and Latin names of the winds. 
 The pole of the weather-cock was fixed in the centre of 
 the horizontal surface. 
 
 Corpus inscrip, latin., hi , No. 6180. Comp. Hermes, xx 
 (1885), p. 623. 
 
 Sala di Meleagro. 
 
 133 (10). Statue of Meleager. 
 
 The statement of the earliest authority, Aldroandi 
 (in Mauro , Le antichita della citta di Roma, p. 163), 
 that this statue was found near the Porta Portese on the 
 Janiculus, is more worthy of credence than the accounts 
 of Flaminio Vacca (Ber. der sachs. Ges. der Wissen., 
 1881, p. 79, No. 85) and Bartoli (Fea, Misc., i, p. ccxlix, 
 No. 97), according to whom it was found in the neigh- 
 bourhood of the water-tower known as the ‘Trofei di 
 Mario’ (in the present Piazza Vittorio Emanuele). About 
 the middle of the 16th cent, it belonged to Francesco 
 Fusconi of Norica, physician to Paul III., and stood in 
 his house , afterwards the Palazzo Pichini, between the 
 Piazza Farnese and the Campo di Fiori (comp. Jahrbuch 
 des Arch. Inst., vn, 1892, p. 99). Clement XIV. acquired 
 it for the Vatican. The end of Meleager’s nose and the 
 ears of the dog are restored. 
 
 Replicas of this statue ( e.g . No. 902), with the attri- 
 butes partly preserved, prove that Meleager was repre- 
 sented leaning lightly with his left hand on a hunting- 
 spear. The spear, which in the case of the statue before 
 us, was of bronze or wood, as is shown by the hole in the 
 plinth, served to fill in appropriately the space between 
 the left arm and the body. The slender form and animated 
 posture proclaim distinctly the agile hunter. The sideward 
 
SALA DI MELEAGRO. 
 
 79 
 
 pose of the head and the contemptuous expression playing 
 round the mouth indicate a proud self-consciousness, that 
 may readily burst into furious anger. The passionate 
 temperament of the hero is reflected in the arrangement 
 of the chlamys, which is wound round the left upper arm 
 and is blown to the side by the wind. The general 
 arrangement of the figure suggests a bronze original. In 
 this the boar’s head that in the marble statue provides a 
 support for the fluttering end of the cloak, the stem that 
 performs a similar office for the right leg, and the support 
 uniting the boar’s head with the left thigh, would be 
 unnecessary. And we are farther induced to deny the 
 boar’s head to the original by the consideration that its 
 pretentious workmanship tends to distract attention from 
 the principal figure. The dog added to the marble copy, in 
 distinctly poor style, cannot have been conceived by the 
 same artist who has arranged and characterized the statue 
 of the youth in so masterly a fashion. The figure would 
 make an unquestionably clearer and more animated im- 
 pression without these distracting accessories. It has been 
 surmized that the original was the Hunter (Venator), 
 mentioned by Pliny (Nat. Hist. 34, 66) among the works 
 of Euthycrates, son and pupil of Lysippos. This sugges- 
 tion, however, meets with the objection, that it is more 
 in accordance with Pliny’s style, to understand the sub- 
 stantive Venator’ as being in apposition with the name 
 ‘Alexander’ which precedes it, and thus that the statue of 
 Euthycrates represented Alexander the Great hunting. 
 Moreover the figure before us exhibits none of the peculiar- 
 ities of the art of Lysippos. On the contrary, the head 
 agrees in several of its distinctive forms (though not in 
 all) with the types of Scopas, especially with the heads 
 which have been preserved from the pediment groups of 
 the temple of Athene Alea at Tegea. The statue of 
 Meleager would thus seem to be a work of Scopas or of 
 some artist in bronze resembling him. An admirable 
 replica of the head has recently been recognised in the 
 Villa Medici. 
 
80 
 
 VATICAN. 
 
 De Cavalleriis , Antique statu* urbis Rom*, T. 95. Visconti , 
 Mus. Pio-Clem., n, 34; Opere varie, iy, p. 341, No. 117. Ann. 
 dell’ Inst., 1843, Tav. d’agg. H, pp. 258, 259. For the head : An- 
 tike Denkmaler, published by the Arch. Instit., i (1889), T. 40, 1, 
 p. 20, in which the head in the Villa Medici is also given on T. 
 40. 2 (also in Lutzow's Zeitschrift fur bildende Kunst, neue Folge, 
 ii, 1891, p. 256). See , farther, Overbeck , Geschichte der griech. 
 Plastik, ii 4 , pp. 171, 177, notes 6-8. Comp, especially Arch*ol. 
 Zeitung, xxiii (1865), p. 15. Romische Mittheilungen, iv (1889), 
 pp. 218 et seq. Furtwaengler , Masterpieces, pp. 184, 304, 307. 
 
 In the wall, above, — 
 
 134 (17). Inscription of Mummius. 
 
 Found in 1786 built into a wall in the garden of the 
 hospital, formerly on the Mons C*lius. 
 
 The inscription states that Lucius Mummius, Consul, 
 son of Lucius , returned in triumph to Rome after the 
 subjugation of Achaia and the destruction of Corinth 
 (146 B. C.) and dedicated to Hercules Victor this iEdes 
 and statue, which he had vowed during the war. As the 
 triumph of Mummius took place in B.C. 145, the inscrip- 
 tion must have been composed in that year or soon after. 
 
 Corpus inscrip, lat., i, No. 541 ; vi, 1, No. 331. 
 
 Cortile. 
 
 We begin to the right of the entrance. 
 
 135 (27). Trapezophoros, 
 
 This, with the companion-piece on the opposite side 
 of the entrance (No. 98 in the catalogue) , was found in 
 the Villa Negroni, on the Viminal. 
 
 This and its companion-piece formed the supports of 
 a marble table. The sculptor has skilfully subordinated 
 the entire decoration in relief to the architectonic character 
 of the table, not only in the griffins serving as bearers 
 and the utensils on the panels, but also in the two Satyrs 
 in the centre, who hasten with animated gestures towards 
 a cratera, stretching one hand to a bunch of grapes hanging 
 from above. The motion of the two figures is strictly 
 symmetrical, and even the treatment of the nude displays 
 
CORTILE. 
 
 81 
 
 a certain decorative character, diverging somewhat from 
 close imitation of nature. As fragments of a similar 
 composition have been found in Athens , it would seem 
 that the Roman sculptor has used an ancient Attic model. 
 
 Visconti , Museo Pio-Clem., v, 10. Millin , Gal. myth., PI. 55,271. 
 Guigniaut , Rel. de l’ant., PI. 112, 485. Pistolesi , iv, 90. Comp. 
 Braun , Ruinen und Museen, p. 296, No. 46. Sitzungsberichte der 
 philos.-philol. Classe der bayer. Akademie, 1883, p. 312. On the 
 Athenian fragments: Von Sybel , Katalog der Sculpturen zu Atben, 
 Nos. 962, 6404. Comp. Von Lutzow und Rosenberg , Kunstchronik, 
 iv (1892-93), pp. 178, 179. 
 
 136 (28). Oval Sarcophagus. 
 
 Found containing two skeletons in 1777, during the 
 excavations for the new sacristy of St. Peter’s. 
 
 In front are two characteristically treated lions’ heads, 
 beneath each of which is an Eros, seated, cantharos in 
 hand, upon a panther. The space between the lions’ heads 
 is occupied by a Satyr and a Maenad, dancing towards 
 each other. Two similar couples adorn each of the spaces 
 outside the lions’ heads. The decoration displays none 
 of the overladen confusion from which most sarcophagus- 
 reliefs suffer, but presents a clear composition, harmoni- 
 ously occupying the given space with graceful motives 
 borrowed from earlier art. 
 
 Visconti , Museo Pio-Clem., iv, 29, 29 a . Pistolesi , iv, 88. Millin , 
 Gal. myth., PI. 63, 268. Comp. Zoega , De origine et usu obelisco- 
 rum, p. 333, note 45. Welckers Zeitschrift, pp. 391 et seq. Braun, 
 Ruinen und Museen, p. 296, No. 47. 
 
 137 (31). Sarcophagus of Sextus Varius Marcellus. 
 
 Found in 1764 at Velletri and presented in 1772 by 
 the town- council to Pope Clement XIV. 
 
 According to the inscription this sarcophagus was 
 ordered for Sextius Yarius Marcellus by his wife, Julia 
 Soaemia, and his children, of whom the Emperor Helio- 
 gabalus was one. The inscription mentions in Greek and 
 Latin the various offices held by Marcellus. 
 
 Corp. inscrip, lat., x, 1, No. 6569. Corp. inscrip, graec., hi, 
 No. 6627. 
 
 Helbig, Guide I. 
 
 6 
 
82 
 
 VATICAN. 
 
 Galrinetto di Canova. 
 
 It is interesting to compare ancient sculptures with the 
 works of the modern master, who, after a period of degener- 
 acy, once more introduced the classical style to favour; 
 and the visitor should therefore glance at three statues 
 by Canova (Nos. 138-140), in this room. They were 
 placed here when the chief treasures of the Museum were 
 removed to Paris, and when only plaster-casts of the 
 Laocoon and the Vatican Apollo were to be seen in the 
 Belvedere. 
 
 138 (32). Perseus. 
 
 The hero is represented in triumph immediately after 
 beheading the Medusa. In the lowered right hand is the 
 blade that has wrought the deed, in the outstretched left 
 hand, the head of the monster. 
 
 Pistolesi , iv, 97. Comp. Kotzebue , Erinnerungen von einer 
 Reise aus Liefland nach Rom, hi (1805), p. 28. 
 
 139, 140 (33, 33a). Kreugas and Damoxenos. 
 
 Pausanias narrates (vm, 40, 3) that two pugilists, 
 Kreugas of Epidamnum and Damoxenos of Syracuse, 
 strove together at the Nemean Games, without either 
 being able to master the other. On the approach of evening 
 they agreed, in order to obtain a decision, that each 
 should receive a blow , in any position selected by his 
 adversary, without parrying it. Kreugas dealt a blow at 
 the head of Damoxenos, without producing any great 
 effect. Damoxenos then demanded that his opponent 
 should raise his arm, violently struck the peritoneum 
 distended by this posture, penetrated its wall with his 
 out-stretched fingers, and so tore out the entrails of Kreu- 
 gas, who died upon the spot. The judges expelled Da- 
 moxenos from the place because he had broken the rules 
 of the contest, and awarded the victory to the slain Kreu- 
 gas. Canova has differentiated the individuality of the 
 two opponents, as handed down by the tradition, in- 
 fusing a superior nobility into the head of Kreugas, 
 
CORTILE. 
 
 83 
 
 while accentuating, perhaps too sharply, the brutal cha- 
 racter of Damoxenos. 
 
 Pistolesi , iv, 91. 
 
 Comparison with the antique is distinctly unfavour- 
 able to the statues of the modem master. Hellenic art 
 after the time of Alexander often aimed at effect (comp., 
 e.y., No. 160), but never proceeded to such a theatrical 
 conception as is displayed in Canova’s Perseus. Before 
 this statue , one thinks involuntarily of an Italian tenor, 
 in the act of executing a bravura passage. The treat- 
 ment of the nude is less lifelike than in antique works 
 of even mediocre execution. In the figures of the pugi- 
 lists , the representation of the muscles , carried to an 
 exaggerated extent indicating the influence of Bernini, 
 does not produce the effect of genuine elastic strength 
 (as, e.ff.j in the case of the Apoxyomenos, No. 31), but re- 
 minds us rather of stuffed rag-dolls. 
 
 In the Court, — 
 
 141 (38). Frieze representing a Gigantomachia, a frag- 
 ment in Luna marble. 
 
 Formerly in the Villa Mattei, and acquired for the 
 Vatican by Pius VII. The head of Artemis, parts of the 
 torches of the other goddess, and various small splinters 
 have been restored. 
 
 Artemis aims an arrow at a serpent-footed giant, who 
 raises a large stone in each hand to hurl at her. Her hound 
 has seized the left thigh of the giant, and is bitten in the 
 neck by the serpent’s head which terminates this leg. To 
 the right, a matronly goddess (usually identified as He- 
 cate) advances with a lighted torch in each hand against 
 two giants of wholly human form, the elder one bearded, 
 the other youthful and beardless. This group is exceed- 
 ingly expressive. The older giant has sunk on his left 
 knee, but still maintains the contest, grasping at a huge 
 block of stone , brought to him by his younger comrade. 
 The landscape is indicated by rocks and oak-trees in a 
 manner that accommodates itself better to the rules of 
 
 6 * 
 
84 
 
 VATICAN. 
 
 plastic art than is usual in the case of such pictorial ac- 
 cessories. Both the material of the relief and the charac- 
 ter of its workmanship belong to the Roman period. Yet 
 the composition is influenced by earlier motives, some 
 of which have been used even by the artists of the Per- 
 gamenian frieze. The position of the opponent of Arte- 
 mis, for example, corresponds exactly with that of a giant 
 represented on that frieze as fighting against Zeus. 
 
 Overbeck, Kunstmythologie , n, p. 381 A; Atlas, v, 2a. For 
 complete bibliography , see Mayer , Die Giganten und Titanen in 
 der antiken Sage und Kunst, p. 364, No. 8, pp. 385, 386. 
 
 142 (42). Statue of Aphrodite, an unimportant portrait- 
 
 work. 
 
 This is one of the statues erected as early as the time 
 of Julius II. in the Belvedere Garden. (Journal of Hellen- 
 ic Studies, viii, 1887, pp. 326, 327 ; Jahrbuch des Arch. 
 Inst., v, 1890, pp. 13 et seq.) The nose and right fore- 
 finger and middle-finger are restored. 
 
 The goddess, whose figure is modelled after the Cni- 
 dian Aphrodite (comp. No. 316), apparently held in her 
 left hand some article of the toilet, perhaps an ointment- 
 box or a pencil for cosmetics. The head displays a super- 
 ficial resemblance to the portraits of Sallustia Barbia 
 Orbiana, known from coins, and conjectured to be the 
 consort of Severus Alexander. The Cupid standing beside 
 her may be restored on the analogy of similar groups in 
 terracotta and on a gem. He probably held a mirror be- 
 fore the goddess, in his raised right hand. According to 
 an inscription on the plinth, this group was dedicated to 
 Venus Felix by a certain Sallustia Helpidus. 
 
 Visconti , Museo Pio-Clem., n, 52. Millin , Gal. myth., PI. 44, 
 187. Guigniaut, Bel. de Taut., PI. 101, 396a. Clarac , iv, PI. 609, 
 1349. Comp. Bernoulli , Aphrodite, p. 269, No. 1. For the in- 
 scription: Corpus inscrip, lat. , vi, 1, 782. Similar terracottas: 
 Arch. Anzeiger, 1849, p. 85; 1851, p. 29. The gem: Friederichs , 
 Kleinere Kunst, p. 428, note. 
 
 143 (44). Ara Casali. 
 
 Found in the latter half of the 17th cent, in the Vigna 
 Millini, to the N. of the Villa Casali, on the Mons Caelius. 
 The entire top, above the reliefs, is modern. 
 
CORTILE. 
 
 85 
 
 This pedestal , which , according to the inscription 
 within an oak-wreath (corona civica?), bore some article 
 dedicated by a certain Tiberius Claudius Faventinus, de- 
 serves especial attention because the reliefs upon it re- 
 present in detail the legend of the founding of Rome in 
 connection with Trojan myth. 
 
 On the side with the inscription: Venus and Mars, 
 captured by the cunning of Vulcan, who is represented 
 above the wreath, looking down upon the surprized 
 lovers; opposite him is the sun-god, who betrayed the 
 lovers, in his four-horsed chariot. — Right side: in the 
 upper row, Judgment of Paris; in the two lower rows, 
 Scenes of combat, which cannot be specially identified 
 and are probably to be referred generally to the Trojan 
 War caused by the judgment of Paris. — Left side : 
 above , Hector dragged round Troy at the wheels of the 
 chariot of Achilles; in the two lower rows, Procession, ap- 
 parently representing the obsequies of Hector. — On the 
 back: top row, Mars silently approaching the sleeping 
 Rhea Silvia, beside whom sits the Tiber. Second row: 
 Rhea Silvia, sitting with her twin sons in her arms, gazes 
 upwards, as though expecting help from heaven in her 
 distress; two herdsmen, perhaps spies of Amulius, ap- 
 proach her; to the left is the Tiber. Third row: The 
 twins are exposed on the banks of the Tiber by two ser- 
 vants of Amulius, whose gestures appear to indicate 
 compassion for the children; their father Mars, with a 
 tropseon on his left shoulder, appears as their protecting 
 god; above are the Tiber and a recumbent figure, some- 
 times interpreted as a personification of the Mons Pala- 
 tinus, sometimes as Faustulus, who dwelt on that hill. 
 Lowest row : The twins are suckled by the she-wolf ; two 
 herdsmen, of whom Faustulus must certainly be one, gaze 
 at the scene in astonishment. 
 
 The object dedicated by Claudius Faventinus may 
 have been a bronze statue of Mars, or of Venus, or a 
 group representing both Mars and Venus. In any case it 
 must have made it quite clear to the honour of which 
 
86 
 
 VATICAN. 
 
 god the dedication was made, for upon that point the in- 
 scription gives no information. 
 
 The attempt to identify Claudius Faventinus with the 
 centurion of that name who in 69 A.D. induced the crew 
 of the Misenian fleet to desert Vitellius, is rendered im- 
 probable by the poor execution of the relief, by the fact 
 that the pupils of the larger figures are incised , and by 
 the shape of the letters of the inscription. The character 
 of the relief and the inscription refer the work with 
 greater probability to the later days of the Empire. 
 
 Pistoled, iv, 96. Wieseler, Die Ara Casali (Gottingen, 1844). 
 Overbeclc , Kunstmythologie , m, p. 129 H; Atlas, x, 18. Comp. 
 Arch. Zeitung, xxn (1864), p. 126. Friederichs-W biters, No. 2141. 
 
 144 (49). Sarcophagus, with relief of Achilles and 
 
 Penthesileia. 
 
 This sarcophagus was known during the life of the 
 painter Giulio Romano (1492-1546) , and until at least 
 the beginning of the seventh decade of the 18th cent, re- 
 mained in the Villa Papa Giulio , outside the Porta del 
 Popolo. Many of the most projecting parts are restorations. 
 
 The somewhat confused relief on the chief side repre- 
 sents the combat which took place outside Troy between 
 the Achseans and the Amazons. In the centre is Achilles, 
 seizing the wounded Penthesileia, these two figures hear- 
 ing the features of the deceased. The hair of the woman 
 is dressed in the style usual during the first half of the 
 3rd cent, after Christ, and presents a striking contrast to 
 the mythological motive of the whole. The relief on the 
 left end of the sarcophagus refers to the arrival of Pen- 
 thesileia in Troy; a Trojan in Phrygian dress kneels be- 
 fore an erect Amazon leaning on her spear, and touches 
 her knee with his right hand, in a supplicatory attitude. 
 
 Robert, Die antiken Sarkophagreliefs, ii, T. xxxix, 92, p. 113. 
 
 Gabinetto dell’ Antinoo. 
 
 145 (53). Statue of Hermes. 
 
 Found in 1543 outside the city, in a garden near the 
 Castello S. Angelo, and placed by Paul III. in the Belve- 
 dere Garden (Jahrbuch des Arch. Inst., v, 1890, p. 34). 
 
CORTILE. 
 
 87 
 
 This statue, known as the Antinoos of the Belvedere, 
 was restored in ancient times, four toes of the right foot 
 dating from this restoration. When the statue was dis- 
 covered, both legs were broken above the ankles , while 
 the right leg was also broken below the hip, and the left 
 below the knee. In order to effect an apparently unin- 
 terrupted junction between the right leg and the right 
 foot, the modern restorer smoothed the rough surfaces of 
 both, and thinned off the lower part of the leg on the 
 outside. In consequence of this the lower part of the 
 leg seems bent too much inwards and the ankle appears 
 deformed. This modern manipulation may also have re- 
 moved the traces of the wings on the ankles. 
 
 That the statue represents Hermes is evident from 
 other replicas of essentially the same figure, in better 
 preservation. The god, whose youthful form appears 
 athletically developed, stands in an attitude of repose ; the 
 refined face wears a somewhat melancholy expression; 
 the left hand , with the caduceus, is lowered ; fragments 
 on the right hip and at the back of the left calf indicate 
 that the right hand rested lightly on the right haunch 
 and that the garment reached to the calf. The palm-stem, 
 beside the right leg (the presence of which, however, in 
 the original is not beyond dout)t), identifies the god as 
 Hermes Enagonios , the god of gymnastic exercises , as 
 successful athletes received not only wreaths but some- 
 times palm-branches as well. The reference of the statue 
 to a Hellenic original is justified by the discovery of re- 
 plicas of it on Grecian soil ; while the general treatment 
 of the forms, as well as particular details, such as the 
 rough surface of the chlamys and the circular lines round 
 the nipples, indicate that this original was in bronze. 
 The head appears to represent a later development of 
 the Attic type, such as we recognize, <?.y., in the Hermes 
 of Praxiteles found at Olympia. 
 
 Be Rossi, Raccolta di statue, T. 3. Visconti, Museo Pio- 
 Clem., i, 7 (comp. Opere varie, iv, p. 55; p. 350, No. 129). Muller- 
 Wieseler , Denkmaler der alten Kunst, n, T. 28, 307. Bietrichson, 
 Antinoos, PI. hi, 8, p. 114; p. 181, No. 16. Baumeister , Denk- 
 
88 
 
 VATICAN. 
 
 maler des kl. Altertums , i, p. 675, Fig. 737. Other references to 
 this statue and its more important replicas, see Friederichs-Wolters, 
 Bausteine, Nos. 1218-1220. Comp. Jahrbuch des Arch. Inst., v 
 (1890), p. 35. Furtwaengler , Masterpieces, pp. 238, 338. The re- 
 plicas are collected in the Mittheilungen des Arch. Inst, at Athens, 
 in (1878), pp. 100-103. 
 
 146 (55). Relief: Procession in honour of Isis. 
 
 Formerly in the Palazzo Mattei; placed in the Vatican 
 under Pius VIT. The upper part of the lotus and the head 
 of the uracus-serpent on the first figure from the right, 
 and the right arm of the second figure and the outer half 
 of the scroll are restorations. 
 
 The foremost figure is a priestess of Isis, with a lotus- 
 flower on her brow, in her right hand a situla or pitcher, 
 and round her left forearm a ureeus-serpent, a reptile that 
 played a conspicuous part in the cult of the goddess. Next 
 comes the keeper of the sacred books (Hierogrammateus), 
 his shaven head adorned with two sparrow-hawk’s feathers, 
 and holding in front of him, with both hands, a half-opened 
 scroll. Behind him is the prophet with the sacred water- 
 vessel, followed by a female attendant shaking the sistrum 
 (or Isis-rattle) in her right hand, and holding in her left 
 a ladle (capeduncula). The execution is correct and dis- 
 plays an evidently deliberate attempt to give a severe 
 character to the forms. 
 
 S. Bartoli , Admiranda, T. 14. Montfaucon , L’antiquite ex- 
 pliquee, n, 2, PI. cxvi , 1, p. 286. Monumenta Matthaeiana, m, 
 T. 26, 2, p. 49. Visconti e Gudtani , Museo Chiaramouti, T. ii. 
 
 147 (56). Statue of Priapos. 
 
 Found in the ruins of Castrum Novum, near the Torre 
 della Chiaruecia (at Civita Vecchia), and placed in the 
 Vatican under Pius VI. The nose, parts of the wreath, 
 the front of the right forearm , two figs, and the leaves 
 beneath them are restorations. 
 
 Priapos, as god of fruitfulness, holds a heap of fruit 
 in the front of his chiton. He is one of the divinities 
 whom the Greeks adopted from the races they found on 
 the coast of Asia Minor when they began to settle there; 
 and all the known types of the god exhibit a more or 
 less Oriental character. In the Vatican statue this char- 
 
CORTILE. 
 
 89 
 
 acter is expressed in the long-sleeved chiton, in the 
 effeminate expression of the face, in the moustache with 
 its ends artificially stiffened and turned upwards, and in 
 the shape of the mouth, which is almost Semitic. 
 
 Visconti, Museo Pio-Clem., i, 50. Millin, Gal. myth., PI. 91, 
 288. Hirt, Gutter und Heroen, T. xxxix, 36. Guigniaut , Rel.de 
 l’ant., PI. 129, 596. Clarac , iv, PI. 734, 1773. For the types of 
 Priapos , see Berichte der sachs. Ges. der Wiss., 1855 , pp. 235 
 et seq. ; Jahrbuch des Yereins -von Alterthumsfreunden im Rhein- 
 lande, xxvn (1859), pp. 45 et seq.; Archaeol.-epigr. Mittheilungen 
 aus Osterreich, i, pp. 88 et seq. 
 
 148. Bas-Kelief of Paris and Helen. 
 
 Found on the Aventine. 
 
 This relief is so defaced that it is scarcely possible 
 to do more than make out the outlines of the figures. 
 It is, therefore, necessary, for a proper comprehension 
 of its subject, to compare it with two better-preserved 
 replicas (see No. 582), especially with that in the Museo 
 of Naples in which the different personages, Cupid ex- 
 cepted, are identified by inscriptions. In all these reliefs 
 Venus is represented as seated beside Helen, laying her 
 arm round her neck and advising her to follow Paris. 
 Helen still hesitates; her head is sunk in an attitude of 
 reflection and the gesture of her right hand seems to in- 
 dicate a feeble resistance. Paris stands in front of the 
 two female figures, his emotions indicated by the Cupid 
 at his side. The small figure on the column, behind Ve- 
 nus and Helen, is Peitho, the goddess of Persuasion. The 
 statue of Apollo, behind Paris, refers to the town of 
 Amyclaea, where, according to the legend, the rape of 
 Helen took place. A group of Paris and Cupid, similar 
 to this relief, occurs on an Attic vase dating at latest 
 from the middle of the 4th cent. B.C. It is therefore 
 probable that this subject was inspired by an Attic paint- 
 ing executed little later than the golden period of art in 
 the 5th century. 
 
 Guattani , Monumenti antichi inediti dell’ anno 1785 (June, 
 T. 1, pp. 41-47). Comp. Berichte der sachs. Gesellschaft der Wissen- 
 
90 
 
 VATICAN. 
 
 schaften (1850), p. 188. Friederichs-Wolters , Bausteine, No. 1873. 
 Hauser , Die neu-attischen Reliefs, pp. 155, 156. 
 
 149 (61). Sarcophagus, with relief of Nereids. 
 
 Found on the Via Appia near Roma Vecchia. Some 
 unimportant fragments restored. 
 
 Four Nereids, each with a piece of armour in her 
 hand, ride upon dolphins in a plastically represented sea. 
 The original idea of this and similar sarcophagus-reliefs 
 we may probably refer to a group by Scopas, representing 
 Thetis and the sea-nymphs bringing to Achilles the arms 
 forged for him by Hephaestos. The plastic motives were 
 farther developed in paintings, and the pictorial replicas 
 were frequently reproduced in the construction of sarco- 
 phagi. The employment of a decoration like this would 
 seem to be an implication that the person interred in the 
 sarcophagus, who had perhaps led a military life, was 
 the equal of Achilles. 
 
 Visconti, Museo Pio-Clem., v, 20. Pistolesi , iv, 110. Comp. 
 Riccy , Dell’ antico pago Lemonio, p. 131, No. 84. Overbeck , Gallerie 
 heroischer Bildwerke, p. 438, No. 75. Ann. dell’ Inst., 1860, pp.403, 
 404. Heydemann , Nereiden mit den Waffen des Achill (Halle, 
 1879), Section 4, marble works, No. 2. 
 
 Upon this sarcophagus stands — 
 
 150 (60a). Fragment of a Group. 
 
 Found at Palestrina (Praeneste), under Clement XIV. 
 
 Part of the torso of a youthful woman has been pre- 
 served , seated in a carelessly graceful attitude on a sea- 
 horse, and turned slightly towards the left. Two little 
 feet, planted on the garment that covers the neck of the 
 animal , indicate that this figure was accompanied by a 
 Cupid facing her. The water in which the sea-horse 
 moves is enlivened with a dolphin swallowing a poly- 
 pus, and with another fish swallowing some small object 
 difficult to identify. The tail of the sea-horse has been 
 erroneously restored. A fragment on the plinth proves 
 that the tail must have had another bend and that of 
 considerable size, so as not only to form the necessary 
 counterpoise to the head of the animal but also to fill in 
 
CORTILE. 
 
 91 
 
 skilfully the vacant space above the plinth. The graceful 
 composition derives a special charm from the varied axes 
 of movement imparted to the figures. The execution, not 
 less delicate than animated, compels us to recognize an 
 original Greek work in this group, which appears to date 
 from the Hellenistic period, if we may judge by the pic- 
 torial method of representing nature on the plinth. The 
 imperfect preservation of the group , and our ignorance 
 as to whether it was an independent work, or had a com- 
 panion-piece , or formed part of a larger series of sculp- 
 tures , renders difficult both the interpretation and the 
 criticism of the original motive. If we assume that it 
 was an independent work , it might represent Aphrodite 
 traversing the sea accompanied by Cupid, or Galatea 
 looking up from the sea at the amorous Polyphemos 
 (comp. No. 810). But if the group stood in relation to 
 one or more other sculptures , we should have to regard 
 the maiden simply as a Nereid. 
 
 Romisclie Mittheilungen des axcli. Inst.', iii (1888), T. n, 
 pp. 69-75. 
 
 At the entrance to the Sala degli Animali, — 
 
 151, 152 (64, 65). Two Molossian Hounds. 
 
 One (No. 64) was formerly in the Palazzo Pichini 
 (comp. No. 133 and Jahrbuch des Arch. Inst., vii, 1892, 
 p. 99) ; the other was found at the Torre della Chiaruc- 
 cia, near Civita Yecchia; both have been freely restored 
 (comp. Visconti , Museo Pic-Clem., i, p. 265, note 1). In 
 both, parts of the ears, dew-laps, fore-legs, almost the 
 entire left hind-leg, and the plinth have been restored. 
 In No. 64 the lower thigh and the part of the tail upon 
 it, and in No. 65 the right hind-leg and the tail are also 
 modern. 
 
 This type must have been celebrated in antiquity , for 
 several replicas have been discovered superior in point 
 of execution to the Vatican examples. The powerful ani- 
 mal is represented sitting , gazing upwards at its master 
 or other friend, with an expression of the keenest atten- 
 tion in its good-tempered eyes. The open jaws and the 
 raised and expanded chest show that the dog has been 
 
92 
 
 VATICAN. 
 
 ranging just before coming to rest, while the attitude in 
 which it sits shows that it is on the point of once more 
 dashing into movement. The conception of this type may 
 be set down, with the utmost probability, to the time of 
 Alexander the Great. The realistic characteristics of the 
 surfaces, and in especial the fidelity to nature shown in 
 the treatment of the hair, have no analogy in the earlier 
 art. On the other hand , these figures display a compre- 
 hensive conception of the physical organism, such as is 
 scarcely to be found equalled in the later development. 
 Lysippos, the greatest sculptor in the epoch of Alexander, 
 was specially renowned for his dogs (Pliny, Nat. Hist. 
 34, 63); and it is fairly possible that he was the original 
 sculptor of this work. The general characteristics are 
 quite in harmony with the art of Lysippos, and the same 
 is true of the manner in which the moment selected for 
 representation gives an indication of the movements that 
 have preceded and will follow it. Comp. No. 31. 
 
 Pistolesi , iv, 100. Comp. Meyer - Schulze on Winckelmann's 
 Geschichte der Kunst, v, 6, § 23. Besclireibung der Stadt Bom, 
 ii, 2, p. 145, Nos. 68, 69. Braun , Ruinen und Museen, p. 314. 
 
 Gabinetto del Laocoonte. 
 
 153 (74). Laocoon Group, an original work by Agesan- 
 der and his sons Polydoros and Athenodoros, 
 three artists of Rhodes. 
 
 Found on Jan. 14th, 1506, near the Thermae of Titus 
 (Jahrbuch des Arch. Instituts, v, 1890, pp. 16, 53). 
 
 The restoration of the right arm of Laocoon, executed 
 in plaster about 1730, apparently by Ago stino Cornac- 
 chini, is erroneous. This arm was not originally straight, 
 but bent, as in the sketch-model (attributed to Michael 
 Angelo ) lying on the floor of the cabinet. Above the right 
 ear is a lock of hair, the upper end of which is broken 
 off, leaving a smooth, round scar or fracture, most easily 
 accounted for on the supposition that the lock was con- 
 nected with the hand , either immediately or by means 
 of a small support. We must thus suppose that the right 
 
CORTILE. 
 
 93 
 
 hand was held near the ear and a little above it. The 
 composition of the group gains by this arrangement, as 
 it then assumes a pyramidal form, finding its apex in the 
 head of the principal figure. The right arm of the younger 
 son and the right hand of the older have also been 
 restored. As the younger boy is at the point of death, 
 we cannot imagine his arm as being held almost straight 
 up, but rather as falling limply forwards or sidewards 
 towards his head. A groove running round the head of 
 the father, and most distinctly visible behind, proves that 
 Laocoon wore a bronze wreath, distinguishing him as a 
 priest. 
 
 Laocoon, contrary to the commands of Apollo whose 
 priest he was, had married and begotten two sons; and 
 had even , according to another form of the legend , de- 
 filed the temple by intercourse with his wife within its 
 walls. The enraged deity punished him by sending two 
 serpents, which slew, according to the epic version of the 
 myth, Laocoon and one of his sons, or, according to a 
 later version, the father and both his sons. We must 
 imagine that, immediately before the moment immortal- 
 ized in the sculptured group, father and sons were stand- 
 ing round the altar, perhaps in the, act of offering sacrifice. 
 Here they were surprized and seized by the serpents. 
 The father and his younger son have been thrown back 
 upon the altar by the pressure of the serpents’ folds, 
 while the elder son is also held firmly in their coils. The 
 younger boy, whose breast has been bitten by one of the 
 serpents, is represented breathing his last; his closing 
 eyes are directed upwards, and his left hand, after a vain 
 attempt to tear the serpent from him, falls limply on the 
 head of the monster. The father has just felt the fatal 
 bite, and a shudder of terrible agony runs through him 
 from head to foot. The movement of his whole form is 
 dictated solely and alone by this physical anguish. As is 
 usual when one is suddenly seized with a sharp pain, 
 Laocoon has thrown his head back , while a deep groan 
 escapes from his parted lips. His right arm, if we are 
 
94 
 
 VATICAN. 
 
 correct in our conjecture as to the original posture, grasps 
 convulsively in the direction whence the bite has come. 
 The torso is convulsively twisted, and the right foot, its 
 toes bent in agony, presses its heel against the altar. 
 The position of the left leg is also to be accounted for 
 solely on a theory of physical suffering. If Laocoon had 
 been attempting to rise from a sitting posture, he would 
 have planted his foot firmly and perpendicularly on the 
 ground , and not merely have touched the ground with 
 his toes, in a slanting direction. His left hand has made 
 a grasp at the spot where he has been wounded, and so 
 has seized the serpent. Yet this is but an instinctive 
 motion; for were Laocoon deliberately conscious of a de- 
 sign to tear the serpent from his waist, he would not 
 have grasped it at a part of the neck far from the head, 
 but immediately below the head; and he would not at- 
 tempt to force his hand downwards along his thigh, but 
 to thrust it outwards away from his body. The older son 
 is still unhurt, though his right arm and left foot are 
 each pinioned by a coil of the serpent. The youth with 
 his left hand attempts to free himself from the fold round 
 his foot, but is less concerned with his own fate than 
 with that of his father, at whom he looks up in an agony 
 of grief, raising his right arm in a gesture of despair. It 
 is doubtful whether or not the artists here had thought 
 of the tradition according to which one of the youths 
 escaped. At all events a less poignant element is mingled 
 with the terrible representation, in the fact that the elder 
 son displays sympathy for his father’s fate and is not 
 beyond the reach of possible rescue. 
 
 This analysis provides the necessary ground for an 
 aesthetic estimate of the group. The representation of 
 suffering is only tragic when the suffering can be recog- 
 nized as the morally necessary consequence of guilt. The 
 group in itself furnishes no hint why this fearful catas- 
 trophe has overtaken Laocoon and his sons, and its effect 
 in consequence is not purely tragic but rather patho- 
 logical. But this defect must have been less apparent to 
 
CORTILE. 
 
 95 
 
 the ancient beholder than to the modern. We may assume 
 that the public for whom the three Rhodian artists work- 
 ed were intimately acquainted with the myth represented 
 and could easily supply in imagination the guilt that 
 preceded the catastrophe. And it is also possible that the 
 meaning of the representation may have been rendered 
 more apparent by the memory of some event in connection 
 with which it was dedicated. For instance the group may 
 have been erected to commemorate the destruction by 
 the Rhodian troops of some hostile band that had dese- 
 crated a temple near the city; in that case the Rhodians, 
 looking upon the group, would easily recall that Laocoon 
 perished in consequence of his desecration of a temple. 
 Another defect in the group lies in the fact that the ideal 
 unity of the three figures is not very marked. The younger 
 son is dying ; the father is wholly engrossed by his phys- 
 ical anguish; the older son alone stands in any spiritual 
 relation to one of the other figures , in the expression of 
 his sympathy with the fate of his father. Apart from this, 
 the three figures are united only by an external motive, 
 viz. the coils of the serpents. But these defects are more 
 than compensated by the excellences of the work. The 
 compact composition of the group as a whole is wonder- 
 fully beautiful. The artists have displayed the most deli- 
 cately calculated skill in their mode of utilizing the altar 
 so as to secure the necessary symmetry between the bodies 
 of the youths. The treatment of the nude testifies to a 
 knowledge of the human frame such as is equalled in 
 few ancient or modern works. No single model could have 
 been found for reproducing the convulsive anguish of an 
 agonized man like Laocoon. Such a representation can 
 only have been the result of the most minute anatomical 
 and pathological learning. Agesander and his colleagues 
 have solved the problem in the most brilliant fashion. 
 
 The frequently quoted passage in Pliny (Nat. Hist, 
 xxxvi, 37, 38), which treats of the sculptors of the Lao- 
 coon, contains no definite statement as to its date and 
 allows no certain conclusion to be drawn as to this point. 
 
96 
 
 VATICAN. 
 
 The same is true as regards various extant bases, whose 
 inscriptions name the sons of Agesander as the sculptors 
 of the various works that stood on the bases. Although it 
 might be concluded from the shape of the letters of these 
 inscriptions that Polydoros and Athenodoros flourished 
 about 100 B.C., yet that conclusion is uncertain, because 
 it is doubtful whether the bases in question supported 
 original works of these artists or merely copies. In the 
 latter case , of course , the inscriptions might easily be 
 written in characters of a later date. The attempt to prove 
 that the Laocoon must be of more recent origin than the 
 Giants’ Frieze executed at Pergamum under King Eume- 
 nes II. (197-175 B.C.) may be regarded as unsuccessful. 
 An unbiassed critical comparison of the prevailing artist- 
 ic forms in the two works points rather to the opposite 
 conclusion. From the time of Alexander the Great on- 
 wards Greek plastic art exhibits from generation to gen- 
 eration an increasing tendency to lay more stress upon 
 the outward and visible appearance and upon striking 
 external effect than upon the deeper spiritual content of 
 the thing represented. It thus gradually came about that 
 subsidiary motives, which were previously not represented 
 at all or represented only in a conventional manner, were 
 closely copied from nature and the plastic forms became 
 penetrated with a pictorial element. While this tendency 
 appears in full force in the Pergamenian frieze, the Lao- 
 coon group is practically unaffected by it. The com- 
 position of the latter is plastic in the highest sense of the 
 term, and all unnecessary detail is avoided in the execu- 
 tion. Though the artists have treated the anatomy of 
 Laocoon’s body with greater minuteness than the earlier 
 sculptors would have done, they were in a measure com- 
 pelled to do so by their subject; for the convulsions in 
 which Laocoon is writhing could be distinctly expressed 
 only by a minute representation of muscles and veins. 
 And the artists, so far from having given way to idle dis- 
 play in their anatomical details, have subordinated them 
 entirely to the main motive. 
 
CORTILE. 
 
 97 
 
 Another and more decisive difference is noted in the 
 treatment of the eyes. The eyeballs of the Laocoon 
 group are slightly flattened, in the style of the earlier 
 school of Greek sculptors in marble, whereas in the frieze 
 from Pergamum the eyeballs are rounded as in nature, 
 in the manner we notice in the Graeco -Roman works, 
 wherever they are not affected by some earlier model. 
 The conclusion seems to be that the Laocoon is older and 
 stands nearer the time of Alexander than the Pergamenian 
 frieze executed under King Eumenes II (197-175 B.C.). 
 
 On the group before restoration : Thode , Die Antiken in den 
 Stichen Marcantons , T. 1. For the bibliography, see Friederichs- 
 W otters , Bausteine, No. 1422, to which may be added Robert , Bild 
 undLied, pp. 192 et seq. , ArchaeoL Marchen, pp. 142-143, and 
 Baumeister, Denkmaler des kl. Alterthums, i, pp. 24 et seq., Fig. 26. 
 The suggestion of Kekule , in his Zur Deutung und Zeitbestimmung 
 des Laocoon (Berlin & Stuttgart, 1883), that the group is later than 
 the Pergamenian frieze and dates from about 100 B.C., has been 
 conclusively rebutted by Brunn in the Jahrbuch der preuss. Kunst- 
 sammlungen, v (1884), pp. 263-272, and by Trendelenburg in his 
 Laokoongruppe und der Gigantenfries des pergamenischen Al- 
 tars (Berlin, 1884). — The question of the Laocoon has more re- 
 cently been treated in detail by Forster , in the Yerhandlungen der 
 40. Philologenversammlung in Gorlitz (Leipzig, 1890), pp. 74-95, 
 428-438. His theory is that the group dates from the Hellenistic 
 epoch, but is later than the Pergamenian frieze and the Farnese 
 Bull. The present writer cannot, however, accept as satisfactory the 
 grounds on which Forster bases the latter portion of his contention. 
 Comp, also Jahrbucher des Yereins von Alterthumsfreunden im 
 Rheinland, lxxxxii (1892), pp. 58-60. — The inscriptions with ar- 
 tists’ names found in the island of Rhodes afford no satisfactory basis 
 for determining the chronology of the Laocoon (see Jahrbuch des 
 Arch. Instituts , ix, 1894, pp. 23-37). Mommsen , in Hermes, xx, 
 pp. 285-287 and Forster , loc. cit., pp. 76-82, comment upon Pliny, 
 xxxvi, 37, 38. 
 
 In the court, — 
 
 Above the door by which we leave the Cabinet of the 
 Laocoon: 
 
 154. Fragment of a Sarcophagus Relief, represent- 
 ing one of the Erinyes. 
 
 This fragment formed part of the lateral face of a sar- 
 cophagus on which was represented Orestes before the 
 
 Helbig, Guide I. 7 
 
98 
 
 VATICAN. 
 
 tribunal of the Areopagus. Nothing is left except the 
 lower part of one of the Furies. From less damaged re- 
 plicas we learn that she was standing opposite Athena, 
 near the table bearing the judicial urn. The two feet of 
 the table, distinguishable on the fragment before us, have 
 been erroneously restored as a tripod. The Erinye holds 
 a scourge in her right hand. 
 
 Robert , Die antiken Sarkophagreliefs, n, T. lvi, 164, p. 176. 
 
 155 (80). Marble TJrn. 
 
 Formerly in the Villa Mattei on the Caelian Mt. The 
 head of the winged figure on the left is restored. 
 
 According to the inscription, this urn held the ashes 
 of two boys, Gaius Clodius Primitivus, aged eleven, and 
 Gaius Clodius Apollinaris, aged five. The decoration is 
 as significant as tasteful. The inscription is framed by 
 columns resembling palm-stems. Two female winged 
 figures below the palms are depicted in the act of open- 
 ing a door, which is probably intended to signify the door 
 of the tomb. 
 
 Monumenta Matthseiana, m, T. 63, 2. Corp. in scrip, lat., vi, 3, 
 Nos. 15, 699. 
 
 156 (81). Relief of a Roman Procession. 
 
 Found in the court of the Palazzo Ottohoni (now Pal. 
 Fiano). Nearly all the heads have been restored. The 
 cheeks and part of the hack of the head of the first figure 
 on the left, and the face (except the nose) of the third 
 figure are, however, antique. 
 
 On the part of the Campus Martius now occupied by 
 the Palazzo Fiano stood in imperial times the Ara Pacis 
 August®, erected by the senate in honour of Augustus, on 
 his return in 13 B.C. from Spain and Gaul. Several re- 
 liefs besides the one in the Belvedere have been discovered 
 within the precincts of the palace , and these, from their 
 size, subjects, and marked style, have evidently belonged 
 to one and the same monument. It has rightly been con- 
 jectured that this monument must have been the Ara 
 Pacis. So far as an opinion can be formed from the ex- 
 
CORTILE. 
 
 99 
 
 tant fragments , the series of reliefs represented the citi- 
 zens of Rome , the chief officials , and priests proceeding 
 in solemn array to celebrate the thank-offering for the 
 emperor’s safe return. The relief before us shows part of 
 the procession. In front march two lictors, followed by 
 two toga-clad personages, probably praetors. Next is a 
 Camillus (comp. No. 607), with a censer (acerra) in his 
 right hand. In the background are other toga-clad per- 
 sons, possibly senators. 
 
 Visconti, Museo Pio-Clem., v, 32. Pistolesi , iv, 95. Moil, dell’ 
 Inst., xi, T. xxxrv, xxxv, 4; Ann., 1881, p.^314, No. 4. 
 
 157 (84). Sepulchral Ara of a Volusian. 
 
 Found in the columbarium of the Yolusii, excavated 
 in 1826-27 in the Vigna Ammendola, on the Yia Appia. 
 (Bibliography relating to the excavation, see Benndorf 
 und Schone, Die antiken Bildwerke des lateranischen Mu- 
 seums, p. 112.) The face of the seated man, from the root 
 of the nose to a little above the brow, has been restored. 
 
 The personage, apparently a member of the Volusian 
 gens, whose ashes were contained within the ara, is re- 
 presented as a magistrate , seated in a curule chair with 
 his feet on a ‘suppedaneum’ or footstool. The ornament- 
 ation of the monument is in good taste and well-arranged. 
 At the lower corners in front are ‘two recumbent sphinxes, 
 from between whose wings spring acanthus-leaves ; above 
 are pilasters from which hang two garlands of fruit, meet- 
 ing behind a theatrical mask. The sides are ornamented 
 with volutes, from which depends a thick laurel- wreath. 
 The inscriptions discovered in the tomb of the Volusians 
 prove that interments were made there during the fifth 
 and sixth decades of the first century A.D. The fine exe- 
 cution of the ara before us points to the same period. 
 
 Pistolesi , iv, 104. Museo Chiaramonti, iii, 21. Comp. Braun , 
 Rumen und Museen, p. 307, No. 52. Fox the chronology of the tomb 
 of the Yolusians, see Corpus inscrip, lat., vi, 2, pp. 1043, 1044. 
 
 158 (85). Statue of Hygieia. 
 
 Acquired under Pius VII. from a certain Pierantoni. 
 The head, which is of a Greek marble of unknown origin, 
 
 7* ' 
 
100 
 
 VATICAN. 
 
 is antique but does not belong to the body, which is of 
 Parian marble. The attributes, right arm, left hand and 
 adjoining part of the forearm , and numerous splinters 
 on the mantle are restorations. 
 
 The head displays a close relationship with Attic 
 types of Pallas belonging to the second half of the 5th 
 cent., and from its precise hut somewhat hard execution, 
 appears to be a replica of a bronze original. A clue to 
 its identification is obtained from the ornamental relief 
 on the diadem, which consists of a head of Medusa, with 
 two serpents crawling towards it. Though the Gorgon’s 
 head is appropriate to Pallas, the two serpents, arranged 
 in this ornamental manner, cannot be included in the attri- 
 butes proper to that goddess. But Athena was worshipped 
 in Attica and other districts of Greece as the health- 
 bestowing goddess, as Athena Hygieia; and in the last 
 third of the fifth century, a bronze statue designed by 
 Pyrrhos was dedicated to her under this name, as is 
 proved by the preservation of the pedestal with the dedi- 
 catory inscription on the Acropolis. In the case of a 
 goddess of this character the decorative serpents are ap- 
 propriate enough , for serpents played a prominent part 
 in the cult of the gods of healing ; and they are among 
 the usual attributes of Hygieia , when she is represented 
 as an independent deity, distinct from Athena (comp. 
 No. 876). For these reasons, the identification of the head 
 of this statue as that of Athena Hygieia seems to be 
 justified. The recently expressed conjecture that this 
 head reproduces the type of the goddess as created by 
 Pyrrhos does not admit of positive proof; but it is at any 
 rate entitled to consideration, for the forms and stylistic 
 peculiarities certainly suggest an Attic bronze original of 
 the period at which Pyrrhos flourished. 
 
 From the thoroughly free and broad treatment of the 
 robe, and from the height of the girdle on the body of 
 the statue , we must conclude that it is a replica of an 
 original of the 4th cent., perhaps from the Second Attic 
 School. The mantle is arranged in the manner typical of 
 Hygieia, so that the statue may be referred with certainty 
 
CORTILE. 
 
 101 
 
 to that goddess. The restoration of the broken hands and 
 attributes, according to which the goddess is represented 
 feeding a serpent , is of doubtful correctness. From the 
 extant fragments it seems more probable that she pressed 
 to her breast with her right hand a snake wound round 
 her right arm, while she touched with her left the coils 
 hanging from the right arm. Restored thus, the attitude 
 of the figure would seem more natural and more com- 
 pact than at present. A statue of Hygieia after the same 
 original , now in the Berlin Museum , has been restored 
 in this way, which represents the goddess in the act of 
 affectionately caressing the animal that is the symbol of 
 the healing-power. 
 
 Visconti , Museo Pio-Clem., vii, 5 (comp. Opere varie, rv, p. 353, 
 No. 133). Mon. dell’ Inst., ix, T.49; Ann., 1873, Tav. d’agg. A, pp.4 
 et seq. Comp. Furtwaengler , Masterpieces, p. 15, note 2. On the 
 height of the girdle, see Archseol.-epig. Mittheilungen aus Oster- 
 reich, v (1881), pp. 2-13. For the statue at Berlin : Yerzeichnis der 
 antiken Sculpturen, No. 353. On the Athena-Hygieia of Pyrrhos: 
 Ath. Mitth., xyi (1891), pp. 156-165. 
 
 159 (88). Relief from a Public Building, probably from 
 a triumphal arch. 
 
 The entire lower part and all the right end of the 
 relief, including the rearmdst horse and the two Motors’ 
 heads above it, are modern. The head of the figure of 
 Roma , the right forearm, the left hand, and the staff of 
 the vexillum, the head of the lowest man at the left end 
 of the relief, and the face of the figure above him, be- 
 sides numerous splinters, are also restored. 
 
 Apparently we must assume that the horse, the front 
 of which has been preserved on the right, belonged to 
 the team of four harnessed to the chariot in which stood 
 the triumphant general. In front of the chariot marches 
 the goddess Roma , bearing a vexillum in her left hand, 
 while, with her head turned back, she points forward with 
 her right hand, as though to indicate the way to the hero 
 of the day. The faces of all the men taking part in the 
 procession are clean-shaven , so that we must date the 
 relief before the reign of Hadrian, a period with which 
 
102 
 
 VATICAN. 
 
 the well-marked character of the execution is also in har- 
 mony. 
 
 Pistolesi , iv, 102. Comp. Braun , p. 308, No. 53. 
 
 Gakinetto dell’ Apolline. 
 
 160 (92). Apollo 1 ; Belvedere. 
 
 In all probability this statue was not found at Antium 
 (Porto d’Anzio), as is usually stated, but in a ‘tenuta’ 
 (estate) of Cardinal Giuliano della Kovere near Grotta 
 Ferrata (Jahrbuch des Arch. Inst., v, 1890; Arch. An- 
 zeiger, pp. 48-50). Giuliano, after he had become Pope 
 Julius II., placed this statue in the Belvedere (Jahrbuch 
 des Arch. Inst., v, 1890, p. 10). Montorsoli (d. 1546) 
 restored the top of the quiver , the left hand , the right 
 forearm, the upper part of the stem, and various small 
 fragments on the drapery and legs. The right arm was origi- 
 nally supported by means of a prop between the forearm 
 and the right haunch (where remains of it are still seen) ; 
 but this object is now attained by a prolongation of the 
 upper end of the stem. The direction of the prop proves 
 that the right forearm was advanced about 5 centimetres 
 farther than is the case in the modern restoration (Arch. 
 Anzeiger, 1890, p. 51). 
 
 It is difficult to write about this world-famed statue, 
 since the foundation on which its restoration has hitherto 
 been based has begun to totter. Previous investigations 
 have started with a bronze statuette in the possession of 
 Count Serge Stroganoff in St. Petersburg, which in re- 
 spect to attitude is in essential agreement with the Apollo 
 Belvedere and was believed to have been found in 1792, 
 along with many other bronzes, at Paramythia in Epirus. 
 In the left hand of the statuette is an object, of which 
 the portion below the hand is now wanting, while the 
 portion above the hand looks like a tightly tied leathern 
 thong (Fig. 9). It was assumed that this was an aegis, 
 while a small bronze Gorgon’s head found at Paramythia 
 was supposed to have originally formed the centre of this 
 attribute. On this theory the Apollo Belvedere should 
 also be restored with an aegis in his left hand. An aegis 
 of marble, however, would have been much too heavy for 
 the left arm of the Vatican statue, and it must therefore 
 
CORTILE. 
 
 103 
 
 have been made of hammered metal and inserted in the 
 marble hand. The statue would thus represent the god 
 in the act of advancing against his foes, striking terror 
 into them by the outstretched aegis. The artist may have 
 
104 
 
 VATICAN. 
 
 had in his mind the celebrated verses from the Iliad (xv, 
 306 et seq.), which describe Apollo thus going against the 
 Acheeans. The whole character of the statue corresponds 
 admirably to this theory. The secure and self-conscious 
 attitude of the god clearly betokens that he is sure of 
 victory. The slightly contracted brows, the parted lips, 
 and the quivering nostrils reveal a mixture of anger and 
 haughty contempt. Emotion, however, stops there; the 
 lofty calmness of the forehead is unruffled. A clue to the 
 date at which the original was conceived was thought to 
 he afforded by the arrangement of the hair above the 
 forehead. Such an ornament, calculated to enhance the 
 imposing effect of the front view of the face, first appears, 
 in the case of male figures, about the time of Alexander 
 the Great. Lastly, in the history of the period soon after 
 Alexander there occurred an incident well fitted to inspire 
 the creation of some such figure as the Vatican Apollo, 
 viz. the defeat of the Gauls in B.C. 278 in their attempt 
 to capture Delphi. According to the account of the 
 Delphians, Apollo, in the guise of a youth of supernatural 
 beauty, rose from the opening in his temple-roof, amidst 
 an accompaniment of earthquake, snowstorm, thunder, 
 and lightning. The Gauls were seized with a panic and 
 sustained such severe losses during their flight that they 
 resolved to withdraw from Greece. The preservation of 
 their common sanctuary and the defeat of the barbarians 
 awoke the greatest enthusiasm among the Hellenes, who 
 had at that time little warlike glory to boast of. In memory 
 of the great events the Festival of the Preservation (soteria) 
 was founded at Delphi and numerous votive offerings were 
 brought. It was assumed that the original of the Apollo 
 Belvedere was among those gifts. The mode in which the 
 god is conceived of agrees with the Delphic legend, so 
 far as is permitted by the laws of plastic art. Apollo, just 
 emerged from his temple, raises the segis to roll back the 
 advancing attack of his foes, while his bearing and expres- 
 sion betoken that his action has accomplished his destruc- 
 tive intention. Moreover, the eegis corresponds with the 
 
CORTILE. 
 
 105 
 
 meteorological disturbances that accompanied the approach 
 of the Gauls to Delphi, according to the tradition; for 
 originally the aegis was a symbol of thunder-storms, and 
 appears never wholly to have lost this significance in the 
 popular mind. 
 
 The whole of this well-rounded and specious com- 
 bination has, however, lately been rendered doubtful by 
 the fact that Furtwaengler declares the Apollo Stroganoff 
 to be nothing more than a modern forgery, based on the 
 Apollo Belvedere. Kieseritzky, however, an archaeologist 
 who lives in St. Petersburg and has had daily opportu- 
 nities of studying the Apollo Stroganoff, still believes in 
 the authenticity of this statuette and intends to publish an 
 elaborate refutation of Furtwaengler’s views. Until this 
 brochure appears, it will probably be the part of prudence 
 to refrain from a positive decision on the question. 
 
 Disregarding the Stroganoff figure, Furtwaengler re- 
 gards the Vatican statue as emphasizing two sides of the 
 Apollo idea and as having no connection with any one 
 historical event. The bow, which he seems to have held 
 in his left hand, marked him out as the ‘Far-Darter’. The 
 attribute in his right hand was probably a branch of laurel, 
 bound with knotted woollen bands (stemmata),and referred 
 to the propitiatory and cleansing" power of Apollo. This 
 latter explanation is based on the traces remaining at the 
 upper and antique end of the stump adjoining the statue. 
 These consist of the ends of four parallel woollen fillets, 
 to which are attached two laurel leaves with the points 
 directed downwards; a little more to the right, on the 
 stump itself, are two similar leaves. In these Furtwaengler 
 recognizes the attribute held in the right hand of the god 
 and touching the stump at its lower end. But the idea of 
 a laurel-branch is contradicted by the artificial arrange- 
 ment of the leaves, which hang vertically downwards. 
 Such an arrangement points rather to a laurel-wreath, 
 which, however, taken in connection with the woollen 
 fillets, would probably have the same significance as 
 Furtwaengler’s laurel-branch. The god must have held 
 
106 
 
 VATICAN. 
 
 the laurel-wreath and the woollen band in his closed right 
 hand, which was held more to the front than in the modem 
 restoration, while the lower ends of the two attributes lay 
 against the upper part of the stump. 
 
 Another archaeologist has rightly pointed out the strik- 
 ing resemblance between the Apollo Belvedere and the 
 Ganymede of Leochares (No. 400). It would, none the 
 less, be rash to assume on this account that the Vatican 
 statue is also a creation of that sculptor. We know that 
 the Hellenistic sculptors frequently imitated older types, 
 such as those of the Second Attic School (comp. No. 532). 
 Caution is all the more urgent in this respect, since in- 
 dications are extant, which seem to prove that the type 
 of the Apollo Belvedere was evolved by successive steps 
 from a statuary type known as early as the last decades 
 of the fifth century B.C. We may, perhaps, go a step 
 farther and recognize the germ of this evolution in the 
 still earlier type of Apollo discussed under No. 1028, 
 which shows a certain similarity to the Vatican statue 
 in the attitude of the body and the position of the ex- 
 tremities. 
 
 The fact that the way in which the statue should be 
 restored is problematical will not detract from the im- 
 pression it makes on the visitor to the Museum. The 
 Apollo Belvedere may lack the quiet and simple dignity 
 that we admire in the creations of the best Greek period, 
 but it makes up for this by the effective force of the re- 
 presentation. It incorporates, in the most striking manner, 
 what the Greeks called a ‘theophany’, i.e. the sudden ap- 
 pearance in the material universe of a hitherto invisible 
 deity. The inner life is most clearly expressed in the face, 
 while we feel at the same time that the excitement is held 
 in check by the conscious possession of divine strength. 
 
 That the Vatican statue is not an original Greek work, 
 but a copy made about the beginning of the Empire, is 
 conclusively proved on comparing it with a marble head, 
 discovered at Home and now in the museum at Bale. This 
 head essentially agrees with the statue in point of type, 
 
CORTILE. 
 
 107 
 
 but in point of execution reveals the principles of genuine 
 Greek art to a much higher degree. 
 
 For bibliography, see Overbeck , G-eschichte der griechischen 
 Plastik, ii 4 , pp. 369-378, 407, 408, notes 10-33, and Kunstmytho- 
 logie, iv, pp. 248 et seq. Comp. Jahrbuch des Arch. Instituts, vn 
 (1892), pp. 164-177; also Furtwaengler , Masterpieces, pp. 405-412. 
 
 161 (94). Relief of Two Women with a Bull. 
 
 Found in the course of excavations in Terra di Lavoro. 
 The entire left half of the relief is modern. The line of 
 fracture is almost vertical through the neck of the bull, 
 then it describes an elliptic curve through the head, and 
 ends between the fore-legs. Several portions of the right 
 half have also been restored , including the head, neck, 
 breast, left forearm, and right hand of the woman in front 
 of the bull, and the horns, right ear, and left forefoot of the 
 bull itself. The only portion of the thymiaterion preserved 
 is the lowest part, projecting immediately above the neck 
 of the bull. The restorations have been made after a 
 more perfect example in the museum at Florence , and 
 are probably therefore correct on the whole (comp. Me- 
 langes d’arch. et d’hist., published by the Ecole Fran- 
 $aise de Rome, x, 1890; pp. 170 et seq.). Probably, how- 
 ever, the foremost woman instead of holding a string of 
 pearls hanging from the thymiaterion with her right hand, 
 either grasped the neck of the vessel , or simply made a 
 gesture with that hand. 
 
 The relief represents two women leading a bull to the 
 sacrifice. To restrain the restive animal, one of the women 
 pulls hard on the rope which we must imagine as wound 
 round the horns and forehead of the bull. The other 
 woman walks in front, turning her head towards her com- 
 panion and speaking to her. It is uncertain whether the 
 candelabra-shaped censer (thymiaterion) above the shoul- 
 der of the bull was held in the right hand of the foremost 
 woman, or whether we are simply to regard it as occu- 
 pying the background without any reference to this figure. 
 No matter which view is adopted, it is at all events clear 
 from the presence of the censer, that the relief represents 
 the preparations for a sacrifice. The composition was 
 apparently suggested by the relief-slabs which adorned 
 the balustrade of the temple of Nike Apteros on the 
 
108 
 
 VATICAN. 
 
 Acropolis at Athens, which seem to have been executed 
 in 409 or 408 B.C. But at the same time the sculptor 
 seems to have used either other quite independent models 
 or some pictorial variation of the Attic relief. The female 
 figures on the balustrade are identified as goddesses of 
 victory by their wings, while those on the Vatican relief 
 have no wings, and are therefore perhaps to be described 
 as Bacchantes, leading a bull for a sacrifice to Dionysos. 
 
 Visconti , Mus. Pio-Clem., v, 9. Pistolesi , iv, 99. Millin , Gal. 
 myth., PI. 54, 267. Guigniaut, Rel. de l’ant., PI. Ill, 468. Kekule, 
 Die Balustrade des Tempels der Athena-Nike, T.i d , pp. 31-38. See 
 also Friederichs-Wolters , No. 809. Comp. Hauser , Die neu-attischen 
 Beliefs, p. 71, No. 100 b . Ahhandlungen des arch.-epig. Seminars in 
 Wien, viii (1890), p. 34. On the chronology of the Athenian balu- 
 strade, see Athenische Mittheilungen, xiv (1889), pp. 364-366. 
 
Sala degli Animali. 
 
 We begin to tbe right of the entrance. 
 
 162 (107). Stag seized by a Hound. 
 
 Only the body of tbe stag, and the head, fore-legs, and 
 hind-paws of the dog are antique. 
 
 The stag has stopped its career and writhes with the 
 pain caused by the bite of the hound. The execution 
 shows much delicacy of appreciation. The representation 
 of the skin seized by the teeth of the dog is especially 
 successful. 
 
 Pistolesi , y, 4. Comp. Braun , Ruinen und Museen, p. 316, No. 55. 
 
 163, 164 (116, 117). Group of two Greyhounds, Sta- 
 tuette of a Greyhound. 
 
 Both sculptures come from the Monte Canino or Cag- 
 nuolo , near Civita Lavinia,, which probably owes its 
 name to these or earlier discoveries of a similar character. 
 In the statuette, the body only is antique. 
 
 The group represents two greyhounds at play, one 
 seizing the ear of the other. It pourtrays the slender 
 build and shivering mobility of the animals with admir- 
 able skill. The same remark applies to the statuette. 
 
 Pistolesi , v, 5. Comp. Meyer-Schulze , on Winckelmanrfs Ge- 
 schichte der Kunst, v, 6, §23. Friederichs - Wolters , Bausteine, 
 No. 1703. 
 
 165 (134). Heracles with the slain Nemean Lion, a 
 
 statuette. 
 
 Only the figure of Heracles, apart from the arms and 
 feet, seems to be antique. All the rest is modern. 
 
 Clarac , v, PI. 791, No. 1981. Comp. Braur *, Ruinen und Mu- 
 seen, p. 317, No. 57. 
 
no 
 
 VATICAN. 
 
 166 (137). Heracles slaying Diomede the Thracian, a 
 
 statuette. 
 
 This belongs, with three other statuettes in the same 
 room, to a series referring to the labours of Heracles. They 
 were found beside each other at Ostia by Ii. Fagan. The 
 execution is mediocre and all have been freely restored. — 
 No. 141 is erroneously restored. Heracles was not re- 
 presented bearing off the Delphic tripod ; more probably 
 he was carrying the Erymanthian boar on his left shoul- 
 der and terrifying therewith Eurystheus, whose figure 
 was added on the plinth on a smaller scale. — No. 208, 
 Heracles slaying Geryon. — No. 213, Heracles carrying 
 off Cerberus. 
 
 Visconti , Museo Pio-Clem.,' n, 5-8. Clarac , v, Pl. 797, No. 2001 ; 
 PI. 798, No. 2009; PI. 800, Nos. 2001, 2010. Comp. Fea , Relazione 
 d’un viaggio ad Ostia, p. 43. For No. 141, see Zoepa, Bassirilievi, 
 ir, p. 71, note 85. 
 
 167 (138). Young Centaur with Eros on his back. 
 
 Found behind the hospital of S. Giovanni in Late- 
 rano. The head, both arms (with the attributes), the tail, 
 nearly the whole of the Eros, the palm-tree stump, and 
 almost the entire plinth are restorations. Of the horse 
 only a portion of the upper part of the right fore-leg and 
 the lower end of the left fore-leg are antique. 
 
 This figure is to be referred to the same original as 
 a statue (No. 512) in the Capitoline Museum (under 
 which will be found the necessary remarks as to type), 
 but differs somewhat in the representation of the raised 
 right arm. On the right side are the remains of a support 
 reaching obliquely upwards, which could only have been 
 used to connect the body with some comparatively heavy 
 object held in the raised right hand. The modern restorer 
 has assumed that this object was a hare, and perhaps he 
 is right. The idea expressed in the group would then be 
 as follows. The Centaur gives himself up to the pleasure 
 of hunting and rejoices over his booty; but already on 
 his back sits the dangerous god of love , ready to entrap 
 the careless hunter. This idea is entirely in harmony 
 
SALA DEGLI ANIMALI. 
 
 Ill 
 
 with the spirit of the Hellenistic age; and finds a strik- 
 ing analogy in the domain of poetry in the 12th ( 11 ) Idyll 
 of Bion. 
 
 Visconti , Museo Pio-Olem., i, 51. Pistolesi , v, 10. Clarac , rv, 
 PI. 739, No. 1783. Comp. Welcker s Zeitschrift , p. 330. Braun, 
 Ruinen und Museen, p. 317, No. 58. 
 
 168 (139). Equestrian Statuette of Commodus (?). 
 
 Formerly in the Villa Mattei and acquired under 
 Clement XIV. The lower part of both the legs and the 
 right arm of the man are restorations , as well as the 
 ears, fore-legs, and lower hind-legs of the horse, and 
 most of the stem and plinth. 
 
 A man in hunting-dress aims a blow with his spear 
 at some animal below him. The head bears some resem- 
 blance to the portrait of Commodus ; but the similarity is 
 not so striking as to warrant the conclusion that this is 
 certainly a likeness of that emperor. In any case the ar- 
 rangement of the hair and beard shows that the personage 
 represented lived in the time of the Antonines. The pose 
 of this equestrian statuette, no less distinct than natural, 
 was not the invention of the sculptor, but was borrowed 
 by him from earlier art. It is enough to recall the fact 
 that the figure of Trajan on two of the relief-medallions 
 built into the Arch of Constantine is treated in the same 
 manner. The restoration of the Vatican statuette is vin- 
 dicated by these figures. 
 
 Monumenta Matthseiana, i, 93. Be Rossi , Raccolta di statue, 
 T. 104. Pistolesi , v, 11. Clarac , v, PI. 962, No. 2475. Museo Chiara- 
 monti, hi, 24. Gunp. WincJcelmanns Gesohichte der Kunst, xn, 1, 
 § 21. Visconti, Museo Pio-Clem., i, p. 237, note*. Braun, Ruinen 
 und Museen, p. 318, No. 59. Bernoulli , Rom. Ikonogr., ii, 2, p. 235, 
 No. 53; p. 243. For the figures of Trajan, see Antike Denkmaler, 
 published by the Arch. Institut, i (1890), T. 42, 1 ; T. 43, 7. 
 
 169 (151). Altar with a slaughtered Ram. 
 
 Formerly in the Villa Mattei, and acquired under 
 Clement XIV. The muzzle and lower parts of the legs 
 are restored. 
 
 The slaughtered ram lies upon an altar, the liver and 
 other entrails protruding from the opened carcase. The 
 
112 
 
 VATICAN. 
 
 fidelity to nature of tlie representation is astonishing. 
 The incisions upon the fleece were apparently intended 
 by the sculptor to indicate the cracks in the coating of 
 dirt which covers the wool of sheep before they are washed 
 for the shearing. 
 
 Monumenta Matthasiana, n, 69. Visconti, Museo Pio-Clem., vn, 
 33: comp, i, p. 237, note*. Braun Rninen und Museen, p. 318, 
 No. 60. 
 
 170 (153). Goat-herd resting. 
 
 A fracture runs across the upper part of the breast 
 and the left forearm ; all to the right of this line seems 
 to be modern. 
 
 A young goat-herd, surrounded by his flock, rests 
 comfortably on the turf, leaning his head on a mound 
 covered by a bear’s skin. His pedum and syrinx lie be- 
 side him. This composition is obviously related to the 
 idyllic movement which began to develope in Greek 
 painting after the period of Alexander the Great. Small 
 works in marble like that before us (comp. No. 927) were 
 used to adorn the gardens in the peristyles of Roman 
 houses. The peristyle of the Casa di Marco Lucrezio in 
 Pompeii gives an example of this kind of decoration. 
 
 Pistolesi , v, 13. Clarac , iv, PL 741, No. 1784. Comp. Braun , 
 p. 318, No. 61. 
 
 171 (154). Leopard. 
 
 The head, neck, fore-legs and adjacent parts of the 
 breast, the stem, and the plinth are restorations. 
 
 Pliny (Nat. Hist. 35, 2) describes how it had become 
 the fashion in the time of the Emperor Claudius to pro- 
 duce variations in marble by inserting fragments of other 
 kinds of stone, and by this kind of intarsia-work to re- 
 present objects and animals. ! We have in fact’, he con- 
 cludes, ‘begun to paint with stone’. The leopard before 
 us is of this description. The body is of Oriental ala- 
 baster; the spots on the skin are reproduced by round 
 pieces of black marble (nero antico) inserted in the ala- 
 baster, with smaller pieces of yellow marble (giallo an- 
 tico) in the centre of each. 
 
SALA DEGLI ANIMALI. 113 
 
 Beschreibnng der Stadt Rom, n, 2, p. 162, No. 41. Rheinisches 
 Museum, xxv (1870), pp. 397, 398. 
 
 172 (157). Hellenistic Relief of a Country Scene. 
 
 Found under Pius YI. at Otricoli. 
 
 A peasant is watering a cow, which he is bringing 
 to market, at a wayside spring overshadowed by a vener- 
 able tree. While the cow drinks, her calf pulls at her 
 udder. The branch in the right hand of the peasant has 
 probably nothing to do with a lustration to be performed 
 with the cow, as is usually supposed, but is probably 
 merely a weapon against the flies. A pair of ducks, also 
 apparently destined for market, hang from the pedum 
 which the countryman bears over his shoulder. In the 
 background is a small Ionic temple, a rustic sanctuary 
 with its precincts surrounded by a wall. The execution 
 of the relief does not lack character but is somewhat dry. 
 
 Visconti, Mus. Pio-Clem., v, 33. Pistolesi,v , 14. Schreiber, Die 
 hellenistischen Reliefbilder , i, 74. Comp. Welckers Zeitschrift, 
 p. 441. Braun , Ruinen und Museen, p. 319, No. 62. Botticher , Der 
 Raumkultus, p. 47. Fredericks- Writers, No. 1901. Schreiber, Die 
 Wiener Brunnenreliefs aus Pal. Grimani, p. 96, No. 69. 
 
 173 (158). Relief of Eros in a Chariot drawn by Boars. 
 
 Said to have been discovered in the excavations 
 carried on by Cardinal Francesco Barberini in Hadrian’s 
 Villa near Tivoli; and acquired under Pius YI. 
 
 All-powerful Eros has succeeded in training two wild 
 boars to draw his chariot in the circus. The manner in 
 which the two clumsy animals dash straight on, side by 
 side, thus rendering a service quite opposed to their na- 
 ture , is expressed in the happiest way. The goal of the 
 equipage appears to be the tastefully decorated altar on 
 the right side. The execution is very careful. 
 
 Visconti, Mus. Pio-Clem., iv, 12. Penna , Yiaggio pittorico della 
 Villa Adriana, hi, 17, 1. Pistolesi , v, 14. Comp. Welckers Zeit- 
 schrift, p. 368. Braun, p. 319, No. 63. Fredericks- Writers, No. 1900. 
 
 174 (164). Stag attacked by two Blood-hounds. 
 
 This group is admirably conceived and skilfully exe- 
 cuted, but has been freely restored. 
 
 IIelbig, Guide I. 
 
 8 
 
114 
 
 VATICAN. 
 
 175 (172). Ass’s Head, in grey marble. 
 
 The ears (except the roots) and various unimportant 
 splinters have been restored. 
 
 The ivy-wreath upon the head points to the fact that 
 this ass belonged to the Bacchic thiasos, and may, e.g ., 
 have carried Ariadne or some fair Bacchante. Thoroughly 
 satisfied with this position, the animal expresses his feel- 
 ings in his own way by laying his ears back. 
 
 176 (173). Stag attacked by a Hound. 
 
 The only antique portions are the body of the stag, 
 the two front-paws, the right hind-paw, and the point of 
 the tail of the dog. 
 
 This group resembles No. 162 (107); but in this 
 example the stag rears in its agony. 
 
 Pistolesi , v, 15. Comp. Braun , p. 316, No. 55. 
 
 177 (182). Ass’s Head. 
 
 The ears are restored. 
 
 The animal, scenting a female of his own species, lifts 
 his head and brays. 
 
 178 (194). Sow and Twelve Young Ones. 
 
 Found in the garden of the Monache Barberine, above 
 the ancient valley of the Quirinus, now the Valle di S. 
 Vitale, which separates the Quirinal from the Viminal. 
 The snout and ears of the sow are restored. 
 
 As we might naturally expect to find monuments re- 
 ferring to the foundation of Home in the region where 
 this group was excavated, it is probable that this work 
 represents the prodigy seen by JEneas on the shore of 
 Laurentum. The Laurentian sow, it is true, had a litter 
 of thirty, according to tradition; but the difficulty of 
 introducing so many figures into a plastic group both ex- 
 plains and justifies the action of the sculptor in limiting 
 himself to twelve. The group is treated with wonderful 
 fidelity to nature. The satin-like skin, without bristles, 
 which distinguishes Italian swine from those of northern 
 countries, is admirably reproduced, and no less so the 
 
SALA DEGLI ANIMALI. 
 
 115 
 
 expression of mingled stupidity and content that char- 
 acterizes the sow. The motions of the piglings and their 
 eager attack on their mother’s teats could not be more 
 effectively hit off. 
 
 Visconti, Museo Pio-Clem., vn, 32, 2. Comp. Braun , p. 320, 
 No. 64. Belief sen, De arte Romanomm antiquissima, m, p. 4. 
 
 179 (202). Camel’s Head. 
 
 The front of the lower jaw is restored. 
 
 Camels when irritated spit at their enemies — a fact 
 that explains the conception of this head. The hole in 
 the mouth proves that it was used as a water-spout, the 
 water issuing from it adding a vivid realism to the con- 
 ception. The peculiar stare of the camel is excellently 
 reproduced. 
 
 Pistolesi , v, 16. 
 
 180 (228). Marine Centaur carrying off a Nymph. 
 
 Found in a pozzolana-pit in the Yigna Degli-Effetti 
 on the Yia Latina. The waves serving as a base to the 
 group were added by the restorer. The group itself has 
 also been restored in various places. 
 
 The Centaur encircles the Nymph with his right arm 
 and raises the left in triumph, while the Nymph seizes his 
 hair with her left hand, and stretching out her right arm, 
 shrieks for help. A Cupid, perched on the fish-tail of the 
 Centaur, inclines his right ear with his right hand towards 
 the Nymph as though to catch her agonized appeal more 
 distinctly; while another Cupid, kneeling on a higher 
 curve of the tail, lays his hand upon his mouth as though 
 counselling her to be silent. This group also is a decor- 
 ation for a fountain; for we are informed that the statue 
 of the Centaur was bored to admit a water-pipe, and that 
 the opening between his horse-legs was not closed until 
 the figure was restored. But the writer must, however, 
 confess that the antique origin of the group is not beyond 
 a doubt, in spite of the entirely reliable account of its 
 excavation. 
 
 8 * 
 
116 
 
 VATICAN. 
 
 Visconti , Mus. Pio-Clem., i, 33. Pislolesi , v, 18. Millin , Gal. 
 Myth., PI. 175, 301. Ouigniaut, Rel. de l’ant., PI. 248, 514. Hirt , 
 Bilderbuch, T. 18, 9. Clarac, iv, PI. 745, No. 1808. Baumeislcr , 
 Denkm. des kl. Alterthums, hi, p. 1864, Fig. 1964. Comp. Welckers 
 Zeitschrift, p. 321. Braun , p. 320, No. 65. 
 
 Beneath the preceding, — 
 
 181. Oval Sarcophagus Lid. 
 
 The reliefs, which are skilfully put together from beau- 
 tiful motives borrowed from earlier art , represent the 
 Bacchic thiasos. Dionysos reclines in a chariot drawn by 
 panthers, Silenus in one drawn by asses. Another chariot 
 drawn by panthers bears a female form, in which we must 
 probably recognize Ariadne. A third is laden with masks 
 of Satyrs, drinking-vessels, and a syrinx. Two camels and 
 an elephant, also hung with Bacchic attributes, seem to 
 refer to the Indian expedition of Dionysos. Lascivious 
 Pans assail Bacchantes or Hermaphrodites. In the midst 
 of the throng Heracles sits at rest, holding a goblet in 
 his left hand. 
 
 Visconti , Mas. Pio-Clem., i, 33. Pistolesi, v, 14. Comp. Stephani, 
 Der ausruhende Herakles, p. (447) 195. Braun , Ruinen und Mu- 
 seen, pp. 321, 322. 
 
 182 (232). Upper Portion of a Minotaur. 
 
 Formerly in the possession of Cavaceppi, the sculptor. 
 
 The horns and ears are modern. 
 
 This is a fragment of a group representing the con- 
 test between Theseus and the Minotaur. The monster rolls 
 his huge eyes in defiant rage, conscious that he is out- 
 matched by his bold antagonist. The transition from the 
 human body to the bull’s head is very skilfully managed. 
 Comp. No. 818. 
 
 Cavaceppi, Raccolta di antiche statue, n, 6. Braun , Zwolf Bas- 
 reliefs, vignette at the end of No. 5, Daedalus and Pasiphae; Ruinen 
 und Museen, p. 322, No. 66. 
 
 183 (233). Cow and Countryman, freely restored and 
 
 partly retouched. 
 
SAL A DEGLI ANIMAL! 
 
 117 
 
 This much mutilated group has been restored as a 
 oull, held by a man seated on the ground — a treatment that 
 cannot be explained. Much more probably it represents 
 a cow ; the man lays his left hand on the udder and pulls 
 a rope attached to the horns with his right, in order to 
 bring the animal into the proper position for milking. 
 
 Visconti , Mus. Pio-Clem., vii, 30. Ciarac, iv, PL 770 D, No. 
 1908 A. Comp. Welckers Zeitschrift, p. 471. 
 
Galleria delle Statue. 
 
 Our inspection begins to the right of the entrance. 
 
 184 (248). Statue in armour, with portrait-head of 
 
 Albinus. 
 
 Found at Castro Nuovo, near Civita Vecchia. 
 
 The cuirass, the style of which refers it to the second 
 half of the 1st century A.D., exhibits a Palladium, flanked 
 by two goddesses of victory, in short robes. The antique 
 head (nose restored), which does not belong to this statue, 
 is a portrait of Clodius Albinus (193-197 A.D.) and 
 formerly belonged to Belisario, the dealer in art. Its 
 expression clearly announces the brutal scorn peculiar to 
 that brave general. Portraits of Albinus are very rare, 
 as Septimius Severus did his best to destroy all remem- 
 brances of his hated opponent. 
 
 Visconti , Mus. Pio-Clem., hi, 11. Pistolesi , v, 33. Clarac , v, 
 PI. 964, No. 2479. For the head: Visconti , Iconographie romaine, in, 
 p. 97, PI. 47, Nos. 6, 7. Comp Welcker s Zeitschrift, p. 349. Braun, 
 Ruinen nnd Museen, p. 354, No. 93. Bonner Studien (Berlin, 1890), 
 p. 13. 
 
 185 (250). Statue of Eros or Thanatos. 
 
 Found in the group of ruins known as Centoeelle, 
 on the Yia Lahicana, and acquired for the Vatican hy 
 Clement XIV. The point of the nose and fragments of 
 the hair are restored. 
 
 The statue, labelled ‘Amore’, represents a delicate 
 youth, whose features wear an expression of dreamy mel- 
 ancholy, while he gazes intently towards the ground. 
 The hair is twined in a mass over the forehead, while 
 long curls hang down over the ears and neck. The holes 
 in the back must have been intended for wings (perhaps 
 
GALLERIA DELLE STATUE. 
 
 119 
 
 made of gilded bronze) , a circumstance of importance in 
 forming a critical estimate of the statue, for the wings 
 provided an appropriate background for the slender figure. 
 The execution is mediocre; the corners of the mouth, 
 crudely executed with the drill, are especially unsuc- 
 cessful. 
 
 The statue seems to go back to the Thespian Eros of 
 Praxiteles. The numerous replicas of the type in question 
 show that it must have been one of great celebrity. The 
 attractive grace of the head and the forms of the body 
 accord perfectly with the manner of Praxiteles. A Greek 
 epigram says of the Thespian Eros that he rouses the 
 feeling of love not by his arrows but by his glances ; and 
 this seems entirely applicable to the character of the fea- 
 tures before us. The plait of hair above the forehead no 
 longer offers any obstacle to the ascription of this type to 
 Praxiteles, since it has been proved that a coiffure of this 
 kind was known as far back as the fifth century B.C. 
 
 The Thespian Eros seems to have leant with his left 
 hand on a bow placed on the ground, while his right arm 
 hung, without an attribute, by his side. The first motive 
 is assured by various statues of the type in question; 
 while the fact that the right hand held no attribute seems 
 proved by a replica on a Pompeian stucco-relief and (ap- 
 parently) by two examples in the round. 
 
 In the Hellenistic or Roman period this Eros of Praxi- 
 teles was converted, with little modification, into a Tha- 
 natos, or god of death. This metamorphosis is illustrated 
 by two other replicas in the museums of Rome , one of 
 which (No. 393) is in the Galleria dei Candelabri, while 
 the other (No. 569) is in the Palazzo dei Conservatori. 
 The bow was retained as the attribute of the left hand, 
 while the right hand was furnished with an inverted torch, 
 the symbol of death. Sometimes, as in No. 393, the 
 sculptor omitted the wings which characterize Eros. 
 
 In such a case as that before us, where hands and 
 attributes are lacking, it is, of course, impossible to say 
 whether we have to do with the original or with the mod- 
 
120 
 
 VATICAN. 
 
 ified type — whether we are looking at a copy of the Thes- 
 pian Eros of Praxiteles or at a figure of Thanatos derived 
 from that statue. 
 
 Visconti , Museo Pio-Cleni., i, 12. Muller- Wieseler, Denkmaler 
 der alten Kunst, i, 35, 144. Baumeister, Denkmaler des klassischen 
 Alterthums, i, p. 497, Fig. 538. Furtwaengler , Masterpieces, pp. 314- 
 316 (where the head is represented in Fig. 135). Farther biblio- 
 graphy, see Friederichs-Wolters , Bausteine, No. 1578. 
 
 186 (251). Statue of a Youth, in the style of Poly- 
 
 cleitos. 
 
 The head (the nose , almost all the mouth , and the 
 chin modern) has been reunited with the statue but is 
 apparently the original. The restorations of the figure in- 
 clude the right arm from a little below the shoulder 
 downwards, the lower part of the left forearm, the lower 
 part of the left leg, and a piece on the left thigh, which 
 the restorer has mistakenly turned outwards. 
 
 Both in the type of the head and in the formation of 
 the body, this statue betrays an unmistakeable kinship 
 with the Doryphoros of Polycleitos (comp. No. 58). The 
 forms are, however, somewhat more slender, and indicate 
 a youth on the verge of manhood. The statue also differed 
 from the Doryphoros in the position of the arms. The 
 left arm, instead of being bent as in the case of the Do- 
 ryphoros, hung by the side and was connected with the 
 body by a support, of which traces are still visible on 
 the left thigh. The right forearm was extended and ob- 
 viously held some attribute. The statue would therefore 
 seem to represent a type of athlete modified from the Dory- 
 phoros, either by Polycleitos himself or by one of his 
 pupils. 
 
 Clarac , vi, PI. 856, No. 2168. Furtwaengler , Masterpieces, 
 pp. 281, 282, Fig. 120. Comp. Ann. dell’ Inst., 1878, p. 8G. 
 
 187 (253). Torso of a Triton or Marine Centaur. 
 
 Found on the farm of S. Angelo at Tivoli. The point 
 of the nose, parts of the ears and hair , and almost the 
 entire lower part of the body are restored. 
 
 As the lower part of this statue is wanting, so that 
 we do not know whether it ended merely in the body of 
 
GALLERIA DELLE STATUE. 
 
 121 
 
 a fish, or had also horse’s legs in front, it remains uncer- 
 tain whether the figure represented a Triton or a marine 
 Centaur. But in any case it is the most imposing of all 
 the representations of this kind now extant, and is espe- 
 cially well adopted to give an idea of the method in 
 which Scopas treated such marine beings. As the Tri- 
 tons, Sea Centaurs, and Nereids formed to a certain ex- 
 tent a thiasos inhabiting the sea, plastic art has borrowed 
 various forms for their characteristics from the retinue 
 of Dionysos. Thus the ears of the figure before us recall 
 the ears of the Satyrs , and the fish’s skin , brought over 
 the breast, resembles the nebris. The imposing head 
 exhibits the melancholy expression peculiar to water 
 deities. We receive the impression that this being is 
 gazing sadly over the boundless sea, and that a sigh is 
 escaping from the parted lips. The hair appears saturated 
 with water. As the form of the head and face strongly 
 reminds us of a celebrated work of the Second Attic 
 School, viz. the figure of the mourning Niobe, we may 
 assign to this statue a close connection with the art of 
 Scopas. At the same time it may be questioned whether 
 Scopas in similar representations did not treat the ex- 
 pression of melancholy with greater moderation, and 
 whether that expression was ever carried to the degree, 
 which we see in the Vatican statue, before the later 
 period of art. 
 
 Visconti , Museo Pio-Clem., i, 34. Pistolesi, v, 34. Clarac , iv, 
 PI. 745, No. 1806. Millin, Gal. myth., PI. 73, 300. Hirt , Bilder- 
 buch, T. 18, 8. Guigniaut , Rel. de l’ant., PI. 132, 513. Cowze, 
 Heroen- und Gottergestalten, T. xvii, 1. Baumeister , Denkm. d. 
 kl. Alterthums, hi, p. 1862, Fig. 1962. Brunn und Bruckmann , Denk- 
 maler grieoh. und rom. Sculptur, No. 137. Gomp. Welckers Zeit- 
 schrift, p. 321. Braun , Ruinen und Museen, p. 329, No. 69. Athen. 
 Mittheilungen, vi (1881), p.422. Brunn , Griechische Gotterideale, 
 pp. 46-52. 
 
 188 (255). Statue of Paris. 
 
 Formerly in the Palazzo Altemps. The point of the 
 nose , part of the right arm under the chiton , the left 
 forearm, the lower part of the right leg (except the front 
 of the foot), | and the left foot are modern. The left foot 
 
122 
 
 VATICAN. 
 
 is erroneously restored , in a manner that shortens the 
 left leg with a most awkward effect. A fragment of the 
 original antique heel may still he seen on the plinth, 
 beneath the sole of the modern foot. The statue has 
 suffered from ruthless re-working. 
 
 The keen glance proves that Paris is represented as 
 the judge of the three goddesses, so that the restorer is 
 probably right in placing an apple in his right hand. 
 While Paris is usually represented by Graeco-Roman art- 
 ists by a tender, almost boyish, type, he here appears 
 as a powerful youth, of enchanting beauty, obviously able, 
 not only to deceive women, but also to accomplish deeds 
 of arms. Pliny (Nat. Hist. 34, 77), speaking of the Paris 
 of Euphranor, a master whose activity lasted at least down 
 to the early years of Alexander the Great, states, that in 
 this figure there could at once be recognised the umpire 
 of the goddesses , the lover of Helen , and the slayer of 
 Achilles. Such a description admirably fits the statue 
 before us. Moreover, this statue exhibits the proportions 
 peculiar to that master, viz. a slender body with a com- 
 paratively large head and well-developed arms and legs. 
 It would thus seem as if the type of the statue before us 
 had indeed been influenced by the Paris of Euphranor. We 
 cannot, however, affirm that it is a copy of a single figure. 
 The motive, on the contrary, awakes the suspicion that 
 the figure of Paris as here represented reproduces part 
 of a picture or a relief containing several figures. The 
 forms indicate the Hellenistic period. Two fragments, 
 one on the plinth to the left of the left leg, the other on 
 the mantle falling over the left thigh, are perhaps traces 
 of a pedum which may have touched at these spots. 
 
 De Rossi , Raccolta di statue, T. 124. Piranesi, Raccolta di 
 statue, T. 6. Visconti , Museo Pio-Clem., ii, 37. Pistolesi, v, 35. 
 Clarac, v, PI. 829, No. 2078. Comp. WelcTcers Zeitschrift, p. 342. 
 Braun , p. 329, No. 70. Furtwaengler, Masterpieces, p. 357, note 6. 
 
 189 (259). Apollo Citharcedos, restored as Pallas. 
 
 Formerly in the garden of the Palazzo Ottoboni-Fiano. 
 The head is antique hut does not belong to the statue. 
 The forearms with their attributes , various splinters on 
 
GALLERIA DELLE STATUE. 
 
 123 
 
 the mantle covering the breast (especially on the long 
 fold hanging down on the left side) , three toes of the 
 right foot, the little toe of the left foot , and part of the 
 plinth have been restored. 
 
 The shape of the breast indicates that the figure is 
 masculine. The fall of the folds on the left side of the 
 breast, near the upper arm, affords a clue to the identifi- 
 cation. It is easily perceived that some article has been 
 chiselled away, which raised the garment, and caused the 
 vertical folds beginning at that spot. This can only have 
 been a cithara, the upper end of which had caught the 
 garment. The statue therefore represented Apollo Ci- 
 tharoedos, touching the cithara with his left hand, while 
 the outstretched right hand possibly held a goblet. The 
 same attributes and a similar attitude were to be seen in 
 a statue by Bryaxis, which stood in the temple of Apollo 
 at Daphne (near Antiochia on the Orontes) and is appar- 
 ently reproduced on the coins of Antiochia, and on a 
 tetradrachma of Antiochus V. Epiphanes. A similar figure 
 is also to be found upon Acarnanian stamps, on coins of 
 Augustus (where it is indicated by the inscription as 
 Apollo Actius) , and upon coins of later emperors (with 
 the inscription Apollo Palatinus or Augustus). Of all 
 the extant statues representing Apollo as Citharcedos this 
 is the most dignified and imposing, and its conception is 
 certainly earlier than that of the slenderer and more mo- 
 bile type which we recognize in No. 267. The massive 
 forms and the treatment of the garments recall the art- 
 istic methods of the Second Attic School. The feminine 
 head placed on the statue exhibits a beautiful type of the 
 5th cent. B.C. , but has suffered much from re-working. 
 
 Visconti , Museo Pio-Clem., in, 37. Remaining bibliography in 
 Fredericks- Wolters , Bausteine, No. 1528, to which Welcker's Zeit- 
 schrift, p. 353, must be added. For the Apollo of Bryaxis: Berichte 
 der sachsischen Geseilschaft der Wissenschaften, 1886, pp. 20-27. 
 Overbeck , Griechische Kunstmythologie , iv, pp. 96, 97. For the 
 coins cited for comparison : Berichte d. sachs. Geseilschaft, 1886, 
 pp. 3-7, 21 et seq. Overbeck , Kunstmythologie, iv, Table of coins v, 
 37-41, pp. 96, 97, 305. Comp. RomischeMittheilungen, hi (1888), 
 p. 296. Philologus, new series, i (xlvii, 1889), pp. 689 et seq. 
 
124 
 
 VATICAN. 
 
 190 (260). Attic Votive Relief, dedicated to the Gods 
 
 of Healing. 
 
 Brought to Rome from Greece. All the heads, almost 
 the entire upper torso of the seated god, and the right 
 arm and both legs (feet ancient) of the youth raising the 
 chlamys are restorations. Pentelic marble. 
 
 The gods of healing are on the left. Asclepios sits 
 in a chair, the arms of which are supported by winged 
 sphinxes; behind him stands Hygieia, raising her left 
 hand as though about to lay it on her father’s shoulder; 
 the youths standing in front of Asclepios are his sons 
 Podaleirios and Machaon. To the right is a group of 
 mortals, on a smaller scale, offering their homage to the 
 gods. This group includes a man, two women (each with a 
 child at her breast), three half-grown boys, and a little girl. 
 
 Visconti, Museo Pio-Clem., v, 27. Pistolesi, v, 37. Panofka , 
 Asklepios und die Asklepiaden (Abhandlungen der Berl. Akademie, 
 1845), T. v, 1. Comp. Welcker's Zeitschrift, p. 439. Braun , Rumen 
 und Museen, p. 331, No. 72. Jahrbuch des Arch. Inst., ii (1887), 
 p. 108, note 6. For this type of relief, comp. Arch. Zeitung, xxxv 
 (1877), pp. 139 et seq. Mittheilungen des Archaol. Inst, at Athens, 
 II (1877), pp. 214 et seq.; x (1885), pp. 255-271. 
 
 191 (261). So-called Penelope. 
 
 As regards motive, this figure, though not a relief but 
 a statue, corresponds with No. 92, under which the ne- 
 cessary remarks were made concerning the method of re- 
 presentation. It appears to be a copy from the early im- 
 perial epoch, judging from the careful, though somewhat 
 lifeless execution. Its restoration offers a striking proof 
 of the arbitrary method in which modem Roman stone- 
 carvers sometimes deal with antique sculptures. The sta- 
 tue wanted the head along with the portion of the gar- 
 ment covering it. The restorer has supplied the latter, 
 and has added the face from an antique head of a youth 
 (point of the nose restored), the style of which seems 
 somewhat later than that of the body. Other restorations 
 are the right hand, the right leg from a little above the 
 knee to the middle of the calf, both feet with the adjoin- 
 
GALLERIA DELLE STATUE. 
 
 125 
 
 ing parts of the robe, the lower part of the rock-seat, and 
 the plinth. The top of the rock-seat is also due to mod- 
 ern restoration. More probably, as other reproductions 
 prove (Nos. 92, 589), the figure sat on a seat without a 
 back, beneath which stood a wool-basket. 
 
 Muller- Wieseler , Denkmaler der alten Kunst, i, T. ix, 35. 
 Baumeister , Denkmaler des klassischen Alterthums, ii, p. 1037, 
 Fig. 1250. Brunn und Bruckmann , Denkmaler, No. 175. Collignon , 
 Histoire de la sculpture grecque, i, p. 4077, Fig. 310. Denkmaler, 
 published by the Arch. Institut, i (18S8), T. 31 A, where also on 
 p. 17, as well as in Friederichs-W oilers, Bausteine, No. 211, farther 
 bibliographical references are given. Comp, also Sitzungsberichte 
 der Berliner Akademie, 1884, p. 622. 
 
 Inserted in the base of this statue is — 
 
 192. Hellenistic Relief of Dionysos and Ariadne. 
 
 The upper part of the Dionysos, both arms, and the 
 top of the sceptre, the upper half of the Silenus, and both 
 arms and the left foot of the Ariadne are restorations. 
 
 Dionysos is represented lying on an elegantly worked 
 couch, while Ariadne rests on his knees in a half-sitting, 
 half-lying attitude, and Silenus, represented on a smaller 
 scale than the lovers, advances towards Ariadne. The re- 
 storer represents Silenus offering a goblet to his master’s 
 beloved; and traces on the left thigh of Ariadne corrob- 
 orate the idea of some such action. The characteristic 
 ugliness of Silenus offers an effective contrast to the 
 beauty of Dionysos, and to the graceful, sensuous charm of 
 Ariadne. From the analogy of similar representations in 
 better preservation, it has been conjectured that the couch 
 upon which the lovers are resting stood upon a chariot; 
 and that consequently the fragment belonged to a relief 
 representing the wedding -procession of Dionysos and 
 Ariadne. The composition is excellent and the execution 
 careful. 
 
 Pistolesi , v, 39. Schreiber , Die hellenistisoheu Reliefbilder, 
 T. 51. Farther details in Friederichs-Wolters , Bausteine, No. 1888. 
 Comp. Schreiber , Die Wiener Brunnerireliefs aus Palazzo Grimani, 
 
 p. 95, No. 44. 
 
126 
 
 VATICAN. 
 
 193 (262). Statue of Augustus; freely restored. 
 
 Found in tlie Basilica of Otricoli. The bridge of the 
 nose and the crown of the head are restored. 
 
 This statue was formerly erroneously taken for Cali- 
 gula, though it obviously represents Augustus in early 
 manhood. The pose of the body recalls that of a plastic 
 type, which is best illustrated in a statue at Munich 
 (comp. No. 967) and is supposed, with great probability, 
 to represent Diomedes. The sculptor seems to have taken 
 this type as his model for the body of Augustus, but has 
 arranged the clothes after the Roman fashion. 
 
 Visconti , Mus. Pio-Clem., in, 3. Bernoulli , Romische Ikono- 
 graphie, ii, i, T. hi, p. 29, No. 13. Furtwaengler , Masterpieces, 
 p. 155. 
 
 194 (264). Apollo Sauroctonos. 
 
 Found in 1777 in the Villa Magnani on the Palatine. 
 Restorations are a large fragment on the top of the head, 
 the entire left side of the face (including the eye , the 
 nose, the mouth, and the chin), the right forearm, three 
 fingers of the left hand, the right leg from the middle of 
 the thigh, the left leg from the knee downwards, paTt of 
 the tree-trunk with the upper part of the lizard, and 
 the plinth. 
 
 Pliny (Nat. Hist. 34, 70) records that Praxiteles carv- 
 ed an Apollo in early manhood, lying in wait with a dart 
 for an approaching lizard. The statue was executed in 
 bronze, and was known in antiquity as the ‘Lizard Slayer 7 
 (Sauroctonos). The figure before us is a marble repro- 
 duction of this statue by Praxiteles. Some have wished 
 to recognize a peculiar method of divination in the action 
 of the youthful god, but this conjecture finds no support 
 in what is known of soothsaying among the Greeks. It 
 more probably represents a kind of game, in which the 
 point was to transfix the rapidly darting lizard. This 
 game is represented in an ancient vase-painting, and to 
 this day in the Roman Campagna both men and boys may 
 be seen amusing themselves by throwing knives at liz- 
 ards. The statue before us represents the youthful Apollo 
 engaged in a similar employment. He stands in ambush, 
 
GALLERIA DELLE STATUE. 
 
 127 
 
 naif hidden behind the tree, and takes aim with the dart 
 at the animal as it runs up the stem. The Apollo Sau- 
 roctonos is thus one of the earliest works of art in which 
 a god is represented in a genre manner, without ethical 
 significance. The charming grace of the figures by Praxi- 
 teles was specially praised among the ancients ; and the 
 easy posture of the Vatican statue brings this quality 
 visibly before us. The formal treatment of the face and 
 hair differs essentially from the naturalistic method intro- 
 duced mainly by Lysippos. 
 
 Visconti , Museo Pio-Clem., i, 13. Pistolesi,v i, 11. Rayet, Mon- 
 uments de l’art antique, ii, PI. 46. Overbeck , Kunstmythologie, 
 iv, pp. 134, 235 (No. 2) et seq.; Atlas, xxi, 2. Loewy , Lysipp u. 
 seine Stellung in d. griech. Plastik, p. 25, Fig. 11. Comp. Welcker's 
 Zeitschrift, p. 312; Alte Denkmaler, i, pp. 406 et seq. Brunn , 
 Geschichte der griechischen Kiinstler, i, pp. 337, 351. Friederichs- 
 Wolters , Bausteine, No. 1214. Overbeck , Geschichte der griech. 
 Plastik, ii 4 , pp. 53, 54. Furtwaengler , Masterpieces, pp. 336, 396. 
 
 195 (265). Statue of an Amazon. 
 
 Formerly in the Villa Mattei ; acquired under Cle- 
 ment XIV. The neck , both arms , the top half of the 
 quiver, the right leg from the knee to the ankle, the upper 
 half of the tree-trunk with the shield and axe upon it, 
 and the crest of the helmet are restorations. The left leg 
 is antique though broken. The head, united with the 
 bust by a modern throat, is antique (nose, lower lip, and 
 chin restored), but belongs to another statue, viz. a replica 
 of the type treated under No. 503. No replica of the type 
 represented by No. 195 has retained its original head. 
 This is true even of the statue in Petworth House, 
 England [Michaelis , Ancient Marbles in Great Britain, 
 pp. 606, 607 ; Jahrbuch des Arch. Inst., i, 1886, T. i, 2, 
 p. 20 B), the head of which was, until lately, erroneously 
 supposed to belong to it ( Furtwaengler , Masterpieces, 
 p. 130). We may, perhaps, have to recognize a repro- 
 duction of the head of this type of Amazon in a bronze 
 herma found at Herculaneum [Furtwaengler , Op. cit., 
 pp. 138-140). 
 
 According to the conception of the restorer, the Ama- 
 zon was in the act of taking off her bow, which she is 
 supposed to have carried slung across her shoulders, per- 
 haps in order to surrender herself to a victor. This mode 
 
128 
 
 VATICAN. 
 
 of carrying the bow, however, was not found in anti- 
 quity, so far as our knowledge goes. On the contrary, 
 all monuments and statements of authors indicate that it 
 was carried fastened to the quiver, and the best replica 
 of the type of Amazon before us, viz. a torso now at 
 Treves, shows the bow in this position. 
 
 The investigation into the original motive must start 
 from a gem, formerly in the Natter Collection, but at 
 present unfortunately not forthcoming. The impression 
 from this stone (Fig. 10) shows an Amazon agreeing in 
 point of attitude with the Mattei Amazon 
 and its reproductions. The right hand, 
 thrown over the top of the head, grasps 
 a spear Or a pole, while the extended 
 fingers of the pendent left hand touch the 
 lower part of the weapon. It has been 
 conjectured that the Amazon is supporting 
 herself in this manner in order to rest, 
 but a single glance proves that such an 
 attitude would be in the highest degree 
 forced in the case of a simply resting 
 figure. On the other hand, the attitude is quite satisfac- 
 torily explained if we assume that the Amazon is prepar- 
 ing to take a leap with the assistance of the spear or 
 pole. The same remark is true of the plastic replicas of 
 the figure, in which many details are more distinct than 
 in the small impression from the gem. The sketch at 
 Fig. 1 1 servesdo illustrate the original motive. The Ama- 
 zon is on the point of placing the spear in the proper 
 position for the intended leap. She grasps it firmly at 
 the top with her raised right hand, and permits the lower 
 part to slide through the open fingers of the left hand. 
 The right foot is firmly planted, the left touches the 
 ground only with the ball of the foot, as it must pre- 
 sently make a backward movement to assist the spring; 
 the chiton has been pulled up from the left thigh and 
 thrust under the girdle in order to give free play to the 
 left leg in the leap. The spur-straps on the left ankle 
 
 Fig. 10. 
 
GALLERIA DELLE STATUE. 
 
 129 
 
 identify the Amazon as an equestrian, but apparently have 
 no further significance in the situation in which they ap- 
 pear. It has, however, been 
 conjectured from this attribute 
 that the Amazon is on the 
 point of springing on to her 
 horse; but this suggestion is 
 contradicted by the reflection 
 that a skilful rider would per- 
 form so customary an action 
 without further ado , and 
 would certainly never devote 
 so much attention to taking 
 up the necessary preliminary 
 position. It is more probable 
 that the Amazon is preparing 
 to undertake an extraordinary 
 leap, of which, perhaps, some 
 mythical tradition, now lost 
 to us, gave an account. 
 
 This type exhibits a slend- 
 erer figure, a softer treatment 
 of the nude, and a richer ar- 
 rangement of the drapery, than 
 the Polycleitan type (comp. 
 
 No. 32), and therefore appears 
 to date from a somewhat later 
 period than the latter ; yet we 
 can hardly bring it down be- 
 yond the close of the 5th cent- 
 ury B.C. Both the compo- 
 sition and the general style 
 seem to imply a bronze ori- 
 ginal. 
 
 The execution of the Vati- 
 can example is tasteful but 
 somewhat dry. The chiton still shows traces of colour- 
 ing, now of a yellowish-brown tint. The inscription on 
 
 Helbig, Guide I. 9 
 
130 
 
 VATICAN. 
 
 the plinth, which is repeated on a base now in the Villa 
 Wolkonsky, states that the statue was removed from the 
 College of the Physicians to the spot where it was after- 
 wards erected. 
 
 Brunn und Bruckmann, Denkmaler griech. u. roin. Sculptur, 
 No. 350. Collignon, Histoire de la sculpture grecque, i, p. 506, 
 Fig. 259. Bibliography, see Jahrbuch des Arch. Instituts, i (1886), 
 p. 20*/. Comp, the last-mentioned work, pp. 25-28, 34-39, 43-47, 
 and Furtwaengler , Masterpieces , pp. 136-140, Fig. 56. On the 
 spur-straps, see Verhandlungen der Berliner Gesellschaft fur An- 
 thropologie, 1890, pp. 200-202. The inscription belongs to the class 
 dealt with in the Bull, archeologico cristiano, hi (1865), pp. 7, 8. 
 For the base in the Villa Wolkonsky, see Matz-Duhn , Antike Bild- 
 werke in Rom, i, No. 1598. 
 
 In the base of 195 (265) is inserted — 
 
 196. Belief. 
 
 This finely executed relief represents a bearded man 
 with portrait -features (nose restored), seated with his 
 body bent forward and looking downwards. Although 
 only the upper part is antique, the restorer appears to 
 have been right in picturing the man as reading or writ- 
 ing. The strongly marked countenance seems to be that 
 of a scholar. The style of the relief indicates that it is a 
 copy after a Hellenistic original. 
 
 Jahrbuch des Arch. Instituts, i (1886), p. 77. 
 
 197 (267). Drunken Satyr. 
 
 Formerly in the Villa Mattei ; acquired under Cle- 
 ment XIV. The point of the nose, the lips, the right 
 arm with the hair under the right hand, the left forearm, 
 the upper part of the wine-skin , the lower part of the 
 right leg, the left leg from the middle of the thigh down- 
 wards, the head on the panther-skin , and part of the 
 rock-seat are modern. The left foot is mainly antique. 
 
 A circular opening in the wine-skin proves that this 
 statue served to adorn a fountain, and that the water 
 gushed out of the wine-skin. The intoxicated Satyr is on 
 the point of falling asleep. He supports himself with his 
 left elbow resting on the wine-skin, its contents being 
 expelled by the pressure. 
 
GALLERIA DELLE STATUE. 
 
 131 
 
 Monumenta Matthaeiana, i, 34. Visconti , Museo Pio-Clem., i, 47 
 (comp. p. 237, note *). Pistolesi, v, 42. Clarac , iv, PI. 722, No. 1726. 
 
 198 (268). Statue of Hera. 
 
 Found in the Thermae of Otricoli. The right arm, 
 the left hand , the left forearm with the portion of robe 
 lying on it, and the right foot are restorations. The head 
 is antique but belongs to another statue. 
 
 This statue is in type closely related to the Juno Bar- 
 berini (No. 301). The head recalls that of the Cnidian 
 Aphrodite (comp. No. 316). The modern restorer has 
 placed a diadem on the head in order to provide it with 
 the distinctive ornament of Hera. 
 
 Visconti , Museo Pio-Clem., ii, 20. Pistolesi, v, 43. Clarac , 
 hi, PI. 414, 725. Overbeck, Kunstmythologie , hi, p. 112, No. 3; 
 Atlas, x, 32. Comp. Roscher, Lexikon, i, p. 2113. 
 
 199 (270). Female Statuette, restored as Urania. 
 
 Found under Pius VI. at Tivoli, probably in the villa 
 said to have belonged to Marcus Brutus (comp, the intro- 
 ductory remarks to Nos. 267 et seq.). The right hand 
 with the stylus and the left hand with the globe are 
 modem. The head joined to the body by a modern throat 
 is antique but belongs to another statue. 
 
 The head placed by the modern restorer upon the 
 statuette represents a Muse; for over the brow is pre- 
 served almost the entire feather-decoration, with which 
 the Muses are frequently provided in ancient art in mem- 
 ory of their victory over the Syrens. There is, however, 
 nothing in the statuette itself to indicate that it repre- 
 sents a Muse. The execution is admirable. The chiton 
 formed of a thin material in soft folds forms a most effect- 
 ive contrast to the mantle, which is made of a heavier 
 stuff, and is tucked under the left thigh, thence falling 
 in an almost too great redundancy of folds. 
 
 Visconti , Mus. Pio-Clem., i, 25 (comp. Opere varie, rv, p. 322, 
 No. 90). Bouillon , Musee des antiques, i, 46. Pistolesi , v, 42. Comp. 
 Welcker s Zeitschrift, p. 319. Braun , Ruinen und Museen, p. 335, 
 No. 77. 
 
 200, 201. Posidippos (271) and Menander (390; oppo- 
 site). 
 
 o * 
 
132 
 
 VATICAN. 
 
 Both statues seem to have been found under Sixtus V. 
 near S. Lorenzo in Panisperna on the Viminal (Bull, 
 della comm, archeol. comunale, 1891, pp. 313, 314; 
 Rom. Mittheilungen, vn, 1892, p. 306), where, accord- 
 ing to some early topographers, were situated the Ther- 
 mae of Olympias, consort of Constans. Sixtus V. erected 
 them in his Villa Montalto (afterwards Villa Negroni, 
 then Villa Massimi). ( [Bartoli , in Fea : Miscellanea, i, 
 p. ccxxvm, No. 29.) They afterwards passed into the 
 possession of Mr. Thomas Jenkins, and were acquired 
 for the Vatican under Pius VI. The left thumb of Posi- 
 dippos, the point of the nose of Menander, the left ear, 
 the left hand with the scroll, and the front of the right 
 foot are restorations. Pentelic marble. 
 
 Both statues are from the same hand, and were exe- 
 cuted as companion-pieces. The identification of the one 
 (No. 390) as Menander is substantiated by a medallion- 
 bust of this poet bearing an inscription. The name of 
 Posidippos is chiselled on the plinth of the other. The 
 characteristic and unaffected way in which the two per- 
 sonages are represented assures these statues a prominent 
 place among the portrait-works of all times. Menander 
 (d. 290 B.C.), the most important representative of the 
 new Attic comedy, is seated in his arm-chair with the 
 easy grace of a man of the world. His bodily frame indi- 
 cates a strong and healthy constitution. The head ex- 
 presses a penetrating intellect and the gift of keen observ- 
 ation , while an ironical expression plays round the 
 mouth. The folds of the mantle covering the lower part 
 of the body are arranged in a somewhat artificial manner, 
 and this admirably agrees with the reports of the ancients, 
 that Menander bestowed an exaggerated care on his out- 
 ward appearance. Posidippos, an Athenian comic poet 
 who flourished in the first half of the 3rd cent. B.C., pre- 
 sents a very different personality. The stooping shoul- 
 ders of the still comparatively young man indicate a 
 feeble body, not properly developed by gymnastic exer- 
 cises. His bearing conveys an impression of awkward- 
 ness and clumsiness in contrast to the easy elegance of 
 Menander. The peevish and nervous expression of his 
 
GALLERIA DELLE STATUE. 
 
 133 
 
 countenance clearly shows that this man’s view of life was 
 strongly tinged with pessimism. 
 
 The perpendicular iron pegs driven into the heads, 
 which have swollen by rust and split the marble, appar- 
 ently served to support the bronze discs (p.7]v(oxos) by 
 which, according to Attic custom, statues in the open air 
 were protected from the weather and from being soiled 
 by the birds. The nails which are still extant on the foot 
 prove that the straps of the shoes were represented by 
 strips of bronze — a fact which leads us to assume that 
 the other parts of the statues were coloured more or less 
 according to nature. The broad, fresh treatment of the 
 plastic forms has no analogy in Graeco-Roman art. From 
 this fact, as well as from the Pentelic marble of which the 
 statues are made, it has been rightly concluded that their 
 sculptor was Attic, and the opinion has even been ex- 
 pressed that both statues come from the Theatre of Dio- 
 nysos at Athens, where there were statues of Menander 
 and other famous poets. Since then the inscribed basis 
 of this statue of Menander has been found, and it has 
 been shown that the plinth of the Vatican Menander is 
 too broad to stand on it. 
 
 Visconti , Museo Pio-Clem., m, 15, 16 (comp. Opere varie, iv, 
 pp. 179, 183, 314, Nos. 76, 77); Ioonograiia greca, i, T. 6, 6a, 
 pp. 103-109. Pistolesi , v, 45. Clarac , v, PI. 841, Nos. 2118, 2120. 
 Baumeister , Denkmaler des klass. Alterthums, n, p. 923, Fig. 995; 
 m, p. 1387, Fig. 1535. The statue of Posidippos is to he found 
 represented in Bellori , Illustrium philo sophorum, poetarum, rhe- 
 torum, et oratorum imagines (Romae, 1685), T. 61, being there 
 described as ‘in hortis Montaltis’. Farther details, see Friederichs- 
 Wolters , Bausteine, Nos. 1622, 1623. On the medallion of Menan- 
 der, see Michaelis , Ancient Marbles in Great Britain, p. 514, No. 40 
 (comp. p. 679, No. 35). On the inscribed Athenian base, see Loewy 1 
 lnschriften griechischer Bildhauer, No. 108. Overbeck , Geschichte 
 der griech. Plastik, n 4 , p. 113. The objection which Furtwaengler 
 (Masterpieces, p. 309, note 3) raises against the identification of this 
 statue with Menander is answered by the consideration that the poet 
 (d. 290 B.O.) lived on into the third century B.O. and that the type of 
 portrait in question may very well have been created after his death. 
 
 202 (392). Statue of a Youth, with the head of Septi- 
 mius Severus. 
 
134 
 
 VATICAN. 
 
 The body of this statue reproduces the Polycleitan 
 type of athlete discussed under No. 186. The head of 
 Septimius Severus is antique, hut does not belong to the 
 body. 
 
 Furtwaengler , Masterpieces, p. 282, note 2. 
 
 203 (393). Suppliant seated on an Altar. 
 
 The head, neck, right forearm, fingers of the left hand, 
 left foot, fragments of the seat, and the plinth are restored. 
 
 The original motive and significance of this figure are 
 explained by a replica in the Palazzo Barberini in better 
 preservation, of which the head and right hand are an- 
 tique. The head is slightly raised, and the face wears an 
 anxious expression*, remains of a twig are seen in the 
 right hand. The figure therefore represents a maiden, 
 carrying in her hand a twig, the sign of a suppliant, and 
 seated on an altar, while she looks up anxiously either 
 at her oppressor or towards heaven, supplicating aid. The 
 entire character of the execution of the Barberini statue 
 marks it as an Attic work of the 5th cent. B.C. The Va- 
 tican example, on the other hand, is referred by its in- 
 determinate forms to a later period. At the same time, 
 the latter may also have been executed in Attica, for it 
 is of Pentelic marble. It has lately been suggested that 
 the original of both these statues was a figure by Cala- 
 mis ; but this master appears, from all we know of him, 
 to have worked in a more formal manner. The Barberini 
 example shows, moreover, a grand yet simple treatment 
 of the forms, that recalls the art of Pheidias, while it ex- 
 hibits none of the elegant grace, which, according to an- 
 cient critics, distinguished the works of Calamis. 
 
 Visconti , Mus. Pio-Clem., n, 40. Pistolesi, v, 54. Millin, Grail, 
 myth., PI. 166,649*. Guigniaut , Rel. de 1’ant., PI. 288, 868. Clarac , 
 v, PI. 835, No. 2096. Comp. Ann. dell’ Inst., 1871, pp. 205, 209. 
 Bonner Studien (Berlin, 1890), p. 50. — For the Barberini Statue, 
 see Mon. dell’ Inst.,ix, 34; Ann., 1871, pp. 202 et seq. Bonner Stu- 
 dien, T. tv, pp. 38-50. 
 
 204 (394). Statue of Zeus or Poseidon. 
 
 Acquired under Clement XIV. from the estate of the 
 sculptor Pacilli. The point of the nose, both arms below 
 
GALLERIA DELLE STATUE. 
 
 135 
 
 the shoulders, the lower parts of the legs, the feet, stem, 
 dolphin, and plinth are restorations. 
 
 This statue, once restored ab Zeus, was afterwards 
 converted into Poseidon by the addition of the trident 
 and the dolphin. It is difficult to decide which of the 
 two conceptions is right. The antique portions reveal 
 no peculiarities pointing indubitably to Poseidon, and 
 there is no special analogy between the tranquil expres- 
 sion of the head, and that of any plastic type that can 
 with certainty be referred to this deity. At the same time 
 we must remember that the ideal of Poseidon was gra- 
 dually deduced from that of Zeus, and until a compar- 
 atively late period did not receive any individual character 
 distinguishing it sharply from that of his brother (comp. 
 No. 111). The statue might thus perfectly well represent 
 a type of Poseidon in which this individualization had 
 not yet been developed. 
 
 Visconti , Museo Pio-Clem., i, 32. Overbeck , Kunstmythologie, 
 hi, p. 267, No. 10 (with note b, as to other authorities), p. 287, 
 No. 14; Atlas, xi, 9, xii, 35. Furtwaengler , Masterpieces, p. 184, 
 Fig. 77 (where this type is placed in relation with the art 
 of Myron). 
 
 205 (395). Apollo with the Cithara. 
 
 The nose, the entire throat with the hair falling over 
 the neck, the right arm and plectrum, the left forearm 
 and cithara, the feet, the supports of the seat, and the 
 plinth are modern. The head (face freely worked over) ap- 
 pears to belong to the body, with which it accurately 
 corresponds in material, size, and method of execution. 
 
 This marble statuette is a reproduction of a Greek 
 bronze original in the archaic style. The general correct- 
 ness of the restoration of the arms and their attributes 
 is practically assured by the preservation of part of the 
 cithara on the left thigh and the circumstance that the 
 plectrum in the right hand may be inferred from the 
 cithara in the left. But it may be questioned whether the 
 restorer was justified in adding the hair falling freely over 
 the neck. Allied figures of Apollo have the hair raised 
 on the back of the head and intersected by the fillet sur- 
 
136 
 
 VATICAN. 
 
 rounding the head, while two locks descend to the shoul- 
 der either in front of or behind each ear. Two perfora- 
 tions on each temple, that can only have served to fasten 
 separately-worked locks, prove that our statuette also had 
 such locks. Perhaps the mass of hair on the back of the 
 head had been partly broken off, and this circumstance 
 may have suggested to the restorer the addition of the 
 flowing hair, which was familiar to him in the Apollos 
 of the freer style. The eyes were of different material 
 (perhaps vitreous paste), and were inserted in the hollows. 
 
 Gerhard , Antike Bildwerke, T. 84, Nos. 1, 2. Clarac , m, PI. 481, 
 No. 926A. Overheck , Griech. Kunstmythologie, iv, p. 180, No. 3; 
 Atlas, xxi, 29. Comp. Furtwaengler , Meisterwerke der griechischen 
 Sculptur, p.684, note 3 (where doubt is thrown on the original con- 
 n ection of the body and head , and so on the identification with Apollo). 
 
 206 (396). Statue of Narcissus. 
 
 Formerly in the Palazzo Barberini. The portions re- 
 stored are the nose, right arm, front of the left forearm 
 with the left hand, left leg below the knee, the lowest 
 part of the right shin with the foot, the stem covered by 
 the chlamys (except the top part beside the thigh), and 
 the plinth. 
 
 This statue, which seriously suffered from scraping 
 and partial retouching, is sometimes described as Adonis 
 who has just been mortally wounded by the boar, some- 
 times as Narcissus gazing at his own reflection in the 
 spring. The former view is founded chiefly on the in- 
 cision on the right thigh, which is supposed to be a 
 wound. But in antique sculpture wounds are represented 
 in a different fashion', not by a crude incision such as we 
 see in the present statue, but by a fine scratch from which 
 blood oozes in drops. This incision therefore appears to 
 be due to some accident or to have been made by the 
 modern restorer who took the figure for an Adonis. But 
 on the inner side of the right thigh are also seen four 
 marble pegs, which are explained by the critics who adopt 
 the Adonis-theory as having served to connect the statue 
 either with the boar that dealt the fatal blow or with a 
 Cupid busied in stanching the wound. If we have to 
 
GALLERIA DELLE STATUE. 
 
 137 
 
 imagine a boar added in front of the statue , the result 
 would be a group producing, by the different dimensions 
 of its constituents, an effect the reverse of a3sthetic. More- 
 over, if the supports bore any weighty object such as a 
 boar’s head, they must have been much stronger. The other 
 suggestion, that Cupid was occupied with the wound 
 immediately after Adonis had been wounded by the boar, 
 is combatted by the reflection that in that case two inci- 
 dents, chronologically separated, have been unnaturally 
 combined. Farther, the expression on the down-turned 
 face of the youth (so far as the free working over permits an 
 opinion) is not one of pain or horror, such as a newly-in- 
 flicted wound would have caused, but one of astonishment. 
 Finally the identification with Adonis is contradicted by 
 the presence beside the figure of a tree-trunk, covered with 
 a chlamys — an accessory that would be quite meaningless 
 beside a hunter receiving the onset of a wild boar. On 
 the other hand, the expression, the action of the body, 
 and the accessories are entirely in keeping with the Nar- 
 cissus-theory (comp. No. 18). The youth, approaching 
 the fateful spring, has thrown his chlamys upon the ad- 
 jacent stump, in preparation either for resting or bathing, 
 and catching sight of his reflection in the water, remains 
 transfixed in amazed delight. The pegs on the thigh re- 
 late to a Cupid, touching the youth with his hand. From 
 the analogy of certain Campanian wall-paintings it is 
 likely that the god of love touched the thigh of Narcissus 
 with one hand, and pointed with the other to the reflec- 
 tion. Probably the statue was the decoration of a foun- 
 tain, and was mirrored in the water below; a position by 
 which the meaning of the figure would be made clear. 
 
 Causeus , Romanum Museum, i, Sect, n, T. 53. Visconti , Mus. 
 Pio-Clem., n, 31. Clarac , iv, PI. 632, 1424. Wieseler , Narkissos, 
 No. 14, pp. 35-38, 42, 43. Comp. Raoul-Rochette , Mon. indd., pp. 170, 
 171. Ann. dell’ Inst., 1845, p. 348. Welcker , Alte Denkmaler, v, 
 pp. 92, 93. 
 
 207 (398). Statue of the Emperor Opellius Macrinus 
 (217-218 A.D.). 
 
138 
 
 VATICAN. 
 
 Formerly in the Borioni Collection. The nose, three 
 fingers of the left hand, the sword-hilt, and the right 
 thumb are restorations. 
 
 This is the only entirely authentic statue of this em- 
 peror. Herodian (V, 2, 3-4) records that Macrinus imi- 
 tated Marcus Aurelius in the cut of his beard, his gait, 
 and his manner of speaking. The present statue clearly 
 illustrates this imitation in the first-mentioned particular. 
 The execution is tolerably good for the period. 
 
 Visconti , Mus. Pio-Clem., m, 12. Clarac , v, PI. 963, No. 2487. 
 For the head, see Visconti , Iconographie romaine, in, p. 123, PI. 50, 
 Nos. 1, 2. 
 
 208 (399). Group of Asclepios and Hygieia. 
 
 Found in the Forum of Prseneste (Palestrina). Both 
 heads are restorations; possibly that of Hygieia is an- 
 tique, in which case it has been freely worked over and 
 belongs to some other statue. Other restorations are the 
 greater portion of the plinth ; and, in the Asclepios, three 
 fingers of the right and four of the left hand, the left leg 
 below the middle of the thigh, various portions of the 
 drapery, the lower part of the serpent-staff, and the head 
 of the serpent; in the Hygieia, the right hand with the 
 bowl and the left forefinger. 
 
 Asclepios sits upon a throne. The strikingly soft 
 outlines of his body permit us to guess that he was re- 
 presented as a youth, not as a bearded man. Standing 
 
 beside Asclepios, and of shorter stature, is Hygieia, nestl- 
 ing close to him and laying her left hand on his shoul- 
 der, while her right offers a bowl to the serpent coiled 
 
 round the staff of the god. The group is a copy of some 
 
 admirable original. It forms a harmonious and self-con- 
 tained whole and reveals both clearly and gracefully the 
 close connection between the two deities of healing. The 
 arrangement of the folds, the sensuously charming figure 
 of the maiden, and the somewhat forced device of repre- 
 senting the chiton as having slipped, so as to expose the 
 bare shoulder of Hygieia — all speak of Hellenistic art. 
 The execution is mediocre. 
 
 Visconti, Mus. Pio-Clem., n, 3. Clarac', tv, PI. 546, 1151 B. 
 Panofka, Asklepios und die Asklepiaden (Abhandlungen der 
 
GALLERIA DELLE STATUE. 
 
 139 
 
 Berliner Akademie, 1845), T. in, 6. Roscher, Lexikon der griech. 
 und rom. Mythologie, i, pp. 2779, 2780. Comp. Jahrbucb des 
 Arch. Instituts, n (1887), p. 109. 
 
 209 (401). Fragment of a Group: Son and Daughter 
 of Niobe. 
 
 The left forefinger and left foot of the girl are restor- 
 ations. The head (nose and part of the upper lip mod- 
 em) is antique hut belongs to another statue, as is 
 proved by the difference in the marble and style, as well 
 as by the fact that on the right shoulder of the maiden 
 is the fragment of a lock of hair which has no connection 
 whatever with the well-preserved hair of the present head. 
 
 The girl is represented as fatally wounded under the 
 right breast and leaning her right upper arm on the knee 
 of an advancing masculine figure behind her. The wound 
 is represented by a hole, in which a bronze or wooden 
 arrow was originally placed Of the masculine figure 
 nothing remains except the advanced left leg with the 
 mantle draping it, and the left forearm with the hand on 
 the maiden’s left shoulder. But these are sufficient to 
 identify a figure which must have corresponded in all 
 essential points with a Son of Niobe in the Florentine Mu- 
 seum, the latter with traces proving that it formed a 
 group with another figure. The border of the mantle hang- 
 ing over the left thigh has been removed by a modern 
 chisel, and the folds appear to be thrust back in a pecu- 
 liar manner. We must thus conclude that the retouched 
 place was originally occupied by something that pre- 
 vented the natural fall of the drapery, and, from the ana- 
 logy of the Vatican group, this can have been nothing 
 else than the arm of a maiden sinking down in front of 
 the youth. We may therefore restore the Niobide in the 
 group before us from the corresponding Florentine figure; 
 he gazes upwards and raises his right arm, wrapped in 
 his mantle, to defend his wounded sister. 
 
 Various scholars have incomprehensibly detected traces 
 of archaic severity in the forms of the maiden’s body. 
 The body of an undeveloped girl could hardly be other- 
 wise rendered in marble than as in this figure. The leg 
 
140 
 
 VATICAN. 
 
 of the youth, in any case, exhibits the same treatment as 
 we observe in other statues of the Niobides. The head 
 placed on the girl’s body is, on the other hand, in a style 
 still somewhat conventional. The hair is cut short, as 
 was the custom with women in mourning, and the face 
 wears an expression of grief; so that the head probably 
 belonged originally to the figure of a mourner. 
 
 Baumeister, Denkmaler des kl. Alterthums, m, T. lxiv, Fig. 
 1752, p. 1676. Stark , Niobe, pp. 243, 244, 305-307. Bull, dell’ 
 Inst., 1864, p. 128. 
 
 210 (405). Water-Bearer. 
 
 Found in the Forum of Praeneste (Palestrina). The 
 neck, both arms, the bowl, and the tree-trunk are restor- 
 ations. The bowl, however, is vindicated by a frag- 
 ment above the left knee, the tree by a fragment on the 
 plinth. Though the head is said to have been found 
 near the body, it cannot have belonged to the latter, as 
 it is of different marble, small in proportion to the body, 
 and of inferior execution. The point of the nose, the 
 lower lip, the chin, a portion over the left eye, the edge 
 of the left ear, and the lower part of the back of the head 
 with the hanging locks are restorations. 
 
 The original motive is adequately assured by replicas, 
 not only in sculpture (comp. No. 933) but also in Pom- 
 peian mural paintings. The maiden is placing a vase on 
 the trunk of a tree, and, as the vessel is heavy, not only 
 uses both her hands hut also assists them with a gentle 
 pressure of the left knee. The tree-trunk was apparently 
 perforated and a stream of water flowed from the middle 
 of the vase. This interpretation of the statue has been 
 objected to on the ground that the maiden must bend her 
 body backwards and not forwards, so as to avoid the 
 water flowing towards her. This objection, however, has 
 no force unless we are to assume that the jet rose to a con- 
 siderable height. But as a matter of fact several of the 
 allied Pompeian figures show fountains throwing their 
 jets only a little above the margin of their basins. The 
 interpretations based on the erroneous assumption that 
 the head belongs to the body need not be considered. 
 
GALLERIA DELLE STATUE. 
 
 141 
 
 1 Visconti, MuseoPio-Clem., n, 2. Millin, Gal. myth., PI. 96, 325. 
 Pistolesi, v, 56. Guigniaut , Rel. de l’ant., PI. 161, 606 a . Clarac , iv, 
 PI. 760, No. 1856. Comp, the collection of transactions of the In- 
 stitute archseologico centum semestria feliciter peracta gratulantur 
 juvenes capitolini (Romae, 1879), pp. 17-19. For the Pompeian 
 mural paintings cited for comparison, see Helbig, Wandgemalde der 
 vom Vesuv verschutteten Stadte Campaniens, Nos. 1056-1062. 
 
 211 (406). Resting Satyr, probably from an original by 
 Praxiteles. 
 
 Found at Falerone (Faleria) in the province of An- 
 cona. The restorations include the point of the nose, the 
 right arm and pipe, the left arm except four fingers, 
 fragments of the panther-skin , the lower parts of the 
 legs except the toes of the right foot, the stem, and 
 the plinth. 
 
 Details of this type, see No. 525. The execution is 
 mediocre. 
 
 Visconti, MuseoPio-Clem.,ii, 30. Clarac , iv, PI. 711, No. 1691. 
 212, 213 (412,413). Two Candelabra. 
 
 Found during the excavations carried on by Cardinal 
 Francesco Barberini at Hadrian’s Villa near Tivoli; for- 
 merly in the Palazzo Barberini ( Bartoli , in Fea , Mis- 
 cellanea, i, p. cclxi, No. 139). In both, the plinth, the 
 slab above it ending in lions’ claws, and various portions 
 of the acanthus-leaves on the shaft are restorations. 
 
 The upper portions of these handsome candelabra, 
 which are executed with great taste in the Corinthian 
 style, are obviously modelled after metal works of a 
 similar character. They show to best advantage when 
 two of the three faces of the base are seen at once, as, in 
 this case, the base seen in its full breadth appears to be 
 amply strong enough to bear the weighty shaft with its 
 various members. Moreover two figures are thus seen 
 at once, which is more in keeping with the richly decor- 
 ated shafts than when only a single figure is visible. In 
 order to accommodate the figures more harmoniously to 
 the architectural scheme of the whole, the artist has 
 imparted to them somewhat of an archaic style, though 
 not so much in his treatment of the nude as in the at- 
 titude, dress, and arrangement of the hair. The execution 
 
142 
 
 VATICAN. 
 
 displays the smooth elegance that is characteristic of the 
 sculpture of Hadrian’s epoch. The method in which the 
 helmets of Ares and Pallas are treated is apparently in- 
 tended to produce a cameo -like effect. 
 
 On the faces of one of the candelabra are Zeus with 
 the thunder-bolt and sceptre; opposite him Hera, leaning 
 her right hand on a sceptre ; and Hermes, holding' a dish 
 in his right hand, and accompanied by the ram sacred to 
 him. Both the last two figures are represented as stand- 
 ing on plinths, as are also the Aphrodite and Pallas on 
 the other candelabrum, — a peculiarity probably to be 
 explained by the fact that the sculptor was influenced by 
 statues in carving these figures. On the other cande- 
 labrum are Ares, his left hand resting on a spear and on 
 his head a helmet the lofty plume of which is supported 
 by a chimsera; Aphrodite, represented in the archaic 
 manner with a flower in her left hand while her right 
 raises the edge of her tunic ; and finally Pallas, feeding 
 her sacred snake. The helmet of Pallas is ornamented 
 with winged horses like that of the Athena Parthenos of 
 Pheidias, and the massive plume is supported by a Sphinx. 
 Some recent critics have sought to identify in the Pallas 
 an imitation of the Athena Hygieia of Pyrrhos (comp. 
 No. 158), and in the Aphrodite an imitation of the famous 
 statue of Sosandra, by Calamis. 
 
 Possibly this pair of candelabra was matched by a 
 second pair with the remaining six Olympian gods re- 
 presented opposite each other in a similar fashion. 
 
 Giornale de’ letterati, 1771 (Pisa), m, Tav. i, ii, pp. 156 et seq. 
 Cavaceppi , Raccolta di antiche statue, m, 58, 59. Visconti , Museo 
 Pio-Clem.,iv, 1-8. Ann. dell’ Inst., 1869, Tav. d’agg. M, pp. 282- 
 285. Farther details see Friederichs-Wolters , Bausteine, Nos. 2124- 
 2129. Overbeck , Kunstmythologie, n, p. 22, No. 6, p. 33; in, p. 27, 
 No. 7; Atlas, i, 6, ix, 28. Comp. Roscher , Lexikon der Mythologie, i, 
 pp. 411, 699. Hauser , Die neu-attischen Reliefs, p. 63, Nos. 92, 93, 
 pp. 151-154, 169. 
 
 Between these candelabra, — 
 
 214 (414). Statue of the Sleeping Ariadne. 
 
GALLERIA DELLE STATUE. 
 
 143 
 
 As early as the pontificate of Julius II. this figure 
 adorned a fountain in the Belvedere Garden (Jahrbuch 
 des Arch. Inst., v, 1890, pp. 18, 88, 57). The nose and 
 lips are restorations, also the right hand, the third and 
 fourth fingers of the left hand, the rock on which the 
 figure reclines , the end of the rohe hanging down over 
 the rock below the left elbow, and the horizontal section 
 of this garment between the rocky projection and the 
 vertical fold hanging from the thigh. 
 
 As we gather from a comparison with other monu- 
 ments [e.g. No. 216), Ariadne is here represented sunk 
 in the sleep during which Theseus abandoned her. Her 
 slumbers are far from tranquil ; the somewhat constrained 
 attitude and the confused folds of her robe clearly indi- 
 cate that she has restlessly changed her position, visited 
 by dreams prophetic of her coming distress. Various de- 
 fects in the execution prevent us from regarding this 
 figure as a genuine original. The sculptor has failed to 
 distinguish with the necessary clearness between the 
 chiton immediately above the feet and the mantle spread 
 over it. But the writer is not inclined to attach too much 
 weight to this circumstance , as it is possible and even 
 probable that the indistinctness of the plastic work was 
 rectified by the original painting of the figure. On the 
 other hand it would be difficult to discover any such ex- 
 cuse for the treatment of the face, which, as Winckel- 
 mann pointed out, is somewhat one-sided. 
 
 How we are to imagine the original of this figure, is 
 one of the hardest problems of archaeology. We know 
 several mural paintings, and several sarcophagus-reliefs 
 influenced by paintings, representing Dionysos and his 
 thiasos approaching the sleeping Ariadne, whose figure 
 in these exhibits a close relation to that of the Vatican 
 sculpture. We are thus faced by the following alter- 
 natives : either these mural paintings and reliefs have been 
 influenced by works of statuary, among which was the 
 original of the Vatican Ariadne, or we must look for the 
 original of this figure in some painting, which has also 
 exercised an influence on the Campanian mural paint- 
 ings and the Roman sarcophagus-reliefs. On the whole. 
 
144 
 
 VATICAN. 
 
 the latter seems the more probable supposition. That the 
 original of the figure before us belonged to a plastic 
 group of the finding of Ariadne by Dionysos seems highly 
 improbable , for no satisfactory arrangement of such a 
 group can be suggested. If we suppose that the group con- 
 sisted of only two figures, viz. Ariadne herself and Dio- 
 nysos contemplating the beautiful sleeper, where must we 
 suppose the latter to have been placed? Certainly not in 
 front of the Ariadne, for his back in that case would be 
 turned towards the spectator. If we suppose him to have 
 been behind Ariadne, then the lower portion of the god 
 would be concealed by the figure in front ; while if Dio- 
 nysos were placed on one side the constituents of the 
 group would be deprived of their due equilibrium. Since, 
 however, we know that towards the end of the 4th cent. 
 B.C. sculpture had already begun to borrow motives from 
 painting, and that the practice became more and more 
 frequent as time went on, it is easily conceivable that 
 some sculptor detached the figure of the sleeping Ariadne 
 from its surroundings in some painting, and reproduced 
 it plastically. Separate motives from the same painting 
 may have been utilized by the mural painters of Cam- 
 pania and the sarcophagus-carvers of Borne, whose pat- 
 tern-books are well-known to have contained more designs 
 from paintings than from sculptures. In this connection 
 we naturally recall the painting in the Temple of Dionysos 
 at Athens, which, according to Pausanias (i, 20, 2), re- 
 presented the sleeping Ariadne, with Theseus abandon- 
 ing her and Dionysos approaching to bear her off as 
 his wife. 
 
 The forms of the Vatican statue are of a dignified 
 character, recalling the plastic types of the 4th cent. B.C., 
 whereas the allied figures in the mural paintings and sar- 
 cophagus-reliefs exhibit the tender, sensuously charming 
 forms that are characteristic of Hellenistic art. So that 
 it appears that the sculptor of this figure has reproduced 
 the original type more faithfully than the mural painters 
 or the carvers of the sarcophagi. 
 
GALLERIA DELLE STATUE. 
 
 145 
 
 Antiquarum statuarum urbis Romae icones (Romae, 1621), n, T. 
 47, where it is still treated as a fountain-figure. De Rossi , Raccolta 
 di statue, T. 8. Visconti , Museo Pio-Clem., n, 44 (comp. Opere 
 varie, rv, p. 90). Muller -Wieseler , Denkm. der alten Kunst, n, 
 T. 35, No. 418. Baumeister , Denkm. des kl. Alterthums, i, p. 125, 
 Fig. 130. Brunn und Bruckmann , Denkmaler gr. u. rom. Sculptur, 
 No. 167. Remaining bibliography in Friederichs- Wolters , Bausteine, 
 No. 1572, to which should be added Romische Mittheilungen, vn 
 (1892), pp. 183, 184. For the above-mentioned mural paintings, 
 see Helbig , Untersuchungen iiber die campanische Wandmalerei, 
 pp. 252-257. 
 
 This statue is placed upon — 
 
 215. Sarcophagus, with Gigantomachia. 
 
 Formerly in the possession of the sculptor Cavaceppi. 
 
 The giants, whose legs end in serpents, are here war- 
 ring against the gods, whom we must imagine as on the 
 top of Olympos, above their antagonists. The giants 
 hurl masses of rock aloft , and endeavour to ward off the 
 missiles of the gods with huge tree-trunks and with the 
 skins of animals wrapped round their left arms. But it 
 is clearly shown that their furious onslaught is in vain. 
 One young giant is stretched lifeless on the ground, a 
 second is writhing in the death-agony, while two others, 
 one struck in the back by a thunderbolt, are collapsing 
 in death. The composition is simple and full of dramatic 
 life. But at the same time it displays distinctly charac- 
 teristics appropriate to a painting and has several separ- 
 ate motives that accord ill with the conditions of relief, 
 though their expression would present no difficulty to a 
 pencil. This is especially evident in the foreshortening 
 of the head and back of the dying giant falling forwards. 
 It thus appears that the sculptor was influenced by a 
 painting of the Gigantomachia; and we are warranted in 
 referring this painting to the Hellenistic epoch from the 
 close relationship the sarcophagus reveals to the frieze of 
 the giants from Pergamum. 
 
 On the left lateral field of the sarcophagus are two 
 giants, whose action shows them to be too exhausted to 
 Helbig, Guide I. 10 
 
146 
 
 VATICAN. 
 
 take an energetic part in the fight. On the right field are 
 two dead giants. 
 
 Cavaceppi , Raocolta di antiche statue, in, 55. Visconti, Mu- 
 seo Pio-Clem., iv, 10-1 0 b . Pistolesi, v, 26. OverbecTc , Kunstmytbo- 
 logie, n, p. 385 D; Atlas, v, 9. Baumeister, Denkmaler des klass. 
 Alterthums, i, p. 596, Fig. 638. Comp. Jahrbuch derpreuss. Kunst- 
 sammluugen, i, p. 172, v, p. 251. All farther details in Mayer , 
 Die Giganten und Titanen in der antiken Sage und Kunst, p. 364, 
 No. 10, pp. 386, 387. 
 
 216 (416). Slab from a Frieze (?). 
 
 According to a not entirely substantiated tradition, 
 this slab was found in the 16th cent, in Hadrian’s Tibur- 
 tine villa and was presented by Cardinal Ippolito d’Este 
 to his relatives, then ruling in Ferrara. It has been twice 
 restored, the second time by DeFabris, and was acquired 
 for the Vatican under Gregory XVI. The entire third 
 part of the slab, on the left, is modern, the only antique 
 portions of the statuette in the left niche being part of 
 the left arm and the nebris hanging over it. Other restor- 
 ations are parts of the torsos of both the male figures in 
 the central relief, the right arm of the statuette in the 
 right niche, the column to the left of this statuette, and 
 various fragments of the other columns. The only antique 
 portions in the hunting-scene above are the head, wings, 
 right hand with the sword, and left foot of the Cupid, 
 the hind-paws and the left fore-paw of the panther, and 
 the trunk of the tree. 
 
 The decoration of the slab represents in small the 
 side of an apartment, in which two niches containing 
 statues are introduced, the field between being adorned 
 with a relief. This slab appears to have formed part of a 
 frieze. The whole decoration was apparently influenced 
 by Graeco-Roman wall-painting, in which similar motives 
 are frequently found in frieze-like arrangement. The relief 
 in the centre here represents the sleeping Ariadne, treated 
 in the same manner as in the statue No. 214. In front is 
 Theseus, in the act of quitting her , his left foot already 
 on the ship-gangway. Above is a personification of the 
 island of Naxos. The male figure, clad in a nebris, who 
 stands behind Ariadne gazing at her as she sleeps, is more 
 probably to be taken for Dionysos approaching to bear 
 
GALLERIA DELLE STATUE. 
 
 147 
 
 off his bride than for a Satyr from his train. The restorer 
 has placed a figure of Dionysos in the niche on the left 
 but it is evident that a Satyr would be a more fitting pen- 
 dant to the Bacchante that occupies the corresponding 
 niche. The projecting cornice at the top of the slab rests 
 at each side upon a winged Sphinx and a support. Between 
 the arches of the niches is a Cupid, pursuing a panther 
 and brandishing a sword. 
 
 De Fabris , Intorno ad un bassorilievo antico rappr. Arianna 
 abbandonata da Teseo (Roma, 1845). Comp. JenaerLitteraturzeitung, 
 1846, pp. 76, 301 et seq. O. John , Arch. Beitrage, pp. 280, 281. 
 
 217 (420). Statue in Armour, with the head of Lucius 
 Verus. 
 
 Found at Castro Nuovo (near Civitavecchia). The ex- 
 tremities, the stem, and the plinth have been restored. 
 
 The statue to which the torso belongs appears to 
 have been carved in the first century of the imperial 
 epoch. The cuirass is adorned at the top with a Gorgon’s 
 head, in the centre with a goddess of victory bearing a 
 palm-branch and a cornucopia, and at each side with a 
 tropaeum, beneath which kneels a conquered barbarian; 
 while lowest of all is a reclining female form, her lap 
 filled with fruits, representing the Earth, and in this con- 
 nection of the same significance as the corresponding 
 figure on the armour of the statue of Augustus (No. 5). 
 On this body has been placed a head of Lucius Verus 
 (d. 169 A.D.), previously found in the Villa Mattei. This 
 is one of the best portraits of the age of the Antonines; 
 the sombre and sly expression characteristic of this em- 
 peror is admirably reproduced. The treatment of the hair 
 and beard affords a striking example of the effective way 
 in which the sculptors of the time used the drill. 
 
 Visconti , Museo Pio-Clem., n, 50 (eomp. i, p. 265, note 1). 
 Fistolesi , v, 33. Clarac , v, PI. 957, No. 2462. Comp. Welckers 
 Zeitscbrift, p. 347. Bonner Studien (Berlin, 1890), p. 12. Ber- 
 noulli, Rom. Ikonograpbie, n, 2, p. 206, No. 2. 
 
 Near the centre of the gallery, between the statue of 
 
 10 * 
 
148 
 
 VATICAN. 
 
 Paris No. 188 (255) and the group of the NiobidesNo. 209 
 
 (401), — 
 
 218 (421). Cinerary Urn of Oriental Alabaster. 
 
 Found in 1777 beneath the house at the corner of 
 the Corso and the Piazza S. Carlo, opposite the Via della 
 Croce. Fragments of the handles and plinth have been 
 restored. 
 
 This elegantly shaped vase is formed of the honey- 
 coloured, striped alabaster which Pliny describes (Nat. 
 Hist. 36, 61) as the most prized variety of that stone. It 
 is of special interest from six inscriptions found at the 
 same time and place. Three of these are tomb-inscrip- 
 tions. One refers to Livilla, youngest daughter of Ger- 
 manicus, put to death in the reign of Claudius at the 
 instigation of Messalina (Corpus Inscrip. Lat. vi, No. 891); 
 it is now inserted in the base of a so-called statue of 
 Flora, No. 410 in the Galleria delle Statue. A second 
 inscription refers to Tiberius Gemellus, grandson of the 
 Emperor Tiberius, put out of the way by Caligula (Cor- 
 pus Inscrip. Lat. vi, 892); this is now in the pedestal 
 of the statue with the head of Lucius Verus (No. 217, see 
 above; No. 420 in the catalogue). The third inscription, 
 of which only the final word ‘Vespasiani’ remains (Cor- 
 pus Inscrip. Lat. vi, 893), refers either to Domitilla, 
 wife of Vespasian, or to Flavius Clemens Vespasianus, 
 son of the cousin of Domitian, and put to death by that 
 emperor towards the end of his reign. The three other 
 inscriptions, now in the pedestals of the statues num- 
 bered 248, 408, and 417 in this gallery, relate that on 
 this spot were burned the bodies of three sons of German- 
 icus, who died at a tender age (Corp. Inscrip. Lat. vi, 
 888-890). They prove that the spot on which all these 
 monuments were found formed part of the area in the Cam- 
 pus Martius where the corpses of members of the im- 
 perial house were cremated (Bustum Caesarum). It cannot 
 be explained with certainty how the ashes cf Tiberius 
 Gemellus and Livilla, members of the Julian gens, came 
 to be buried in an adjoining part of the Campus Mar- 
 
GALLERIA DELLE STATUE. 
 
 149 
 
 tius, instead of in the Mausoleum of Augustus, the family- 
 burying -place. But it is not unreasonable to suppose 
 
 that it was owing to the fact that they had fallen into 
 disfavour with their imperial relatives, and were in con- 
 sequence regarded as being outside the family. The ala- 
 baster urn was found in close proximity to the tomb- 
 inscription of Livilla, and it is very possible that it con- 
 tained the ashes of this daughter of Germanicus. 
 
 Visconti , MuseoPio-Clem., vm, 36. Comp. Braun, Ruinen und. 
 Museen, p. 361, No. 105. For the inscriptions, see Sitzungsberichte 
 der Berliner Akademie der Wissenschaften, 1886, pp. 1155, 1156, 
 1158. 
 
Sala dei Busti. 
 
 First Room. 
 
 To the right on the lower console, — 
 
 219 (278). Head of Otho (?). 
 
 The nose, the under-lip, a piece of the left ear, and 
 the greater part of the skull are modern. The alabaster 
 bust is antique hut belonged to another head. 
 
 This head, by its profile and its sensual expression, 
 recalls the portraits of Otho known to us from coins. The 
 wig which, according to Suetonius (Otho, 12), this em- 
 peror wore , might also be easily enough recognized in 
 the way in which the hair is arranged. For all that, 
 however, the identification with Otho is questionable; for 
 the style belongs at the earliest to the end of the 2nd cent. 
 A.D., and we can hardly suppose that portraits of Otho 
 continued to be produced down to that period. 
 
 Bernoulli , Rom. Ikonographie, n, 2, pp. 8, 9, Fig* 2. Comp. 
 Braun , Ruinen und Museen, p. 356, No. 99. 
 
 220 (277). Head of Nero as Citharcedos. 
 
 The nose , fragments of the lips , eyelids , cheeks, 
 laurel-wreath, the ribands hanging from the wreath (ex- 
 cept the upper part), the neck, and the bust are restora- 
 tions. 
 
 We know from Suetonius (Nero, 25) that Nero, after 
 his visit to Greece, caused statues to be made of him in 
 the character of a Citharoedos; and the Vatican head ob- 
 viously belonged to a figure of this kind. The sculptor 
 has endeavoured to give the face the greatest possible 
 resemblance to a certain type of Apollo , a god whom 
 Nero specially worshipped as the mythical prototype of 
 
SALA DEI BUSTI. 
 
 151 
 
 the victorious Citharoedos. The emperor’s features are 
 idealized in this direction, without entirely losing their 
 individuality. The hair is arranged in the mode charac- 
 teristic of Apollo Citharoedos , and in front , where the 
 leaves of the laurel-wreath join, is placed a precious stone, 
 as is frequently seen in the figures of that god (comp., 
 e.g., No. 267). 
 
 Visconti, Museo Pio-Clem., vi, 42. Pistolesi , v, 48. Bernoulli , 
 Romische Ikonographie. ii, 1, p. 392, No. 5, p. 393, Fig. 56. 
 
 221 (275). Head of an Aged Hellenistic Ruler. 
 
 The nose, left ear, throat, and bust are modern. 
 
 The head is encircled with a vine-wreath, characteriz- 
 ing the ruler as a ‘new Dionysos’ (vio? Aiovooo?) , and 
 with a diadem, which we must suppose to have been 
 fashioned in gold and adorned with a chased garland. 
 The head is usually regarded as a portrait of Augustus 
 at an advanced age. But the resemblance between it and 
 other authenticated portraits of that emperor is very 
 1 superficial ; and the writer is also quite unable to recog- 
 nize Caesar’s portrait in the cameo forming the centre of 
 the diadem. In fact, it appears to him quite uncertain 
 whether this much-damaged head is a portrait at all or 
 an ideal head. In any case, there is absolutely no prece- 
 dent for a bust or statue of any Roman emperor being 
 adorned with the attributes of Dionysos , or for the re- 
 presentation of Augustus or any other Roman emperor 
 before Constantine in the western half of the Empire 
 with a diadem of this kind (comp. Suetonius, Caligula, 
 22). Finally the delicate realism with which the effects 
 of age are reproduced stands in distinct opposition to the 
 academic lines followed by art in producing portraits of 
 imperial personages under the rulers of the Julian line. 
 All the peculiar characteristics of this head, the Dionysos 
 wreath, the diadem, and the style, point rather to the 
 portrait of a ruler of the Ptolemaic, Seleucid, or other 
 Hellenistic dynasty. 
 
 Visconti , Mas. Pio-Clem., vi, 40. Bernoulli , Rom. Ikonogr., n, 
 1, p. 30, No. 14, Fig. 5, pp. 64, 65. Brunn und Arndt , Griech. u. 
 
152 
 
 VATICAN. 
 
 rom. Portraits, Nos. 105, 106. Comp. Romische Mittheilungen, vi 
 (1891), pp. 318, 319. — For the Neo? Aiovuco?, see Luders , Die 
 dionysischen Kiinstler, p. 74, note 135. 
 
 222 (274). Head of Augustus. 
 
 Formerly m the Villa Mattei, and acquired under 
 Clement XIV. The nose, fragments of the lips, chin, • 
 and garland, and the bust are restorations. 
 
 The emperor is here represented at a ripe age, with 
 a garland of ears of wheat, the symbol of the Arval Fra- 
 ternity, to which he belonged. 
 
 Visconti , Mus. Pio-Clem., vi, 39 (comp, i, p. 237, note *). Pisto- 
 lesi, v, 46. Bernoulli , Rom. Ikonogr., n, 1, p. 30, No. 15. 
 
 An interesting contrast to this portrait of the elderly 
 emperor is afforded by — 
 
 223 (273). Head of the Youthful Octavianus. 
 
 Discovered during the excavations made at Ostia in 
 1818 by the British consul R. Fagan. The tip of the 
 nose, fragments of the ears, and the bust are restorations. 
 
 Octavianus is here represented just at the transition 
 from boyhood to youth. The head indicates a delicate 
 constitution but a marked intelligence and a firm will, 
 whose expression, however, seems restrained by a calcu- 
 lated prudence, almost bordering on shyness. There is 
 little of the freshness of youth in this face. We perceive 
 rather how the boy has been brought to an early maturity 
 by the thought of the brilliant but perilous future before 
 him. The peculiarly cold effect, produced by the careful 
 though somewhat dry execution, lends its aid to some 
 such characterization as this. 
 
 Nibby, Museo Chiaramonti, n, 26. Baumeister , Denkmaler des 
 kl. Alterthums, i, p. 227, Fig. 179. Comp. Bernoulli, Rom. Ikonogr., 
 ii, 1, p. 28, No. 9, pp. 62-64. 
 
 On the bracket above, to the right, — 
 
 224 (285). Bust of Marcus Aurelius. 
 
 Found in Hadrian’s Tiburtine Villa. The nose and 
 fragments of the hair and robe have been restored. 
 
SAL A DEI BUSTI. 
 
 153 
 
 This is one of the best portraits of the emperor, not- 
 withstanding the painfully finicking manner in which the 
 hair and beard are worked with the drill. 
 
 Visconti , Mus. Pio-Clem., vi, 50. Pistolesi , v, 46. Comp. Braun , 
 Ruinen und Museen, p.355, No. 95. Bernoulli, Rom. Ikonogra- 
 phie, n, 2, p. 168, No. 21. 
 
 225 (287). Head of Commodus. 
 
 On an antique bust, belonging, however, to another 
 work ; presented to Clement XIY. by Prince Doria-Pam- 
 fili. The nose, a fragment above the right eye, and 
 portions of the ears are restorations. 
 
 Visconti, Mus. Pio-Clem., vi, 51, 2. Nibby, Museo Ckiaramonti, 
 ii, 42. Comp. Bernoulli , Rom. Ikonogr. , n, 2, p. 230, No. 5. 
 
 226 (292). Bust of Caracalla. 
 
 Found in the garden of Cardinal Pio Ridolfo of Carpi, 
 which afterwards became the property of the Conservatorio 
 delle Mendicanti (behind the Basilica of Constantine). 
 The nose, right eye-brow, portions of the ears, and nearly 
 the whole breast are modern. 
 
 As several almost identical examples of this bust have 
 been discovered, we may accept it as embodying the por- 
 trait approved by the emperor and officially vouched. It 
 constitutes a farther proof of the high level still main- 
 tained in the 3rd cent. A.D. by the art of portraiture 
 (comp. Nos. 57, 309). Caracalla (d. 217 A.D.), the son of 
 an African father and a Syrian mother, was born at Lyons, 
 and combined African ferocity and Syrian knavery with 
 Gallic frivolity and boastfulness. The artist has admirably 
 indicated all these qualities. The ferocious expression, on 
 which Caracalla specially prided himself, is reproduced 
 with a realism that almost causes horror. The affected 
 inclination of the neck towards the left shoulder is ex- 
 plained by the fact that Caracalla imitated Alexander the 
 Great, whose neck was slightly bent to the left. 
 
 Visconti, Mus. Pio-Clem., vi, 55. Pistolesi, v, 48. Comp. Braun, 
 Ruinen und Museen, p. 355, No. 96. 
 
 On the ledge running along the wall, close to the 
 floor, — 
 
154 
 
 VATICAN. 
 
 227 (2931). Fragment from a Group, being the left arm 
 
 of Patroclos and the left hand of Menelaos. 
 
 For farther details, see under No. 240, below. 
 
 Ann. dell’ Inst., 1870, Tav. d’agg. B, 4, 5, pp. 79, 95. 
 
 To the left of the entrance to the second room , on 
 the lower bracket, — 
 
 228 (375). Ideal Head of a Young Woman. 
 
 The point of the nose and most of the hanging curls 
 are restorations. 
 
 This has been taken for a type of Isis, in which the 
 fixed expression usually peculiar to that goddess has been 
 softened, while the lotus-flower generally found above the 
 forehead is represented by a knot of hair. Comp. No. 105. 
 Visconti , Mus. Pio-Clem., vi, 17, 2. Pistolesi, v, 47. 
 
 229 (376). Colossal Head of Pallas. 
 
 Formerly in the Castel S. Angelo. The nose, small 
 fragments on the upper lip and ears, larger fragments on 
 the helmet, and the bust are restorations. 
 
 The soft, rounded forms of the head and the treat- 
 ment of the hair and forehead show a certain resemblance 
 to the Cnidian Aphrodite (comp. No. 316). It has there- 
 fore been assumed that this head has some connection 
 with the art of Praxiteles. 
 
 Visconti, Mus. Pio-Clem., vi, 2, 2; Opere varie, iv, p. 380, No. 
 178. Braun , Vorschule, T. 58. Comp. Braun , Ruinen und Museen, 
 p. 340, No. 83. Furtwaengler , Masterpieces, p. 326, note 3. 
 
 Below the neighbouring window, — 
 
 230 (377 f). Fragment from a Group, being the left 
 
 foot of the dead Patroclos. 
 
 For farther details, see under No. 240, below. 
 
 Ann. dell’ Inst., 1870, Tav. d’agg. B, 3. 
 
 Between the windows, — 
 
 231, 232 (382, 384). Anatomical Representations. 
 
 These two objects, like similar productions in clay. 
 
SAL A DEI BUSTI. 
 
 155 
 
 seem to have been votive offerings to some deity of hy- 
 giene. They suggest no very favourable idea of the ana- 
 tomical knowledge of their sculptor. No. 384 (a thorax) 
 shows thirteen ribs on each side, whereas a human body 
 has only twelve. In No. 382, the interior of a human 
 body, the lungs are too small, the stomach too large, the 
 heart too long and narrow ; the heart also is placed upright 
 instead of inclining to the left, and the diaphragm is 
 wanting. An eminent anatomist has given it as his opin- 
 ion that the stone-cutter has taken as his models the 
 lungs and heart of a dead lamb hung up in some butch- 
 er’s shop. 
 
 Bull, dell’ Inst., 1844, pp. 18, 19. Comp. Braun, Ruinen und 
 Museen, p. 341, No. 84. Bull, dell’ Inst., 1885, pp. 147-149. 
 
 233 (383). Porphyry Bust of the Younger Philip. 
 
 Formerly in the possession of the Barherini; acquired 
 under Clement XIV. 
 
 The use of porphyry for plastic works in the free 
 style is a sure sign of the decline of art. On the one 
 hand, all minute modelling is rendered impossible by the 
 hardness of the material, which must be chipped off, as 
 it were, grain by grain with the pointed mallet, while, 
 on the other hand, the effect of the forms is confused by 
 the glassy polish that must be given to porphyry before 
 its special beauties become fully apparent. Porphyry sta- 
 tues were met with in Rome for the first time in the 
 reign of the Emperor Claudius. These were sent to the 
 capital by a governor of Egypt, but they found little 
 favour at Rome, and until the time of Hadrian, taste, in 
 sculpture at least, adhered more or less closely to the 
 classical traditions. It was not until the Antonines that 
 the preference for costly and rare varieties of stone with- 
 out reference to their adaptability for sculpture began to 
 spread; but after that epoch porphyry was more and more 
 commonly used for statues, busts, and ornamental archi- 
 tecture. 
 
 The present bust represents the younger Philip, who, 
 when hardly seven years old, was named Caesar by his 
 
156 
 
 VATICAN. 
 
 father in 244 A.D., and was slain along with his father 
 in 249 A.D. in his thirteenth year. The chest is too 
 cramped and of very poor execution, but the head is more 
 successful. We may recognize in the latter the deep 
 melancholy of the boy Csesar, who, according to tradition, 
 never smiled, because of his presentiment of early death. 
 The clasp fastening the pallium on the right shoulder 
 shows a round hole, which was probably once occupied 
 by a precious stone. 
 
 Visconti , Mus. Pio-Clem., vi, 59, where also, on pp. 228 et 
 seq., various notices as to the use of porphyry are collected; Icono- 
 graphie romaine, m, p. 161, PL 55, Nos. 4, 5. 
 
 On the ground, — 
 
 234 (384 b). Fragment from a Group, being the legs 
 
 of the dead Patroclos. 
 
 For farther details, see under No. 240, below. 
 
 Visconti, Mus. Pio-Clem., vi, 19. Penna, Viaggio pittorico 
 della Villa Adriana, iv, 92. Ann. dell’ Inst., 1870, Tav. d’agg. 
 B, 1, 2, pp. 79, 95. 
 
 At the entrance to the Galleria delle Statue, — 
 
 235 (388). Homan Man and Wife, a portrait-group. 
 
 Formerly in the Villa Mattei, acquired under Cle- 
 ment XIV. 
 
 This group is not sculptured on the back , and was 
 therefore probably placed in one of the square recesses 
 common on the fa 9 ades of Roman tombs. It must date 
 from the beginning of the imperial epoch, for the woman’s 
 hair is arranged in the manner shown in the portraits of 
 Antonia, wife of the elder Drusus, and of Agrippina, 
 wife of Germanicus. This supposition is supported by 
 the fact that the chisel -marks on the robes are not 
 smoothed off, a peculiarity in which we may recognize a 
 lingering trace of the technique prevalent during the Re- 
 public (comp. No. 499). Niebuhr had a great liking for 
 this work, which he regarded as a characteristic expres- 
 sion of genuine Roman life and feeling; and the grave of 
 himself and his wife at Bonn is adorned by their busts 
 
SALA DEI BUSTI. 
 
 157 
 
 by Schwan thaler, arranged in a manner recalling this 
 group. And indeed these heads may very fairly be taken 
 as presenting the ideal type of a Roman couple of the 
 genuine native stock. The clear-cut and wrinkled face 
 of the husband betokens the industrious, prudent, and 
 economical head of the house j the broad brow speaks of 
 a firm will and good practical common-sense, though one 
 would hardly ascribe any poetic impulses to this man. 
 In contrast with the distinctly marked individuality of 
 the husband, the wife, who is obviously much his junior, 
 appears singularly insignificant. There is no difficulty in 
 recognizing the virtuous and diligent wife and house- 
 keeper', yet her face betrays an expression that might be 
 interpreted either as shy reserve or as sheer stupidity, 
 according to the temper of the observer. That this was 
 an entertaining and stimulating lady, no one would ven- 
 ture to assert. This character is not peculiar to this 
 group, but speaks from many other nameless portraits of 
 the early imperial epoch. It seems as if the primitive 
 Roman characteristics had maintained themselves in the 
 middle classes of society right down to the imperial 
 period, in spite of all the influence of Hellenistic culture. 
 
 The woman has two rings on her left hand, one on 
 the top joint of the forefinger and one on the third finger. 
 The man, according to the old Roman usage, wears his 
 signet-ring on the little finger of the left hand. 
 
 The execution is full of character. The hair and robes 
 of both figures and the eyes of the man exhibit distinct 
 traces of painting. We may easily imagine what a real- 
 istic effect the group would have, when the plastic forms 
 were rendered still more lifelike by the use of colours. 
 
 Monumenta Matthaeiana, n, T. 34, No. 1. Visconti , Museo Pio- 
 Clem., vn, 25 (comp, i, p. 237, note *). Pistolesi , v, 47. Comp. 
 Braun , Ruinen und Museen, p.358, No. 103. Bernoulli , Romisohe 
 Ikonographie, i, p. 186. 
 
 Beneath, on the floor, — 
 
 236 (384 d). Fragment from a Group, being the back 
 of the dead Patroclos. 
 
158 
 
 VATICAN. 
 
 For farther details, see under No. 240, below. 
 
 Visconti , Mas. Pio-Clem., vi, 19. Penna, Viaggio pittorico della 
 Villa Adriana, iv, 92. Ann. dell’ Inst., 1870, Tav. d’agg. B, 6, 
 pp. 79, 95. 
 
 In the middle of this room, on a spiral column of black 
 African marble (nero antico) found on the Aventine, — 
 
 237 (293). Head of a Bearded Satyr, in red marble 
 
 (rosso antico). 
 
 Found at Genzano. 
 
 Braun , Ruinen und Museen, p. 338, No. 79. 
 
 Second Room. 
 
 To the right, on the lower bracket, — 
 
 238 (303). Head of Apollo. 
 
 Found on the Via Appia at Roma Vecchia. The nose 
 and bust are modern. 
 
 This head differs from most of the Apollo types met 
 with in the Homan museums by the tranquillity that ob- 
 tains in the forms and the expression of the face and also 
 in the arrangement of the hair. It is referred therefore 
 to an original prior to the time of Alexander the Great. 
 This suggestion is supported by the fact that a head of 
 Apollo with a profile essentially corresponding to the one 
 before us, is found on the coins of the Chalcidian League 
 of Thrace, the striking of which ceased on the capture of 
 Olynthos by Philip II. in B.C. 348. The yellow specks 
 on the face, which some are inclined to regard as traces 
 of the original painting, are more probably due to the 
 presence of oxide of iron in the earth where this head 
 was found. 
 
 Overbeck , Griechische Kunstmythologie, iv, p. 133, No. 7 ; 
 Atlas, xx, 6. Comp. Bescbreibung der Stadt Rom , ii, 2, p. 185, 
 No. 14. Bull, dell’ Inst., 1880, p. 11. Friederichs-W otters, Bau- 
 steine, No. 1296. For the Chalcidian coins, see Overbeck , loc. cit. , 
 Table of Coins, ii, 28-30 (No. 29 is especially like), p. 154, Nos. 16- 
 18, p. 157. 
 
SALA DEI BUSTI. 
 
 159 
 
 239 (307). Head of Cronos or Zeus. 
 
 The nose, the lower part of the garment hanging from 
 the head, and the bust are modern. 
 
 The identification of this head hesitates between Cro- 
 nos (Saturn) and Zeus. The mantle covering the back of 
 the head and the hair falling over the brow occur very 
 frequently in undoubted representations of the former 
 god, but are also occasionally seen in images of Zeus 
 (comp. No. 379). The treatment of the hair and beard 
 shows a certain severity, such as was characteristic of the 
 transition from the fifth to the fourth century B.C. 
 
 Visconti , Mus. Pio-Clem., vi, 2, 1. Braun , Vorschule, T. 34. 
 Muller - Wieseler , Denkmaler der alten Kunst, n, 62, 799. Over- 
 beck , Kunstmythologie, n, p. 251, No. 3, p. 255, p. 582, note 188 ; 
 Atlas, m, 2. Brunn und Bruckmann, Denkmaler griech . u. rom. 
 Sculptur, No. 245. Roscher , Lexikon d. griech. u. rom. Mythologie, 
 ii, pp. 1859, Fig. 10. Comp. Arch.-epigr. Mittheilungen aus Oster- 
 reich, xvi (1898), pp. 74, 75. 
 
 240 (311). Head of Menelaos. 
 
 The nose and the part of the upper lip below are 
 restorations ; also the left portion of the lower lip , most 
 of the right eye, various fragments on the left cheek, the 
 brow, the hair, the helmet, and the bust. 
 
 Visconti , Mus. Pio-Clem., vi, 18 (comp. Opere varie, iv, p. 394, 
 No. 215). Penna , Yiaggio pittorico della Villa Adriana, iv, 91. 
 Pistolesi , v, 47. Brunn und Bruckmann , Denkm. gr. u. rom. Sculp- 
 tur, No. 237. 
 
 In the course of the excavations at Hadrian’s Tibur- 
 tine Villa, carried on by Mr. Gavin Hamilton, fragments 
 of two groups, both representing Menelaos with the body 
 of Patroclos, were found. This head is generally supposed 
 to have belonged to one of these groups, and also the 
 following fragments, now in the first Room of the Busts : 
 236 (384 d), Back of Patroclos; 227 (2911), Left arm of 
 Patroclos and left hand of Menelaos; and 230 (377 f), 
 Left foot of Patroclos f . A single fragment of the other 
 
 t A paper published in La Scuola Romana, ii (1884 5 p. 62, 
 No. 3) asserts, however, that this head of Menelaos was found under 
 Pope Alexander VII (1655-7) in a drain near the Governo Vecchio, 
 
160 
 
 VATICAN. 
 
 group was found, viz. 234 (384b), Legs of Patroclos, 
 now also in the above-mentioned room. 
 
 The group must have been very celebrated, for we 
 know of no fewer than six replicas of it, including the 
 figure of Menelaos , now known as Pasquino , at the Pa- 
 lazzo Braschi. The accompanying sketch (Fig. 12) shows 
 the work restored. It represents a bearded warrior letting 
 
 the dead body of a more youth- 
 ful comrade slip from his 
 arms to the ground, in order 
 to offer battle to the ap- 
 proaching foe. Sometimes the 
 two heroes are described as 
 Ajax and Achilles, sometimes 
 as Menelaos and Patroclos. 
 The latter identification is ob- 
 viously the correct one. In all 
 the replicas in which the trunk 
 of the dead hero still remains, 
 it shows a wound in the ab- 
 domen near the ribs, while on 
 the fragment No. 236 (384 d) 
 another wound is visible be- 
 tween the shoulder - blades. 
 Now, according to the Iliad (xvi, 806, 821), Patroclos 
 was wounded in the back by Euphorbos and by Hector in 
 the abdomen; so that the dead hero in the group must be 
 Patroclos, and the warrior supporting the body must be 
 Menelaos. Moreover the expression of anxiety on the 
 countenance of the latter by no means accords with the 
 character of the elder Ajax , who is universally depicted 
 by tradition as a stern, unbending warrior. 
 
 From the realistic characteristics that obtain in a 
 greater or less degree in all the replicas, the creation of 
 the group cannot be dated earlier than the time of Alexan- 
 der the Great. It appears, indeed to date from the epoch 
 of the Diadochi , for the head of Menelaos , both in the 
 shape of the skull and in the treatment of the skin and 
 
 Fig. 12. 
 
SALA DEI BUSTI. 
 
 161 
 
 hair, reveals a striking analogy with the Laocoon (No. 153) 
 and with a Centaur type (Nos. 117, 512) of the same 
 stage of development. Of the two groups in the Villa of 
 Hadrian, that of which most fragments have been found 
 was a comparatively poor work, while the other appears, 
 from the legs of Patroclos that remain (No. 234), to have 
 been a work of the first rank. In this latter fragment we 
 note the fidelity to nature with which the sculptor has 
 represented the rigidity of death, while be distinguishes 
 betwixt the callous skin on the heels and balls of the 
 feet and the softer skin on the instep. Every stroke of 
 the chisel announces so delicate a perception that there 
 seems no reason why we should not recognize in this a 
 fragment of the actual original group. 
 
 References, see under the special numbers of the fragments. 
 Comp. Ann. dell’ Inst., 1870, pp. 75 et seq. Kekule , Das akade- 
 mische Kunstmuseum zu Bonn, p. 60, No. 248. Friederichs-Wol- 
 ters, Bausteine, Nos. 1397, 1398. Loewy , Lysipp und seine Stel- 
 lung in der griech. Plastik, p. 30. 
 
 To the right, on the upper bracket, — 
 
 241 (298). Colossal Bust of Serapis, in basalt. 
 
 Formerly in the possession of the Mattei ; acquired 
 under Clement XIV. The nose and numerous fragments 
 of the hair and beard are restorations. 
 
 Whether Serapis was worshipped in Egypt from time 
 immemorial, or whether his cult was introduced there 
 by Ptolemy Soter or Philadelphos, and whether the type 
 representing that deity under Hellenistic forms was in- 
 vented in Alexandria or elsewhere, are still open ques- 
 tions. But that the type before us^was one of the latest 
 divine statues created by Greek art is evident from the 
 fact that it is clearly posterior to a conception of Zeus 
 dating from the latter part of the 4th century. In har- 
 mony with the religious ideas that he incorporated, Sera- 
 pis appears here on the one hand influenced by this late 
 conception of Zeus, on the other by the ideal of Hades. 
 The countenance resembles that of Zeus, but wears at the 
 same time a curious expression of mingled melancholy 
 Helbig, Guide I. 11 
 
162 
 
 VATICAN. 
 
 and pensive mildness. The melancholy expression pre- 
 dominates in the replicas in dark stone, while in those of 
 white marble ( e.g . No. 304) mildness is more prominent. 
 The hair falling over the brow and the costume, includ- 
 ing the chiton, are borrowed from Hades, while the ‘mo- 
 dius’ (measure for corn) on the head is in general an 
 attribute of earth-deities. 
 
 Monumenta Matthaeiana, n, T. 1,2. Visconti , Mus. Pio-Clem., 
 vi, 14 (comp, i, p. 237, note *). Overbeck , Kunstmythologie, ii, 
 p. 310, No. 11. Comp. Braun , Ruinen und Museen, p. 338, No. 80. 
 Journal of Hellenic Studies, vi (1885), pp. 289 et seq. 
 
 To the left, on the lower bracket, — 
 
 242 (346). Colossal Head of Heracles. 
 
 Found near S. Giovanni in Laterano beside a small 
 column with an inscription to the effect that it bore some 
 object dedicated to Hercules (C. I. L. vi, 1, No. 302) 
 — a circumstance that suggests that a temple of Her- 
 cules once stood on the spot. The point of the nose, part 
 of the lower lip and the beard below , fragments of the 
 fillet, and the bust are restorations. 
 
 This bust , which is of mediocre workmanship , is 
 adorned with the fillet peculiar to victorious athletes. Its 
 forms show a marked family resemblance to the Zeus 
 Otricoli (No. 294), but the expression of intelligence is 
 less, that of physical power more decided, than in that 
 head. It stands to the earlier Heracles- types in the same 
 relation as the Zeus Otricoli stands in to the earlier con- 
 ceptions of Zeus. It is thus probable that the Heracles- 
 type represented in this bust dates from the same period 
 as that later Zeus-type, i.e. from the 4th cent. B.C. 
 
 Visconti , Mus. Pio-Olem., vi, 13, 1. Comp. Braun , Ruinen und 
 Museen, p. 340, No. 82. Roscher, Lexikon der griech. und rom. 
 Mythologie, i, pp. 2169 ( 2170. 
 
 In the room adjoining Room II on the left, — 
 
 243 (352). Statue of a Praying Matron. 
 
 Found in the basilica of Otricoli, along with the sta- 
 tue of Augustus No. 319. Fragments of the hair and of 
 the mantle covering the head, the nose, the lips, the chin, 
 splinters on the cheeks, and the forearms are restorations. 
 
SALA DEI BUSTI. 
 
 163 
 
 Judging by the preserved portions of the upper arms, 
 the restorer is correct in giving to the forearms the posi- 
 tion usual in prayer. The identification with Livia is 
 arbitrary, for the authentic portraits of that empress ex- 
 hibit entirely different features. As, however, two sta- 
 tues of Augustus (Nos. 193, 319; comp, also No. 395) 
 were found in the basilica of Otricoli, it seems only na- 
 tural to recognize a member of the Julian family in this 
 figure. 
 
 Visconti , Mus. Pio-Clem., n, 47. Clarac, v, pi. 920, No. 2342. 
 Bernoulli , Romische IkonograpMe , n, 1, p. 91, No 4. For the 
 authenticated portraits of Livia, see Romische Mittheilungen , n 
 (1887), pp. 3-13. 
 
 To the left, on the lower bracket beside the door to 
 the Loggia Scoperta, — 
 
 244 (363). Head of Hera. 
 
 The nose , part of the lower lip , and the bust are 
 modern. 
 
 If a colossal bust in the Naples Museum be rightly 
 identified with Hera — and this seems probable — , it 
 represents the oldest extant type in which the nature of 
 this goddess was clearly expressed according to the ideas 
 of the time. The type reproduced in this Vatican head 
 is deduced from that of the Naples bust, but the severity 
 of the forms and expression peculiar to the latter has 
 been softened to suit the taste of a later age. 
 
 Pistolesi , v, 50. Comp. Beschreibung der Stadt Rom, n, 2, 
 p. 192, No. 85. Ann. dell’ Inst., 1864, p. 298. Overbeck, Kunst- 
 mythologie, m, p. 78, No. la. For the bust at Naples, see Mon. 
 dell’ Inst., viii, 1 ; Ann., 1864, pp. 297 et seq. (also Brunn, Griech. 
 Gotterideale, T. 1, p. 7). Overbeck , Kunstmythologie, in, pp. 63 
 et seq., p. 71, No. 1, pp. 195 et seq., notes 40 et seq.; Atlas, ix, 
 1 , 2. Comp. Robert , Archaologische M'archen , p. 180 , note 2. 
 Athen. Mittheil. , xv (1890), p. 71. Furtwaengler , Masterpieces, 
 p. 224, note 1 (where the kinship of this type to the art of Critios 
 and Nesiotes is emphasized). 
 
164 
 
 VATICAN. 
 
 Third Room, 
 
 245 (326). Statue of Zeus. 
 
 Formerly in the Palazzo Verospi. The only antique 
 portions are the head and the body down to the edge of 
 the garment covering the legs; while even of these parts 
 the nose, fragments on the hair, the left shoulder with 
 the great part of the robe hanging over it, and both arms 
 are modern. But the restoration seems to be accurate on 
 the whole , judging from the remains of the portions 
 wanting and from the analogy of similar representations 
 of Zeus. The position of the left hand , at all events, 
 grasping the sceptre somewhat high up , is assured by 
 the considerable elevation of the left breast. But it is 
 doubtful whether the right hand held a thunderbolt, or 
 lay, without any attribute, on the thigh. As the exe- 
 cution is very mediocre, the spectator is advised to obtain 
 the effect of the statue from some little distance. 
 
 The belief, at one time prevalent, that this statue 
 stood in close relation to the Olympian Zeus of Pheidias, 
 has been rendered doubtful since we have obtained a 
 more intimate knowledge of Attic art at its zenith , and 
 since a more exact idea of the Olympian Zeus has been 
 obtained from the coins of Elis, one of which reproduces 
 the head (see below, No. 294, Fig. 14) and others the 
 whole figure (Fig. 13). We now know that the Pheidian 
 type exhibited a simpler, more peaceful, and more im- 
 pressive character than the type represented by this Va- 
 tican statue. The head was not bent forwards but was 
 held erect, a position which we may regard as normal for 
 statues of the gods in the 5th cent. B.C. (comp. No. 301). 
 The left hand held the sceptre lower down ; the right was 
 stretched out and supported a Nike, who held up a taenia 
 (fillet) towards the god. The left shoulder was covered 
 not merely by an end of the mantle, but with thick folds 
 which clothed also the upper arm. The features and the 
 arrangement of the hair and beard were less agitated, 
 a circumstance to which we shall recur in connection 
 with the Zeus Otricoli (No. 294). The type represented 
 in the Vatican statue is certainly based on the Pheidian 
 conception, but it exhibits the latter developed and altered 
 
SALA DEI BUSTI. 
 
 165 
 
 in many points. The majestic calm that reigns in the 
 creations of the zenith of art did not appeal to the taste 
 that dictated the fashion in the 4th cent., and art set it- 
 self more and more to adapt the ideal of Pheidias to suit 
 
 l 1 
 
 Fig. 13. 
 
 the contemporary demand for a more animated expression. 
 Thus there gradually arose that later Zeus-type , which 
 during the Roman period gained almost universal applause 
 and was almost invariably used in depicting the father 
 of the gods. Comp. No. 294. 
 
 Visconti , Mus. Pio-Clem., i, 1. Muller- Wieseler, Denkm. der alt. 
 Kunst, ii, T. 1, 7. All other references, in Overlech , Kunstmytho- 
 logie, n, p. 88, No. 20, p. 115, No. 1, p. 117, p. 571, note 88. 
 
 To the right, on the lower bracket , — 
 
 246 (320). Small Head of the Beardless Pan, with horns 
 and pointed ears. 
 
 The point of the nose, the chin, and the bust are 
 restorations. 
 
 For details as to this type, see No. 389. 
 
 Beschreibung der Stadt Rom, n, 2, p. 193, No. 97. 
 
166 
 
 VATICAN. 
 
 247 (321). Bust of Silenus, with swine’s ears. 
 
 Formerly in the possession of the Mattei family. The 
 point of the nose is restored. 
 
 This highly characteristic bust represents Silenus, 
 with animal attributes borrowed from the swine, instead 
 of as usual from the horse, the idea apparently being that 
 the former animal more appropriately symbolized bestial 
 drunkenness. Wo are reminded of a pig’s head not only 
 by the shape of the ears, but also by that of the face, the 
 upper part of which recedes while the lower part mark- 
 edly projects. As similar small terracotta busts have 
 been found at Curti (beside S. Maria di Capua) amidst a 
 miscellaneous collection of votive offerings dating at latest 
 from the close of the 3rd cent. B.C. , we may fairly con- 
 clude that this type had already appeared during the 
 Hellenistic period. 
 
 Monumenta Matthseiana, n, T. 6, No. 2. Visconti , Mus. Pio- 
 Clem., vi, 9, 1. Pistolesi. v, 53. Muller- Wieseler, Denkm. der alten 
 Kunst, ii, T. 41, 495. Comp. Beschreibung der Stadt Rom, n, 2, 
 p. 193, No. 101. Ann. dell’ Inst., 1877, p. 231. 
 
 To the left, on the upper bracket, — 
 
 248. Colossal Head of a Captive Barbarian. 
 
 Both the eyebrows, the lower lip , and the throat are 
 restorations. 
 
 From his facial type as well as from his high pointed 
 cap, this barbarian is apparently a Parthian or an Armen- 
 ian. The point of the cap does not hang over but stands 
 erect as in the Persian royal tiara, so that probably we 
 have the portrait of a king before us. The style, more 
 especially the mechanical way in which the pupils are 
 executed, points to the period of the Antonines. The 
 head is said to have been found near the Arch of Con- 
 stantine, and it has therefore been suggested that it be- 
 longed to one of the statues of barbarians on that arch. 
 The date to which we have ascribed the head does not 
 contradict this suggestion, for the architect of the arch 
 employed in its decoration sculptures not only from one 
 or more of Trajan’s monuments, but also from a building 
 
SALA DEI BTJSTI. 
 
 167 
 
 erected under the Antonines. But this attempt to place 
 the statue to which the Vatican head [belonged among 
 the- plastic decorations of the Arch of Constantine is met 
 by this difficulty, that the head is of white marble, while 
 all the statues of barbarians proved to have belonged to 
 the arch are in coloured Phrygian marble (paonazetto; 
 comp. No. 411). Public taste, in the time of Constan- 
 tine, paid more attention to material than to form, and 
 it is difficult to believe that it would have suffered such 
 a want of harmony as would be presented by a series of 
 statues, partly in white, partly in coloured marble. 
 
 Eea, Nuova Descrizione dei monumenti antichi contenuti nel 
 Yaticano e nel Campidoglio , p. 105. Beschreibung Roms, n, 2, 
 p. 194, No. 109. Braun , Ruinen und Museen, p. 357, No. 100. 
 For the sculptures on the Arch of Constantine, see Romische Mit- 
 theilungen, iv (1889), pp. 314 et seq. 
 
 On the lower bracket, — 
 
 249 (338). Head of a Diadochos. 
 
 The nose , the ears , most of the lips , a portion of 
 the left cheek, and the bust are modern. 
 
 The forms of this head point to the period of the 
 Diadochi, the head itself is bound with a fillet, the sym- 
 bol of kingly dignity, and the holes on the front can have 
 served no other purpose than to receive small metal 
 horns. These facts lead us immediately to the conclusion 
 that this head is a highly idealized portrait of some Hel- 
 lenistic ruler, characterized as the ‘New Dionysos’ by the 
 addition of the horns (comp. No. 221). This same symbol 
 is seen, e.g in portraits of Demetrios Poliorcetes and 
 Seleucos I. Nicator. In its principal forms, indeed, this 
 Vatican head recalls those of a bronze figure found at 
 Herculaneum, which is supposed with great probability, 
 to represent Demetrios Poliorcetes. But it would be a 
 little too bold to recognize offhand the same person in 
 the Vatican head and the bronze figure, for too many 
 parts that are of importance in a comparison of the pro- 
 files are wanting in the former. 
 
168 
 
 VATICAN. 
 
 Beschreibuug der Stadt Rom, n, 2, p. 185, No. 24. Romische 
 Mittheilungen, rv(1889), p. 196, note 1. For the Herculaneum 
 bronze, see Muller- Wieseler, Denkm. der alten Kunst, i, T. 50, 
 221a. Comp. Rom. Mittheil., iv, pp. 34-87. On the Bacchic horns in 
 the portraits of the Diadochi, see Jahrbuch der Kunstsammlungen 
 des allerhochsten Kaiserhauses, n (Vienna, 1883), p. 52. Nach- 
 richten der Gesellschaft der Wissenschaften zu Gottingen, 1891, 
 p. 386. 
 
 In the room by which we pass from the Galleria delle 
 Statue to the Gabinetto delle Maschere, — 
 
 250 (423). Roman Lady as Diana. 
 
 Found at Castel Guido on the Via Aurelia, among 
 the ruins of the ancient Lorium. The point of the nose, 
 the chin , small fragments on the throat , the right arm 
 and most of the garment upon it, and the left hand are 
 restorations. 
 
 This statue represents a young lady in the character 
 of Diana, with her quiver slung behind her. The coiffure 
 points to the period of the Flavian dynasty. The right 
 hand is raised and is about to draw an arrow from the 
 quiver, while the lowered left hand probably held a bow. 
 As the short chiton, usually given to the huntress-god- 
 dess in later art, would have been too great a divergence 
 from the actual costume of the lady, the sculptor has clad 
 the figure in the long chiton reaching down to the feet. 
 This garment , however , is represented as of very thin 
 material, so that the forms of the body appear through it. 
 
 Visconti , Mus. Pio-Clem., n, 48. Clarac , v, PI. 940, No. 2407. 
 Overbeck, Gesckichte der griecbisclienPlastik, n 4 , p. 511, Fig. 234 n. 
 
Gabinetto delle Maschere. 
 
 Four Mosaic Designs, found about 1780 in the Ti- 
 burtine Villa of Hadrian, are inserted in the floor of this 
 apartment. These formed the central ornaments in the 
 mosaic pavements of four rooms in the Villa, and as the 
 rooms were all of the same size, the dimensions of these 
 designs are almost identical. Utilized for the decoration 
 of the Gabinetto in the papacy of Pius VI., they have 
 been treated in a manner at once unscientific and tasteless. 
 In the ancient room of which the upper mosaic to the 
 left originally formed the central ornament, the rest of 
 the mosaic pavement was white, surrounded at the walls 
 with a dark red border variegated with a plaited garland 
 of vine-leaves and ribands, as shown in the plates in Vis- 
 conti's Museo Pio-Clementino (vii, 48) and Pinna’s Viaggio 
 pittorico della Villa Adriana (iv ; 106). The papal dec- 
 orator, however, included all four designs within this 
 border, and, apparently finding the central space insuffi- 
 ciently filled up, added arabesques and emblems from the 
 arms of Pius VI., consisting of lilies and the heads of 
 wind-gods with distended cheeks. 
 
 For representations of the mosaics in their present condition 
 see Pistolesi, v, 59. Comp. Visconti , Museo Pio-Clem., vn, p. 238, 
 note *; Braun , Ruinen und Museen, p. 367. 
 
 We begin with the mosaic at the upper end, to the left. 
 
 This shows four theatrical masks, which, from the 
 absence of the onkos, probably relate to comedy. One is 
 a pale female mask, two are youthful masks, respectively 
 brownish-grey, and reddish-brown as from sun-burning; 
 the fourth presents the characteristic features of an old 
 
170 
 
 VATICAN. 
 
 man, with white hair and long beard. Below, to the right, 
 is a lyre; to the left, what seems to be the fragments of 
 a shattered vase. 
 
 Visconti , Mus. Pio-Clem. , vn, 48. Penna, Viaggio pittorico 
 della Villa Adriana, iy, 106. 
 
 The mosaic beneath shows a rock on which is a mask 
 adorned with a red fillet and an ivy-wreath, beside a 
 thyrsos. On a tall pedestal, to the left, stands a can- 
 tharos, the goblet of Dionysos; below, a leopard, sacred 
 to the same god, plays with a tympanon. 
 
 Visconti, vn, 49. Perma, iv, 102. 
 
 This design exhibits the connection between Dionysos 
 and theatrical exhibitions, while the following (above, to 
 the right) refers to Apollo, god of poetry. 
 
 To the right, on a pedestal, is a laurel-crowned mask, 
 to the left, thrown over another pedestal, is a purple 
 mantle, such as citharoedi used to wear. Beneath are the 
 griffin of Apollo, and the cithara, quiver, and bow of 
 the god. 
 
 Visconti, vn, 49a. Penna, iv, 103. 
 
 The fourth mosaic , below the last , shows an idyllic 
 landscape, a kind of composition that made its first ap- 
 pearance in the period of the Diadochi, and, with the ad- 
 vance of Hellenistic culture westwards , spread far and 
 wide also in Italy. A flock of sheep and goats browses 
 in a pasture bounded in the background by hills and 
 in the foreground by a stream. In the distance, to the 
 right, shaded by trees, is a rustic fane, consisting of a 
 round substructure which supports a square pillar, bearing- 
 votive offerings of different kinds. In front is a seated 
 figure of the goddess of the shrine, probably a clay image, 
 judging from its reddish colour. At her feet is a gar- 
 landed altar, on which an offering hs laid and against 
 which torches are leaning. 
 
 Visconti , vn, 50. Penna , iv, 107. 
 
 251 (425). Statue of a Dancing Girl. 
 
 Formerly in the Palazzo Caraffa-Colubrano at Naples. 
 
 When it was brought to Rome in April, 1788, Goethe had 
 
GABINETTO DELLE MASCHERE. 
 
 171 
 
 thoughts of buying this figure, but was dissuaded by 
 Angelica Kaufmann. Pius YI. acquired it for the Vati- 
 can in the same year. The head (end of nose and parts 
 of hair and garland restored) has been disconnected, and 
 its relationship to this statue is doubtful. The restora- 
 tions in the latter include fragments of two fingers of the 
 right hand, and the little finger of the left hand. 
 
 This beautiful, well-formed maiden steps lightly for- 
 ward, robed in a thin ungirdled chiton, through which 
 appears the whole form of the body. The attitude is full 
 of grace and charm. The right arm is raised , drawing 
 the mantle that hangs over her back a little above the 
 shoulder, while the left hand stretches downwards, and 
 grasps a corner of the mantle. The latter appears to be 
 of thicker material than the chiton and therefore hangs 
 in broader folds, affording an admirable background for 
 the graceful form. The statue obviously represents a 
 dancing-girl. She appears before the spectator just as 
 she is about to begin her dance and to make with her 
 mantle one of those graceful motions which we find 
 depicted in the most varied manner in terracotta figurini 
 and in figures and groups in the Campanian wall-paint- 
 ings. In view of the somewhat hasty yet clever execu- 
 tion, we seem justified in querying whether we may not 
 recognize in this figure an original Greek work of the 
 3rd or 2nd cent. B.C. 
 
 Visconti , Mus. Pio-Clem., hi, 30. Pistolesi , v, 62. Clarac , iv, 
 PI. 592, No. 1660. Comp. Winckelmann , Kunstgescbichte, v, 3, § 6. 
 Goethe , Italien , vol. xx of works (Cotta, 1867), pp. 281 et seq. 
 Braun, Ruinen und Museen, p. 369, No. 108. 
 
 252 (427). Aphrodite crouching in the bath. 
 
 Found about 1760 in the Podere Prato Bagnato in 
 the Tenuta Salone, situated on the Yia Prsenestina, and 
 acquired by Pius VI. from the collection of the painter 
 La Piccola. The entire back of the head and the upper 
 part of the left ear are restored, the only antique part of 
 the hair being that lying on the neck; with the exception 
 of the left thumb, all the fingers are wholly or in great 
 part modern; probably the entire right hand and the 
 wrist are restorations ; the front of the right foot and two 
 toes on the left foot are undoubtedly modern ; the greater 
 
172 
 
 VATICAN. 
 
 part of the base with its waves, and various fragments on 
 the body are also modern, while the face has been slightly 
 retouched by a modem hand. 
 
 The goddess is crouching in the bath beneath a jet 
 of water which we must imagine to be pouring upon her 
 from above; and under the pleasant shock of the cool 
 stream her body shrinks slightly. It is doubtful whether 
 her right hand held an oil-flask or other attribute; and 
 in fact the figure would seem more harmoniously self- 
 contained if we suppose that this hand merely expressed 
 by its attitude the slight shock felt by the goddess. The 
 manner in which the limbs partly conceal and partly 
 cross each other is incomparably graceful, and in its de- 
 licate treatment of the elastic curving contours reveals a 
 strongly sensuous tendency. 
 
 Pliny (Nat. Hist. 36, 35) relates that the temple of 
 Jupiter, situated within the Portico of Octavia at Rome, 
 contained a marble statue by Dsedalos, representing 
 Aphrodite seated in the bath; and this, with great pro- 
 bability, is assumed to have been the original reproduced 
 in the Vatican and many other similar statues with 
 various modifications in the details. Besides the mythical 
 Daedalos, two artists of that name are known to us, one 
 a Sicyonian who flourished at the beginning of the 4th 
 cent. B.C., the other a Bithynian of the period of the 
 Diadochi. It is beyond doubt that only the latter, if 
 either, can be the creator of the type of Aphrodite under 
 discussion. In the first place, the conception of this statue 
 clearly implies the previous existence of the Cnidian 
 Aphrodite of Praxiteles (comp. No. 316). In the second 
 place the marked accentuation of the sensuous element 
 and the realistic treatment of the nude point to the period 
 after and not to that before Alexander the Great. Finally 
 the reference of this type to the Bithynian Daedalos is 
 supported by the fact that a similar figure of Aphrodite 
 frequently occurs on Bithynian coins. Even in the 5th 
 and 4th cent. Greek art, in such minor products as paint- 
 ed vases and carved gems, had represented nude women 
 
GABINETTO DELLE MASCHERE. 
 
 173 
 
 crouching in the hath. Such a subject must have been en- 
 tirely to the public taste in the period of the Diadochi. 
 The Bithynian Daedalos therefore set about the plastic 
 reproduction of such a motive in the spirit and with the 
 artistic resources of his age, and obeying the prevailing 
 tendency towards genre reproductions of the gods , pre- 
 sented the goddess of love cowering in her bath. 
 
 Visconti , Mus. Pio-Clem., i, 10 (comp. Opere varie, iv, p. 72, 
 p. 424, No. 268). Clarac , iv, PI. 629, No. 1414. Muller -Wieseler, 
 Denkm. der alten Kunst, n, 26, 279. Braun , Vorschule zur Kunst- 
 mythologie, T. 71. Come, Hero on- und Gottergestalten, T. xliv, 2. 
 Overbeck , Geschichte der griech. Plastik, i 4 , p. 532, Fig. 129. Otter 
 references are given in Bernoulli , Aphrodite, p. 314, No. 1. Comp. 
 Loewy , Lysipp und seine Stellung in der griechischen Plastik, 
 p. 29. The statue was ascribed to the Bithynian Daedalos in the 
 Berichte der sachs. Gesellschaft derWissenschaften, 1860, pp. 78-80. 
 This view is supported by Friederichs-Wolters , Bansteine, No. 1467*, 
 Bernoulli , Aphrodite, pp. 324, 325; and Kroker , Gleichnamige 
 griechische Kiinstler (Leipsic, 1883), pp. 40-44. It is opposed and 
 the figure is ascribed to the Sicyon Daedalos by Stephani, Compte- 
 rendu pour 1859, pp. 123-125 ; 1870, pp. 57 et seq., 215, 216 ; also 
 by Overbeck , Plastik, i 4 , pp. 532, 533, and Kunstmythologie, n, 
 p. 565, note 64. For the modern base with the name of the artist Bu- 
 palos, see Loewy , Inschriften griechischer Bildhauer, No. 497. 
 
 253 (432). Satyr in red marble (rosso antico). 
 
 Found by Count Fede in the Tiburtine Yilla of Ha- 
 drian and acquired under Pius YI. The eyes of glass- 
 paste, probably the entire right arm, certainly the right 
 forearm and various other less important parts are restor- 
 ations. The restorer is justified in placing a bunch of 
 grapes in the right hand by several similar figures in 
 which that hand is preserved. 
 
 The Satyr, holding a pedum on his left shoulder, 
 feasts his eyes on a bunch of grapes held up in his right 
 hand. The fold of the nebris falling over the left fore- 
 arm is filled with fruits. The red marble was a peculiarly 
 appropriate material for the plastic representation of Sa- 
 tyrs, who were thought of as sun-burned beings (comp. 
 Nos. 237, 520). In the present figure the coloured glass 
 eyes had a striking effect, for their glitter at once height- 
 ened the prevailing expression of greed, and offered a 
 distinct chromatic contrast to the red marble. The rustic 
 
174 
 
 VATICAN. 
 
 type of Satyr here adopted, in which the bestial element 
 is accentuated (the throat indeed being furnished with ap- 
 pendages like those of a goat), had its origin in Hellenistic 
 art, by which also the pedum was first introduced. But 
 on the other hand the pan-pipes, which are placed with 
 a pair of cymbals on the tree-trunk, are not made of reeds 
 of equal length, as is found on the earlier monuments, 
 but apparently of reeds gradually diminishing in length, 
 a shape which seems to have made its first appearance in 
 Grseco-Roman art. 
 
 Piranesi , Raccolta di statue, T. 5. Visconti , Mus. Pio-Cleui., i, 
 46. Penna, Viaggio pittorico della Villa Adriana, hi, 77. Guig- 
 niaut , Rel. de l’ant., PI. 108 bis, No. 454a. Pistolesi , v, 67. Clarac , iv, 
 PI. 706, No. 1687. Comp. Braun , Ruinen und Museen, p. 373, 
 No. 110. For the rustic types’of Satyrs, see Furtwaengler , Der Satyr 
 aus Pergamon (Berlin, 1880). For the pedum, see Ann. dell’ Inst., 
 1877, p. 208. For the pan-pipes, ib., 1877, pp. 214, 215. 
 
 254 (433). Aphrodite after the bath. 
 
 Formerly in the possession of the sculptor Albaccini, 
 who restored it. Both arms and hands, the hair grasped 
 by the latter, part of the left breast, fragments on the 
 robe, and most of the plinth are modern. The head (nose 
 restored) is antique but does not belong to the body; the 
 hair is bound in a knot upon the neck, instead of being 
 unbound as the subject requires. 
 
 From replicas in better preservation we know that 
 the goddess was represented in the act of wringing the 
 water from her hair. The right arm is erroneously re- 
 stored; instead of aimlessly lifting the hair in the air, 
 the right hand, like the left, was employed in wringing 
 the moisture from her locks. In all probability the sculp- 
 tor who designed this type was influenced by the cele- 
 brated painting by Apelles of the new-born Aphrodite 
 rising from the sea. But he has modified his pictorial 
 model so as to give it a genre character. The goddess, 
 just emerged from the bath, has cast a garment round the 
 lower part of her body, and is in the act of arranging her 
 hair — the whole style of the representation adapting it 
 admirably for the decoration of a fountain. 
 
GABINETTO DELLE MASCHERE. 
 
 175 
 
 Visconti e Guattani , Museo Chiaramonti, T. 26. Clarac , iv, 
 PI. 610, No. 1J56. Braun , Vorschule, T. 74. Gomp. Braun , Ruinen 
 und Museen, p. 245, No. 11. Ber. der sachs. Gesell. der Wiss., 
 1860, pp. 74 et seq. Stephani , Compte-rendu pour 1870 et 1871, 
 pp. 71 et seq. Bernoulli , Aphrodite, p. 296, No. 4. Mittheil. des Arch. 
 Instituts in Athen, i (1876), pp. 57 et seq. 
 
 255 (435). Vase of red marble (rosso antico). 
 
 Found in Hadrian’s Tiburtine Villa. 
 
 The upper portion is square in form, probably be- 
 cause the sculptor desired to make the most of the block 
 of costly material. The outlines both of that part and 
 of the support are delicate , but their effect is somewhat 
 marred by the swans at the four corners, which support 
 the vase with their curved necks and outspread wings, 
 and appear both trivial and unnatural. The centre of the 
 interior is occupied by a circular depression, with fluted 
 radii, and treated as if let into the bottom of the basin. 
 
 Pistolesi , v, 73. Comp. Braun , Ruinen und Museen, p. 376, 
 No. 114. 
 
 256 (436). Reduced Replica of the Aphrodite of Cnidos, 
 
 slight and hasty in execution. Comp. No. 316. 
 
 Journal of Hellenic Studies, vm (1877), p. 338b. 
 Furtwaengler , Masterpieces, p. 322, note 5. 
 
 257 (439). Chair in red marble ( rosso antico). 
 
 This chair, with another precisely similar (now in the 
 Louvre: Clarac , Musee de Sculpture, ii, PI, 260, No. 631, 
 comp. Text n, 2, p. 993) and one of white marble, for- 
 merly stood in front of the Cappella di S. Silvestro in 
 S. Giovanni in Laterano. These three chairs are said to 
 have been used in the ceremony by which the newly 
 elected popes took possession of the Lateran basilica. 
 
 This chair and the companion -piece in Paris are 
 among the finest antique works in red marble now ex- 
 tant. The front-supports terminate in lions’ claws which 
 develop e at the top into volutes and the back-supports 
 end in volutes, while the panels between are each adorned 
 with a palmette, — a style of decoration at once tasteful 
 and simple that admirably displays the costly material. 
 In the middle of the seat is a circular opening, contract- 
 
176 
 
 VATICAN. 
 
 ing to a slit in front, and this and other similar extant 
 examples have been assumed to be either close-stools or 
 sitz-baths, the opening on the latter supposition being 
 designed to permit water or steam to reach the body 
 freely. Another suggestion is that the opening was merely 
 made for the sake of coolness, corresponding to the cir- 
 cular air-cushions used in modern times with the same 
 object. 
 
 Pistolesi , y, 73. Comp. Mabillon, Museum Italicum, i, pp. 57, 
 58. Montfaucon , Diarium Italicum , p. 137. Buonarruoti , Osser- 
 vazioni sopra alcuni frammenti di vasi divetro, p. 101. Maran- 
 goni , Delle cose gentilesche trasportate ad uso delle chiese (Roma, 
 1744), pp. 326-328. Braun , Ruinen und Museen, p. 377, No. 115. 
 
 258 (443). Statue of Apollo (?). 
 
 Found on the Via Labicana at Centocelle, and acquired 
 under Pius VI. The nose is restored, also the left side 
 of the back of the head, small fragments on the hair and 
 right cheek, the left arm except the shoulder, the right 
 arm below the biceps , the right leg , the left foot , the 
 stem, and the plinth. 
 
 This statue represents a gentle youth, looking down 
 with a somewhat yearning expression. The left arm, from 
 the remaining upper portion, was apparently stretched 
 forwards or to the side, while the right arm hung straight 
 down. It was formerly taken for Adonis, and the 
 restorer has accordingly placed a javelin in the right hand. 
 Other replicas, however, in which the attributes have 
 been partly preserved, show that some of the ancient 
 copyists, at least, represented Apollo under this type. 
 We might suppose that the right hand held a branch of 
 laurel, the left hand a bow. The form of the face, indeed, 
 and also the arrangement of the hair, the locks of which 
 are comparatively short and lie close to the skull, differ 
 strikingly from other known types of Apollo. The figure 
 reproduces an ancient motive , which was popular in the 
 school of Hagelsedos of Argos. The weight of the body 
 rests on the left leg, while the right leg is a little ad- 
 vanced and to the side, with the foot placed flatly on the 
 ground. The left forearm was extended, while the right 
 
GABINETTO DELLE MASCHERE. 
 
 177 
 
 arm hung by the side. The soft reproduction of the forms 
 recalls the manner of Praxiteles, while the head shows a 
 certain kinship with the Thespian Eros of this master 
 (comp. No. 185). The original would thus seem to have 
 been the work of a Peloponnesian artist of the fourth 
 century B.C., who adhered to the traditional motive of the 
 Argive school, while treating the forms according to the 
 advanced principles of his own time. A recent attempt 
 has been made to show that this master was Euphranor 
 of Corinth, who flourished between 375 and 330 B.C., in 
 which case the original of the statue might be the Apollo 
 Patroos, which Euphranor executed for the temple of this 
 god in the Agora of Athens. The proportions, however, 
 differ from those traditionally ascribed to this artist (comp. 
 No. 188). The execution of the statue before us points 
 to the time of Hadrian. 
 
 Visconti , Museo Pio-Clem., n, 82 (comp. Opere varie, iv, pp. 36- 
 39, p. 342, No. 118). Clarac , iv, PI. 633, No. 1424 A. Furiwaeng- 
 ler , Masterpieces, p. 355, Fig. 153. Comp. Wieseler , Narkissos, 
 pp. 47, 48. Welcker , Das akademische Kunstmuseum zu Bonn, 
 p. 28, No. 32. Overbeck , Kunstmytliologie, rv, p. 135, No. 14. Other 
 references in Friederichs-Wolters , Bausteine, No. 1579. Furtwaeng- 
 ler , in the 50th Winckelmanns-Programm der archseologischen Ger 
 sellschaft in Berlin (1890), p. 152. 
 
 Let into the wall of this Gabinetto are two Marble 
 Slabs (Nos. 259, 260), adorned with work in the round 
 and high relief. They probably belonged to some large 
 frieze , the rest of which is lost. They were discovered 
 near Palestrina (Praeneste) in the Tenuta di Corallo be- 
 longing to the Barberini, in the course of excavations 
 directed by Giovanni Yolpato, the well-known engraver. 
 The arrangement of the adornment resembles that in 
 No. 216. Both slabs have been freely restored. But in 
 consequence of the height at which they are placed and 
 of the artificial patina (stain) given to the marble by the 
 restorer, it is very difficult to distinguish the restorations 
 from the antique portions. 
 
 At the entrance-wall, near the windows, — 
 
 259 (442). In the recesses of this slab are figures of dei- 
 Helbig, Guide I. 12 
 
178 
 
 VATICAN. 
 
 ties that have some relation to Heracles. To the right 
 (of the spectator) is Pallas, the protectress of the hero, 
 and in the centre is another female figure, restored, pro- 
 bably correctly, as Hera. Only the lower part of this 
 second figure seems to be antique (the dividing line runs 
 diagonally downward from the left side of the waist to 
 the right thigh). Of the figure in the third recess, the 
 head, the left arm below the robe, the thyrsos, and the 
 right forearm and vase are restorations. The muscular 
 body and the disposition of the mantle seem to indicate 
 Zeus and not Dionysos as the restorer has assumed. The 
 relief on the panel to the right represents the first labour 
 of Heracles. The infant Heracles strangles the serpents 
 sent against him by Hera, while his mother Alcmene 
 stands by in horror, and her husband Amphitryon, draw- 
 ing his sword, hastens to the child’s assistance. The rugged 
 mass in the background, usually described as a cloud, is 
 treated more as if it were a rock, though a rock is by no 
 means appropriate to a scene that must naturally have 
 taken place in a house. This relief is obviously influenced 
 by some pictorial model. The whole composition has a 
 marked pictorial character, and the three figures, simil- 
 arly treated, recur in a Herculanean mural painting. In 
 the left panel Heracles is being taught by Linos to play 
 the lyre. The female figure behind the boy is difficult 
 to identify, as she is completely without determining 
 attributes. Possibly she is a personification of instruction 
 generally or of musical instruction in particular. 
 
 Visconti , Mus. Pio-Clem., iv, 38. Pistolesi , v, 71. Millin, Gal. 
 myth., PI. 110, 431. Berichte der sachs. Gesellschaft der Wissen- 
 schaften, 1853, T. x, 2, p. 149. Baumeister , Denkm. des kl. Alter- 
 thums, hi, p. 1721. For the figure of Hera, see Overbeck , Kunst- 
 mythologie, m, p. 130 L; Atlas, x, 21. Comp. WelckeVs Zeitschrift, 
 p. 403. For the Herculanean mural painting, Helbig , Wandge- 
 malde, No. 1123. 
 
 Opposite is No. 260 (434). In the central recess is 
 Pallas, in the left recess, Ares. The figure in the right 
 niche (head restored) appears to be another represent- 
 ation of Amphitryon, for it corresponds in costume and 
 
GABINETTO DELLE MASCHERE. 
 
 179 
 
 attitude with the Amphitryon on No. 259. In the relief 
 on the right panel the figure of Heracles had disappeared 
 with the exception of the front of the feet, while both 
 the other figures wanted all the extremities. The scene 
 represented, however, is sufficiently indicated by the 
 quiver and how-case on the ground behind Heracles, and 
 by the barbaric costume of the men beside the youth. The 
 youthful Heracles was, according to tradition, taught 
 archery by the Scythian Teutares; and two Scythians are 
 here seen engaged in this task. The relief on the left 
 panel, the style of which also suggests a pictorial model, 
 probably represents the first battle in which Heracles 
 took part, viz. that in which the Thebans defeated King 
 Erginos of Orchomenos. 
 
 Visconti , Mas. Pio-Clem., iv, 39. Millin, Gal. myth., Pi. Ill, 
 432. Guigniaut , Rel. de l’ant., PI. 176, 177. Pistolesi , v, 70. Comp. 
 Welcker ’s Zeitschrift, p. 403. For the battle against Erginos, see 
 Arch. Zeitnng, xxxvii (1879), pp. 192, 193. 
 
 12 
 
Sala delle Muse. 
 
 We begin our inspection to the left of the entrance. 
 
 261 (496). Head of Sophocles as an old man. 
 
 The identification is confirmed by a similar herma- 
 bust, attested by an inscription, now in the garden of the 
 Vatican. — The Greek savants of the period of the Dia- 
 dochi zealously devoted themselves to literary history, 
 while the public of that era took a lively interest in anec- 
 dotes relating to the famous poets. One of the most 
 popular of these anecdotes relates how Iophon, son of 
 Sophocles, arraigned his octogenarian father as incapable 
 of managing his affairs. The aged poet contented him- 
 self with reading to the judges his recently finished tra- 
 gedy of Oidipos in Colonos, and was immediately ac- 
 quitted by the judges, who saw in this poetic creation an 
 overwhelming refutation of the charge. With this story 
 in his mind, some artist, of about the 3rd cent., has here 
 represented Sophocles the old man. As the basis for his 
 work he took the type representing the poet in the bloom 
 of his manhood , best known from the statue in the La- 
 teran (No. 662). One of the finest points about this aged 
 head was the contrast between the shrunken and withered 
 face and the bright and intelligent eyes, which were made 
 of brilliant enamel set in the sockets. 
 
 Pistolesi, v, 84, 1. Comp. Braun , Ruinen und Museen, p. 392, 
 No. 120. Jahrbuch des Arch. Instituts, i (1886), pp. 76, 77. For 
 the henna-bust in the Vatican garden, Bull, dell’ Inst., 1867, 
 pp. 144, 145. 
 
 262 (495). Apollo Citharcedos; torso. 
 
 Formerly in the Villa Negroni. The right arm, left 
 forearm, nearly the whole right leg below the knee, 
 
SALA DELLE MUSE. 
 
 181 
 
 numerous fragments on the robe, the feet, both stems, 
 and the plinth are restorations. The head of Dionysos 
 on this torso is antique , but belongs to another statue. 
 The throat uniting it with the torso is modern, and when 
 the statue was in the Villa Negroni, it had another head. 
 
 The correct identification of the torso is assured by 
 an identical replica in the Glyptothek of Mr. Carl Jacob- 
 sen of Copenhagen, in which part of the cithara still re- 
 mains on the left breast. The statue represents Apollo 
 Citharcedos, and not Dionysos as has been usually sup- 
 posed. The treatment of the chiton, which is represented 
 as of a very thin material, permitting all the forms of the 
 body to appear through it, resembles that of the Attic 
 masters influenced by Pheidias. 
 
 Visconti , Mus. Pio-Clem., vn, 2 (comp, hi, pp. 168, 169). Pisto- 
 lesi , v, 84. Clarac, iv, PI. 697, No. 1643. Comp. Overbeck , Grie- 
 chische Kunstmythologie, iv, p. 186, No. 4, p. 188. Roscher , Lexi- 
 kon der gr. und rom. Mythologie, i, p. 1139. On the transparent 
 drapery, see Furtwaengler , Masterpieces, pp. 84, 83, 399. 
 
 To the left, in the wall, above, — 
 
 263 (493). Relief of the Birth of Dionysos. 
 
 Found outside the Porta Portese. The right hand of 
 the woman immediately behind Hermes is obviously 
 restored ; and there may be many other restorations con- 
 cealed beneath the artificial* patina given to the surface. 
 
 The left side of the relief is clear enough. Zeus, 
 seated on a rock on which he leans his right hand in an 
 almost convulsive movement, betrays by his attitude the 
 pangs of child-birth. From his uncovered left thigh springs 
 the infant Dionysos, stretching his arms towards Hermes, 
 who holds a panther-skin towards the new-born god and is 
 about to cover him with it as swaddling-clothes. Various 
 explanations have been offered for the three women re- 
 presented on the right side of the relief. They have been 
 taken for the Graces (Charites) or for Nymphs, while a 
 third theory describes the form immediately behind Her- 
 mes as Eileithyia, opening her right hand to facilitate 
 the birth, the next as Persephone, and the third, holding 
 something like a sheaf of corn in her right hand, as De- 
 
182 
 
 VATICAN. 
 
 meter. An absolutely certain interpretation seems at 
 present impossible, for it is uncertain whether the relief 
 ended with the so-called Demeter or was continued 
 beyond her, while owing to the artificial patina given to 
 the marble by the restorer, we cannot determine how 
 much of these three female figures is antique. We may, 
 however, well suppose that the Mpirae (Parcae), usually 
 present both at divine and human births, were not absent 
 from this relief; and perhaps the apparent sheaf of corn 
 may turn out on closer inspection to be either the distaff 
 of Clotho or the bundle of lots emblematic of Lachesis. 
 
 Visconti , Mus. Pio-Clem., iv, 19. Pistolesi , v,85. Guigniaut , Rel. 
 de 1’ant., PI. 110. 432. Baumeister , Denkmaler des kl. Alterthums, in, 
 p. 1289. See, further, Overbook , Kunstmvtliologie, n, p. 171, x, 
 and Hauser , Die neu-attischen Reliefs, p. 72, No. 102. Comp, also 
 Heydemann , Dionysos’ Geburt und Kindheit (Halle, 1885), pp. 15, 
 16. The Moirae appear, e.y. , at the birth of Athene in the Madrid 
 Puteal : Abhandl. des arohaeol.-epig. Seminars in Vienna, i (1880), 
 T. 1, pp. 32 et seq. Friederichs-W otters, Bausteine, No 1862. 
 
 264 (520). Statue restored as a Muse. 
 
 Presented to Pope Pius VI. by Prince Lancellotti. 
 Fragments of the robe and the left hand with the flute 
 are restorations. The head (nose and chin restored) is 
 antique , but it is doubtful whether it belongs to the 
 statue, as the entire neck and the breast as far as the 
 top of the chiton are by a modern hand. 
 
 The statue of Euterpe , as the Muse of flute-playing 
 was named in the imperial epoch, was missing among the 
 Muses found at Tivoli (Nos. 268-274) ; and in order to com- 
 plete the number of the ‘tuneful nine’, the present grace- 
 ful figure was restored with a flute in the left hand. Traces 
 on the left thigh indicate that some object like a staff 
 was originally in her hand. But that the figure repre- 
 sented a Muse is unlikely, for we know of a similar figure 
 used as a fountain-decoration, and to place a Muse in 
 such a position would be in flat opposition to the con- 
 ception of the Muses as patrons of definite domains of 
 art, which was the prevailing conception from the Hellen- 
 istic period onwards. The lazy attitude of the figure, and 
 the sleeveless chiton made of some thick, rough-haired 
 
SALA DELLE MUSE. 
 
 183 
 
 material, suggest rather a conception from some pastoral 
 cycle; perhaps, e.g ., some Nymph celebrated in bucolic 
 poetry. In that case, the attribute in the left hand may 
 have been a pedum. Woods, meadows, and fountains 
 form the background in idyllic poetry; and it is obvious 
 how appropriate as a fountain-ornament a plastic repre- 
 sentation of a figure from such poetry would be. 
 
 Visconti , Mus. Pio-Clem., i, 17 (Opere varie, iv, p. 440, No. 
 306). Bouillon , Musee des antiques, i, 35. Pistolesi , v, 95. Clarac , 
 hi, PI. 508, No. 1003. Comp. Welckers Zeitschrift, p. 318. Braun , 
 Ruinen und Museen, p. 389, No. vi. For the fountain-figure, see 
 Arch. Zeitung, xxv (1867), p. 101*. DutscJikc , Antike Bildwerke 
 in Oberitalien, v, p. 10, No. 31. 
 
 265 (519). Herma of Plato. 
 
 Acquired from a Roman art-dealer in Naples. The 
 nose is restored. 
 
 The name Zeno which is scratched rather than carved 
 on this bust is by a modern hand, and has therefore no 
 authoritative value. This herma -bust much more pro- 
 bably represents Plato, as is proved by another with a 
 head identical with that before us, upon which is a per- 
 fectly genuine inscription. Many modern spectators will 
 doubtless expect to find the Olympian cheerfulness that 
 prevails in Plato’s writings refle'cted in the countenance 
 of the great philosopher, and they will no doubt be chilled 
 by the gloomy expression of the present head. Yet we 
 have contemporary evidence, in a fragment of a comedy 
 by Amphis, that an expression of this kind characterized 
 Plato; and we also know that, among the Aristotelians, 
 Plato passed for a melancholy man. Indeed, it is easy 
 enough to understand how his face must have shown 
 clear traces of the many painful experiences that he met 
 with in the course of his life , and of the sharp contrast 
 that existed between his philosophy and reality. The 
 arrangement of the hair and beard tallies moreover with 
 the verses of Ephippos, another contemporary comic dra- 
 matist, in which the Academics are reproached with an 
 undue attention to their toilet, while mention is made of 
 
184 
 
 VATICAN. 
 
 their elegantly - cut hair and their fine flowing beards. 
 We must assume as the original some bronze portrait of 
 Plato, executed in his lifetime, — perhaps the bronze 
 statue in which the great philosopher was commemorated 
 by his contemporary Silanion, who flourished as early as 
 the first half of the 4th cent. B.C. The treatment of the 
 face resembles that customary in the Second Attic School, 
 and has clearly not reached the realistic development 
 which prevailed in plastic portraiture after the epoch of 
 Alexander the Great. The thread-like treatment of the 
 hair has analogies in bronze types of the same school 
 (comp., e.y., No. 194). 
 
 Visconti , Mus. Pio-Clem., vi, 33. Pistolesi , v, 95. Schuster, fiber 
 die erhaltenen Portraits der gr. Philosophen, T. iv, 7, p. 24, No. 17. 
 Jahrbuch des Arch. Instituts, i (1886), T. 6, No. 2, p. 72, No. 6, p. 74. 
 Baumeister , Denkm. d. kl. Altertkums, m, p. 1335, Fig. 1432. 
 Comp. American Journal of Archaeology, iv (1888), p. 3. Jahrbuch 
 des Arch. Instituts, v (1890), pp. 153, 165, 170, 171. Rendiconti 
 dell’ acc. di Lincei, serie v, vol. n (1893), pp. 89-100. 
 
 266 (518). Hernia of a Strategos, or Greek General. 
 
 The point of the visor is restored; the face has suffered 
 from reworking. 
 
 The identification of this head with Themistocles is 
 groundless. The style seems to show that it represents 
 a personage of the 4th cent. B.C. The helmet indicates 
 a strategos (comp. No. 281). The expression and the 
 arrangement of the hair and beard recall the dandyism 
 that obtained in fashionable Athenian circles in the first 
 half of the 4th cent., which even the great Plato and his 
 disciples did not wholly escape (see No. 265). 
 
 Visconti , Iconografla greca, i, T. xiv, 3, 4, p. 168. Pistolesi , v, 
 94. Museo Chiaramonti, hi, 17. Baumeister , Denkm. des klass. 
 Altertb., ii, p. 1288, No. 1437. Comp. Arch. Zeitung, xxvi (1868), 
 p. 1. Friederichs-Wolters , Bausteine, No. 482. Furtwaengler , Master- 
 pieces, p. 122, note 2. 
 
 The principal decoration of this room is a series of 
 statues (Nos. 267-274), representing Apollo and the 
 Muses , found in 1774 among the ruins of an ancient 
 villa on the Via Cassia, to the S.E. of Tivoli, and acquired 
 
SAL A DELLE MUSE. 
 
 185 
 
 for the Vatican by Pius VI. The frequently repeated 
 statement that these statues were found in the Fundus 
 Cassianus (the modern Carciano) seems to rest upon a 
 confusion of names. The villa in question was more prob- 
 ably that lying farther to the E., which is said to have 
 belonged to Marcus Brutus, the jurist, father of the orator 
 (comp. Bulgarini , Notizie storiche intorno alia citta di 
 Tivoli, pp. 109, 118; Benndorf und Schone , Die antiken 
 Bildwerke des lateranischen Museums, p. 84). As only 
 seven Muses (Nos. 268-274) were found at Tivoli, the 
 full number of the nine sisters was completed in the Mu- 
 seum by the addition of two statues (Nos. 264, 275) from 
 other sources, which originally certainly did not repre- 
 sent Muses, but were made to do duty as such by the 
 modern addition of appropriate attributes. 
 
 In the earlier Greek conception, the individual Muses 
 had no separate spheres of influence, but all together re- 
 presented the entire undivided domain of music, includ- 
 ing poetry, dancing, singing, lyric music, and flute-music. 
 In the Hellenistic period, however, definite functions 
 were assigned to the separate Muses ; one was provided 
 with a globe and made Muse of astronomy, another, with 
 a scroll, became the Muse of history. But the poets and 
 artists of that epoch followed their own arbitrary fancies 
 in uniting the different functions and attributes with the 
 names of the various Muses. It was not, in fact, until the 
 later imperial epoch that any rule on this respect became 
 general; the writers and artists of that date agreed in 
 favour of one of the Muse-cycles current in the Hellen- 
 istic age and succeeded in making it authoritative. 
 According to this scheme the functions and attributes of 
 the muses are as follows : Calliope, Muse of heroic epic 
 poetry, with a diptych or scroll as attribute ; Cleio, Muse 
 of history, with a scroll; Erato, Muse of choral lyric 
 poetry, with a eithara; Euterpe, Muse of music, with a 
 flute; Melpomene, Muse of tragedy, with a tragic mask; 
 Polyhymnia, Muse of pantomime, no attribute; Terpsi- 
 chore, Muse of subjective lyric poetry, with a lyre; 
 
186 
 
 VATICAN. 
 
 Thaleia, Muse of comedy, with a comic mask; Urania, 
 Muse of astronomy, with a globe. — Comp. Trendelen- 
 burg , Der Musenchor, pp. 1 1 et seq.; Bie , Die Musen in 
 der antiken Kunst, pp. 24 et seq. 
 
 The statues found at Tivoli present, in a decorative 
 fashion, a Muse-cycle of an early-Hellenistic period. They 
 still show many traces of the influence of Praxiteles ; and 
 it may be surmized that the creator of the originals used 
 the Thespiad of that master. Though in describing these 
 statues, the present writer uses the names fixed for the 
 separate Muses in the later imperial epoch, it must not 
 be assumed that the sculptor of the original type of each 
 named his figures precisely in the same way. But it has 
 been judged wiser to retain these names, as they are 
 familiar to the modern spectator and will assist him to 
 understand the various types. 
 
 The theoretical as well as the actual centre of the 
 cycle is naturally the Apollo (No. 267), playing the cithara. 
 The Muses were symmetrically arranged round him, al- 
 ternately standing and sitting. 
 
 267 (516). Apollo Citharcedos. 
 
 The restorations on this statue include various frag- 
 ments on the wreath, the end of the nose, lips, chin, 
 nearly the whole right arm with the plectron, the lower 
 part of the left forearm, the upper part of the cithara and 
 the part of the supporting-strap immediately adjoining, 
 various fragments on the rohe, and the left foot. 
 
 The god is represented in the festal garb of a cithar- 
 oedos, singing and playing the cithara. The enthusiasm, 
 with which he exercises his art, is reflected in the elastic 
 motion of his body, in the slight bend of the head towards 
 the right shoulder, and in the expression of the face. The 
 front horn of the cithara is adorned with a relief of Mar- 
 syas hanging on the tree (comp. Nos. 576, 846), com- 
 memorating the victory won by the lyre of Apollo over 
 the barbarous flute. The type of the god agrees to a 
 striking extent with that of the Muses, both as regards 
 conception and as regards the treatment of the forms. 
 
SALA DELLE MUSE. 
 
 187 
 
 Nay, his expression and attitude can only be fully under- 
 stood in connection with the choir about him. We may 
 therefore assume that this figure was erected, probably 
 with hints borrowed from an original of the Second Attic 
 School, to serve as the central point in the Muse-cycle 
 reproduced in the statues from Tibur. 
 
 Visconii, Mus. Pio-Clem., i, 15 (comp. Opere varie, iv, p. 435, 
 No. 300). Muller -Wieseler, Denkm. d. alten Kunst, i, 32, 141a. Bau- 
 meister , Denkm. d. kl. Alterthums, i, p. 99, Fig. 104. Ber. der sacks. 
 Gres, derWiss. , 1886, T. n, 1, p. 3. Overbeck , Kunstmythologie, 
 iv, p. 124, No. 2, p. 185, No. 1 (where the earlier notices are cited), 
 pp. 186-188 (comp. pp. 101-102) ; Atlas, xx, 7, xxi, 32; Gesch. der 
 griech. Plastik, n 4 , p. 27, p. 36, note 31. Comp. Philologus, new 
 series, i (xlvii, 1889), pp. 678-700. 
 
 To the left, 268 (511). Erato. 
 
 The lower part of the right forearm , the left hand, 
 and nearly the whole upper part of the cithara are restor- 
 ations. The head (nose restored) is antique hut does 
 not belong to this statue, but to one of Nemesis or Leda, 
 of the type represented in, e.g ., No. 459. 
 
 As this Muse, with her dignified presence, seems of 
 all the nine to be most nearly allied to Apollo Citharoe- 
 dos, and as her instrument too is the deep, full-toned 
 cithara, we must recognize in her the representative of 
 choral lyric poetry, such as was. especially cultivated by 
 Stesichoros and Pindar. So far as our knowledge goes, 
 the current name for this Muse in later imperial times 
 was Erato , a circumstance that presents an etymological 
 peculiarity, seeing that love plays no prominent part in 
 choral lyrics. Terpsichore would seem a much more ap- 
 propriate name for the patron of this branch of art. 
 
 Visconti, Mus. Pio-Clem., i, 21 (comp. Opere varie, iv, p. 439, 
 No. 305). Bouillon , Musee des antiques, i, 39. Pistolesi , v, 92. 
 Comp. Bie, Die Musen in der antiken Kunst, p. 64. 
 
 To the left (next Apollo), 269 (517). Terpsichore. 
 
 The head (nose , wreath, and hanging locks restored) 
 is antique, but belongs to another statue. The throat 
 uniting it with the body is modern. The shoulder-buttons 
 of the chiton, the projecting part of the arms, nearly the 
 whole frame of the lyre, the left foot, and various small 
 fragments on the robe are also restorations. 
 
188 
 
 VATICAN. 
 
 This figure represents Terpsichore, Muse of subjective 
 lyric poetry, a branch of the art that has its most beau- 
 tiful expression in the poems of Sappho, Alcaeos, and 
 Anacreon. In contrast to the Muse of choral lyric poetry 
 (No. 268), this Muse is seated instead of standing and 
 makes generally a less dignified impression, two circum- 
 stances admirably in keeping with the poetry she repre- 
 sents. For subjective lyric poetry, in which individuals 
 give expression to their feelings, has neither the matter, 
 nor the form, nor the solemn character of choral lyrics. 
 This muse plays on a lyre, the sounding-board of which 
 is a tortoise-shell — the stringed instrument, in fact, on 
 which Alcaeos and Anacreon accompanied their songs. 
 
 Visconti , Mus. Pio-Clem., i, 20 (comp. Operevarie, iv, p. 441, 
 No. 307). Bouillon , Musee des antiques, i, 38. Pistolcsi , v, 93. Comp. 
 Bie , Die Musen in der antiken Kunst, p. 63. 
 
 To the right, 270 (508). Polyhymnia. 
 
 The nose, lower lip, and fragments on the wreath and 
 mantle are restorations. 
 
 An inscription on a mural painting from Hercula- 
 neum briefly describes the sphere of Polyhymnia as ‘the 
 Myths’. Starting from this idea, the conception gradually 
 became universal in the imperial epoch that Polyhymnia 
 represented pantomime; for, after the decline of tragedy, 
 it was the mimetic ballet that kept the myths popular, 
 and at the same time exercised an influence not to be 
 under-estimated on their visible representations. One of 
 the chief charms of mimetic imitations lay in the graceful 
 motions which male and female dancers made with their 
 mantles (comp. No. 249). In the statue before us, Poly- 
 hymnia appears about to enter the dance and to make 
 one of those motions. Crowned with roses , the Muse 
 slowly advances, with a thoughtful expression, holding 
 her arms under her mantle. The pendent left hand grasps 
 the mantle that falls by her left side, while the right hand 
 holds a fold of the garment that crosses her bosom, ap- 
 parently in preparation for some motion or gesture, such 
 
SALA DELLE MUSE. 189 
 
 as throwing the mantle over her back or waving it aside 
 from her body. 
 
 Visconti , Mus. Pio-Clem., i, 23 (Opere varie, iv, p. 438, No. 
 303). Bouillon , i, 40. Pistolcsi, v, 91. Comp. Bie, Die Musen in 
 der antiken Kunst, p. 70. 
 
 To the right, 271 (499). Melpomene. 
 
 Fragments on the hair and on the wreath, the end of 
 the nose, the lips, the right hand with the npper part of 
 the mask , the left forearm with the sword, and the left 
 foot are restorations; also the nose and the lower part of 
 the month and heard of the mask. 
 
 The Tragic Muse^ stands with her left foot upon a 
 rock and her left elbow supported on her left thigh — 
 an attitude conveying the impression that she is rest- 
 ing after some considerable exertion. Her right hand 
 holds a mask of Heracles, adorned with a lion’s skin, a 
 hero who afforded plentiful material for tragic poetry. 
 According to other and better preserved replicas, the left 
 hand must have held either a sword or a club; and the 
 restorer is right in deciding in favour of the former, for 
 so heavy an attribute as a club would certainly have rested 
 on the left thigh, and must have left some traces of its 
 presence. The lofty brow, covered with straight hanging 
 hair, recalls the ‘onkos’, or top-knot, by which it was 
 sought to heighten the majesty of the tragic mask, while 
 the vine-wreath reminds us of the cult of Dionysos, from 
 which the Greek drama first arose. The peaceful and al- 
 most cheerful expression of the face is striking, for one 
 would more naturally expect to find the Tragic Muse wear 
 a melancholy or pathetic appearance. The expression may 
 perhaps have some relation to Aristotle’s celebrated de- 
 finition of tragedy as producing a purification (catharsis) 
 of the spectator through pity and terror. If this be so, 
 the effects ascribed by Aristotle to tragedy have been 
 transferred by the sculptor to the personification of that 
 kind of poetry. The execution of the statue is unequal, 
 the head being more carefully finished than the body. 
 
 Visconti , Mus. Pio-Clem., i, 19 (Opere varie, iv,p. 437, No. 302). 
 Bouillon , Musde des antiques, i, 37. Pistolesi , v, 88. Clarac, hi, 
 
190 
 
 VATICAN. 
 
 PI. 513, No. 1044. Muller- Wieseler, Denkmaler der alten Kunst, n, 
 T. 59, 747. Baumeister , Denkm. des kl. Alterthums , ii, p. 971, 
 Fig. 1183. Comp. Welcker s Zeitschrift, p. 316. Lange , Das Motiv 
 des aufgestiitzten Fusses, pp. 59 et seq. Bie , Die Musen in der an- 
 tiken Kunst, pp. 75-77. The theory of Visconti (Mus. Pio-Clem., 
 i, p. 133) that the left hand originally held a sword, and that the 
 latter was replaced hy a cluh by an antique restorer, seems to the 
 writer unfounded, in view of the present condition of the parts con- 
 cerned. 
 
 To the right, 272 (503). Thaleia. 
 
 Fragments on the wreath have been restored, also the 
 nose, lips, chin, left forearm with the tympanon, the 
 pedum (except the bent part on the upper arm), and 
 fragments on the robe and on the mask. It is questionable 
 whether the restorer is right in placing a tympanon in 
 the left hand ; he was influenced in his decision by a 
 circular depression on the thigh , now concealed by the 
 restoration. 
 
 In contrast to the imposing attitude of Melpomene, 
 the Muse of Comedy is here seated in a languid posture 
 on a stone seat, her left leg across her right. Beside her 
 is a comic mask with a long moustache. The ivy- wreath 
 and the tympanon (if the latter be a justifiable restoration) 
 point, like the vine-wreath of Melpomene, to the worship 
 of Dionysos; while the pedum in the left hand perhaps 
 refers to the rustic element so frequently treated of in 
 the new comedy. The beautiful face wears a melancholy 
 expression, more appropriate in modern eyes to Melpo- 
 mene; a circumstance which may perhaps be explained 
 by the suggestion that, to the mind of the sculptor, the 
 comic representations of the ills and struggles of human 
 life are more suited to induce a pensive mood than a 
 merry one. 
 
 Visconti, Mus. Pio-Clem., i, 18 (comp. Opere varie, iv, p. 442, 
 No. 309). Bouillon , Musde des antiques, i, 36. Pistolesi , v, 89. 
 Muller- Wieseler , Denkm. der alten Kunst, ii, T. 58, 743. Bau- 
 meister , Denkmaler, ii, p. 971, Fig. 1184. Comp. Welcker's Zeit- 
 schrift, p. 317. Beschreibung der Stadt Rom, ii, 2, p. 214, No. 10. 
 Bie, Die Musen in der antiken Kunst, p. 78. 
 
 To the left (beside the Apollo, No. 267), - — 
 
 273 (515). Calliope. 
 
SALA DELLE MUSE. 
 
 191 
 
 Most of the right arm and of the left forearm , and 
 the writing-tablet , except the corner touching the robe, 
 are restored. The head (nose and part of the chin and 
 of the brow restored) , which is of a different marble, is 
 ancient but belongs to another statue. 
 
 This Muse is seated in a meditative attitude as though 
 engaged in the composition of an epic poem. The left 
 hand holds a double writing- tablet (diptychon) ; while the 
 restorer has correctly placed a stylus in the raised right 
 hand. 
 
 Visconti , Mus. Pio-Clem., i, 26 (comp. Opere varie, iv, p. 435, 
 No. 299). Bouillon , i, 42. Pistolesi , v, 39. Comp. Bie, Die Musen 
 in der antiken Kunst, p. 72. 
 
 To the right, 274 (505). Cleio. 
 
 The right breast, the greater part of the arms, and 
 numerous fragments on the robe are restored. Of the 
 scroll, only the portion on the lap is antique. The head 
 (nose restored) is antique but does not belong to the 
 body ; the neck is modern. 
 
 The Muse of history holds in her left hand a partly 
 open scroll of parchment or papyrus, and appears to be de- 
 livering a historical address, using the contents as a text. 
 
 Visconti , Mus. Pio-Clem., i, 16 (comp. Opere varie, iv, p. 436, 
 No. 301). Bouillon , i, 34. Pistolesi , v, 89. Comp. Bie , Die Musen 
 in der antiken Kunst, p. 72. 
 
 - $ 
 
 The following statue was not found in the Tiburtine 
 Villa, but like No. 264, has been restored as a Muse, in 
 order to complete the choir. 
 
 275 (504). Female draped Statue. 
 
 Formerly in the Palazzo Ginetti at Yelletri, and pre- 
 sented to Pope Pius VI. by Prince Lancellotti. The neck 
 and the forearms and attributes are modern. The freely 
 reworked head is antique, but does not belong to this sta- 
 tue, for which it is too large. 
 
 This statue was formerly restored as Fortuna, but 
 after it came into the possession of the pope, it was con- 
 verted into the Muse Urania, by the addition of a stylus 
 and a globe. The arrangement of the robe is distinguished 
 by its richness and clearness. 
 
192 
 
 VATICAN. 
 
 Visconti , Mus. Pio-Clem., i, 24 (comp. Opere varie, rv, p. 441, 
 No. 308). Bouillon , i, 41 . Pistolesi , v, 90. Comp. Welckers Zeii- 
 schrift, p. 318. 
 
 We now return to the sculptures by the left wall and 
 proceed in our original direction, omitting the works al- 
 ready treated of above. 
 
 276 (512). Head of Epimenides (?). 
 
 The point of the nose, the end of the heard, and the 
 bust are restorations. 
 
 This head reveals a venerable and to a certain extent 
 sacerdotal character, the fillet round the long hair indi- 
 cates a priest, seer, or poet, and the closed eyes charac- 
 terize its subject as sleeping; so that every probability is 
 in favour of its identification with Epimenides, the Cretan 
 priest and bard, who, according to tradition, slept for fifty- 
 seven years in a cave. Epimenides lived about the be- 
 ginning of the 6th cent., an epoch at which Greek plastic 
 art was just beginning to develop. The type before us, 
 however, recalls both in its forms and in its expression, 
 the artistic methods of the best period, so that it cannot 
 be a portrait, but only the imaginative creation of some 
 artist of about the close of the 5th cent. B.C. Some re- 
 cent critics claim that this head is a portrait of Homer 
 and perhaps a copy of a work by Silanion (comp. No. 265). 
 But it seems quite incredible that any artist in the free 
 style, above all Silanion, who paid particular attention to 
 the outward appearance of things, would represent blind- 
 ness simply by closed eyes. Besides, Silanion lived in the 
 4th cent. B.C., while the style of this head is that of an 
 earlier period. 
 
 Visconti , Mus. Pio-Clem., vi, 21. Pistolesi , v, 9. Comp. Welckers 
 Zeitschrift, p. 456. Braun , Ruinen und Museen, p. 397, No. 123. 
 Archaologischer Anzeiger, 1890, p. 26 (in the Jahrbuch des Arch. 
 Instituts, v, 1890). For the art of Silanion, see Brunn , Geschichte 
 der griechischen Kunstler, i, p. 397 ; Sitzungsberichte der philos.- 
 philol. Classe der bayer. Akademie, 1892, pp. 669, 670. 
 
 27 7 (510). Herma with the name of Alcibiades. 
 
 Found in the Villa Fonseca on Mons Cselius. Point 
 of the nose restored. 
 
SALA delle muse. 
 
 193 
 
 The shaft, on which the first five letters of the name 
 of Alcibiades remain, and the head placed upon it, were 
 carved by different hands and at different times. The for- 
 mer is of Parian marble, the latter of Lunensian. The in- 
 scription on the shaft refers it to the first century of the 
 Empire, but the poorly executed head, with the mechanic- 
 ally incised pupils and the corners of the eyes crudely 
 worked with the drill, cannot be earlier than the age of 
 the Antonines. Farther, the head is not placed directly 
 upon the shaft, but is united with it by a piece of marble 
 inserted by a modern hand. The head, in short, cannot 
 have belonged to the shaft, but has been placed upon it 
 by the modern restorer. We must therefore remove it 
 from the iconography of Alcibiades, even although it 
 has a certain resemblance to a portrait that is, not without 
 probability, taken for that statesman. Comp. No. 91. 
 
 Visconti , Mas. Pio-Clem., vi, 31 ; Iconografia greca, T. xvi, pp. 
 188-185. Pistolesi, v, 92. Ann. dell’ Inst., 1866, Tav. d’agg. 0 2, 
 pp. 234-238. Baumeister , Denkm. des kl. Alterthums, i, p. 48, 
 Fig. 54. Comp. WelcTcers Zeitschrift, p. 457. 
 
 In the Tiburtine Villa, where the Apollo and the Muses 
 (Nos. 267-274) were found, there were also found hermae 
 bearing the names of the Seven Sages ( Bulgarini , Notizie 
 intorno alia citta di Tivoli, p. 110; Benndorf und Schone , 
 Die antiken Bildwerke des Lat. Museums, No. 138), but 
 only two of these (Nos. 278, 279; see below) retained the 
 head. 
 
 278 (531). Herma of Periander. 
 
 The nose and fragments on the ear are restored. The 
 head has been freely worked over. 
 
 As the inscription indicates, this is Periander, son 
 of Cypselos, one of the most eminent Hellenic tyrants, 
 who by his carefully framed policy raised Corinth to a 
 state of great power, both at home and abroad, and left 
 a poem describing the principles of government. As 
 this ruler flourished in the latter half of the 7 th cent. 
 B.C., the head before us is another of those portraits 
 carved by a later art under the influence of the tradi- 
 Helbig, Guide I. 13 
 
194 
 
 VATICAN. 
 
 tions affecting the person represented. The method in 
 which it is conceived and its style point to the stage of 
 art that began in the time of Alexander the Great. The 
 sculptor who designed this head seems to have been spe- 
 cially influenced by the motto 4 Study is everything’, which 
 passed in antiquity for one of the chief maxims of the 
 Corinthian tyrant, and is moreover carved on the shaft of 
 the herma. The intellectual head wears a serious, medi- 
 tative expression, while the eyes have an alert, observant 
 look. The general impression produced is that of a great 
 statesman deliberating over some political problem, with- 
 out, however, forgetting the busy world around him. 
 
 Visconti, Mus. Pio-Clem., vi, 22a, 25 ; Iconografla greca, i, T.ix, 
 pp. 127 et seq. Pistolesi,v,$8. Baumeister , Denkm. d. kl. Alterthums, 
 ii, p. 1287, Fig. 1436. Comp. Braun , Ruinen und Museen, p. 404, 
 No. 131. 
 
 The following herma is to be looked at from a similar 
 point of view. 
 
 279 (528). Herma of Bias. 
 
 Point of the nose restored. 
 
 Bias of Priene, equally famed as a statesman and as a 
 lawyer, flourished in the 6th cent. B.C. The motto on 
 the shaft of the herma, ‘Most men are evil’, indicates 
 his characteristic philosophy. Basing upon this motto, 
 the sculptor has created a masterpiece of physiognomy. 
 The expression of the head before us distinctly announces 
 a pessimistic view of life, not destitute, however, of the 
 great amiability which tradition also ascribes to Bias. 
 
 Visconti , Mas. Pio-Clem., vi, 22, 23- Iconografla greca, i, T. x, 
 1, 2, pp. 136 et seq. Pistolcsi , v, 98. Baumeister , Denkm. des kl. 
 Alterthums, i, p. 315, Fig. 331. Comp. Braun , Ruinen und Museen, 
 p. 403, No. 130. 
 
 280 (530). Portrait- Statue, of rude execution. 
 
 Found at Centocelle on the Via Labicana. The nose, 
 right arm, and. projecting part of the left arm are re- 
 storations. 
 
 The arms projecting from the breast seem to imply 
 some energetic gesture, so that the statue probably re- 
 
SALA DELLE MUSE. 
 
 195 
 
 presents an orator delivering a speech or address. It is 
 apparently a faithful portrait. The forms of the face are 
 common, and the expression is unpleasantly captious. The 
 vertical and tapering forehead is a specially individual 
 peculiarity. The right eyelid is swollen, as though by 
 some disease or injury. The massive trunk is in striking 
 contrast to the comparatively short and feebly developed 
 legs. Some have sought to identify the statue as Lycur- 
 gos, because its general character agrees with the portrait 
 of the Spartan law-giver as handed down by tradition, 
 while the abnormal formation of the right eye recalls the 
 familiar anecdote that Lycurgos had an eye knocked out by 
 a political opponent. But it is obvious that later Greek 
 art could represent the mythical founder of the Spartan 
 constitution only under ideal forms, not under such indi- 
 vidual forms as this; while, moreover, the named portrait 
 of Lycurgos, on Lacedaemonian coins struck during the 
 Empire, shows a type plainly derived from one of the later 
 ideals of Zeus. It is more probable, both from its facial 
 type and its style, that this statue is the portrait of some 
 rude scholar of the Hellenistic age. 
 
 Visconti , Mus. Pio-Clem., m, 13 (comp, ib., Tav. a mb, 
 p. 228); Iconografia greca, i, T. viii, 1, 2, p. 121. Pistolesi , v, 98. 
 Clarac , v, PI. 842, No. 2112. Brunn und Arndt , Griech. und rom. 
 Portrats, Nos. 165, 166 (where the type is placed in relation with De- 
 metrios of Alopeke, a sculptor who flourished in the beginning of 
 the fourth century B.C.). Comp. Welckers Zeitschrift, p. 349. Brawn, 
 Ruinen und Museen, p. 404, No. 132. For the Lacedemonian coins, 
 see Catalogue of the Greek Coins in the British Museum ; Pelopon- 
 nesus, PI. xxiv, Nos. 7, 8. 
 
 281 (525). Herma of Pericles, with the name inscribed. 
 
 Found under Pius VI. at Tivoli in the same villa as 
 Nos. 267-274. The end of the nose and parts of the visor 
 of the helmet are restored. 
 
 The circumstance that Pericles is here represented in 
 a helmet seems to point to his dignity of commander-in- 
 chief (strategos), a dignity which he held for many years 
 in succession, and on which principally rested his almost 
 unlimited power in democratic Athens. His well-nigh fault- 
 
 13 * 
 
196 
 
 VATICAN. 
 
 less personal beauty was marred by the excessive height 
 of his skull, which suggested the nickname of ‘onion-head 7 
 to an Athenian comic poet. This peculiarity is traceable 
 in the head before us, for we can see the hair through 
 the visor-holes and can estimate from that the great 
 height to which the skull must reach within the helmet. 
 The character of the forms, especially in the shape of 
 the eyes, the too highly- placed ears, and the con- 
 ventional curls of the hair and beard, reveals the after- 
 influence of the archaic style, so that the original must 
 date from the lifetime of Pericles, a circumstance which 
 we connect at once with the portrait-statue or herma of 
 the great statesman carved by Cresilas. A fragment of 
 the base of this portrait has recently been found on the 
 Acropolis at Athens; and the inscription shows that it 
 was erected by some private individual, perhaps by Cre- 
 silas himself. The form of the letters points to the decade 
 between 440 and 430 B.C. The base must have been 
 comparatively small, and consequently better fitted for a 
 herma than for a statue. As in all the creations of the 
 best period of Attic art, the individuality of the forms and 
 of the expression in the Vatican head is tempered by a 
 character of majestic calm. From the rich intellectual and 
 moral suggestions revealed in this head, it represents 
 Pericles in maturity and at the zenith of his development; 
 the face shows no trace of the influence of age, but seems 
 rather to have entered an ideal sphere of eternal youth. 
 
 Visconti , Mus. Pio-Clem., vi, 29 ; Iconografia greca, i, T. xv, 
 p. 178. Pistolesi , v, 96. Arch. Zeitung, xxvi (1868), T. 2, 2, pp. 1, 2. 
 Brunn und Bruckmann , Denkmaler griech. u. rom. Sculptur, No. 
 156. Comp. Braun , Ruinen und Museen, p. 405, No. 133. Frie- 
 derichs-Wolters , No. 481. Furtwaengler , Masterpieces, pp. 117-122. 
 On the Athenian base, see AsXtiov apyaioXoYtxov, 1889, p. 35, No. 2. 
 
 282 (523). Reputed Herma of Aspasia. 
 
 Found under Pius VI. at Castronuovo, near Civita- 
 vecchia. The point of the nose and a large portion of the 
 skull and of the veil upon it are restorations. 
 
 According to an inscription on the foot of the shaft, 
 this herma represents Aspasia, the beautiful and intellect- 
 
SALA DELLE MUSE. 
 
 197 
 
 ual Milesian , who captivated Pericles and exercised so 
 potent an influence upon contemporary society in Attica. 
 But the inscription differs in a striking particular from 
 the usual herma-inscriptions. Instead of being chiselled, 
 it is scratched with some blunt implement, on an incon- 
 spicuous part of the shaft, so that it has to be looked for 
 before it is apparent. It thus seems to have been added, 
 not by the sculptor, but by some other person who was 
 impelled to connect this head with Aspasia. Whether this 
 inscription is ancient or modern is a question for epi- 
 graphists. But even if it be ancient, it hardly affords con- 
 clusive proof that the herma represents Aspasia. In the 
 first place it is obvious that the head cannot be a contem- 
 porary portrait of Aspasia, for the artistic spirit of the 
 best Attic period is in direct opposition to the individual- 
 ized facial expression, which proclaims a pensive and 
 sombre mood, as well as to the artificial, wavy arrangement 
 of the hair, which, though met with in isolated examples of 
 about the middle of the 4th cent. B.C., first found general 
 acceptance during the period of the Diadochi. In the 
 second place, the theory that it is a more or less freely 
 imagined portrait of a later date meets with difficulties. 
 Such a portrait would certainly represent the mistress of 
 Pericles as charming both by beauty and by intellect. But 
 this herma-head is in no way remarkable for beauty, and 
 its sombre expression is rather repellant than attractive. 
 The necessary conclusion seems to be that this head has 
 nothing to do with Aspasia, but is the portrait of some 
 lady of a later period. 
 
 Visconti , Mus. Pio-Clem., vi, 30 (corap. i, p. 265, note 1) ; Icono- 
 grafla greca, i, T. xva, pp. 180, 181. Pistolesi , v, 96. Baumeiater , 
 I)enkm. des kl. Alterthums, i, p. 140, Fig. 153. Brunn und Bruck- 
 mann, Denkmaler, No. 157. Comp. Welcker's Zeitschrift, p. 458. 
 Braun, Ruinen und Museen, p. 407, No. 134. Bull, dell’ Inst., 1869, 
 p. 69. Arch. Zeitung, xxxv (1877), pp. 67, 58. 
 
 283 (509). Head of Metrodoros. 
 
 Acquired under Pius VI. The nose and bust are re- 
 storations. 
 
 The identification with Metrodoros, the favourite pupil 
 
198 
 
 VATICAN. 
 
 of Epicurus, whom he predeceased, is assured by a double 
 herma in the Capitoline Museum (No. 487), with portraits 
 of both teacher and pupil, attested by inscriptions. The 
 holes in the eyes indicate that the pupils were formed of 
 some other material, perhaps coloured vitreous paste. 
 Compared with the head of Epicurus (No. 288), this head 
 of Metrodoros has a less intellectual appearance, but it 
 exhibits a similar expression of resignation — a resem- 
 blance that illustrates how thoroughly the pupil was pene- 
 trated with his master’s view of life. 
 
 Visconti , Mus. Pio-Clem., vi, 34. Pistolcsi , v, 91. Corap. Braun, 
 Ruinen und Museen, p. 400, No. 125. 
 
 284 (507). Herma of Antisthenes, with the name in- 
 
 scribed. 
 
 Found at Tivoli in the same villa as Nos. 267-274. 
 The nose and fragments on the left cheek and on the hair 
 are restorations. 
 
 Antisthenes is here represented as an old man with 
 withered and deeply- wrinkled face, and with fallen-in lips 
 indicating the loss of his front teeth. The massively built 
 head admirably represents the characteristic peculiarities 
 of the founder of the cynical philosophy - — lofty intelli- 
 gence and powerful will, united with rudeness and head- 
 strong pride. The rough hair and beard, innocent, to all 
 appearance, of comb or brush, proclaim the philosopher 
 who placed man’s highest virtue in the absence of wants. 
 
 Visconti, Mus. Pio-Clem., vi, 35. Pistolesi , v, 91. Schuster , Ueber 
 die erhaltenen Portrats der griechischen Philosophen, T. i, 6, pp. 10, 
 11. Comp. Visconti , Iconografia greca, i, p. 250, note 3. Braun, 
 Ruinen und Museen, p. 401, No. 127. Sitzungsbericbte der phil. 
 Classe der bayer. Akademie, 1892, pp. 675, 676. 
 
 285 (506). Head of Demosthenes, of good workmanship. 
 
 The point of the nose and the bust are restorations. 
 
 Compare No. 30. 
 
 Visconti , Mus. Pio-Clem., vi, 37. Pistolesi, v, 90. Comp. Braun, 
 Ruinen und Museen, p. 401, No. 128. 
 
 It is interesting to compare this with — 
 
SALA DELLE MUSE. 
 
 199 
 
 286 (502). Herma ofiEschines, with the name inscribed. 
 
 Found at Tivoli in the same villa as Nos. 267-274. 
 
 The front of the nose is restored. 
 
 A sharper contrast than is offered by the portraits of 
 Demosthenes and his opponent iEschines can scarcely 
 he imagined. The deep furrows and the expression of 
 restrained earnestness on the countenance of Demosthenes 
 plainly proclaim with what great difficulties the man had 
 to contend, and with what expenditure of force he ad- 
 dressed himself to the contest. iEschines on the other hand 
 has the appearance of a man who is happily blest by 
 nature with a capacity for making the most of himself 
 without much effort, and who has a decided turn for tak- 
 ing things easily. The handsome, somewhat full, face of 
 ^Eschines exhibits only a few slight wrinkles, and wears 
 an expression of peaceful self-consciousness. It produces 
 a distinctly eupeptic impression, in contrast to the weakly 
 constitution of Demosthenes. The skull is on the whole 
 well-shaped, perhaps too shallow in proportion to its 
 length, a peculiarity that suggests a certain want of energy. 
 
 Viscont i, Mus. Pio-Clem., vi, 36; Iconografia greca, i, T. xxixb, 
 p. 341. Pistolesi , v, 90. Comp. Braun , Ruinen undMuseen, p. 402, 
 No. 129. 
 
 287 (500). Reputed Herma of Zeno. 
 
 Greater part of the nose restored. 
 
 A replica in the Louvre proves that this is the por- 
 trait of some widely-known personage. Its identification 
 with Zeno, founder of the Stoic school of philosophy, is 
 based solely upon the assumption that the position of the 
 neck agrees with a statement by an ancient writer that 
 Zeno had a habit of holding his head on one side. But 
 this herma-bust exhibits no attitude corresponding to this 
 statement. The head is rather bent back and the eyes 
 cast up. It would thus appear to represent some man 
 engaged in examining the celestial phenomena, i.e. some 
 famous astronomer. Our first thoughts turn to Aratos, who 
 flourished in the 3rd cent. B.C. and was the founder of the 
 astronomical epos, while his poems were highly esteemed 
 
200 
 
 VATICAN. 
 
 and widely read even among the Romans. And in fact the 
 profile of this Vatican bust agrees in all essential points 
 with that of a named portrait-figure of Aratos occurring 
 on a mosaic discovered at Treves. 
 
 Moreover we have now a satisfactorily authenticated 
 portrait of the founder of the Stoa, viz. a bust in the 
 Naples Museum, on which the name of Zeno is chiselled. 
 Formerly this bust was taken for Zeno the Eleatic, but 
 proof has now been obtained that it is Zeno the Stoic. 
 The latter is known to have sprung from a Phoenician 
 family settled at Cition in Cyprus. In harmony with this 
 origin the bust is of a clever, Semitic type, with an ex- 
 pression curiously blended of irritability and discontent, 
 such as to this day is often seen on the features of Jewish 
 men of letters. 
 
 Visconti , Mus. Pio-Clein., vi, 82; Iconografia greca, i, T. xxiii, 
 pp. 259, 260. Pistolesi , v, 88. Baumeister , Denkm. des kl. Alter- 
 thums, m, p. 2122, Fig. 2376. Comp. Braun , Ruinen and Museen, 
 p. 400, No. 126. Furtwaengler , Masterpieces, p. 65 (where objection 
 is taken to the above explanation). For the mosaic, see Antike Denk- 
 m'aler heransg. vom Arch. Institut,i(1889), T. 48, 3. For the portrait 
 of Zeno the Stoic, see Schuster, Ueber die erhaltenen Portrats der 
 griechischen Philosophen, T. iv, 1, la, pp. 21, 22. Recently (Jahrb. 
 d. Arch. Inst., v, 1890; Arch. Anz., pp. 56-58) the portrait of Aratos 
 has been recognized in the head of a long-bearded old man depicted 
 on coins of Soloe-Pompeiopolis , the birthplace of the poet (best 
 engravings in Imhoof-Blumer , Portratkopfe hellenischer und helle- 
 nisierter Volker auf Miinzen, T. vm, 13, and Sallet , Nnmismatische 
 Zeitschrift, ix, 1882, T. iv, 13, pp. 118, 127, figured under No. 479 
 of this hook; see also Nos. 479, 833, below), and also, from these 
 coins, in a portrait-head in the Villa Albani (No. 833); and this iden- 
 tification is in no wise rendered doubtful by the mosaic figure. For 
 it is not impossible that the same person is represented at dif- 
 ferent periods of life. The mosaic figure and the Vatican head (if the 
 writer is correct in his suggestions above) would then represent the 
 founder of the astronomical epos as a man in his full maturity, the 
 coins and the Albani head as an old man. 
 
 288 (498). Head of Epicurus. 
 
 Found on Dec. 30th, 1789, on the Via Appia near Roma 
 Vecchia. A large part of the skull, of the nose, and of 
 the right ear, and the bust are restorations. 
 
 The identification is assured by a named bronze bust 
 
SALA DELLE MUSE. 
 
 201 
 
 from Herculaneum and by the double-herma (No. 487), 
 already mentioned under No. 283. The numerous disciples 
 of this philosopher established practically an Epicurean 
 cult with his portraits, and consequently we have more 
 portraits of Epicurus than of any other ancient philo- 
 sopher. The heavily drooping eyelids in the beautiful hag- 
 gard face betoken a lassitude produced by exhausting 
 study, while the pained movement of the lips finds its 
 explanation in the physical suffering that racked the great 
 philosopher. But the most outstanding characteristic of 
 all is the prevailing expression of resignation. This is 
 admirably in keeping with the philosophy of Epicurus, 
 who taught that the greatest good was freedom from 
 passion and suffering, not, like his predecessor Aristippos, 
 the actual enjoyment of the passing moment. 
 
 Visconti, Mus. Pio-Clem. , vi, 34. Pistolesi, v, 88. Comp. Riccy, 
 Dell’ antico pago Lemonio, p. 133. Braun , Ruinen und Museen, 
 p. 399, No. 124. Schuster , Ueber die erhaltenen Portrats der griechi- 
 schen Philosophen, p. 23. 
 
 289 (492). Bust of Sophocles. 
 
 Found in 1778 in the garden of the Conservatorio dei 
 Mendicanti (behind the Basilica of Constantine), on a spot 
 that appears to have been the workshop of a sculptor or 
 mason under the Empire. The point of the nose is restored. 
 
 According to the inscription chiselled at the foot (of 
 which the last five letters are almost perfectly preserved), 
 this bust represents Sophocles. Although itself of mediocre 
 workmanship, it is nevertheless of importance as afford- 
 ing authentic evidence for the identification of the cele- 
 brated statue of Sophocles in the Lateran Museum (No. 6 62 ). 
 
 Visconti , Mus. Pio-Clem., vi, 27 ; Iconografia greca, i, T. iv, 1, 2, 
 p. 97. Pistolesi , v, 82. Comp. Bull dell’ Inst., 1839, p. 174. Ann. 
 dell’ Inst., 1846, p. 129. Braun , Ruinen und Museen, p. 391, No. 119. 
 For the excavation, see Visconti , Mus. Pio-Clem., i, pp. 56-58. 
 
 290 (491). Statue of Silenus. 
 
 Found in the Tenuta Torragnola, on the Via Prene- 
 stina, and acquired for the Vatican under Pius VI. from 
 Mr. Thomas Jenkins. 
 
202 
 
 VATICAN. 
 
 Only the lower part of the body, from the ribs down- 
 wards in front and from the shoulder-blades behind, is 
 antique, with the exception of the left leg below the knee ; 
 the rest, including the stem and most of the plinth, is 
 modem. The head (nose and some fragments on the wreath 
 restored) is antique but belongs to another statue. It is 
 totally separated from the antique part of the body by 
 the modern addition, and differs from it both in the 
 quality of the marble and in the style of execution. The 
 melancholy expression which is common among habitual 
 drinkers is reproduced with great realism and much 
 humour. Comp. No. 448. 
 
 Visconti, Mus. Pio-Clem. , i, 45; Millin, Gal. myth., PI. 69, 
 280. Hirt , Gotter und Heroen, T. xvm, 150. Ouigniaut , Rel. de 
 l’ant., PI. 116, 494. Pistolesi , v, 82. Clarac , rv, PI. 729, No. 1750. 
 Muller- Wieseler, Denkm. der alten Kunst, n, T. 41, 502. 
 
 291 (489). Slab from a Frieze, with a Pyrrhic Dance. 
 
 Found near Palestrina. The right arms (hands ex- 
 cepted) of the second and fourth figures from the right, 
 the right hands of the third and fifth figures, and frag- 
 ments on the shields are restorations. 
 
 This relief represents a military dance (Pyrrhiche), an 
 exercise to which the Greeks attached much importance, 
 regarding it also as admirable drill for the young men in 
 tactical movements in battle order. In the centre are 
 two pairs of youths, armed with helmet and shield but 
 otherwise nude, advancing opposite each other on tiptoe 
 with a dancing motion, and holding out their shields on 
 their left arms. At each end of the slab is a youth without 
 a partner, whence we may surmize that the frieze was 
 continued in both directions and presented additional pairs 
 of fighters. The special charm of dances of this sort con- 
 sisted in the rhythmic movements in which the dancers 
 sometimes crossed swords, sometimes smote the shields 
 of their partners, producing a more or less musical effect 
 from the different tones of the clashing weapons. As 
 the swords played a prominent part in these dances, it 
 must strike everyone as remarkable that they are in no 
 
SALA DELLE MUSE. 
 
 203 
 
 way represented on the frieze. It has been suggested that 
 bronze swords were inserted in the right hands of the 
 warriors ; but there is no trace of any arrangement of this 
 kind in the antique hands of the second and fourth figures 
 from the right. Now, the antique right hand of the youth 
 at the right end of the slab does show a hole bored 
 horizontally between the bent fingers and the ball of the 
 thumb, that might have served to hold a bronze blade. 
 As, however, this hole is bored almost horizontally, the 
 sword inserted in it must have projected almost at right 
 angles to the frieze — a quite impossible position. 
 On the other hand, the treatment of this hand contradicts 
 also the alternative theory that the swords were indicated 
 by painting; for the hole effectually prevents any satis- 
 factory transition from the sculptured hand to the painted 
 attribute. We must therefore conclude that the dancers 
 really were represented without swords. In order to make 
 the figures stand out more distinctly, their outlines (espe- 
 cially on the lower and flatter portion) are marked by 
 grooves in the background of the relief. From this cir- 
 cumstance it is probable that the frieze was placed at a 
 considerable height from the ground. Fragments of a base 
 were found a few years ago on the Acropolis of Athens, 
 which bore some object dedicated by Xenocles, son of 
 Xeinis. It was adorned with figures of Pyrrhic dancers 
 like those before us, and may very well have been the 
 model followed by the sculptor of the Vatican relief. 
 
 Visconti , Mus. Pio-Clem., rv, 9. All farther information, see 
 Hauser , Die neu-attischen Reliefs, p. 22, No. 80; comp. p. 150. Die 
 Fragmente der Basis des Xenocles : Von Sybel , Katalog der Sculpturen 
 von Athen, No. 6569; AeAtiov, 1889, p. 97. Comp. Von Liitzow und 
 Rosenberg , Knnstchronik, iv (1892-93), p. 179. 
 
The Rotunda. 
 
 The Mosaic on the floor was found in the principal- 
 chamber of the Thermae at Otricoli. The head of Medusa, 
 now forming the centre of the work, is modern, and there 
 are a few other unimportant restorations. In its original 
 position in the Thermae the centre of the mosaic was oc- 
 cupied by a circular opening, which was used either for 
 letting the water run off or for admitting heated air from 
 the basement. The plan of the room, which was octagonal 
 in shape and covered by a dome, is reflected in the dis- 
 position of the mosaic. Thus the form of the dome is 
 suggested by the round central aperture and by the three 
 concentric and corresponding circles — the first consist- 
 ing of a border of broken lines, the second of a garland 
 of fruit and flowers intermixed with drinking-vessels and 
 masks, and the third of a twisted ornamental border. On 
 the other hand the octagonal arrangement of the walls of 
 the room is repeated in the eight-cornered band of maeander, 
 which surrounds the scale-ornamentation of the centre and 
 is connected by eight similar radiating bands with an outer 
 and larger scheme of mseander-ornamentation, also laid 
 out as an octagon. The larger spaces enclosed by this 
 system of articulation are occupied by pictorial represent- 
 ations, which are, however, so treated as to be distinctly 
 subordinate to the purely decorative work. The eight 
 fields bounded by the innermost of the circular borders, 
 the upper ends of the eight radii, and the inner of the 
 octagonal bands of maeander exhibit conflicts between 
 Greeks and Centaurs. The eight larger fields, bounded 
 on the outside by the exterior band of maeander, are filled 
 
ROTUNDA. 205 
 
 with representations of Nereids, Tritons, and sea-monsters 
 of various kinds. 
 
 Visconti , Mus. Pio-Clem., vn, 46. Pistolesi, v, 102. 
 
 By the door leading to the Boom of the Muses, — 
 292, 293 (537, 538). Two Colossal Female Hermae. 
 
 These were found inserted in shafts of Porta Santa 
 marble, at the entrance to the theatre in Hadrian’s Villa, 
 near Tivoli, during Count Fede’s excavations. In both 
 hermae the greater part of the nose and bust and also of 
 the locks falling on the shoulders has been restored by 
 Cavaceppi. In No. 537 small portions of the garland and 
 upper part of the hair are also restorations. 
 
 The spot in which they were found and the high 
 fashion of wearing the hair, resembling the ‘Onkos’ (top- 
 knot) of the tragedian, seem to indicate that the hermae 
 have a dramatic signification. No. 537, which is crowned 
 with vine-leaves and has a peaceful expression like that 
 typical of Melpomene (No. 271), has thus been identified 
 with the Tragic Muse, while the other, with more melan- 
 choly features, is supposed to be the Muse of Comedy 
 (see the remark on No. 272). No objection can be made 
 to the first of these identifications, but the lofty coiffure, 
 entirely foreign to the Comic Muse, militates against the 
 latter. Those who cling to this interpretation must argue 
 that the sculptor has, for the sake of symmetry, chosen to 
 represent Comedy with an attribute to which she has no 
 title. The tasteful but somewhat tame execution would 
 seem to indicate that the herinse were carved in the time 
 of Hadrian. (It should be noticed that the Museum naming 
 is the reverse of that above.) 
 
 Visconti , Mus. Pio-Clem., vi, 10 (comp, i, p. 253, note); Opere 
 varie, iv, p. 334, No. 109, and p. 335, No. 110. Penna, Viaggio 
 pittorico della Villa Adriana, m, 78, 79. Pistolesi , v, 100. Comp. 
 Welcker's Zeitschrift, p. 454. Beschreibung der Stadt Rom, n, 2, 
 p. 224, No. 12. Braun , Ruinen und Museen, p. 429, No. 144. 
 
 294 (539). Colossal Head of Zeus, in Luna marble. 
 
 Found at Otricoli during the excavations carried on 
 by Pius VI. towards the close of last century. The front 
 
206 
 
 VATICAN. 
 
 alone is ancient, and even here part of the left side of the 
 forehead, the end of the nose, the lower extremities of 
 the hair, and the bust are restorations. 
 
 The artist who created this type was anxious to de- 
 pict the Father of the Gods in the most imposing form 
 possible at the period in which he flourished. The lofty 
 forehead awakes an impression of the deepest wisdom, 
 the vault of its base betokens gigantic energy, and the 
 fold across the middle shows earnest thoughtfulness. The 
 eyes, sunk deep in their sockets, look downwards with a 
 calm and steadfast gaze, with which is mingled something 
 of the mysterious and the unfathomable. This last ex- 
 pression is due mainly to the double shadows which fall 
 upon the eyes, the stronger cast by the lofty bridge of 
 the nose and the overhanging brow, the weaker by the 
 prominent eyelids. It is also evident that, according to 
 the practice at the date of the execution of the colossal 
 statue to which it belonged (comp. No. 301), the head 
 was originally inclined farther forward. In this position 
 it is obvious that the shadows enveloping the eyes 
 would be deeper and more extensive than in the present 
 upright attitude. The quiet and simple outline of the 
 nose shows firmness of character, while the slightly open 
 mouth combines mildness and majesty in a most won- 
 drous manner. The hair and beard are more significant 
 in this type than in any other. Tt is as though some su- 
 perabundant divine force were rolling and streaming both 
 upwards and downwards’ ( Burckhardt ) . The full beard, 
 with its flowing and symmetrically arranged locks, forms 
 the necessary base for the massive structure of the face 
 above it. The moustache is heavily under-cut and so casts 
 a deep shadow, which considerably modifies the somewhat 
 sensuous expression of the full lips. 
 
 A peculiar charm attaches to this type inasmuch as 
 while it represents Zeus in a state of calm equilibrium, 
 it at the same time hints at influences that might in ap- 
 propriate circumstances otherwise affect the expression of 
 the Father of the Gods. Wherever it can fittingly be done, 
 
ROTUNDA. 
 
 207 
 
 an indication is given of the motions of which the different 
 features are capable. The fold across the forehead indi- 
 cates how the brows may be raised or knitted. The play 
 of the eyebrows is suggested by the difference in their 
 treatment; the right eyebrow is arched, while the left 
 eyebrow extends in a straight line from the root of the 
 nose, and does not curve downward until above the outer 
 corner of the eye. Similarly the slightly expanded nos- 
 trils, the half-opened mouth, and the waving hair suggest 
 that the transition from a state of rest to a state of action 
 is not far off. It is thus comparatively easy to imagine 
 another expression on the countenance than that fixed by 
 the artist — to imagine it, for example, as beneficently 
 smiling or angrily frowning. 
 
 This character gives the most emphatic contradiction 
 to the opinion formerly current, that the Zeus Otricoli was 
 copied from the Olympian statue by Pheidias. A glance 
 at the adjacent statue of a matronly divinity (No. 297 ; in 
 catalogue No. 542), which may with certainty be referred 
 to an Attic original of the great period, proves at once that 
 the type represented in the Zeus Otricoli cannot possibly 
 be a product of the same development of art. Moreover 
 reproductions of the head of the Olympian Zeus have been 
 preserved on several coins struck under Hadrian (Fig. 14) 
 and on one struck at Elis under Septimius Severus. In 
 these heads we recognize the calm majesty that charac- 
 terizes all the creations of the great Attic period. The 
 profile shows the calm outline, which we are accustomed 
 specifically to call the ‘Greek’ profile ; the hair lies close 
 to the head and hangs down in straight, soft locks; and 
 the full beard also developes itself in vertical locks. 
 
 The Zeus Otricoli is thus a reproduction, not of the 
 ideal of Pheidias, but of a type created at a later period, 
 though based on that ideal. Lysippos has been named in 
 this connection as an artist whose types share with this 
 head of Zeus certain essential peculiarities, such as the 
 projecting brows, the fold across the forehead, and the 
 piled-up hair. But when we reflect that the types of 
 
208 
 
 VATICAN 
 
 Lysippos are more distinguished for lifelike represent- 
 ation of the physical organism than for intellectual con- 
 tent, it appears unlikely that this artist of all others 
 should have subjected the traditional type of the supreme 
 god to so important and so comprehensive a modification. 
 Such a modification is incomparably more in the spirit of 
 the Second Attic School; and there is a tradition that 
 
 Fig. 14. 
 
 statues of Zeus were carved by Bryaxis and Leochares, 
 two artists of the later development of this school. The 
 formal peculiarities, which have been urged in favour of 
 referring the Zeus Otricoli to Lysippos, can also be 
 traced, though not all in any one case, in types dating 
 from the Second Attic School. 
 
 Visconti , Mus. Pio-Clem., vi, 1. Muller -Wieseler, Denkm'aler der 
 alten Kunst, ii, T. i, 1. Overbeck, Kunstmythologie, n, p. 74, No. 1, 
 p. 669, note 81 ; Atlas, n, 1, 2. Baumeister , Denkm'aler des klass. 
 Alterthums, hi, p. 1317, Fig. 1461. Brunn und Bruclcmann , Denk- 
 maler grie chi seller und romiseher Sculptur, No. 130. Comp. Burclc- 
 hardt’s Cicerone, i 5 , pp. 72, 73. Brunn , Griechische Gotterideale, 
 pp. 72 et seq., p. 98. Furtwaengler , Masterpieces, pp. 190, 342. 
 
 295 (540). Colossal Statue of Antinoos as Dionysos. 
 
ROTUNDA. 
 
 209 
 
 Found fay Gavin Hamilton afaout 1795 in an ancient 
 villa near Palestrina (Prseneste) ; placed successively in 
 tfae Palazzo Braschi and the Lateran Museum. Frag- 
 ments on tfae wreath, the pine-cone, nearly all the fingers 
 of the left hand and fragments of those on the right, the 
 thyrsos, and the robe are restorations. 
 
 The favourite of Hadrian is here represented as Dio- 
 nysos, as is indicated by the ivy-wreath and the mystic 
 cista on the plinth. The restorations, made by the sculptor 
 Pierantoni under Gavin Hamilton’s directions, are doubt- 
 less correct. A deep depression on the front of the head 
 suggested the addition of the pine-cone, which in anti- 
 quity, however, was probably made of gilded bronze and 
 not of marble. That the left hand rested upon a thyrsos 
 was proved by the raising of the left arm and by a round 
 hole on the plinth that could only have served to receive 
 the end of a shaft. The portions of the body now covered 
 by the drapery are only roughly blocked out and retained 
 some remains of bronze, so that they must originally have 
 been covered by a bronze mantle or nebris. The present 
 marble mantle is modern. 
 
 The head admirably suggests the half sensuous, half 
 gloomily mystic nature of the Bithynian youth, who prob- 
 ably had a pale complexion with dark eyes and blue- 
 black hair. 
 
 Guattani , Monumenti antichi inediti, 1805, T. n, pp. vin-xvn. 
 Levezow , Antinous, T. vii, vm, pp. 85, 86. Clarac , v, PI. 947, 
 No. 2428. Garrucci , Monumenti del Museo Lateranense, T. v, p. 15. 
 Dietrichson , Antinoos, PI. n, 4, p. 175, No. 10. Comp. Braun , Rui- 
 nen und Mnseen, p. 729, No. 1. Friederichs- Wolters , Bausteine, 
 No. 1660. 
 
 296 (541). Colossal Head of the Elder Faustina (d. 141 
 
 A.D.), wife of Antoninus Pius. 
 
 Found at Hadrian’s Tiburtine Yilla , in tfae ‘Panta- 
 nello’, a marsfa drained in tfae course of excavations car- 
 ried on fay Gavin Hamilton. Most of tfae cranium and 
 ears, tfae nose, and tfae bust are restorations. 
 
 This is a fine example of the genuine Roman female 
 type, of mingled energy and sensuousness. In the case of 
 this and other colossal heads in the same room we must 
 
 Helbig, Guide I. 14 
 
210 
 
 . VATICAN. 
 
 remember that their present low position deprives them 
 of a good deal of the effect originally intended by the 
 sculptors. 
 
 Visconti , Mus. Pio-Clem., vi, 49. Pistolesi,y , 103. Penna, Viaggio 
 pittorico della Villa Adriana, iv, 90. Comp. Braun , Ruinen und 
 Museen, p. 425, No. 152. Bernoulli , Rom. Ikonographie, ii, 2, p. 154. 
 No. 11, pp. 157, 158. 
 
 297 (542). Colossal Statue of Hera (?). 
 
 As this was formerly in the court of the Cancelleria, 
 we may surmize that it was one of the colossal statues 
 erected near the Theatre of Pompey, which stood in that 
 neighbourhood. The restorations include the front of the 
 nose and the adjoining part of the upper lip, the lower 
 lip , part of the chin , the edges of the ears, both arms, 
 various fragments on the robe , the right foot with the 
 adjacent end of the chiton, four toes on the left foot, and 
 most of the plinth. 
 
 This figure is evidently that of a matronly goddess, 
 and identification hesitates betwixt Hera and Demeter. 
 Two holes in the fillet round the head of the statue, 
 which must certainly have been used to fasten some bronze 
 article, prove that the head was furnished with a stephane 
 or diadem. This, however, is not of itself sufficient to en- 
 able us to assign a definite name to the figure, as not only 
 Hera, but also Demeter (comp. No. 880) wore an orna- 
 ment of this kind. The conclusion that it is the former 
 goddess is supported by the Capitoline statue, No. 507, 
 which reproduces a later development of the Vatican 
 figure and is more probably Hera than Demeter. The 
 raised left hand apparently rested on a sceptre, the ex- 
 tended right hand , if Hera be the goddess represented, 
 probably held a sacrificial cup. The dignified forms of 
 the statue, its firm attitude, the severe arrangement of 
 the folds, and the calm expression of the face, all point 
 to an original created in the school of Pheidias. The head 
 shows a close resemblance with the head of the Nemesis 
 of Rhamnos, a fragment of a work by Agoracritos, a 
 pupil of Pheidias. 
 
 Visconti , Mus. Pio-Clem., ii, 27. Overbeck , Kvmstmythologie, iii, 
 p. 445, p. 462, No. 12, p. 464; Atlas, xiv, 22. Brunn und Bruck- 
 
ROTUNDA. 
 
 211 
 
 raanw, Denkmaler griech. und rom. Sculp tur, No. 172. Comp. Ro- 
 rnische Mittheilungen, iv (1889), pp. 65 et seq. Jahrbuch des Arch. 
 Instituts, y (1890), p. 92. Eranos Yindohonensis (Wien, 1893), 
 p. 18. Boscher , Lexikon d. griech. u. rom. Mythologie, ii, p. 1354. 
 Furtwaengler , Masterpieces, pp. 85-88, p. 88, note 4, Fig. 35. On 
 the fragment of the Nemesis statue: Athen. Mittheilungen, xv (1890), 
 p. 64. 
 
 298 (543). Colossal Head of Hadrian (d. 138 A.D.). 
 
 Fragments on the ears and the bust are restorations. 
 Among the portraits of Hadrian at a mature age, two 
 types may be distinguished — a realistic type, which repre- 
 sents the nervous affection of the emperor very distinctly, 
 and an idealistic type, which omits this characteristic and 
 lends the face the aspect of sound health. The head before 
 us is one of the best extant examples of the latter type. 
 It formerly stood (with a modern bust) in the Castel 
 
 S. Angelo along with a colossal head of Antoninus Pius, 
 and it has therefore been surmized that both heads form- 
 ed part of the plastic decoration of the tomb of Hadrian, 
 which was afterwards converted into the fortress known 
 as the Castel S. Angelo. Antoninus Pius completed this 
 monument in 139 A.D., transferred to it the ashes of his 
 predecessor from their temporary burial-place in a villa 
 (once Cicero’s) at Puteoli, and was himself afterwards in- 
 terred here. We may therefore well suppose that this 
 tomb contained not only portraits of Hadrian, but also at 
 least one statue of Antoninus. 
 
 Visconti , Mus. Pio-Clem., vi, 45; Opere varie, iv, p. 282, No. 9. 
 Pistolesi , v, 105. Bernoulli , Rom. Ikonographie , ii, 2, T. xxxvi, 
 p. Ill, No. 34, p. 119. Brunn und Bruclcmann , Denkmaler, No. 250. 
 Comp. Aldroandi in Mauro , Le antichitk di Roma (1558), p. 140. 
 Braun , Ruinen undMuseen, p. 433, No. 149. Sitzungsberichte der 
 Berliner Akademie, 1886, pp. 12, 13. — The best example of the 
 realistic type is in Herr Karl Jacobsen’s Glyptothek at Copenhagen. 
 The Museo Torlonia contains two inferior specimens ; see I monu- 
 menti del Museo Torlonia reprodotti con la fototipia, T. cxl, 545, 
 
 T. cxli, 546. 
 
 299 (544). Colossal Statue of Heracles, in gilded bronze. 
 
 Found in 1864 In digging the foundations for a house 
 in the court of the Palazzo Pio (now Pal. Righetti), in the 
 
 14* 
 
212 
 
 VATICAN. 
 
 Piazza Biscione. The space between the Palazzo Righetti, 
 the church of S. Andrea della Valle, and the Via dei 
 Chiavari was occupied in antiquity by the Theatre of 
 Pompey, so that in all probability this statue was one of 
 the works of art erected beside this theatre. It was found 
 lying in a cavity, the walls of which were formed of 
 blocks of peperino, while the opening was closed with 
 slabs of the same material. Probably it was concealed 
 in this manner to protect it from the fanaticism of the 
 Christians or the destructive fury of the barbarians. But 
 it had been somewhat injured before it was placed in its 
 hiding-place. It seems to have fallen from its pedestal 
 and to have lighted on its head, to judge from the some- 
 what flattened condition of the latter. The bronze frag- 
 ment forming the hack of the head, the apples of the 
 Hesperides which, according to all analogy, were prob- 
 ably held in the left hand , and the left foot seem to 
 have been lost at the same time, for these portions were 
 not found with the statue hut have been added by the 
 restorer, with the exception of the still incomplete back 
 of the head. The pubis was also removed. Only a few 
 fragments of the club were found, and these have been 
 utilized by the restorer. 
 
 The statue represents Heracles as a powerful young 
 man, his right hand resting on his club, his left forearm 
 covered by the lion’s skin. The apples of the Hesperides 
 in the extended left hand are modern, but their presence 
 is vindicated by other monuments. In order to obtain an 
 idea of the statue as it originally was, the beholder must 
 above all make an allowance for the present state of the 
 head, which has been flattened by its fall. Before it was 
 reduced to its present condition, this head certainly pre- 
 sented a finer oval ; and, so far as the original shape can 
 now be determined, appears to have been a farther devel- 
 opment of the type represented in Nos. 121, 417, and 
 604, probably invented by Scopas. 
 
 Whether this statue was executed in the time of Pom- 
 pey and for the decoration of his theatre, or at a later 
 period, perhaps under Tiberius, who restored that theatre 
 after a fire, cannot be determined, owing to the small 
 number of chronologically dated bronze colossi known to 
 us. The execution reveals remarkable variety. The bony 
 
ROTUNDA. 
 
 213 
 
 parts of the body, especially the chest and the knees, are 
 much more successfully treated than the abdomen, which 
 produces a stiff and hard effect. 
 
 Mon. dell’ Inst., vm, 50; Ann., 1868, pp. 195 et seq. Roscher , 
 Lexikon der griech. und rom. Mythologie, i, p. 2179 a. Comp. Bull, 
 dell’ Inst. 1864, pp. 227 et seq. Romische Mittheilungen, rv (1889), 
 pp. 213, 214. Lutzow , Zeitschrift fiir bildende Kunst, new series, ii 
 (1891), p. 255 ; Furtwaengler , Masterpieces, p. 296, note 3. 
 
 300 (545). Colossal Bust of Antinoos. 
 
 Found in 1790 by Count Fede in the Tiburtine Yilla 
 of Hadrian. The nose and various fragments have been 
 restored. 
 
 In this bust Antinoos is less idealized than is usually 
 the case, a circumstance perhaps to be explained by the 
 fact that he is here represented without any divine attri- 
 bute. The bust has been hollowed to make it lighter to 
 carry, a frequent device. In front the junction with the 
 pedestal is covered by acanthus-leaves. 
 
 Visconti , Mus. Pio-Clem., vi, 47 (comp. Opere varie, iv, p. 282, 
 No. 10). Pistolesi , v, 105. Levezow , Antinoos, T. ii, p. 27. Penna, 
 Viaggio pittorico della Yilla Adriana, iv, 120. Dietrichson , Anti- 
 noos, PI. ii 6 , pp. 145 et seq., p. 180, No. 14. Comp. Braun , Ruinen 
 und Museen, p. 434, No. 150. 
 
 301 (546). Colossal Statue of Hera. 
 
 Found on the Viminal, below the monastery of S. Lo- 
 renzo in Panisperna (comp. Nos. 200, 201), in the course 
 of excavations conducted by Lionardo Agostini on behalf 
 of Cardinal Francesco Barberini ( Bartoli in Fea, Miscell., 
 i, p. 226, No. 16 ; Venuti , Descriz. delle antichita di Roma, 
 pub. by Piale, i, p. 180). The arms were originally formed 
 of separate pieces and inserted. The nose, right arm, 
 left forearm, various fragments of the mantle, and most 
 of the plinth are restorations. The surface, especially on 
 the head, has suffered from reworking. 
 
 The general effect of this statue is impressive, although 
 its execution is in many points destitute of feeling and 
 even in some points almost dry. A distinguished archaeo- 
 logist affirms that both the forms of the head and the 
 treatment of the chiton, which is represented as a thin, 
 transparent fabric, leaving bare the upper part of the left 
 
214 
 
 VATICAN. 
 
 breast ? recall tbe type of Aphrodite discussed under 
 No. 915. This type is referred, with great plausibility, to 
 Alcamenes, a pupil of Pheidias, and our authority con- 
 sequently supposes that the original of the Vatican statue 
 was a work of the same artist. The formation of the head 
 of the two types seems to the writer, however, radically 
 different ; and the treatment of the chiton, though similar, 
 is not identical, as in the Vatican statue it shows greater 
 softness than in the best replicas of the Aphrodite type. 
 Nevertheless the statue recalls in many respects an art 
 related to that of Pheidias. The simple and imposing 
 formation of the head, and also the somewhat compressed 
 form of the body correspond to the traditions of this art. 
 The character of the chiton may also be considered as 
 an immediate development from the treatment of the 
 Daughters of Kekrops in the pediment of the Parthenon 
 and that of the Aphrodite type already referred to. On 
 the other hand the artificial arrangement of the mantle 
 breathes the spirit of a later period. The same conclusion 
 is suggested by the appearance of Hera in a chiton which 
 evidently aims at sensuous charm. Even a superficial 
 acquaintance with the history of Greek art is enough to 
 convince us that a motive of this kind, in a representation 
 of the goddess who was, in a measure, the ideal of the 
 wife, could not have found expression before the time of 
 Alexander the Great. Now we know that the Greek artists 
 of the Hellenistic epoch frequently studied the creations 
 of an earlier art and reproduced them, more or less mod- 
 ified to suit the taste of their contemporaries (comp. 
 No. 532). It may, therefore, well be asked whether the 
 Vatican Hera is not a Hellenistic hybrid of this sort. In 
 this connection we may remember that tradition reports, 
 among the numerous Greek sculptors who flourished at 
 Rome in the second half of the second century B.C. 
 (especially in the service of Metellus Macedonicus), the 
 names of two who produced statues of Hera. The statue 
 which stood in the Temple of Juno, within the Portico 
 of O eta via, was the work of Dionysios; while in the same 
 
ROTUNDA. 
 
 215 
 
 neighbourhood there was another statue of that goddess, 
 by Polycles. The supposition that these Greek sculptors 
 in Rome busied themselves with reproductions rather than 
 with original creations is probable in itself, and receives 
 confirmation from a portrait-statue found on the island of 
 Delos and inscribed as the work of Dionysios and Tim- 
 archides. It is quite obvious that in this statue, which 
 represents a Roman, Gaius Ofellius Ferus, the two sculp- 
 tors have been influenced by the Olympian Hermes of 
 Praxiteles (comp. No. 79). Thus, in attempting to classify 
 such a combination of early- Attic and Hellenistic ele- 
 ments as is offered by the Vatican Hera, we must take 
 into consideration the statues of this goddess by Dionysios 
 and Polycles, especially as their public position must have 
 made them universally known and therefore likely ob- 
 jects of imitation. 
 
 On the edge of the mantle of the Vatican statue a 
 triple seam is indicated by light chisel-marks, but as the 
 plastic effect of these is very slight, the seam was probably 
 emphasized by colour or gilding, a fact which implies 
 colouring in other parts of the statue also. 
 
 Visconti , Mus. Pio-Clem., i, 2. Muller- Wieseler , Denkmaler der 
 alten Kunst, n, 4, 56. Buumeister , Denkmaler des klass. Alter- 
 thums, i, p. 647, Fig. 715. Overbeck , Kunstmythologie, hi, pp. 54- 
 58, p. 56, No. 1, note b, p. 93, No. 11, p. 115, No. 4 ; Atlas, ix, 10, 
 x, 33. Brunn und Bruckmann , Denkmaler griech. und rom. Sculptur, 
 No. 172. Roscher , Lexikon der griecli. und rom. Mythologie, i, 
 pp. 2114, 2115. For the portrait-statue discovered in Delos, see 
 Bulletin de correspondance hellenique, v (1881), PI. 12, pp. 390- 
 396. Comp. Overbeck, Geschichte der griech. Plastik, n 4 , p. 430. 
 Furtwaengler , Masterpieces, p. 82. 
 
 302 (547). Colossal Herma; Personification of an Arm 
 of the Sea. 
 
 Found at Pozzuoli, and sold by Gavin Hamilton to 
 Clement XIV. The restorations include the tops of both 
 horns, the nose, most of the upper lip, all the lower lip, 
 the front of the dolphin projecting from the right side of 
 the beard, and the right shoulder of the bust. 
 
 The massive head, from which two short thick horns 
 project, is turned somewhat to the left and slightly tilted 
 
216 
 
 VATICAN. 
 
 backward. The wide-open, staring eyes gaze into the 
 distance with a yearning expression, and the mouth seems 
 to open in a gentle sigh. The eyebrows are formed of 
 sea-weeds; and similar plants cover the breast and the 
 junction of the beard with the cheeks and the chin. The 
 hair and beard hang down, heavy with moisture, and 
 within the beard play two little dolphins, whose lines 
 indicate the outline of the part of the face beneath the 
 beard. Waves treated in a pictorial fashion wash the 
 lower part of the bust. Since all these peculiarities refer 
 to the sea, the herma has been explained as Oceanos or 
 as the marine soothsayer Glaucos. But both of these 
 identifications are negatived by the wreath of grapes and 
 vine-leaves on the head. Such an attribute would have 
 no sense on any mythological form representing the sea 
 generally, but it would be entirely in place on the per- 
 sonification of some particular part of the sea, on whose 
 coasts vineyards flourish. The soft and little accentuated 
 forms of the head and the slight air of exhaustion that 
 mingles with the yearning expression have been taken by 
 one scholar as typifying the broken power of the waves 
 dashing against the shore, and he has endeavoured to 
 harmonize with this idea the short horns, that evidently 
 could do no serious injury. Whatever may be our opin- 
 ion as to this view, it is perfectly clear that the bust 
 personifies some bay or harbour. The type was invented, 
 probably by Hellenistic art, as the personification of some 
 gulf or haven in the eastern part of the Mediterranean. 
 Graeco-Roman art may then have transferred it to the sim- 
 ilar seaboard of Italy ; and it is at least possible that at 
 Puteoli, where it probably adorned the villa of some 
 wealthy Roman, this herma passed for the personification 
 of the vine-girt Gulf of Baiae. 
 
 Visconti , Mus. Pio-Clem., vi, 5. Bouillon , Musee des antiques, 
 i, 65. Come, Heroen- und Gottergestalten , T. xx, 2. Baumeister, 
 Denkmaler des klass. Alterthums, n, p. 913, Fig. 987. Brunn und 
 Bruckmann , Denkmaler, No. 136. Brunn , Griechische Gotterideale 
 T. vi, pp. 68 et seq. For farther details, see Friederichs-Wolters, 
 Bausteine, No. 1544. 
 
ROTUNDA. 
 
 217 
 
 303 (548). Colossal Statue of Nerva (d. 98 A.D.). 
 
 Of the upper part, the nose , left ear, and hoth arms 
 with the mantle covering the left are restorations hy Ca- 
 vaceppi. Of the lower part, the feet, the rock-seat, and 
 the garment covering the rock are modern. 
 
 The upper portion, found near Aurelian’s Wall, be- 
 tween the Lateran and S. Croce in Gerusalemme, is part 
 of a statue which represented Nerva in the style of the 
 seated Zeus. We must suppose the right arm to be sup- 
 ported on a sceptre. In such imperial statues usually the 
 head alone is from life, the body being ideally treated 
 (comp., £.y., Nos. 93, 650); but in the present case the 
 sculptor has paid a certain modified regard in the char- 
 acter of the body to the feeble constitution of the aged 
 emperor. A ring of holes on the head shows that the 
 latter wore a metal wreath, which may have been either 
 a wreath of laurel (as the restorer has assumed) or a corona 
 civica of oak-leaves. This torso of Nerva is placed upon 
 the lower part of another seated male figure. As in the 
 case of all seated statues designed for lofty pedestals, 
 this is treated as though on a slightly sloping plane. 
 Such a method of treatment permits the entire develop- 
 ment of the form to be seen at a glance, whereas in the 
 case of modern seated statues on a flat plane , the thigh 
 is not seen when the figure is looked at from in front, 
 and so the body appears foreshortened and out of pro- 
 portion. Thorwaldsen’s statue of Pius VII. in St. Peter’s 
 is a case in point. 
 
 For the upper part (before restoration) : Cavaceppi, Raccolta di 
 antiche statue, n, 51. For the statue in its present condition: 
 Visconti , Mus.Pio-Clem., hi, 6. Pistolesi , v, 107. Clarac, v, PI. 941, 
 No. 2410. Overbeck , Gescliichte der gr. Plastik, n 4 , p. 507, Fig. 234 f, 
 p. 509. Bernoulli , Rom. Ikon., n, 2, T. xxiii, p. 5, p. 69, No. 4, 
 pp. 70, 71. Brunn und Bruckmann , Denkmaler, No. 165. Comp. 
 Braun , Ruinen und Museen, p. 432, No. 147. 
 
 304 (549). Colossal Bust of Serapis. 
 
 Found at the ninth milestone on the Yia Appia, near 
 the Fratocchie. The modius , with the exception of the 
 lowest part resting immediately on the head, is modern; 
 
218 
 
 VATICAN. 
 
 also the nose, a large piece at the hack of the head , and 
 various fragments on the hair and robe. 
 
 For the Serapis-type, see No. 241. As is usually the 
 case in white marble representations of this god, the ex- 
 pression of benevolence dominates that of melancholy. 
 Serapis was also worshipped as a god of the sun and 
 sometimes receives the title Helios or Sol (comp. 
 No. 521), and this head was surrounded with a metal 
 aureole of rays, which were fastened in the holes bored 
 in the fillet. The execution seems to date from the time 
 of the Antonines, judging especially from the minute 
 manner in which the hair is worked with the drill and 
 from the mechanical expression of the pupils. 
 
 Visconti , Mus. Pio-Clem., vi, 15 (comp. Opere varie, rv, p. 281, 
 No. 7). Muller- Wieseler , Denkmaler der alten Kunst, i, 70, 390. 
 Come, Heroen- und Gottergestalten, T. xi, 1. Overbeck , Kunst- 
 inythologie, ii, p. 307, No. 1 ; Atlas, m, 8. Baumeister , Denkmaler 
 des klass. Alterthums, m, p. 1548, Fig. 1613. All other references, 
 see Friederichs-WolterSi Bausteine, No. 1513. 
 
 305 (550). Statue of Claudius (d. 54 A.D.). 
 
 Found in 1865 at Civita Lavinia (Lanuvium). Both 
 arms and both ears (the latter having been originally of 
 separate pieces of marble), fragments on the robe, and 
 the upper part of the eagle are restorations. 
 
 The emperor is here represented as Jupiter, crowned 
 with the corona civica of oak-leaves, and with the eagle 
 beside him. The restorer is right in placing a sceptre in 
 the left hand, but it may be questioned whether the right 
 did not grasp a thunderbolt instead of a cup. While the 
 body presents the ideal forms of the Jupiter- type , the 
 head is obviously a faithful portrait, offering in its limited 
 expression a striking contrast to the ideal forms and attri- 
 butes of the body. The front of the statue is carefully 
 finished, while the back is but roughly worked, suggesting 
 that it was intended to stand in a niche. The curved shape 
 of the back of the base seems to corroborate this idea. 
 
 Ann. dell’ Inst., 1872, Tav. d’agg. E, pp. 56-61. Bernoulli , 
 Romische Ikonographie, n, 1, T. xvn, p. 332, No. 5, pp. 353, 354. 
 Comp. Bull, dell’ Inst., 1865, pp. 227, 228. A statue of Claudius 
 
ROTUNDA. 
 
 219 
 
 corresponding with this in essential details was found at Olympia : 
 Ausgrahungen zu Olympia, m, T. xix, 2; xx, 3, p. 13. Loewy , In- 
 schriften griech. Bildhauer, No. 332. 
 
 306 (551). Colossal Head of Claudius, with tbe corona 
 
 civica of oak-leaves. 
 
 Found, at Otricoli. The front of the wreath with the 
 adjoining part of the head, the greater part of the back 
 of the head , and various unimportant fragments are 
 restorations. 
 
 This head appears to be freely idealized (comp. No. 7) 
 in contrast to other portraits of Claudius (Nos. 53, 305). 
 
 Visconti , Mus. Pio-Clem., vi, 41. Pistolesi , v, 110. Bernoulli , 
 Romische Ikonographie, ii, 1, p. 332, No. 6, p. 333, Fig. 49. 
 
 307 (552). Colossal Statue of Juno Sospita (Sispita). 
 
 Formerly in the court of the Palazzo Paganica , and 
 acquired under Pius VI. The restorations include the 
 nose, the lower part of the face, the arms and attributes, 
 all the projecting ends of the goatskin, fragments of the 
 drapery , all the lower part from a little above the feet, 
 the plinth, and the serpent on the plinth. 
 
 The goatskin drawn over the head and fastened by 
 the forefeet and also by a girdle about the breast identi- 
 fies this statue as that of Juno Sospita (or Sispita), a god- 
 dess whose chief seat was in Lanuvium, whence she is 
 also named Juno Lanuvina. Her type is exactly known 
 from Homan family-coins and from coins of Antoninus 
 Pius. Founding upon these representations, the restorer 
 is probably correct in the position and attributes he has 
 assigned to the extremities, and is perhaps also justified 
 in adding the serpent, for that reptile played a prominent 
 part in the cult of the Lanuvian deity. The attitude of 
 the figure and the archaistic treatment of the folds are 
 apparently influenced by some earlier image, whereas the 
 head exhibits a freer style. The over-minute care be- 
 stowed upon the details points to the age of the Anto- 
 nines, so that we may reasonably conjecture that the 
 statue was carved under Antoninus Pius, who was born 
 at Lanuvium and, as his coins prove, paid special rever- 
 ence to the chief goddess of his native town. 
 
220 
 
 VATICAN. 
 
 Visconti , Mus. Pio-Clem., n,21. Muller- Wieseler , Denkmaler der 
 alten Kunst, n, 5, 63 a. Conze , Heroen- und Gottergestalten, T. v. 
 Baumeister , Denkmaler des klassischenAlterthums, i, p. 764, Fig. 818. 
 Overbeck , Kunstmythologie, in, pp. 160-163 (farther bibliography, 
 ib., p. 161, note f) ; Atlas, x, 36. Roscher : n, Lexikon, p. 606. 
 
 308 (553). Colossal Head of Plotina. 
 
 Formerly in the Villa Mattei. The nose, parts of the 
 ears, the plait of hair, and the bust are restorations. 
 
 This head distinctly portrays the noble and energetic 
 character that distinguished the consort of Trajan. It is 
 doubtful whether it was executed before the death of Tra- 
 jan, or afterwards, under Hadrian, who highly revered his 
 benefactress and adoptive mother and decreed her apo- 
 theosis after her death in 129 A.D. The pupils are re- 
 presented by a sharp chiselled circle enclosing a hook- 
 shaped incision ; thus proving that this plastic manner of 
 representing pupils came into use for colossal statues 
 under Trajan or soon after his death. It was not gener- 
 ally introduced into marble works of smaller dimensions 
 until the time of the Antonines. 
 
 Monumenta Mattbaeiana, ii, T. 15, 2. Visconti , Mus. Pio-Clem., 
 vi, 44 ; Iconographie romaine, in, p. 22, PI. 37, Nos. 1, 2. Pistolesi , 
 v, 110. Comp. Braun, Ruinen und Museen, p. 433, No. 148. Ber- 
 noulli , Rom. Ikon., n, 2, p. 93, No. 2. 
 
 309 (554). Colossal Head of Julia Domna (d. 217 A.D.). 
 
 Found in the Tenuta del Quadraro, outside the Porta 
 S. Giovanni. The point of the nose, the bust, and the 
 entire hair are restorations. The hair seems originally to 
 have been of a separate piece, which could be taken off 
 and replaced by another, to suit the changing fashions of 
 dressing the hair (comp. No. 114). 
 
 This, the largest extant female portrait of the Grseco- 
 Eoman period, represents Julia Pia (Domna), the Syrian 
 consort of the Emperor Septimius Severus. It affords an- 
 other striking proof that the art of portraiture still main- 
 tained a high level at the end of the 2nd, or beginning 
 of the 3rd cent. A.D. The difficult task of giving effect 
 to the feminine grace in spite of the colossal dimensions 
 is very successfully performed. 
 
ROTUNDA. 
 
 221 
 
 Visconti , Mus. Pio-Clem., vr, 54; Iconographie romaine, m, 
 p. 108, PI. 48, Nos. 1,2. Pistolesi , v, 110. Muller- Wieseler, Denk- 
 maler der alten Kunst, i, T. 71, 401. Comp. Riccy, Dell’ antico 
 pago Lemonio, p. 123, No. 64. Braun , Rumen und Museen, p.436, 
 No. 154. 
 
 310 (555). Statue of the Genius of Augustus. 
 
 Formerly in the Palazzo Caraffa-Colubrano at Naples. 
 The nose, lower lip, right forearm with the patera, left 
 forearm with the end of the cornucopia, and most of the 
 drapery over the left arm are modern. 
 
 According to old Roman ideas, every male being and 
 every object or personification regarded as of the mas- 
 culine sex had its ‘genius’, or special protecting spirit. 
 It was an ancient custom to worship the genius of a friend 
 or benefactor and to sacrifice to it on his birthday; and 
 the transference of the custom to the genius of the Em- 
 peror was easy and natural. Augustus himself regulated 
 the cult by decreeing that his genius should be revered 
 along with the Lares in all cross-road shrines. In Pom- 
 peian mural paintings the genius of the head of the fam- 
 ily appears sometimes alone, sometimes between the 
 two Lares, or between the Lares and Penates. It is re- 
 presented with a toga over the head, holding a cornu- 
 copia in the left hand, and offering a libation from a cup 
 in the right. We may presuppose a similar method of 
 representation for the genii of the Emperor, so that the 
 restoration of the right arm with the patera in the statue 
 before us may pass as authenticated. 
 
 That the head is a portrait of the Emperor appears to 
 the writer unquestionable. Though the brow is more 
 vaulted and the hair fuller than in other portraits of him, 
 yet these trifling variations are satisfactorily explained 
 by the fact that not the mortal, but the genius or abstrac- 
 tion is here represented, which would naturally prompt 
 the artist to idealize. The execution is not very careful, 
 but fresh and clever, as is frequently the case in sculp- 
 tures found in Campania. 
 
 Visconti , Museo Pio-Clem., m, 2. Hirt, Bilderbuch, T. 26, 13. 
 Pistolesi, v, 104. Clarac , v, PI. 920, No. 2338. Comp. Welcker's 
 
222 
 
 VATICAN. 
 
 
 Zeitschrift, p.348. Bernoulli , Rom. Ikonographie , n, 1 , p. 31. 
 No. 16, p. 71. 
 
 311 (556). Colossal Head of Pertinax (d. 193 A.D.). 
 
 Formerly in the Palazzo Nunez in the Via Condotti 
 The ears, right eyebrow, nose, a fragment at the end 
 of the heard, the throat, and the bust are restorations. 
 
 Publius Helvius Pertinax was elected emperor by the 
 Praetorian guards in 192 A.D., at the age of 62, but was 
 murdered by them in the following year. This head, the 
 portrait of a toothless but hale old man, presents a profile 
 corresponding in all essential details with that on the 
 coins of this emperor. The beard here seems shorter than 
 it is on the coins, but we must remember that the end 
 is a modern restoration. At all events, both style and 
 technique point to the close of the 2nd cent. A.D. The 
 execution, which presents only the essentials but these 
 with great force, is calculated to produce its effect when 
 seen at some distance. It is therefore probable that this 
 head was intended to be placed upon one of the colossal 
 mailed statues, which were kept in stock and acquired 
 only to have the head changed to suit a change of ruler. 
 
 Visconti , Mus. Pio-Clem., vi, 52. Comp. Braun , Rumen und 
 Museen, p. 436, No. 153. 
 
 
Sala in Forma di Croce Greca. 
 
 At the sides of the entrance to the Sala Rotonda, — 
 
 312. Two Colossal Telamones or Atlantes, in red granite. 
 
 These figures, in the Egyptian style, date from the 
 time of Hadrian. They were found in that emperor’s Ti- 
 burtine villa, where they seem to have served as Tela- 
 'mones in the colonnade known as Canopus, and they 
 were afterwards erected at the entrance to the episcopal 
 palace in Tivoli. Some have sought to identify them as 
 representations of Antinoos in the Egyptian manner. But 
 their resemblance to Antinoos is quite superficial; and 
 it would have been a decided error in taste to place two 
 figures of the same hero side by side as architectonic 
 pendants to each other. 
 
 De Rossi , Raccolta di statue, T. 148. Visconti , Mus. Pio-Clem., 
 ii, 18. Penna , Yiaggio pittorico della Yilla Adriana, m, 29. Clarac, 
 v, PI. 985, No. 2565. Dictrichson , Antinoos, p. 177, Nos. 11, 12, 
 where also farther references are given. Comp. Winckelmann , Mon. 
 ant. ined., i, trattato preliminare , p. 22. Welckers Zeitschrift, 
 pp. 335-337. 
 
 313 (559). Statue of the Youthful Augustus, unimpor- 
 
 tant and freely restored. 
 
 Formerly in the Palazzo Yerospi. 
 
 Visconti , Mus. Pio-Clem., hi, 1 . Bernoulli, Romische Ikonogra- 
 phie, ii, 1, p. 31, No. 17. 
 
 314 (564). Statue of the Youthful Lucius Verus (b. 130, 
 
 d. 169 A.D.). 
 
 Found in the forum of Prseneste; also freely restored. 
 
 This statue is of mediocre execution, but is interest- 
 ing as completing our knowledge of the course of devel- 
 
224 
 
 VATICAN. 
 
 opment through which the character of ^Lucius Verus 
 passed. Verus is represented here as a youth of eighteen 
 or twenty, in a somewhat vain attitude. The face wears 
 an expression of self-confident audacity, but does not yet 
 display the malice that characterized his later portraits. 
 
 Visconti , Mas. Pio-Clem., m, 9. Clarac , v, PI. 966, No. 2459. 
 Bernoulli, Rom. Ikon., ii, 2, p. 211, No. 66, pp. 215, 218. 
 
 315 (566). Porphyry Sarcophagus, from the church of 
 S. Costanza in the Via Nomentana. 
 
 This sarcophagus appears originally to have contained 
 the body of Constantia, daughter of Constantine the 
 Great, who was canonized by tradition. Pope Paul II. 
 removed it from the church of S. Costanza and placed it 
 in the Piazza San Marco (Aug. 14th, 1467). Sixtus IV. 
 caused it to be taken back to S. Costanza in 1471. 
 Pius VI. removed it to the museum in 1788. Comp. 
 Muntz , Les arts a la cour des papes, n, pp. 83-85, m, 1, 
 p. 158; Archivio della reale societa romana di storia 
 patria, ix (1886), p. 534. 
 
 For remarks as to the use of porphyry for plastic 
 purposes, comp. No. 233. 
 
 The motives used in the decoration of this sarcopha- 
 gus are almost without exception demonstrably borrowed 
 from earlier art. A striking proof of the limitations of 
 the sculptor is afforded by the facts that the same design 
 is repeated on each side of the sarcophagus and that the 
 designs on the ends differ from each other merely in some 
 petty details. The execution is mechanical and lifeless. 
 On the sides we see an arabesque pattern surrrounding 
 winged boys, busied with the vintage. Pagan beholders 
 recognized simply Cupids in these boys; but for Chris- 
 tians they may possibly have symbolized workers in the 
 vineyard of the Lord. Similarly, while the ram beneath 
 the arabesques was merely an appropriate rustic detail 
 in the eyes of the pagan, it perhaps recalled the Lamb of 
 God to the Christian beholder. The peacocks at the lower 
 corners were Juno’s sacred birds according to the classic 
 conception, but to the Christian they were the symbols 
 
SAL A IN FORMA DI CROCE GRECA. 
 
 225 
 
 of incorruption. On each of the ends are three winged 
 boys, treading grapes. 
 
 Boissard, , Topographia Romse, i, plate for sheet K2. dam- 
 ping De sacris sedificiis a Constantino Magno constructs, T. xxxi, 
 p. 184. Visconti , Mus. Pio-Clem., yn, 11, 12b. Pistolesi , v, 116. 
 Comp. Beschreibung der Stadt Rom, ii 2 , p. 238. Braun , Ruinen 
 und Museen, p. 440, No. 155. 
 
 316 (574). Aphrodite, after the Cnidian Aphrodite of 
 Praxiteles. 
 
 At one time apparently in the Palazzo Colonna. The 
 restorations include the front of the nose, the throat, the 
 right forearm, the left arm below the armlet (finger-tips 
 possibly antique), the support of the hydria, except the 
 top of its quadrangular plinth, most of the lower part of 
 the legs, and the plinth of the statue. The head is antique, 
 and as it corresponds in all essentials with authenticated 
 copies of the Cnidian Aphrodite , must have belonged 
 to a replica of the statue by Praxiteles. It cannot, however, 
 belong to the same replica as the body, for in the first 
 place it is connected with the latter by a modern throat, 
 in the second place it is of Pentelic marble while the 
 body is of a different and coarser Greek marble, and 
 finally it is much more carefully and minutely executed 
 than the body. 
 
 To obtain a true idea of the majestic creation of Praxi- 
 teles, two things especially must be kept in mind by the 
 beholder of this replica. In the * first place , the head is 
 looking in a wrong direction; other replicas, in which the 
 head has not been disjoined from the body, prove that the 
 head of the Cnidian Aphrodite was turned more towards 
 the left shoulder and was slightly bent backwards. In the 
 second place, the metal drapery covering the lower part 
 of the statue is due to modern prudery. The goddess is in 
 the act of entering her bath, which we must suppose to be 
 on the right, in the direction in which the lower part of 
 the figure is turned. With her left hand, she places her 
 robe on a hydria standing beside her, and being thus left 
 nude, shields herself with the right hand. The unper- 
 turbed expression on the face indicates that this latter 
 gesture is quite involuntary, and is prompted by no 
 thought of any unauthorized beholder. This absence of 
 
 Helbig, Guide I. 15 
 
226 
 
 VATICAN. 
 
 self-consciousness contributes essentially to the more col- 
 lected, modest, and dignified impression produced by the 
 Praxitelian Aphrodite, as compared with the types evolv- 
 ed from it by later art, in which the goddess distinctly 
 reveals her self-consciousness (comp. No. 458). The lan- 
 guorous glance expresses love-yearning, but is free from 
 every trace of coquetry. The delicate head needs no elab- 
 orate adornment. The slightly waved hair is simply 
 parted in the centre and bound with a narrow fillet. Its 
 treatment displays a certain severity of style, such as we 
 sometimes note in types of the Second Attic School ( e.g . 
 No. 192). The forms of the body are of a dignified 
 beauty, in every sense worthy of a goddess. The selection 
 of the vase beside the figure proves a very delicate cal- 
 culation of effect, for the bulky hydria is a most excellent 
 pendant to the well-developed body. 
 
 ArchaologisChe Zeitung, xxxiv (1876), T. 12, 1, pp. 145 et seq. 
 Overbeck , Geschichte d. griech. Plastik, II 4 , p. 47, Fig. 151a, pp. 75, 
 76, notes 29-35. Journal of Hellenic Studies, viii (1887), PI.lxxx, 
 pp. 324 et seq., where the statue is given without the metal drapery ; 
 a bibliography is added, on p. 334 D. See also Gazette des Beaux- 
 Arts (xxx annee, 2 p^riode, Vol. 37, pp. 89-104) , and Lutzow , 
 Zeitschrift fiir bildeude Kunst (new series, i, 1890, p. 151), where 
 other representations of the statue without the drapery are given. 
 Comp. Jahrbuch des Arch. Inst, vi (1891), Arch. AnzeigeT, p. 141. 
 Furiwaengler , Masterpieces, p. 322, note 3. An excellent head of 
 this type of Venus is given in Antike Denkmaler, issued by the 
 Arch. Inst., i, T. 41. 
 
 317 (600). Statue of a Kiver-God. 
 
 This was used to adorn a fountain in the Belvedere 
 Garden under Julius II. (Jahrbuch des Arch. Inst., v, 
 1890, p. 20; comp, vi, 1891, p. 141, No. 28, p. 151, 
 No. 62). Some sculptor, under the influence of Michael 
 Angelo, has restored the head, the left hand with the twig, 
 the right hand and urn, two toes of the right foot, and 
 fragments on the robe and plinth. 
 
 A comparison between the antique and modern por- 
 tions is interesting. Though the latter are executed with 
 great skill, they produce an effect more restless and less 
 true to nature than the former, mainly because the plastic 
 
SALA IN FORMA DI CROCE GRECA. 
 
 227 
 
 forms are penetrated with a somewhat forced pictorial 
 element. The current identification of this statue with the 
 Tigris, rests upon the tiger-like mask placed as a spout 
 within the urn. But as the entire urn is obviously due 
 to a modern hand, the theory requires no special contra- 
 diction. 
 
 Visconti , Mue. Pio-Clem., i , 36. Pistolesi , v, 117. Clarac , iv, 
 PI. 749, No. 1821. Comp. Welckers Zeitschrift , p. 322. Braun , 
 Rumen und Museen, p. 447, No. 160. Jahrbuch des Arch. Inst., v 
 (1890), p. 31, note 105. 
 
 318 (589). Porphyry Sarcophagus of St. Helena. 
 
 This originally stood in the tomb of St. Helena, now 
 known as the Tor Pignattara, in the Yia Labicana. Pope 
 Anastasius IV. (1153-1154), who had chosen this sarco- 
 phagus as a resting-place for himself, caused it to he 
 placed in the vestibule of S. Giovanni in Laterano beside 
 the Porta Santa. When it was being removed from this 
 position , it broke in several pieces , hut it was pieced 
 together again and placed first in the gallery of the church, 
 then in the cloisters of the Lateran. Pius VI. caused it 
 to he thoroughly restored and deposited in the museum. 
 Twenty-five stone-carvers are said to have been uninter- 
 ruptedly engaged for nine years in restoring it. It is now 
 very difficult to distinguish the antique from the modern 
 portions, for both have received the same polish. 
 
 This sarcophagus is of better execution than the oppo- 
 site one of the same material (N6. 315). But in this case, 
 too, the sculptor has mechanically formed his decoration 
 by piecing together different motives handed down by an 
 earlier art; and has repeated on both sides the same de- 
 sign referring to the victory of Constantine the Great. 
 Roman riders, on galloping horses, are represented as 
 though hovering in the air, while below are captive and 
 fallen barbarians. None of the upper figures has any re- 
 lation to any of the lower ones. In fact the two rows 
 seem to be merely placed one above the other, without 
 any reference to each other. At the top are busts of Con- 
 stantine and his mother Helena. The head of the former, 
 however, seems to he modern, for the porphyry differs 
 both in grain and colour from other parts that are cer- 
 tainly antique. 
 
 15 * 
 
228 
 
 VATICAN. 
 
 Ciampini , De sacris sediflciis a Constantino Magno constructs, 
 T. xxvm, p. 123. Bottari , Sculture e pitture sagre estratte da i 
 cimiteri di Roma, in, 196. Pistolesi , v, 116. Comp. Beschreibung 
 der Stadt Rom, n, 2, p. 234. Braun , Ruinen und Museen, p. 442, 
 No. 156. Bie, Kampfgruppen und Kampfertypen in der Antike, p. 36. 
 
 319 (597). Statue of Augustus; mediocre. 
 
 Found along with No. 243 in the basilica of Otricoli. 
 The left hand, the right forearm with the cup , and the 
 greater part of the plinth are restored. 
 
 The emperor here appears comparatively young, 
 perhaps a few years over thirty. The toga covering the 
 hack of his head proves that he was represented in the 
 act of sacrificing, perhaps with reference to his dignity 
 as Pontifex Maximus , and that therefore the restorer is 
 correct in placing a cup in the right hand. 
 
 Visconti , Mus. Pio-Clem., n, 46. Muller- Wieseler , Denkmaler der 
 alten Kunst, ii, T. 66, 350. Overbeck , Geschichte der griech. Plastik, 
 ii 4 , p. 506, Fig. 234 g. Comp. Bernoulli , Romische lkonographie, 
 ii, 1, p. 31, No. 18. 
 
 Three mosaics are inserted in the floor of this hall, 
 of which two deserve notice. 
 
 320. Mosaic with a Round Shield. 
 
 Found in 1741 among tbe ruins of a Roman villa 
 between tbe ancient Tusculum and the modern Villa 
 Rufflnella. The only antique portions are the central 
 square and the immediately adjoining coloured border. 
 The three other borders and the four cross-segments ad- 
 joining were added under Pius VI. The mosaic is distin- 
 guished more for wonderful harmony of colouring than 
 for delicacy of execution. It looks best from a distance, 
 e.gr., from the loggia above. 
 
 The division of the shield into a central round por- 
 tion, with concentric bands, recalls the construction of 
 the earliest Greek shields, which were formed of several 
 layers placed one above the other. In the centre, on a 
 reddish-brown ground, appears the bust of Pallas , sur- 
 rounded by an aegis, expanded like a sail. The blue band 
 surrounding the central medallion, represents the nocturnal 
 sky, and contains twelve stars and thirteen representations 
 of the moon in its different phases. Round this again run 
 
SALA IN FORMA DI CROCE GRECA. 
 
 229 
 
 five other ornamental bands. At each corner of the square 
 enclosing the shield is a blue figure of a youth, with both 
 arms raised as though to support the shield, while the 
 space betwixt the edge of the shield and the square is 
 filled up by a garland of olive-branches issuing from these 
 four figures. Round the antique pavement, of which this 
 piece was the centre, ran a mosaic-border (comp. No. 
 1093), decorated with flowers, theatrical masks, and 
 small flying goddesses of victory. 
 
 Visconti , Mus. Pio-Clem., vn, 47 (comp, i, p. 6). Pistolesi , v, 
 114. Canina, Descrizione dell’ antico Tusculo, T. 44, p. 157. 
 Comp. Braun, Rumen und Museen, p. 444, No. 158. For the ex- 
 cavation , see N. e M. Pagliarini , Giornale de letterati per l’anno 
 1746, pp. 119, 120 (Roma, 1746). Ficoroni , in Fea, Miscellanea, i, 
 p. cliii, No. 74. 
 
 321. Basket of Flowers in Mosaic. 
 
 Found at Roma Yecchia on the Yia Appia. 
 
 The technique is finer than that of the mosaic from 
 Tusculum (No. 320), while the colouring is also finely 
 harmonized. 
 
 Braun, Ruinen und Museen, p. 443, No. 157. 
 
 On the upper floor, on the landing whence we look 
 down into the Sala a Croce Greca, — 
 
 322 (601). Tripod in Alto-Relief, decorated with a 
 battle of Heracles. 
 
 Found in the Yigna Casali on the Yia Appia. Noth- 
 ing of the tripod is antique except the plinth, the lion’s 
 claws, and two fragments of the supports resting on the 
 latter. The modern caldron (cortina) is wrongly shaped; 
 all antique monuments prove that this kind of vessel 
 was hemispherical. Of the figures between the supports 
 of the tripod , that of the youth to the right struggling 
 with Heracles is almost wholly modern; only the left 
 hand pressing against the face of Heracles, and the loose 
 end of the chlamys are antique. The right hand , the 
 left arm , and the club of the Heracles are modern ; and 
 in all the other figures the portions projecting from the 
 background are restored. The antique parts, moreover, 
 seem to have been retouched in various points. 
 
 The space between the legs and the caldron of tri- 
 
230 
 
 VATICAN. 
 
 pods was frequently filled in by the ancients with work 
 in the round. Examples of this style of decoration were 
 probably offered by many of the tripods erected in the 
 Street of the Tripods at Athens, on one of which a cele- 
 brated figure of a Satyr by Praxiteles was carved. This 
 Vatican relief represents in marble a tripod of this kind. 
 The plinth is adorned with figures of female Tritons and 
 with masks of water-gods. Between the supports appears 
 Heracles (identified both by his facial type and the lion’s 
 skin) in contest with four adversaries , one of whom he 
 has felled to the earth. A comrade coming to the rescue 
 of the fallen was represented in hand to hand conflict 
 with Heracles. His left hand was pressed against the 
 brow of the hero, but the motive of his right arm and 
 the action of Heracles cannot now be ascertained, owing 
 to the injured condition of both figures. The restorer has 
 made Heracles hold a club with both hands, but this is 
 clearly an error, for a weapon of that description is lying 
 on the ground behind the hero, to the left. It is much 
 more likely that Heracles had let his club fall, and was 
 wrestling with his antagonist, or was trying to deprive 
 the latter of a weapon he held in the right hand. To 
 the left are two other foes, one shrinking back in terror, 
 the other, however, preparing to attack Heracles from 
 behind. 
 
 One of the most dangerous of the adventures of He- 
 racles was his fight against the sons of Hippocoon, King of 
 Sparta, in which, according to the myth, he was severely 
 wounded. As the relief before us represents the hero hard 
 pressed by his foes, it has been supposed to refer to the 
 contest with the Hippocoontides. 
 
 Visconti , Mus. Pio-Clem., v, 15. Pistolesi , vi, 8. Arch. Zeitung, 
 XIX (1861), T. 151, 1, pp. 170, 171. Comp. Zoega , Bassirilievi 
 antichi, p. 18, note 6 ; and in Welcker's Zeitschrift, p. 421. Braun , 
 Ruinen und Museen, p. 449, No. 161. For the plastic decoration of 
 tripods, see Ahhandlungen des arch.-epig. Seminars in Wien, viii 
 (1890), pp. 108-115. 
 
 Above No. 322 (601), — 
 
gSALA IN FORMA DI CROCE GRECA. 231 
 
 323. Relief of the Curetes before Calydon, probably 
 from the lid of a sarcophagus. 
 
 According to the earlier form of the Meleager myth, 
 the Calydonians and Curetes, after the death of the Caly- 
 donian Boar, strove together for its fell, and in the dis- 
 pute Meleager, son of the Calydonian king, slew one of 
 the brothers of his mother Althaea. Under his mother’s 
 curse, he withdrew from the strife until the Curetes were 
 on the point of capturing Calydon. Then, urged by his 
 wife Cleopatra, he seized his weapons and routed the foe. 
 The relief apparently represents this last scene. The 
 warrior dashing from the gate is Meleager, while the 
 female figure holding back the torch-bearing warriors is 
 Artemis, who frequently appears in representations of 
 the Calydonian Hunt as the friend and helper of Meleager. 
 
 Pistolesi , v, 77. Ann. dell’ Inst. (1863^, Tav. d’agg. AB, 5, 
 pp. 104, 105. 
 
 324 (605). Relief personifying a Conquered Nation. 
 
 The upper part down to the lower end of the throat, 
 and the lower part below the knees are restorations. 
 
 The standard surmounted by a boar, beside the per- 
 sonification, points to a Celtic people, or a people under 
 Celtic influences (comp. No. 5). ‘ 
 
 Pistolesi , vi, 3. 
 
 325 (603). Fragments of a Sarcophagus, with Relief 
 
 of Medea. 
 
 The entire lower part of the relief is modern. The 
 line of fracture runs through the right upper arm of Creon, 
 crosses the left forearm, body, and right forearm of 
 Medea, and reaches the end of the relief immediately 
 below the left hand of the youth with the inverted torch. 
 The two children are also modern, but have been correctly 
 enough restored after the model of other sarcophagus-re- 
 liefs of the same scene. In the torch-bearer, ? the tress of 
 hair above the brow and fragments of the poppies in the 
 left]hand are restorations. 
 
 When Jason, wearying of Medea, meditated marrying 
 Glauce, daughter of Creon, King of Corinth, Medea pre- 
 
232 
 
 VATICAN. 
 
 pared to revenge herself on her unfaithful spouse, by 
 causing her children to present to Glauce a costly gar- 
 ment and a golden headdress, which had been imbued 
 with deadly qualities by her magic. When Glauce adorned 
 herself with these gifts, they burst into flames, and the 
 bride of Jason perished in frightful agony. The relief 
 represents Glauce , attended by her nurse and a youthful 
 companion, at the moment when she is receiving the fate- 
 ful gifts from the children of Medea. She appears moved 
 and at the same time disquieted by gloomy forebodings. 
 The youth standing in front of her is sometimes described 
 as one of the bridesmen of Roman custom, sometimes as 
 Hymen, god of marriage. In the latter case, the torch, 
 which is not upright but inverted like the torch of Thanatos 
 (comp. No. 185), must be taken to intimate that the mar- 
 riage is to be fatal to the bride, while the poppies in the 
 youth’s left hand must be symbols of eternal slumber, not 
 of ordinary sleep. This scene was adjoined by one of the 
 death of Glauce. The only part of it preserved is the 
 upper portion of Creon, who is gazing in despair at his 
 daughter, driven mad by her sufferings. 
 
 Robert , Die antiken Sarkophagreliefs, n, T. lxii, 197, p. 211. 
 
Sala della Biga. 
 
 326 (623). Biga, or two-horse chariot. 
 
 The body of the chariot was formerly used as an 
 episcopal throne in S. Marco. The two lower corners at 
 the hack are restored. The axle, wheels, pole, plinth, 
 and the left horse are also modern. The right horse is in 
 part antique, hut does not belong to the chariot. 
 
 The chariot was probably a votive-offering, and, judg- 
 ing by its adornment, to Demeter. On the outside are 
 ears of corn and poppy-heads, springing from a calyx of 
 acanthus-leaves. This decoration reveals a richness bor- 
 dering on luxuriance, but retains at the same time a 
 wonderful clearness and a thoroughly organic develop- 
 ment. On the inside appears an object used in the Hellen- 
 istic tree-worship, viz. a wooden post, decorated with a 
 string of beads, a ribbon, and two laurel-branches (comp. 
 Nos. 351, 352, 369). 
 
 Visconti , Mus. Pio-Clem., v, 54, "55. Pistolesi , vi, 5. Comp. 
 Braun , Ruinen und Museen, p. 454, No. 163. For the wooden post 
 (‘/.toov xwvosiSy]?), see Schreiber , Die Wiener Brunnenreliefs aus Pal. 
 Grimani, p. 56, p. 92, note 98. 
 
 327 (608). Statue of the Bearded Bacchus. 
 
 Found in 1761 near Monte Porzio in the villa said 
 to have belonged to Lucius Yerus. The point of the nose, 
 the lips, the right arm, and fragments on the drapery are 
 restorations. At the same time and place were found 
 four Caryatides, afterwards restored as Canephorse and now 
 in the Yilla Albani (Nos. 725-728), and possibly also 
 two other similar Caryatides, not mentioned in any ac- 
 count of this excavation (comp. Arch. Zeitung, xxxvii, 
 1879, p. 66, No. 390). The Dionysos and the four Carya- 
 tides in the Yilla Albani belonged at first to the sculptor 
 Cavaceppi. 
 
 The statue represents the god in a dignified attitude, 
 
234 
 
 VATICAN. 
 
 the left arm covered by the mantle resting upon his hip, 
 the right probably on the thyrsos. It shows that ming- 
 ling of majesty and voluptuousness that is characteristic 
 of the bearded Dionysos. The beautiful countenance, 
 which betrays a slight tinge of melancholy, is framed by 
 the well-trimmed beard and the carefully arranged hair, 
 which falls in long soft tresses over both shoulders. The 
 portly body is wrapped from head to foot in a chiton of 
 some thin material, apparently linen, that falls in narrow 
 folds ; and over that is a mantle of thicker stuff, making 
 broader folds. The voluminous drapery and the position 
 of the left arm beneath the mantle contribute to give the 
 body an appearance of greater fulness than it really pos- 
 sesses, and so not a little to enhance the effect of calm 
 dignity. The original appears to date from the middle 
 of the fourth century B.C., and has been attributed by 
 some authorities to Cephisodotos, the father or elder 
 brother of Praxiteles , and by others to Praxiteles him- 
 self. On the end of the mantle passing across the breast 
 the Greek name ‘Sardanapallos’ has been carved, cer- 
 tainly not by the original sculptor. No satisfactory ex- 
 planation of why a statue of the bearded Dionysos should 
 bear this name has yet been offered. Possibly we have 
 here to do merely with some private freak. Some bon- 
 vivant of the imperial epoch, interested in Sardanapalus, 
 whose refined luxury was a proverb in antiquity, may 
 have wanted to possess a portrait of him. This wish 
 being impossible of fulfilment, either he himself or some 
 accommodating art-dealer gave the name of Sardanapalus 
 to a statue of the bearded Dionysos, who corresponded 
 in many respects with a luxurious oriental potentate; and 
 in order to give this title some documentary proof, the 
 name was chiselled on the statue. 
 
 Cavaceppi, Raccolta di statue, hi, 27. Visconti, Mus. Pio-Clem., 
 n, 41. Muller- Wieseler , Denkmaler der alten Kunst, ii, 31, 347. 
 Farther details, see Friederichs-Wolters , Bausteine, No. 1284. Comp. 
 Roscher , Lexikon der griech. und rom. Mythologie, i, pp. 116-119. 
 Jahrbuoh des Arch. Instituts, vm (1893), p. 179. Festschrift fur 
 Overheck, p. 100, note 1. 
 
SALA DELLA BIGA. 
 
 235 
 
 328 (610). Statue of Dionysos. 
 
 The head, arms, lower part of the legs , stump , and 
 plinth are modern. 
 
 The luxuriant tresses flowing over the shoulders prove 
 that this is a statue of Dionysos. It offers a striking in- 
 stance of the tendency that prevailed in Greek art in and 
 after the period of the Diadochi, to represent the younger 
 gods in forms as soft as possible and almost approaching 
 the feminine type. This is especially conspicuous in the 
 treatment of the back of this statue; the softness of the 
 rounded flesh has justly excited the admiration of modern 
 sculptors. This torso was zealously studied by Raphael 
 Mengs, and casts of it still stand in many studios as a 
 model for the treatment of tender and youthful bodies. 
 
 Visconti , Mus. Pio-Clem., n, 28. Pistolesi , vi, 6. Muller-Wie- 
 seler, Denkmaler der alten Kunst, n, 31, 851 ah. Comp. Roscher , 
 Lexikon der griech. und rom. Mythologie, i, p. 1136. 
 
 329 (611). So-called Alcibiades. 
 
 Formerly in the Villa Mattel. The restorations in- 
 clude the entire front of the face from the upper part of 
 the nose downwards , the whole right arm , the left arm 
 helow the biceps , the entire right leg, the left leg below 
 the knee, the stump, and the plinth. 
 
 The statue reproduces a bronze original, which still 
 retains reminiscences of the archaic period in the con- 
 ventional treatment of the hair and the sharp accentua- 
 tion of the muscles. It has recently, with some probabi- 
 lity, been placed in relation with the art of Cresilas 
 (comp. No. 281). Apparently the figure is that of an 
 athlete. The parts that have been preserved admit of two 
 explanations of the original motive. It must represent 
 either a runner, speeding over the course with outstretch- 
 ed arms, or a wrestler, watching for the favourable mo- 
 ment to grapple with his antagonist (comp. Nos. 573- 
 575). The formerly current identification with Alcibiades 
 rests on the resemblance between the head and the sup- 
 posed portrait of Alcibiades , No. 277. But even if this 
 resemblance exists, it is of no significance, seeing that 
 
236 
 
 VATICAN. 
 
 nearly the entire face of the statue is by a modern hand. 
 But the statue cannot represent Alcibiades, for he did not 
 enter public life until after the death of his uncle Peri- 
 cles (d. 429 B.C.), while the style of the statue seems to 
 be considerably earlier. 
 
 Monumenta Matthaeiana, i, 161. Visconti , Mus. Pio-Clem., n, 
 42 (comp, i, p. 237, note*). Pistolesi , vi, 8. Clarac , v, PI. 837, 
 No. 2099. Brunn und Bruckmann , Denkmaler grieoh. und rom. 
 Sculptur, No. 129. Furtwaengler , Masterpieces, p. 127, Fig. 51, 
 p. 154. Comp. Beschreibung der Stadt Rom, n, 2, p. 241. Braun , 
 Ruinen und Museen, p. 460, No. 166. Ann. dell’ Inst., 1866, pp. 239, 
 240. Sitzungsberichte der bayer. Akademie, 1892, p. 660. 
 
 330 (612). Roman Sacrificing. 
 
 Formerly in the possession of the Giustiniani at Ve- 
 nice; acquired for the Vatican under Clement XIV. It 
 is not absolutely certain that the Giustiniani obtained 
 this statue in Greece, but the Pentelic marble of which 
 it is composed and its admirable execution render it pro- 
 bable. The nose, the parts of the toga adjoining the 
 cheeks, the right forearm with the cup, and the left 
 hand are modern. 
 
 This is the finest toga-statue extant; and it is well 
 adapted to convey an idea of the impressive dignity lent 
 by the toga, when arranged in the prescribed manner, to 
 a tall and well-proportioned figure, both by its volumin- 
 ousness and by its large folds. The execution of the 
 drapery is masterly, and in spite of the number of folds 
 reproduced by the sculptor, the effect is both clear and calm. 
 The toga being drawn over the back of the head, as was 
 proscribed in the Roman ritual for sacrificing, the resto- 
 ration of the right forearm with the cup seems correct. 
 
 Visconti, Mus. Pio-Clem., hi, 19 (comp. Opere varie, iv, p. 323, 
 No. 92). Pistolesi, vi, 7. Clarac, rv, PI. 768 B, No. 1909. Baumeister, 
 Denkmaler des klass. Alterthums, ii, p. 1108, Fig. 1304. Brunn und 
 Bruckmann , Denkm. griech. und rom. Sculptur, No. 169. Comp. 
 Welckers Zeitschrift, p. 351 (where various earlier references are 
 given). Braun, Ruinen und Museen, p. 462, No. 167. Friederichs- 
 Wolters, Bausteine, No. 1677. 
 
 331 (615). Discobolos. 
 
 Found by Gavin Hamilton in 1792 in the ruins of an 
 ancient villa on the Via Appia, eight miglie from the gate, 
 
SALA DELLA BIGA. 
 
 237 
 
 in the Tenuta del Colombaro ; acquired under Pius YI. The 
 only restorations, besides the nose, fragments on the lips, 
 and some other less essential portions, are the fingers of 
 the right hand, the correctness of which seems practi- 
 cally guaranteed by the extant remains. 
 
 The youth is here represented in the attitude imme- 
 diately preceding that of the Discobolos of Myron (comp. 
 No. 333). Holding the discus still in his left hand, he is 
 taking up a position adapted for the throw, and is accur- 
 ately calculating the direction in which, and the distance 
 to which, the discus must he cast. This activity, at once 
 physical and mental, is expressed by the artist with ad- 
 mirable clearness. In preparation for the imminent move- 
 ment, the body is elastically supported on the left leg, 
 which is already slightly bent at the knee, while the 
 right foot lightly rests upon the ground. The head is 
 bent a little ; the glance is directed straight in front with 
 an expression of the keenest attention; and the thumb 
 and forefinger of the raised right hand are slightly pro- 
 jecting, while the other fingers are half-closed — a gesture 
 characteristic of careful reflection. 
 
 This statue must have had a celebrated original, for 
 two other replicas are still extant. But this original 
 cannot have been, as was at one time believed, the Dis- 
 cobolos of Naucydes the Argive, a pupil of Polycleitos; 
 for the statue reveals not a trace of Peloponnesian art, 
 but rather a close relationship with Attic types of the 
 end of the 5th cent. B.C. A later theory endeavours to 
 identify the figure with a work of Alcamenes, a pupil of 
 Pheidias, viz. with his Pentathlos, which was entitled 
 ‘classical’ (enkrinomenosj by the art-critics of antiquity. 
 Though this theory cannot be conclusively disproved, 
 neither can it be conclusively proved. Equally doubtful 
 is the suggestion that the statue is a copy of some bronze 
 original. Its execution shows none of the peculiarities 
 of technique in metal. The support uniting the stump 
 with the lower part of the right leg is of no assistance 
 in deciding this question. It is much more probable that 
 
238 
 
 VATICAN. 
 
 this support was left in order to protect the statue from 
 breakage during transport, and afterwards overlooked. 
 
 Visconti, Mus. Pio-Clem., in, 26 (comp. Opere varie, iv, p. 343, 
 No. 121). Arch. Zeitung, xxrv (1866), T. 209, 1, 2, pp. 169 et seq. 
 Overbeck , Geschichte der griech. Plastik, i 4 , pp. 380-382, Fig. 102. 
 Baumeister , Denkm'aler d. kl. Altertlnims, i, p. 458, Fig. 503. Comp. 
 Ann. dell’ Inst., 1879, pp. 207,208. Loewy , Lysipp und seine 
 Stellung in der griech. Plastik, pp. 26, 27. Eranos Vindobonensis, 
 pp. 20, 21. Furtwaengler , Masterpieces, pp. 90, 137, 287. All 
 farther details, see Friederichs-Wolters , Bausteine, No. 465. Klein , 
 in the Archaolog.-epigr. Mittheilungen Oesterreichs, xiv (1891 ; 
 pp. 6-9), proposes to read ‘enchriomenos’ (inungens se) instead of 
 ‘enkrinomenos’ in Pliny’s Nat. Hist. 34, 72. 
 
 332 (616). So-called Phocion. 
 
 Found in 1737 during the building of the Palazzo 
 Gentili at the Quirinal. Pacetti restored the left hand, 
 the right thumb and forefinger, the lower parts of the 
 legs , the stump (with the exception of the top close to 
 the body), and the plinth. The head is antique but does 
 not belong to this statue. 
 
 A comparison with a Boeotian terracotta and with a 
 gem cut by Dioscurides (Fig. 15) proves that this statue 
 represents Hermes. The beardless head, 
 looking straight in front, was covered with 
 the petasos; the left hand held the cadu- 
 ceus. To judge from the calm attitude of 
 the body and the slight treatment of the 
 chiton, which follows the forms of the body 
 in a few, sharply defined folds, the ori- 
 ginal appears to date at the latest from 
 about the end of the 5th cent. B.C., and is, perhaps, a 
 work of the Boeotian school, which was influenced by At- 
 tic art. The identification of the statue with Phocion was 
 based on the circumstance that the expression of the face 
 and the scanty costume corresponded with the character- 
 istics of that general. But no elaborate disproof is re- 
 quired for this theory, seeing it starts from the erroneous 
 assumption that the head belongs to the body. Moreover 
 the beautiful head with its earnest expression is of a 
 severer style than we should naturally expect in a portrait 
 
 Fig. 15. 
 
SALA DELLA BIGA. 
 
 239 
 
 of Phocion. More probably we bave here the portrait- 
 bead of some Greek strategos of the first half of the 4th 
 century. 
 
 Visconti , Mus. Pio-Clem., n, 43 (comp. Opere -vane, iv, p. 152, 
 p. 313, No. 75). Pistolesi, vi, 10. Clarac , v, PI. 842, No. 2117. 
 Baumeister, Denkm'aler des klass. Alterthums, i, p. 713, Fig. 774. 
 Brunn und Bruckmann, Denkmaler griech. u. rom. Sculptur, No. 166„ 
 Farther references, s e& Friederichs-Wolters , Bausteine, No. 479. 
 Comp. Jahrb. des Arch. Instituts, m(1888), p. 219. Athen. Mittheil., 
 xv (1890), pp. 359, 362. 
 
 333 (618). Discobolos, after Myron. 
 
 Found by Count Fede in 1791 in Hadrian’s Tiburtine 
 villa; acquired under Pius VI. Albacini restored the 
 head, the left arm, the right leg below the knee, most of 
 the discus , the great toe of the left foot, and the greater 
 part of the plinth. Ancient accounts of Myron’s Disco- 
 bolos, other replicas in better preservation, and the throat- 
 muscles of the statue before us prove that the head is 
 erroneously restored. Like the whole of the torso, it 
 followed the motion of the right arm, and was therefore 
 bent slightly backwards. 
 
 Myron, an elder contemporary of Pheidias, was born 
 in the town of Eleutherse, on the borders of Attica and 
 Boeotia, but spent the greater part of his active life in 
 Athens. Myron’s specialty as a sculptor lay in conceiving 
 and representing the human form at particular supreme 
 moments, when all its powers are concentrated upon a 
 single point, and all the motions of the body and limbs 
 influenced by that concentration. The motive of this Va- 
 tican statue gives an excellent example of this tendency, 
 which contributed essentially to break the bonds of the 
 archaic style. The whole movement of the body is dic- 
 tated by the fact that the youth has swung back the dis- 
 cus exactly to the point at which the throw must im- 
 mediately begin. The weight and momentum of the 
 discus has stretched the right arm to the utmost and has 
 drawn after it the whole torso with the head and the left 
 arm. The entire weight of the body rests upon the right 
 leg, which is therefore planted firmly on the whole breadth 
 of the sole of the foot. In another moment the right arm 
 
240 
 
 VATICAN. 
 
 will describe an arc towards the front, the discus will 
 hurtle through the air, and the tension that prevails 
 throughout the whole body will be suddenly relaxed. 
 
 Myron’s statue was of bronze and so required no sup- 
 port. We can easily picture to ourselves how much the 
 removal of the support would add to the vivacity of the 
 figure. 
 
 The style of Myron appears in a considerably weaken- 
 ed form in the Vatican statue. It is very much better re- 
 presented in an admirable replica of the Discobolos 
 (comp. No. 446), now in the Palazzo Lancellotti. We 
 may recognize many lingering elements of the archaic 
 scheme of forms in this statue, a fact in harmony both 
 with the statements of ancient authors and with the 
 existing replicas of other works by Myron (comp, espe- 
 cially No. 661). The Lancellotti statue retains its head, 
 showing a delicate but little individualized Attic type. 
 
 On the support of this statue a strigil has been carved 
 (comp. No. 31). The artist’s name scratched below it may 
 be certainly dismissed as a modern forgery. It is not 
 mentioned in the earliest accounts of the statue; its sit- 
 uation is badly chosen, for the name would be hardly 
 noticed in the shadow cast by the relief of the strigil 
 (now defaced) ; it is perfectly obvious, moreover, that it 
 has been cut after the surface of the marble had been 
 much weatherworn; and finally the letters have been 
 formed by some quite unsteady hand, such as we can 
 scarcely suppose the ancient sculptor to have had. 
 
 Bouillon , Musee des antiques, n, 18. Penna , Viaggio pitto- 
 rico della Villa Adriana, m, 63. Museo Cliiaramonti, m, 26. Farther 
 references in Friederichs-Wolters, Bausteine, No. 451. Comp, espe- 
 cially Overbeck , Geschichte der griech. Plastik, i 4 , pp. 274 et seq. 
 Collignon , Histoire de la sculpture grecque, i, pp. 472-474. Furt- 
 waengler , Masterpieces, pp. 168 et seq., pp. 180 et seq., Ann. dell’ 
 Inst., 1879, pp.208 et seq. Fr the discovery of the statue, see Vis- 
 conti, Mus. Pio-Clem., vi, p. 80. For the inscription, see Loewy , 
 Inschriften griechischer Bildhauer, No. 498. 
 
 334 (619). Statue of a Charioteer. 
 
 Formerly in the Villa Montalto (Negroni, Massimi), 
 afterwards in the possession of the artist and art-dealer 
 
SALA DELLA BIGA. 
 
 241 
 
 Thomas Jenkins. Both arms and the legs from a little 
 above the knees are restored. The head (nose and parts 
 of the ears restored) is antique, hut belongs to another 
 statue; it shows one of the latest developments of the 
 Polyeleitan Doryphoros type (No. 58). 
 
 This statue presents in the most distinct manner the 
 peculiar dress of a class highly esteemed under the Ro- 
 man empire. It shows the short tunica, instead of the 
 long chiton reaching down to the feet which the Greek 
 charioteers used to wear at festal games. The back and 
 chest are bound by an arrangement of straps, not un- 
 like a coat-of-mail, which seems to have served, not only 
 to give the body a firm hold in the pitching of the light 
 vehicle, but also to protect the spine and ribs in the event 
 of a fall. A sickle-shaped knife , with a lion’s head as 
 handle, is thrust into this strap-corslet. Roman chariot- 
 eers were in the habit of tying the reins round their 
 waist, so that there was a danger of being dragged along 
 the ground by the horses if the chariot were overturned. 
 They used their knives to cut the reins when necessary 
 so as to escape this danger. The object of the straps 
 bound in bows round the thighs is uncertain. Some au- 
 thorities explain them as having some connection with 
 bandages intended to protect the lower part of the body 
 from rupture. The original head was apparently a por- 
 trait of some victorious charioteer; and was probably 
 covered with the strong helmet-shaped cap appropriate 
 to drivers in the circus (comp. Nos. 605, 1098). The at- 
 tributes in the hands may be supplied from Roman con- 
 torniates, on which victorious charioteers are represented. 
 The figure probably held a whip, or a whip and a wreath, 
 in the right hand, and a palm-branch in the left. 
 
 Guattani, Monumenti antichi inediti, per 1’ann. 1788, De- 
 cembre, T. hi, p. 93 (here still unrestored). Visconti , Mus. Pio-Clem., 
 hi, 31. Pistolesi , vi, 11. Clarac, v, PL 864, No. 2197. Baumeister , 
 Denkmaler des klass. Alterthums, in, p. 2092, Fig. 2839. Comp. 
 Braun , Ruinen und Museen, p. 467, No. 170. Arch. Zeitung, xli 
 (1883), p. 78, note 115. On the dress of the Agitatores Circenses, 
 see Ersilia Lovatelli in the Bull, della commissione arch, com- 
 munale, vm (1880), T. xi, pp. 163-168 ; and Di un antico mosaico 
 
 Helbig, Guide I. 16 
 
242 
 
 VATICAN. 
 
 rapp. gli aurighi delle quattro fazioni del circo , in the Memorie 
 della reale Academia dei Lincei, anno cclxxviii (1880-81). 
 
 335 (620). Reputed Statu© of Sextus of Chseroneia. 
 
 Formerly in the garden of the Duke of Fiano. The 
 right forearm, the left arm and scroll, and portions of the 
 robe and feet are restorations. The head (nose and point 
 of the beard restored) is antique, but belongs to another 
 statue. It is of Luna marble, while the body is of Pen- 
 telic marble. 
 
 The connection of the head with the Stoic Sextus of 
 Chseroneia, teacher of Marcus Aurelius, is founded upon a 
 coin struck at Mytilene in the imperial epoch, on which 
 is the portrait of a hero named Sextos, attested by the 
 inscription. But on the one hand the assumed likeness 
 between the two portraits does not exist ; and on the other 
 hand it seems incredible that the Sextos of the Mytilen- 
 ian coin is the Chasronean. The head placed upon the 
 Vatican statue appears both from the style of its exe- 
 cution and the arrangement of the hair and beard to have 
 been carved in the time of Hadrian. The statue to which 
 the body belongs must have represented a Greek and not 
 a Roman, for the mantle is unmistakeably a himation. 
 
 Visconti, Mus. Pio-Clem., m, 18 (comp, ib., T. a, hi, 5, p.277); 
 Opere varie, iv, pp. 187-189, p. 312, No. 74. Pistolesi , v, 10. Clarac 
 v, PI. 844, No. 2125. The coin of Mytilene is best given by Sollet , 
 Zeitschrift fiir Numismatik, ix (1882), T. rv, 29, p. 131, No. 135. 
 
 336 (621). Sarcophagus, with the Race of Pelops and 
 
 Oinomaos. 
 
 Guattani (in Mon. inediti, 1785, Gennajo, p. 23) names Don 
 Luigi Braschi Onesti as the former possessor of this sarcophagus, 
 but Welcker (in Philostrati Imag., i, 17, p. 309) asserts that he 
 saw it in the studio of the German painter Reliberg. It formerly 
 stood in the Appartamenti Borgia in the Vatican (Beschreibung 
 Roms, ii, 2, p. 9). 
 
 It was foretold to Oinomaos, ruler in the district of 
 Olympia, that he would perish through the husband of 
 his daughter Hippodameia. He therefore compelled all 
 the suitors of his daughter to contend with him in a 
 chariot-race, and stabbed them with his spear as he over- 
 
SALA DELLA BIGA. 
 
 243 
 
 took them through the great speed of his horses. Thir- 
 teen wooers had in this manner perished, when Pelops 
 appeared. He prevailed upon Myrtilos, the charioteer of 
 Oinomaos, to insert a waxen linch-pin in one of the wheels 
 of his master’s chariot. The wheel came off in the course 
 of the race, and Oinomaos broke his neck in the conse- 
 quent overturn. This last scene is represented on the sar- 
 cophagus. In order to make his meaning clearer, the 
 sculptor has added the figure of Myrtilos, but he has 
 naively represented him as still standing in the chariot 
 of Oinomaos, though of course both master and man must 
 have fallen when the wheel came off. The foremost of 
 the female figures to the left, extending her arms in hor- 
 ror, is either Sterope, mother of Hippodameia, or the 
 nurse of the princess ; the other figure is Hippodameia 
 herself, averting her gaze in remorse from the catastrophe 
 that had overtaken her father through her secret under- 
 standing with Pelops. Above Oinomaos appears a local 
 deity or personification, reclining beside a milestone or a 
 meta. One of the specially noteworthy features in this 
 sarcophagus is the attempt the sculptor has made to ally 
 the mythical race with the circus-races as actually fami- 
 liar to him. The scene terminates at either end in a conical 
 pillar (meta), such as were usual in the Roman Circus 
 (comp. Nos. 337, 338, 339). The curve on the right is 
 apparently intended to represent the barrier that separat- 
 ed the course from the spectators, who are here visible 
 behind it. 
 
 Guattani , Monumenti inediti dell’ aim. 1785, Gennajo, T. in, 
 pp. 9-13. Pistolesi , vi, 14. Millin , Gal. mythologique, PI. 133, 521. 
 Guigniaut , Rel. de l’ant., PI. 202, 735 a. Comp. Braun , Ruinen und 
 Museen, p. 469, No. 172. Ann. dell’ Inst., 1841, p. 177, 1850, 
 p. 334. Arch. Zeit., xi (1853), p. 59, No. 20, xiii (1855), pp. 82, 83. 
 
 Three other sarcophagi in this room, with reliefs of 
 races with Cupids as charioteers, are also worth notice 
 from those interested in the Roman games of the circus. 
 
 337 (609), beneath the bearded Dionysos, No. 327 (608). 
 
 Visconti , Museo Pio-Clem., v, 39. Pistolesi , vi, 13. 
 
 16 * 
 
244 
 
 VATICAN. 
 
 388 (613), beneath the Sacrificing Roman, No. 330 (612). 
 
 Found in the Catacombs of St. Sebastian. 
 
 Visconti , v, 38. Pistolesi , vi, 12. 
 
 339 (617), beneath the so-called Phocion, No. 332 (616). 
 
 Visconti, v, 40. 
 
 In the background, on each of the three sarcophagi, 
 appears the narrow terrace fspina , euripusj round which 
 the racecourse lay, and at each end of it is the group of 
 conical pillars fmetaej , which the charioteers drove round 
 as closely as possible in their effort to describe as small 
 an ellipse as they could. Upon the terrace are small 
 shrines, a statue of Victoria, an obelisk, and contrivances 
 to indicate to the spectators how many laps had been 
 run, for each race fmissusj consisted of several laps, usu- 
 ally seven. These contrivances were scaffoldings support- 
 ing egg-shaped objects fovaria) and revolving dolphins; 
 and after each lap an egg was removed and a dolphin 
 turned round. In No. 338 (613) we see resting against the 
 scaffolding the ladder used by the circus-official whose 
 duty it was to turn the dolphins. 
 
 The lid of No. 337 (609) exhibits a race between so- 
 called Desultores , here in the guise of Cupids. Each com- 
 petitor rides a horse at full gallop, and has a second 
 horse alongside, which we must suppose linked in some 
 manner to the first. During the race the rider had to 
 spring from one horse to the other. From a passage in 
 Cicero (Pro Murena, 27) it appears that desultores some- 
 times competed in the same race with quadrigae. 
 
 Beside almost every chariot on all three sarcophagi 
 is seen a rider, without any led horse. It is not recorded 
 that these two kinds of races ever took place together ; 
 and it has therefore been suggested that these riders are 
 perhaps to be regarded as epitomized representatives of 
 desultores. 
 
 On all three sarcophagi again occur amphora-shaped 
 vessels, sometimes characterized as consisting of basket- 
 work. Two of these are seen on the lid of No. 338 (613), 
 
SALA DELLA BIGA. 
 
 245 
 
 lying beside chariots without horses; and on the main 
 bodies of this same sarcophagus and of No. 337 (609), si- 
 milar vessels appear on the racecourse among the horses 
 of bigse in full career. On the lid of No. 337 (609) and 
 on No. 339 (617) these vessels are supported by Cupids, 
 who are taking no part in the races, and therefore appear 
 to represent some of the officials charged with maintain- 
 ing order in the circus. Apparently these vessels were 
 used in scattering sand upon the racecourse, an operation 
 of no little importance to the result of the races, and 
 therefore requiring to be performed with great care. As 
 it was not within the sculptors’ power to express plastic- 
 ally the nature of the racecourse, they have introduced 
 these vases to indicate the manner in which the ground 
 was prepared for the races. This interpretation is in har- 
 mony with the fact that these vessels are found not only 
 in scenes from the circus, but also in representations of 
 other events that took place on sand-strewn ground, e.g ., 
 in scenes from the gymnasium and the palaestra (comp. 
 Nos. 634, 825). Similarly the mattock under the fore- 
 most team on No. 338 (613) is probably a tool used in 
 preparing the course. 
 
 Comp. Marquardt und Mommsen , Handbuch der romischen Al- 
 tertbiimer, vi, pp. 490 et seq. Friediaer^der , Darstellungen aus der 
 Sittengeschiclite Roms, II 5 , pp. 283 et seq. 
 
Galleria dei Candelabri. 
 
 We begin to tbe right of the entrance. 
 
 340 (2). Birds’ Nests with Children. 
 
 Formerly in tlie possession of Cardinal Albani, and 
 restored by the sculptor Cavaceppi. The only antique 
 portions are the nest to the left of the beholder with frag- 
 ments of the babes within it, the top of the bough sup- 
 porting this nest, and a fragmentary child’s figure placed 
 by the restorer in the modern nest to the right. Enough, 
 however, of the children’s figures remains to prove that 
 they are not winged boys (Cupids) but ordinary human 
 children. 
 
 In all probability this work adorned a hedge or shrub- 
 bery in some garden or park. It was certainly placed 
 lower than at present, so that the spectator could easily 
 see the children within. The presence of the children 
 instead of birds is not to be taken as a reference to any 
 mythical or historical event, but merely as a freak of 
 fancy. 
 
 The stump bearing a similar nest, in the opposite re- 
 cess (catalogue No. 66), seems to be entirely modern, made 
 to provide a pendant to the antique specimen restored by 
 Cavaceppi. 
 
 Raffei , II nido, canzone didascalica sopra un antico nido di 
 marmo (Roma, 1778), where both the antique portions are shown 
 unrestored. Visconti, Mus. Pio-Clem., vii, 9. Pistolesi , vi, 17. Comp. 
 Braun , Ruinen und Museen, p. 474, No. 173. O. Jahn, Arch. Bei- 
 trage, p. 212. Birt, De Amorum in arte antiqua simulacris (Mar- 
 purgi, 1892), p. xxxiii. 
 
 341 (19). Statuette of a Boy. 
 
 The head, right arm, left hand and the end of the gar- 
 ment held by it, the lower part of the right leg, both feet, 
 and the plinth are restorations. 
 
GALLERIA DEI CANDELABRI. 
 
 247 
 
 As we shall explain under No. 586, this boy is repre- 
 sented as playing a game, the object of which was to 
 strike a pyramid of nuts or one of a row of nuts, or to 
 throw a nut into a hole in the ground. 
 
 Pistoled , hi, 25. Clarac, v, PI. 876, No. 2240. Museo Chiara- 
 monti, in, 37. Comp. Braun , Rumen undMuseen, p. 475, No. 174. 
 See No. 586 of this volume. 
 
 342 (21). Marble Amphora. 
 
 Found, in the Yilla ‘AdGallinas’ on the ViaFlaminia 
 (comp. No. 5). The restorations include the foot, parts of 
 the neck, most of the handle, and numerous small frag- 
 ments on the body, which cannot all be clearly identified, 
 owing to the artificial patina given to the marble by the 
 restorer. 
 
 The reliefs represent Lycurgos, the mad king of 
 Thrace, raging against the Bacchic thiasos. Lycurgos is 
 in the act of overthrowing a Maenad, whose hair he has 
 seized with his left hand while his left foot is placed on 
 her thigh. The attitude and attribute of his right hand 
 are uncertain, perhaps as the result of restoration at this 
 point. The rest of the thiasos, unconscious of the danger 
 that threatens them , continue their dance in bacchic 
 frenzy; while two Maenads, overcome with exhaustion, 
 fall fainting in each others arms. The expressive motives 
 suggest one or several excellent models. The execution 
 is careless. 
 
 Mon. dell’ Inst., ix, 45 ; Ann., 1872, pp. 248-270. Comp. Hau- 
 ser , Die neu-attiscben Reliefs, p. 105, No. 88. 
 
 343 (26). Colossal Toe. 
 
 This must have belonged to a statue about 50 ft. in 
 height. According to a tradition, which, so far as the 
 present writer is aware, is merely oral, it was found near 
 the Colosseum; so that it is supposed to have belonged 
 to one of the two colossal figures of goddesses that stood 
 in the temple of Venus and Roma in that neighbourhood. 
 
 Beschreibung der Stadt Rom, n, 2, p. 248. Brawn, Ruinen und 
 Museen, p. 475, No. 175. 
 
248 VATICAN. 
 
 344, 345 (31, to the right, 35, to the left, opposite). 
 
 Pair of Candelabra from Otricoli. 
 
 Formerly in the Villa Mattei. 
 
 For remarks on such candelabra placed upon trian- 
 gular bases, see under Nos. 212, 213. — The decoration 
 in relief on the two bases presents, as is frequently the 
 case in antique monuments, a scene from the myth of 
 Apollo contrasted with Bacchic figures. On one of the 
 bases (No. 35, to the left) appears Apollo (head restored) 
 seated in dignified repose after his victory over Marsyas, 
 resting his left hand upon the cithara. Marsyas is hang- 
 ing on a pine-tree , and before him is the youth Olym- 
 pos, weeping over the fate of his master. Bound to a 
 branch of the tree is the double-flute with which Mar- 
 syas dared to compete against the cithara of Apollo. The 
 penalty awaiting the vanquished is depicted on the third 
 side, where a bearded man holds the flaying-knife above 
 a rock, on which he has apparently been sharpening it. 
 The figures on the other base (No. 31, to the right) repre- 
 sent a Bacchic festival or sacrifice. They include Silenus 
 (fragment on the right side of the head restored), with a 
 pitcher in his right hand and a vase of fruit in his up- 
 lifted left ; a dancing Satyr (antique only from the stomach 
 downwards) ; and a dancing Bacchante. 
 
 Visconti , Mus. Pio-Clem., v, 3, 4, and ibid., T. A, ii, No. 2, 
 p. 246. Pistolesi : vi, 18. Comp. Welckers Zeitschrift, p. 408. Braun , 
 Ruinen undMuseen, p. 476, No. 176. For the representation of 
 Marsyas, see Ann. dell’ Inst., 1858, p. 340 (K). Overbeck , Kunst- 
 mythologie, iv, p. 458, No. 3, pp. 468 et seq. 
 
 346 (74). Group from a Fountain: Pan extracting a 
 thorn from a Satyr’s foot. 
 
 Acquired from the possession of the Mattei by Cle- 
 ment XIV. In the figure of Pan the right arm below the 
 biceps, the left arm from a little above the elbow, and 
 the free-hanging portion of the nebris, and in the figure 
 of the Satyr, the right arm, the lower part of the right leg, 
 and a portion of the nebris are restorations. The greater 
 part of the plinth is also modern. 
 
 Though roughly executed, this group is an admirabel 
 
GALLERIA DEI CANDELABRI. 
 
 249 
 
 specimen of the intelligent and tasteful manner in which 
 fountains were plastically adorned in ancient art. Pan is 
 performing the friendly office of extracting a thorn from 
 the sole of a Satyr, who has trodden upon it, probably in 
 the Bacchic orgy. Overcome with pain, the Satyr has for- 
 gotten that the wine-skin behind him is not closed, and, 
 pressing on it with his left arm, causes its precious con- 
 tents to spirt out in a copious stream. The uncouth 
 suffering of the Satyr, and the extreme care with which 
 Pan conducts his operation, are reproduced with admir- 
 able humour. As the exterior outline of the composition 
 forms an oblong, we may conclude that the group was 
 originally placed in a rectangular niche, a space which 
 it would fill in the most harmonious fashion. 
 
 Monumenta Matthaeiana, i, 40. Visconti , Mus. Pio-Clem., i, 48 
 (comp. p. 237, note *). Pistolesi , vi, 20, 2. Clarac , iv, PI. 726, 
 No. 1742. Comp. Braun , Ruinen und Museen , p. 478 , No. 179. 
 For a replica of this group at Pompeii, see Overleck-Mau , Pompeii, 
 p. 319. 
 
 347 (81). Ephesian Artemis. 
 
 Found by Gavin Hamilton in the Tantanello’ (comp. 
 No. 296), at Hadrian’s Tiburtine villa. Tbe only certainly 
 antique portion is tbe upper paTt as far as the beginning 
 of the shaft, and even upon that there are numerous re- 
 storations, including the mural crown with the hair ad- 
 jacent, the chin, nearly the whole of the disk surround- 
 ing the face, the forearms, and fragments of the breasts 
 and of the lions on the upper part of the arms. The lower 
 part is either quite modern, or so retouched by a modern 
 hand that the antique surface has been completely re- 
 moved. The restorations, however, have been made in 
 accordance with better-preserved replicas and are there- 
 fore essentially correct. 
 
 When the Ionians began to colonize Asia Minor, they 
 found in the region afterwards belonging to the city of 
 Ephesus the cult of an Asiatic nature -goddess, whose 
 worship they adopted, giving her the name of Artemis. 
 This cult gradually spread westwards, and during the 
 later imperial epoch attained great acceptance even in 
 Italy. The Vatican statue is one of the numerous images 
 
250 
 
 VATICAN. 
 
 with which the great divinity of Ephesus was worshipped 
 in this later epoch. The head alone exhibits purely Hel- 
 lenic forms; the shape of the body and the attributes are 
 modelled essentially on the carved figure which was the 
 central point of the cult, in the temple in Asia Minor. 
 The attributes symbolize the productive and fertilizing 
 power of the goddess. The three Horse and the three 
 designs from the Zodiac on the robe immediately beneath 
 the neck must he regarded as woven into or embroidered 
 upon the cloth. 
 
 Visconti , Mus. Pio-Clem., i, 31. Penna , Viaggio pittorico della 
 Villa Adriana, iv, 81. Gerhard , Antike Bildwerke, T. 305, 1 (comp. 
 Prodromus, p. 24, note 47). Clarac , iv, PI. 561, No. 1198. Miiller- 
 Wieseler , Denkmalei der alten Knnst, i, 2, 12. Baumeister , Denk- 
 maler des klassischen Alterthums, i, p. 131, Fig. 138. Comp. Braun , 
 Rumen und Museen, p. 480, No. lbO. For the "bibliography of the 
 Ephesian Artemis, see Benndorf undSchone , Bildwerke des Lat. Mu- 
 seums, p. 261. Boscher , Lexikon der griech. und rom. Myth., i, 
 pp. 588-593. 
 
 348 (83). Sarcophagus with relief of Orestes. 
 
 In the 16th cent, this sarcophagus stood in the sacristy 
 of S. Maria in Aracoeli; about the middle of the 18th cent, 
 it was in the Palazzo Barberini; and it was transferred 
 to the Vatican under Clement XIV. 
 
 The reliefs on the front represent three different scenes, 
 that in the centre, with the most figures, referring to the 
 murder of Clytsemnestra and ^Egisthos. Orestes has just 
 dealt the fatal blow to his mother, who lies stretched on 
 the ground with the upper part of her body bare, and he 
 shrinks aside in horror, for immediately after the deed 
 he is threatened by two Furies, with snake and torch, 
 who are partly hidden by a curtain. Crouching behind 
 the corpse of Clytsemnestra is a servant (so distinguished 
 by his costume), who is apparently endeavouring to shelter 
 himself from the impending massacre, by raising a square 
 object, like the top of a table or bench or a small altar. 
 To the left of Orestes is Pylades occupying himself about 
 the newly-slain ^Egisthos. He has overturned the throne 
 on which HCgisthos received his death-wound, and is 
 tearing the royal mantle from the fallen corpse. The aged 
 
GALLERIA DEI CANDELABRI. 
 
 251 
 
 nurse of Orestes averts her eyes in horror from the ter- 
 rible scene. 
 
 The three sleeping Furies, at the left end of the slab, 
 are probably to be imagined as grouped round the tumulus 
 of Agamemnon, judging by the analogy of another sar- 
 cophagus-relief (No. 682), which represents the shade of 
 Agamemnon at this place. The double-edged axe project- 
 ing beside the lowermost sleeper is probably the weapon 
 with which Clytaemnestra slew her husband, and is here 
 inserted as a kind of corpus delicti. 
 
 The scene at the right corner, apparently influenced 
 by the ‘Eumenides’ of iEschylos, represents Orestes at 
 Delphi, where he has received absolution, striding over 
 the sleeping Erinyes on his way to Athens. The youth 
 is in the very act of quitting the tripod, the caldron of 
 which he still touches with his left hand, holding the 
 twig indicative of a suppliant. His extended right hand 
 grasps a naked sword, while between his legs appears 
 a sleeping Erinys, armed with snake and torch. 
 
 The reliefs are obviously copied from a pictorial model. 
 If we imagine the central scene on the front executed 
 with all the resources at the command of highly developed 
 painting, we have at once a complete and striking work 
 of art. How weird and impressive would be the effect 
 produced by the Erinyes, painted in chiaro-oscuro , as 
 issuing from behind the curtain. We know that the 
 painter Theon of Samos, a contemporary of Alexander the 
 Great and Demetrios Poliorcetes, painted the matricide 
 and madness of Orestes', and ancient art-critics dilated 
 upon the overwhelming and effective character of the work. 
 As these qualities are apparent in the sarcophagus-reliefs, 
 which treat of the same subject (comp. No. 682), it is 
 surely not too bold to suggest that these reliefs have been 
 influenced by Theon’s composition. 
 
 Robert , Die antiken Sarkophag-Reliefs, n, T. lvi, 158, p. 174. 
 
 349 (87). Asiatic Barbarian, as the support of a Vase. 
 
 The restorations include the point of the cap, the chin, 
 and both arms, except the fingers of the right hand rest- 
 
252 
 
 VATICAN. 
 
 ing on the hip. The head seems to have been retouched. 
 When E. Q. Visconti saw it, the figure bore a modern 
 bronze vase. The present grey marble cratera is antique, 
 but does not belong to the figure. 
 
 This barbarian in Asiatic costume has been taken for 
 a Trojan, bearing a gift destined for Achilles, and it has 
 been conjectured that it belonged to a larger group re- 
 presenting the ransoming of Hector’s body. But the whole 
 attitude, especially the way in which the right arm rests 
 upon the hip, would produce a highly forced impression 
 in such a connection; the barbarian would be actually 
 striking an attitude before Achilles. On the other hand 
 the position assigned to him would be perfectly appro- 
 priate if we assume, with the restorer, that the figure was 
 used as a support, either by itself or with two similar 
 figures. The latter arrangement has many analogies in 
 its favour. Behind the temple of the Olympian Zeus at 
 Athens stood a bronze tripod supported by three Persians 
 carved in Phrygian marble (paonazzetto). Moreover in 
 the Museum at Naples are two colossal statues of kneel- 
 ing barbarians in Asiatic dress, the bodies of which are 
 of the same material, while the heads and extremities are 
 of black marble (nero antico). Console-shaped supports 
 on their shoulders prove that these statues also bore a 
 vessel of some kind. From the identity of their material, 
 it is a fair question whether these were not perhaps 
 copies of the Persians at Athens. Comp. No. 350. 
 
 Visconti , Mus. Pio-Clem., vn, 8 . Pistolesi , vi, 24. Clarac , v, 
 PI. 853, No. 2164. Comp. Braun , Rumen und Museen, p. 484, 
 No. 183. Arch. Zeitung, xxxix (1881), p. 19. Burckhardt , Cicerone, 
 i 5 , p. 137. For the Athenian tripod, see Pausanias , i, 18, 8. For 
 the Naples colossi, Clarac , v, 854c, No. 2163. Comp. Gerhard 
 und Panofka , Neapels antike Bildwerke, p. 72, Nos. 218, 225. Do- 
 cumenti inediti per servire alia storia dei musei d’ltalia, rv, p. 168, 
 Nos. 31, 32, 
 
 350 (90). Water Basin supported by three Sileni. 
 
 Found on May 11th, 1789, near Roma Vecchia on the 
 Via Appia. Two of the Sileni are antique nearly through- 
 out. Of the third nothing was left but the marks of his 
 position on the corresponding fragments of the plinth. 
 
GALLERIA DEI CANDELABRI. 
 
 253 
 
 The vase supported hy these figures was round, as proved 
 hy an arc-shaped depression (now concealed by the re- 
 storation) on the wine-skin of the kneeling Silenus be- 
 hind, to the right. 
 
 This is another clever and humourous fountain-de- 
 coration (comp. No. 346). Lazy and luxurious rascals like 
 Sileni would certainly not be anxious to bear burdens, 
 and they were therefore used as supports in ancient art 
 only when a comic effect was aimed at. The most cele- 
 brated examples of a decoration of this kind are the crouch- 
 ing Sileni that supported the stage in the theatre of Dio- 
 nysos at Athens. Instead of the usual cushion, the sculptor 
 of this Vatican fountain-group has placed upon the necks 
 of the Sileni their beloved wine-skins, from the mouths 
 of which three jets of water issued on the three different 
 sides. The expression on the faces of the corpulent trio 
 is utterly disconsolate, probably not only on account of 
 the weight they have to support, but also because the pre- 
 cious contents of their wine-skins is escaping without 
 being enjoyed by them. The comic element is emphasized 
 by the lion-skins hanging from their heads ; for this dra- 
 pery converts the Sileni into parodies of Heracles sup- 
 porting the vault of heaven. 
 
 Visconti , Mus. Pio-Clem., vii, 4. Clarac , iv, PI. 726 D, No. 1770 A. 
 Comp. Athenische Mittheilungen, x (1885), p. 381. For tbe excav- 
 ation, see Riccy, Dell’ antico pago Lemonio (Roma, 1802), p. 130, 
 Nos. 4, 5, p. 187, No. 89. For the Athenian stage : Mon. dell’ Inst., 
 ix, 16; Ann., 1870, pp. 97 etseq. 
 
 351, 352 (93, to the right; 97, to the left). Pair of Can- 
 delabra. 
 
 Formerly in S. Costanza; transferred to the Vatican 
 under Clement XIV. 
 
 The shafts have the form of the artificial wooden post 
 used in the Hellenistic tree-worship (comp. No. 326); and 
 are tastefully decorated with garlands at the top, palmettes 
 lower down, and acanthus-leaves immediately above the 
 bases. Upon the bases are Cupids ending in arabesques, 
 holding in their hands baskets or bouquets of fruit and 
 flowers. Such figures are among the favourite motives of 
 
254 
 
 VATICAN. 
 
 Graeco-Roman decoration, and recur on many other ex- 
 tant bases of candelabra, etc. (comp. Nos. 366, 367); while 
 Cupids holding flower-baskets are also mentioned as 
 ornaments of bronze candelabra, in a Roman inscrip- 
 tion (Corpus inscrip, lat., yi, 2, No. 9254). The tran- 
 sition from the bodies to the arabesques is managed with 
 great skill in these figures, as well as in the sphinxes 
 supporting the bases. Some of the Cupids are injured 
 by chisel-marks, probably because heathen representations 
 of naked human bodies could not be tolerated on cande- 
 labra used for the decoration of a church. 
 
 Ciampini , De sacris sediflciis a Constantino Magno constructis, 
 T. xxix, 4, pp. 134, 135. Visconti , Mus. Pio-Clem., vn, 39, and 
 ibid., T. B i, No. 1, 2, p. 244. Pistolesi , yi, 26. Comp. Brawn, Rui- 
 nen und Museen, p. 485, No. 184. 
 
 Those who have no opportunity of studying the Hel- 
 lenistic -Roman wall-paintings at Naples and Pompeii 
 may well bestow a glance upon the eight fresco-figures 
 (Nos. 353-360) inserted in the walls of the section now 
 reached. They were found in 1822 in the ancient villa 
 near the Tor Marancio (see above, p. 1), where they 
 formed the central points of the otherwise white walls of 
 one of the rooms. 
 
 353-360. Four Girls and Four Youths hovering in 
 the Air. 
 
 To the right: 1. Girl, with a torch in the lowered 
 right hand, and a patera with herbs in the left. 2. Similar 
 figure, but with a basket in the raised left hand. 3. Sim- 
 ilar figure , with a bunch of herbs in the raised right 
 hand, and a patera in the left. 4. Similar figure, holding 
 with her right hand her mantle that flutters behind her, 
 and a patera with herbs in her left. To the left : 1 . Youth, 
 with a cornucopia in the lowered left hand, and a patera 
 in the right. 2. Satyr, recognizable by the pointed ears 
 and the nebris, with a pedum in the right hand; on his 
 neck rides a boy, whose left arm he holds with his left 
 hand (comp. No. 397). 3. Youth holding a pedum in his 
 
GALLERIA DEI CANDELABRI. 
 
 255 
 
 lowered right hand and a patera in his left. 4. Youth 
 holding a cornucopia in his lowered right hand, and a 
 vessel with flowers and herbs in his raised left. 
 
 Biondi , I monumenti Amaranziani, T. xxi-xxix. Comp. Braun , 
 Ruinen and Museen, p. 490, No. 189. 
 
 361 (134 a). Modern Copy of a Puteal, formerly the 
 
 property of Queen Christina of Sweden, and now 
 in Madrid. 
 
 Hauser , Die neu-attischen Reliefs, pp. 93, 94. 
 
 362 (134 b). Statue of Semo Sancus. 
 
 This statue, with its pedestal, is said to have been 
 found in 1879 in the district between the Porta delPopolo 
 and the Piazza Barberini (comp., however, Bull, della 
 comm, archeologica comunale , ix, p. 4, No. 436). 
 The right forearm with the bow and the left hand with 
 the bird are restored. At the same time and place a 
 marble basket of fruit was found, with the remains of a 
 hand grasping it on each side. The suggestion that the 
 statue originally held this basket in its hands is un- 
 founded, for so heavy an object must certainly have 
 been joined to the body and would have left traces of 
 the connection on the abdomen. The basket has there- 
 fore nothing to do with this figure of Semo Sancus but 
 belonged to some other statue. 
 
 An inscription on tbe pedestal, in letters the shape 
 of which refers it to the time of the Antonines, indicates 
 that this statue was dedicated to Semo Sancus, Deus Fi- 
 dius, by a Decuria Sacerdotum Bidentalium. Roman rit- 
 ual ordained that lightning (thunderbolts), coming from 
 heaven and perishing in the earth, should be formally 
 buried with certain ceremonies. These graves of the light- 
 ning were called ‘ Bidentalia\ from the sacrifices made at 
 their consecration by the haruspices, and in all probabil- 
 ity the Sacerdotes Bidentales formed a collegium entrusted 
 with the watching and repairing of these graves. 
 
 Semo Sancus, an Italian agrarian deity, who became 
 identified at an early date with Dius Fidius, the god of 
 fidelity and (in particular) of oaths, seems, from our statue, 
 to have been represented under an archaic Greek Apollo- 
 
256 
 
 VATICAN. 
 
 type. This attained its most perfect artistic expression in 
 a famous bronze statue made by Canachos for the Milesian 
 Didymaeon, of which several bronze replicas are still 
 extant. The characteristic attribute of this type was 
 the bow in the left hand, while in the right hand were 
 placed different attributes, according to the special aspect 
 of the god it was desired to emphasize. It was probably 
 not mere chance that led the Italians to represent their 
 Semo Sancus, Dius Fidius, under the forms of the Hellen- 
 ic Apollo, when they adopted the use of temple-images; 
 for Apollo as the god of light was connected with the 
 germination of seeds, and in his capacity as the god of 
 expiation recalls the conception represented by the Italian 
 god of oaths. The sculptor of the statue before us has 
 observed archaic principles only in the attitude and main 
 forms of the figure; in his characterization of the nude 
 and hair he has deviated into a freer treatment. The now 
 greyish-brown pigment, intended to throw the pupils into 
 prominence , indicates that the statue was originally 
 painted. 
 
 Ann. dell’ Inst., 1885, Tav. d’Agg. A, pp. 105-126. For the 
 above-mentioned Apollo-type, see Roscher : Lexikon der griech. und 
 rom. Mythologie, i, pp. 450 et seq. Overbeck , Kunstmythologie, 
 iv, pp. 22 et seq. 
 
 Let into the wall behind this statue, — 
 
 363. Mosaic of Provisions. 
 
 Found at Roma Vecchia on the Via Prsenestina. 
 
 The reports of the discovery are silent as to whether 
 this mosaic was inserted in the wall of a dining-room or 
 other room or formed the central decoration of a pave- 
 ment. It displays in brilliant colours a plucked fowl, fish, 
 cuttle-fish, crabs, a bundle of wild asparagus, and a bunch 
 of dates. 
 
 Pistolesi , vi, 30. Biondi , I monumenti Amaranziani, T. 9. 
 Comp. Riccy , Dell’ antico pago Lemonio , p. 126. Braun , Ruinen 
 und Museen, p. 490, No. 190. Schreiber , Die Wiener Brunnenreliefs 
 aus Palazzo Grimani, p. 79. 
 
GALLERIA DEI CANDELABRI. 
 
 257 
 
 364 (135). Portrait- Statuette of a Poet or Scholar. 
 
 Found in the same ancient villa beside the Tor Ma- 
 rancio as the fresco-figures Nos. 353-360. The head, 
 which recalls the type of Sophocles (Nos. 289, 662), the 
 right arm, the feet, the supports of the seat, and the 
 plinth are restorations. 
 
 In respect of the characteristic clearness of the arrange- 
 ment, this figure is equal to the statues of Menander 
 [No. 201) and Posidippos (No. 200). As there are no 
 traces on the body of the position of the right forearm, 
 we must suppose that it was raised, much as the restorer 
 has placed it, and accordingly that the subject was 
 represented as meditating or as teaching. The current 
 identification of the statue as Sophocles rests upon the 
 erroneous assumption that the head is antique. 
 
 Pistolesi , vi, 29. Biondi , I monumenti Amaranziani, T. 30, 
 p. 54. Comp. Welcker , Alte Denkmaler, i, p. 460. Braun , Ruinen 
 und Museen, p. 489, No. 188. 
 
 365 (137). Statue of Libera, roughly executed. 
 
 This comes from the precincts of the same ancient 
 villa as the fresco-figures Nos. 353-360 and the statuette 
 No. 364. It was discovered along with two statues of 
 Bacchus by another hand in the same gallery (Nos. 141, 
 153 in the catalogue; Biondi , I monumenti Amaran- 
 ziani, T. 45, 46, p. 138), -buried in a pit near the ruins 
 of a temple. The point of the nose has been restored. 
 
 The vine-wreath and the nebris prove that this female 
 figure belongs to the cycle of Dionysos. But Gracco-Ito- 
 man art would never have thought of representing any 
 female member of the thiasos in an attitude so peaceful 
 and so appropriate to a temple-image. It is much more 
 probable that this figure should be regarded as the Italic 
 deity Libera. After the Italic Liber had become identi- 
 fied with the Hellenic Dionysos, and Italic art had be- 
 gun to represent him under the forms of the latter, the 
 images of his feminine pendant must also have received 
 Bacchic attributes. It is uncertain what object was held 
 in the outstretched left hand of this figure. It cannot 
 have been a thyrsos, for there is no room on the plinth 
 
 Helbig, Guide I. 17 
 
258 
 
 VATICAN. 
 
 for the shaft to rest on, and the hand must have been 
 higher, had it grasped such an attribute. More probably 
 we may imagine it to have been a drinking-vessel or a 
 bunch of grapes. It is a natural assumption that this 
 figure and the two statues of Bacchus found with it came 
 from the ruins of the adjacent temple, and that the tem- 
 ple was dedicated to Liber or to Liber and Libera. 
 
 Pistolesi , vi, 31. Biondi, I monumenti Amaranziani, T. 47, 
 p. 138. Comp. Beschreibung Roms, n, 2, p. 259, No. 14. 
 
 366, 367 (157, to the right; 219, to the left, opposite). 
 Pair of Candelabra. 
 
 Formerly in S. Agnese (Bericbte der sachs. Gesell- 
 schaft der Wissenscbaften, 1885, p. 106, No. 32; Arcbivio 
 della reale society romana di storia patria, ix, 1886, p. 534) ; 
 transferred to the Vatican under Clement XIV. 
 
 The bases resemble, with slight variations, those of 
 the candelabra from S. Costanza (Nos. 351, 352), but each 
 of the shafts consists of four baskets covered with acan- 
 thus-leaves and each united with the basket above it by 
 a pair of saucer-shaped objects. The basket immediately 
 above the base stands with its opening downwards and 
 the saucers above it have their openings turned towards 
 each other, whereas the three upper baskets stand upright 
 and the pairs of saucers belonging to them are placed 
 back to back. A third candelabrum of exactly the same 
 pattern still remains in S. Agnese. For convenience of 
 transport each shaft is made up of four separate pieces, 
 corresponding to the divisions of the design. As the 
 bases correspond with those of the specimens from S. 
 Costanza (Nos. 351, 352) and as the two pairs were found 
 erected in two neighbouring churches, it is probable that 
 all the candelabra belonged originally to one and the same 
 series, which may possibly have adorned in antiquity one 
 of the villas on the Via Nomentana. 
 
 Ciarnpini , De sacris aediflciis a Constantino Magno constructis, 
 T. xxix, 3, pp. 134, 135. Visconti , Mus. Pio-Clem., vii, 40; T. B n, 
 3-5, p. 245. Pistolesi , vi, 32. Comp. Brawn, Ruinen und Museen, 
 p. 491, No. 191. Matz-Duhn , Antike Bildwerke in Rom, hi, p. 103, 
 No. 3660. Hauser , Die neu-attischen Reliefs, p. 110, No. 48. 
 
GALLERIA DEI CANDELABRI. 
 
 259 
 
 368 (162). Statuette of Nike. 
 
 Found in 1772 by Gavin Hamilton at Cornazzauo, 
 and formerly in the Palazzo Altemps. The left forearm, 
 the point of the nose , the right arm with the garland, 
 and most of the wings are restorations. 
 
 Nike here stands in an easy and graceful attitude, 
 leaning on a trophy, her left foot resting on the beak of 
 a ship. She gazes before her with a joyful expression, 
 and with her left hand is pushing back the Gorgon’s mask, 
 which had covered her face. The idea of the statuette is 
 therefore this: while the battle raged, the face of the 
 goddess was covered by the terrible mask; when the 
 victory is won, Nike no longer requires the fear-in- 
 spiring mask, and so removes it from her face, while she 
 looks in triumph after the fleeing foe. The graceful ar- 
 rangement, which thus clearly indicates the event imme- 
 diately preceding the actual moment chosen for represent- 
 ation, and the definiteness of the symbolism, suggest 
 some admirable original, which was probably carved in 
 the Hellenistic epoch as the monument of a naval victory. 
 
 Piranesi , Yasi, candelabri, cippi, sarcofaghi, tripodi, lucerne, 
 ed ornamenti antichi (Roma, 1778), n, T. 64, 65 (where the place 
 of discovery, nowhere else mentioned, is given). Visconti , Mus. 
 Pio-Clem., ii, 11. C2arac,iv, PI. 636, No. 1442. Comp. Braun , liuinen 
 und Museen, p. 492, No. 192. Rheinisches Museum, xxiv (1869), 
 pp. 303-305. Fredericks -Wolters, Bausteine, No. 1439. A replica 
 of this figure is in the Louvre ; see Frohner, Notice de la sculpture 
 antique du Musee du Louvre, i, No. 477. 
 
 369 (166). Candelabrum with the attributes of Artemis. 
 
 Various fragments on the shaft and on the edges of 
 the base , and the entire plinth of the latter are restor- 
 ations. 
 
 The reliefs on the triangular base refer to the cult of 
 Artemis. On one side is a rustic altar, adorned with a 
 garland and bearing various offerings, amongst which a 
 pine-cone is distinct. A burning torch leans against the 
 altar, and a deer bites playfully at the ribbon hanging 
 from the torch. On the second side is a conical wooden 
 post (comp. No. 326) to which a stag’s antlers are fastened. 
 
 17 * 
 
260 
 
 VATICAN. 
 
 On the third side is a sacred laurel-tree, to which a quiver, 
 bow, and spear are attached. 
 
 Gerhard , Antike Bildwerke, T. 83. For the third side, see also 
 Baumeister , Denkmaler des klass. Alterthums , i, p. 297, Fig. 313. 
 Comp. Braun , Rumen und Museen, p. 492, No. 194. 
 
 370 (175). Marble Vase. 
 
 Placed in the museum under Pius VI. 
 
 The fluted pedestal is the only portion that can be 
 clearly identified as antique. The body, both in its exe- 
 cution and the motives of its decoration, produces a mod- 
 ern effect. The handles are in the shape of gnarled olive- 
 branches. Twigs, springing from these, cover the body 
 of the vase, on which are birds pecking at the berries — 
 a highly baroque decoration for which an analogy can 
 hardly be found among well-authenticated antique exam- 
 ples of ornament. 
 
 Pistolesi , vi, 37. Comp. Braun , Rumen und Museen, p. 492, 
 No. 193. 
 
 371 (176). Statuette of a Satyr looking at his Tail. 
 
 The restorations include the right forearm, the entire 
 left arm with the cymbal, the tail, the lower end of the 
 pedum attached to the tree-stump, the left foot with the 
 exception of the toes , and apparently the lower part of 
 the right leg. The front of the right foot, however, is an- 
 tique. 
 
 The correct restoration of this statuette is shown by 
 a relief (No. 125) in the Museo Chiaramonti. Raising him- 
 self on tiptoe and twisting his torso backwards, the Satyr, 
 holding his tail in his left hand, contemplates it with a 
 satisfied expression. The attitude suggests the pranks of 
 a kitten with its own tail. The accompanying sketch 
 (Fig. 16) shows the original appearance of the figure. The 
 neighbouring statuette (No. 178 in the catalogue) repre- 
 sents the same motive, but is of inferior execution and 
 not so well preserved. The numerous replicas extant 
 suggest some celebrated original, perhaps of the early 
 Hellenistic epoch. 
 
GALLERIA DEI CANDELABRI. 
 
 261 
 
 Ann. dell Inst., 1861, Tav. d’agg. Nos. 1-3, pp. 331-333. Comp. 
 Brunn , Beschreibung der Glyptothek, No. 309. Heydemann , Pariser 
 Antiken, p. 71, No. 20. Loewy , Lysi^p und seine Stellung in der 
 griech. Plastik, p. 28. 
 
 372 (177). Statue of a Fisherman. 
 
 Presented to Clement XIY. by Prince Doria-Pamfili. 
 Algardi has restored the chin and lower lip and other 
 small parts of the face, the right hand, the left forearm 
 with the handle of the bucket, the lower part of the 
 stump , the feet , and the plinth. The stucco portion of 
 the apron is also modern. 
 
 The original of this statue must have enjoyed a cer- 
 tain celebrity, for several antique replicas of it are now 
 extant. It represents an aged fisherman, worn out by 
 his toilsome calling, holding in his left hand a bucketful 
 of fish, while his outstretched right hand probably held 
 a fishing-rod. The physical and intellectual feebleness of 
 
262 
 
 VATICAN. 
 
 the man is reproduced in the most ruthless manner. The 
 head has a pitiable expression, almost bordering upon 
 idiocy; the withered flesh suggests insufficient nourish- 
 ment; while the pose of the body creates the impression 
 that the old man holds himself upright with tremulous 
 difficulty. The conception of the original seems thus to 
 have been affected by two tendencies that attained con- 
 siderable prominence in art after the Hellenistic period; 
 one devoted itself to the presentation of types of special 
 crafts and callings , especially rustic callings , while the 
 other tried to reproduce pathological appearances with 
 realistic fidelity. In antiquity this statue was certainly not 
 placed so high as at present, but, as suits genre figures 
 of the kind, either had no pedestal or a very low one. The 
 spectator would thus be able to see the fish in the bucket, 
 which are of importance for the understanding of the re- 
 presentation. On the right thigh are traces of a support, 
 which apparently served to steady the outstretched right 
 forearm. 
 
 Visconti , Mus. Pio-Clem., in, 32. Pistolesi, vi, 42. Ciarac, v, 
 PI. 879, No. 2244. Brunn und Bruckmann , Deukm. griech. u. rom. 
 Sculptur, No. 164. For the replicas, see Meyer-Schulze , note 16 in 
 Winckelmann' s Geschichte der Kunst, Book n, chap. 3, § 5. 
 
 Above No. 179 of the catalogue, — 
 
 373. Puteal, with reliefs of the Danaids and Ocnos. 
 
 Acquired under Pius VI. from a Roman marble- 
 cutter. 
 
 Although the surface is so injured that a number of 
 details are indistinct, the reliefs obviously represent the 
 punishment of the Danaids and Ocnos with the she-ass. 
 The Danaids are here engaged in filling a large clay vessel 
 (dolium) with water, from vases of different shapes; but 
 the dolium has a crack at the bottom, through which 
 the water poured into it escapes. Adjacent we see Ocnos 
 twisting a rope of rushes, which is being eaten at the 
 other end by a she-ass. This design, symbolizing the 
 vain and senseless strivings of mankind, is probably based 
 
GALLERIA DEI CANDELABRI. 
 
 263 
 
 upon some Ionic popular tale, and was used by Polygno- 
 tos in his celebrated painting of the Underworld in the 
 Lesche at Delphi. 
 
 Visconti , Mus. Pio-Clem., rv, 86, 36*. Comp. Welckers Zeit- 
 schrift, p. 401. Braun , Ruinen undMuseen, p.493, No. 195. Abhandl. 
 der bayer. Akademie, class i, vol. viii, section n, p. 246. On Ocnos, 
 see Robert , Die Nekyia des Polygnot (Halle, 1892), pp. 62, 63. 
 
 374 (below No. 181 of the catalogue). Triangular Base. 
 
 Found in 1791 in Hadrian’s Tiburtine villa. 
 
 As is frequently the case on bases of this kind, the 
 reliefs represent Cupids with the attributes of Ares ; one 
 bears the helmet, another the shield, and a third the sword. 
 
 Penna, Yiaggio pittorico della Villa Adriana, iv, 125. Comp. 
 Braun , Ruinen und Museen, p. 494, No. 196. Hauser , Die neu- 
 attischen Reliefs, p. 109, No. 47. 
 
 375 (183). Upper Part of a Statue of Cronos (Saturn). 
 
 Formerly in the Palazzo Massimi alle Colonne. At one 
 time it stood in the Appartamenti Borgia (Beschreibung 
 Roms, n, 2, 5, No. 16). The nose has been restored. The 
 statue is of shell-limestone. 
 
 The identification is founded on the fact that this 
 fragment corresponds with authenticated representations 
 of Cronos in respect of its gloomy expression, the arrange- 
 ment of the mantle covering the back of the head, and 
 the manner in which the hand grasps the mantle (comp. 
 No. 515). From other better-preserved representations we 
 may assume that the right hand lay on the right thigh 
 and held some characteristic attribute of Cronos, such as 
 a stone wrapped in a swaddling-cloth or a curved sword 
 (harpe). 
 
 Braun , Vorschule, T. 35. Roscher, Lexikon d. griecb. u. rom. 
 Myth., ii, p. 1562, Fig. 12, pp. 1563 et seq. Comp. Visconti , Mus. 
 Pio-Clem., vi, p. 38. Braun , Ruinen und Museen, p. 494, No. 197. 
 Overbeck , Kunstmythologie, ii, p. 252, p. 326, No. 5, p. 585, note 
 153. Arch.-epigr. Mittheil. aus Osterreich, xvi (1893), pp. 74, 75. 
 
 376 (184). Patron Goddess of Antioch on the Orontes, 
 
 after Eutychides. 
 
 This group was found in the Tenuta delQuadraro, out- 
 side the Porta S. Giovanni. Some have taken the name 
 
264 
 
 VATICAN. 
 
 of this site for a corruption of the cognomen Quadratus, 
 and connect it with Gains Ummidius Durmius Quadra- 
 tus, who was prefect of Syria under Claudius and Nero. 
 His name occurs on coins of Antioch, the reverse of which 
 shows the goddess of that town in a form resembling the 
 plastic group. The group became at first the property of 
 the sculptor Cavaceppi, who restored the absent portions 
 of the figure of the goddess, after Syrian coins, and ap- 
 parently correctly on the whole, though it is questionable 
 whether his restoration of the arms of the river-god re- 
 presents the original position. The restorations in the 
 figure of the goddess include the mural diadem (the al- 
 most imperceptible join runs immediately above the upper 
 edge of the stephantf), the parts of the drapery falling 
 over the shoulders and back, the nose, the upper lip, and 
 the right forearm holding the sheaf. The head was broken 
 off but certainly belongs to this statue ; it seems to have 
 been retouched on the right side. 
 
 Through a happy combination of written and monu- 
 mental evidence, it has been successfully proved that this 
 group, which survives in several bronze and marble re- 
 plicas, reproduces the Tyche of Antioch, a work in bronze 
 by Eutychides, a pupil of Lysippos. The charming situa- 
 tion of Antioch is frequently praised by ancient writers. 
 The town extended along and upon the hills rising above 
 the Orontes, which reappeared in the light of day near the 
 hill on which lay the city, after a subterranean course of 
 forty stadia. These peculiarities are admirably expressed 
 in the group. The goddess is seated upon a rock, in an 
 easy and graceful position, her right leg crossed over her 
 left. Her right elbow rests on her thigh, while the left 
 hand is so placed as to give the necessary support to the 
 body, which is turned towards the left, the position of 
 the left arm developing a charming voluminousness of 
 drapery. The mural crown distinguishes her as a city- 
 goddess, while the fertility of the country is indicated by 
 the ears of corn in her right hand. At the feet of the god- 
 dess, the youthful god of the Orontes is issuing from the 
 ground. The restorer has represented him with uplifted 
 arms, as though hailing with delight his emergence in 
 the light of day. But from the analogy of Syrian coins, 
 
GALLERIA DEI CANDELABRI. 
 
 265 
 
 it is more probable that he was conceived of as swim- 
 ming, cleaving the waves in the ancient fashion by alter- 
 nately projecting and withdrawing his arms. The po- 
 sition of the head, which is bent far backwards, would 
 also be natural in the case of such a motion. 
 
 Visconti , Mus. Pio-Clem., m, 46. Clarac , iv, Pl. 764, No. 1906. 
 Muller -Wieseler, Denkmaler der alten Kunst, i, 49, 220. Baumeister , 
 Denkmaler des klass. Alterthums, i, p. 519, Fig. 560. Brunn und 
 BrucTcmann , Denkm. griech. u. rom. Sculptur, No. 154. Overbeck , 
 Gesch. d. gr. Plastik, n 4 , p. 172, Fig. 184. Farther references in 
 Friederichs-Wolters , Bausteine, No. 1396; to which add Biccy , Dell’ 
 antico pago Lemonio, pp. 81, 82, p. 124, No. 67 ; Journal of Hellenic 
 Studies, ix (1888), pp. 75 et seq. ; Loewy , Lysipp und seine Stellung 
 in der griech. Plastik, p. 27; Rom. Mittheilungen ! , vm (1893), 
 pp. 188-191. 
 
 377 (187). Candelabrum, with relief of Heracles steal- 
 
 ing the Tripod on the base. 
 
 The fragments of this candelabrum were found about 
 1770, in the Vigna Yerospi, afterwards incorporated in 
 the park of the Villa Ludovisi, a site occupied in an- 
 tiquity by the Gardens of Sallust. The basket at the top 
 of the shaft and the dish above are restored ; also nearly 
 the entire base, the only antique portions of the reliefs 
 being the head, the arm with the club, and the breast of 
 Heracles, and the head, the breast, and the upper right 
 arm of the priest. The figure of Apollo is entirely mod- 
 ern. The restorations, however, have been made in ac- 
 cordance with similar reliefs and are substantially correct. 
 
 The reliefs on the base represent in an archaistic style 
 Heracles carrying off the Delphic tripod. He is pursued 
 by Apollo and his priest, the latter raising both arms 
 either in wrath or in woe. 
 
 Giornale de’ Letterati, 1771 (Pisa), m, tav. hi, p. 158, pp. 176 
 et seq. Visconti , Mus. Pio-Clem., vn, 37. Farther references in 
 Stephanie Compte-rendu pour 1868, p. 47, No. 81, and Overbeck , 
 Kunstmythologie , iv, p. 406 , B 7 . Comp. Welckers Zeitschrift, 
 p. 472. Braun , Ruinen undMuseen, pp. 496, No. 199. Hauser , 
 Die neu-attischen Reliefs, p. 53, No. 74. 
 
 378 (222). Statue of a Girl Racing. 
 
 Formerly in the possession of the Barberini ; acquired 
 under Clement XIY. The nose, the arms except the 
 parts close to the shoulders, and fragments on the plinth 
 are restored. 
 
266 
 
 VATICAN. 
 
 This statue is a tolerably faithful copy of a Greek 
 original that may be referred to about the middle of the 
 5th century. It exhibits several of the peculiarities of 
 the archaic style, notably the too high position of the ears, 
 the prominent eyelids, and the strongly developed chin 
 with its sharp outline. Pausanias’s description (v, 16, 2) 
 of the girls who ran races at Olympia during the festival 
 of Hera throws an explanatory light on this figure. These 
 girls had their hair unbound and were clad in chitons 
 reaching a little lower than the knee and leaving the right 
 shoulder bare — a costume corresponding to that of the 
 statue, except that the chiton of the latter is a little shorter. 
 The broad belt served to support the waist and to prevent 
 the prolonged exertion from causing a stitch in the side. 
 The slender girl before us, with arched breast and power- 
 ful legs admirably suited for racing, awaits the signal for 
 the start. The head is lowered, with an expression of 
 keenest attention; the body is slightly bent forwards; the 
 right foot is already raised. A projecting fragment (now 
 chiselled away) on the belt proved that the left forearm 
 was originally placed closer to the body than it is in the 
 restoration; and we may fairly suppose that the left hand 
 also helped to express the attention with which the signal 
 was awaited, and may have had some such motion as the 
 right hand of the Discobolos (No. 331). The still some- 
 what stiff style agrees admirably with the girlish naivete 
 which the artist seeks to express. The treatment of the 
 forms implies a bronze original. The removal of the 
 stump, which would not be required in a bronze work, 
 would at once give the figure an air of greater freedom 
 and mobility. It is in itself probable that the original 
 represented a winner in the race, and this is practically 
 proved by the palm-branch, the symbol of victory, carved 
 on the stump by the copyist, while Pausanias expressly 
 states that girls who won the races at Olympia were 
 permitted to present their portraits as votive-offerings. 
 The statue, however, need not necessarily have reference 
 to the Olympic races, for races for girls are also men- 
 
GALLERIA DEI CANDELABRI. 
 
 267 
 
 tioned in connection with other festivals, such as the 
 Spartan Dionysia. But in any case, the original was 
 carved under Doric or JEolic auspices, for its subject has 
 reference to a custom peculiar to these two tribes, and the 
 type of head has no analogy either in Attic or Ionic art. 
 
 Races for girls also took place in the stadium con- 
 structed by Domitian on the Palatine. Now, the statue 
 before us was formerly in the possession of the Barberini, 
 who owned a vigna on the Palatine, which embraced the 
 area of this stadium. It seems , therefore , not unlikely 
 that the statue was found in this vigna and formed in 
 antiquity one of the decorations of the Stadium of Do- 
 mitian. 
 
 Visconti, Mus. Pio-Clem., m, 27. Baumeister, Denkmaler des 
 klass. Alterthums, in, p. 211, Fig. 2362. Farther references in Frie- 
 derichs- Wolters, Bansteine, No. 213. Comp. Ahhandlnngen des 
 archaol.-epigr. Seminars in Wien, vm (1890), p. 46, note 4. On 
 the races of girls in the Stadium of Domitian , see Suetonius , 
 Domitian, 4. 
 
 379 (234). Candelabrum with square base. 
 
 Found during the excavations at Otricoli. The restor- 
 ations include the upper part of the shaft with the 
 vessel, the acanthus- cushion resting on the base, and the 
 greater part of the base. The figure of Aphrodite on the 
 base is entirely modern ; an'd of the Apollo only the left 
 hand with the top of the how has been preserved. 
 
 The spiral shaft springs from an arrangement of acan- 
 thus-leaves, and is surrounded with similar leaves, occur- 
 ring on the spirals at equal intervals. Near the top is a 
 pair of doves , such as are found on the shafts of bronze 
 Etruscan incense-burners. The reliefs on the base present 
 Zeus in a peculiar fashion , the hack of his head covered 
 by his mantle, a thunderbolt in his right hand, and his 
 left resting on a spear; Pallas, turning round, with a spear 
 in her left hand and a sacrificial cup in her outstretched 
 right; and an almost completely obliterated figure of 
 Apollo, the existence of which, however, is sufficiently 
 proved by the remains of his attribute , the how. The 
 restorer has placed, quite arbitrarily, a figure of Aphro- 
 
268 
 
 VATICAN. 
 
 dite on the fourth side. As we have no means of know- 
 ing what deity originally occupied this side, it is diffi- 
 cult to form any judgment as to the relation intended 
 among these figures. 
 
 Visconti , Mus. Pio-Clem., v, 1, 2. Pistolesi , vi, 51. For tlie 
 figure of Zeus, Overbeck, Kunstmythologie, rr, p. 251, No. 2, p. 255; 
 Atlas, m, 21. Comp. Braun , Ruinen und Museen, p. 504, No. 206. 
 
 380 (253 c). Statuette restored as Demeter. 
 
 Formerly in the Villa Mattei; acquired under Cle- 
 ment XIV. The left hand with the ears of corn and "both 
 elhows are restored. The head , though not in one piece 
 with the hody, "belongs to it, as is proved hy a replica in 
 the Museo Torlonia. 
 
 Although this statuette, especially the head, has been 
 freely worked over by the restorer, its admirable execution 
 is still distinctly recognizable. Above all, the delicate skill 
 with which the folds of the chiton appear through the 
 mantle is perhaps unequalled elsewhere. The elegant but 
 somewhat studied arrangement of the drapery is in har- 
 mony with Hellenistic taste. The head is full of charm 
 and has a somewhat sensuous expression. The beautiful, 
 but still individualized line of the profile , strongly sug- 
 gests that it is a portrait. Theories like those which take 
 the figure for a Muse — either Cleio with a scroll in 
 her left hand, or Mnemosyne — are quite untenable. The 
 recently proposed identification with Cora is equally un- 
 satisfactory. It founds upon the circumstance that in a 
 replica in the Museo Torlonia the fragment of a sheaf of 
 corn in the left hand is antique. But the present writer 
 is able to affirm, after a close examination of that statue, 
 that the extant fragment of the attribute is by no means 
 necessarily to be taken for a sheaf, but with equal pro- 
 bability may be described as the remains of some baton- 
 shaped handle, as of a fan or parasol. In any case the 
 above-mentioned facial expression contradicts the Cora 
 theory, while the youthful character of the figure pre- 
 cludes the suggestion that it represents Demeter, the 
 mother of Cora. The head belongs to a series of exam- 
 ples , all exhibiting the same mode of hair-dressing and 
 
GALLERIA DEI CANDELABRI. 
 
 269 
 
 a similar cast of features. The finest of this series is a 
 head, now in Munich, which, from its imposing forms, 
 can scarcely be dated much later than the middle of the 
 4th cent. B.C. We find a variation of this type in the 
 spirit of Hellenistic art in other examples and also in the 
 two Roman marble figures. Assuming that all these 
 variations represent some one person for whom the type 
 was originally created, we should have to recognize 
 in all the examples the representation of a wonderfully 
 beautiful woman, who awakened the interest of successive 
 generations, and whose portrait, like the ideals of the 
 gods, was altered by later art to suit the taste of the later 
 times. Phryne, for example, would be a woman of this 
 kind. We know that Praxiteles carved a portrait of her. 
 The celebrated hetsera is also said to have been his model 
 for the Cnidian Aphrodite (comp. No. 316); and no one 
 can deny that there is a certain resemblance between the 
 head of that statue and that of the one before us. Tatian 
 [Adv. Gr ., 53, p. 115, 54, p. 117) ascribes a portrait of 
 Phryne and one of Glycera to Herodotos of Olynthos, 
 an artist who must have flourished towards the end of 
 the 4th cent, if he executed these portraits from life. At 
 the same time, many of the statements made by Tatian 
 about works of art are open to well-founded doubt. But 
 this particular statement concerning the portraits of these 
 two hetaerse seems beyond suspicion; for we know from 
 two inscriptions of an artist named Herodoros, who 
 worked in the second half of the 4th cent., and it is a 
 natural conjecture that the name Herodoros should be 
 substituted for Herodotos in the text of Tatian. It is 
 self-evident that the representation of beauties so cele- 
 brated would have attractions for more than one artist; 
 and the interest taken by the succeeding Hellenistic times 
 in the famous heteeree of the 4 th cent, is proved by the 
 fact that Aristophanes of Byzantium and several Peri- 
 patetics published writings upon them. 
 
 Visconti , Mus. Pio-Clem., i, 20 (comp. Qpere varie, iv, pp. 44- 
 46, p. 318, No. 84). Pistolesi , vi, 57. All farther references, see 
 
270 
 
 VATICAN. 
 
 Friederichs- Wolters , Bausteine, No. 1519. For the replica in the 
 Museo Torlonia , see I monumenti del Museo Torlonia riprodotti 
 con la fototipia, T. Lxix , No. 232. Comp. Arch. Zeitung, xxxvn 
 (1879), p. 69, No. 219. Overbeck , Kunstmyth., hi, p. 465, No. 16. 
 In answer to the remarks upon the attribute in the left hand, pub- 
 lished in the Berliner philologische Wochenschrift, vni (1888), 
 No. 46, p. 1449, the present writer desires to make the following 
 statement. The left hand is antique, except the top-joints of the 
 thumb and forefinger; the only part of the antique attribute re- 
 maining is that within the hand, and it has a baton-like shape. The 
 modern restorer first added to this part a bunch of corn and poppies 
 in stucco (although the smooth surface afforded no excuse for such 
 an addition), and afterwards, when this was broken off in the course 
 of a re-arrangement of the museum, replaced it by a scroll, without 
 however altering the antique part of the attribute. For the head at 
 Munich, s eeLiitzow, Miinchener Antiken, T. 19. Brunn, Beschrei- 
 bung der Glyptothek, No. 89. Verhandlungen der 41. Philologen- 
 versammlung in Miinchen, pp. 248-250. Festschrift fur Overbeck, 
 pp. 96-101 (where the type is ascribed to Praxiteles and its identi- 
 fication with Cora defended). For the series of similar heads, see 
 Bull, dell’ Inst., 1883, pp. 69, 70. On the historical value of Ta- 
 tiana statements concerning works of art, see llheinisches Museum, 
 xlii (1887), pp. 489 etseq. On Herodoros, see Loewy , Inschrif- 
 ten griech. Bildhauer, No. 103, No. 541, p. 304, No. 103a. 
 
 381 (257). Group of Ganymede and the Eagle. 
 
 Found at Falerone (Faleria), in the province of An- 
 cona. The restorations include the nose, both arms, and 
 both feet of Ganymede, the beak, nearly the whole right 
 wing, the top of the left wing, and the right claw of the 
 eagle, and the plinth with the exception of a small piece 
 beneath the left claw of the eagle. 
 
 Ganymede is here again (comp. No. 109) represented 
 just before being carried off by the eagle. With a pre- 
 sentiment of the mission that fate has allotted to him, he 
 gazes up with yearning towards Olympos, his future 
 dwelling-place, while the eagle beside him, with which 
 he has already established friendly relations, awaits the 
 sign from Zeus to bear the youth aloft. Ganymede’s left 
 arm was probably bent, with his left hand shading his 
 eyes — a familiar attitude for people gazing into the 
 distance, which we find also in the Ganymede of Leo- 
 chares (comp. No. 400). The restorer has assumed that 
 Ganymede and the eagle are already in Olympos, and 
 
GALLERIA DEI CANDELABRI. 
 
 271 
 
 that Ganymede is handing a goblet to Zens, whom we 
 are to imagine as enthroned beside him; but this idea is 
 negatived by the circumstance that in that case the cup- 
 bearer would be unaccountably using his left hand instead 
 of his right. 
 
 Visconti , Mus. Pio-Clem., n, 36. Pistolesi , vi, 57. Clarac, hi, 
 Pl. 409, No. 706. Overbeck, Kunstmythologie, n, p. 544, No. 37 ; 
 Atlas, vn, 20. Comp. Braun , Ruinen und Museen, p. 509, No. 211. 
 Ann. dell’ Inst., 1856, p. 94. 
 
 382 (261). Statue of Paris. 
 
 The restorations include the nose , the right forearm 
 with the parts of the chlamys round it , the legs , the 
 stump, and the plinth. 
 
 This statue represents a handsome youth, leaning his 
 right arm upon a tree-stump, and gazing dreamily before 
 him. The Phrygian cap on his curly head and the apple 
 in his left hand, which rests on his back, identify him as 
 Paris. We have apparently to imagine that the youth is 
 in presence of the three goddesses, upon whose beauty 
 he has to decide , and that he is thinking of the bribe 
 offered by Aphrodite. The statue must have had a cele- 
 brated original, for several replicas of the type are extant. 
 
 Braun , Ruinen und Museen, p. 510, No. 212. For replicas, 
 see, e.g., Clarac, m, PI. 396E, No. 664K, PI. 396E, No. 664L 
 .(comp. Michaelis , Ancient Marbles in^Great Britain, p. 447, No. 39), 
 v, PI. 828, No. 2076, PI. 833, No. 2077A [Michaelis, p. 508, No. 16), 
 PI. 833C, No. 2081B. Comp. Furtwaengler , Masterpieces, pp. 357, 
 358 (where this type is referred to Euphranor), Fig. 154. 
 
 383 (264). Statue of a Son of Niobe. 
 
 Nearly the whole of the nose, the lower part of the 
 back-hair, and other less important fragments are restor- 
 ations. 
 
 This statue represents the youngest son of Niobe, here 
 treated, as in the series of statues at Florence, as a single 
 figure, while in a work discovered at Soissons he forms 
 a group with his protecting tutor. The boy is fleeing 
 towards the left, turning his face upwards in the direction 
 whence descend the fatal shafts. We must imagine the 
 right arm to be raised in an attitude of terror. The effect- 
 
272 
 
 VATICAN. 
 
 ive way in which the naked left leg is made to stand 
 out from the mantle should be observed. 
 
 Clarac , iv, PI. 589, No. 1278. Comp. Braun , Rumen und Mu- 
 seen, p. 511, No. 213, Stark , Niobe, pp. 236 et seq. Overbeck , 
 Geschichte der griech. Plastik, n 4 , p. 80. 
 
 384 (269). Sarcophagus with relief of the Rape of the 
 
 Leucippides. 
 
 The rape of Hilsera and Phoebe , daughters of Leu- 
 cippos, by Castor and Polydeuces is frequently repre- 
 sented on sarcophagi, apparently as a euphemistic sym- 
 bolising of death. According to the later versions of the 
 myth, this rape was followed by a combat between the 
 Dioscuri and the Apharetidae, Idas and Lynceus, the cous- 
 ins and lovers of the Leucippides; and the attempt has 
 been made to explain the group of warriors to the left 
 by this version. The bearded warrior advancing hastily 
 is, according to this explanation, Idas, bent on attacking 
 the Dioscuri at once ; the other, beardless warrior is Lyn- 
 ceus, trying to restrain his comrade and to persuade him 
 to submit the matter to the arbitration of a regularly con- 
 ducted duel. The reliefs on the sides are connected 
 with the Dioscuri, who are in the act of leading home 
 the Leucippides as their brides. 
 
 Visconti , Mus. Pio-Clem., rv, 44, Tav. b, n, 5, 6. Millin , Gal. 
 mytb. , PI. 119, No. 523. Guigniaut , Rel. de l’ant., PL 187, 737. 
 Pistolesi , vi, 58. Baumeister , Denkmaler des klass. Altertbums, i, 
 p. 425, Fig. 499. Comp. Welcker's Zeitschrift, p. 406 Braun , 
 Ruinen und Museen, p. 512, No. 214. Ann. dell’ Inst., 1860, p. 361. 
 Roscher , Lexikon der griech. u. rom. Mytbologie, n, p. 103. 
 
 385 (269c). Statuette of a Persian Warrior. 
 
 The restorations include the point of the cap, the 
 nose, both arms , the right leg below the knee, the front 
 half of the left foot , and the plinth. The cycle of sta- 
 tuettes to which this belongs was mentioned in the be- 
 ginning of the pontificate of Leo X., by the French trav- 
 eller Bellieure, as to be seen in the house of Alfonsina 
 Orsini (now the Palazzo Madama) at Rome. Comp, the 
 bibliography on the point in the Revue archeol. , xiii 
 (1889), pp. 16-20. Jahrbuch des Arch. Inst., v (1890), 
 p. 36, vih (1893), p. 119. 
 
GALLERIA DEI CANDELABRI. 
 
 273 
 
 We learn from Pausanias (i, 25, 2) that King Attalos I. 
 ofPergamum (241-197 B.C.) presented to the Athenians 
 a cycle of statues , representing in four groups the com- 
 bat of the Gods and Giants, that of the Athenians and 
 the Amazons, the battle of Marathon, and the victory won 
 by Attalos over the Gauls. The Athenians placed all those 
 statues on the south wall of the Acropolis, above the 
 Theatre of Dionysos. The figures, whose height is given 
 as about two ells, seem to have been made of bronze, 
 for we are informed that a storm hurled the Dionysos 
 from the Gigantomachia down to the theatre, and that 
 is only conceivable in the case of a hollow cast figure. 
 Closely related to this cycle is a number of statuettes 
 now to be found in various museums , and to this series 
 belongs the present work. But as all these specimens 
 are of marble , they cannot be identified with the figures 
 on the Acropolis. They appear, however, to be copies 
 of those figures, and copies executed by Pergamenian 
 artists. The attempt to recognize in them reproductions 
 of the Roman period is negatived by their execution, full 
 of character though not very careful, and by the circum- 
 stance that they are made of marble quanied in Asia 
 Minor or thereabouts, exactly such as the Pergamenian 
 sculptors were in the habit of losing (comp. No. 533). 
 This Vatican statuette seems to be a figure from the group 
 representing the battle of Marathon. The facial type 
 and the Asiatic cap suggest a Persian warrior. He has 
 sunk upon his knee before an Athenian and endeavours 
 to parry with his right arm a blow aimed at him from 
 above. 
 
 Mon. dell’ Inst., ix, T. 21, 6; Ann., 1870, pp. 307-309. Over - 
 fcecfc, Geschichte der griech. Plastik, n 4 , p. 241, survey-plan, Fig. 
 189, hi, 4. Baumeister , Denkmaler des klassischen Alterthums, ii, 
 p. 1244, Fig. 1416. Revue archeol., xiii (1889), p. 14, Fig. 9. Loewy , 
 Lysipp und seine Stellung in der griecli. Plastik, p. 29, Fig. 13. To 
 the literary references in Friederichs-Wolters , Bausteine, Nos. 1403- 
 1411 , concerning the cycle of statues, must now be added Bau- 
 meister , Denkmaler, n, pp. 1241 et seq. ; Revue archeol., xn (1888), 
 pp. 281 et seq., xiii (1889), pp. 11 et seq., and Bull, de Correspon- 
 dance hellenique, xiii (1889), pp. 125-130. 
 
 Helbig, Guide I. 
 
 18 
 
274 VATICAN. 
 
 386 (237). Candelabrum with Groups of Leaves. 
 
 The top of the shaft with the shallow vessel, numer- 
 ous fragments on the lower part , and the lions’ feet are 
 restorations. 
 
 The decoration, which seems to be influenced by the 
 baroque toreutic of Alexandria, is too florid and is defi- 
 cient in point of harmony among the parts. The relief- 
 ornamentation of the part rising from the large tuft of 
 Acanthus consists of birds catching insects and worms, 
 and makes a distinctly trifling impression in comparison 
 with the volume and mass of the leaf-motives. The same 
 is true of the tragic masks represented higher up, and of 
 the birds and snakes, placed upon lotus -leaves, which 
 seem as it were stuck on the acanthus-arrangement. 
 
 Pistolesi, vi, 51. Comp. Braun , Ruinen und Museen, p. 505, 
 No. 207. A fragment of a vase from Alexandria shows climbing 
 plants, with a grasshopper and a bird among the tendrils; Schreiber , 
 Die Wiener Brunnenreliefs aus Palazzo Grimani, p. 71. 
 
 387 (240). Ethiopian Slave-Boy. 
 
 Acquired under Pius VI. The right hand with the 
 sponge and some other less important parts are restored. 
 
 The strigil (see No. 31) and ointment-flask united by 
 a ring, which this boy carries in his left hand, distinctly 
 denote a slave bearing the articles required by his master 
 for the bath or gymnastic exercises. The boy is by no 
 means one of the finer specimens of his race, but on the 
 contrary bears sharply impressed on him the ugly pecu- 
 liarities of the negro type. It is doubtful whether the 
 right hand held a sponge. The figure would gain in viva- 
 city, if this hand were making some characteristic gesture 
 corresponding to the attentive stare of the eyes. 
 
 Visconti , Mus. Pio-Clem., m, 35 (comp. Tav. b i, No. 2, p. 236). 
 Comp. Braun , Ruinen und Museen, p. 506, No. 208. Jalirbuch der 
 Kunstsammlungen des allerh. Kaiserhauses, in (Vienna, 1885), p. 6. 
 Atheniscbe Mittheilungen, x (1885), pp. 383 et seq. 
 
 388 (243a). Fragment of a Relief: Boy Satyr drinking. 
 
 Found on the slope of the Palatine next the Circus 
 Maximus (comp. No. 783) ; formerly in the Villa Albani. 
 
GALLERIA DEI CANDELABRI. 
 
 275 
 
 The restorations include the right arm, the left hand, the 
 cup, the tail (root antique), the hips, the right foot, and 
 the background except a small portion behind the left 
 forearm. 
 
 This fragment is part of a large decorative relief re- 
 presenting a Nymph giving drink to a Boy Satyr. There 
 is an antique replica of this composition in the Lateran 
 Museum (No. 628), hut it is far inferior to this Vatican 
 fragment in execution. In the latter, the expression of 
 enjoyment on the face of the child is inimitably re- 
 produced. 
 
 Visconti , Mus. Pio-Clem., iv, 31. Baumcistcr , Denkmaler des 
 klass. Alterthums, ii, p. 1034. Schreiber , Die hellenistischen Relief - 
 bilder, T. xxvin. Comp. Winckelmanns Geschichte der Kunst, vin, 
 2, § 28. Welckers Zeitschrift, p. 397. Arch. Zeitung, xxi (1863), 
 pp. 44-46, 55. 
 
 389 (246). Statuette of Pan. 
 
 Found on May 11th, 1789, at Roma Yecchia on the 
 Via Appia. The nose, the left arm, the lower part of the 
 right leg, the left foot, the pillar (except the upper end), 
 and the plinth are restorations. 
 
 Besides the Pan with horns, long beard, and goat’s legs 
 (comp. Nos. 403, 404), Hellenic art created another and 
 younger type of the god, in which his animal nature is 
 suggested only by small horns or by horns and goat’s ears. 
 This Vatican statuette belongs to the latter class. That 
 it had a celebrated original is proved by the fact that 
 several replicas, both of the figure and of the head (comp. 
 Nos. 246, 606, 666, 916), are extant. This original appar- 
 ently belonged to a later development of the Pelopon- 
 nesian school, of about the first half of the 4th cent. B.C. 
 The artist who carved it took the Doryphoros of Poly- 
 cleitos (comp. No. 58) as his model, modifying, however, 
 the severe style of the latter, while he imparted a languish- 
 ing look to the face, and placed a syrinx in the right 
 hand, and apparently a pedum instead of the spear in the 
 left. The Vatican statuette was designed for the deco- 
 ration of a fountain, and the syrinx is therefore replaced 
 by a vase , from the mouth of which the water gushed. 
 
 18 * 
 
276 
 
 VATICAN. 
 
 Riccy , Dell’ antico pago Lemonio, p. 129, No. 2. Braun , Ruinen 
 unci Museen, p.507, No. 209. Comp. Furtwaenyler , Ann. dell’ Inst., 
 1877, p. 202; Mittheilungen des Arch. Instituts in Athen, m (1878), 
 pp. 293, 294; Der Satyr aus Pergamon, p. 29 ; Masterpieces, p. 270, 
 note 1. Brunn , Beschreibung der Glyptothek, No. 102. Babtlon , 
 Le cabinet des antiques & la bibliothSque nationale, PI. xxn, 
 pp. 67, 68. 
 
 390 (190). Cast of a Candelabrum. 
 
 Tbe original, found near Naples in 1777, is one of 
 the antiquities that have remained in the Louvre after 
 having been taken to Paris by Napoleon I. The low ped- 
 estal is antique but does not belong to the shaft ; it is 
 supported on lions’ claws ending at the top in fish-fins. 
 All analogies render it probable that the shaft rested on 
 a tall triangular or square base. The dish and the cushion 
 covered with acanthus-leaves, which forms the transition 
 between pedestal and shaft, are modern. 
 
 This is the largest antique candelabrum extant. It 
 betrays the influence of the highly orientalized style of 
 decoration which began to be developed in the time of 
 Alexander the Great and attained its full growth under 
 his successors. The girdle-like arrangement of the reliefs 
 on the shaft recalls the adornment of Egyptian columns. 
 Two of the motives adopted by the sculptor can be iden- 
 tified as having also appeared on the funeral-car of Alex- 
 ander the Great, described by Diodoros (xviii, 26, 27). 
 The scales, surrounding the top of the shaft, correspond 
 to the jewelled scales that covered the roof of the canopy 
 over the body of that car; and while the shaft of the can- 
 delabrum rises from an arrangement of acanthus-leaves, 
 so the central part of the columns on the car were sur- 
 rounded with golden acanthus. The central section of 
 the candelabrum-shaft is decorated with three dancing 
 Bacchantes in relief. 
 
 Visconti , Mus. Pio-Clem., vn, 38. All farther details, seeFrohner , 
 Notice de la sculpture antique du Louvre, PI. 291, No. 297, and in 
 Friederichs-Wolters , Bausteine, No. 2130. 
 
 391 (198). Puteal, with a representation of Charon. 
 
 Found in the Giustiniani Gardens, outside the Porta 
 del Popolo. 
 
GALLERIA DEI CANDELABRL 
 
 277 
 
 The relief represents shades disembarking from Char- 
 on’s boat. The ferryman of the Styx is directing the 
 disembarkation of a woman, still lingering in the boat, 
 and apparently holding in her right hand the obolos 
 that is to pay her fare. Two other shades, the foremost 
 apparently that of a man, the other that of a girl, are 
 already descending the landing-steps. These are received 
 on the bank by two female forms, of whom one may he 
 confidently named as the Parca Clotho , from the distaff 
 in her left hand. The identification of the other presents 
 a difficulty, as the attribute in her left hand has become 
 indistinguishable, but from the two-handled goblet in 
 her outstretched right, it has been supposed that she is 
 Lethe, presenting the draught of oblivion to the approach- 
 ing shades. 
 
 Galleria Giustiniani, n, 126. Cavaceppi , Raccolta di anticlie 
 statue, m, 56. Visconti , Mus. Pio-Clem., iv, 35. Millin , Gal. myth., 
 PI. 86, 346*. Hirt , Gotter und Heroen, T. 40, 344. Guigniaut , Rel. 
 de l’ant., PI. 146, 558. Comp. Welckers Zeitschrift, p. 420. Braun , 
 Ruinen und Museen, p. 498, jNo. 201. Kruger , Charon und Thanatos 
 (Berlin, 1866), p. 12. 
 
 392 (200). Archaistic Statue of Apollo. 
 
 Pacetti has restored the head, both forearms, the 
 quiver, the feet with the end of the drapery upon them, 
 and the plinth. Of the animal only the two paws resting 
 on the right leg of the god are antique. 
 
 The restorer has converted this statue into an Artemis 
 accompanied by her dog, in spite of the facts that the 
 body announced its masculine sex in the most unambiguous 
 manner, and that enough of the antique details was left 
 to identify it rather as Apollo Citharoedos. The cithara, 
 suspended by the strap crossing the breast, touched the 
 body on the left side at the point where the restorer has 
 placed a quiver; a crescent-shaped fragment of the object 
 originally occupying the spot is still extant. The god 
 touched the strings with his left hand, and in his out- 
 stretched right probably held a cup. The animal placing 
 its fore-paws caressingly on the right thigh of the god 
 was not a dog, but a griffin, sacred to Apollo. 
 
278 
 
 VATICAN. 
 
 Guattani, Mon. ined. per l’anno 1786, Ottobre, T. in, p. 70. 
 Visconti , Mus. Pio-Clem., hi, 39. Clarac, m, PI. 405, No. 693. Muller - 
 Wieseler , Denkmaler der Alten Kunst, n, T. xvi, 181. Comp. Zoega , 
 Bassirilievi anticbi, i, p. 236, note 27, and in Welcker's Zeitscbrift, 
 p. 353. Braun , Rninen nnd Mnseen, p. 498, No. 202. Overbeck, 
 Knnstmythologie, iv, p. 178, No. 2. 
 
 393 (203). Statuette of Thanatos. 
 
 The point of the nose, the left arm, the right arm and 
 torch are restorations. The flame of the torch, however, 
 is antique; it joins the plastically represented fire burn- 
 ing on the altar. 
 
 This figure reproduces the same original as No. 185, 
 but here Thanatos is wingless. The god of death is here 
 holding his torch above an altar, the idea apparently 
 being that Thanatos himself kindles the fire for the sacri- 
 fice offered in honour of the deceased (comp. No. 386). 
 
 Gerhard , Antike Bildwerke, T. 93, 2; Prodromus, p. 336. 
 Comp. Bull, dell’ Inst., 1877, p. 152. Furtwaengler , Masterpieces, 
 pp. 314-316. 
 
 394 (204). Sarcophagus with relief of the Children of 
 
 Niobe. 
 
 Found in the Vigna Casali, outside the Porta S. Se- 
 bastiano, and presented to Pius VI. by Cardinal Casali. 
 The restorations include the left arm of Apollo with the 
 bow, both the forearms of Artemis, with the arrow and 
 bow, the face of the daughter of Niobe in the centre, and 
 some other less important fragments. 
 
 The impressive series of statues representing the fate 
 of the children of Niobe, created by a sculptor of the 
 Second Attic School, came in the course of time to exer- 
 cise an effect upon painting; for that art, when treating 
 the same subject, frequently betook itself to the plastic 
 motives, which, however, it both modified to suit its pe- 
 culiar conditions and also farther developed. Motives 
 from such paintings were in turn borrowed by the Ro- 
 man sarcophagus-carvers. The reliefs of this Vatican 
 sarcophagus exhibit a decidedly pictorial character. The 
 misconception of which the sculptor was the victim, in 
 placing the deities, whose arrows deal death to the Nio- 
 bidse, in immediate proximity to the latter, is naturally 
 
GALLERIA DEI CANDELABRI. 
 
 279 
 
 explained on the hypothesis of a pictorial model. It was 
 easy for the painter, by the arrangement of his space and 
 by his colours, to represent the gods as in the distance; 
 but it was impossible for the sarcophagus-carver, who 
 desired to fill his slab with a series of figures on the same 
 plane, without leaving too great an interval between them. 
 One of the groups on this sarcophagus - — the nurse and 
 the wounded maiden — recurs also on a marble-slab found 
 in Pompeii, on which is a monochrome painting of this 
 same myth. The reliefs of this sarcophagus testify gener- 
 ally to the most varied use of motives elsewhere em- 
 ployed, though it must remain undecided how far these 
 motives were actually present in the pictorial pattern 
 used by the carver, and how far they were independently 
 selected by him. The figures of Apollo and Artemis are 
 reproductions of well-known types. The maiden imme- 
 diately in front of Apollo, wounded in the back, exhibits 
 a motive similar to that of the frequently occurring figure 
 of a frenzied Bacchante. The group on the right end of 
 the sarcophagus, representing a son of Niobe supporting 
 a falling brother, has elsewhere been used to represent 
 Pylades in the act of holding up Orestes as the latter 
 collapses after an attack of frenzy (comp. No. 687). 
 
 Towards the left end of thd principal side, imme- 
 diately in front of Artemis, is Niobe holding a dying 
 daughter. The characteristic types of the aged nurse at- 
 tending to a wounded maiden and of the tutor trying to 
 protect one of the boys introduce variety into the com- 
 position, by their contrast with the ideal beauty of the 
 children of Niobe. From the presence of a youth grasp- 
 ing two spears on the principal side, and of a horse 
 prancing beside the group on the right end, we have ap- 
 parently to assume that the sons of Niobe were intent 
 upon the chase, when they were overtaken by destruction; 
 and they are similarly represented in one of the Pompeian 
 mural paintings and upon a sarcophagus now in the La- 
 teran Museum (No. 679). On the lid appear the dead 
 bodies of the sons, to the right, and of the daughters, to 
 
280 
 
 VATICAN. 
 
 the left, a curtain hanging over the background indicating 
 that the latter must be supposed to be within the house. 
 
 Visconti , Mus. Pio-Clem., rv\ 17, 17a. Hirt, Gutter und Heroen, 
 T. xrv, 118, 119. Pistolesi , vi, 40,41. Comp. W ticker's Zeitgchrift, 
 p. 375. Braun, Ruinen und Museen, p. 500, No. 204. Stark, Niobe, 
 p. 179. Friederichs - Wollers, Bausteine, No. 1823. For the Pompeian 
 marble slab, see Pompei e la regione sotterrata dal Vesuvio nell’ 
 anno 79,, n, p. 165, No. 504. For the mural painting, see Be- 
 richte der sachs. Gesellsohaft der Wissenscliaften , 1883, T. m, 
 pp. 163-168. 
 
 395 (208). Statue of a Boy of the Julian Gens. 
 
 Found in the apse of the basilica at Otricoli. The 
 restorations include part of the back of the head, the right 
 forearm, the left forearm with the drapery covering it, and 
 parts on the plinth. 
 
 This statue represents a boy of about 15 years, clad 
 in tunica and toga, with a head recalling the family type 
 of the Julian gens. On a strap hanging over his breast 
 is the bulla , a round metal ornament containing amulets, 
 worn by Roman boys of free birth, and laid aside along 
 with the toga praetexta , when the age of puberty was 
 reached and the toga virilis assumed. The toga of this 
 statue is therefore the praetexta, the purple borders of 
 which were perhaps originally indicated by colour. Since 
 the facial type suggests a member of the Julian family, 
 and since two statues of Augustus (Nos. 193, 319) and 
 one said to be ofLivia No. 243) were found in the same 
 building, it has been supposed that this figure is a por- 
 trait of Augustus’s nephew Marcellus. It has , however, 
 recently been maintained with great force that a statue 
 found in the so-called Pantheon at Pompeii is a portrait 
 of Marcellus; and its head shows not the slightest resem- 
 blance to that of the Vatican figure. 
 
 Visconti , Mus. Pio-Clem., m, 24 (comp. Tav. a, n, 4, p. 229); 
 Iconographie romaine, ii, PI. 19, Nos. 6, 7, PI. 19a, No. 2, p.41. Pisto- 
 Icsi , vi, 39. Clarac , v, PI. 902, No. 2311. Bernoulli , Romische Iko- 
 nographie, n, 1, pp. 122-124, Fig. 17. Cqmp. Braun , Ruinen und 
 Museen, p. 499, No. 203. On the bulla, see Handbuch der romischen 
 Alterthiimer , vn, pp. 84, 124. On the Pompeian statue, see Mau , 
 Statua di Marcello, nipote di Augusto (Napoli, 1890), pp. 1 et seq. 
 
GALLERIA DEI CANDELABBI. 
 
 281 
 
 396 (149a). Statue of Thanatos, mediocre. 
 
 Found in 1774 near Tivoli, in the precincts of the 
 same villa as Nos. 267-274. The head, right hand and 
 torch , left hand , and fragments on the altar and plinth 
 are restorations. 
 
 The extant portion of the neck proves that the head 
 was bent towards the left shoulder. But it may be ques- 
 tioned whether the restorer is justified in characterizing 
 the god of death as asleep, and whether it is not more 
 probable that the figure was gazing before him with a 
 sad expression (comp. Nos. 185, 393, 569). The position 
 of the head and the manner in which the left forearm 
 leans upon the tree-stump clearly betoken weariness. The 
 inverted torch in the right hand is probably correct 
 (comp. Nos. 185, 393, 569). This statue also seems to 
 have been designed for a tomb, and the altar on the plinth 
 to refer to the cult of the dead. 
 
 Visconti , Mus. Pio-Clem., i, 28. Clarac , iv, PI. 762, No. 1860. 
 Comp. Gerhard , Prodromus, p. 257, note 50. Bull, dell’ Inst., 1877, 
 p. 154, pp. 156, 157. 
 
 397 (148). Satyr with a Boy on his shoulders. 
 
 Found in the 23rd year of Pius IX (1869-70) beside 
 the Sancta Sanctorum near the Lateran. The restorations 
 include the eyes (vitreous paste inserted), the point of 
 the nose , the arms , the hips, the legs and adjacent por- 
 tion of the stomach of the Satyr, and the head , the right 
 arm and shoulder, the back of the left upper arm, the left 
 forearm , the left knee and the lower part of the left leg, 
 the right knee and half of the thigh, and the right foot of 
 the boy. The stump and plinth are also modern. Only 
 the head of the panther is clearly recognizable as antique. 
 As this fragment is not in any way counected with the 
 antique portions of thfi other figures, and as it is moreover 
 of a different kind of marble , it cannot have anything to 
 do with the original group. 
 
 This group represents a young Satyr careering gaily 
 along, with a boy astride on his shoulders. The defective 
 preservation of the latter renders it impossible to say 
 whether we have here the youthful Dionysos or a Child 
 Satyr. The absence of a tail is not conclusive on this 
 point, for Satyrs were often represented without that ani- 
 
282 
 
 VATICAN. 
 
 mal adjunct. From the secure manner in which the boy 
 is sitting, it is probable that the Satyr held him fast with 
 both hands, grasping his right leg with the right hand, 
 and his left arm with the left. The raised right hand of 
 the child probably held some attribute, perhaps a thyr- 
 sos, which he may have used as a riding-switch to impel 
 the Satyr. 
 
 Berichte der sachs. Gesellschaft der Wissenschaf'ten 1878, 
 T. iv, pp. 115-119. 
 
 398 (104). Group of Ganymede wrestling with the 
 
 Eagle. 
 
 Ancient art, faithful to tradition, invariably repre- 
 sented the favourite of Zeus as a boy or youth, so that 
 the present group, in which Ganymede appears as a child 
 of four or five years, seems to be of modem origin. The 
 style is quite in harmony with this suggestion, for it 
 strikingly recalls that of Francois du Quesnoy, surnamed 
 *11 Fattore dei Putti’, a sculptor who flourished mainly 
 in the first half of the 17th century. 
 
 Clarac , hi, PI. 407, No. 696. Muller- Wieseler, Denkmaler der 
 alten Kunst, n, T. 4, 52. Comp. Aim. dell’ Inst. , 1867, p. 351. 
 Overbeck , Kunstmythologie, n, p. 599, note 217. 
 
 399 (113). Sarcophagus with reliefs of Protesilaos and 
 
 Laodameia. 
 
 Found on the Via Appia Nnova in the brick funeral 
 monument lying close behind the second milestone. 
 
 These reliefs deal with the myth essentially according 
 to a tragedy by Euripides , the hero of which was Pro- 
 tesilaos. But, as frequently happens, the sarcophagus- 
 carver has interrupted the chronological order of the 
 scenes on the principal side, in order to insert in the 
 centre a group in which the mythical husband and wife 
 are assimilated to the Roman consorts for whom the sar- 
 cophagus was to be used. The heads of these two figures 
 are merely sketched, for the sarcophagus was made for 
 stock, and it was left for the purchaser to order the chi- 
 selling of the desired portraits. The relief on the left 
 
GALLERIA DEI CANDELABRI. 
 
 283 
 
 end shows the parting of Protesilaos from Laodameia his 
 wife, and at the left end of the main side follows the 
 death of Protesilaos. The hero has fallen immediately on 
 leaving his ship and touching Trojan soil. Above the 
 corpse appears the veiled shade and in front of it is Her- 
 mes, preparing to lead it to the Underworld. When Lao- 
 dameia heard of the death of her husband, she sought 
 consolation in caressing an image of Protesilaos and 
 worshipped him according to the rites usual in the cult 
 of the Chthonian Dionysos, but at the same time she im- 
 plored the gods to recall her husband to life, were it but 
 for a brief period, and to grant her one more interview 
 with him. The group to the left of the central scene re- 
 presents the fulfilment of this wish; Protesilaos, restored 
 to life, is being conducted to his wife by Hermes. The 
 scene to the right of the central group appears to be the 
 short interview between husband and wife. The mourn- 
 ing female figure on the couch is supposed to be Laoda- 
 meia, the youth seated beside her being Protesilaos. The 
 theatrical mask in the sedicula behind Laodameia, the 
 thyrsi projecting beside it, and the flutes and goblets 
 lying in front of the couch are taken for references to the 
 Bacchic cult, with which Laodameia honoured her dead 
 spouse; and the veiled youthful 'figure in the background 
 passes for the image in the caressing and worshipping of 
 which the young widow sought consolation. At the right 
 extremity of the principal side we see Hermes once more 
 handing over Protesilaos , his short visit to the upper 
 world ended, to Charon, the ferryman of the dead. Ad- 
 joining this, on the right end of the sarcophagus, are three 
 figures, symbolical of Hades : viz. Sisyphos toiling at his 
 stone, Ixion bound to the wheel, and Tantalos vainly 
 endeavouring to convey the cooling water to his lips. 
 
 Drawing in the Codex Pighianus (Ber. der sac-hs. Gesell. 
 der Wissenseh., J 868, p. 224, No. 210). 8. Bartoli , Gli antichi se- 
 polchri, T. 55, 56. Bartoli-Bellori , Adiniranda, T. 75-77. Visconti , 
 Mus. Pio-Clem., v, 18, 19. Pistolesi , vi, 22. Inghirami , Galleria 
 omerica, i, 48. Wiener Vorlegehlatter, SeriefB, xi, 3. Farther 
 references in Ouer&ecfc, Gallerie heroischer BiLlwerke, p. 329, No. 2. 
 
284 
 
 VATICAN. 
 
 Comp. Welcker’s Zeitsehrift, p. 428 ; Alte Denkmaler, hi, pp. 557, 
 558. Braun , Rumen und Museen, p. 487, No. 187. Ann. dell’ Inst. 
 1860, p. 366, 1862, p. 165. Hermes, xx (1885), pp. 127 et seq. 
 
 400 (118). Rape of Ganymede, after Leochares. 
 
 Formerly in the possession of Pacetti, the sculptor. 
 The restorations include the head and wings of the eagle, 
 and the nose, the chin and lower lip, the neck, the right 
 forearm with the pedum, nearly the whole left arm, and 
 both legs from the knee downwards (except the left foot 
 beside the stump) of Ganymede. Only the paws and 
 hindquarters of the dog remained. Except in the direction 
 given to the left arm, the restorer seems to be essentially 
 correct in his work. 
 
 Leochares, an artist belonging to the younger gener- 
 ation of the Second Attic School, executed a bronze group 
 of Ganymede carried off by the eagle, the subject being 
 apparently suggested by pictorial representations of the 
 same scene. Pliny (Nat. Hist , 34, 79) remarks of this 
 composition that one could see that the eagle was con- 
 scious of what prey it had seized and for whom it was 
 carrying it off, and that it took care not to injure the 
 tender body of the youth whose garments it grasped in 
 its talons. The Vatican group answers to this description. 
 The eagle has carefully seized the youth; its talons do not 
 touch the bare flesh but the garments drawn over it, and 
 the claws are turned sideways, so that their points cannot 
 injure the flesh. Leochares has most skilfully solved the 
 problem of how to represent the upward flight of the 
 eagle. The group is supported by a tree, which also serves 
 to indicate the situation immediately preceding the mo- 
 ment actually represented. For we may conclude from 
 its presence that Ganymede, before he was seized by the 
 eagle, was sitting under the tree, playing upon the syrinx, 
 which has now fallen from his grasp and is lying on the 
 turf. When the group is looked at from the front, the point 
 of view for which it was exclusively designed, the eye 
 cannot see that the body of the eagle is attached to the 
 tree. The upward motion is farther indicated by the fact 
 that the heads of all the figures are directed upwards, 
 
GALLERIA DEI CANDELABRI. 
 
 285 
 
 including the head of the dog, the restoration of which 
 is certainly correct in the main. Ganymede assists the 
 flight of the eagle by pushing against the tree-trunk with 
 his left foot — a motive that is also of technical im- 
 portance as it supplies another connecting-point between 
 the group and its support. An expression of proud satis- 
 faction sits upon the countenance of the youth, which 
 distinctly exhibits a type of the Second Attic School. The 
 left arm, according to the restorer’s idea, is raised in 
 triumph. But it is an open question whether we should 
 not rather imagine the forearm bent towards the head, 
 and the hand shading the eyes, a favourite gesture in 
 Greek art for figures represented as looking into the 
 sunny distance. 
 
 Visconti , Mus. Pio-Clem., ni, 49. Muller -Wieseler, Denkmaler 
 der alten Kunst, i, 36, 148. Overbeck , Gesehichte der griech. Plastik, 
 ii 4 , pp. 94-97, Fig. 166, p. 110, note 6 ; Kunstmytliologie, n, p. 521, 
 No. 8 ; Atlas, vm, 4. Baumeister , Denkmaler des klass. Alterthums, 
 ii, p. 815, Fig. 891. Brunn und Bruckmann , Denkmaler griech. und 
 rom. Sculptur, No. 158. Comp. Ann. dell’ Inst., 1867, pp. 339-343. 
 Farther references in Friederichs-Wolters, Bausteine, No.1246.Comp., 
 farther, Furtwaengler , Sammlung Sabouroff, n, at T. cxlvii; Master- 
 pieces, pp. 408, 410. 
 
 401 (52). Satyr resting on his Wine-skin, in basalt. 
 
 The restorations include the head, the neck, the right 
 arm and shoulder, and all parts of the nehris projecting 
 below the body, except the part immediately beside the 
 left side of the stomach. 
 
 The sculptor has apparently directed his efforts to 
 produce the effect of a bronze statue by executing this 
 figure in greenish-brown basalt. The work is not bad, 
 especially when the refractory nature of the material is 
 taken into account. 
 
 Clarac , iv, PI. 715, No. 1706. Comp. Braun , Ruinen und Museen, 
 p. 478, No. 178. 
 
Square of the Capitol 
 
 (Piazza del Campidoglio). 
 
 The centre of the square is occupied by an Equestrian 
 Statue of Marcus Aurelius i , in bronze, which formerly 
 stood in the Piazza of the Lateran 2 , and was removed 
 to its present site by Paul III. in 1538, on the advice of 
 Michael Angelo 3 . The emperor bestrides a heavily- 
 built horse, apparently of some northern breed, and 
 stretches out his right arm, as if commanding peace. The 
 base on which the statue stands is said to have been de- 
 signed by Michael Angelo. The guidebook to Rome 
 written about the middle of the twelfth century, and known 
 under the name of the ‘Mirabilia’, informs us that on the 
 original base, below the uplifted right hoof of the horse, 
 was the small figure of a king, with his hands bound 
 behind his back. If this statement be true — and there 
 is no reason to doubt it — Marcus Aurelius was re- 
 presented as riding over some conquered Parthian or 
 other barbarian — a motive which finds many analogies 
 in the art of the imperial period. Indeed the statue itself 
 seems to offer us some corroboration of the assertion, in 
 
 1 Be Cavalleriis , Antiquarum statuarum urbis Itomse icones 
 (Romse, 1585), i, n, T. 68; Antiquarum statuarum urbis Itomae icones 
 (Romse, 1681), ii, 6; Piranesi , Statue antiche, 22; Righetti, Descri- 
 zione del Campidoglio, ii, 384. Bernoulli , Romischelkonographie, 
 II, 2, p. 165, No. 1, p. 182. Brunn und Bruckmann , Denkmaler, 
 No. 369. 
 
 2 See tlie references collected in the Bull, della comm. arch, 
 comunale, 1892, p. 42, note 1. 
 
 3 Rom. Mittheilungen, vi (1891), pp. 27, 28; Liitzow , Zeit- 
 schrift fur bildende Kunst, new series, n (1891), pp. 185, 186. 
 
SQUARE OF THE CAPITOL. 
 
 287 
 
 the shape of a piece added to the raised right foot of the 
 horse, which may very probably mark the point of junction 
 between the principal figure and the subordinate one that 
 stood on the original base. The statue frequently under- 
 went restoration during the Middle Ages ; and to these 
 restorations is doubtless due the fact that the figure of 
 the rider leans too much to the right 1 . 
 
 The Balustrade, closing the Piazza del Campidoglio, 
 or Square of the Capitol, on the side next the Piazza 
 Aracoeli, was erected under Pius IV. and finished in 1 5 6 5 2 . 
 The various pieces of sculpture now placed on it were 
 added at later dates. 
 
 The two Colossal Statues of the Dioscuri 3 were 
 discovered under Pius IV., apparently during the con- 
 struction of the synagogue in the Ghetto 4 ; and for a 
 time lay, unrestored, behind the Balustrade. Some years 
 later they were restored by the sculptor Valsoldo, and 
 in 1583 they were erected on the Balustrade, at the head 
 of La Cordonnata, or grand staircase ascending from the 
 Piazza Aracoeli to the Capitol Square 5 . The figures are 
 recognizable as the Dioscuri mainly by the pileus on their 
 heads and by the horses which stand beside them. The 
 horses are represented on a small scale in conformity with 
 the principle of ancient art which -emphasized the principal 
 figures even at the cost of truth to nature. Each of the 
 youths held his horse with one hand by the bridle, which 
 was presumably added in bronze, while with his other 
 
 1 Eranos Yindobonensis (Vienna, 1893), pp. 56-59. 
 
 2 Romisehe Mittheilungen, vi (1891), p. 33. 
 
 3 CZarac, v, PI. 812, Nos. 2044, 2045. Other references, in the 
 Rom. Mittheilungen, vi, p. 44, note 134. 
 
 4 Rom. Mittheilungen, vi, p. 33. According to the inscription 
 on the back of the base of the figure to the right (as we look from 
 the Piazza Aracoeli), both statues were found among the ruins of 
 the Theatre of Pompey. The above statement, however, given on 
 the authority of FJaminio Yacca (Berichte der philolog.-liistor. Klasse 
 der sachs. Gesellschaft der Wissenschaften, 1881, p. 70, No. 52), 
 seems more worthy of credence, as Yacca writes as an eye-witness 
 of the discovery. 
 
 5 Rom. Mittheilungen, vi, pp. 33, 44. m 
 
288 
 
 SQUARE OF THE CAPITOL. 
 
 he grasped a wooden or bronze spear. The execution is 
 purely decorative in style and quite insignificant. In 
 antiquity the two statues were probably placed as the 
 ideal watchers of some monumental entrance. 
 
 In 1584 the first MilUarium , or milestone, of a Roman 
 military road was placed on the Balustrade. As it was 
 not found in its original position, we are unable to say 
 whether it came from the Via Appia, as generally as- 
 sumed, or from some other road. There are two inscrip- 
 tions on the stone, one referring to a restoration of the 
 road under Vespasian (70 A.D.), the other to one in the 
 time of Nerva. The stone was placed in its present posi- 
 tion, at the end of the Balustrade next the Palazzo Caffa- 
 relli, in 1692 1 ; and at the same time a modem milestone 
 was placed at the opposite end of the Balustrade. The 
 latter was replaced in 1848 by the seventh Milliarium of 
 the Via Appia, which was discovered in situ , in the Te- 
 nuta Torricola near Casalrotondo, and presented in 1848 
 to the city of Rome by the Marchese Giustiniani. The in- 
 scriptions on this stone also refer to restorations under 
 Vespasian and Nerva 2 . 
 
 In 1591, under Sixtus V., followed the two marble 
 trophies, misnamed the Trophies of Marius. Until that 
 date these had occupied the niches of the water-tower, 
 the ruins of which are still visible in the Piazza Vittorio 
 Emanuele 3 . As this structure is represented on the coins 
 of Severus Alexander 4 , struck in 226 A.D., it may be 
 
 1 Corpus inser. lat., x, 1, Nos. 6812, 6813 (comp, x, 2, p. 991). 
 Rom. Mittheilungen, vi, pp. 44, 45. 
 
 2 Corp. inser. lat., x, 1, Nos. 6817, 6818. Rom. Mittheilungen, 
 vi, p. 55, note 184. 
 
 3 Du Perac, I vestigi dell’ antichita di Roma (Roma, 1575), 
 PI. 27 (representing the ruins of the Nymphaeum with the Trophies 
 still in the niches). Righetti , Descrizione del Campidoglio, n, 387. 
 Other references in Rom. Mittheilungen, vi, p. 44. Comp. Revue 
 numismatique, vra (1842), pp. 332-339 ; Lanciani , I comentarii 
 di Frontino, pp. 171, 172. 
 
 4 Cohen , Medailles imp^riales, iv 2 , p.449, No. 479 (also in the 
 Revue numismatique, vm, PI. xvi, 1), p. 431, Nos. 297-303 (No. 303 
 = Rev. num., viii, PI. xvi, 2). 
 
SQUARE OF THE CAPITOL. 
 
 289 
 
 safely identified with the Nymphsenm Alexandri, which 
 the ftegionary Catalogues place in that neighbourhood. 
 This conclusion is confirmed by the recent discovery, 
 near the ruins in the Piazza Vittorio Emanuele, of leaden 
 pipes with the names of Severus Alexander and his mother 
 Mammeea l . The trophies in the niches of this water-tower 
 cannot, however, have been executed in the time of Se- 
 verus Alexander. The well-weighed arrangement of the 
 various weapons and pieces of armour produces an effect 
 at once perspicuous and imposing. The execution is care- 
 ful, without being too minute. A glance at the Arch of 
 Septimius Severus is enough to show that the plastic art 
 of the third century was incapable of producing so suc- 
 cessful a piece of decorative ensemble. The trophies are 
 much more likely to have been executed in the reign of 
 Domitian. A trustworthy witness 2 informs us that he 
 had read an inscription on the lower side of the plinth 
 of one of the trophies, stating that this block of marble 
 had been ‘consigned’ in the time of Domitian by a freed- 
 man, of whose name only the first syllable — Cre — was 
 preserved. The decoration of the two trophies also finds 
 its closest analogy in that of the Arch of Titus. We know, 
 moreover, that Domitian erected a large number of mon- 
 uments in celebration of his feats of war 3 ; and altogether 
 it seems likely that the two trophies before us were pre- 
 pared for one of these monuments and afterwards applied 
 to the decoration of the Nymphseum built by Severus 
 Alexander. 
 
 In front of the trophy to the right (as seen from the 
 Piazza Aracoeli) stands the figure of a woman with her 
 arms bound behind her back, obviously the personifica- 
 tion of a conquered people. To the right and left of her 
 stand two winged youths, each of whom apparently holds 
 one end of a piece of drapery passing behind the 
 
 1 Communicated by Sig. Lanciani. 
 
 2 Celso Cittadini , in Martinelli , Roma ex etlmica sacra (Romse, 
 1653), p. 430. Comp. Ann. dell’ Inst., 1870, p. 111. 
 
 3 Suetonius , Domitianus, 13. 
 
 IIelbig, Guide I. 
 
 19 
 
290 
 
 SQUARE OF THE CAPITOL. 
 
 neck of the female figure as a sort of canopy. The writer 
 is entirely at a loss to explain this group or even to find 
 an analogy for it. Possibly the artist may mean to in- 
 dicate that the youths have just removed a covering, 
 which had hitherto concealed the figure from the gaze of 
 the public? At the foot of the female figure are two 
 children, also, as is evident, belonging to the conquered 
 nation. One of them stretches its left arm towards the 
 woman, while the other was represented as kneeling. On 
 the trophy to the left remain traces of two winged youths, 
 who seem to have been busied with the arrangement of 
 the arms. 
 
 As Domitian bears the title of Germanicus in the in- 
 scription mentioned above on the block from which one 
 of the trophies was carved; as the head of the personifica- 
 tion recalls types which have been identified with the 
 greatest probability as German women (comp. No. 08); 
 and as the fur mantle forming the centre of the trophy 
 to the left seems to point to a people of Central Europe, 
 we cannot be far wrong in connecting the two trophies 
 with the campaigns carried on by Domitian against the 
 Chatti. 
 
 The plastic decoration of the Balustrade was finished, 
 to all intents and purposes, under Innocent X., who 
 placed on it two statues which had been found in the 
 Thermae of Constantine, on the Quirinal, and had latterly 
 stood on the staircase ascending from the Square of the 
 Capitol to S. Maria in Aracceli. The two statues are 
 from the same hand and were obviously executed as com- 
 panions to each other. The statue adjoining the seventh 
 milestone of the Via Appia, bearing the inscription CON- 
 STANTINUS • AUG. on its plinth, represents Constan- 
 tine the Great; while the other, with the inscription CON- 
 STANTINUS • CAES., is his son of the same name, who 
 was dignified with the title of Caesar during his father’s 
 lifetime. The attribute in the left hand of Constantine 
 the Great, of which only the lower end, adjoining the 
 stump and ending in a knob, has been preserved, was ob- 
 
SQUARE OF THE CAPITOL. 
 
 291 
 
 viously a sceptre. The place where the missing upper 
 portion touched the body may still be seen on the ar- 
 mour-flaps of the left shoulder. This sceptre was, per- 
 haps, surmounted by an eagle, a device frequently seen 
 on the sceptres of the emperors and their representatives 
 from the time of Constantine onwards 1 . 
 
 In front of the Palazzo del Senatore are two Colossal 
 Figures of River Gods, executed, as pendants to each 
 other, in a decorative but effective style indicating the 
 early years of the Empire 2 . Each holds a cornucopia, 
 the contents of which are rich and tastefully varied. 
 During the Middle Ages the two statues stood on the 
 Quirinal. In 1548 they are mentioned as standing in 
 front of the Palazzo dei Conservatori, and two years later 
 we hear of them in their present position 3 . The river- 
 god to the left leans with his left arm on a Sphinx and 
 doubtless represents the Nile. The left eyebrow, the 
 nose, the lips, the front of the right forearm, the oar, and 
 the front of the right foot have evidently been restored. 
 The companion-figure is obviously the Tiber. The restor- 
 ations here include the nose, almost all the fingers of the 
 right hand, the toes of the left foot, the figures of the 
 twins, and the muzzle of the animal. The older writers 
 took the animal on which this figure leans for a tiger 
 and supposed the river represented to be the Tigris. 
 This theory has lately been resuscitated, and it has been 
 surmised that the animal was changed into a wolf between 
 1565 and 1568 and the figure thus converted into a statue 
 of the Tiber 4 . The juxtaposition of the Nile and the 
 
 1 Clarac , v, PI. 980, Nos. 2526, 2527. Other references in 
 Rom. Mitth., vi, p. 31, note 87. For the statue of Constantine the 
 Great, see also Mongez , Iconographie romaine, PI. 62, notes 1-3, 
 vol. iv, p. 113; and Muller- Wieseler, Denkmaler der alten Kunst, 
 i, 72, 414, p. 100. Corpus inscr. lat., vi, 1, Nos. 1149, 1150. 
 Rom. Mitth., vi, pp. 31, 49, 52. 
 
 2 Clarac , iv, PI. 748, No. 1810, PI. 749, No. 1819. Other re- 
 ferences in Rom. Mitth., vi (4.891), p. 25, note 71. 
 
 3 Rom. Mittheilungen, vi (1891), pp. 25, 26, 29, 30. 
 
 4 Rom. Mittheilungen, vi (1891), pp. 26, 33, 34. 
 
 19* 
 
292 
 
 SQUARE OF THE CAPITOL. 
 
 Tigris on Roman soil would, however, be almost inex- 
 plicable, while that of the Nile and the Tiber has many 
 analogies (comp. No. 47). Besides, the shape of the head 
 and the mane distinctly mark out the animal as a wolf. 
 The modern restorer has endeavoured to make it look as 
 like that of the Capitoline Wolf (No. 618) as possible, 
 by retouching the front of the skull and by giving the 
 portion of the muzzle added by him the same shape as 
 that of the bronze figure. 
 
 The niche between the two river-deities is occupied 
 by a Statue of Pallas, in red porphyry (comp. No. 233) \ 
 placed here in 1593. In spite of the aegis covering the 
 breast, which distinctly marked it out as Pallas, this 
 statue was formerly taken for a Dea Roma. The weapons 
 and armour were added by a modern hand in order that 
 the figure might the better fill the niche ; and this addi- 
 tion is the cause of its popular appellation of ‘Roma 
 trionfante.’ 1 2 
 
 1 Clarac, iv, PI. 768, No. 1904. Farther references in Rom. 
 Mitth., vi, p. 48, No. 157, where the different accounts of its dis- 
 covery are chronicled. 
 
 2 Rom. Mittheilungen, vi, p. 48. 
 
The Capitoline Museum. 
 
 The latest catalogue is the ‘Nuova Descrizione del Museo Capi- 
 tolino , compilata per cura della Commissione Archeologica Com- 
 unale’, 2nd edit., Roma, 1888. 
 
 Court. 
 
 402 (1). Colossal Statue of a Biver God. 
 
 The restorations include the nose, the lower lip, frag- 
 ments on the hair and moustache, the right arm below 
 the biceps, with the shell, the lower half of the left fore- 
 arm, with the drapery upon it and the end of the robe 
 held by the left hand, the right foot, and the plinth. 
 
 This statue formerly stood opposite the church of 
 S. Pietro in Carcere, in the Salita di Marforio , whence 
 it was popularly known as the Marforio. It was removed 
 to the Capitol under Sixtus Y. , and was finally used to 
 adorn the fountain erected in 1784 by Clement XII. in 
 the court of the Capitoline Museum, after drawings by 
 Giacomo della Porta. It has a place of its own in the 
 history of Rome, for it was the custom to affix to the 
 Marforio the answers to the satires of Pasquino (comp. 
 No. 240). The statue represents a recumbent river-god, 
 whose massive form makes an imposing effect, though 
 the part of the body below the waist is too short in 
 proportion to the part above. The execution, in a dec- 
 orative but vigorous style, points to the first century of 
 the imperial epoch. 
 
 The statue before its restoration is shown in Antiquarum sta- 
 tuarum urbis Rom® icones (Rom®, 1628), ii, 79, and in Boissard , 
 Topographia Rom®, i, T. L, 8. In its restored condition : Be Ca- 
 valleriis , Antiqu® statu® urbis Rom®, T. 94. Be Rossi, Raccolta 
 di statue, T. 26. Bottari , Mus. Cap., hi, 1. Montagnani , II Mu- 
 
294 
 
 C API TO LINE MUSEUM. 
 
 seo Capitolino illustrato, i, 7. Righetti, Descrizione del Campi- 
 doglio, i,41. For the history of the Marforio : Cancellieri , Notizia 
 delle due famose statue di un flume e di Patroclo dette volgar- 
 mente di Marforio e di Pasquino (Rome, 1789) , pp. 3-16. Comp. 
 Rom. Mittheilungen, vi (1891), p. 50. 
 
 To the right and left of the Marforio , — 
 
 403, 404 (3, 18). Two Statues of Pan. 
 
 Found in the Piazza dei Satiri , the site assigned hy 
 topographers to the orchestra of the Theatre of Pompey; 
 and formerly in the Palazzo della Valle ( Aldroandi , in 
 Mauro , Le antichitS, di Roma, p. 216; comp. Jahrbuch 
 des Arch. Inst., vi, 1891, p. 158, No. 5, pp. 222, 225, 
 237 , No. 175). The restorations on the figure to the 
 left include the nose, both arms (except the right hand), 
 and portions of the plinth ; on the other figure, the nose, 
 both arms, the lower parts of the legs, the foot of the 
 support, and the plinth. 
 
 Pan is here represented with long beard and goat’s 
 legs, with a panther-skin over his shoulder, and holding 
 a basket of grapes on his head with his hand. A support 
 at the back of each of these figures proves that they were 
 used as Telamones or Atlantes. A similar figure has 
 been found at the Piraeus, so that we may conclude that 
 these Roman examples are copies of Attic originals. 
 Their execution, though decorative and somewhat dry, 
 is not ineffective. 
 
 Drawing in the Codex Pighianus (Ber. der sachs. Gesell. der 
 Wissensch., 1868, p. 173, No. 6, where other early literary references 
 are given). De Cavalleriis , Antiquae statuse nrbis Romae , T. 87. 
 Boltari , Mus. Cap., vol. i, animadversiones , T. 1, p. 5 , vol. m, 
 T. 35. Montagnani , i, 55, 56. Righetti , i, 107. Clarac , iv, PI. 725, 
 1738. For the Attic example: Clarac , iv, PI. 726F, No. 1736K. 
 Muller-Schoell, Archaol. Mittheilungen aus Grieehenland, i, T. v, 9, 
 p. 94, No. 78. Come, Heroen und Gottergestalten , T. lxxxiv, 1. 
 Other references are collected in Le Bas-Reinach, Voyage archeolo- 
 gique en Grece et en Asie mineure, Mon. Fig. 30, 31, No. 1, p. 61. 
 
CORRIDOR. 
 
 295 
 
 Corridor. 
 
 Here, and in all other rooms in the Museum, we 
 begin to the right of the entrance, and proceed round 
 the walls. 
 
 405 (19). Colossal Statue of Ares. 
 
 This statue was found in the 16th cent., not as is 
 usually supposed upon the Aventine , hut in all prob- 
 ability in Nerva’s Forum ( Lanciani , L’aula e gli ufflci 
 del senato romano, Roma, 1883, p. 23 ; also in the Mem. 
 della reale Accademia dei Lincei, anno cclxxx, 1882- 
 83). It formerly stood in the Palazzo Massimi ( Aldroandi , 
 in Mauro , Le anti chita di Roma, p. 168). The only 
 antique parts are the torso (except a few fragments) and 
 the head. The point of the nose, the crest of the helmet 
 with portions of the animals supporting it, and the edge 
 of the visor are also modern. 
 
 The identification with Ares may be taken as certain. 
 This god is represented in an entirely analogous manner 
 in a fragment of a relief found at Carthage , while the 
 heads of the god of war on coins of the Lucanii and 
 Bruttii show the same type. As is sometimes the case 
 with Heracles (comp. No. 242), Ares here shows a de- 
 cided family likeness to his father Zeus ; though the form 
 of his head is less imposing and intellectual, and even, 
 indeed, suggests a somewhat limited degree of intelli- 
 gence. The effect of this well-executed statue is spoiled 
 by bad restoration. The extremities are both too short 
 and too thick, and the figure in consequence produces a 
 heavy, not to say clumsy effect. 
 
 De Cavalleriis , Antiquae statuae urbis Romae, T. 96. Bottari , 
 Mus. Cap., hi, 48. Montagnani , ii, 77. Righetti , i, 51. Clarac , m, 
 PI. 292, No. 2499, v, PI. 839, No. 2111. Comp. Bonner Studien 
 (Berlin , 1890) , p. 5, p. 9. On tbe fragment found at Carthage : 
 Doublet , Musee d’ Alger, PI. xi, Fig. 5. 
 
 406, 407 (38, 39). Group of Heracles slaying the Hydra. 
 
 Formerly in the Palazzo Yerospi; and acquired under 
 Clement XII. The restorations include the left arm, the 
 right arm below the biceps , the torch, the left leg, the 
 lower part of the right leg, the Hydra, and the plinth. 
 
296 
 
 CAPITOLINE MUSEUM. 
 
 The absent parts were supplied by the sculptor 
 Alessandro Algardi (1 602-1 654), who also retouched the 
 antique portions in order to bring them into harmony 
 with his restorations. After his restoration was com- 
 pleted, another portion of the antique statue was dis- 
 covered, consisting of the left leg of Heracles and the 
 Hydra (now No. 39 in the catalogue). One of the Hydra 
 heads is that of an old woman, distorted with pain, the 
 mouth open to utter a scream. The snake in which the 
 monster ends coils partly round a stump and partly 
 round the leg of Heracles. 
 
 De Rossi , Raccolta, T. 136, 137. Beger , Hercules ethnicorum, 
 T. 7. Bottari , Mus. Cap., m, 27. Montagnani , i, 42. Righetti, i, 28. 
 Millin , Gal. myth., PI. 109, No. 435. Ouigniaut, Rel. de l’ant., 
 PI. 175, 658b. Clarac, v, PI. 796, 2006. Vcrhandlungen der 40. 
 PMlologeii-Versammlung in Gorlitz, pp. 315-318 (where all earlier 
 literary references are given). Comp. Nachricliten der Gesell. der 
 Wissenschaften zu Gottingen, 1888, pp. 423,424. 
 
 408 (37). Lower Part of a Colossal Draped Female 
 
 Statue, of porphyry. 
 
 Formerly at the bottom of the staircase leading from 
 the Yia delle Tre Pile to the Campidoglio, and removed 
 to the Museum in 1818. 
 
 This fragment is among the best, and perhaps also 
 earliest, porphyry-sculptures now extant. Comp. No. 233. 
 
 Beschreibung Roms, in, 1, p. 145, No. 33. Romische Mitthei- 
 lungen, vi (1891), p. 56. 
 
 409 (35). Group of Polyphemos with a Companion of 
 
 Odysseus. 
 
 The statement that this group was found on the Czelius 
 is insufficiently attested. It formerly stood in the Palazzo 
 Venezia, afterwards in the so-called Amphitheatre of the 
 Vatican, and still later in the Palazzo dei Conservatori 
 (Rom. Mittheilungen, vi, 1891, p. 39, No. 36, p. 55 ; Jaln- 
 buch des Arch. Instituts, vn, 1892, p. 87, No. 19d). The 
 right forearm, with the syrinx, and the left hand of the chief 
 figure are restored. The head, which had been broken off, 
 is antique, though it has been retouched, particularly at 
 the top, and belongs to the statue. The head placed by 
 the restorer on the body of the companion of Odysseus 
 
CORRIDOR. 
 
 297 
 
 is antique, but originally belonged to a vine-wreatbed 
 figure of the boy Dionysos (comp. No. 4). 
 
 Polyphemos, seated on a rock, holds with his left 
 hand the arm of a companion of Odysseus lying on the 
 ground before him, while he places his right foot on the 
 right leg of his captive. The flaccid attitude of the latter 
 clearly announces that he is paralysed with terror and 
 unable to offer any farther resistance. Polyphemos does 
 not look downwards to his captive but straight in front 
 of him, so that we must imagine another figure to com- 
 plete the group, viz. Odysseus cautiously approaching and 
 offering a goblet of wine to the monster (comp. No. 124). 
 The right hand of the Cyclops held no attribute but was 
 extended to receive the goblet. The execution of the 
 group is poor. Traces of a dark-brown pigment linger 
 on the beard of Polyphemos, of brownish-red on his nude 
 parts, and of greyish-violet on the skins hanging over 
 his knees. 
 
 Montagnani , i, 59. Righetti , i, 98. Overbeck , Gallerie beroiscber 
 Bildwerke, T. xxxi, 19, p. 765, No. 17, where other references are 
 given. Comp. Ann. dell’ Inst., 1868, pp. 430, 431. Robert, Die 
 antiken Sarkophag-Reliefs, n, p. 160. 
 
 410 (23). Statue of the Elder Eaustina (d. 141 A.D.). 
 
 Pound in the baths, discovered in 1862, of the Villa 
 Negroni-Massimi (Ann. deli* Inst., 1863, p. 258). The 
 nose, numerous fragments of the fingers, a fragment of 
 the cup, and the top and bottom of the cornucopia are 
 restored. 
 
 The consort of Antoninus Pius here holds a cornucopia 
 in her left hand, and a cup in her slightly extended right. 
 Concordia is represented with these attributes upon coins 
 of the elder Faustina, and it is therefore supposed that 
 the empress here appears as Concordia, though cornucopia 
 and vase also occur as the attributes of Pax, Felicitas, 
 Fortuna, and other deities. Traces of gilding on the hair 
 and of red pigment on the border of the mantle still 
 remain. 
 
 Mon. dell’ Inst., vi, vii, T. 84, 3; Ann., 1863, pp. 450-452. 
 Bernoulli, Romische Ikonographie, n, 2, p. 153, No. 1. 
 
298 CAPITOLINE MUSEUM. 
 
 411 (21). Lower Part of the Statue of a Barbarian, 
 
 well executed in Phrygian marble (paonazzetto). 
 
 The statue was originally placed on the triumphal 
 arch of Constantine, and was transferred to the Museum 
 in the course of a restoration of the arch undertaken by 
 Clement XII. about 1731. 
 
 Beschreibung Roms hi 1 p. 141, No. 11. Rom. Mitthcilungen, 
 vi (1891), p. 58. 
 
 412 (19). Peperino Base, dedicated by Marcus Minucius, 
 
 the Dictator. 
 
 Found in 1862 beside S. Lorenzo fuori le Mura. 
 
 According to the inscription on the front, this base 
 bore some object dedicated to Hercules by the Dictator 
 Marcus Minucius, son of Gaius. This Minucius was in 
 217 B.C. appointed Magister Equitum under the dictator 
 Quintus Fabius Maximus, and shortly afterwards was 
 made co-dictator with Fabius, in consequence partly of 
 an advantage over Hannibal gained by him at Gerunium 
 and partly of the popular discontent with the cautious 
 policy of Fabius. The presentation of the votive-offering 
 was perhaps the result of the victory at Gerunium. The 
 marks on the left side of the base indicate the spot in the 
 temple of Hercules on which it was placed and the number 
 which it held in the official list of the temple. 
 
 Corpus inscrip. lat., i, p. 556, No. 1503; vi, 1, No. 284. Comp. 
 Mommsen , Romische Geschiciite, i 7 , p. 599 ; Staatsrecht, ii, l 3 , p. 148. 
 
 413 (17). Peperino Base, dedicated by Marcus Eulvius 
 
 NTobilior. 
 
 Found in 1868 in the Yia di S. Ambrogio, i.e. in the 
 neighbourhood of the sites of the JEdes Herculis Musarum 
 and the Portico of Philip. 
 
 In the war against the ^Etolians in 189 B.C., the 
 consul Marcus Fulvius Nobilior captured Ambracia, the 
 former residence of King Pyrrhos, and transported thence 
 to Home a large number of art-treasures, of which the 
 statues of the nine Muses attracted special attention. No 
 fewer than 285 statues of bronze and 230 of marble are 
 
CORRIDOR. 
 
 299 
 
 said to have been carried at his triumph in 187 B.C. Part 
 of the art-treasures from Ambracia were used for the 
 decoration of the temple of Hercules built by Fulvius 
 Nobilior between the Capitol and the Circus Flaminius; 
 and as the statues of the Muses were also placed there, 
 that temple received the name of iEdes Herculis Musarum. 
 The base before us bore, according to the inscription upon 
 it, some article of the booty from Ambracia. The sug- 
 gestion that this was one of the famous statues of the 
 Muses can neither be proved nor disproved. 
 
 Corpus inscrip, lat., vi, 1, No. 1307. 
 
 Rooms at the left end of the Corridor. 
 
 First Room. 
 
 414 (14). Mosaic of Heracles and Omphale. 
 
 Found in 1749 at Porto d’Anzio (Antium), and placed 
 in the museum [under Benedict XIY ( Ficoroni , in Feci, 
 Miscellanea, i, p. clxiv, No. 93). 
 
 This mosaic represents Heracles, engaged in spinning 
 in the service of Omphale, and, as a cognate subject, a 
 lion fettered by two Cupids. The scene is identified as 
 oriental by a palm-tree and a pyramid. Heracles wears 
 an expression in which reluctance seems mingled with 
 weariness, turning the spindle with his left hand, while 
 the distaff is thrust into his girdle. The club and shield 
 beside him seem to refer to the adventurous life led by 
 the hero before he fell into the power of Omphale. Be- 
 side the group of Cupids binding the lion sits a third 
 Cupid, playing on a Pan-pipe. The goblet of Heracles lies 
 beneath the lion. The group is admirably composed, and 
 the resignation with which the powerful beast submits to 
 his treatment at the hands of the Cupids is indicated with 
 considerable humour. The original was probably some 
 celebrated painting of the Hellenistic period. Arcesilaos, 
 a sculptor who flourished at the time of Caesar, seems to 
 have been inspired by the same picture, when he carved 
 a marble group of a lioness surrounded by sportive Cupids. 
 
300 
 
 CAPITOLINE MUSEUM. 
 
 Foggini , Mus. Cap., iv, 19. Millin, Gal. myth., PI. 118, 454. 
 Farther references, see Ber. der sachs. Gesell. der Wissensch., 
 1855, p. 227. Comp. Helbig , Untersuclmngen fiber die camp. Wand- 
 malerei, pp. 22, 23. Wissowci, De Yeneris simulacris Romanis, 
 p. 46. Ulrichs , Arkesilaos, pp. 15, 16. 
 
 Third Room. 
 
 Built into tlie window-wall, — 
 
 415. Fragment of a Greek Relief. 
 
 Formerly in the Sarti Collection. 
 
 A warrior, holding his shield in front of him, is here 
 making a pass with his sword. The only traces of his ap- 
 parently retreating foe are a spear-head and the loose end 
 of a chlamys. In the treatment of this drapery and in the 
 circumstance that the warrior’s face is covered with his 
 visor in contrast to the usual practice of the freer style 
 of art, we may detect the lingering influence of the 
 archaic style. 
 
 Benndorf und Niemann , Das Heroon von Gjolbaschi-Trysa, 
 p. 134, No. 124, p. 236. 
 
 Rooms at the other end of the Corridor. 
 
 First Room. 
 
 416 (30). Sarcophagus with relief of Meleager. 
 
 During the Roman imperial epoch, hunting was re- 
 garded as an occupation that offered special opportunities 
 for a man to show his valour. In consequence of this, 
 sarcophagi were frequently adorned with reliefs re- 
 presenting ordinary mortals or heroes, such as Meleager 
 and Hippolytos, following the chase. Most of these sarco- 
 phagi were apparently designed as the tombs of persons 
 who during their lives had devoted themselves more or 
 less eagerly to hunting. The hero in these reliefs re- 
 presented the deceased; hence the sculptors often added 
 to the scene details foreign to the myth but associated 
 with the personality of the dead man. We find two in- 
 stances of this in the sarcophagus before us. Thus the 
 
CORRIDOR. 
 
 301 
 
 scene at the left end of the principal face is certainly an 
 allusion to the habits of the deceased; it represents Oineus 
 pointing out to his son a female figure in the guise of an 
 Amazon, evidently meant for Virtus, the goddess of valour, 
 who, according to the ideas prevalent in the imperial 
 period, was honoured by courage and devotion in the 
 chase. At the right end of the same face of the sarcophagus 
 we see Meleager, who, obedient to his father, attacks the 
 Calydonian boar with his lance, while just in front of him 
 is Atalanta, shooting an arrow into the neck of the animal. 
 At the back of Meleager stand the Dioscuri and Anceeos, 
 the last recognizable by his double-edged axe. Behind 
 Anceeos advances Artemis, drawing an arrow from her 
 quiver. The appearance of the virgin goddess in this 
 and other sarcophagus-reliefs of the Calydonian Hunt is 
 entirely out of keeping with the mythological legend, 
 according to which Artemis was an enemy of Oineus and 
 all his line and, indeed, sent the wild boar to devastate 
 his realms. Her presence is obviously due to the wish 
 of the sculptors to indicate that the deceased sportsmen 
 were special favourites of the goddess of the chase. 
 
 On the lid are represented children engaged in the 
 chase. At the left end is a boy aiming an arrow, with a 
 crescent-shaped head, at an ostrich. Herodian (i, 15) re- 
 lates that the Emperor Commodus loved to show his skill 
 in archery by decapitating ostriches, as they ran by him 
 at full speed, with arrows shaped like this. The group 
 apparently refers to this imperial amusement, and we may 
 consequently date the sarcophagus from the reign of 
 Commodus. 
 
 On the left end of the sarcophagus are two slaves car- 
 tying hunting -nets and the poles on which they were 
 arretched. On the right end appear Meleager and Ata- 
 lsnta. 
 
 Ann. dell’ Inst., 1863, Tav. d’agg. AB 1-3, pp. 81-97 ; 1869, 
 p. 81. On the figure of Yirtus : Purgold , Archaologische Bemer- 
 kungen zu Olaudian und Sidonius, pp. 26 et seq. 
 
 On the shelf above, — 
 
302 
 
 CAPITOLINE MUSEUM. 
 
 417 (25). Herma of the Youthful Heracles crowned 
 
 with a Wreath of Vine-Leaves. 
 
 The end of the nose and fragments of the lower lip 
 have been restored. 
 
 This herma, like No. 121, is probably to be referred 
 to an original by Scopas. The execution of the one be- 
 fore us, however, is superior to the other. Comp. No. 004. 
 
 Bottari, i, 84. Montagnani, in, 2, T. 87. Rom.Mittheilungen, 
 iv (1889), T. vm, and vignette on p. 189. Lulzow, Zeitschrift fur 
 bildende Kunst, new series, n (1891), p. 253. Overbeclc , Geschichte 
 der griech. Plastik, ii 4 , p. 25, Fig. 142b. 
 
 418 (19). Portrait of a Greek Athlete. 
 
 The lower part of the neck and the bust are modern. 
 
 It has been generally assumed that this is a likeness 
 of Juba II., King of Numidia and Mauretania (25 B.C.- 
 23 A.D.), who was also known as a Avriter. The only 
 reason for this belief, however, is that in the Gymnasium 
 of Ptolemy at Athens a head was found bearing a certain 
 resemblance to the Capitoline example and assumed to be 
 that of Juba II., because Pausanias mentions that a statue 
 of this prince stood in that Gymnasium (i, 17, 2). The 
 heads on the coins of Juba, however, differ essentially 
 both from the replica at Athens and from that of the Capitol, 
 and show no trace of the complicated arrangement of fillets 
 that characterizes these two heads. The head before us 
 seems much more probably that of an athlete, in the act of 
 putting on this peculiar headgear, which we may, perhaps, 
 compare with the leathern cap sometimes worn by Greek 
 athletes (comp. No. 595). In the style of the head author- 
 ities profess to see points of contact with that of Myron. 
 
 Furtwaengler , Masterpieces, p. 204. • — A marble head found 
 atShershel (Caesarea) seems to be an authentic portrait of Juba II. : 
 Ann. dell’Inst., 1857, Tav. d’agg.E, No. 2, p. 194; Waille , Be Caesarea; 
 monumentis (Alger, 1891), title-page (vignette) and p. 92. 
 
 419 (17). Head of the Youthful Heracles crowned with 
 
 a Wreath of Vine-Leaves. 
 
 The end of the nose, the right side of the skull with 
 the adjoining parts of the wreath, and the bust are restor- 
 ations. 
 
CORRIDOR. 
 
 303 
 
 This head is apparently derived from the same type 
 as Nos. 121, 417, and 604. The expression of strength 
 is, however, intensified, a characteristic we may perhaps 
 attribute to the influence of Lysippos. 
 
 Bottari , i, 84. Montagnani , m, 2, T.84. Comp. Jahrbuch des 
 Arch. Instituts , i (1886), p. 55. Rom. Mittheilungen, iv (1889), 
 p. 197, No. 15. 
 
 In the middle of the room, — 
 
 420. Bectangular Base, with Beliefs representing the 
 Labours of Heracles. 
 
 These reliefs, which imitate with considerable skill 
 the archaism prevalent just before the development of a 
 freer style of art, represent the twelve Labours of Hera- 
 cles. On one side the hero is seen holding in his right 
 hand the skin of the Nemean lion, which he has just 
 killed, and struggling with the Hydra. Of the figure ad- 
 joining this only the lower part has been preserved. If, 
 however, we remember the order in which the Labours 
 of Heracles are generally represented on monuments, and 
 compare this relief with other better preserved replicas, 
 we have no difficulty in deciding that the hero must 
 have here been represented as bearing away the Eryman- 
 thian boar. The reliefs on the next face of the base show 
 the capture of the Cerynsean hind, the struggle with the 
 Stymphalian birds, and the hero resting after having 
 cleansed the Augean stables. On the third side are re- 
 presented his encounters with the Cretan bull, with Dio- 
 mede, King of Thrace, and with Geryon. The reliefs 
 on the fourth and last side depict the hero seizing the 
 belt of Hippolyta, Queen of the Amazons, dragging Cer- 
 berus from Hades, and plucking the golden apples of the 
 Hesperides. 
 
 Visconti , Mus. Pio-Clem., iv, T. b, n, 8, Tav. b, in, 7, pp. 325 
 et seq. Righetti , n, 274, 275. For other references, see Stephani, 
 Der ausruhende Herakles, p. 202 (454), No. 11. Comp. Ann. dell’ 
 Inst. (1864), p. 314. 
 
 On this base, — 
 
304 
 
 CAPITOLINE MUSEUM. 
 
 421. Statuette of Latona carrying her Children. 
 
 Found on the Yia Appia (?). 
 
 This poorly executed and much damaged statuette 
 represents a woman advancing to the right in great agi- 
 tation. By her left bosom is preserved the lower part of 
 a child, whom she evidently clasped with her left hand. 
 Thanks to a better preserved replica in the Museo Tor- 
 lonia and to the reverse sides of some coins of Asia 
 Minor, we can reconstruct the original design and under- 
 stand its significance. Latona is represented holding her 
 two newly-born children, Apollo and Artemis, and flying 
 from the dragon, against whom the little Apollo bends 
 his bow. It has been supposed that the statuette at 
 the Capitol and all the replicas of the same subject re- 
 produced a bronze original by Euphranor, which repre- 
 sented Latona carrying away her children Apollo and 
 Diana, soon after their birth, and stood in the time of 
 Pliny (Nat. Hist., 34, 77) in the Temple of Concordia at 
 Borne. This theory, however, has of late been justly 
 rejected. Euphranor flourished about 375-330 B.C., while 
 the severe style of the group before us points to about 
 the middle of the fifth century B.C. 
 
 Schreiber , Apollon Pythoktonos, T. 1,2, pp. 69-71, 76-78, 88- 
 90. Overbeck , Kunstmythologie, iv, p. 372, No. 7 ; Atlas, xxm, 18. 
 Comp. Overbeck , G-esch. der griech. Plastik, n 4 , pp. 116-118. Fest- 
 gruss aus Innsbruck an die Pkilologenversammlung in Wien (1893), 
 pp. 151-153. Furtwaengler, Masterpieces, p. 349. For the Torlonia 
 replica, see Sclireiber , op. cit., i, 1, and also I monument! del Mu- 
 seo Torlonia riprodotti con la fototipia, T. xvn, 68. 
 
 Second Room, 
 
 422 (5). Sarcophagus with Beliefs of a Battle with the 
 Gauls. 
 
 Found in 1830 in a tomb in the Vigna Ammendola, 
 on the Yia Appia, on the site of the Mausoleum of the 
 Volusii (comp. No. 157 of this volume; also Benndorf 
 undSchone , Die antiken Bildwerke des lateranischen Mu- 
 seums, p. 112). 
 
 The bas-reliefs represent that moment in the battle 
 
CORRIDOR. 
 
 305 
 
 when the defeat of the Gauls had become inevitable. Their 
 chief, recognizable by the band around his head, has 
 fallen in the thickest of the fight, piercing his breast with 
 his own sword in order to escape captivity. The highly 
 dramatic composition is treated in a decidedly pictorial 
 manner, and it is very likely that part at least of the reliefs 
 were copied directly from a painting. Some of the figures 
 are represented fore-shortened, which can be only very 
 inadequately suggested by the art of the sculptor. There 
 can be little doubt that we must seek the original model 
 in the art of Pergamum, for the Barbarians have here the 
 same marked characteristics as the Pergamenian statues 
 of Gauls (see Nos. 533, 884), while Pausanias (i, 4, 6) 
 expressly states that there was in that town a picture re- 
 presenting the defeat of the Gauls. In any case the Hel- 
 lenistic period is indicated by the helmet shaped like a 
 Phrygian cap worn by the warrior towards the right end, 
 who raises his sword to strike the Gaul on his knees be- 
 fore him. To a Roman a cap of this sort would seem 
 entirely foreign, while on the other hand we know it was 
 the fashion for the attendants of Alexander the Great and 
 the Diadochi to wear the arms and dress of the East. The 
 public of the imperial time naturally took these reliefs 
 for a battle between the Gauls and the Romans. Their 
 subject indicates that the tenant of the sarcophagus had 
 followed a military career and frequently encountered the 
 Barbarians. The scenes of the combat are continued on 
 the ends of the sarcophagus, while on the lid are seen 
 captive Gauls with their wives and children. 
 
 Mon. dell’ Instit., i, 30, 31; Ann., 1831, pp. 287-311. Revue 
 archeologique , vol. xii (1888), PL xxii, xxiii; vol. xiii (1889), 
 pp. 331-352 (entire bibliography given in note 4 at p. 331). Comp 
 Helbig , Untersuchungen iiber die campanische Wandmalerei, p. 54. 
 Bie 1 Kampfgruppen und Kampfertypen, pp. 137, 138. 
 
 423 (11). Tombstone of Titus Statilius Aper. 
 
 In 1542 this monument was placed in one of the 
 gardens of the Vatican by Paul III., and it was trans- 
 ferred to the Capitoline Museum under Benedict IV. 
 (Jahrbuch cl. Arch. Inst.., v, 1890, p. 34). The nose of 
 
 Helbig, Guide I. 20 
 
306 
 
 CAPITOLINE MUSEUM. 
 
 Aper, liis left hand with the scroll, the neck of the hoy, 
 and also the lower part of his right leg (except the foot) 
 are restorations. The head of the hoy is ancient, hut does 
 not belong to this relief. The other restorations include 
 a large piece of the left entablature of the £edicula, with 
 one end of the roll of twine and the right side of the 
 writing-tablet ; also a fragment of the right entablature. 
 
 As the inscription on the lower part of the base re- 
 lates, this tombstone was erected in honour of Aper and 
 his wife Orcivia Anthis by the parents of the former. The 
 inscription also informs us that Aper belonged to the 
 class of architects who were engaged in making measure- 
 ments of buildings [mensor aedijiciorum , architetto misura- 
 tore), for the purpose, among others, of seeing that the 
 builders conscientiously fulfilled the terms of their con- 
 tract. The relief on the principal face rejDresents the 
 young Aper, clad in tunic and toga. The dead boar (aper) 
 behind him is a punning reference to his name, a fact 
 which the four hexameters on the upper part of the base 
 emphasize with somewhat doubtful taste. The trunk 
 standing beside the architect evidently contains his pro- 
 fessional instruments, while the object placed upon it 
 is, perhaps, a roll of parchment for an architectural plan. 
 The winged boy to the right of Aper presumably person- 
 ifies Thanatos or death, and probably held an inverted 
 torch in the right hand and a bow in the left (comp. 
 No. 185). The female bust within a shell on the cornice 
 of the cippus exhibits the style of hair-dressing usual 
 under the Flavian emperors; the youthful countenance 
 makes it likely that it is the wife rather than the mother 
 of Aper. 
 
 The reliefs on the two lateral faces of the cippus 
 pourtray the professional instruments of the young archi- 
 tect. On the left face are a Roman foot-rule, with its di- 
 visions, a measuring-wand, a writing-tablet, and a hank 
 of twine, probably used for measurements ; on the right 
 are a rectangular object, supposed to be a reckoning-table, 
 and another which may be a case filled with pencils (stilus). 
 
 A drawing of this monument is given in the Codex Pighianus 
 (Berichte der sachs. Ges. der Wissensch., 1868, p. *209, No. 145). 
 
CORRIDOR. 
 
 307 
 
 Foggini , Mus. Cap., iv , 9, and p. 28. Righetti , i, 123. The older re- 
 ferences are collected in the Corpus inscr. lat., vi, 1, No. 1975. 
 Comp. Bull, della commissione arch, comunale, xv (1887), p. 117. 
 
 Third Room. 
 
 424. Sarcophagus with Scenes from the Life of Achilles. 
 
 Found in the Monte del Grano, a tumulus outside 
 the Porta S. Giovanni, not far from the Porta Furba, and 
 placed in the Museum in 1590 (Rom. Mittheilungen, vi, 
 1891, pp. 46, 57). The sarcophagus contained the so- 
 called ‘Portland Vase’, now in the British Museum. The 
 restorations on the principal face include the head of 
 the startled maiden to the right of Achilles, the right 
 hand of Odysseus, and other unimportant fragments. 
 
 The lid of the sarcophagus shows the couple interred 
 within lying on a bed or couch. The style in which the 
 woman’s hair is dressed and the cut of the man’s beard 
 indicate the early part of the 3rd century A.D. The bands 
 of foliage and the hunting-scenes on the mattress must be 
 thought of as embroidery, perhaps in gold thread. The 
 supports of the bed end in the heads of animals (comp. 
 No. 553). 
 
 The central relief on the front of the sarcophagus 
 shows Achilles in Scyros. According to a version of the 
 legend unknown to the poets of the Homeric epos, Thetis, 
 in order to prevent his taking part in the Trojan War, 
 concealed her son Achilles among the daughters of Ly- 
 comedes, King of Scyros, with one of whom, named Dei- 
 dameia, the youth carried on an intrigue. Odysseus and 
 Diomedes came to Scyros in order, if possible, to enlist 
 the son of Peleus in the war. On their arrival in the 
 palace they laid out a great store of articles likely to take 
 the fancy of young ladies and also a collection of weapons 
 and armour. They then caused a blast to be sounded on 
 the war-trumpet, whereupon Achilles, unable longer to 
 maintain his disguise, threw away his female garments, 
 grasped the martial weapons, and joined the heroes setting 
 out for Troy. The reliefs show Achilles, still partly in 
 feminine costume and with a woman’s shoe on his left 
 
 20 * 
 
308 
 
 CAPITOLINE MUSEUM. 
 
 foot, in the act of seizing a shield and a sword, while 
 Deidameia, laying both hands on his shoulders, seeks to 
 restrain him. Another daughter of Lycomedes steps in 
 astonishment to one side. Beside her stands Diomedes, 
 pushing up his helmet and gazing at Achilles. The ob- 
 jects lying on the ground, including a cuirass, two over- 
 turned wool -baskets, a spool of thread, a sword, and 
 greaves for the legs, indicate the twofold character of the 
 gifts brought by Odysseus and Diomedes. The centre of 
 each of the lateral groups is occupied by a king: to the 
 right Agamemnon, to the left Lycomedes. In front of 
 each king stands a younger warrior, holding a horse by 
 the bridle. Close to Agamemnon is Odysseus, recogniz- 
 able by his pileus, turning towards the principal scene 
 represented in the middle of the composition. His right 
 hand is falsely restored ; in all probability the palm was 
 turned towards Agamemnon, with a gesture of 'astonish- 
 ment or eager attention. The elderly, long-bearded war- 
 rior, whose helmeted head is seen between Agamemnon 
 and Odysseus, may be either Nestor or Phoenix. The 
 relief closes on the left in a warrior, holding a rearing 
 horse, and on the right in another, bending forward to 
 see Achilles. The nature of the reliefs shows clearly that 
 it was not so much the sculptor’s object to make the action 
 perspicuous and sharply characterize the actors as to pro- 
 duce a symmetrical composition. Thus he has failed to 
 indicate the connection of the two kings and the warriors 
 in front of them with the scene in the centre. 
 
 The left end of the sarcophagus bears a representation 
 of the parting of Achilles with Lycomedes and Deidameia. 
 
 On the right end is depicted Achilles about to don 
 his armour. Among the warriors around him may be re- 
 cognized Odysseus, represented on a smaller scale than 
 the others and advancing full of ardour. Apparently this 
 relief represents the hero arming himself for the contest 
 with Hector, and thus forms the transition to the subject 
 sketchily indicated on the back of the sarcophagus, where 
 the aged Priam is seen supplicating Achilles for the body 
 
CORRIDOR. 
 
 309 
 
 of his dead son. Beyond Priam stands the war-chariot of 
 Achilles, from which an attendant is unharnessing one of 
 the horses; farther to the left is the chariot of Priam, 
 from which two Trojans and an Achaean are taking the 
 precious gifts for the ransom of the body. 
 
 Robert , Die antiken Sarkophag-Reliefs, n, T. xiv, xv, 25-25 c, 
 p. 35. On the myth of Achilles at Scyros : Archaol.-epigraph. Mit- 
 theilungen aus Osterreich, xiii (1890), pp. 161 et seq. 
 
 425 (3). Relief of an Archigallus. 
 
 Found in 1736 between Civita Lavinia (Lanuvium) 
 and Genzano, near the so-called Villa of the Antonines, 
 and presented to the Museum by the Sforza-Cesarini. 
 
 The cult of Cybele was introduced at Rome, from 
 Pessinus, in B.C. 204 (comp. No. 436), and each year 
 thereafter the Galli, or eunuch priests of this goddess, 
 went in solemn procession through the city, collecting 
 offerings for the Great Mother and chanting sacred songs 
 to the accompaniment of flutes and tambourines. The 
 relief before us depicts an Archigallus, or high-priest, 
 and gives a good idea of the bizarre scene that must have 
 been presented by these strangely dressed orientals, with 
 their amulets and symbols. If the shape of the breast did 
 not unmistakably declare that this was a man, we should 
 undoubtedly take it for a woman,, not only from the cast 
 of the features, but also on account of the arrangement of 
 the hair, the earrings, and the long-sleeved chiton. The 
 crown on the head is adorned with three medallions, of 
 which that in the middle bears a bust of the Idsean Zeus. 
 The medallions at the sides either both represent Atys, 
 the favourite of Cybele, or one represents Atys and the 
 other Combabos. The sedicula on the breast of the priest 
 also enshrines a portrait of Atys. The right hand holds 
 a pomegranate, the symbol of fertility, and three twigs of 
 (apparently) the pomegranate-tree. In the left hand is a 
 vessel containing various kinds of fruit, among which the 
 pineapple, sacred to Cybele, is conspicuous. Over the left 
 shoulder hangs the scourge, with which the Galli either 
 flogged themselves or were flogged by others. The handle 
 
310 
 
 CAPITOLINE MUSEUM. 
 
 of this scourge ends both above and below in a bearded 
 bead, while fragments of bone are plaited into the lashes 
 to make the blows more severe. In the background are 
 figured a pair of cymbals, a tympanon, a curved flute, a 
 straight flute, and a cista — all objects that played an 
 important part in the worship of the Mother of the Gods. 
 
 Winclcelmann , Mon. ant. ined., n, T. 8, pp. 7 et seq. Foggini , 
 Mus. Cap., iv, 16. Millin , Gal. myth., PJ. 80, 15. Guigniaut , Rel. 
 de l’ant., PI. 141, 230. Muller -Wieseler, Denkm. der alten Kunst, 
 ii, 63, 817. Baumeister , Denkm. des klass. Alterthums, ii, p. 801, 
 Fig. 867. 
 
 426 (10). JEdicula, dedicated to Aglibolos and Malach- 
 belos. 
 
 Formerly in the garden of Cardinal Ridolfo Pio of 
 Carpi on the Quirinal, afterwards in the Villa Giustiniani 
 (now Massimi), near the Lateran. The right forearm of 
 each figure, nearly the whole face and two fragments of 
 the spear of the god of the moon, and the nose, mouth, 
 and great part of the right cheek of the god of the sun 
 are modern. 
 
 Two inscriptions on the base, one in Greek and the 
 other in the Palmyrene dialect, inform us that Lucius 
 Aurelius Heliodorus of Palmyra dedicated this aedicula 
 and a statue of silver, in the year 547 of the era of the 
 Seleucidae (235/6 A.D.), to the gods of his native city, 
 Aglibolos and Malachbelos. The relief represents the 
 two gods, grasping each other by the hand. Malachbelos, 
 the god of the sun, appears in oriental garb*, while Agli- 
 bolos, the god of the moon, wears the armour of a Roman 
 warrior. The crescent-moon is seen rising above the 
 shoulders of the latter deity. The upper part of the at- 
 tribute which Malachbelos held in his left hand has been 
 broken off, but from the analogy of other monuments we 
 recognize it as the harpe , or short sword, which symbolized 
 the consuming power of the sun. The cypress between 
 the two figures probably symbolizes Astarte, the supreme 
 divinity of Syria. 
 
 There is a drawing of this monument in the Codex Pighianus 
 (Berichte der sachs. Ges. der Wissensch., 1868, p. 190, No. 70). 
 
CORRIDOR. 
 
 311 
 
 Fogging Mus. Cap., iy, 18. Mon. dell’ Inst., iv, T. 38, 6; Ann., 1847, 
 pp. 47 et seq., where all the earlier references are collected. Coinp. 
 also Corpus inscr. grsec., hi, No. 6015. 
 
 In the walls of the staircase are immured — 
 
 427. Fragments of an Ancient Plan of the City of Rome 
 
 (forma urbis Romee), generally known as the 
 ‘Marble Plan’. 
 
 These fragments were found under Pius IY. (1559-66), 
 behind the church of SS. Cosma e Damiano, and came 
 into the possession of Cardinal Alessandro Farnese. After 
 lying unnoticed for more than a century in the cellars 
 of the Palazzo Farnese, they were published in 1673, for 
 the first time, by Bellori. In 1742 they were acquired 
 by Benedict XIV. and deposited in the Capitoline Mu- 
 seum which he had founded. In the meanwhile, however, 
 a considerable number of the fragments had been lost ; 
 and the missing portions were copied from Bellori’s draw- 
 ings and incorporated with the original fragments. The 
 modern parts are distinguished by a star. Other ancient 
 fragments have been found recently (1867, 1882, 1885) 
 in and near the Forum. In 1888 no fewer than 188 small 
 fragments, not yet incorporated with the rest, were dis- 
 covered behind the Palazzo Farnese, oil tearing down a 
 wall in the construction of which they had been used in 
 the 17th century. 
 
 This plan is based on an extensive cadastral survey 
 of the city undertaken at the beginning of the imperial 
 epoch. The copy of which these fragments formed part 
 was executed between 203 and 211 A.D., in the reign of 
 Septimius Severus and Caracalla. It was affixed to the 
 outside of one of the walls of the Templum Sacree Urbis, 
 which was built by Vespasian and restored by Septimius 
 Severus, and seems to have been used for keeping the 
 censor’s archives, registration lists, municipal plans, and 
 the like. Remains of this edifice are still preserved at the 
 back of the church of SS. Cosma e Damiano. The plan 
 measured about 65 feet in length and 49 feet in height. 
 As it seems to be drawn on the scale of 1 : 250, it thus 
 embraced an area of about 3630 acres. Unlike modern 
 maps and plans, it is so arranged that, not the north, but 
 the south-east, side is uppermost. The method in which 
 
312 
 
 CAPITOLINE MUSEUM. 
 
 streets and buildings are indicated is similar to that of 
 the present day. There are, however, also a few signs in 
 relief like those used in the plans of the Middle Ages. 
 The most frequent of these are used to represent double 
 flights of stairs, and ft, which indicates the arched vaults 
 of gates, aqueducts, and other similar structures. The 
 original plan not only indicated the direction of the streets 
 but also, at least in the case of the public edifices, gave 
 details of the interiors, and must have been one of the 
 most successful achievements of the land-surveyors of 
 ancient Rome. The accuracy of this copy of it, executed 
 in the third century, leaves, however, much to be wished 
 for, as the stone-cutters often misunderstood their model 
 or were careless in following it. A complete reconstruc- 
 tion of the plan from the fragments which remain is im- 
 possible. The arrangement in the Museum follows that 
 of Bellori, which is often quite arbitrary. We give below 
 a list of a few of the more important pieces, most of which 
 are indicated by inscriptions. 
 
 On the wall of the first flight of steps, to the left, 
 Tablet I. The Horrea Lolliana, one of those large, re- 
 gularly laid out bazaars, of which there were several in 
 imperial Rome ; it probably lay on the Tiber, below the 
 Aventine. 
 
 Opposite, to the right, Tab. XXVI. Fragments found 
 in 1867 below the rear-wall of the Templum Sacrae Urbis. 
 Two of those in the uppermost row show the Porticus 
 Liviae, which was situated near the Thermae of Titus and 
 the church of S. Lucia in Selci. 
 
 To the left, Tab. II. The Porticus Octaviae, with the 
 temples of Jupiter, Juno, and Hercules Musarum. The 
 entrance to this Porticus is still preserved at S. Angelo 
 in Pescheria. 
 
 Tab. VI. Fragment with the Forum of Trajan. The 
 north part of the Basilica Ulpia may be recognized on 
 this fragment, with the apse abutting on the Quirinal and 
 known under the name of the Bagni di Paolo. The in- 
 scription LIBERTATIS on the latter proves that either 
 
CORRIDOR. 
 
 313 
 
 this apse or the whole Basilica was dedicated to the God- 
 dess of Liberty. The Basilica has been wrongly recon- 
 structed after Bellori and is called the Basilica Emilia. 
 
 Staircase Landing. Tab. VII. A section of regularly 
 constructed streets, perhaps in the Campus Martius. Three 
 adjoining palaces here show the ground -plan of the an- 
 cient Homan dwelling as we know it from Pompei, with 
 he vestibule, atrium, tablinum, etc.; while in all the 
 other parts of the plan we meet nothing but the huge 
 tenement-houses (insulae) which at a later date filled the 
 large towns. 
 
 Tab. VIII. Grsecostasis and Rostra in the Forum. A 
 large fragment without inscription represents the bank of 
 the Tiber, with staircases descending to the water. 
 
 Second flight of steps, to the left. Tab. IX. Fragment 
 from the Forum, with the Temple of Concord (in the right 
 upper corner). 
 
 Tab. X. The Septa Julia. These consisted of a court 
 in the form of a trapezium, surrounded by a colossal colon- 
 nade, of which some remains are preserved under the 
 Palazzo Doria and under the church of S. Maria in Via 
 Lata in the Corso. This court was originally used for 
 taking the votes of the national assembly ( Comitia ), but 
 when the Comitia lost their importance in the imperial 
 period it was converted into a huge bazaar. This trans- 
 formation explains why the walls of the later buildings 
 in the interior make obtuse angles with the colonnade. 
 
 To the right, Tab. XIX. The Circus Maximus. The 
 letters of the inscription were placed one below another 
 (only AX left, at the foot of the slab), because the Circus 
 lay exactly in the vertical axis of the plan. At the top, 
 to the left, is the Septizonium, the huge waterworks erected 
 by Septimius Severus at the S.E. angle of the Palatine. 
 The ruins of this structure were removed under Pope Six- 
 tus V (1585-90). 
 
 To the left, Tab. XI. Mutatorium Ccesaris, or court 
 of the imperial mails. Area Radicaria, an expansion of 
 
314 
 
 CAPITOLINE MUSEUM. 
 
 theViaAppia just below the church of S.Balbina. Ludus 
 Magnus, the huge imperial school of gladiators, near the 
 Colosseum, with a large elliptical court in the centre. 
 
 To the left, Tab. XII. Part of the Forum, with the 
 Basilica Julia and theiEdes Castoris. Part of the Theatrum 
 Marcelli, with the proscenium-wall. 
 
 To the right, Tab. XVI. The central portion, of which, 
 however, only the left half is ancient, shows a fragment 
 of Pompey’s Theatre, with the archway leading from the 
 back of the stage to the adjoining Hecatostylon, or hall 
 of the hundred columns, and a part of this hall. 
 
 To the right, Tab. XY. A comparison of this almost 
 wholly modern slab, showing Pompey’s Theatre, with the 
 adjacent ancient fragment (Tab. XVI), illustrates the in- 
 accuracy with which the draughtsmen of the 1 7 th century 
 reproduced the ancient design, of which they possessed 
 much more than is now extant. 
 
 To the left, Tab. XIV. A large piece, with no in- 
 scriptions, showing part of the Thermae of Titus. 
 
 Forma urbis Romse regionum xiv, ed. by H. Jordan (Berolini, 
 1874), where all the earlier references are collected and critically 
 examined on p. 4. Comp. Archeeol. Zeitung, xxxiii (1875), p. 52. 
 Bull, della commissione archeologica comunale, 1886, p. 270. 
 Romische Mittheilungen, rv (1889), pp. 79, 228. Elter , De forma 
 urbis Romse, diss. i, n (Bonn®, 1890, 1891). 
 
 On the landing, — 
 
 428. Statue of Libera. 
 
 Said to have been found at Civita Lavinia (Lanuvium), 
 and kept for some time in the amphitheatre of the Vati- 
 can (Rom. Mittheilungen, vi, 1891, p. 38, No. 16, p. 55). 
 The restorations include the nose, both forearms, and 
 small pieces of the drapery. 
 
 The usual recognition of this figure as Juno Sospita 
 (Sispita) is due to the fact that it was found in Lanuvium, 
 where that goddess was held in special honour. The in- 
 scription on the pedestal, IYNO LANVMVINA, is, 
 however, obviously a modern forgery; and it is equally 
 apparent that Juno could not have been the only deity 
 
CORRIDOR. 
 
 315 
 
 worshipped at Lanuvium. The statue differs essentially 
 from all authenticated representations of Juno Sospita 
 (comp. No. 307). In particular it should he observed 
 that the skin hanging over the breast is not that of the 
 goat, characteristic of Juno Sospita, but that of a panther, 
 or a lynx, or some other member of the cat tribe. This 
 attribute, peculiar to the Bacchic cult, would strongly 
 suggest that we have here to do with a statue of Libera, 
 the female counterpart of Liber, the Italian god of wine 
 (comp. No. 365). The thickset body, the firm attitude, 
 and the arrangement and broad parallel folds of the drapery 
 warrant us in assuming that the artist followed a model 
 of the best Greek period. 
 
 Bottari , m, 5. Montagnani , i, 11. Clarac, hi, PI. 418, No. 732. 
 Comp. Gerhard , Prodromus, p. 185, note 18. Overbeck, Kunst- 
 mythologie, m, p. 163. On the inscription, see Corpus inscr. lat., 
 vi, 5, No. 3448*. 
 
 Corridor. 
 
 429 (5). Statue of Eros bending his bow. 
 
 Formerly in the Yilla d’Este at Tivoli. The restor- 
 ations include the end of the nose, the wings (roots an- 
 cient), the arms (shoulders ancient), the how, the right 
 foot, the lower part of the left leg, the stump and quiver, 
 and the outer parts of the plinth. 
 
 The original motive of this work is ascertained from 
 two gems (Fig. 1 8) and from better-preserved plastic re- 
 plicas. Eros holds the middle of the bow firmly with his 
 left hand, while he presses down the top end with the 
 thumb of his right hand in order to slip the string into 
 the notch prepared for it. The lower part of the bow, as 
 we learn from a replica in Venice, is pressed against the 
 right leg, below the knee. The eyes are fixed upon the 
 distant object which Eros has chosen as his target. 
 
 In three of the plastic replicas of this work, the figure 
 is adjoined by a stump, with a lion’s hide and a club. It 
 has, therefore, been supposed that Eros is here occupied, 
 not with his own bow, but with that of Heracles, which 
 
316 
 
 CAPITOLINE MUSEUM. 
 
 he had purloined from the demigod, along with the lion’s 
 skin and club. When, however, ancient art connects Eros 
 with Heracles in any way, it naturally emphasizes the 
 contrast between the tender god of love and the powerful 
 hero. The bow of Heracles would be shown as of a size 
 quite out of proportion to the child who wields it, and 
 the latter would be exerting all his force to string it. 
 This is not the case. On the contrary, the bow seems to 
 be just about the size we should expect, its length amount- 
 ing to three-fifths of the height of Eros, while the exertion 
 
 used in spanning it certainly does not exceed that shown 
 in other sculptures of demigods and mortals in the same 
 action. Indeed, Eros is not even wholly absorbed in his 
 bow, but keeps his eyes fixed at the same time on the ob- 
 ject he is about to aim at. We must also remember that 
 figures of this kind, in which the extremities are widely 
 detached from the body, generally presuppose a bronze 
 original. In this the stump, added as a support to the left 
 leg in the marble reproduction, would be wholly super- 
 fluous; and we are confirmed in our conviction that it 
 did not exist in the original by its very pronounced inter- 
 ference with the general effect of movement. We may 
 thus conclude that the stump and the adjoining attributes 
 were added by the worker in marble and have little bear- 
 ing on the explanation of the figure. Moreover, these 
 attributes do not imply that even the copyists believed 
 Eros to be engaged with the bow of Heracles. The ob- 
 
CORRIDOR. 
 
 317 
 
 jeets attached to the supports have often only the loosest 
 connection with the action of the figure itself; and hence 
 the lion’s hide and the club may very well be nothing 
 more than a hint that even the mightiest of the heroes 
 could not resist the power of love. 
 
 In its attitude, its proportions, and the realistic treat- 
 ment of the skin, this statue strongly suggests the style 
 of Lysippos (comp. No. 31). Though this may not war- 
 rant us in assuming that it is a copy of the Thespian Eros 
 of that master, we may at least conclude that its original 
 was a product of the Lysippian tendency and hence could 
 not date from an earlier epoch than that of Alexander 
 the Great. 
 
 Muller -Wieseler, Denkmaler der alten Kunst, n, 51, 631. 
 Baumeister , Denkm. des klass. Altertliums, i, p. 497, Fig. 539. Comp. 
 Fredericks , Amor mit dem Bogen von Herakles (Berlin, 1867). 
 Sckwabe , Observationum archaeologicarum particula, i (Dorpati, 
 1868), pp. 1-7. Friederichs -Wolters, Bausteine, No. 1582. Furt- 
 waengler , Masterpieces, p. 394, note 6 . 
 
 430 ( 6 ). Head of Marsyas. 
 
 The bust is modern. 
 
 The general forms of this head resemble those of the 
 Marsyas hanging from the tree in Nos. 576, 846 ; but the 
 features express surprise and consternation. This expres- 
 sion would be justified if we admit that the head belonged 
 to a statue in which Marsyas was represented at the mo- 
 ment when he became aware of his defeat in his contest 
 with Apollo. This scene is unmistakably portrayed in a 
 sarcophagus in the Louvre. A better-executed replica of 
 this head, found in the Baths of Caracalla, is now in the 
 Berlin Museum. 
 
 Righetti , n, 263. Comp. Bescbreibung Roms, hi, 1, p. 164, 
 No. 14. Arch. Zeitung, xxiv (1866), p. 167. On the sarcophagus, 
 see Overbeck , Kunstmythologie, iv, p. 455, note 1 5 Atlas, xxv, 7. 
 On the Berlin example, see Yerzeichniss der ant. Skulpturen des 
 Berl. Museums, No. 206. 
 
 431 (8). Statue of a Drunken Old Woman. 
 
 This statue, found in the Yia Nomentana, was kept 
 at first in the Palazzo Yerospi, and afterwards in the 
 
318 
 
 CA1TT0LINE MUSEUM. 
 
 Palazzo Ottoboni (Fiano). It was presented to Pope 
 ClementXIII. by Cardinal Ottoboni (Rom. Mittheilungen, 
 vi, 1891, p. 59). The restorations include tbe head, the 
 right forearm and hand, the neck of the amphora, the 
 feet, and the lower part of the left leg covered by the 
 drapery. These restorations were made from a better- 
 preserved replica of the same subject, which was bought 
 in Italy (possibly in Rome) towards the end of the 18th 
 century by Charles Theodore, Elector of Bavaria, and 
 is now in Munich. 
 
 The old woman sits on the ground, clasping an am- 
 phora which is adorned with a wreath of ivy and is (pre- 
 sumably) full of wine. Her state of ecstatic enjoyment is 
 admirably indicated by the movement of her body, while 
 the aged and wrinkled skin is reproduced with marvellous 
 realism. The statue evidently presupposes a Hellenistic 
 original. The bibulous tendency of old women is often 
 selected to point a moral in the epigrams of the period. 
 The oldest epigram of the kind known to us is that com- 
 posed by Leonidas of Tarentum, a contemporary of Pyr- 
 rhos, for the tomb of an old inebriate named Maronis. 
 Pliny (Nat. Hist., 36, 33) mentions a marble statue of a 
 drunk old woman at Smyrna, which he attributes to Myron ; 
 but we must interpret this reference with caution, since, 
 so far as we know, the celebrated artist of that name 
 worked only in bronze. Various explanations of the dif- 
 ficulty have been offered, of which two are worthy of at- 
 tention. One authority supposes that Pliny, who not 
 unfrequently makes a slip of this kind, has confounded 
 the nominative ‘Maronis’, a woman’s name, with the geni- 
 tive ‘Myronis’, and so ascribed the statue of a drunk wo- 
 man to Myron. This hypothesis, however, does not ex- 
 plain how the statue came to be in Smyrna. Another 
 explanation is that Pliny has confounded the great Myron 
 with a later artist of the same name. We know of one 
 Myron who made a statue of an athlete for Olympia at 
 the beginning of the third century B.C., and of another 
 who lived at Pergamum towards the close of the second 
 century. It is quite possible that the latter may have exe- 
 cuted such a statue as the one before us for the adorn- 
 
CORRIDOR. 
 
 319 
 
 ment of a garden in the neighbouring city of Smyrna, and 
 that Pliny may have confounded him with his Attic 
 namesake. In any case it seems certain that the marble 
 statue cited by Pliny is the original of the figures in the 
 Capitol and at Munich. 
 
 The bodies of two terracotta vases, one found in the 
 island of Scyros and the other at Tanagra, have the form 
 of a drunken oldwoman resembling the two marble statues 
 under review and seem to be reproductions of the same 
 original. To judge from their style and from the characters 
 of the inscription on the plinth of the example from 
 Scyros, these vases date from the second century B.C. 
 
 It follows, therefore, that the original statue was then in 
 existence and sufficiently well-known to serve as a model 
 for ceramic art. 
 
 Be Rossi , Raccolta di statue, T. 103. Bottari , hi, 37. Mon- 
 tagnani^i^ 58. Righetti , i, 54. Clarac , iv, PI. 701, No. 1659. Comp. 
 
 Visconti , Mus. Pio-Clem., vii, p. 124. Brunn , Geschichte der 
 griechischenKunstler, i, p. 144, No. 19. Arch. Zeitung, xx (1862), 
 pp. 333-335, xxvi (1868), p. 78. Rheinisches Museum, xxn ^ 
 (1867), pp. 21 et seq. ’Ecpjfxepic apyouoXoYixiq, 1891, T. 10, p. 144 Z 
 
 et seq. Collignon , Histoire de la sculpture grecque, i, p. 476. — £ 
 
 On the Munich example, see Abhandl. der bayer. Akademie der 
 Wiss., x, 2 (1865), T. hi, p. 398. 
 
 432 (10). Octagonal Cinerary Urn , dedicated by the 
 freedman Decimus Lucilius Soter to his patron 
 Lucius Lucilius Felix. . 
 
 Found, according to Ligorio, on the Appian Way; 
 afterwards in the Palazzo Cesi and finally in the pos- 
 session of Cardinal Albani. 
 
 The delicately-executed reliefs represent the frolics , 
 of Amoretti after a generous banquet. Eight bearded 
 masks , alternating with vine-tendrils and laurel-branch- 
 es, form a kind of frieze at the top. Three of the Cu- 
 pids are playing upon musical instruments. A fourth, 
 whose head and neck are still encircled by the thick 
 festal garlands, advances with a lantern in his left hand. 
 
 A fifth is lighting his own small torch at another of huge 
 dimensions. Two other Cupids, one holding an inverted 
 
 
320 
 
 CAPITOLINE MUSEUM. 
 
 torch in his right hand, dance towards each other, raising 
 their hands in a typical attitude. Almost all these little 
 figures reproduce the motives of famous statues. Like 
 the similar representations so often met with on sarco- 
 phagi, these reliefs symbolize the happy life beyond the 
 tomb. 
 
 A drawing is given in the Codex Pighianus (Ber. d. sachs. 
 Ges. d. Wiss., 1868, p. 204, No. 111). Foggini , Mus. Cap., iv, 
 57. Righetti , i, 160. Comp. Braun , Ruinen und Museen, p. 147, 
 No. 27. Arch. Zeitung, xxm (1865), pp. 61 et seq. — On the in- 
 scription, see Corpus inscr. lat., vi, 3, No. 21,577. — Qn the ana- 
 logous sarcophagi, see Ann. dell’ Inst., 1860, pp. 207 et seq. 
 
 433 (12). Boy Satyr playing the flute. 
 
 Found in 1749 on the Aventine, in the Yigna of the 
 Padri dei SS. Cosma e Damiano ( Ficoroni in Fea , Mis- 
 cellanea, i, p. clxiv, No. 94). The restorations include 
 the head, the right forearm, the left hand and flute, 
 parts of the nehris, the horns and left ear of the ox, and 
 the borders of the plinth. 
 
 This statue is a copy of the same original as No. 19, 
 the remarks on which apply here also. In this case, 
 however, the copyist has added a recumbent ox in front 
 of the stump in order to emphasize the idyllic element 
 in the accessories of the principal figure. 
 
 Montagnani, i, 54. Righetti , i, 132. Clarac , iv, PI. 710 B, 
 No. 1670 C. 
 
 434 (20). Psyche tormented by Eros. 
 
 Formerly in the Villa d’Este, at Tivoli, and the pro- 
 perty of the Museum since 1753. The restorations in- 
 clude the left eyebrow , the point of the nose, the lower 
 lip, the right hand, the left forearm, and the plinth. 
 
 Psyche recoils in dismay and, bending her head back, 
 looks up at the teasing Eros with an expression of pi- 
 teous supplication. Eros was evidently left to be sup- 
 plied by the imagination of the beholder, as it is impos- 
 sible to form a satisfactory group by the addition of a 
 second figure. The motive of the statue seems to have 
 been originally intended for a Daughter of Niobe and 
 afterwards transferred to the tormented Psyche. 
 
CORRIDOR. 
 
 321 
 
 Montag nani , i, 38. Righetti , i, 69. Penna , Yiagg. pitt. della 
 Villa Adriana, hi, 37, Clarac, rv, PI. 654, No. 1500A. Baumeister, 
 Denkm. d. kl. Alterthums, hi, p. 1427, Fig. 1577. Comp. O. John , 
 Archseol. Beitrage, pp. 178, 179. Stark , Niolbe, pp. 299-305. 
 Stephani , Compte-rendu pour 1877, pp. 211, 212. 
 
 435 (21). Head of Apollo. 
 
 Parts of the eyebrows, the nose, the neck, and the 
 bust are modern. 
 
 This head obviously reproduces one of the latest 
 types of Apollo created by Greek art. The features are 
 strikingly soft and delicate. The locks, caught up at the 
 sides and united in a thick bunch on the top of the head, 
 recall the style of coiffure so often given in ancient art to 
 young girls. Comp. No. 328. 
 
 Righetti , n, 258. Comp. Bull, dell’ Instit., 1866, p. 100. Over- 
 beck , Kunstmythologie, iv, p. 150, No. 7. 
 
 Below No. 25 of the Catalogue, — - 
 436. Base dedicated to the Mater Magna. 
 
 Found under Clement XI. on the hank of the Tiber, 
 at the foot of the Aventine (Ficorini in Flea, Miscellanea, 
 i, p. cxxvn, No. 24). It was at first placed in the Vati- 
 can (Jahrhuch d. Arch. Inst., v, 1890, p. 54), hut was 
 transferred to the Capitol under Clement XIII. 
 
 According to the inscription this base bore an object 
 dedicated by a certain Claudia Synthyche to the Mater 
 Magna and to the Navi Salviee. The repetition of the 
 word salviae is evidently due merely to a mistake of the 
 stonecutter. Authorities differ as to whether navi salviae 
 should be written as two words or as one only. In the 
 first case Salvia would be the name of the ship that 
 brought to Home (B.C. 204), through the good offices of 
 King Attalos I. of Pergamum, the meteorite which formed 
 the central object of the cult in the Temple of the Mother 
 of the Gods at Pessinus. If the other alternative be cor- 
 rect, Navisalvia would be a surname of the vestal Claudia 
 Quinta, who floated the above-mentioned vessel off a 
 sandbank, on which it had run aground at the mouth of 
 the Tiber, and dragged it up the river to Rome with her 
 Helbig, Guide I. 21 
 
322 
 
 CAPITOLINE MUSEUM. 
 
 girdle. We should also have to assume that the vestal 
 was worshipped under this name, along with the Magna 
 Mater, as the patron-deity of the navigation of the Tiber. 
 In any case the relief on the front of the base shows 
 Claudia Quinta performing the wonderful towing- feat 
 with her girdle. She wears the sufjibulum , a veil reach- 
 ing from the head to the shoulders and fastened under 
 the chin , which formed part of the official garb of the 
 Vestals (comp. No. 1038). To make the subject quite clear, 
 the artist has placed a statue of the goddess on the deck 
 of the boat instead of the meteorite. On the lateral faces 
 of the base are carved a pedum, a pair of cymbals, a 
 straight flute, a curved flute , and a Phrygian cap, — all 
 objects used in the worship of the Mother of the Gods. 
 
 Foggini , Mus. Cap., rv, p. 67. Righetti , n, 312. Millin , Gal. 
 myth., PI. 4, 10. Quigniaut , Rel. de l’ant. , PI. 57, 231. Miiller- 
 Wieseler , Denkmaler d. alten Kunst, ii, 63, 816. Baumeister , 
 Denkm. d. kl. Altert., n, p. 800, Fig. 864. Comp. Braun , Ruinen 
 und Museen, p. 149, No. 29. Ann. dell’ Inst., 1867, p. 300. Jordan , 
 in the Histor. und philolog. Aufsatze Ernst Curtius gewidmet, 
 pp. 216, 217, andinDer Tempel der Yestaund das Haus derVesta- 
 linnen, p.54. Roscher, Lexikon d. gr. und rom. Mythologie,n, p. 481. 
 On the inscription: Corpus inscr. lat., vi, 1, No. 492. Preller-Jor - 
 dan, Romische Mythologie, n, p. 58, note 1. Philologus, lii (new 
 series, vi), pp. 581, 582. In this last reference a new explanation 
 of the inscription is offered, based on the supposition that the freed- 
 woman Claudia Synthyche has, through her imperfect knowledge of 
 Latin, translated cuoxYjpta by salvice. The meaning of the inscrip- 
 tion on this view would he : Claudia Synthyche dedicated this base 
 to the Great Mother and to the ship Salvia according to a vow 
 made on account of her rescue. 
 
 437 (27). Bust of Julia Domna, wife of Septimius 
 
 Severus. 
 
 The front of the nose is modern. 
 
 The comparatively youthful appearance of this head 
 indicates that this is one of the earliest portraits of Julia 
 Domna (d. 217 A. D.). It appears to have been executed 
 soon after her husband was called to the imperial throne 
 (193 A.D.). 
 
 438 (29). Statue of Pallas. 
 
CORRIDOR. 
 
 323 
 
 Said to have been found at Yelletri. The restorations 
 include the point of the visor , the end of the nose, the 
 right hand and sleeve, the spear, the left hand, a large 
 piece near the right knee, and the edges of the plinth. 
 
 This statue reproduces the same original as No. 51, 
 in the Vatican, hut its handling is not so broad. The 
 sphinx on the helmet, the aegis, and the serpent on the 
 plinth are also wanting in this reproduction; but these 
 omissions are decidedly an advantage , giving the figure 
 before us a quieter and more symmetrical appearance 
 than the Vatican statue. It would seem, therefore, that 
 these accessories were added by the copyist, and that the 
 Capitoline figure is the truer reproduction of the original. 
 
 Nibby , Museo Chiaramonti , n, 5. Bighetti , n, 865. Braun , 
 Vorschule], T. 62. Comp. Arch. Zeitung, xxxiv (1876) , p. 121. 
 Furtwaengler , Masterpieces, p. 359, note 4. 
 
 In front of the window, — 
 
 439. Puteal with a Procession of Gods. 
 
 This monument formerly stood|in a villa of the Me- 
 dici, outside the Porta del Popolo. The Grand-Duke 
 Cosimo III. presented it to Cardinal Alhani, from whose 
 possession it passed in 1728 into the Capitoline collection 
 ( Justi , Winckelmann , n, 1 , p. 303). The heads of 
 Aphrodite and Hestia (Vesta) are modern, and there are 
 several other unimportant restorations. 
 
 Trustworthy witnesses, who saw this monument be- 
 fore its removal to the Museum , tell us that the marble 
 was hollow and that the marks of a rope were visible on 
 the inner edges of the cavity. It is thus nothing more 
 nor less than a well-head, the opening of which has 
 been closed to fit it to serve as a base for the cratera now 
 placed upon it. The reliefs portray two trains of gods, 
 advancing in opposite directions and meeting each other. 
 One procession is headed by Zeus, holding a sceptre in 
 his left hand and a thunderbolt in his right. The father 
 of the gods is followed by Hera, Pallas, Heracles, Apollo 
 (with his lyre) , Artemis (with a bow in her left hand), 
 Ares, and Aphrodite (with a flower in either hand). As 
 we learn from ancient drawings of the monument, Aphro- 
 
 21 * 
 
324 
 
 CAPITOLINE MUSEUM. 
 
 dite was looking, not forwards as the modern restorer 
 has represented her, but backwards; and thus the last 
 figure of the one procession was brought into relation 
 with the end of the other. The second procession is led 
 by Hephaestos, wielding a forge-hammer with both hands ; 
 after him come Poseidon (with trident and dolphin), 
 Hermes (with caduceus and ram), and Hestia, bringing 
 up the rear. The representation has been interpreted as 
 the return of Hephaestos to Olympos, or the introduction 
 of Heracles among the immortals, or the birth of Pallas. 
 But all these explanations are based on the dangerous 
 presupposition that the sculptor has misunderstood 
 several of the motives in the original work he had taken 
 for his model. It is, indeed, doubtful whether the reliefs 
 are intended to represent any one definite mythological 
 scene. Difficulties also confront the suggestion to connect 
 the representation with Athena, Hephaestos, and Posei- 
 don- Ere chtheus , the three deities worshipped in the 
 Erechtheion at Athens. If the sculptor had intended spe- 
 cially to celebrate these divinities, he would have placed 
 them in prominent positions and in close relation to each 
 other. As it is, they are in no way distinguished from 
 the other gods of the relief. 
 
 The artist has followed the archaic style not only in 
 the general forms but also in furnishing the individual 
 gods with traits characteristic of the pre-classic period. 
 This style has lately been connected with the art of Calli- 
 machos, a sculptor who flourished about the time of the 
 Peloponnesian War and whose works were distinguished 
 by their grace and by their careful attention to detail. 
 
 A drawing is given in the Codex Pighianus (Ber. d. sachs. Ges. 
 d. Wiss., 1868, p. 202, No. 102). Muller- Wieseler, Denkmaler d. 
 alt. Knnst, ii, 18, 197. Gerhard , Gesammelte akadem. Abhand- 
 lungen, i, T. xvi, 1, p. 178. In the last-mentioned work (p. 351) 
 and in Friederichs-Wolters , Bansteine , No. 424, is collected the 
 whole bibliography of this object. Comp. Overheck , Kunstmytho- 
 logie, ii, p, 22, No. 4, p. 33; iii, p. 27, No. 3, p. 230, No. 1; iv, 
 p. 70 F; Atlas, i, 4, ix, 27, xrr, 12, xx, 19. Roschcr , Lexikon d. 
 griech. und rom. Mythologie, i, pp. 2239, 2240. Hauser , Die neu- 
 attischen Reliefs, p. 60, No. 86. Furtwaengler , Masterpieces, p. 441 
 
CORRIDOR. 
 
 325 
 
 440. Marble Crater a. 
 
 Found between the Tomb of Ceecilia Metella and the 
 Nunziatella ( Rottari in Fea , Miscellanea, i, p. ccxliv, 
 No. 857). The foot and some unimportant parts of the 
 bowl are restoration 
 
 The bowl of this finely executed cratera is adorned 
 with charming arabesques. The handles spring from 
 masks of Silenus. 
 
 Foggini , Mus. Cap., iv, 21. Righetti, i, 73. Comp. Braun , 
 Ruinen und Museen, p. 150, No. 30. 
 
 441 (36). Head of Hadrian, in Oriental alabaster. 
 
 The face alone is ancient. The bust, formed of two 
 different kinds of alabaster , does not seem to belong to 
 the head. 
 
 As the transparent and shining alabaster offers no 
 firm point for the eye to rest on, this bust makes a very 
 unsatisfactory impression and affords a striking instance 
 of the fatal effect of the custom, which prevailed under 
 the later emperors, of employing valuable material for 
 statues without regard to its plastic possibilities. 
 
 Beschreibung Roms, hi, 1, p. 173, No. 68. Bernoulli , Rom. 
 Ikon., ii., 2, p. Ill, No. 25. 
 
 442 (42). Statue of a Homan Lady. 
 
 Found in 1817 in the Vigna Moroni, on the Appian 
 Way. It seems to have adorned a tomb, as we are told 
 that a cinerary urn was found below it. The nose is 
 modern. 
 
 The matron sits with her mantle drawn over the back 
 of her head , and her chin on her right hand. Both ex- 
 pression and attitude show that she is plunged in melan- 
 choly thoughts. The unusual depth of the lines indicat- 
 ing the folds of the drapery is probably due to the fact 
 that the figure stood in the cella of a grave , where the 
 dim light necessitated an exaggeration of this kind. The 
 style of wearing the hair and the vigorous execution point 
 to the end of the Republic or the beginning of the m- 
 pire. 
 
 Righetti , i, 81. Montagnani , n, 114. Clarac , v, PI. 897, 
 No. 2285 A. 
 
326 
 
 CAPITOLINE MUSEUM. 
 
 Below No. 46 of the Catalogue, — 
 
 443. Sarcophagus with Reliefs representing the Edu- 
 cation of Dionysos. 
 
 Down to 1746 this sarcophagus was preserved in the 
 vaults below the church of S. Biagio at Nepi. 
 
 The reliefs are borrowed from three charming com- 
 positions based on admirable originals. The scene to the 
 right represents the Nymphs occupied in bathing the in- 
 fant Dionysos; one of them clashes her cymbals, while 
 another holds a dish of fruit, ready for the little one 
 after his bath. The toilette of the boy is depicted to the 
 left, with considerable humour. Bacchus stands, with a 
 comic air of gravity, on a block of stone, and has already 
 donned the nebris and one of his boots. A Satyr is put- 
 ting on his right boot, while Silenus helps his young 
 master to find a firm support for the vine held in his left 
 hand. The role of the Bacchante behind the SatyT cannot 
 be positively determined, as her right forearm is a modern 
 restoration. In all probability she was engaged in tying 
 a ribbon to one of the branches of the vine. Between 
 these two scenes, and without leaving any interval, the 
 sculptor has represented the Ascoliasmos, or dance of the 
 wine-skin. In this dance the object was to jump up and 
 down on a filled wine-skin without falling off, failure 
 bringing a penalty in its train. Thus here we see Sile- 
 nus flogging the back of a Satyr, who has obviously 
 slipped off the wine-skin beside him. 
 
 Foggini , Mus. Cap. iv, 60. Eighetti , i, 161. Comp. Gerhard , 
 Prodromus, p. 217, note 32. Brawn, Ruinen und Museen, p. 155, 
 No. 82. On the Ascoliasmos, see Arch. Zeitung, v (1847), pp. 129 
 et seq. 
 
 444 (48). Son of Niobe. 
 
 The only ancient parts are the torso, the upper part 
 of the right arm , the upper half of the left upper arm, 
 the left thigh, and part of the right thigh. 
 
 The restoration of this figure is pretty well justified 
 by the better-preserved replica at Florence. The youth 
 has sunk on his left knee and supports himself by press- 
 
CORRIDOR. 
 
 327 
 
 ing his left hand against a rock, while he looks up, with 
 an expression of pain, to the quarter whence the fatal 
 blow has reached him. 
 
 Bottari , Mus. Cap., hi, 42. Montagnani , n, 65. Righetti, i, 
 76. Clarac , rv, PI. 588, No. 1273. Comp. Stark , Niobe, pp. 250 
 et se<p 
 
 445 (49). Colossal Head of a Woman, 
 
 Most of the neck and the bust are modern. 
 
 This fine head is based upon the art of Scopas (comp. 
 Nos. 121, 417, 604), but shows a considerable increase 
 in the expression of emotion. It strikingly resembles the 
 works of the Messenian sculptor Damophon (2nd or 1st 
 cent. B.C.), which came to light during the excavaton of- 
 the temple of Athena Despoina at Cynosura. Thei exe 
 cution is so full of life and freshness, that there seems no 
 reason to doubt its being an original work. It would, 
 however, be rash to give it a definite name, for it is diffi- 
 cult to form, in its present position, an adequate idea of 
 the effect it would produce at the much loftier height for 
 which the sculptor designed it. The eyes were made of 
 precious stones or glass-paste, a mode of heightening the 
 expression used in marble statues only when executed 
 with especial care. A colossal head, found near Alba 
 (Piedmont) and now in the Museum of Turin, resembles 
 the head before us in all essentials, differing only in the 
 bend of the neck. In this example also the back of the 
 head was carved in a separate piece of marble and fastened 
 on to the front part. 
 
 Brunn und Bruckmann , Denkmaler griech. und rom. Sculptur, 
 No. 265. Comp. Romische Mittheilungen , iv(1889), p. 218. On 
 Damopbon, comp. No. 37. On tbe head at Turin: Atti della societa 
 di arcbeologia e belle arti della prov. di Torino , i (1875), T. xvii, 
 pp. 315-317. 
 
 446 (50). Torso of a Discobolos. 
 
 This torso is from a replica of the Discobolos of My- 
 ron. The execution, especially of the back and right 
 side, is admirable, and undoubtedly reproduces the style 
 of Myron more faithfully than the example in the Vati- 
 
328 
 
 CAPITOLINE MUSEUM. 
 
 can (No. 333). The fragment formerly belonged to Etienne 
 Mounot, a French sculptor of the second half of the 17th 
 century, who restored it in very bad taste and converted 
 it into a falling warrior. 
 
 Bottari , ii 1 , 69. Montagnani , m, 103. Righetti , i, 67. Clarac, v, 
 PI. 858A, No. 2112. Comp. Meyer-Schulze on Winckelmanh , Ge- 
 sehichte d. Kunst, ix, 2, § 37, note 156. 
 
 447 (53). Bust of Lucilla. 
 
 The end of the nose and the pedestal have been 
 restored. 
 
 The current identification of this excellent bust with 
 Julia Domna, wife of Septimius Severus, is baseless. The 
 profile and the coiffure both closely resemble the por- 
 traits, familiar to us from coins, of Lucilla (d. 183 A. D.), 
 sister of Commodus and wife of Lucius Verus. 
 
 Bernoulli , Rom. Ikon., ii, 2, T. lix, p. 194, No. 3. 
 
 448 (61). Statue of Silenus. 
 
 Formerly in the Appaitamenti Borgia, at the Vati- 
 can. The restorations include the nose , both arms with 
 their attributes, and other insignificant parts. 
 
 This is the best replica extant of this type of Silenus. 
 The melancholy expression of the habitual heavy drinker 
 and the fat and gross body are rendered with equal per- 
 fection. The restorer is probably right in placing a pit- 
 cher in the right hand and a cup in the left. The old 
 toper has just begun his carouse , and has not yet im- 
 bibed the quantity of the stimulating liquor required 
 by a professional drinker to make the melancholy hu- 
 mour of his sober hours give place to the feeling of 
 satisfied content. 
 
 Gerhard , Antike Bildwerke, T. 105, 4 (comp. Prodromus, p. 349). 
 Pistolesi , II Vaticano descritto, hi, 25. Nibby , Museo Chiaramonti, 
 it, 11. Biglietti, n, 366. Clarac , rv, PI. 729, No. 1756. Comp. Brawn, 
 Ruinen und Museen, p. 157, No. 33. 
 
ROOM OF THE DOVES. 
 
 329 
 
 Room of the Doves. 
 
 449 (13). Sarcophagus of Prometheus. 
 
 Formerly in the Villa Pamfili. 
 
 The style of the reliefs indicates that this sarcophagus 
 was executed well on in the third century of the Christian 
 era. The scene in the middle of the principal face re- 
 presents the creation of man. Prometheus holds on his 
 knee a human figure, which he has just modelled from a 
 basket of clay standing by his side, while Pallas inspires 
 it with life by placing on its head a butterfly, the symbol 
 of the soul (Psyche). Between the Titan and the Goddess 
 stands a second human figure , ready for the animating 
 spark. Above are Clotho, spinning the thread of life, 
 and Lachesis, inscribing on a celestial globe the horos- 
 cope of the newly-created man. Behind Prometheus lies 
 Gaea, the personification of the earth, holding a cornu- 
 copia supported by two boys (comp. No. 5). Above is 
 Oceanos, recognizable by the oar in his right hand and 
 the sea-dragons beside him. In front of Oceanos is He- 
 lios , driving his four-horse chariot towards the zenith, 
 while a wind-god, below the horses, sounds a blast on 
 a sea-shell. The creation of man is thus represented as 
 taking place at sunrise. The scene to the right of the 
 principal group represents death. ' On the ground lies the 
 corpse of a. young man, above which hovers the departed 
 soul in the guise of a butterfly, while the mourning Tha- 
 natos (comp. No. 185) rests an inverted torch on the breast 
 of the deceased. Beside the corpse sits a Moira or Parca, 
 unfolding the roll of destiny. Beyond is seen Hermes, 
 conducting the soul of the deceased, here represented as 
 a winged maiden, to the Underworld. Just as the crea- 
 tion of man was associated with sunrise, so his death is 
 with night. Above the corpse is seen Selene , with her 
 two-horse chariot, while behind Thanatos stands a shrouded 
 female figure, probably a personification of Nyx or Night. 
 The recumbent Gaea again appears between the legs of 
 Hermes. At the feet of the Gaea, at the other end of the 
 
330 
 
 CAPITOLINE MUSEUM. 
 
 sarcophagus, is the well-known group of Eros kissing 
 Psyche (see No. 457). This group would be better placed 
 between the creation and the death of man, as it would 
 then, in logical sequence, symbolize the power of love to 
 make life happy. To the left of the Eros and Psyche 
 group, just at the angle of the sarcophagus, Hephacstos 
 and three Cyclopes are seen at work in a cavern, — 
 evidently an allusion to the theft of fire by Prometheus. 
 Adjacent, on the end of the sarcophagus, are a nude man 
 and woman under a tree, whom some interpreters ar- 
 bitrarily take for Deucalion and Pyrrha, others for Adam 
 and Eve. Perhaps they are simply two mortals living in 
 a state of nature before Prometheus brought fire from 
 heaven to earth. At the other end of the sarcophagus, 
 corresponding to the scene of Hephaestos and his forge, 
 are depicted the punishment and release of Prometheus. 
 The Titan, chained to a rock, is being torn by the eagle; 
 but his deliverer Heracles already advances, bow in hand. 
 On the height behind this hero sits the venerable moun- 
 tain deity of the Caucasus. Just as birth and death, day 
 and night, are placed opposite each other in the groups 
 relating to Prometheus and the creation of man, so the 
 crime and the deliverance of the Titan are represented in 
 the corresponding scenes at opposite ends of the sarco- 
 phagus. 
 
 Muller- Wieseler, Denkm. d. alten Kunst, i, 72, 405; n, 65, 
 838a, 838b. Ann. dell’Inst., 1847, Tav. d’agg. QR, pp. 306 et seq. 
 (where all the earlier bibliography is collected). Wiener archaeol. 
 Yorlegeblatter, Serie D, T. xi, 4. Baumeister , Denkm. d. kl. Alter- 
 thums, hi, p. 1413, Fig. 1568. Comp. O. John , Arch. Beitrage, 
 pp. 169 et seq. Ann. dell’ Inst., 1860, pp. 369 et seq. On the naked 
 man and woman , see Breymann , Adam nnd Eva in der Kunst des 
 christlichen Alterthums (Wolfenbiittel, 1893), pp.6-9. 
 
 Above, on the wall, — 
 
 450. Mosaic of the Doves. 
 
 Found by Alessandro Furietti in 1737 in Hadrian’s 
 Villa, near Tivoli ( Ficoroni , in Pea, Miscellanea, i, 
 p. cxvxxv, No. 56; Giornale de’ Letterati, Roma, 1745, 
 p. 183) and presented to the Museum by Clement XIII. 
 in 1765. 
 
ROOM OF THE DOVES. 
 
 331 
 
 Sosos , the most famous mosaic-worker of antiquity, 
 executed at Pergamum a mosaic representing the unswept 
 floor of a dining-room strewn with fragments of food — 
 a work of which we can form some idea from the mosaic 
 in the Lateran (No. 694). The centre of this mosaic 
 seems to have been occupied by a group of animals. ‘The 
 most admirable thing in this mosaic’, writes Pliny (Nat. 
 Hist., 36, 184) at the close of his account of it, ‘is a dove 
 drinking and throwing a shadow on the water with its 
 head, while other doves sit, preening their feathers, on 
 the edge of the cantharos.’ The mosaic before us was 
 evidently inspired by this work of Sosos, but reproduces 
 its original in a decorative manner merely, since we miss 
 in it the obscuration of the water, which Pliny found so 
 wonderful a piece of colouring. In Hadrian’s Villa this 
 group was not attached to a wall, but formed the central 
 part, enclosed in a suitable border, of a less carefully 
 executed mosaic floor. 
 
 Fvriotti, De musivis, T. 1, pp. 29 et seq. Foggini , Mus. Cap., 
 iv, 69. Millin , Gal. myth., Pl. 43, 190. Righetti , i, 40. Perma, 
 Viagg. pitt. della Villa Adriana, hi, 60. Guigniaut , Rel. de l’ant., 
 PI. 100, 400. Muller- Wieseler , Denkm. d. alten Kunst, i, 55, 274. 
 Comp. Beschreibung Roms, hi, 1, p. 193, No. 101. Braun , Rninen 
 und Museen, p. 146, No. 26. Brunn , Gesch. der griech. Kiinstler, 
 ii, p. 312. Overbeck , Schriftquellen, Nos. 2158-2160. Journal of 
 Hellenic Studies, xi (1890), pp. 193, 194. A fragment of the border 
 is to he found in the Augusteum at Dresden: Hettner , Die Bild- 
 werke der kgl. Antikensammlung zu Dresden, No. 228. 
 
 On the lower console, — 
 
 451 (28). Double Hernia, with the heads of two Water 
 Gods. 
 
 A similar double herma, dedicated, according to the 
 inscription on the shaft, to Diana, and terracotta replicas 
 of the two heads were found in the Sanctuary of Diana 
 Nemorensis. As we thus gather that the two types had 
 some close connection with this sanctuary , it seems not 
 unreasonable to suppose that they may personify the two 
 adjacent lakes, the Lago di Nemi and the Lago Albano. 
 
332 
 
 CAPIT0L1NE MUSEUM. 
 
 The place in which the Capitoline double -herma was 
 found is unfortunately unknown, and hence we are not 
 in a position to judge whether this hypothesis is applic- 
 able to it also. 
 
 Bottari, Mus. Cap., i, Animadversiones, T. 3, p. 6. Montag- 
 nani, in, 1, T. 3, p. 17. Comp. Beschreibung Roms, in, 1, p. 189, 
 No. 83. Bull, dell’ Inst., 1885, pp. 227, 228. Rom. Mittb. , i 
 (1886), pp. 60, 61. Yerhandlungen der 40. Pbilologenversammlung 
 in Gorlitz, p. 159. 
 
 452 (37). Sarcophagus of Endymion. 
 
 The lid of this sarcophagus, to judge from the rude 
 execution of its griffins and sea-monsters as well as from 
 the character of the inscription, cannot date from an earlier 
 period than the end of the third century B.C. It forms a 
 striking contrast to the reliefs on the sarcophagus itself, 
 which are extremely careful and elegant in execution and 
 give the impression of a modern work. It is evident, 
 indeed, that the sculptor used the claw-tool, an instru- 
 ment unknown to the sculptors of antiquity. It would 
 thus seem that these reliefs are either entirely modern 
 or have been so worked over by a modern hand that no 
 part of the ancient surface remains. The motives, how- 
 ever, are essentially antique; almost all recur under more 
 or less analogous forms on other sarcophagi of Endymion 
 of undoubted authenticity. The butterfly scratched at the 
 left end of the relief, near the oak-tree, is, however, un- 
 doubtedly a modern addition. 
 
 According to the inscription on the lid, the sarco- 
 phagus was consecrated to a certain Gerontia by her 
 parents. Fabretti, an epigraphist of the second half of 
 the 17th century, published this inscription, with the 
 remark that it was taken from the cover of an admirably 
 executed sarcophagus , which he had seen in the Yigna 
 Monciatti, near the Porta Ostiensis. 
 
 Foggini , Mus. Cap., iv, 24, and. p. 121. Righetti, i, 140. Hirt, 
 Bilderbuch, T. v, 8. Comp. Gerhard , Prodromus, p. 259. 0. Jahn , 
 Arcb. Beitrage, pp. 51 et seq. Braun , Ruinen und Museen, p. 143, 
 No. 25. Arcb. Zeitung, xxn (1864), p. 266*. — On tbe inscription. 
 
ROOM OF THE DQVES. 333 
 
 Fabretti , Inscriptiones antiquae, p. 757, No. 625. Corpus, inscr. 
 lat., vi, 3, No. 19,037. 
 
 453 (61). Head of a Roman. 
 
 Parts of the ears have been restored. The bust, com- 
 posed of coloured marbles and varieties of alabaster , is 
 ancient but belonged to another bead. 
 
 From the style of the execution and from the closely 
 clipped hair and heard, this head would seem to date 
 from the third quarter of the third century of the present 
 era. It renders the physical and moral individuality of 
 the subject with marvellous realism, and affords another 
 proof of the success with which the art of portraiture 
 was cultivated at this late period. The cast in the eye 
 is indicated with especial skill. 
 
 By the window, to the left, — 
 
 454 (83). The so-called Tabula Iliaca. 
 
 Found before 1683 near tbe Osteria delle Fratocchie, 
 witbin tbe bounds of tbe ancient Bovillae, and trans- 
 ferred to the Museum under Clement XIII. 
 
 This plaque is formed of the fine-grained marble call- 
 ed Palombino, which is admirably adapted for minute 
 execution of this kind. The work is unfinished, the artist 
 having merely sketched the reliefs and omitted to carve 
 the details. The central part represents, as is indicated 
 by the inscription below the city-gate, the destruction of 
 Troy, after Stesichoros. Another inscription, a little 
 lower down, enumerates the epic poems of the Trojan 
 cycle, the subjects of which are reproduced in the reliefs 
 or indicated in the inscriptions of this tablet. A distich, 
 engraved on the band running below the central scene, 
 tells us that the maker of the tablet, or perhaps its ori- 
 ginal inventor , was a certain Theodoros , whom , thanks 
 to an indication on another similar tablet, we are able to 
 place in the Augustan era. The band extending above 
 the central scene, the left end of which has disappeared, 
 shows scenes from the first book of the Iliad, while scenes 
 
334 
 
 CAPITOUNE MUSEUM. 
 
 from the last twelve books of the same epic are represent- 
 ed on the horizontal bands on the right side of the tablet. 
 The inscription on the pillar bounding the central scene 
 on the right gives a short resume of the Iliad from the 
 seventh book to the end, omitting the thirteenth, four- 
 teenth, and fifteenth books. The two bands below the cen- 
 tral subject contain a series of scenes from the ‘.ZEthiopis’ 
 and the ‘Little Iliad’. The arrangement of the missing 
 left side of the tablet may be reproduced from what still 
 remains. Below the strip relating to the first book of the 
 Iliad, which extended to the left side of the plaque (see 
 above), and to the left of a pillar bounding the central 
 scene on the left, were representations of scenes from 
 Books ii-xii of the Iliad. The inscription on the pillar 
 gave the contents of Books ii-vi. 
 
 As a detailed discussion of these scenes, some of which 
 are based on admirable originals, would occupy too much 
 space and time , the writer contents himself with a few 
 remarks on the object of this and other similar tablets. 
 The distich above mentioned shows that this example 
 was intended to epitomize the contents of the Homeric 
 poems. Some authorities have concluded that this was 
 done for use in schools , but it is difficult to understand 
 how such a tablet could be employed for such a pur- 
 pose. The supposition that it was hung on the wall of the 
 schoolroom , to serve as an illustration for the teacher’s 
 oral instruction, is negatived by the small scale of both 
 the reliefs and the inscriptions. The same circumstance 
 militates against the idea that it was held by the pupils 
 themselves, during the lesson, as a kind of handbook. 
 Besides it would have been a very superfluous piece of 
 luxury to use stone tablets for this purpose at a time in 
 which both parchment and papyrus were familiar. The 
 most likely explanation is that these tablets were repro- 
 ductions of coloured designs used in teaching, but were 
 themselves used, not for this purpose, but mainly as de- 
 corations for the walls, the bookcases, or the scrinia 
 (book-boxes, scroll-cases) of libraries and studies. 
 
ROOM OF THE DOYES. 
 
 335 
 
 O. John , Griecbische Bilderchroniken, T. i, i*, pp. 2-4 (where 
 all the earlier bibliography is collected), pp. 10-12, 16-19, 21-38, 
 61, 62-68, 82, 83. Baumeister , Denkm. d. kl. Alterthums, T. xm, 
 Fig. 775, p. 716. Comp. Loewy , Inschriften griech. Bildhauer, 
 No. 454. Fiinfzigstes Programm zum Winckelmannsfeste der archaol. 
 Gesellschaft zu Berlin (Berlin, 1890), pp. 67, 68. Rheinisches Mu- 
 seum, new series, xlvii (1892), p. 295. 
 
 455 (83a), 456 (83b). Two Fragments of the Tabulae 
 Iliacae, representing the Shield of Achilles. 
 
 The lower of these two fragments (No. 83 a of the 
 Museum) was found in 1882 in the Yia Venti Settembre, 
 near the church of S. Maria della Yittoria. The place 
 where the other (No. 83b) was found is unknown; it 
 was presented to the Museum in 1874 by Augusto 
 Castellani. 
 
 The reliefs on these two fragments agree with the de- 
 scription of the shield of Achilles given in the eighteenth 
 book of the Iliad. The tablet to which the lower frag- 
 ment belonged was made of yellow marble (giallo antico) 
 instead of the usual Palombino marble (comp. No. 454). 
 The difficulty of reproducing such minute figures on this 
 relatively hard stone is shown in the poor execution and 
 the lowness of the relief. The tablet was circular in 
 shape, like the shield itself. The inscription near the 
 middle tells us that it was the work of Theodoros (see 
 No. 454). Verses 483-618 ofBobk xviii of the Iliad are 
 engraved in microscopic characters on the border enclos- 
 ing the reliefs. The object on the reverse of the shield, 
 of which part only is preserved , was in the form of an 
 altar , raised on two steps and surmounted by two large 
 acroteria. Its surface is covered with small squares, like 
 those of a chessboard, in each of which stands a letter. 
 Beginning with the letter A, in the centre, and reading 
 either to the right or to the left, upwards or downwards, 
 we find always a repetition of the same hexameter : ’ Aamc, 
 ’ A)(iAX9jo<; 0£o8toprjoc xafi ,f/ 0[xy]pov (the shield of Achilles, 
 made by Theodoros after Homer). A similar anagram 
 occurs in larger letters below the altar: (le)psia ispsi (the 
 priestess to the priest). The object engraved on the other 
 fragment (83 b) is also covered with squares containing 
 
336 
 
 CAPITOLINE MUSEUM. 
 
 letters, but its shape cannot be ascertained with any pre- 
 cision. It seems, however, that the inscription, to be read 
 in all directions as above, was: fAoirU] * AyiXleioq, 0so- 
 oojprio? 7] t[s/vy]] (the shield of Achilles, the work of 
 Theodoros). As these two tablets were decorated on the 
 reverse , it is evident that they could not have been im- 
 mured in a wall, but must have been placed so that both 
 sides could be seen. 
 
 Romische Mittheilungen, vi (1891), T. iv-vi, pp. 183-207. 
 
 Cabinet of the Venus. 
 
 457 (2). Boy and Girl embracing each other. 
 
 Found on the Aventine, and presented to the Mu- 
 seum in 1749 by Benedict XIV. The restorations in- 
 clude the nose, the left side of the back of the head, 
 parts of the neck, the right hand, the palm of the left 
 hand (fingers ancient), and the left foot of the boy, also 
 the nose and right hand (except the end of the little 
 finger) of the girl and most of the plinth. The restora- 
 tion of the boy’s right hand is known to be correct from 
 traces of three fingers on the girl’s face. 
 
 This group represents a boy and girl playing with 
 each other. The boy has drawn the head of his compan- 
 ion towards his own with his left hand, and is trying 
 to open her mouth with the forefinger of his right hand, 
 in order to count her teeth or for some similar freak. 
 The close mutual contact thus brought about has awak- 
 ened in both the sexual instinct. This is weaker in the 
 boy, whose expression is mainly one of roguish curi- 
 osity, and stronger in the girl, who gazes at her playmate 
 with half-closed, languishing eyes, presses her right cheek 
 against his left shoulder, and draws his head nearer with 
 her right hand. Both, however, are still too innocent to 
 know how their craving may be satisfied. This innocence 
 is expressed in the most masterly manner, and in such 
 a way that each trait introduced to emphasize this point 
 also adds to the aesthetic effect of the group as a whole. 
 Thus the position of the boy’s left leg forms, as it were, 
 
CABINET OF THE YENUS. 
 
 337 
 
 a barrier to any sexual rapprochement , while at the same 
 time the way in which the lower parts of the two figures 
 cross each other gives rise to a great number of beautiful 
 and varied lines. The fact that the lower part of the body 
 and the legs of the girl are covered by the drapery, not only 
 emphasizes the thought the artist wished to convey, but 
 also increases the harmony of the composition by bringing 
 the delicate body of the girl into a suitable equipoise 
 with the more vigorous boy. That we have to do, not 
 with a mythological scene, but with a genre group, is 
 proved, if by nothing else, by the face of the boy, the 
 peculiar individuality of which is especially marked by 
 the high cheek-bones and by the way in which the nose 
 springs from deep under the forehead. The group is a 
 product of an artistic tendency which first made its ap- 
 pearance in the time of Alexander the Great and reached 
 its highest development in the Hellenistic period — - the 
 tendency, namely, to represent physiological problems 
 in a sensuously charming way. Another clue to the date 
 of the original is afforded by a number of terracottas, 
 mostly from Asia Minor, which presuppose the existence 
 of the marble group and seem from their style to belong 
 to the second century B. C. Some of these terracottas, 
 and also several marble replicas, provide both figures with 
 wings and thus characterize them as Eros and Psyche. 
 This modification resulted in several unhappy alterations 
 of the original composition. To begin with, the addition 
 of the wings itself destroyed the compact harmony of the 
 group. Then, as there was no point in having Psyche’s 
 mouth opened by Eros, this genre-like motive was aban- 
 doned and the two figures were represented simply as 
 kissing one another. The contrast between the innocence 
 and the sexual excitement of the youthful pair had also 
 to be effaced, and so a sentimental expression was given 
 to the faces, while the boy’s left leg was made straight, or 
 nearly so. All these alterations not only changed the entire 
 significance of the group, but seriously impaired the 
 beauty of its outlines. 
 
 Helbig, Guide I. 
 
 22 
 
338 
 
 CAPITOLINE MUSEUM. 
 
 Muller- Wieseler , Denkm. der alten Kunst. u, T. 54, 681. Bau- 
 meister , Denkm. des kl. Alterthums, m, p. 1426, Fig. 1576. Brunn 
 •und Bruclcmann, Denkmaler gr. und rom. Sculptur, No. 375. The 
 other publications are collected in Stephani , Compte-rendu pour 
 1877, p. 160, No. 1. Comp. Archaol. Zeitung, xlii (1884), pp 14 
 et seq. Bottler et Reinach , La necropole de Myrina, i, pp. 410 et seq. 
 Roscher , Lexikon der griech. und rom. Mythologie, i, pp. 1370, 1371. 
 Rendiconti della reale Accademia dei Lincei, cJasse di scienze morali, 
 v (1889), pp. 481 et seq. — The terracotta groups: Pottier et Rei- 
 nach , loc. cit., p. 411, notes 3, 4. Furtwaengler , Sammlung Sabou- 
 l’off, text to PI. 135, p. 2. Archaol. Anzeiger, 1892, p. 105, No. 11. 
 
 458 (1). Statue of Aphrodite. 
 
 This is probably the statue of Venus, in Parian 
 marble, found under Clement X., opposite the church of 
 S. Vitale (between the Quirinal and Viminal) and after- 
 wards preserved in the ‘Casa dei Signori Stati’. See Bar- 
 toli , Mem. 27 (in Fea , Miscellanea, i, p. cclxxviii = 
 Venuti , Roma antica, p. 304) and Ficoroni , in Fea , Mis- 
 cellanea, i, p. clxviii, No. 104. Comp. Bull, dell’ Inst., 
 1865, p. 198. The writer is unable to trace the source 
 of the statement, repeated in various handbooks, that the 
 statue was found walled up , like a treasure. The in- 
 scription on the base informs us that it was placed in 
 the Capitoline Museum in 1752, under Benedict XIV. 
 The restorations include the point of the nose, the fore- 
 finger of the left hand , all the fingers of the right hand, 
 and part of the wrist. 
 
 This statue belongs to the types derived from the 
 Cnidian Aphrodite of Praxiteles (comp. No. 316), and 
 therefore it cannot be called an original in the strictest 
 sense of the term. The wonderful harmony, however, 
 which exists between the idea and the form of this figure, 
 proves that it is not a copy of one of these derivative 
 types, but the original work of the sculptor who modified 
 the Praxitelian statue in this way. This artist has repre- 
 sented the goddess an instant later than in the statue of 
 Praxiteles. While the Cnidian Aphrodite is just about 
 to remove her last garment, she of the Capitol has 
 already done so. One consequence of this alteration is 
 that the expression of self-consciousness is much more 
 strongly marked. While the Cnidian Venus merely makes 
 an involuntary movement with her right hand, the Ca- 
 
CABINET OF THE VENUS. 
 
 339 
 
 pitoline Venus protects herself with both arms, one above 
 the other. Instead of standing in an erect and easy pos- 
 ture, she bends a little forward and at the same time 
 shrinks — an attitude decidedly suggestive of a feeling 
 of uneasiness. The figure is also somewhat more slender 
 than that of Praxiteles. A proof of the fine taste and 
 insight of the artist is seen in the fact that he has made 
 a corresponding change in the vase beside the goddess, 
 substituting a slender lecythos for the bulky hydria. He 
 has also taken account of the taste of the later period 
 in which he flourished by arranging the hair of the god- 
 dess in a more complicated manner and by adding a 
 fringe to her mantle. The nude is treated with an in- 
 comparably beautiful realism, absolutely without parallel 
 in the works that we know certainly to date from the 
 imperial epoch. It seems probable, therefore, that this 
 statue must be referred to an earlier period, such as the 
 second or third century B. C. The back is treated with 
 extraordinary care and shows an individual character, 
 which indicates that the artist in all probability closely 
 followed a living model'. 
 
 Muller- Wieseler, Denkm. d. alten Kunst, ii, T. 26, 278. Brunn 
 und Bruckmann, Denkmaler, No. 372. The other references are 
 collected in Bernoulli , Aphrodite, pp. 2^3, and Friederichs - Wolters , 
 Bansteine, No. 1459. Comp. Monumenti antichi puhhl. per cura 
 dell’ Acc. dei Lincei, i (1892), p. 967. 
 
 459 (3). Leda with the Swan. 
 
 The restorations include some insignificant fragments 
 on the right arm, on the drap ry, and on the feet; also 
 the head and neck of the swan 
 
 A young woman tries to protect a swan from a dan- 
 ger threatening it from above. She has sprung from her 
 seat, clasps the swan with her right hand, and shelters 
 it with her mantle, raised in her left hand. The Roman 
 public naturally enough recognized in this group the 
 familiar figure of Leda, guarding the swan, into which 
 Zeus had metamorphosed himself, from the pursuing 
 eagle. It is, however, a question whether the artist of 
 
 22 * 
 
340 
 
 CAPITOLINE MUSEUM. 
 
 the original group had not a different association in his 
 mind. The calm expression of the features, the simple 
 and severe arrangement of the hair, and the treatment of 
 the close-fitting chiton all point to an original Greek 
 model of the end of the fifth century. Now, in all the 
 older Greek poetry that has come down to us, Zeus is re- 
 presented as having been changed into a swan only in 
 connection with Nemesis, the goddess of Rhamnus. Euri- 
 pides was the first to transfer this metamorphosis to the 
 myth of Leda, after which the newer version gradually 
 pushed the older one into the background. It is, then, 
 quite possible that the original work may have repre- 
 sented Nemesis, not Leda. 
 
 Bottari , in, 41. Montagnani , n, 64. Clarac , hi, PI. 411, No. 715. 
 Overbeck , Kunstmythologie, n, p.493, No. 9; Atlas, viii,2. Comp. 
 
 0. Jahn , Arch. Beitrage, p.204. Furtwaengler , Sammlung Sabouroff, 
 
 1, Einleitung zu den Vasen, pp. 9-12. 
 
 Room of the Imperial Busts. 
 
 In the middle of the room, — 
 
 460 (84). Portrait-Statue of a Roman Lady. 
 
 The restorations include the point of the nose, all the 
 fingers of the left hand, the thumb and two fingers of the 
 right hand, and parts of the edge of the plinth. The 
 head has been broken off and re-united with the body, 
 but undoubtedly belongs to it. 
 
 The figure represents a Roman lady, sitting at her 
 ease , with her right arm resting on her lap and her left 
 on the back of the chair. The calm and easy posture 
 shows the development of the body and the forms of the 
 limbs to great advantage. A statue in the Museo Tor- 
 lonia , in which we recognize an original of the time of 
 Alexander the Great or the Diadochi, proves that the 
 motive was borrowed from the art of Greece. During the 
 Roman empire it was frequently used, with more or less 
 modification , in the portraits of patrician dames like the 
 one before us. To judge from the arrangement of the 
 
ROOM OF THE IMPERIAL BUSTS. 
 
 341 
 
 hair and the treatment of the pupils , the Capitoline ex- 
 ample is a portrait of a lady of the time of the Antonines. 
 The formerly current assumption that it was Agrippina, 
 wife of Germanicus, requires no special refutation. A head 
 in this room (No. 10 of the Museum Catalogue) is almost 
 certainly a portrait of Agrippina , and the most cursory 
 comparison will show that it bears absolutely no resem- 
 blance to the seated figure under review. 
 
 Muller- Wieseler, Denkm. d. alten Kunst, i, 68, 371 (where the 
 earlier bibliography is collected). Overbeck, Geschichte der griech. 
 Plastik, ii 4 , p. 445, Fig. 154°. Baumeister, Denkm. des kl. Alter- 
 thums, i, p. 232, Fig. 192. Comp. Bernoulli , Rom. Ikonogr., 
 ii, 1, pp. 245-247. — The statue of the Museo Torlonia : Mon. dell’ 
 Inst., xi, 11 ; Ann., 1879, pp. 182 et seq. I monumenti del Museo 
 Torlonia riprodotti con la fototipia, T. xx, 77. Comp. Rom. Mitth., 
 vi (1891), pp. 295-297, 326-329. 
 
 Immured in the left wall, — 
 
 461 (89). Relief of the Deliverance of Andromeda. 
 
 Found in the Piazza SS. Apostoli, in digging the 
 foundations for the Palazzo Muti ( Bartoli , in Fea , Mis- 
 cellanea , i, p. ccxxxm , No. 45). It was afterwards 
 taken to the Villa Pamflli. The restorations include the 
 upper edge and the upper right-hand corner of the marble 
 slab, with the part of the rock projecting above the head 
 of Perseus; the end of the ndse, the left hand, and parts 
 of the drapery of Andromeda; the left leg of Perseus 
 below the knee (left wing on the sandal ancient) and the 
 lowest part of the right leg; the end of the muzzle of the 
 sea-monster. 
 
 Perseus has slain the monster , to which Andromeda 
 had been exposed , and is gallantly assisting the rescued 
 maiden to descend from the rock to which she had been 
 chained. One of the main charms of the composition is 
 the contrast between the knightly form of the youthful hero 
 and the delicate figure and graceful movement of Andro- 
 meda. The pictorial character of the relief, especially 
 manifest in the minute treatment of the rocky background, 
 and the fact that a similar composition frequently occurs 
 among the mural paintings of Campania, lead to the con- 
 clusion that the work before us was inspired by a picture. 
 
342 
 
 CAPITOLINE MUSEUM. 
 
 If so, the picture may, perhaps, have been the Perseus of 
 Nicias, a painter who flourished in the reign of Alexander 
 the Great. The large empty space between Perseus and 
 the rock on which Andromeda stands will undoubtedly 
 appear strange to those who remember the desire for a 
 harmonious occupation of the whole available space that 
 prevailed in ancient art down to its latest period. This 
 defect was probably avoided in the original work by the 
 use of colour, representing, as in the mural paintings, 
 an expanse of green turf below and of blue sea above. It is 
 narrated that two other reliefs were found at the same 
 time and place, but that the Marchese Muti, furious over 
 the government’s sequestration of the Perseus, caused 
 them to be broken up and re-interred. Evidently all these 
 reliefs formed the central groups in the panels on the 
 walls of a room or portico. As they thus served a decor- 
 rative purpose usually performed by paintings , it seems 
 quite likely that they were invested, through the me- 
 dium of colouring, with a more or less pictorial char- 
 acter. 
 
 Foggini, Mus. Cap., iv, 52. Barbault , Lesplu3 beaux monuments 
 deRome, Pi. 63. Braun , Zwolf Basreliefs, T. x. Schreiber, Die hel- 
 lenist. Relief bilder, T. xn. For other early references, see Fedde , 
 De Perseo et Andromeda (Berolini , I860), p. 63, No. 1. Comp. 
 Arch. Zeitung, xxxvm (1880), pp. 150, 151. — On the mural 
 paintings, see Helbig , Untersuchungen fiber die campan. Wand- 
 malerei, pp. 140, 141. 
 
 462 (92). Relief of the Sleeping Endymion. 
 
 Found on the Aventine under Clement XI ( Ficorini , 
 in Fea, Miscellanea, i, p. cxxvi, No. 21). The restorations 
 include , besides the edges of the plinth, four of Endy- 
 mion’s locks, the front of his right foot, the great toe of 
 his left foot, and the point of his lance. The writer has 
 been unable to discover any trace of retouching in the 
 rocky background. Comp. Archaolog. Anzeiger, xxn 
 (1864), p. 266*. 
 
 Endymion, worn out by the chase , has dropped on a 
 rock and fallen fast asleep. His dog, standing on the rock 
 beside him and barking vigorously, gives notice of the 
 approach of Selene. The attitude of the handsome youth, 
 
ROOM OF THE IMPERIAL BUSTS. 
 
 343 
 
 completely relaxed in slumber, is full of charm. This 
 relief, like No. 461 (89), seems to have been inspired by 
 a painting and suggests similar remarks. 
 
 Foggini , iv, 53. Righetti , i, 16. Braun , Zwolf Basreliefs, T. ix. 
 Schreiber, Die hellenist. Reliefbilder, T. xiii. Comp. O. John , Arch. 
 Beitrage, p. 70. Arch. Zeituug, xxxviii (1880), p. 156. Schreiber , 
 Die Wiener Brunnenreliefs aus Pal. Grrimani, p. 10. 
 
 Series of Busts of the Emperors. 
 
 It would carry us too far to examine each of these 
 busts in detail and give the literary references concern- 
 ing them, and the writer will therefore confine himself to 
 mentioning those of which the identification is either cer- 
 tain or probable, adding a few remarks where his opinion 
 seems to require explanation or support. In particular he 
 will call the reader’s attention to those cases in which his 
 opinion diflers from that of Bernoulli, to whom we owe 
 the most recent researches into the iconography of the 
 Roman emperors. Busts to which no name has been 
 attached will not be noticed except when they possess 
 some artistic peculiarity. Even a rapid and superficial 
 examination of the authenticated busts will prove most 
 interesting and instructive, as the different types of phy- 
 siognomy furnish a highly luminous commentary on the 
 chief phases of the history of the.Empire. The formation 
 of the face and head of members of the Julian family is 
 beautiful, or at the very least normal, in every case. The 
 features of the following emperors and their relatives, 
 down to Septimius Severus, indicate plainly that we have 
 to do with individuals in whom Italic blood predominates 
 and who stand in close relation with Graeco-Roman cul- 
 ture. In the head of Septimius Severus we recognize for 
 the first time the presence of a foreign, un-Italic element, 
 which afterwards recurs more and more distinctly and 
 frequently, until it culminates in the rude barbarian 
 countenance of Maximinus the Thracian (No. 62 of Cata- 
 logue). Few of the busts in this series, except that of 
 Decius (No. 70), recall what we are accustomed to regard 
 as the specifically Roman type. The face of Constantius 
 
344 
 
 CAPITOLINE MUSEUM. 
 
 Chlorus (No. 81) is marked by an unhealthy puffiness, 
 such as is common to several of the Illyrian emperors. 
 The series also affords an excellent survey of the gradual 
 decline of art, though this decline is less rapid in the 
 domain of portraiture than in that of ideal creations 
 (comp. Nos. 57, 226, 309, 453, 567). Under Julian the 
 Apostate, indeed, there seems to have been some attempt 
 at a revival of art (see Nos. 490, 491 ; No. 82 of the Cata- 
 logue) ; but after this the deterioration goes on without 
 interruption until it ends in the caricatures of the Byzant- 
 ine style (see No. 83 of the Catalogue). 
 
 2. Head of Augustus, crowned with a wreath of 
 myrtle (?), which is adorned with three gems. 
 
 Bull. arch, conmnale, 1889, T. 7, pp. 140, 141. 
 
 4. Probably a portrait of Tiberius (d. 37 A. D.) in his 
 later years. 
 
 5. Generally taken for Tiberius, but more probably 
 Germanicus (d. 19 A. D.). 
 
 7. Probably the elder Drusus (d. 9 B. C.). 
 
 8. Perhaps Antonia (d. 38 A. D.), wife of the elder 
 Drusus. 
 
 10. Agrippina (d. 33 A. D.), wife of Germanicus. 
 
 11. Caligula (d. 41). There is something peculiar in the 
 execution of this bust, but the writer is not in a po- 
 sition to decide whether it is modern or the product 
 of ancient art working under local conditions. 
 
 16. Nero (d. 68). The greater part of the head is due to 
 a restoration of the 17th century. 
 
 18. Galba (d. 69); an affected work of the 17th century. 
 
 19. Otho (d. 69). 
 
 20. Yitellius (d. 69). The authenticity of this bust has 
 been doubted, but it is apparently antique. 
 
 21. Vespasian (d. 79). 
 
 23. Perhaps Julia, daughter of Titus. 
 
 25. Domitia (d. under Trajan), wife of Domitian, with 
 an expression at once charming and dignified. This 
 bust is one of the finest portraits in the collection. 
 Bernoulli , Romische Ikonographie, ii, 2, T. xxa, xxb, p. 64. 
 
ROOM OF THE IMPERIAL BUSTS. 
 
 345 
 
 26. Nerva (d. 98), a bust of the 17th century. 
 
 27. Trajan (d. 117). 
 
 28. Plotina (d. 129), wife of Trajan. 
 
 29. 30. No. 29 has been generally taken for a portrait 
 of Marciana, sister of Trajan, and No. 30 for her 
 daughter, Matidia. Both apparently represent Mati- 
 dia at different ages. 
 
 Bernoulli (Rom. Ikonographie , ii, 2, T. xxxi, p. 98, 3) thinks 
 
 that No. 29 represents Marciana; while, farther on (p. 104), he men- 
 tions the other bust without naming it. 
 
 31, 32. Hadrian (d. 138). 
 
 33. Sabina, wife of Hadrian. This bust is an excellent 
 example of the technical skill of the time. The nose 
 has been badly restored and is not in harmony with 
 the rest of the head. The crown of ears of corn and 
 the stephane show that the empress was represented 
 as Ceres. 
 
 34. iElius Csesar (d. 138), adopted son of Hadrian. 
 According to Bernoulli (n, 2, p. 135, p. 230, No. 2) this is a 
 
 bust of Commodus. 
 
 35. Antoninus Pius (d. 161). 
 
 36. Faustina the Elder (d. 141), wife of Antoninus Pius. 
 
 37. Marcus Aurelius when a youth (d. 180). 
 
 38. Marcus Aurelius when an older man. 
 
 39. Youthful portrait of Faustina. the Younger (d. 175), 
 wife of Marcus Aurelius. 
 
 41. Lucius Yerus (d. 169), adopted son of Antoninus 
 Pius, and for a time colleague of Marcus Aurelius. 
 
 43. Commodus when a youth (d. 192). 
 
 45. Probably Pertinax (d. 193). See No. 311. 
 
 47. This bust is certainly not Manlia Seantilla, wife of 
 Didius Julianus; it is much more likely to be Cor- 
 nelia Paula, whom Heliogabalus married in 219. 
 
 48. Evidently Macrinus (d. 218), not Pescennius Niger. 
 See No. 207. 
 
 49. This carefully executed bust is the portrait of some 
 unknown individual who lived during the reign of 
 Hadrian. According to an inscription on the pedestal 
 it is the work of a certain Zenas, who seems to have 
 
346 
 
 CAPITOLINE MUSEUM. 
 
 belonged to the plastic school of Aplirodisias (Caria), 
 since this somewhat unusual name occurs on an in- 
 scription found in that town. The execution repro- 
 duces with great skill the characteristics of the 
 bronze style, much more skilfully for example than 
 that of the two Centaurs by the Aphrodisians Aristeas 
 and Papias (Nos. 512, 513). 
 
 Loewy, Inschriften griechischer Bildhauer, p, 268, No. 383b. 
 
 50. Perhaps a poor bust of Septimius Severus (d. 211). 
 
 5 1 . Septimius Severus. 
 
 52. This is undoubtedly a somewhat youthful portrait of 
 Julia Domna (d. 217), wife of Septimius Severus. 
 The hair is detachable, so that it could be changed 
 according to the fashion. Comp. Nos. 114, 309. 
 
 53. Caracalla (d. 217). Comp. No. 226. 
 
 54. This is apparently a poor bust of the same emperor. 
 59. Perhaps Julia Maesa (d. 223), grandmother of Helio- 
 
 gabalus. 
 
 62. Maximinus the Thracian (d. 238). This is a remark- 
 able portrait for that time, wonderfully reproducing 
 the barbaric grossness and brutal energy of this 
 emperor. 
 
 63. Maximus (d. 238), son of Maximinus. The de- 
 signation of this bust must be correct, for it is closely 
 similar to the coins stamped with the likeness of 
 Maximus, while it also bears a striking resemblance 
 to the features of his father. 
 
 64. Probably the first Gordianus Africanus (d. 238). 
 
 65. Probably the second Gordianus Africanus (d. 238). 
 
 66. Pupienus (d. 238). 
 
 69. Philippus Caesar (d. 249), son of the Emperor Philip- 
 pus Arabs. Comp. No. 233. 
 
 Bernoulli , n, 2, pp. 161, 162. 
 
 70. Trajanus Decius (d. 251). 
 
 72. Probably Hostilianus (d. 251), second son of Traja- 
 nus Decius. 
 
 79. This bust is generally taken for Carinus (d. 285). 
 The inscription on the pedestal is, however, certainly 
 
ROOM OF THE IMPERIAL BUSTS. 
 
 347 
 
 modern ; the head also shows no resemblance to the 
 coin-portraits of this emperor, while its style indi- 
 cates an earlier period. 
 
 80. The identification of this bust with Diocletian (d. 
 313) is untenable. It seems more probably a some- 
 what dry work of the beginning of the second cen- 
 tury of the present era. It has recently been taken 
 as a portrait of Marcus Ulpius Trajanus, the father 
 of the Emperor Trajan; and the profile of that per- 
 sonage, known to us from coins, certainly bears a 
 strong resemblance to that of the Capitoline bust. 
 Bernoulli , n, 2, T. xxvmab, pp. 90, 91. 
 
 81. This colossal head, formerly in the Vatican, so 
 strikingly resembles the coin-portraits of Constantius 
 Chlorus (d. 304), that its identification with this 
 emperor hardly admits of question. The hair also is 
 treated in the style usual at the end of the third and 
 the beginning of the fourth century. On the other 
 hand it is singular that in a bust of this period the 
 pupils are not plastically treated (see the remarks 
 below, on No. 82); and it is true that among the 
 known works of the time no analogy can be found 
 for so individualised and characteristic a rendering 
 of the features. These peculiarities may, perhaps, be 
 explained by the theory that this portrait is the work 
 of a provincial school of art, which had remained 
 faithful to the older traditions even after the sculp- 
 ture of Italy and the greater part of the Roman Em- 
 pire had fallen into a state of decline. 
 
 Cavaceppi , Raccolta di statue, m, 57. The above view is con- 
 tested in Rom. Mitth., viii (1894), p. 347. 
 
 82. This portrait, of which there are other two copies in 
 the Capitoline Museum, Nos. 490 (72) and 491 (73), 
 offers a problem similar to that of the supposed head 
 of Constantius Chlorus (No. 81). It agrees not only 
 with the coin-portraits of Julian the Apostate (d. 363) 
 but also with the graphic description of the person 
 of this emperor given by Ammianus Marcellinus 
 
348 
 
 CAPITOLINE MUSEUM. 
 
 (xxv, 4, 22). On the other hand the somewhat dry, 
 hut careful and even fine execution, and the fact 
 that the pupils are not plastically indicated , point 
 to an earlier period. Indeed , were it not for the 
 likeness to the portraits of Julian, one would be 
 inclined to take these three busts as copies of a Greek 
 bronze original of the fourth century B.C., executed 
 by Roman artists in the third century A.D. It is 
 well known that Julian did his utmost, so far as cir- 
 cumstances and his means allowed, to re-animate the 
 dying classicism in the spheres of politics, morals, 
 and religion. It seems then a natural supposition 
 that this attempt may also have exercised an in- 
 fluence on the plastic arts and evoked in them a kind 
 of renaissance. The inscription on the bust before us 
 is of mediaeval origin and hence has no bearing on 
 the identity of the subject. 
 
 Bottari, i, 81. Montagnani, m, 2, T. 81. Comp. Beschreibung 
 Roms, hi, 1, p. 204, No. 75. Corpus inscr. lat., vi, 5, No. 8499*. 
 So far as the writer knows, this bust was first identified witb Julian 
 by Fea, Nuova descrizione de’ monumenti contenuti nel Yaticano e 
 nel Campidoglio, p. 210. 
 
 83. So far as the miserable dies for coins of the fourth 
 century allow a comparison, the profile of this head 
 most resembles that of Yalentinian I (d. 375). 
 
 Room of the Philosophers. 
 
 On the upper console, — 
 
 463 (1). Head of a Youth with long hair. 
 
 The end of the nose, the chin, parts of the neck, and 
 probably also parts of the bust have been restored. 
 
 This head, once baselessly supposed to be a portrait 
 of Virgil, is probably, like No. 72, derived from the 
 supposed type of Triptolemos. 
 
 Bottari, i, 2. Montagnani , hi, 1, T. n. Righetti , i, 15, 3. Comp. 
 No. 72, Bernoulli , Romische Ikonographie , i, p. 250, and Furt- 
 waengler , Masterpieces, p. 331, note 1. 
 
ROOM OF THE PHILOSOPHERS. 
 
 349 
 
 464 (4). Head of Socrates. 
 
 Formerly in the Giardino Cesi (Rom. Mitth., yi, 1891, 
 p. 57). The restorations include the nose, parts of the 
 lips, the left cheek with the heard on that side, the neck, 
 and the herma. 
 
 Bottari, i, 14. Righetti , i, 23, 2. 
 
 465 (5). Herma of Socrates. 
 
 The nose and upper lip have been restored. 
 
 Bottari , i, 15. Montagnani , in, 1, T. 15. 
 
 466 (6). Head of Socrates. 
 
 The nose, the right eyebrow, the right half of the 
 moustache, the rims of the ears, and the herma are 
 modern. 
 
 As all the extant portraits of Socrates show a real- 
 istic style , which did not come into vogue till the time 
 of Alexander the Great, none of them can represent con- 
 tempoiary or ‘iconic’ portraits of the great philosopher. 
 All are types created by later artists, inspired mainly by 
 well-known passages in Plato and Xenophon. This con- 
 sideration explains the widely-marked difference in the 
 various conceptions. Thus in No. 465 (5) Socrates is 
 represented almost with the physiognomy of Silenus*, in 
 No. 464 (4) the features are much nobler. The most 
 ideal conception is that of No. 466 (6), where the lofty 
 intelligence and great good-nature of the philosopher are 
 admirably indicated. 
 
 Comp. No. 791 and Jabrbucb des Arch. Instituts, v (1890), 
 p. 160, note 46. 
 
 467 (8). Bust of Carneades. 
 
 The nose and parts of the neck and bust are modern. 
 
 Carneades (214-129B.C.), the founder of the so-called 
 New Academy, visited Rome in 155B.C. as a member 
 of an Athenian embassy, and produced a great sensation 
 by the keenness of his dialectic. The identification of this 
 bust is warranted by its similarity to an inscribed por- 
 trait of the philosopher, formerly in the possession of 
 the Farnese. 
 
350 
 
 CAP1TOLINE MUSEUM 
 
 Bottari , i, 17. Montagnani , hi, 1, T. xvii. Righetti , i, 23, 3. 
 Comp. Visconti, Iconografla greca , i, T. xix, 1, 2, pp. 222 et seq. 
 Schuster , Ueber die erhaltenen Portrats griech. Philosophen T i 
 4, p. 24. ’ 
 
 468 (9). Head of iElius Aristides (?). 
 
 The point of the nose and the bust are modern. 
 IElius Aristides was a sophist who flourished in the 
 time of the first two Antonines and was distinguished 
 not only for his dazzling eloquence but also for his 
 boundless vanity. The identification of this bust depends 
 upon its resemblance to an inscribed statue of Aristides 
 in the Vatican Library (No. 955); but the likeness is by 
 no means striking and the identification is consequently 
 not beyond a doubt. 
 
 Bottari , i, 18, Montagnani , hi, 1, T. xviii. Righetti , n, 211. 
 Comp. Visconti , Iconografla greca, T. xxxi, 4, 5, pp. 349 et seq. 
 
 469 (10). Head of a Hellenistic Poet. 
 
 The nose and bust have been renewed. 
 
 The realism with which the withered flesh and sickly 
 expression is reproduced points to an original of the 
 Hellenistic period, while the ivy wreath, seen in a replica 
 found on the Palatine (No. 1031), shows that it is a poet. 
 This writer must have been very popular under the Ro- 
 man empire, for numerous examples of his portrait are 
 extant. His identification with Callimachus or Philetas 
 is, therefore, probable enough though not beyond doubt. 
 
 Botiari : i, 20. Montagnani , hi, 1, T. xx. Righetti , i, 63, 1. 
 Comp. Ann. dell’ Inst., 1873, pp. 98 et seq.; Bull., 1883, pp. 89-95. 
 Arch. Zeitung, xxxvm (1880), pp.20, 33 et seq.; Matz-Duhn , Antike 
 Bildwerke in Rom, i, No. 1770. Athenische Mittheilungen, x (1885), 
 p. 396. Comp. Nos. 710, 1031. 
 
 470 (17). Head of Heracles. 
 
 Formerly, it would seem, in the Vatican (Rom. 
 Mitth., vi, 1891, p. 39, No. 26). The restorations include 
 almost all the back of the head, the neck , the nose, the 
 ribbons (except their upper ends), and almost the whole 
 of the bust. The inscription on the bust, informing us 
 that the head is a portrait of Hieron, is modern. 
 
ROOM OF THE PHILOSOPHERS. 
 
 351 
 
 This head reproduces, but with less delicacy, the same 
 type, presumably created by Scopas, as Nos* 121, 417, 
 and 604. Here, however, Heracles wears the fillet of a 
 victorious athlete, while his ears are swollen like those 
 of a pugilist. 
 
 Bottari, i, 33. Montagnani , m, 1, T. xxxm. Comp. Beschrei- 
 bung Roms, m, 1, p. 218, No. 28. Rom. Mittheilungen, iy (1889), 
 p. 197, No. 12. 
 
 471 (21). Bust of Diogenes. 
 
 Formerly, as it seems, in the Vatican (Rom. Mittheil., 
 vi, 1891 , p. 39, No. 31). The nose, the right shoulder, 
 and parts of the drapery on the left shoulder have been 
 restored. The forehead appears to have been retouched 
 by a modern hand. 
 
 The identification of this bust with Diogenes rests 
 on a comparison with a statuette in the Villa Albani 
 (No. 753). 
 
 Bottari , i, 27. Montagnani , m, 1, T. xxvn. Righetti, i, 55, 1. 
 Comp. Visconti , Iconografia greca, i, pp. 235, 236. 
 
 472 (22). Fragment of a Relief, with the Head of 
 
 Sophocles. 
 
 The restorations include the nose, pieces of the eye- 
 brow and ear, the edge of the slab , and almost all the 
 coloured background. 
 
 Comp. Nos. 289, 662. 
 
 Bottari , i, 89. Montagnani , in, 2, T. lxxxix. Righetti , i, 55, 2. 
 Comp. Welcker , Alte Denkmaler, i, p. 460. 
 
 473 (24). Hernia, inscribed ‘Asklepiades’. 
 
 Found at the beginning of the 18th century in a tomb 
 on the Via Appia, within the Aurelian Wall. 
 
 As there were several eminent men of this name, it 
 is difficult to determine which of them is here repre- 
 sented. The most likely candidate is a celebrated phy- 
 sician, who practised at Rome during the last years of 
 the Republic, and whose characteristic treatment con- 
 sisted in a strict regulation of the diet. The fact that 
 the execution of the herma points to the third century 
 of our era in no wise militates against this supposition. 
 
352 
 
 CAP1T0LINE MUSEUM. 
 
 as Asklepiades was the founder of a school which was 
 still so important in the latter half of the second century 
 that Galen frequently inveighed against its teachings. 
 
 Bottari , i, 3. Montagnani , in, 1, T. in. Visconti , Iconogr. gr., 
 i, T. xxxnb, 4, 5, pp. 365, 366, 
 
 474 (25). Bust of Theon of Smyrna. 
 
 Found at Smyrna by Fouquier and acquired at Mar- 
 seilles by Cardinal Albani, who gave it up to Clement XII 
 (Rom, Mitth., vi, 1891, p. 59, note 205). The front of 
 the nose has been restored. 
 
 As the inscription informs us, this bust of the Pla- 
 tonic philosopher Theon was dedicated by his son, a 
 priest bearing the same name. The elder Theon was a 
 philosopher connected with the New Academy, who 
 flourished in the beginning of the second century of our 
 era and devoted himself to mathematics and the exposi- 
 tion of the works of Plato. 
 
 Bottari, i, 29. Visconti , Iconogr. gr., i, T. Xixa, 3, 4, pp. 227, 
 228. Montagnani , in, 1, T. xxix. Schuster, Ueber die erhaltenen 
 Portrats der griech. Philosophen , T. ii, 6 , p. 26, No. 20. Comp. 
 Corpus inscr. graec., n, No. 3198. 
 
 475 (26). Head of a Youth, with long wavy hair. 
 
 The nose and the bust have been restored. 
 
 This head was formerly identified with Apuleius, but 
 quite baselessly. It is really, like Nos. 72 and 463, 
 derived from the supposed type of Triptolemos. See 
 No. 72. 
 
 Bottari , i, 1. Montagnani , hi, 1, T. i. Righetti, i, 47, 2. 
 
 476 (33). Term of Sophocles. 
 
 The restorations include nearly all the back of the 
 head, the nose, nearly the whole of the neck, and pieces 
 of the herma. The inscription, describing the subject as 
 Pindar, is modern. 
 
 Comp. Nos. 289, 662. 
 
 Bottari , i, 38. Montagnani , in, 1, T. xxxvm. 
 
 477 (34). Head of Sophocles. 
 
 The nose , nearly all the neck , and the herma are 
 modern. 
 
ROOM OF THE PHILOSOPHERS. 
 
 353 
 
 Comp. Nos. 289, 662. 
 
 478 (35). Head of Alcibiades (?). 
 
 Part of the right ear and the herma are modern. 
 
 See No. 91. 
 
 Bottari , i, 39. Montagnani , in, 1, T. xxxix. Righetti, i, 95. 
 Ann. dell’ Inst., 1866, Tav. d’agg. 0 1, p. 228, hi. 
 
 479 (38). Head of Chrysippos (?). 
 
 The restorations include the nose, the rims of the 
 ears, part of the hack of the head, most of the neck, and 
 the herma. 
 
 This sickly-looking, hollow-eyed old man must have 
 been a very widely known individual, as numerous 
 examples of his portraits have come down to us. [One of 
 these is the adjoining herma, No. 37, usually described 
 as Hippocrates.] Coins of Soli-Pompeiopolis, dating 
 from the second century of the Christian era, show this 
 portrait on the obverse (Fig. 19), while on the reverse is 
 
 the portrait of a man with a long pointed beard (Fig. 20), 
 reproducing the same type as a marble in the Villa Albani 
 (No. 833). While there is no doubt that these are por- 
 traits of the two celebrities of Soli , Aratos, the founder 
 of the astronomic epic, and Chrysippos, the Stoic, it is 
 not so easy to determine which is which. Aratos flourish- 
 ed in the first third of the third century B.C. , while 
 the literary activity of Chrysippos (ca. 282-209 B.C.) began 
 a little later. The head in the Villa Albani, resembling 
 that on the reverse of the coin, recalls the style of Ly- 
 Helbig, Guide I. ‘23 
 
 Fig. 19. 
 
 Fig. 20. 
 
354 
 
 CAPITOLINE MUSEUM. 
 
 sippos, while the other portrait shows the pronounced 
 realism of the Hellenistic age. It, therefore, seems na- 
 tural to conclude that the head on the reverse is Aratos, 
 that on the obverse Chrysippos. The identification of the 
 long-bearded head with Aratos also agrees with an inscribed 
 portrait of this poet on a mosaic found at Treves (see 
 No. 287). In any case the Capitoline portrait and its 
 replicas correspond perfectly to all we know of Chrysippos. 
 This philosopher, who systematized Stoicism and devel- 
 oped its dialectic, is described as a small and weakly 
 man, noted for the shabbiness of his dress. Profoundly 
 learned and endowed with the most subtle acuteness, he 
 was extraordinarily productive, publishing more than any 
 other ancient philosopher. His exposition, however, was 
 prolix and his style careless. The worn features of the 
 Capitoline head, its uneasy, nervous expression, the weak 
 eyes, the thin and neglected hair are all characteristic of 
 the feeble bookworm, who, it is easy to believe, was as 
 careless about the adornment of his person as about the 
 form of his literary work. The large number of replicas 
 of this portrait confirms our opinion, for Juvenal expressly 
 states (Sat., n, 4) that one was constantly coming upon 
 plaster heads of Chrysippos. 
 
 Bottari , i, 42. Montagnani , hi, 1, T. 42. Righetti , i, 87, 3. 
 Comp. Friederichs-Wolters , Bausteine, No. 1626. Jahrbuch des Arch. 
 Instituts , v (1890) , Arch. Anzeiger , pp. 56-58. Furtwaengler , 
 Koerte, Milchhoefer , Archseol. Studien Brunn dargebracht (Berlin, 
 1893), pp. 41 et seq. — The coin of Soli-Pompeiopolis : Imhoof- 
 Blumer , Portratkopfe anf Miinzen bellen. und hellenist. Volker, 
 T. vni, 31, 32, p. 69. Von Sallet, Zeitschrift fur Numismatik, ix 
 (1882), T. iv, 12, 13; pp. 118. 127. 
 
 480 (44). Head of Homer. 
 
 Pound among the stones of a wall in the garden of 
 the Palazzo Caetani, not far from S. Maria Maggiore. It 
 came first into the possession of Ficoroni and then into 
 that of Cardinal Albani, the latter ceding it to Pope Cle- 
 ment XII ( Ficoroni , in Fea , Miscellanea, i, p. cxxi, 
 No. 9; Rom. Mitth. , vi, 1891, p. 59, note 205). The 
 nose and bust have been restored, 
 
 Bottari , i, 54. Montagnani , in, 2, T. 54. Righetti , i, 15. 
 
ROOM OF THE PHILOSOPHERS. 
 
 355 
 
 481 (45). Head of Homer. 
 
 The end of the nose , the hack of the head, almost 
 the whole of the neck, and the herma have been restored. 
 The face has been retouched by a modern hand. 
 
 Comp. Visconti , Iconogr. gr., i, p. 60. 
 
 482 (46). Herma of Homer. 
 
 Found on the Esquiline, in the garden of the Cano- 
 nici Regolari di S. Antonio Abbate ( Ficoroni , in Feet, 
 Miscellanea, i, p. cxxi, No. 9). The nose is modern. 
 
 Bottari , Mus. Cap., i, 55. Montagnani, hi, 2, T. 55. Visconti , 
 Iconogr. gr., i, T. 1, 1, 2, p. 60 (comp. Opere varie, iv, p. 406. No. 242). 
 Baumeister , Denkm. d. kl. Alterthums, i, p. 698, Fig. 755. 
 
 The portraits of Homer are, of course, purely imagin- 
 ative, and the type naturally varies with the different 
 artists. Nos. 480-482 represent the poet as a blind old 
 man. In all three the physical decay and the expression 
 of blindness are represented with so much realism, that 
 it is impossible to date the creation of their original earlier 
 than the time of Alexander the Great. No. 480 (44) repro- 
 duces, unfortunately with very mediocre execution, a 
 highly important type, in which the old man appears in 
 a state of poetic inspiration, his head turned upwards in 
 an attitude characteristic of the blind. No. 481 (45) 
 reproduces a similar type, but shows the poet with his 
 mantle drawn over the back of his head. No. 482 (46) 
 is superior in execution to the other two, but is less fine 
 in conception. The mouth is closed, and the rapt poetic 
 expression is gone. Another type of Homer seems repro- 
 duced in the busts on the opposite side of the room, 
 Nos. 495-497 (77-79). They have been recognized as 
 portraits of Homer on account of the similarity of their 
 profile to a portrait on the coins of the Paphlagonian 
 city of Amastris, which is certified by an inscription. They 
 represent a majestic and vigorous old man, with an 
 expression of great calmness and dignity; there is no 
 indication of blindness. As these examples are more severe 
 in style than the others, they probably go back to an 
 earlier original. 
 
 23 * 
 
356 
 
 CAPITOLINE MUSEUM. 
 
 483 (48). Bust of Gnseus Domitius Corbulo. 
 
 Formerly in the Vatican , where it passed for a bust 
 of the younger Bratus. The nose , the lobe of the right 
 ear, and parts of the bust are modern. 
 
 A marble bust and the bead of a statue, both repre- 
 senting the same person as the one before us, were found 
 in 1792 in a small temple at Gabii, which, according to 
 the inscription over the entrance, had been dedicated in 
 140 A. D. to the family of the Empress Domitia, daughter 
 of Gnseus Domitius Corbulo. The bust still occupied the 
 niche in which it had been originally placed. As the 
 inscription expressly describes Domitia as the daughter 
 of Corbulo and as the latter was the only man of eminence 
 among her ancestors, it seems highly probable that he 
 would occupy a most prominent place in the plastic 
 adornment of the temple and that, consequently, he is the 
 original of all three heads. The fact that several replicas 
 of his portrait have been found is explained by the interest 
 aroused by his personal eminence and his tragic fate. Cor- 
 bulo was one of the greatest generals of his time, distinguish- 
 ing himself under Claudius in Germania Inferior, subduing 
 Armenia under Nero after thirteen years of successful cam- 
 paigning, and repelling the assaults of the Parthians. In 
 67 A.D. he was forced to commit suicide by Nero, whose 
 jealousy he had awakened. 
 
 The bibliography of the subject is collected in Bernoulli , Rom. 
 Ikonographie, i, T. 23, pp. 271 et seq. 
 
 484 (49). Bust of the Elder Scipio (?). 
 
 In 1592 this head was placed in the Palazzo dei Con- 
 servatori (Rom. Mitth., vi, p. 46). The front of the nose 
 and parts of the ears have been restored. 
 
 As the inscription on the cartouche is certainly due to 
 a modern hand, the identification of this portrait, which 
 recurs in numerous replicas, with Publius Cornelius Scipio 
 Africanus, the hero of Zama, is not beyond a doubt. The 
 only plausible ground for this identification is afforded by 
 a Pompeian fresco, which apparently represents the death 
 of Sophoniba. If this be indeed the subject of the paint- 
 
ROOM OF THE PHILOSOPHERS. 
 
 357 
 
 ing, the man standing by the bedside of the Queen would 
 be the Elder Scipio ; and the features certainly resemble 
 those of the bust before us. Be that as it may, the Capitol- 
 ine example harmonizes admirably with the traditional 
 idea of Scipio. We recognize in it, not only the intelli- 
 gence and the energy, but also the strong self-consciousness 
 and the irritability, which characterized the conqueror of 
 Hannibal. In particular the form of the lower lip, protrud- 
 ing a little and drawn to the right side, indicates a touch 
 of temper, which seems very natural in a man, who, after 
 a glorious military and political career, quitted Borne in 
 a fit of pique against his fellow-citizens and retired to his 
 estate at Linternum. The scar on the left side of the skull 
 would represent the wound that Scipio received at the age 
 of seventeen in a cavalry engagement at the Ticinus. One 
 thing is certain, that the type of the face and the style of 
 the head indicate a personage of the Bepublican era. It 
 is impossible to determine whether the want of breadth 
 in the bust is due to a reproduction of the typical form of 
 the ancestral busts in wax, or whether it was rendered 
 necessary by the confined space in which it had to be placed. 
 
 Bernoulli , Romische Ikonogr., i, T. i, pp. 36 etseq. (all the older 
 literature is given in note 2 on p. 36). Baumeister , Denkmaler d. 
 kl. Alterthums, in, p. 1591, Fig. 1654^ The hypothesis advanced in 
 the Jahrhuch des Arch. Instituts, v (1890), pp. 213, 214, that 
 this Lust represents Ennius , seems to the writer erroneous. It is 
 based on the supposed likeness of this head to the inscribed portrait 
 of Ennius in the mosaic of Monnus, found at Treves (Antike Denk- 
 maler, i, 1889, T. 49). But this portrait lacks one of the most strik- 
 ing peculiarities of the head before us, viz. the closely shaven 
 skull. Besides, it would be difficult to explain the scar on the head 
 if this were Ennius. And finally , it would seem strange that none 
 of the many replicas of the type before us is accompanied by a fillet, 
 or a garland, or any other attribute that would mark it as a poet. 
 
 485 (58). Head of Plato. 
 
 The front of the nose, the herma, and the end of the 
 beard are modern. 
 
 Comp. No. 265. 
 
 Bottari , i, 67. Montagnani , iii, 2, T. 67. Comp. Jahrbuch des 
 Arch. Instituts, i (1886), p. 71, No. 1. 
 
358 
 
 CAPITOLINE MUSEUM. 
 
 
 486 (59). Bust of a Young Barbarian. 
 
 Found, at Naples. The end of the nose has been 
 restored. 
 
 The face wears a gloomy and threatening expression. 
 The ultimate settlement of the question as to what race this 
 barbarian belonged to may be left to the anthropologist, 
 but the singularly flat nose and the thick lips preclude 
 the possibility of his being either a Celt or a German. 
 This consideration takes away the ground from the theory 
 that it is a portrait of Arminius. The fact, moreover, 
 that the hair has been worked with a drill and the pupils 
 are plastically represented, shows that the bust was exe- 
 cuted in the time of the Antonines. It seems hardly likely 
 that the Roman public of that day would still take so 
 much interest in the young chief of the Cherusci as to 
 create a demand for portrait-busts of him. 
 
 Righetti, ii, 233. Comp. Braun , Rumen und Museen, p. 174, 
 No. 44. Friederichs-W otters, Bausteine, No. 1566. 
 
 487 (63). Double Herma of Epicurus and Metrodoros, 
 
 with inscriptions. 
 
 Found in 1743, in digging the foundations for the 
 portico of S. Maria Maggiore ( Ficoroni , in Fea, Miscel- 
 lanea, i, p. CLix, No. 82). The restorations include part 
 of the left eyebrow of Epicurus , the end of the nose of 
 Metrodoros, and the left corner of the herma of the latter. 
 
 Comp. Nos. 283, 288. 
 
 Buonaccorsi , Lettera sopra la vera imagine d’Epicuro , Roma, 
 1744. Bottari, Mus. Cap., i, animadversiones, T. v, p. 12. Montag- 
 nani, in, 1, T. v, A,B. Righetti , i, 127. Comp. Visconti, Iconogr. 
 gr., i, p. 274, note 2. 
 
 488 (68). Bearded Head, wearing a Helmet. 
 
 The front of the nose and the neck are modern. 
 
 The current identification with Massinissa, King of 
 Numidia, is baseless. This head seems to be, not a por- 
 trait, but an ideal type either of Ares or of some hero. 
 The conception and style indicate an art akin to that of 
 Pheidias. 
 
ROOM OF THE PHILOSOPHERS. 
 
 359 
 
 Bottari , i, 77. Montagnani , in, 2, T. 77. Righetti , i, 141. 
 Another example of the same type is published by Visconti , Iconogr. 
 gr., i, T. xiii, 2, 3, p. 167 (comp, iii, p. 418, note 1; Opere varie, 
 iv, p. 409, No. 247), who describes it as a portrait of Miltiades. 
 Furtwaengler , Masterpieces, p. 90, note 2. 
 
 489 (69). Bearded Head with a Diadem and a Fillet. 
 
 The nose and most of the neck are modern. The herma 
 is ancient but originally bore another head. 
 
 This is evidently a copy of an ideal type dating from 
 the second half of the fifth century B.C. 
 
 Bottari , Mus. Cap., i, 78. Montagnani , iii, 2, T. 78. 
 
 490 (72), 491 (73). Herma and Head of Julian the 
 
 Apostate. 
 
 The front of the nose has been restored in each case. 
 See the remarks on No. 82, p. 347. 
 
 492 (74). Bust of Thucydides (?). 
 
 The end of the nose is modern. 
 
 The features resemble those of a bust in Holkham 
 Park, Norfolk, which recent criticism takes, with some 
 reason, to be Thucydides. The pupils and iris are in- 
 dicated by light strokes of the chisel. The correct, but flat 
 and rather cold, treatment of the flesh, and the over- 
 minute execution of the hair and beard, bear the stamp 
 of the period of Hadrian. 
 
 Comp. Michaelis , Die Bildnisse des Thukydides (Strassburg, 
 1877), pp. 5 et seq. 
 
 493 (75). Head of Cicero (?). 
 
 Formerly in the Palazzo Barberini. The bust, with 
 its toga, is modern. 
 
 This bust seems, from the similarity of its general 
 outlines, to be the same as that treated of under No. 122 
 and generally accepted as Cicero. The chief difference 
 is that the expression of nervous irritability, merely sug- 
 gested by the sculptor of No. 122, is here strongly 
 emphasized. 
 
 Causeus , Romanum Museum, i, sec. ii, T. 57. Bernoulli , 
 Rom. Ikonogr., i, T. xii, pp. 138-140 (at p. 139, note J, is collected 
 the bibliography of the subject). For other references, see No. 122. 
 
360 
 
 CAPITOLINE MUSEUM. 
 
 494 (76). Bust of a Man with a Tragic Mask on his 
 Shoulder. 
 
 Found in 1826 near the Tre Madonne, outside the 
 Porta S. Sebastiano. 
 
 The arbitrary identification of this bust with Publius 
 Terentius (Terence), the comic dramatist, is sufficiently 
 refuted by the fact that the mask on the right shoulder is 
 shown to be a tragic mask by the onkos, or high part of 
 the hair above the forehead (see No. 271). A later theory 
 suggests that it may be the celebrated philologist Ari- 
 starchus, whose portrait was painted by his pupil Dio- 
 nysius, surnamed the Thracian, a versatile genius of the 
 second century B.C., who dabbled in painting as well as 
 in rhetoric and grammar. This portrait is narrated to 
 have represented Aristarchus ‘with Tragedy on his breast 1 , 
 and it has been supposed that Tragedy may have been 
 symbolized by a tragic mask, as in the bust before us. It 
 is, however, much more likely that the bust is that of a 
 tragic actor of the third century of the present era. The 
 execution, especially the mechanical representation of 
 the pupils, indicates this period, while the closely 
 cropped hair and beard resemble the style usual in the 
 portraits of the emperors from Maximinus the Thracian 
 down to Carus. 
 
 Ann. dell’ Inst., 1840, Tav. d’agg. G, pp. 97 et seq. Bernoulli , 
 Rom. Ikonogr. , i, pp. 67-69, Fig. 5. Comp. Braun , Ruinen und 
 Museen, p. 170, No. 40. Marx , Interpretationum hexas (Rostock, 
 1888), p. 11. Jahrb. d. Arch. Inst., v (1890), Archseol. Anzeiger, 
 p. 55. 
 
 495 (77). So-called Head of Homer. 
 
 The nose, part of the fillet, the neck, 
 and the herma are modern. 
 
 The identification with Homer de- 
 pends on the inscribed portrait of the 
 poet on coins of Amastris, in Paphla- 
 gonia. A comparison with Fig. 21, 
 reproducing one of those coins, may 
 be interesting. Comp, the remarks 
 under No. 482. 
 
ROOM OF THE PHILOSOPHERS. 
 
 361 
 
 Bottari , i, 51. Comp. Jabrbuch des Arch. Inst., v (1890), p. 214. 
 Notizie degli scavi, 1892, p. 164. The coins of Amastris: Imhoof- 
 Blumer , Portraitkopfe auf Miinzen hellen. und hellenist. Yolker, 
 T. yiii, 25, p. 68. Sallet , Zeitschriftfiir Numismatik, x (1883), T. hi, 
 5, 6, p. 75, No. 20. 
 
 496 (78). Herma. 
 
 The nose and brows are restorations. 
 
 This bust reproduces the same type as No. 495 (77), 
 but has a longer beard and resembles more closely the 
 head on the coins of Amastris. 
 
 Bottari, i, 52. Montagnani , in, 2, T. 52. 
 
 497 (79). Herma. 
 
 The end of the nose and parts of the bust have been 
 restored. 
 
 This is the same type as No. 496 (78), but the exe- 
 cution is much better. 
 
 Bottari , i, 53. Visconti , Iconogr. gr., i, T. i, 3, 4, pp. 62etseq. 
 Montagnani , in, 2, T. 53. Baumeister , Denkm. des kl. Alterthums, 
 i, p.699, Fig. 756. Jahrbuch des Arch. Inst., v (1890), pp. 213, 214. 
 
 498 (82). So-called Head of JEschylos. 
 
 The end of the nose and the herma are modern. 
 
 The lofty and vigorous forms of this head show that 
 the subject was a man of great moral and intellectual 
 distinction. The general style would indicate an origin 
 in the end of the fifth, or the beginning of the fourth 
 century B.C. ; but the detailed modelling of the fore- 
 head suggests the more realistic tendencies of a later 
 period. A recent attempt has been made to connect the 
 work with Silanion, an Attic sculptor whose activity 
 lasted till well into the fourth century B.C. (comp. 
 No. 265). The identification of the head with iEschylos 
 rests upon the power of its general character and also 
 upon its baldness. That IEschylos was bald, we know 
 from the anecdote, probably due to the pleasantry of 
 some writer of comedies, that AEschylos met his death 
 from the fact that an eagle mistook his head for a rock and 
 let a tortoise fall on it in order to break the shell. This 
 
362 
 
 CAPIT0L1NE MUSEUM. 
 
 scene is, indeed, represented on a carved gem. These 
 grounds, however, are not sufficient to establish the 
 identity of the head. They would, for example, apply 
 just as well to Pheidias, who tradition tells us was also 
 bald (see No. 600). We must therefore content ourselves 
 with saying that this head represents a distinguished 
 Greek, who lived not later than the beginning of the 
 fourth century B.C. 
 
 Mon. dell’ Inst., v, 4; Ann., 1849, pp. 94 et seq. Baumeister , 
 Denkm, d. kl. Alterthums , i, p. 34, Fig. 37. Brunn und Arndt, 
 Griech. und rom. Portrats, Nos. Ill , 112. Comp. Welcker, AJto 
 Denkmaler, n, pp. 337 et seq.; v, p. 96. Fredericks- Wolters. 
 No. 487. Berliner philolog. Wochenschrift, v (1885), pp. 897- 
 905. Jahrbuch des Arch. Instituts, v (1890), pp. 162, 163, 166. 
 Bayerische Sitzungsberichte, 1892, p. 668. 
 
 In the middle of the room, — 
 
 499 (98). Seated Figure of a Roman. 
 
 Formerly in the Palazzo Giustiniani. The head has 
 been broken off but certainly belongs to the body, the 
 direction of the muscles agreeing perfectly with those 
 of the neck. The restorations include the front of the 
 nose , the upper part of the left ear , part of the right 
 shoulder and upper arm, the right hand with the scroll, 
 the left forearm (except the thumb and part of the palm), 
 the left leg to the middle of the thigh, parts of the drap- 
 ery, the corners of the cushion, almost the whole of the 
 supports of the chair, and the edges of the plinth. The 
 presence of the scroll in the original work is proved by 
 a fragment still remaining on the lap, below the modern 
 scroll. 
 
 The powerful body indicates a more than usual 
 amount of health and strength. The irregular visage, 
 with its broad forehead and high cheek-bones, shows a 
 vigorous, almost brutal energy and a large degree of 
 penetrating common sense. The keenness of the eye is 
 accentuated by the way in which the iris is shown in re- 
 lief, with an incised pupil. A critical expression plays 
 round the half-opened mouth, while there is a suggestion 
 of temper in the two folds seaming the forehead above 
 the nose. The impression of great natural strength and 
 
ROOM OF THE PHILOSOPHERS. 
 
 363 
 
 vigour is still farther heightened by the fact that the 
 sculptor has not smoothed off the marks of his chisel, 
 either on the face or on the drapery. It would be diffi- 
 cult to find anything similar to this in the sculpture of 
 the imperial epoch. The manner in which the eyes are 
 treated finds its only analogy in the terracotta figures on 
 the lids of Etruscan sarcophagi and urns of the second 
 and third centuries B.C. Our statue would, then, seem to 
 date from the Republican period. The powerful per- 
 sonality it represents makes one understand the saying 
 attributed to Cineas , ambassador of Pyrrhos , 1 that the 
 Roman Senate seemed like an assemblage of Kings’. 
 The identification of the head of the statue with that of 
 Marcus Claudius Marcellus, the conqueror of Syracuse, 
 as seen on the denarii of Publius Lentulus Marcellinus, 
 has now been generally abandoned. 
 
 Galleria Giustiniani, i, 113. Nibby , Museo Chiaramonti , ii, 
 46. Bighetti , n, 367. Clarac , v,Pl. 895, No. 2288, PI. 902, No. 2308. 
 Comp. Braun , Ruinen und Museen, p. 167, No. 38. Bernoulli , 
 Rom. Ikonogr. , i, p. 30. Schreiber (Bildwerke der Yilla Ludovisi, 
 p. 55) thinks that the head may not belong to the body. 
 
 Above the entrance to the Large Saloon, — 
 
 500 (119). Front of a Sarcophagus, with reliefs of the 
 Meleager Myth. 
 
 The reliefs of this sarcophagus consist of several dra- 
 matic and animated scenes, which the stonecutter has, of 
 course, copied from more ancient models. They re- 
 present the myth of Meleager according to the version 
 which Euripides did most to popularize. If arranged in 
 logical sequence the cycle would begin with the scene to 
 which the sculptor has given the second place from the 
 right. Meleager, goaded by a Fury, who holds out a ser- 
 pent towards him, is seen disputing with the Thestiades 
 for the fell of the Calydonian Boar. He has already struck 
 down one of his uncles, while the other, whom the same 
 fate awaits, rushes to the fray. The scene at the right 
 end of the sarcophagus shows the consequences of this 
 
361 
 
 CAPITOLINE MUSEUM. 
 
 action. In order to avenge the death of her brothers, 
 Altha3a, the mother of Meleager, burns the brand on 
 which the life of her son depends. The madness of her 
 action is typified by a female figure, probably Ate or 
 a Fury, stretching towards her a flaming torch. To the 
 left of the central group we see the death of Meleager, 
 brought about by the action of his mother. Surrounded 
 by his relatives , among whom the venerable Oineus is 
 recognizable, the youthful hero has just drawn his last 
 breath. A young woman, perhaps his wife Cleopatra, 
 places in his mouth the obolos to pay for his passage 
 across the Styx. Near the bed sits Atalanta, plunged 
 in deep grief. Behind her stands a Parca or Moira, hold- 
 ing the roll of destiny in her left hand and placing her 
 left foot on a wheel, the symbol of Nemesis. 
 
 Foggini , Mus. Cap., iv, 35. Millin , Gal. myth., T. 104, 415. 
 Righetti , i, 148. Comp. Kekule , De fabula Meleagrea, p. 52. Ann. 
 dell’ Inst., 1863, pp. 99 et seq.; 1868, pp. 92 et seq. Rosenberg, 
 Die Erinyen, p. 60, No. 29. 
 
 Large Saloon. 
 
 The description begins to the right of the entrance 
 from the Stanza dei Filosofi. 
 
 501 (36). Statue of Pallas. 
 
 Formerly in the Villa d’Este , at Tivoli. The restor- 
 ations include the head, both arms, the shield, parts of 
 the drapery, three toes of the left foot, one of the right 
 foot, and part of the plinth. 
 
 Our comprehension of this statue is facilitated by a 
 comparison with a figure of Pallas in an Attic votive re- 
 lief, inspired by the same original (Fig. 22). The goddess 
 hastens to the fray, turning her head back as if towards her 
 followers. The restorer has very properly placed a shield 
 on the left arm, while the right hand evidently held a 
 lance. Some authorities have supposed that this statue 
 is a copy, in a freer style, of a figure in a celebrated 
 bronze group by Myron, representing Athena and 
 
LARGE SALOON. 
 
 365 
 
 Marsyas (comp. No. 661). In this figure, however, both 
 arms were stretched downwards in a gesture of repul- 
 sion ; and it is impossible to admit of such a restoration 
 of the statue before us, since the left shoulder is de- 
 cidedly higher than the right. The hypothesis that the 
 
 Oapitoline statue formed a group with the originals of 
 the Apollo Belvedere (No. 160) and the Diana of Ver- 
 sailles must also be rejected, for the proportions and the 
 treatment of the drapery of the Pallas indicate a more 
 ancient period than those of the other two statues. 
 
 Mori , Le sculture del Campidoglio, n, 4. Montagnani , i, 16. 
 Clarac, hi, PI. 462, No. 858A. Ann. dell’ Inst., 1864, Tav. d’agg. Q, 
 pp. 235 et seq. Overbeck , Berichte der sachs. Ges. d. Wiss., 1867, 
 T. vi, p. 121 ; Geschichte der griech. Plastik, n 4 , Fig. 188, pp. 324 
 et seq. Comp. Bull, dell’ Inst., 1871, p. 66. Arch. Zeitung, xxviii 
 (1871) , p. 41. Abhandl. des archaolog.-epigr. Seminars der Uni- 
 versitat Wien, 1880, p. 40. Athenische Mittheilungen, xi (1886), 
 pp. 317, 318. Friederichs-Wolters, Bausteine, No. 1176 (where the 
 bibliography of the Attic relief is collected). 
 
366 CAPITOLINE MUSEUM. 
 
 502 (34). Group of a Roman Warrior and a Roman 
 Lady in the guise of Mars and Venus. 
 
 Found in 1750 on the island formed by the Tiber 
 at Fiumicino , and presented to the Museum by Bene- 
 dict XIV ( Ficoroni , in Fea , Miscellanea, i, p. clxv, 
 No. 97). The restorations include the crest of the helmet, 
 the front part of the man’s nose, his left hand with the 
 lance, three fingers of his right hand, the nose of the 
 woman, the lower part of the lock of hair falling on her 
 shoulder, and three fingers of her right hand. 
 
 This mediocre group dates, to judge from its style 
 and from the arrangement of the hair and beard, from the 
 end of the second century or the beginning of the third 
 century of the present era. It is formed in a mechanical 
 way by the combination of two well-known Greek types, 
 one of Aphrodite holding a shield in front of her, and 
 another of Ares, which has lately, with much probability, 
 been referred to a statue by Alcamenes, a pupil of Phei- 
 dias (comp. No. 1014). The artist has not departed mater- 
 ially from his models except in the disposal of the wo- 
 man’s arms. A composition arrived at in this way is 
 naturally open to criticism. The manner in which the 
 left leg of the woman is advanced seems utterly pointless 
 in the group before us, while in the statue of Venus it 
 formed a support for the shield. The relation of the 
 Roman masquerading as Mars to the figure beside him 
 is by no means obvious, and he consequently presents a 
 most fatuous appearance. As other, better-executed re- 
 plicas exist, it is evident that the Capitoline group is a 
 copy, not the original. The original, if so mechanical a 
 combination may be dignified by that term, must have 
 been made in the imperial period and be due to the en- 
 couragement given by the Julian emperors to the com- 
 mon cult of Mars and Venus. It furnishes yet another 
 proof of the poverty of the artistic imagination at that 
 epoch. 
 
 Bottari , m, 20. Montagnani , i, 34. Millin , Gal. myth., PI. 43, 
 169. Hirt , Gotter und Heroen, T. v, 39. Riglietti , ii, 217. Clarac , 
 iv, PI. 634, No. 1428. Comp. Berichte der sachs. Ges. d. Wiss., 
 1861, p. 126. Frohner , Notice de la sculpture antique du Louvre, 
 
LARGE SALOON. 
 
 367 
 
 p. 161, No. 131. Eelbig , Untersuchungen iiber die camp. Wand- 
 malerei, pp. 26, 27. Bernoulli , Aphrodite, p. 163, No. 3; Romiscbe 
 Ikonograpbie , n, 2, pp. 123 , 249. Furtwaengler , Masterpieces, 
 pp. 384, 385, note 6. 
 
 503 (33). Wounded Amazon. 
 
 Presented to the Museum hy Benedict XIY. The 
 restorations include the end of the nose, part of the lower 
 lip , almost all the right arm, the left forearm, the parts 
 of the drapery drawn away from the two wounds , three 
 toes on the left foot , and the margin of the plinth. The 
 legs were broken off hut are ancient ; they seem to have 
 been slightly retouched round the joints. 
 
 A replica of this Amazon, on a gem (Fig. 23), proves 
 that the right arm has been improperly restored ; it was 
 not raised with a gesture of pain hut leaned 
 on a spear. Plastic replicas , however , in 
 which parts of the right arm are preserved, 
 indicate that the hand grasped the spear higher 
 up than the representation in the gem — 
 somewhat, perhaps, in the attitude shown in 
 Fig. 24. The restoration of the left arm is 
 correct ; the Amazon draws away her drapery ^ig. 23. 
 from her two wounds, one on the right 
 breast, the other a little lower. Our statue thus, like the 
 type of Polycleitos (No. 32), represents a wounded Amazon 
 resting after the fight. In the Capitoline example, however, 
 the motive has been represented with greater consistency 
 and pathological accuracy. It is owing to the wound on 
 the right side that the entire weight of the body is thrown 
 on the left leg, while the right hand is supported on the 
 spear ; it is on account, too, of the wound that the left 
 hand removes part of the drapery, that the right side of 
 the bust is exposed, that the head is inclined, and that the 
 features are wrung with pain. The sex of the Amazon is 
 also better indicated by the softer modelling of the flesh, 
 while the expression of mental, as well as physical, suffer- 
 ing gives it a higher spiritual interest. The relation be- 
 tween the two types is happily indicated by the remark of 
 a recent authority, that the artist of the type represented 
 
368 
 
 CAPITOLINE MUSEUM. 
 
 in the Capitoline example seems to have looked 
 at the Polycleitan type with a critical eye and to 
 have tried to avoid its defects in his reproduction. 
 This sculptor, to judge from the style of the co- 
 pies of his work, so far as their poor execution 
 permits an opinion, seems 
 to have flourished in the 
 last third of the fifth cen- 
 tury B.C. The logical 
 clearness with which he 
 has developed the princi- 
 pal motive, and the man- 
 ner in which he has em- 
 phasized the intellectual 
 element in the expression 
 are characteristic of Attic 
 art. Two Athenian sculp- 
 tors, Pheidias and Cre- 
 silas, are reported to have 
 made bronze statues of 
 Amazons; and many at- 
 tempts have been made 
 to connect this figure with 
 one or other of those 
 names. These, however, 
 have remained fruitless, 
 both because the execu- 
 tion of the replicas is too 
 mediocre to allow of any 
 thorough analysis of the 
 style of their original, 
 andbecause we know very 
 little of the artistic me- 
 thods of Cresilas. It is, 
 however, certain that the 
 original must have been 
 in bronze. The hair of the Capitoline figure is treated in 
 a manner strongly suggestive of bronze-chasing; and the 
 
LARGE SALOON. 
 
 369 
 
 same remark applies to the arrangement of the folds of 
 the drapery in other replicas, in particular in a fragment 
 at Worlitz. The name of Sosikles, engraved on the stump 
 adjoining the figure before us, may just as well be that 
 of the owner or art-dealer as of the sculptor. 
 
 Jahrbuch des deutschen Arch. Inst., i (1886), pp. 17b, 28, 29, 
 41-48. Baumeister , Denkm. d. klass. Altertbums, in, T. xlviii, 
 Fig. 1501, p. 1350. Collignon , Histoire de la sculpture grecque, 
 i, p. 504, Fig. 257, p. 505. Brunn und Bruckmann , Denkmaler, 
 No. 349. Comp. Robert , Archaeol. Marchen, pp. 109, 110. Loewy , 
 Inschriften griech. Bildhauer, No. 434. Furtwaenyler , Masterpieces, 
 pp. 132-136. 
 
 504 (30). Statue of Apollo. 
 
 Formerly in possession of Cardinal Albani (Rom. 
 Mitth., vi, 1891, p. 59, note 205). The restorations in- 
 clude the nose, the point of the chin, fragments of the 
 hanging locks , part of the neck, almost the whole right 
 arm, the left forearm with the lyre, the right leg from 
 the ankle to a little above the knee , the stump, a small 
 piece of the lower end of the quiver, and the margin of 
 the plinth. The statue has been freely worked over, the 
 front, in particular, having suffered from this cause. 
 
 The locks falling on the shoulder prove that this is 
 Apollo, not an athlete. The god here is very powerfully 
 built; the expression of displeasure, which marks the 
 parted lips , seems to indicate that he held his bent bow 
 in his left hand and was about to speed an arrow from the 
 string. The forms still show traces of the archaic style. 
 The head is closely akin to that of the type discussed under 
 No. 1028, which has been referred, not without pro- 
 bability, to a youthful work of Pheidias. 
 
 Bottari , hi, 14. Righetti , i, 194. Clarac , m, PI. 483, No. 929, 
 v, PI. 861, No. 2188. Overbeck , Kunstmythologie, iv, p. 112, No. 1, 
 p. 175, No. 5 ; Atlas, xx, 22. Comp. Ann. dell’ Inst., 1880, pp. 198 
 et seq. Athenische Mittheil ungen , ix (1884), p. 237. Roscher , 
 Lexikon der Mythologie , i, 1, p. 456. Rom. Mittheil., vi (1891), 
 pp. 302, 378, 379 (where the head is figured in T. xi, xn). Furt- 
 waengler , Masterpieces, pp. 49-55, 197, note 2. 
 
 505 (28). Statue of Harpocrates. 
 
 Found in 1741 in Hadrian’s Tiburtine villa (Berichte 
 der sachs. Gesellschaft d. Wiss., 1885, p. 16). The restor- 
 ations include some of the fingers of the left hand, the 
 lower end of the horn, and parts of the left leg and foot. 
 
 I-Ielbig, Guide I. 24 
 
370 
 
 CAP1TOLINE MUSEUM. 
 
 Harpocrates is the Greek transformation of the Egypt- 
 ian Harpechruti, i.e. Horus the Child. Egyptian art 
 represented the son of Isis and Osiris sucking his finger 
 as children often do, and the Greeks, mistaking this as a 
 gesture of silence, made Harpocrates the God of Silence. 
 This interpretation was encouraged by the mystic character 
 of the cults of Isis and Serapis, in the train of which the 
 cult of Harpocrates spread from Alexandria throughout the 
 classical world. The style of this statue indicates that it 
 cannot have been executed earlier than the reign of Ha- 
 drian. The lotus-flower on the head is an emblem that 
 plays an important part in Egyptian art. The horn in the 
 left hand seems too small for a cornucopia, and its precise 
 signification is doubtful. 
 
 Bottari , in, 74. Piranesi , Race, di statue, T. 18. Montagnani , 
 ii, 72. Righetti , i, 17. Penna , Viagg. pitt. della Villa Adriana, m, 
 67. Comp. Braun , Ruinen und Museen, p. 189, No. 53. Roscher , 
 Lexikon d. gr. und rom. Mythologie, i, p. 2747. 
 
 506 (27). Statue of a Huntsman. 
 
 Found in 1747 in the estate of Ferratella , near the 
 Porta Latina ( Ficoroni , in Fea, Miscellanea, i, p. clxiii, 
 No. 91). It belonged at one time to Cardinal Albani 
 (Romische Mitth., vi, 1891, p. 59, note 205). The restor- 
 ations include the end of the nose , almost all the left 
 arm with the spear, almost all the fingers of the right 
 hand, the hare, several branches of the pine, and most 
 of the margin of the plinth. 
 
 The attitude of this statue seems determined by an 
 archaic type of an athlete best known through a statue 
 in the Museum of Naples. The sportsman is represented 
 as raising triumphantly above his head the game he has 
 killed — not improbably a hare, as the restorer has taken 
 for granted. The ideal nudity of the body forms an un- 
 pleasant contrast to the portrait-head and to the fashion- 
 able arrangement of the hair and beard, which, like the 
 treatment of the pupils, proves that the work cannot be of 
 earlier date than the days of the Antonines. The words 
 POLYTIMUS LIB (ertus) , inscribed on the left side of 
 the plinth, probably implies that the freedman of that 
 name erected this statue of his patron. 
 
LARGE SALOON. 
 
 371 
 
 Bottari, hi, 60. Montagnani , n, 98. Righetti, i, 62. Clarac , 
 iv, PI. 740, No. 1787. Comp. Visconti, Opere varie, i, p. 83. Braun , 
 Ruinen und Museen, p. 188, No. 52. On the Naples statue: Brunn 
 und Bruckmann, Denkmaler, No. 331. Arndt , Photographische 
 Einzelaufnahmen, i, 2, p. 18. 
 
 507 (24). Statue of Hera. 
 
 Found on the Aventine in 1750. The restorations 
 include the end of the nose, almost the whole of the left 
 arm , the right arm helow the hiceps , parts of the drap- 
 ery, the entire lower part of the statue, and the plinth. 
 The line of fracture, which has been carefully obliterated, 
 runs obliquely across the thighs, just below the pelvis. 
 
 This statue seems a later development of the type 
 illustrated in the colossal figure at the Vatican, No. 297. 
 It diverges, however, from the latter in the greater softness 
 of its forms and the greater gentleness of its expression, 
 while the head, in keeping with the latter characteristic, 
 is slightly inclined to- 
 wards the left shoulder. 
 
 The holes drilled in the 
 fillet prove that the head 
 of this figure also was 
 crowned by a stephane 
 or diadem of metal. The 
 identification with Hera 
 is indicated by two re- 
 liefs over Attic inscrip- 
 tions, in which this god- 
 dess is treated in a pre- 
 cisely similar wayfFigs. 
 
 25 a, 25b). If then the 
 statue, as seems prob- 
 able, really represents 
 Hera, the restorer has 
 done right in placing a 
 sceptre in the raised left 
 hand and a cup in the 
 right hand, which is 
 lowered and held out a little. Of the two Attic inscriptions 
 above mentioned, one (Fig. 25a) dates from 01. 93, 4 
 
 24 : 
 
372 
 
 CAPITOLINE MUSEUM. 
 
 ( 405 B.C.) and the other (Fig. 25b) from 01. 95, 1 (400 
 B.C.). If we assume that the lapidaries of the relief were 
 inspired by the original of the statue before us, the latest 
 possible date for its creation would be 405 B.C. In any 
 case the conception and style of our statue point to the 
 development of Attic art towards the close of the fifth 
 
 Fig. 25b. 
 
 century , immediately following the Pheidian period. It 
 has been suggested, not without plausibility, that the 
 original may have been the statue of Hera by Alcamenes, 
 a pupil of Pheidias , which stood in the temple of that 
 goddess on the Phaleron road. This theory would receive 
 strong confirmation if we could take as proved the other 
 
LARGE SALOON. 
 
 373 
 
 hypothesis, that a certain type of Aphrodite, extant in 
 many replicas (comp. No. 915), goes hack to an original 
 by the same master ; for the head of the Capitoline statue 
 hears indeed a striking resemblance to that of this type 
 of Aphrodite. 
 
 Bottari , hi, 6. Righetti , i, 19. Montagnani , n, 69. Clarac , hi, 
 PI. 423, No. 749. Overbeck , Kunstmythologie, m, pp. 428, 446; 
 p. 461, No. 5 ; pp. 462, 463 ; Atlas, xiv, 20. Baumeister, Denkmaler 
 des kl. Altertbums , i, p. 414 , Fig. 455. Brunn und Bruckmann, 
 Denkmaler, No. 358. Roscher , Lexikon der griecb. nnd rom. Myth., 
 ii, p. 1352, Fig. 5, pp. 1353, 1354 (where the statue is identified 
 with Demeter). Comp. Rom. Mitth., iv (1889), pp. 63 et seq. Jahr- 
 buch des Arch. Inst., v (1890), p. 92. Eranos Yindobonensis (Wien, 
 1893), p. 18. Furtwaengler , Masterpieces , p. 82. The head of the 
 Capitoline statue and an example of the cognate type of Aphrodite 
 are given side by side in the Antike Denkmaler herausgegeben 
 vom Arch. Inst., i, T. 55, where also other references are given at 
 p. 45. 
 
 508 (22). Statue of an Old Woman. 
 
 This statue, formerly in the Belvedere of the Vatican , 
 was afterwards transferred to the Palazzo dei Conser- 
 vatori (Rom. Mitth., vi, 1891, p. 55). The restorations 
 include the head , the right forearm , the fingers of the 
 hand (thumb ancient), the right foot and the part of the 
 drapery that covers it, the margins of the plinth. 
 
 The old woman recoils, eithpr in terror or from an 
 actual shock, holding fast with her left hand the mantle 
 that falls over her back and left shoulder. The restorer 
 seems to have placed the head in the proper position, as 
 it is turned towards the person or object the presence of 
 which determines the attitude of the whole figure. The 
 right hand was probably open and stretched somewhat 
 towards the rear. The theory that this old woman was the 
 nurse in a group of Niobe and her children has now, 
 probably, no defenders. In a general way the motive of 
 the figure agrees with that of a female figure that has been 
 preserved to us in several replicas, which, however, repre- 
 sents, not an ugly old woman but a beautiful young one, 
 her face wrung with suffering. The view which sees in 
 this figure a daughter of Niobe has also been generally 
 abandoned. It would, however, fit in very harmoniously 
 
374 
 
 CAPITOLINE MUSEUM. 
 
 with another famous cycle of statues, which stood in the 
 colonnade of the temple of the Palatine Apollo and repre- 
 sented Danaos standing, with his naked sword, surrounded 
 by his daughters (comp. Nos. 564, 565). 
 
 De Rossi , Race, di statue, T. 25. Bottari , m, 62. Montagnani , 
 ii, 100. Righetti , i, 18. Clarac , rv, PI. 780, No. 1947. Comp. Meyer- 
 Schulze on Winckelmann , Von der Kunst der Zeichnuug der alten 
 Volker, chap. rv, §35. Welcker , Alte Denkmaler, v, pp. 88-90. 
 Stark , Niobe, pp. 291 et seq. — On the supposed Danaid : Arch. 
 Zeit., ii (1844), T. 19, pp. 306, 307. Clarac , iv, PI. 590, No. 1276. 
 Comp. Stark , loc. cit., p. 290. 
 
 509 (21). Statue of Hermes (?). 
 
 Found in 1742 at Hadrian’s Villa, near Tivoli ( Fico - 
 roni , in Fea, Miscellanea, p. cjlvi, No. 75) and presented 
 to the Museum by Benedict XIV. The restorations in- 
 clude the nose, part of the right shoulder, the right fore- 
 arm, fragments of the left hand, the foot and lower 
 part of the left leg, the end of the right toot, the rock, 
 and the plinth. 
 
 This statue represents a youth, resting his left forearm 
 on his leg, which is placed on a rock, and accompanying 
 some calm speech with a gesture of his raised right arm. 
 As Hermes is represented in a similar attitude in vase- 
 paintings of the later period, we have probably to recognize 
 in this statue Hermes Logios or Agorseos, the represent- 
 ative of eloquence. The attitude of the leg helps us to 
 assign a date to the original. Though known both in 
 painting and reliefs of an earlier period, it seems to have 
 been introduced into sculpture in the round by Scopas, 
 and did not become common in this field until the time 
 of Alexander the Great. In the forms of the head and the 
 left hand, our statue recalls the Hermes of Praxiteles 
 (comp. No. 79). The smooth execution points to the time 
 of Hadrian or the Antonines. 
 
 Bottari , nr, 61. Montagnani , ii, 99. Righetti , i, 49. Penna , 
 Viaggio pittoxico della Villa Adriana, hi, 65. Clarac , v, PL 859, 
 No. 2170. Comp. Lange , fiber das Motiv des aufgestiitzten Fusses, 
 pp. 13 et seq. Furtwaengler , Masterpieces, p. 303. 
 
 510 (20). Statue of Apollo. 
 
 Acquired under Clement XIII. The nose . the fore- 
 arms, the lower parts of the legs, the stump, and the 
 plinth have been restored. 
 
LARGE SALOON. 
 
 375 
 
 An admirable statue found in 1862 in the Theatre of 
 Dionysos, at Athens, gives us an excellent idea of the 
 original of this poorly executed figure. Apollo is repre- 
 sented with a vigorous frame, vaulted chest, muscular arms 
 and thighs, but with a comparatively small head. The 
 graceful tresses of hair are arranged as was customary 
 both in real life and in art during the archaic period. 
 The style of the work suggests the epoch immediately 
 prior to the birth of a freer school of art, and the details 
 are treated with the utmost care. The type it embodies 
 has therefore been attributed at one time to Calamis 
 and at another to Callimachos , two artists of this tran- 
 sitionary period, who, while following independent lines 
 of inspiration, agreed, according to tradition, in their 
 minute attention to details. If it be the fact, as is appar- 
 ently the case, that this is the type of Apollo stamped 
 on certain Athenian coins, the god should hold a laurel 
 twig in his lowered right hand and a bow in his left. The 
 legs in the Capitoline example have been improperly 
 restored. The Athenian statue, and three others in which 
 the legs are ancient, are in an attitude that corresponds 
 much better with the character of archaic art. The contrast 
 between the leg supporting the body and the other that 
 is free from weight is much less, sharply accentuated, and 
 the line of the lower part of the left leg approaches more 
 nearly to the perpendicular. 
 
 Bottari , in, 49. Riglietti , i, 20. Clarac , v, PI. 862, No. 2189. 
 Come, Beitrage zur Geschichte der griech. Plastik , T. vn, p. 16. 
 Comp. Journal of Hellenic Studies, i, pp. 178 et seq. Athen. Mit- 
 theilungen, ix (1884), pp. 239 et seq. Roscher , Lexikon der gr. und 
 rom. Mythologie, i, p. 456. Jahrbuch des Arch. Instituts, n (1887), 
 pp. 234, 235. Overbeclc , Kunstmythologie , iv, pp. 104 et seq. 
 (p. 105, No. 4), 163 et seq. Collignon , Histoire de la sculpture 
 grecque, i, pp. 403-406. 
 
 511 (17). Statue of a Woman, restored as Roma. 
 
 The body belongs to the statue of a woman, the type 
 of which is seen at its best in an example in the Villa 
 Albani (No. 842). The head, inserted in the opening of 
 the drapery, is ancient, but does not belong to this body ; 
 
376 
 
 CAPITOLINE MUSEUM. 
 
 its type reflects that of Polycleitos (comp. No. 58). The 
 restorer has joined the two fragments and placed a spear 
 in one hand and a Victory on the other, thus concocting 
 a Dea Roma. 
 
 Jahrbuch der Kunstsammlungen des Allerb. Kaiserhauses, xn 
 (Vienna, 1890), p. 78, Fig. 3a, 3b. 
 
 In the middle of the room, — 
 
 512, 513 (2, 4). Centaurs, by Aristeas and Papias of 
 Aphrodmas (Caria), 
 
 These two statues in dark-grey marble (bigio morato) 
 were found by Alessandro Furietti in 1736 in Hadrian’s 
 Villa, near Tivoli (Ficoroni , in Fea , Miscellanea, i, 
 p. cxxxxiv, No. 55). In 1765 they were presented to the 
 Capitoline Museum by Clement XIII. The restorations 
 in the old Centaur consist of the left eyebrow, almost 
 all the fingers of the right hand, the thumb of the left 
 hand, the middle of the right fore-leg, and various parts 
 of the hair, the beard, and the panther-skin. In the young 
 Centaur the restored parts include fragments of the hair, 
 the end of the nose, the points of the ears, both hands, 
 bits of the pedum and nebris , most of the left fore-leg 
 (hoof ancient), the right hind-leg, the tail, the syrinx, 
 most of the pine branch , and pieces of the tree-trunk. 
 The plinths of both figures are in great part modern, 
 but the inscription on that of the young Centaur is ancient 
 except a few of the letters. 
 
 An old Centaur and a young one are represented 
 standing opposite each other. Fragments left on the croups 
 of each indicate the Cupids which we know, from better 
 preserved replicas, to have been placed there. The old 
 Centaur, whose arms are hound behind his back, is tor- 
 mented by the little god of love. He bends the human 
 part of his body spasmodically backwards, looks in the 
 same direction with an expression of mingled pain and 
 wrath, and tries to lash his tormentor with his tail. 
 Our first thought, then, is that Eros was drawing too tight 
 the cords that fasten the Centaur’s arms. But a replica in 
 the Louvre, in which the arms of Eros are partly preserved, 
 shows that the god of love was lashing the sides of the 
 Centaur with a whip held in his right hand. There is no 
 
LARGE SALOON. 
 
 377 
 
 clue to the attitude of the Eros seated on the back of the 
 younger Centaur. It is clear, however, that his burden 
 causes him no inconvenience, as he caracoles gaily and 
 looks laughingly at his tormented comrade. The restorer 
 has represented him snapping the fingers of his right 
 hand ; and to this no exception need be taken. In no case 
 can he, as in the example in the Vatican (No. 167), have 
 held a piece of game in it, for the support required for this 
 would have left its traces on his side. The general idea 
 of the group apparently is that the older Centaur, whose 
 age unfits him for amorous badinage, is tortured by the pre- 
 sence of love \ while the young Centaur, on the contrary, 
 feels himself just in his element and makes merry over 
 the predicament of his venerable companion. It was quite 
 characteristic of the Hellenistic period to point a moral 
 with a sharply defined antithesis of this kind, and numer- 
 ous analogies occur in Alexandrian poetry. Besides, the 
 old Centaur, in the treatment of his head and human body, 
 reveals a close resemblance to the Laocoon (No. 153), to 
 the Giants of the Pergamenian frieze, and to the Centaur 
 of an alto-relief found at Samothrace, near the later temple 
 of the Hellenistic period and apparently itself dating from 
 that epoch. We are therefore warranted in tracing the 
 conception of the types before us to Hellenistic art. As 
 other replicas of both figures have been preserved, showing 
 a finer artistic sense, we may also conclude that the Capi- 
 toline examples are not original works. Aristeas and 
 Papias of Aphrodisias, whose names appear on the plinths, 
 were evidently merely the copyists, as the attempt to make 
 them out to be the original sculptors is met by the diffi- 
 culty that, so far as we know, no school of sculpture 
 existed at Aphrodisias before the second century of the 
 present era. The place in which the two figures were 
 found, the forms of the characters of the inscription, and 
 the style of the execution all point to the time of Hadrian. 
 Aristeas and Papias evidently did their utmost to treat 
 the refractory dark-grey marble as if it were bronze. This 
 is especially noticeable in the loose flowing locks of the 
 
378 
 
 CAPITOLINE MUSEUM. 
 
 two heads, which look as if they had been cast, and in the 
 short hairs on the breast and on the equine part of the 
 bodies, which look as if they had been chased. But this 
 attempt to do violence to the material in which they 
 wrought was a fatal mistake of the two sculptors, in spite 
 of their great technical skill. The imitation of chasing 
 produces a dry effect and seems to cut into the skin; the 
 muscles look like artificial stuffing, quite destitute of 
 organic life. In view of the pretentious way in which 
 they reproduced their model, it need not astonish us that 
 Aristeas and Papias were proud of their work and did not 
 shrink from inscribing their names on the plinths. 
 
 Clarac , iv, PI. 739, No. 1781 , PI. 740, No. 1780. — On the 
 younger Centaur: Muller- Wieseler , Denkmaler d. alten Kunst, ii, 
 47, 598. Baumeister , Denkmaler des kl. Altertliums, i, p. 127, 
 Fig. 132. Roscher , Lexikon d. griech. und rom. Mythologie, ii, 
 p. 1053, No. 6. Other references in Loewy , Inschriften griech. 
 Bildhauer, No. 369. Comp. Friederichs-Wolters , Bausteine, No. 1421. 
 Roscher , Lexikon, ii, pp. 1051, 1052, 1054, 1078. ■ — On the older 
 Centaur : Jahrbiicher des Yereins von Alterthumsfreunden im Rhein- 
 land, lxxxxii (1892) , PI. vi , pp. 54 et seq. — On the statue in 
 the Louvre: Frohner , Notice de la sculpture antique du Louvre, i, 
 No. 299. — On the relief of Samothrace: Conze , Untersuchungen 
 auf Samothrake, i, T. 52, pp. 23, 27, 28. 
 
 514 (3). The Boy Hercules, statue in green basalt. 
 
 Found about 1590 on the Aventine, opposite Monte 
 Testaccio, in the vineyard of a Monsignore dei Massimi, 
 who sold it to the Municipality for 1000 ducats (Rom. 
 Mitth., vi, 1891, p. 46). The restorations include apiece 
 of the upper half of the right arm, the left hand with 
 the apples , the hanging part of the lion-skin (claws an- 
 cient), and the margin of the plinth. 
 
 This figure furnishes another and a flagrant proof of 
 the disastrous influence exercised on the plastic art of 
 the imperial period by the growing taste for costly mater- 
 ials in statues. It is carved in touchstone, or green 
 basalt, a stone which is seldom found in blocks of any 
 size. The idea of making a colossal statue of a child is 
 itself a monstrous one. In the present case the monstros- 
 ity is exaggerated by the difficulty of reproducing the 
 tender forms of infancy in so refractory a material, while 
 
LARGE SALOON. 
 
 379 
 
 the colossal dimensions emphasize this difficulty in the 
 most glaring manner. The body appears simply fat; the 
 expression is a grimace rather than a smile. An attempt 
 has been made to justify the sculptor by the pretence 
 that his object was to resolve a kind of physiological 
 problem by suggesting to the beholder that this awkward 
 boy would develop into the noblest of the heroes. This 
 attempt, however, is futile; the statue is and remains an 
 uncouth lump of a boy, giving no hint of his future devel- 
 opment. Of the club in the right hand, the handle alone 
 was of stone; the rest was added in bronze. Comp. 
 No. 583. 
 
 Be Rossi , Race, di statue, T. 19. Bottari , iii, 26. Montagnani , 
 i, 40. Millin , Gal. myth., PI. 123, 482**. Righetti , i, 59. Clarac , 
 v, Pl. 781, No. 1956. Comp. Braun , Rumen und Museen, p. 184, 
 No. 50. 
 
 Below No. 514, — 
 
 515. Base, with Reliefs from the Myth of Zeus. 
 
 Formerly in the Yilla Savelli-Paolucci , at Albano , and 
 
 presented to the Museum by Benedict XIV. in 1753. 
 
 The reliefs on this base portray the life of Zeus from 
 his birth to his recognition as the supreme deity of 
 Olympos. Nothing is left on ‘the face on which the 
 series seems to have begun except a female figure, sit- 
 ting on the ground. This is generally supposed to be 
 Rhea, just before the birth of her august son. The next 
 face represents Rhea in the act of handing to Cronos the 
 stone, wrapped up in a cloth, which he devours in the 
 belief that it is the infant Zeus. On the third side we 
 see Zeus suckled by the goat Amalthaea and attended by 
 two Corybantes, who strike their shields with their swords 
 to prevent the cry of the infant reaching the ears of 
 Cronos. The seated female figure, wearing a mural 
 crown, probably personifies the island of Crete, with its 
 numerous towns. On the fourth face Zeus, holding 
 sceptre and thunderbolt, appears seated on a throne, 
 below which is a globe, symbol of universal domination. 
 
380 
 
 CAPITOL1NE MUSEUM. 
 
 The other gods stand around him. Pallas is nearest to 
 him, while opposite are Hera and Apollo, the last simil- 
 ar in type of head and arrangement of hair to the statue, 
 No. 510 (20), in this room. Behind the Father of the 
 Gods stands Hermes, above whom is the head of He- 
 pheestos, recognizable by the pileus (comp. No. 89). 
 These reliefs, particularly that of the assembled gods, 
 clearly reveal the artist’s desire to follow the severe 
 style of art both in the choice of types and in the design 
 and forms of the figures. This attempt, however, has 
 not been consistently carried out ; thus Hermes appears 
 with the wallet, an attribute first assigned to him in 
 Grse co-Ro man art. 
 
 Foggini , Mus. Cap., iv, 5-8. Muller -Wieseler, Denkm. d. alten 
 Kunst, ii, 62, 803-805. Overbeck, Kunstmytliologie, ii, pp. 170 0, 
 175 et seq. , p. 325, No. 2, p. 326, No. 4, p. 328, No. 9, in, p. 129 E ; 
 Atlas, hi, 23, 24, iv, 1. Baumeister, Denkinaler des kl. Alterthums, 
 ii, p. 798, Fig. 861, 862, m, p. 2134, Fig. 2391, p. 2139, Fig. 2142, 
 — For the Cronos and Rhea relief , see also Roscher, Lexikon, ii, 
 p. 1564, Fig. 14 (comp. Archaeol.-epigr. Mittheil. aus Osterreich, 
 xvi, 1893, pp. 74, 75). For other references, see Friederichs-Wol- 
 ters , Bausteine, No. 2142. 
 
 Room of the Faun. 
 
 516 (18). Sarcophagus with Beliefs of Amazons. 
 
 Found in 1744 on the estate of Salona, outside the 
 Porta Salara, and presented to the Museum hy Bene- 
 dict XIV. 
 
 The groups of reliefs, which appear on this and si- 
 milar sarcophagi, seem to have been inspired by one or 
 several works of art of which the subject was the con- 
 tests of the Athenians with the invading Amazons. The 
 groups, however, have been treated mainly in a decora- 
 tive manner; and the stonecutters, by failing to distin- 
 guish Theseus, Peirithoos, or Antiope, deprive the re- 
 liefs of their specifically Attic character. The decoration 
 of the principal face is divided into three groups. In the 
 middle lies a dead Amazon; her riderless steed is seized 
 by an Athenian warrior, who is himself menaced by 
 
ROOM OF THE FAUN. 
 
 381 
 
 another Amazon with a double-edged axe. As the same 
 representation, minus the dead Amazon, occurs in other 
 sarcophagus-reliefs and turned in the opposite direction, 
 we may assume that the composition is borrowed from a 
 group in the round. To the left of the central scene is 
 an Amazon seated on a rearing horse ; a youthful warrior 
 has seized her by the hair with his right hand, while a 
 second Amazon tries to rescue her companion. The re- 
 lief to the right of the main scene depicts a mounted 
 Amazon, striking with her battle-axe at an unhorsed 
 opponent, in whose behalf another warrior intervenes. 
 Farther to the right is an Amazon, with a spear in one 
 hand and an axe in the other, making her escape over 
 the dead body of an Athenian. At each corner is repre- 
 sente d a Victory, the one to the left holding a trophy, 
 that to the right a garland. The object on the point of 
 the trophy is not a scalp but a helmet in the shape of a 
 head covered with hair — a form of helmet extant in 
 several examples in bronze. The representation of the 
 battle is continued by the reliefs at each end of the 
 sarcophagus. The reliefs on the lid show Amazons, some 
 of whom are fettered, seated on the ground in mourning 
 attitudes, while arms of various kinds are placed between 
 them. The execution of all these reliefs is very careful. 
 The boldness with which those of the principal face of 
 the sarcophagus stand out from the background show that 
 the sculptor was a master of the technical side of his art. 
 
 Robert , Die antiken Sarkophagreliefs, 11 , T. 32, 77-77b, pp. 91 
 et seq. Corap. pp. 76 et seq. 
 
 On this sarcophagus, — 
 
 517 (21). Head of Ariadne. 
 
 The nose , the upper lip , and the bust have been 
 restored. 
 
 The garland of ivy proves that we have here to do 
 with a woman belonging to the Bacchic cycle; but the 
 expression of the beautiful face seems too calm and noble 
 for that of an ordinary Bacchante. In all probability, 
 
382 
 
 CAPITOLINE MUSEUM. 
 
 therefore, it represents Ariadne, the most distinguished 
 woman associated with the Bacchic cult. The head pre- 
 serves various traces of its original colouring. It is 
 obvious that the parts of the marble representing flesh 
 have been treated with some kind of acid, while the 
 rough surface of the hair probably indicates that it was 
 gilded. In this case the ivy-wreath also was doubtless 
 coloured in more or less close imitation of nature. The 
 eyes were made of precious stones or vitreous paste; and 
 it is easy to imagine how their brilliancy would enhance 
 the expression of sweet reverie. 
 
 Braun, Rumen und Museen, p. 195, No. 59. 
 
 518 (16). Boy struggling with a Goose, probably after 
 Boethos. 
 
 Found in 1741 in the street leading from the Lateran 
 to S. Croce in Gerusalemme ( Ficoroni , in Fea, Miscel- 
 lanea, i, p. clii, No. 71). The restorations include part 
 of the hoy’s right forearm and almost all the left leg, 
 though the foot, except the toes , is ancient. The head 
 of the goose and the adjacent part of its neck are also 
 modern. 
 
 A sturdy boy is here represented, standing with his 
 legs parted and his body bent back, while he grasps with 
 both hands the neck of a goose. The unhappy bird strug- 
 gles violently to free itself, obtaining a good purchase by 
 pressing its bulky body against the ground. The group 
 is admirably compact, and the still undecided contest is 
 depicted with great vraisemblance and humour. The 
 eager and determined expression of the boy is especially 
 delicious. The group, of which several replicas are ex- 
 tant, seems to have served as the decoration of a foun- 
 xain. It is generally accepted as a reproduction of a 
 group by Boethos, mentioned by Pliny (Nat. Hist., 34, 84). 
 An attempt has been made to identify this Boethos with 
 a sculptor of the same name, who, as an inscription 
 found in the island of Delos informs us, executed a 
 statue of King Antiochos IV. Epiphanes (175-164 B.C.). 
 We must not, however, too hastily accept the theory that 
 
ROOM OF THE FAUN. 
 
 383 
 
 the original of the group before us was sculptured by an 
 artist who flourished in the second quarter of the second 
 century B.C. The type reproduced by this group was 
 already known to Herondas, the mimographist, who is 
 generally believed to have been a contemporary of 
 Ptolemy Euergetes (246-221 B.C.). If, therefore, the 
 sculptors of the two works are one and the same person, 
 we have to assume that he attained a great age, and exe- 
 cuted the Boy with the Goose in his youth and the statue 
 of the Syrian king when a very old man. 
 
 Bottari, Mus. Cap., hi, 64. Montagnani , n, 102. Righetti, i, 
 37. Clarac, v, PI. 874C, No. 2227A. Comp. Visconti, Opere varie, iv, 
 pp. 166-168, 396. Brunn , Besckreikung der Glyptotkek, No. 140. 
 Overheck , Gesckickte der grieck. Plastik , n 4 , pp. 181 , 182, 185, 
 186 , notes 7-9. Loewy , Lysipp und seine Stellung in der grieck. 
 Plastik, p. 29. Otker references in Friederichs-W otters, Bausteine, 
 No. 1586. On tke Delian inscription: Loewy, Insckriften grieck. 
 Bildkauer, Nos. 210, 521. Tke passage in Herondas: Herondae 
 mimiamki, ed. Bueckeler, iv, 30. 
 
 519 (8). Boy with a Mask of Silenus. 
 
 Placed in tke Museum under Clement XII. Tke 
 restorations include nearly tke wkole face of tke koy, 
 from a little kelow tke eyes downwards ; tke rigkt kand, 
 witk tke lock of tke keard of tke mask keld ky it; and 
 tke lower parts of tke legs. 
 
 A small hoy amuses himself hy putting on a Silenus 
 mask, which is nearly one-third as big as he is. His 
 delight in this prank and his difficulty in managing the 
 unwieldy mask are depicted with the most charming 
 drollery. The mask, representing a morose old man, 
 forms a highly piquant contrast to the laughing face of 
 the boy. The execution is excellent. 
 
 Ficoroni, De larvis scenicis, T. 73. Bottari, m, 40. Montag- 
 nani, i, 48. Righetti, i, 90. Clarac , in, PI. 540, No. 1134. Comp. 
 Braun , Ruinen und Museen, p. 191, No. 55. 
 
 In the middle of the room, — 
 
 520. Satyr in rosso antico. 
 
 Found ky Furietti in 1736 , in Hadrian’s Tikurtine 
 villa ( Ficoroni , in Fea, Miscellanea, i, p. cxliv, No. 55), 
 
384 
 
 CAPITOLINE MUSEUM. 
 
 and presented to the Museum by Benedict XIV. ten years 
 later. The restorations include the point of the nose, the 
 end of the chin, fragments of the hair, the right arm and 
 bunch of grapes , the left hand and pedum, the hanging 
 part of the goat-skin, the legs (part of the feet ancient), 
 the stump and syrinx , parts of the plinth, and the head, 
 hind-legs, and left fore-leg of the goat. 
 
 This type has already been discussed in connection 
 with the replica in the Vatican (see No. 253). 
 
 Bottari , in, 34. Montagnani , i, 58. Perma, Viagg. pitt. della 
 Villa Adriana, in, 59. The remainder of the bibliography is collected 
 in Friederichs- Wolters , Bausteine, No. 1500. 
 
 Below this statue, — 
 
 521. Base dedicated to Jupiter Sol Serapis. 
 
 Found in 1745 on the Via Appia, near the church of 
 S. Sebastiano ( Ficoroni , in Fea , Miscellanea, i, p. clxii, 
 No. 90), and presented to the Museum by Benedict XIV. 
 The following restorations have been made in the reliefs 
 of this base. Right Side : the helmet placed upon the 
 Tropseum, the left hand of the Victory, the head of the 
 Roma, nearly the whole of her right leg, her left hand, 
 and the upper part of her spear. Left Side : right hand 
 and right leg of the priest, part of the right arm of Orfl- 
 tus, with the cup, and the left fore-leg of the bull. Back : 
 right forearm and left shoulder of Gaea; muzzle, right 
 fore-leg, and parts of the hind-legs of the bull ; the lower 
 part of the face and part of the right arm of the figure 
 on the bull. 
 
 According to the inscription, this base bore some 
 object dedicated to Jupiter Optimus Maximus Sol 
 Serapis (comp. No. 304) by the augur Scipio Orfitus, in 
 fulfilment of a vow. This vow obviously concerned some 
 military event, the success of which satisfied the wishes 
 of Orfitus, as the right face of the base exhibits a *Tro- 
 paeum’, supported by a Victory and the Dea Roma. The 
 relief on the left face represents the sacrifice offered in 
 accomplishment of the vow. A priest stands before a 
 bull, the muzzle of which he seizes with his right hand. 
 Facing him is a man, presumably Orfitus, with his toga 
 drawn over the back of his head, stretching out his right 
 arm towards the head of the bull. The restorer has 
 
ROOM OF THE GLADIATOR. 
 
 385 
 
 placed a cup in his right hand, hut this restoration is 
 doubtful. The background of the relief on the rear of 
 the base is occupied by a city-wall, strengthened with 
 towers. In front of the gate lies Gaea, the personification 
 of the earth (comp. No. 5). Towards her rushes a bull, 
 bearing on its back a man in armour, with a cornucopia 
 in his left hand and a laurel twig in his right. This last 
 figure would seem to be the emperor, under whose 
 auspices Orfitus offers his sacrifice, and the fact that he 
 is mounted on a bull indicates that he is to be regarded 
 as the new Serapis. The face, however, is so badly 
 preserved that it cannot be identified with any known 
 portrait of an emperor. Some have supposed that the 
 augur Scipio Orfitus who erected this base is identical 
 with the augur of the same name who, according to the 
 inscription on another base found in the same place 
 (Corpus inscr. lat. VI, 1, No. 505), celebrated the Tauro- 
 bolia in 295 A.D. This hypothesis must, however, be 
 rejected, as the style of the reliefs shows that they cannot 
 be later than the beginning of the third century. We 
 know that Caracalla (211-217 A.D.) specially affected the 
 worship of Serapis, and hence we may, perhaps, recog- 
 nise this emperor in the man riding on the bull. 
 
 Foggini , Mus. Cap., iv, 64-67. Righetti , i, 99. Corpus inscr. 
 lat., vi, 1, No. 402. — As to Helios-Serapis : Roscher , Lexikon der 
 gr. und rom. Myth., i, p. 2026. — On Caracalla’ s worship, see Rhein- 
 isches Museum (new series), xlix (1894), pp. 394-396. 
 
 Room of the Gladiator. 
 
 522 (16). Bust of Marcus Junius Brutus (?). 
 
 The end of the nose, two fragments on the forehead, 
 and another on the left cheek are restorations. 
 
 The identification of this bust is rendered probable, 
 though not absolutely certain, by its resemblance to coin- 
 portraits of Brutus. We also recognize in it the tra- 
 ditional characteristics of Caesar’s murderer; a somewhat 
 limited intelligence, a tendency to gloomy dreaming, and 
 a hardness bordering on cruelty. 
 
 Helbig, Guide I. 
 
 25 
 
386 
 
 CAPITOLINE MUSEUM. 
 
 Bernoulli , Rom. Ikonogr., i, T. xix, pp. 191 et seq. To the 
 bibliography given hy this author must he added: Visconti , Opere 
 varie, iv, p. 321, No. 89, Friederichs-Wolters , Bausteine, No. 1636, 
 and Baumeister , Denkm. des kl. Alterthums, i, p. 361, Fig. 390. 
 
 523 (14). Figure of a Girl. 
 
 Found in 1743 in Hadrian’s Villa, near Tivoli ( Fico - 
 roni, in Fea, Miscellanea, p. clix, No. 84), and presented 
 to the Museum by Benedict XIV. The restorations in- 
 clude the left hand and nosegay, parts of the fingers of 
 the right hand, and the plinth. The head, which has been 
 broken off and reunited with the body, seems to be the 
 original. The back hair and its ribbons are modern. 
 
 This is generally described as a Flora, but is in all 
 probability a mere genre-figure. The technical skill with 
 which the drapery is handled points to a sculptor of the 
 Hadrian epoch. The mantle, falling in heavy, sharply 
 defined folds, is evidently meant to represent some such 
 stiff material as thick satin. It forms a marked contrast 
 to the chiton, which is of a much thinner and more flexible 
 texture. Even so, however, it hinders the forms of the 
 body from having their full value. 
 
 Bottari , hi, 45. Piranesi , Race, di statue, T. 10. Visconti , 
 Opere varie, iv, 15, pp. 101-104, 306, No. 61. Bouillon, Mus6e 
 des antiques, i, 51. Montagnani , n, 88. Righetti , i, 4. Guigniaut , 
 Rel. del’ant., PI. 101, 599c. Clarac , hi, PI. 439, No. 775A. Brunn 
 und Bruckmann , Denkmaler, No. 227. Comp. Visconti , Mus. Pio- 
 Clem. , I, pp. 149, 150, 154. Braun, Ruinen und Museen, p. 199, 
 No. 62. Bayerische Sitzungsberichte (philol.-histor. Classe), 1892, 
 p. 658. 
 
 524 (12). So-called Antinoos. 
 
 This statue was found in 1738, during the excavations 
 carried on in Hadrian’s Tiburtine villa by Cardinal 
 Albani, who transferred his right to it to Pope Cle- 
 ment XII (Rom. Mitth., vi, 1891 , p. 59). The restora- 
 tions include the forearms , the right foot , the left foot 
 and lower part of the left leg, the stump, and the plinth. 
 The right hand is ancient, with the exception of the 
 thumb, forefinger, and lower end of the attribute. 
 
 This statue represents a somewhat melancholy-looking 
 youth, gazing on the ground and holding in his right hand 
 an attribute, which, as appears from the upper end of it 
 
ROOM OF THE GLADIATOR. 387 
 
 that has been preserved, seems to have been a slender stick 
 of some kind. The usual appellation of Antinous conflicts 
 with the fact that neither in face nor form does the statue 
 show the characteristics of Hadrian’s favourite. This 
 consideration is all the weightier that the statue was 
 found in Hadrian’s Villa, as it may be assumed that the 
 emperor would wish the features of a portrait in a statue 
 he was to see so frequently. Some, however, have argued 
 that Antinous is here represented in the character of Her- 
 mes, holding an inverted caduceus in his right hand, and 
 that consequently the sculptor has purposely tried to re- 
 present him with the features of the messenger of the 
 gods. This view, however, finds absolutely no support in 
 the statues in which we know that the youth was repre- 
 sented as a god (see, e. g ., No. 295). In all these cases 
 the individual type of Antinous is preserved, and his role 
 of god is simply indicated by the appropriate attributes. 
 Another theory supposes that this is a statue of Hermes, 
 with inverted caduceus, conducting a departed soul to 
 Hades; and this motive might very well have been used 
 for a statue intended to ornament a tomb. No ancient 
 sculptor, however, would have ventured to portray Hermes 
 with forms so essentially unlike those of the traditional 
 types of this deity. It is much ihore likely, to judge both 
 from the forms and the expression, that we have before 
 us an ideal type created by Hellenistic art. The clue to 
 the type represented would have been offered by the 
 attribute in the right hand. Of this, however, nothing 
 remains except the upper end, to which the lower part 
 of the attribute, evidently made of bronze, was attached. 
 Excluding the possibility of its being a caduceus, we 
 might suppose that it was a branch of a tree. A more 
 probable explanation, however, having regard to the position 
 of the right arm and the direction of the gaze, is that it 
 was a fishing-rod. The figure would in that case form a 
 very suitable decoration for the basin of, a fountain. Here, 
 however, a farther question suggests itself : was the statue 
 merely a genre-figure, or did it represent some mytholo- 
 
 26* 
 
388 
 
 CAPITOLINE MUSEUM. 
 
 gical character? If the latter, we might take it for a 
 Narcissos, as it is by no means impossible that the poetry 
 of Alexandria, which treated mythological materials with 
 great freedom, invented a version of the legend in which 
 the beautiful youth fell in love with his reflection while 
 fishing. The elegant but lifeless handling of the nude 
 points to a sculptor of the time of Hadrian. 
 
 Bottari , in, 56. Levezow , Antinous, T. ni, iv, p. 58. Pennor, 
 Viagg. pitt. della Villa Adriana, in, 54. Clarac , v, PI. 947, No. 2426. 
 Dietrichson , Antinoos, T. iv, 9, pp. 145 et seq., p. 182, No. 17. Comp. 
 Visconti , Opere varie, rv, p. 327, No. 98. Wieseler, Narkissos, pp. 48- 
 59. Welcker , Alte Denkmaler, v, pp. 90, 91. Furtwaengler , Master- 
 pieces, p. 353, note 5 (where the statue is pronounced an Anti- 
 noos-Hermes connected with the art of Euphranor). For other re- 
 ferences, see Friederichs-Woltcrs, Bausteine, No. 1659. 
 
 525 (10). Resting Satyr, probable after Praxiteles. 
 
 Nibhy (Descrizione della Villa Adriana, p. 11) record 
 that this statue was found in Hadrian’s Villa, near Tivoli* 
 It was formerly kept in the Villa d’Este , and was incor- 
 porated in the Capitoline collections by Benedict XIV. 
 in 1753. The restorations include the nose, the right 
 forearm and flute , the left arm (except the upper part 
 and the thumb and forefinger on the panther-skin), parts 
 of the panther-skin, the right foot, fragments of the toes 
 of the left foot and of the plinth. In placing a flute in the 
 right hand the restorer seems justified by other replicas 
 
 The Satyr, who has just ceased playing the flute, now 
 resigns himself to the dreamy mood awakened by the 
 music. His attitude is full of grace and charm. He leans 
 with his right arm on the stump of a tree; his right leg, 
 thus freed from the weight of the body, is drawn back so 
 that its toe touches his left heel. His left hand rests lightly 
 on his hip, pushing back the panther-skin that falls over 
 his breast. Like most of the Satyr-types created in the 
 fourth century B.C. (comp. No. 881), the figure before us 
 is of a somewhat elevated character, revealing the animal 
 nature almost solely in the pointed ears. The mischievous 
 and sensual nature popularly attributed to the Satyrs is 
 not, indeed entirely effaced, but it is only very slightly 
 indicated. The fine, rather flat nose, the hair pushed back 
 
ROOM OF THE GLADIATOR. 
 
 389 
 
 from the forehead, and the roguish expression that plays 
 round the parted lips show that our Satyr could be 
 mischievous when it suited him, while the languishing 
 glance indicates that the sensual instinct might be awakened 
 without difficulty. The delicate forms of the body show 
 no trace of assiduous activity or gymnastic exercises, but 
 seem to have attained their striking perfection ‘by the free 
 grace of nature’ (Brunn). As no ancient statue is extant 
 in so many replicas as this one, it used to be assumed that 
 its original was the famous Periboetos of Praxiteles. This 
 idea, however, conflicts with the fact that the Periboetos 
 was represented in a group, along with Dionysos and 
 Methe, the personification of drunkenness, while it is 
 obvious that the figure before us was intended to stand by 
 itself. Equally unsatisfactory seems the recent hypothesis 
 that the type was inspired by a painting of Protogenes 
 (second half of the fourth century), representing a resting 
 Satyr with a flute in his hand. In any case it is certain 
 that our statue, both in conception and pose (comp. 
 Nos. 194, 749), possesses the distinctive characteristics 
 of Praxitelian art. This is particularly striking when we 
 regard the best replica, a torso found on the Palatine and 
 now in the Louvre, in which the treatment of the nude 
 shows a strong resemblance to that of the Hermes of 
 Praxiteles discovered at Olympia (comp. No. 79). It is 
 thus very probable that the original of this work was, not 
 the Periboetos, but another Satyr by Praxiteles. The 
 Capitoline example is executed in the decorative style of 
 the time of Hadrian. Traces of brown colouring still 
 remain on the outside of the panther-skin. 
 
 Bottari , in, 32. Bouillon , Musee des antiques, i, 55. Righetti, 
 i, 105. Penna, Viagg. pitt. della Villa Adriana, in, 40. Muller- 
 Wieseler , Denkm. d. alten Kunst, i, 35, 143. Overbeck , Geschichte 
 der gr. Plastik , n 4 , p. 58, Fig. 157, p. 77, note 59 (where the re- 
 maining bibliography is collected). Baumeister , Denkm. des kl. 
 Alterthums, m, p. 1398, Fig. 1648. Comp., especially, Brann, Be- 
 schreibung der Glyptothek, No. 105. Arch. Zeitung, xliii (1885), 
 pp. 82-85. Friederichs - Wolters , Bausteine, No. 1216. Amelung , 
 Florentiner Antiken, pp. 18-20. Furtwaengler , Masterpieces, pp. 329 
 et seq. 
 
390 CAPITOLINE MUSEUM. 
 
 526 (9). Girl with a Bird. 
 
 This statue is, perhaps , the same as the ‘Dirce colla 
 colomha’ cited among the antiquities transported from 
 the Vatican to the Capitol under Pius V. or Gregory XIJI. 
 (Rom. Mitth., yi, p. 39, No. 8G). The end of the nose, 
 the right arm, the bird’s head, and the upper part and 
 tail of the serpent have been restored. 
 
 A girl presses a bird to her breast with her left hand, 
 to protect it from a snake uprearing itself by her side. As 
 the face does not express terror but rather a mixture of 
 pouting and teasing, it has been supposed that the place 
 of the serpent should be taken by a tame cat. Most of 
 the snake is, however, undoubtedly ancient; and we know 
 that tame snakes were common enough in Roman houses 
 not to be objects of alarm. It would have been impossible 
 for the sculptor to introduce a cat into a genre scene of 
 this description, since that animal did not figure among 
 the household pets of classical antiquity. 
 
 Bottari , in, 63. Montagnani , n, 101. Righetti , i, 38. Chirac, 
 v, PI. 877, No. 2235. Comp. Welcker , Alte Denkm'aler, v, p. 90. 
 Braun , Ruinen und Museen, p. 197, No. 60. On serpents in do- 
 mestication, see Welclcer , op. cit., n, pp. 264-266. Roscher , Lexi- 
 con der Myth., i, 2, p. 2469. On the cat, see Hehn , Kullurpflanzen 
 und Hausthiere, 4th edit., pp. 374 et seq. Friederichs-Wolters , Bau- 
 steine, No. 1012. Bull, de l’acad. des inscr. et belles-lettres, xvm 
 (1890), p. 322. 
 
 527 (8). So-called Statue of Zeno the Stoic. 
 
 Found in 1701 in the so-called Villa of the Antonines 
 at Civita Lavinia (Lanuvium). Comp. Ficoroni , in Fea , 
 Miscellanea, i, p. cxx, No. 6. The nose, almost all the 
 right arm, the feet, and the plinth have been restored. 
 
 The usual appellation of this statue depends on the 
 very dubious assumption that the villa in which it was 
 found belonged for a time to the Emperor Marcus Aure- 
 lius, a zealous disciple of Stoicism. It requires no elaborate 
 refutation since a portrait of Zeno has been recognized in 
 a bust in the Museum of Naples, authenticated by an 
 inscription (comp. No. 287). The statue of the Capitol re- 
 presents a personality in strong contrast with the bust at 
 Naples. We see here a thickset man, with coarse features, 
 
ROOM OF THE GLADIATOR. 
 
 391 
 
 short neck, and well-developed chest. The rigid attitude 
 and the facial expression seem, as it were, to invite dis- 
 cussion and make us feel that nothing would give the man 
 greater pleasure than to express his opinions in a hectoring 
 and domineering manner. This statue is ‘a true specimen 
 of the Greek characteristic, which knew how to transform 
 the entire man into character’ (Burckhardt). In fact the 
 harmony obtaining between the conception and the form 
 is so striking, that nothing prevents us from seeing in this 
 statue a Greek original. The vigorous realism, such as is 
 seen, for instance, in the characteristic rendering of the 
 swollen veins of the left hand, indicates the Hellenistic 
 period. Another indication of a Hellenistic origin is seen 
 in the light strokes of the chisel applied to the mantle to 
 represent the horizontal lines made in it when lying folded 
 up in the closet. This latter trace of realism is encoun- 
 tered for the first time in two statues of the Second Attic 
 School, the Maussollos and the Artemisia of the Maussol- 
 leum of Halicarnassos. It was chiefly used by the Helle- 
 nistic sculptors , as may be seen by a reference to the 
 Giants of the Pergamenian frieze. 
 
 Bottari , i, 90. Piranesi ,- Race, di statue, T. 15.' Montagnani, 
 ii, 96. Righttti , i, 14. Clarac , v, PI. 843, No. 2123. Comp. Vis- 
 conti , Operevarie, iy, p. 310, No. 71. Burckhardt, Der Cicerone, 
 i 5 , p. 153b. Jahrbuch des Arch. Inst., v (1890) ; Archaol. Anzeiger, 
 p. 55. — As to the folds in Pergamenian art, see Jahrbuch der 
 preuss. Kunstsammlungen, v (1884), p. 238. — On a similar statue 
 at Munich: Brunn , Beschreibung der Glyptothek, No. 163. 
 
 528 (6). Statue of a Woman bearing a Vase. 
 
 Found, according to Pirro Ligorio, in the so-called 
 palaestra of Hadrian’s Villa at Tivoli, taken at first to the 
 Villa d’Este, and given to the Museum in 1753 by Bene- 
 dict XIV. The restorations include the lid of the vase 
 and the part of the figure beneath a line crossing a little 
 below the knees. The head (nose and part of the hair 
 above the forehead restored) is ancient but probably does 
 not belong to this statue. It is of fine-grained Grechetto, 
 whereas the body is of Pentelic marble. 
 
 The solemn attitude and the care with which the wo- 
 man carries the vase, not daring to touch it with her bare 
 
392 
 
 CAPITOLINE MUSEUM. 
 
 fingers but only with her hands wrapped in her mantle, 
 show that either the vase itself or its contents are very 
 precious or very sacred. The statue has therefore been 
 taken for Psyche, bearing to Aphrodite the water drawn 
 from the Cocytos or for Pandora, with her mysterious 
 casket; or for one of the Danaides. It seems most probable, 
 however, that the figure represents a girl carrying a vase 
 necessary for some religious ceremonial, and that it stood, 
 perhaps with other figures of the same kind, near a sanc- 
 tuary. It has been alleged that a leaden pipe passed from 
 the vase through the figure, coming out at the back at the 
 point where a piece of marble has been added by the 
 restorer. The restoration of the statue has, however, made 
 it impracticable to test the truth of this assertion. The 
 deduction that it was a fountain-figure at once suggests 
 the difficulty that the contrast between the colossal figure 
 and the comparatively small vessel from which the jet of 
 water issued must have been very inharmonious. It is 
 hard to attribute such an ensemble to ancient art, which 
 was especially happy in its treatment of fountain-figures 
 (comp. Nos. 346, 350). It is, therefore, not unlikely that 
 the opening in the back served for an iron rod fastening 
 the figure to a wall (comp. No. 5). 
 
 De Cavaleriis , Antiquse statuae urbis Romse , T. 43. Bottari , 
 in, 23. Visconti , Opere varie , iv, 27, pp. 193-196, 324, No. 94. 
 Montagnani , ii, 71. Righetti , i, 58. Penna, Viagg. pitt. della Villa 
 Adriana, in, 21. Comp. Winckelmann , Monumenti ant. ined., i, 
 p. 64. Braun , Ruinen und Museen, p. 198, No. 61. Arch. Zeitung. 
 xxii (1864), pp. 202*, 204*. 
 
 529 (5). Head of Dionysos. 
 
 The end of the nose, the bust, and the lower lip have 
 been restored. 
 
 This head was formerly supposed to be that of a woman 
 and identified with Ariadne. This interpretation is, 
 however, rendered untenable by the fact that the head of 
 a statue of Dionysos in the Hermitage at St. Petersburg 
 (No. 156 in that collection) agrees in all essentials with 
 the Capitoline example. We have, then, to do with a 
 
ROOM OF THE GLADIATOR. 
 
 393 
 
 representation of Dionysos. It is well known that Praxite- 
 les was the first to create an exhaustive ideal of this god. 
 This ideal was farther developed by later schools of art, 
 with a constantly growing tendency to represent the young 
 god in the .most delicate aspect and to make his forms 
 soft and even feminine. The Capitoline example belongs 
 to an advanced stage of this development. It resembles 
 the type of Praxiteles only in its general outlines ; the 
 severe style of the Second Attic School has given place to 
 a realistic treatment of the flesh and hair such as did not 
 come into vogue before the time of Alexander the Great. 
 The face is of the most delicate beauty and expresses in 
 the clearest way the tendency of Dionysos to indulge in 
 sweet and dreamy reverie. The neck is wholly feminine 
 in its forms. The locks of hair that enframed the face are 
 unfortunately nearly all broken off. In their original 
 fulness they formed an appropriate background for the fine 
 oval of the face. 
 
 Muller- Wieseler, Denkm. d. alten Kunst, 11, 33, 375. Bau- 
 meister , Denkm. d. kl. Altertkums, i, p. 435, Fig. 484. Jahrbuch 
 der Kuustsammlungen des Allerh. Kaiserkauses, n (Vienna, 1883), 
 p. 49. Roscher , Lexikon, i, p. 1137, Fig. 16. Nachrichten der Ge- 
 sellschaft der Wissenschaften zu Gottingen, 1891, pp. 379, 387. 
 For other references, see Friederichs-Wolters , Bausteine, No. 1490. 
 
 530 (4). Statue of an Amazon. 
 
 Formerly in the Villa d’Este at Tivoli , given to the 
 Museum by Benedict XIV. in 1753, and restored under 
 Pius VI. The restorations include the neck , the right 
 arm, the left upper arm, the index finger, middle finger, 
 and end of the thumb of the left hand, the bow, the right 
 foot, the left leg from the middle of the thigh to below 
 the knee, the toes of the left foot, the upper part of the 
 stump with the points of the pelta, the plinth, and the 
 helmet. The head, the type of which is the same as that 
 of No. 503, is ancient but does not belong to this statue. 
 The marble of which it is made differs from that of the 
 body both in grain and in its state of corrosion. It is 
 also quite apparent that the edges of the two parts have 
 been smoothed down at the point of junction. 
 
 The necessary remarks on this type have been made 
 in connection with No. 195. With respect to the restor- 
 
394 
 
 CAPITOLINE MUSEUM. 
 
 ation it is important to notice that a fragment of the original 
 attribute, whether spear or leaping-pole, still remains in 
 the left hand. 
 
 Jahrbuch des Arch. Inst., i (1886), p. 19(3. Baumeister . Denkm. 
 d. kl. Alterthnms, iii, T. 48, Fig. 1502, p. 1350 (where the statue 
 is erroneously identified with No. 195). 
 
 531 (3). Colossal Head of Alexander. 
 
 This head seoms to have been among the antiquities 
 ceded by Pius V. to the Municipality in 1566 (Rom. 
 Mitth., vi, p. 37, No. 139). The bust and the lower part 
 of the front of the nose have been restored. 
 
 As the profile of this head resembles in all essential 
 points the inscribed portraits of Alexander on Macedonian 
 coins of the imperial epoch, the identification seems justi- 
 fied. Seven holes in the fillet, which must have been in- 
 tended to hold rays of metal, show that Alexander was 
 depicted as god of the sun. This powerful and beautiful 
 head, with its hair piled up over the forehead and its 
 impassioned expression, has indeed an appearance of the 
 superhuman. As is well known, Alexander was wry- 
 necked ; and it is interesting to observe how the sculptor 
 has treated this flaw in the otherwise perfect physical 
 formation of the great king. In the head before us this 
 defect has, as it were, been idealized and made to correspond 
 with a trait in the character of the conqueror of the world ; 
 for the oblique position of the neck harmonizes admirably 
 with the passionate agitation indicated in the visage. 
 Both in conception and style this portrait suggests Hellen- 
 istic types, and consequently it seems to have been made, 
 not in the lifetime of Alexander, but during the time of 
 the Diadochi. The attempt, repeatedly made of late, to 
 prove that the head simply represents Helios, or the Sun, 
 conflicts with the fact that the features, including the 
 down on the cheeks, bear a distinctly individual character 
 in spite of their idealization. 
 
 Muller- Wieseler , Denkm. d. alten Kunst, i, 39, 159. Bau- 
 meister , Denkm. des kl. Alterthums, i, p. 40, Fig. 45. Knepp , Tiber 
 das Bildnis Alexanders d. Grossen (Berlin, 1892), pp. 20, 21. Over- 
 
ROOM OF THE GLADIATOR. 
 
 395 
 
 ftecfe, Gesch. d. gr. Plastik, n 4 , p. 147, Fig. 180 b . Melanges d’arcbtfo- 
 logie et d’bistoire publ. par l’lScole Framjaise de Rome, xiii (1893), 
 p. 378, note 3. Other references in Friederichs-Wolters , Bausteine,, 
 No. 1416. 
 
 532 (2). Statue of Persephone (?). 
 
 Formerly in the Palazzo Cesi, where it was described 
 as an Amazon ( Aldroandi , in Mauro , Le antichita di Ro- 
 ma, p. 122) , and acquired by the Capitoline Museum 
 under Clement XI (Rom. Mitth., vi, 1891, p. 57). Both 
 arms and the right foot are modern. The head (point of 
 the nose and • fragments of the lips modern) , the neck, 
 and the nude portions of the bust and of the left shoulder 
 are carved in a separate piece of marble and attached to 
 the body ; but there is no doubt whatever that this in- 
 sertion formed part of the original work. The corrosion 
 and the patina of the marble are the same in both cases. 
 The portions of the bust and shoulder which belong to 
 the insertion agree exactly with the adjacent parts of the 
 body. A coincidence of this kind would be a real miracle 
 if the insertion belonged to another statue and was united 
 to this body at a later period. 
 
 The identification is based upon a statuette in the 
 Museo Chiaramonti, which is accompanied by Cerberus 
 and has its drapery arranged in the same way. As her 
 relations with her mother Demeter played the most pro- 
 minent r61e in the myth and cult of Persephone, the Greek 
 artists were in the habit of representing the latter under 
 the type of a maiden. The dignified, matronly forms of 
 the figure before us and its serious expression prove that 
 its sculptor was possessed by quite a different conception 
 of Persephone, if it be indeed she that is here represented. 
 He has depicted Persephone as the majestic queen of 
 Hades (a-yaoT} Ilspascpoveia), perhaps with special reference 
 to the surname of ‘Mistress’ (Seorcoiva) given to her in 
 several of the cults. The arrangement and style of drapery 
 occur in a statue of a woman found at Pergamum. The 
 traces of the horizontal closet-folds of the drapery are 
 indicated in the Capitoline statue as so often in the frieze 
 of the Giants (comp. No. 527). And, lastly, the hem of 
 the neck of the chiton often appears on drapery carved 
 by Pergamenian sculptors. We may therefore recognize 
 
396 
 
 CAPITOLINE MUSEUM. 
 
 in the Capitoline statue either a Pergamenian original or 
 a copy of such an original. The head presents a singular 
 contrast to the body, showing an older style and corres- 
 ponding in all essentials to a type by Scopas. This fact, 
 however, can be easily explained in harmony with the 
 Pergamenian origin of the statue before us. We know 
 that the Pergamenian, and indeed the Hellenistic sculptors 
 in general, often used more or less modified head-types 
 of that master. It need not, therefore, appear strange that 
 a Pergamenian artist has on one occasion exactly repro- 
 duced such a type, if it, according to his view, gave most 
 complete expression to the ideal he wished to reproduce. 
 
 De Cavaleriis , Antiquae statuae urbis Romae, T. 24. Bottari , in, 
 8. Bouillon , Musee des antiques, i, 2. Montagnani, i, 12. Righetti , 
 i, 5. Clarac , hi, PI. 417, No. 727. Braun , Yorschule, T. 27. — 
 On the statuette in tlie Museo Chiaramonti : Overbeck , Kunstmytho- 
 logie, hi, pp. 473, 474; Atlas, xrv, 16. — As to the folds of the 
 garments in the Pergamenian frieze, see Jahrbuch d. preuss. Kunst- 
 sammlungen, v (1884), p. 238. — - On the hem: Jahrbuch, loc. cit., 
 pp. 238, 239. — On the more or less modified types of Scopas in 
 Hellenistic , and especially in Pergamenian , sculpture , see Furt- 
 waengler , Masterpieces, pp. 392, 397 et seq. 
 
 In the middle of the room, — 
 
 533 (1). The Dying Gaul. 
 
 Formerly in the Yilla Ludovisi and transferred to the 
 Capitoline Museum under Clement XII. The restorations 
 include the end of the nose, the left knee-cap , all the 
 toes, the part of the plinth on which the right arm leans, 
 the sword, and the adjacent part of the horn. This last 
 object has been improperly restored, as it should cer- 
 tainly represent the mouthpiece of the horn, the opening 
 or bell of which still exists in the ancient portion towards 
 the other end of the plinth. The right arm , which has 
 been broken off and re-united with the body, certainly 
 belongs to it. It has been through a more drastic cleaning 
 process than the rest of the body, but is of the same 
 marble and executed in the same style. The marble of 
 the figure comes in any case from the E. part of the Med- 
 diterranean, either from Mt. Sipylon or from the island of 
 Phurne (Furni), between Samos and Icaria, from Thasos 
 or from Thrace ( Sigel , in Kinkel , Mosaik zur Kunstge- 
 schichte, p. 80; Arch. Zeitung, xxxiv, 1876, p. 153; 
 Athenische Mittheilungen, n, 1877, p. 134). 
 
ROOM OF THE GLADIATOR. 
 
 397 
 
 The dying warrior is evidently a Gaul. Round his 
 neck he wears the Gallic torque, or collar of twisted gold- 
 wire, well known through the story of Manlius Torquatus 
 and through examples still extant. The arrangement of the 
 hair and beard is also after the Gallic fashion. Diodoros 
 (V, 28), evidently drawing on an older authority, informs 
 us that the hair of the Gauls, through the constant use of 
 ointment, became so thick and bristly that it could hardly 
 be distinguished from the mane of a horse ; and that the 
 Gauls brushed it back from the forehead in such a way that 
 they looked like Pans or Satyrs. According to the same 
 writer, the Gaulish nobles shaved their cheeks and chin 
 and allowed their moustache to grow. The statue repro- 
 duces most admirably the type of a northern barbarian 
 not only in the face but also in the forms of the body. The 
 massive extremities, the large bones, the coarse and 
 inelastic skin are all instances of this. 
 
 The formerly prevalent assumption that the Gaul had 
 fallen on his own sword in order to avoid captivity is 
 contradicted by the fact that the wound is on the right 
 side of the breast. As the ancients, including the Gauls 
 (comp. No. 884), knew very well that a thrust in the aorta 
 was sure to be fatal, it is far more likely that he would 
 have stabbed himself on the left side. On the other hand 
 the attitude of the body and the position of the wound 
 appear entirely natural, if we assume that the Gaul was 
 wounded on his shieldless right side by an enemy, perhaps 
 while in the act of raising his horn to his lips with his 
 right hand. Mortally wounded, he has dragged himself 
 out of the battle, has broken^his horn, and now, lying on 
 his shield, waits with sombre defiance for death. The bent 
 position of his right arm, with the hand turned half- 
 inwards, is pathologically accurate ; if the right arm were 
 rigid and the hand turned outwards, the muscles of the 
 right side of the breast would be stretched and the pain of 
 the wound would be aggravated by the tension. 
 
 The statue was formerly in the Villa Ludovisi and 
 closely resembles the group of Gauls (No. 884), also till 
 
398 
 
 CAPITOLINE MUSEUM. 
 
 quite recently in the same villa, not only in conception 
 and general characteristics but even in such details as the 
 pattern of the ornamentation on the shield. Apparently 
 both belonged to one and the same cycle, of which the 
 group formed the centre and our figure the right-hand 
 corner. They cannot, however, have formed the sculptural 
 decoration of a pediment, as the plinths are oval instead 
 of rectangular. The lifelike details of the works would 
 also have been lost at so great a height above the ground. 
 It is therefore probable that the group of the Villa Ludovisi, 
 the Capitoline figure, and the other statues of the series 
 were placed side by side on one or more pedestals of 
 moderate elevation. 
 
 Pliny (Nat. Hist., 34, 84) informs us that Epigonos 
 (not, as formerly read, Isigonos), Pyromachos, Stratonicos, 
 and Antigonos had represented the wars between the 
 Gauls on the one side and the kings Attalos and Eumenes 
 of Pergamum on the other. These kings were Attalos 1 
 (B.C. 241-197) and Eumenes II (B.C. 197-159). The 
 excavations carried on on the Pergamenian Acropolis 
 have , furthermore , brought to light a number of bases, 
 with inscriptions showing that they bore statues or groups 
 referring to the victories of these monarchs. Tradition 
 also tells us that Attalos I. presented the Athenians 
 with a series of statues celebrating his victories over 
 the Gauls. As already indicated under No. 385, several 
 extant statuettes, in marble, seem to be copies, made by 
 Pergamenian sculptors, of the figures in this cycle. If this 
 view be correct, we are constrained to connect also the 
 Ludovisi group and the Capitoline statue with the Perga- 
 menian sculpture of the time of Attalos I. ; for both works 
 show, in spite of their more careful and realistic execution, 
 an essential resemblance in their artistic methods to the 
 above-mentioned statuettes. They cannot, indeed, have 
 actually belonged to the monuments on the Pergamenian 
 Acropolis, since the bases found there show distinct traces 
 of having borne bronze statues, while Pliny expressly says 
 that the four artists named above were workers in metal. 
 
ROOM OF THE GLADIATOR. 
 
 399 
 
 But we [are justified in asking whether the Capitoline 
 statue and the Ludovisi group may not be copies of some 
 of the figures in the cycle at Pergamum representing the 
 triumphs of Attalos I. The Ludovisi group certainly 
 reproduces a bronze original, as will appear more clearly 
 when we come to discuss it (No. 884); and what is true 
 of the group is true of the statue. In any case the material 
 and the style of execution prove that both, like the 
 statuettes mentioned under No. 385, are the work of 
 Pergamenian sculptors. Observe, for example, the dis- 
 tinctness with which the fold of skin above the left shoulder 
 of the dying Gaul is indicated. A Roman copyist would 
 certainly have softened such a trait as this. 
 
 Muller- Wieseler , Denkmaler d. alten Kunst, i, T. 48, 217. Bau- 
 meister , Denkmaler d. kl. Alterthums, n, pp. 1234, 1235, Nos. 1408, 
 1409, pp. 1236 et seq. Revue archeologique, xn (1888), p. 284, 
 Fig. 2. Comp. Bie , Kampfgruppe und Kampfertypen, pp. 129, 130, 
 137, 140. Other references in Friederichs-Wolters, Bausteine, No. 
 1412, and in the Revue arch., xn (1888), p. 280, note 3. — • On the 
 subject represented, see Arch. Zeitung, xl(1882), pp. 163-166, 
 xli (1883), p. 89. Jahrbuch des Arch. Instituts, in (1888), pp. ISO- 
 152. — On the reading ‘Epigonos’ instead of ‘Isigonos’ in Pliny , 
 Nat. Hist., 34, 84, see Jahrbuch, vm (1893), pp. 131, 132. — The 
 theory, advanced in the Jahrbuch (vm, pp. 129-131), that the Cap- 
 itoline statue reproduces the Tubicen of Epigonos (Pliny, Nat. Hist. , 
 34, 88) seems disposed of in Rom. Mi|th. , vm (1894), p. 253. — 
 On the wars of the Gauls and the Pergamenian kings: Rheinisches 
 Museum, xl (1885), pp. 114-132. Van Geldern, Galatarum res in 
 Grsecia et Asia gestse (Amsterdam , 1888) , pp. 203 et seq. — On 
 the bases of the Pergamenian triumphal monument : Alterthiimer 
 von Pergamon, ii, p. 84. Loewy , Inschriften griech. Bildhauer, 
 No. 154, pp. 113-122. 
 
Palazzo dei Conservatori, 
 
 The Portico. 
 
 To the right of the entrance, — 
 
 534. Colossal Statue of Julius Caesar (?). 
 
 According to a somewhat doubtful tradition , this 
 statue was found in the Forum of Caesar. Between 
 1560 and 1570 it was transferred to the Capitol from the 
 palace of Alessandro Ruffini, Bishop of Melfi ( Aldroandi , 
 in Mauro , Le antichita di Roma, p. 180; Rom. Mitth., 
 vi, 1891, p. 34). The restorations include the end of 
 the nose, parts of the forehead and right cheek, both arms, 
 the lower part of the legs, and the plinth. The head, 
 which has been broken off and reunited with the body, 
 seems to be the original one. 
 
 The style of this statue points to the end of the first 
 or the beginning of the second century of the present era. 
 This, however, does not militate against its identification 
 with Julius Caesar, as the cult of the Divus Julius was 
 still celebrated at that epoch, and an occasion to erect a 
 statue of him might easily occur. It is true that the head 
 differs somewhat from that seen on the coin-portraits of 
 Caesar; the skull is rounder, the face fuller and more 
 youthful. In general type, however, it resembles not only 
 the coin-portraits but also an undoubted head of Caesar 
 in diorite, which was found in the delta of the Nile and 
 has recently^been added to the Barracco Collection. It 
 is therefore quite possible that we have here a highly 
 idealized portraifl-statue of Julius Caesar, executed several 
 generations after his death. 
 
COURT. 
 
 401 
 
 Clarac , v, PI. 921 B, No. 2318 A. Bernoulli , Rom. Ikonogr., 
 i, T. xrv, p. 169, Fig. 21, p. 155, No. 2 (where, in note 3, other re- 
 ferences are collected), pp. 165, 168 et seq. Bonner Studien 
 (Berlin, 1890), p. 6. On the Barracco head, see Barracco et Helbig , 
 La Collection Barracco, PI. lxxv, rxxv a , p. 51. 
 
 To the left of the entrance, — 
 
 535. Colossal Statue of an Admiral. 
 
 Formerly, like No. 534, in the possession of Bishop 
 Ruffini ( Aldroandi , p. 180; Rom. Mitth., vi, 1891, p.34j. 
 The restorations include the right arm, the left hand with 
 the sword, and the front part of the ship’s prow. The 
 head is ancient, hut it is uncertain whether it belonged 
 to this body. 
 
 The ship’s prow on the plinth shows that this statue 
 represents a distinguished naval commander. It is usually 
 identified with Octavian, but the head bears no resem- 
 blance to any known portrait of the future emperor. 
 
 Clarac , v, PI. 912 A, No. 2331. For other references, see Ber- 
 noulli , Rom. Ikonogr., n, 1, p. 24, No. 5, pp. 73, 74. 
 
 Court. 
 
 On the left side, — 
 
 536. Colossal Head of Augustus (?). 
 
 As already remarked several times, it is difficult to 
 give a definite judgment upon colossal portraits when seen 
 at so much closer quarters than was intended by their 
 sculptors. The current identification of this head with 
 Domitian is contradicted by the fact that it lacks the 
 unusually prominent chin which was the distinguishing 
 peculiarity of that emperor’s features. Judged by the im- 
 pression it makes in its present position, the head bears 
 a closer resemblance to Augustus than to any other known 
 portrait. The pupils, incised in the form of a crescent, 
 were evidently filled with enamel. This head, like the 
 fragments of various colossal statues ranged along the 
 opposite wall, formerly lay near the Basilica of Constan- 
 tine. As the Templum Pacis, built by Vespasian and 
 Helbig, Guide I. 26 
 
402 
 
 PALAZZO DEI CONSERVATOR!. 
 
 burned down in the reign of Commodus, extended to this 
 point, it has been assumed that all these fragments formed 
 parts of statues erected in the vicinity of this lavishly 
 adorned temple. All the fragments were transferred to 
 the Capitol under Innocent VIII (1484-1492). 
 
 Francini , leones, e 3 (Roma ant., 1687, p. 109). Montaynani , 
 ir, 129. Comp. Andreas Fulvius , Antiquitates urbis (Romae, 1527), 
 folio xxi. Braun , Ruinen undMuseen, p. 120, Nos. 4, 5. Rom. 
 Mitth., vi (1891), pp. 18, 50, 54. 
 
 537. Reliefs from the Basilica Neptuni. 
 
 To the north of the Septa, close to this building and 
 to the Via Lata, Marcus Agrippa erected the Basilica 
 Neptuni, the remains of which are still visible in the Piazza 
 di Pietra. The stylobate was adorned with reliefs which 
 represented, partly personifications of nations conquered 
 by the Romans, partly trophies of Roman and Barbarian 
 arms. Among these were the ten slabs now preserved in 
 the court of the Palazzo dei Conservatori, which were 
 liscovered at different times in the Piazza di Pietra. 
 Seven of them contain personifications, the other three 
 trophies of arms. Other fragments of the same decoration 
 are to be found in the Palazzi Farnese and Odescalchi at 
 Rome and in the Museo at Naples. 
 
 Fogg ini, Mus. Cap., iv, p. 60. Righetti , i, 118. Muller- Wieseler, 
 Denkm. d. alten Kunst, i, 68, Nos. 375a, 375 b (where the earlier 
 bibliography is collected). Bull, della commissione com., vi (1878), 
 T. ii, in, No. 3, pp. 13, 283-285, Nos. 1-6; vii (1879), p. 140; 
 xi (1883), pp. 263, 264, Nos. 1, 2. Comp. Fea, Miscellanea, i, p. 
 Lxiv, No. 21, p. ccxlii, No. 18, p. cclv, No. 115. Ann. dell’ Inst., 
 1883, pp. 8-10. 
 
 By the rear-wall, — 
 
 538. Colossal Bronze Head of the Young Nero (?). 
 
 Formerly in the Lateral), but transferred to the Capitol 
 in 1489, if not sooner (Ann. dell’ Inst., 1877, pp. 381- 
 384; Rom. Mitth., vi, 1891, p. 14, note 37, pp. 30, 45, 
 50 ; Jahrbuch des Arch. Inst , vi, p. 167, No. 72). 
 
 The difficulty of giving a definite name to this head 
 is similar to that mentioned under No. 536 : but its former 
 
COURT. 
 
 403 
 
 identification with Domitian or Commodus may be dis- 
 missed without remark. Perhaps its most characteristic 
 trait is the arrangement of the hair, which lies close 
 against the upper part of the skull and is wavy below. 
 Among the known portraits of the emperors the only two 
 which show this arrangement are those of Otho and of 
 Nero in his younger years. The forehead of Otho was, 
 however, loftier and more open than that of the Capitoline 
 head, and the skull was rounder. On the other hand 
 this head betrays, not only in the arrangement of the hair 
 but also in the shape of the skull, the profile, and the 
 fulness of the cheeks, a striking resemblance to the coins 
 on which Nero is represented at the age of about twenty, 
 when not quite so stout as he afterwards became. In this 
 case also the incised pupils were filled with coloured 
 enamel. 
 
 Montagnani , n, 128. Comp. Winckelmann , Gesch. cler Kunst, 
 vii, 2, § 18. Visconti , Mus. Pio-Clem., vi, p. 211. Braun , Ruinen 
 und Museen, p. 119, No. 4. The similarity of the head with the 
 portrait of Nero on the die in Cohen , Medailles imperiales (i 2 , p. 293, 
 Nos. 208, 209), is very marked ; the gold and silver coins struck 
 from this die were minted in 57 A.D., when the emperor was twenty 
 years old. 
 
 539,540. Two Barbarians in grey marble (bigio morato). 
 
 Formerly in the garden of the Palazzo Cesi ( Aldro - 
 andi , in Mauro , Le antichita di Roma, p. 126), and 
 acquired in 1720 by Clement XI (Rom. Mitth., vi, p. 56). 
 
 The fillet encircling the heads of these two barbarians 
 indicates that they are princes. The fact that the arms 
 of the figure to the right end at the wrist in a smoothly 
 cut face has led to the supposition that these statues re- 
 presented men whose hands had been cut off. To strengthen 
 this theory reference was made to the story that Marcus 
 Licinius Lucullus, after subduing (B.C. 72) the Scor- 
 disci, a Celtic tribe in Pannonia Superior, mutilated in 
 this way all the men capable of bearing arms, in order to 
 punish the tribe for the cruelties it had committed during 
 the war. It is, however, impossible, for several reasons, 
 to establish any connection between this story and the 
 
 26 * 
 
404 
 
 PALAZZO DEI CONSERYATORI. 
 
 figures before us. In tbe first place, these barbarians, to 
 judge by the type of head and the costume, are not Celts 
 but natives of Hither Asia, such as Parthians or Armen- 
 ians. In the second place, the hard grey marble used 
 and the style of execution, which is somewhat artificial in 
 the treatment of the hair and the folds of the drapery, 
 prove that the two statues do not date from the Republic 
 but from an advanced period of the Empire. Finally, it 
 is obvious that the supposed mutilation is not marked 
 with sufficient distinctness. The smooth surface of the 
 stumps probably means only that the sculptor intended 
 to make the hands in separate pieces and attach them to 
 the arms. In this case the hands would seem to have been 
 crossed in an attitude of sad resignation, such as is fre- 
 quently seen in the figures of captive barbarians (comp. 
 No. 689). 
 
 Antiquarum statuarum urbis Romae icones (Romae, 1621), ii, 
 T. 39, 40. Be Cavaleriis , Antiquae stat.uae urbis Romae, T. 20, 21. 
 Movtagnani , n, 126,127. Righetti , i, 155, 184. Clarac, v, PI. 862, 
 No. 1261 DE. Comp. Winckelmann , Gesch. d. Kunst, xi, 1, § 18; 
 Mon. ant. ined., i, trattato preliminare, p. 87. Braun , Rninen nnd 
 Museen, p. 117, No. 2. 
 
 541. Group of a Lion and a Horse, in marble. 
 
 According to Flaminio Yacca (Berichte d. sachs. Ges. 
 d. Wissenschaften, 1881, p. 75, No. 71) this group was 
 found under Paul III (1534-50) in the brook Almone, 
 between the Porta d’Ostia and the Basilica of St.Paul. This, 
 however, is a mistake, as it has been established beyond 
 a doubt that it stood, as early as the middle of the four- 
 teenth century, on the staircase of the old palace of the 
 Capitol, on the spot where sentences of death were made 
 public. This spot was, indeed, popularly known as the 
 ‘Loco del Lione' (Rom. Mitth., vi, 1891, pp. 6-10, 28, 
 49; comp. Jahrbuch des Arch. Inst., vi, p. 167, No. 72). 
 The restorations include the head, neck, legs, and tail 
 of the horse, the hind-legs and tail of the lion, and the 
 plinth. 
 
 This group represents a lion tearing to pieces a horse 
 which he has just seized. The composition is of wonderful 
 vigour and perspicuity; the execution is in a decorative 
 
COURT. 
 
 405 
 
 style. The surface has, unfortunately, suffered much from 
 the action of damp. 
 
 De Cavaleriis , Antiqu® statu® urLis Rom®, T. 79. Barbault , 
 Les plus beaux monuments de Rome, Pi. 61. Montagnani , ii, 124. 
 Righetti , i, 153. Rom. Mittheil., vi (1891), T. 1, pp. 6-10. Comp. 
 Braun, Ruinen und Museen, p. 118, No. 3. 
 
 By the right wall, near the middle, — 
 
 542. Cube containing the Urn of Agrippina the Elder. 
 
 This cube is known to have stood in the Square of 
 the Capitol as early as the thirteenth century (Rom. Mitth., 
 vi, 1891, pp. 10, 11). 
 
 According to the inscription on its face, this cube 
 contained the remains of Agrippina, daughter of Marcus 
 Agrippa, granddaughter of Divus Augustus, wife of 
 Germanicus, and mother of the Emperor Gaius (Caligula). 
 A circular cavity, hollowed out in the top of the cippus, 
 held the urn of precious stone (see No. 218) or metal, in 
 which were deposited the ashes of the deceased. In the 
 13th century this cavity was enlarged to serve as a meas- 
 ure for grain, while the arms of the two Bander esi , or 
 chiefs of the ‘Regiones’ of the period, and of their notary 
 were carved on the right lateral face of the cube. Imme- 
 diately after his accession to the throne Caligula himsell 
 conveyed to Rome the ashes of his mother and of his 
 brother Nero, both of whom had died in exile, and de- 
 posited them with great solemnity in the Mausoleum of 
 Augustus , the tomb of the Julian family. The fact that 
 the cippus was prepared on this occasion explains the 
 description of Agrippina as the mother of Caligula. 
 
 Corpus inscr. lat., vi, 1, No. 886. For other references, see 
 Rom. Mitth., vi (1891), p. 10, note 23. Comp. Gregorovius , Ge- 
 sohichte der Stadt Rom , vn, p. 562. Re , Mostra della citta di 
 Roma all’ esposizione di Torino nell’ anno 1884 (Roma, 1884), 
 pp. 94, 95. Sitzungsberichte der Berliner Akademie, 1886 , pp. 1156, 
 1165, note 34, p. 1166, note 38. 
 
 Immured in the wall of the passage leading to the 
 staircase, to the left, — 
 
406 PALAZZO DEI CON SERV ATORI . 
 
 543 (30). Inscription from the Columna Rostrata. 
 
 Found in the Forum in 1565. 
 
 In B.C. 260 the Consul Duilius defeated the Cartha- 
 ginian fleet at Mylae, and in the following year he cel- 
 ebrated the first triumph accorded to a Roman leader for 
 a naval victory. On this occasion a column was erected 
 in his honour in the Forum, adorned with the beaks 
 (rostra) of the vessels he had captured. The inscription 
 narrates the military exploits of Duilius both by land and 
 sea and enumerates the spoils of war he had won. It is 
 not, however, the original inscription but a copy made in 
 the last years of Augustus or the beginning of the reign 
 of Tiberius, when the column was restored or reconstructed. 
 With the exception of a few orthographical irregularities, 
 it appears to reproduce the exact text of the original. 
 
 Corpus inscr. lat., i, No. 195, vi, No. 1300. Comp. Sitzungs- 
 beriehte der philo soph. -philol. Classe der Miinchener Akademie, 
 1890, pp. 293 et seq. Rom. Mitth., vi (1891), pp. 35, 90. 
 
 On the first landing of the staircase, — 
 
 544-546 (42-44). Three Reliefs from a Monument in 
 honour of Marcus Aurelius. 
 
 These reliefs were formerly preserved in the church of 
 S. Martina ( Aldroandi , in Mawro, Le antichita di Roma, 
 p. 271; comp. Bull, dell" Inst., 1873, pp. 6-81 and were 
 transferred to the Capitol in 1515 (Rom. Mitth., vi, 1891, 
 pp. 24, 25). They are so high up and covered with such 
 a coat of dust, that it is difficult to distinguish the restor- 
 ations. 
 
 544 (42; on the rear-wall, to the left). Conquered Bar- 
 
 barians craving mercy of Marcus Aurelius. 
 
 During the last fourteen years of his reign Marcus 
 Aurelius was engaged in almost uninterrupted warfare 
 with the Germanic Marcomanni or Quadi and with the 
 Sarmatian Jazygi; but at present it is impossible to say 
 which of these tribes is here represented. The figure of 
 the emperor strikingly resembles his equestrian statue 
 on the Piazza del Campidoglio (see p. 286). 
 
COURT. 
 
 407 
 
 545 (43; on the rear-wall, to the right). Triumphal 
 
 Entry of the Emperor. 
 
 546 (44; on the right wall). Sacrifice in front of the 
 Temple of Jupiter Capitolinus. 
 
 In front of the emperor stands a young assistant 
 (■ camillus ; comp. No. 607), holding a box of incense 
 [acerra] in his hands. Behind him is the Flamen Dialis, 
 recognizable by his high peaked cap [apex). In the back- 
 ground is a reduced representation of the Temple of 
 Jupiter, with its pedimental sculptures. 
 
 Drawings of Nos. 544 and 546 are given in the Codex Pighianus 
 (Ber. d. sachs. Ges. d. Wiss., 1868, p. 183, No. 40, p. 184, No. 41). 
 The three bas-reliefs are reproduced in Bartoli- Bettor i , Admiranda, 
 T. 7-9. Rossini , Archi trionfali, T. 49. Righetti, i, 165, 167, 168. 
 Canina , GM edifizii di Roma, iv, T. ccxlv, 2-4. Brunn und Bruck- 
 mann , Denkm. gr. und rom. Sculptur, Nos. 268, 269. Comp. Brown, 
 Ruinen und Museen, p. 121, No. 6. Abhandl. d. phil.-hist. Classe 
 d. sachs. Ges. d. Wiss., vi, p. 281. Rom. Mitth., v (1890), p. 75. On 
 the pediment of the Capitoline temple, see Mon. dell’ Inst., v, 36; 
 Ann., 1851, pp. 289 et seq. Arch. Zeitung, xxx (1873) , T. 57, 
 pp. 2 et seq. Jordan , Topographie der Stadt Rom, i, 2, pp. 100, 
 101. Melanges de l’Ecole Frangaise de Rome , ix (1889), PI. ii, 
 pp. 120-133. 
 
 On the left wall, — 
 
 547 (41). Relief from a Triumphal Monument, probably 
 
 of the Hadrianic period. 
 
 Formerly in the Piazza Sciarra (Berichte der sachs. 
 Ges. der Wissenschaften, 1881, p. 64, No. 28) and trans- 
 ferred to the Palazzo dei Conservatori a little before 1594 
 (Rom. Mitth., vi, 1891, pp. 46, 47). The most important 
 restorations include the entire upper part of the monu- 
 ment down to the top of the arch ; the crest of the 
 helmet, the right arm and globe, and the right foot of the 
 Roma (or Virtus); the right forearm of the beaTded man 
 standing in front of this last figure; the nose, the mouth, 
 the chin, the right forearm with the scroll, and the right 
 foot of the short-bearded man in front of the emperor; 
 the head, the right hand , and the left forearm with the 
 scroll of the emperor; and the eyebrow of the elderly 
 man behind the emperor (comp. Jahrbuch des Arch. Inst,., 
 vii, 1892, p. 85, No. 9 a). 
 
408 
 
 PALAZZO DEI CONSERVATOR!. 
 
 It has been supposed that this relief formed part of 
 the decoration of the same edifice as Nos. 544-546, and 
 that, consequently, Marcus Aurelius is the emperor here 
 represented. This opinion is, however, untenable, as the 
 slab is somewhat wider, the relief flatter, and the execution 
 simpler and quieter. The style of the sculpture, as well 
 as the arrangement of the hair and beard of the man in 
 front of the emperor, points to the time of Hadrian; and 
 it is probable that in the missing head of the principal 
 figure we should have recognized a portrait of that emperor. 
 This view is confirmed by the fact that the elderly man 
 standing behind the emperor is clean-shaven, as was 
 customary in the reign of Trajan. It seems natural that 
 the older men may have kept up their youthful habits 
 (comp. No. 550) even under Hadrian, while it seems 
 unlikely that this custom would have survived in the time 
 of the Antonines after the long reign of Hadrian had 
 generalized the fashion of wearing the beard. The em- 
 peror, surrounded by standard-bearers and lictors, is re- 
 ceived in front of an arch — probably a triumphal arch — 
 by the Dea Roma or by Virtus , the goddess of manly 
 courage (see No. 416), by a youth whose head is en- 
 circled by a wide fillet, and by a bearded man wearing a 
 wreath, whose costume consists of a tunic and toga. Tbe 
 two latter figures show distinctly ideal types. In the 
 young man we have probably to recognize the personi- 
 fication of the Roman people ; in the bearded man that of 
 the Senate. 
 
 Bartoli-BtlLori , Admiranda, T. 6. Rossi , Archi trionfali, T. 49. 
 Righetti , i, 104. Canina , Gli edifizii di Roma, iv, T. 245, 1. Brunn 
 und Brucicmann, Denkmaler gr. und rom. Sculptur, No. 268. Comp. 
 Bull, dell’ Inst., 1873, pp. 7,8. Alhandlungen der phil. -hist. Classe 
 d. sacks. Ges. der Wissenschaften, vi, p. 281. Bull, della comm, 
 arch, comunale, vi (1878), pp. 16, 17. Romische Mittheilungen, v 
 ( 1890), pp. 75, 70; vii (1892), p. 255. On the Roma or Virtus, see 
 Pur gold , Archaologische Bemerkungen zu Claudian und Sidonius, 
 pp. 26 et seq. 
 
 Immured in the left wall of the next part of the 
 staircase, — 
 
COURT. 
 
 409 
 
 548. Relief of Mettius Curtius. 
 
 Found in 1553 in tlie Forum, near the Column of 
 Pkocas. 
 
 Though the motive of this relief resembles part of the 
 ornamentation of a Roman lamp, its style shows that it is a 
 work either of the later Middle Ages or of the early 
 Renaissance. The sculptor has availed himself of a slab 
 with an inscription, the text of which is exposed to view 
 on the other side of the wall. The praetor Lucius Naevius 
 Surdinus, whose name occurs in it, is probably the same 
 as the Consul Suffectus of the year 30 A.D. The subject 
 of the relief is Mettius Curtius, the Sabine, pursued by 
 the victorious Romans after the battle between the Ca- 
 pitol and the Palatine and being engulfed by the marsh, 
 which was afterwards named the Lacus Curtius. The 
 relief seems to be a product of the attempts to revive the 
 memory of ancient Rome, which began in the time of 
 Cola di Rienzo and afterwards became continually more 
 numerous. As it was found near the former site of the 
 Lacus Curtius, we may assume that it was placed there 
 to recall the tradition connected with that part of the 
 F orum. 
 
 Drawing in the Codex Pighianus (Ber. d. sachs. Ges. d. Wiss., 
 1868, p. 184, No. 45). Righetti , i, 189.' Comp. Corpus inscr. lat., 
 vi, 1, No. 1468. Ephemeris epigraphica, in, p. 277, 32 = 1467. 
 Brawn, Ruinen und Museen, p. 128, No. 11. Rheinisches Museum, 
 xxiv (1869), pp. 478-482 (where the earlier bibliography is col- 
 lected). Bull, dell’ Inst., 1869, pp. 71, 72. Rom. Mitth., vi (1891), 
 p. 34. 
 
 Immured in the walls at the top of the staircase, 
 opposite the entrance to the Museum, — 
 
 549, 550. Two Reliefs. 
 
 These reliefs adorned a triumphal arch near the church 
 of S. Lorenzo in Lucina, which was known as the Arco 
 di Portogallo, because the Portuguese ambassadors lived 
 in the adjacent Palazzo Ottoboni (FLano). Comp. Rom. 
 Mitth., vn (1892), p. 315. In 1662 this arch was re- 
 moved to widen the Corso, and the reliefs were transferred 
 to the Palazzo dei Conservatori (Rom. Mitth., vi, 1891, 
 p. 53). 
 
410 
 
 PALAZZO DEI CONSERVATOR!. 
 
 549 (left wall). Apotheosis of an Empress. 
 
 The following parts are evidently modern : the head 
 and neck of the empress, home aloft by the winged figure ; 
 almost all the right wing, the left forearm, and most of 
 the torch of the winged figure; the upper part of the 
 head (with the ear and wreath), the nose, and the fingers 
 of the right hand of the emperor; the nose, the upper 
 lip, and the right hand of the young man seated in front 
 of the pyre. 
 
 An empress is raised from the flames of a funeral 
 pyre and borne towards heaven by a winged figure 
 (.Eternitas), emblematical of the apotheosis. The emperor, 
 who has decreed the apotheosis, sits on his throne near 
 the pyre and gazes up at the new goddess. The youth 
 seated on the ground in front of the pyre personifies the 
 Campus Martius, where the corpses of the imperial family 
 were burned at the Bustum Caesarum (comp. No. 218). 
 As the head of the empress is modern, it affords us no 
 clue to identifying the person represented. In the face of 
 the emperor, on the contrary, all of which is ancient except 
 the nose, we recognize the profile and the cut of the beard 
 of Hadrian (not, as usually assumed, of Antoninus Pius 
 or Marcus Aurelius). The empress must therefore be 
 either Plotina, the wife of Trajan, who died in 129 A.D. 
 and was apotheosized by her adoptive son Hadrian, or 
 Sabina, wife of Hadrian, to whom that emperor decreed 
 the same honour after her death in 136 A.D. 
 
 550 (right wall). Emperor proclaiming a decree. 
 
 The following parts are certainly modern : the head, 
 the right forearm, and the left hand with the scroll of 
 the principal figure standing on the tribune ; the noses 
 and right forearms of the two bearded men standing 
 behind the emperor and also the left arm and spear of 
 the lower of the two ; the front part of the face of the boy 
 in front of the tribuna; the end of the nose, the right 
 forearm, and the fingers of the left hand (thumb ancient) 
 of the young man; the front of the nose of the beardless 
 man in the background ; some fragments of the temple. The 
 correctness of the restoration of the scroll in the left hand 
 of the emperor was assured by the remains of the original 
 of this attribute. 
 
COURT. 
 
 411 
 
 As this relief evidently forms a pendant to No. 549, 
 we may take for granted that the emperor here represented 
 as the central figure on the tribune is also Hadrian. It 
 is not, however, necessary to assume that the decree he 
 is promulgating refers to the apotheosis of the companion 
 relief. The public he addresses is represented by three 
 figures. One of these is a boy, clad in tunic and toga. 
 The second is a young man, who seems, to judge from 
 his ideal features and the fact that the upper part of his 
 body is nude, to be a personification similar to that of the 
 Campus Martius in No. 549. The third figure is an 
 elderly man in a toga, whose clean-shaven face indicates 
 that he adheres to the fashion of Trajan’s reign (comp. 
 No. 547). The supposition that this relief represents 
 Marcus Aurelius decreeing the apotheosis of Antoninus 
 is evidently based on the resemblance of the Corinthian 
 temple visible in the background to the temple, still stand- 
 ing in the Forum, which Antoninus Pius erected to his 
 deified wife Faustina and which was afterwards dedicated 
 also to Antoninus Pius himself by his successor. It is 
 obvious, however, that this temple was not the only one 
 of the kind in imperial Rome, but that, on the contrary, 
 there were many like it. One of the consequences of this 
 arbitrary conclusion was that the features of Hadrian were 
 not recognized on the companion relief (No. 549). 
 
 Bellori , Yeteres arcus Augustorum triumphis insignes, T. 49, 
 50. Foggini, Mus. Cap., iv, 11, 12. Barbault , Les plus beaux 
 monuments de Rome, PI. 58, 59. Rossini, Archi trionfali, T. 49. 
 Righetti , i, 169, 170. Canina , Gli edifizii di Roma, iv, T.ccxlv, 5, 
 6. Tbe bas-relief representing the apotheosis is also reproduced in 
 Baumeister, Denkm. d. kl. Alterthums, i, p. Ill, Fig. 116. Comp. 
 Braun , Ruinen und Museen, p. 123, No. 7. Abhandl. der phil.- 
 hist. Classe d. sachs. Ges. d. Wiss., vi, pp. 280 et seq. The suppo- 
 sition that a relief in the Palazzo Torlonia, which represents the 
 Emperor Lucius Yerus receiving conquered barbarians, belonged to 
 the Arco di Portogallo, is unfounded: Matz-Duhn, Antike Bildwerke 
 in Rom, m, No. 3526. 
 
412 
 
 PALAZZO DEI CONSERVATOR!. 
 
 Room to the right of the Entrance. 
 
 551. Bronze Statuette of a Lar. 
 
 Found in an ancient house on the Viminal (Bull, della 
 comm. arch, municipale, I, 1872, pp. 88, 300, No. 1). 
 The plinth has been restored. 
 
 This figure is the largest and best-preserved of the 
 kind now extant. As usual the Lar is represented as a 
 youth, advancing with a rhythmical movement, with a 
 rhyton in his uplifted right hand and a cup in his left. 
 The attitude of the body and the disposition of the drap- 
 ery seem to have been suggested by a type of Dionysos, 
 .created by the later Attic school. 
 
 Ann. dell’ Inst., 1882, T a v. d’agg. N., pp. 71, 72. 
 
 552. Bronze Mountings of a Tensa. 
 
 The whole of the woodwork is. of course, modern. 
 
 Tensae was the name given to the chariots which 
 carried the attributes of the gods in the procession that 
 opened the games of the circus. These bronze trappings 
 seem to have belonged either to a chariot of this kind or 
 to a monument in the form of a tensa dedicated to some 
 deity (comp. No. 326). The ornaments were found in 
 fragments, and it is hard to say whether or not the restorer 
 has arranged them properly. The reliefs have been formed 
 on moulds, — several, indeed, on one and the same mould. 
 Their subjects are mainly drawn from the myth of 
 Achilles: Thetis plunging the infant Achilles in the wa- 
 ters of the Styx; Cheiron presenting the boy to his father 
 Peleus on his departure; Cheiron teaching Achilles to 
 play on the lyre (comp. No. 572); Cheiron instructing 
 him in the chase; Achilles at Scyros (comp. No. 424); 
 Briseis restored to her father; Patroclos beseeching 
 Achilles to allow him to go to the aid of the Acheeans; 
 death of Hector ; the body of Hector dragged at the char- 
 iot-wheels of Achilles ; the ransoming of Hector’s body ; 
 the death of Achilles ; the rescue of his body. The decor- 
 
ROOM TO THE RIGHT OF THE ENTRANCE. 413 
 
 ation of the tensa, however, also includes some Bacchic 
 scenes. Thus, in the first and third rows from below we 
 see Ariadne riding in the middle of the thiasos on a 
 chariot, the form of which the restorer has taken as his 
 model in arranging the bronze mountings before us. We 
 may assume that similar scenes representing Dionysos in 
 the middle of the thiasos have been lost. In the fourth 
 row from below, amid the scenes referring to Achilles, 
 are inserted medallions showing Aphrodite seated in a 
 shell. The shell is supported by a male and a female 
 Sea-Centaur; above the goddess hover three Amoretti, 
 holding articles of the toilette. 
 
 Bull, della comm. arch, comunale, v (1877), T. xi-xv, pp. 119- 
 134. Baumeister , Denkm. d. kl. Altertliums, hi, T. xc, Fig. 2325, 
 p. 2082. Comp. Bull, municipale, n (1874), p. 256', hi, No. 1. 
 Berichte d. sacks. Ges. d. Wiss., 1878, pp. 124 et seq. 
 
 553. Bronze Bisellium. 
 
 Said to have been found in a tomb not far from the 
 ancient Amiternum (Dear Aquila). 
 
 This seat was found in fragments ; and the restorer 
 has not been altogether successful in putting them together 
 properly. He is certainly wrong in using the two pieces 
 ending in asses’ heads as the arms of the chair. In the 
 first place, they encroach on thfe seat of the chair in the 
 most inconvenient manner. In the second place, chairs 
 resembling the one before us in shape and proportions, 
 when represented on ancient monuments, are never fur- 
 nished with arms. In two Pompeian chairs objects of the 
 same kind are employed as supports for the seat, but 
 their position between the seat and the horizontal bar 
 below looks somewhat incongruous and may be due to 
 the modern restorer. In the Capitoline example, moreover, 
 these pieces appear too high to be inserted in a similar 
 position without violence. It therefore seems probable to 
 the writer that in neither case did these objects belong to 
 a chair, but that they formed the back of some article of 
 furniture in the nature of a bed or couch. If we remove 
 the arms, the chair would appear as the bisellium known 
 
414 
 
 PALAZZO DEI CONSERVATOR!. 
 
 to us from monumental reliefs. This was a two-seated 
 chair, assigned, however, by way of honour, to one person 
 only. As in Rome the sella curulis , so in the Municipia 
 the bisellium was reserved for the highest officials. The 
 ‘honor bisellii’, however, was sometimes accorded to 
 private citizens who had rendered eminent service to the 
 city. If it is true that this chair was found in a tomb at 
 Amitemum, it would imply that the deceased had enjoyed 
 the right of the bisellium. The footstool below the seat 
 evidently belongs to the bisellium, as appears from the 
 similarity of its ornamentation to that on the upper border 
 of the latter and from the fact that the winged Sphinxes 
 in which it ends also occur in the supports of the bisellium. 
 The fact that the Sphinxes are represented as sitting up 
 on their haunches in the one case and lying down in the 
 other may mean that, while they have nothing to bear in 
 the footstool, they are, as it were, weighed down by the 
 superstructure of the bisellium. 
 
 Both the chair and the footstool evidently date from 
 the first century of the imperial period. The carefully 
 executed intarsia of silver and copper resembles the best 
 work of the kind found in Pompeii. The supports are 
 adorned with scenes from the Bacchic myth interspersed 
 with arabesques. Those on the support to the left re- 
 present two Satyrs gathering grapes ; a herma of Priapos, 
 with a lighted torch fixed in the ground behind it; a sacred 
 tree, on which hang a tympanum and a pair of cymbals; 
 and two Satyrs pressing grapes (to the right). The scenes 
 on the support to the right represent two Satyrs and a 
 woman gathering grapes; a herma of Priapos, with a 
 branch in the left hand ; in front, an altar, against which 
 leans a flaming torch, while above it hang a tympanum 
 and a cymbal ; a woman taking a thorn from the foot of a 
 Satyr; and, to the left, Silenus using his pedum to dis- 
 cipline a Satyr who has let fall a basket of grapes. All 
 these motives were very popular in ancient times, as they 
 recur, more or less modified, on many other monuments. 
 The tortoise-shell veneering is undoubtedly modem, 
 
OCTAGONAL ROOM. 
 
 415 
 
 though we know that decoration of this kind was much 
 used during the first century of the Empire. 
 
 Bulletino della comm. arch, municipale, n (1874), T. ii-iv, 
 pp. 22-82. — On the Pompeian chairs, see Overbeck-Mau , Pompei, 
 p. 426, Fig. 227. 
 
 554. Litter. 
 
 Found on the Esquiline in 1874. The bronze portions 
 alone are ancient, the wooden framework having been 
 added by the modern restorer. 
 
 During the early centuries of the present era carriages 
 were not used in Rome and the other cities of Italy except 
 in the service of the gods and for public ceremonies, while 
 the universal private conveyance was the lectica , or litter. 
 Great luxury was sometimes displayed in its ornament- 
 ation, of which the example before us afiords an approxim- 
 ate idea. The roof is supported by hermae of Silenus; 
 the corner-posts and the sides of the cushion-rests are 
 adorned with arabesques inlaid in silver; the poles end 
 in heads of young Satyrs. The shape of the head-rest 
 shows that the occupant of the litter reclined in it at full 
 length; hence it was probably longer than the modern 
 restorer has made it. 
 
 Bull, comunale, ix (1881), T. xv-xviii, pp. 214-244. 
 
 Octagonal Room. 
 
 In the vestibule, to the left of the entrance, — 
 
 555. iEdicula dedicated to Terra Mater by Aulus Hor- 
 
 tensius Cerdo. 
 
 Found in theCampoVerano. The restorations include 
 the right hand of the goddess , the cup , the left fore- 
 finger, and the attribute in the left hand from the third 
 ring upwards. 
 
 The Terra Mater is here represented under one of the 
 types of Demeter. The close relationship between the 
 two divinities makes their identification natural enough; 
 but it argues, none the less, great poverty of invention 
 
416 
 
 PALAZZO DEI CONSERVATORI. 
 
 on the part of the artist whose task it was to furnish a 
 plastic representation of the Italic goddess. The attrib- 
 ute in the left hand has been erroneously restored as a 
 sceptre. The ancient part at the lower end shows clearly 
 that it was a torch, consisting of several shafts united by 
 rings. Torches of the same kind are seen, for instance, 
 in the hands of the Cupids in No. 596 (70). The attribute 
 in the right hand was perhaps a bunch of wheat-ears, not 
 a cup. 
 
 Bull, della comm, archeologica municipale, i (1872), T. in, 
 pp. 24-28. Overbeck , Kunstmythologie, hi, p. 457, No. lb ; Atlas, 
 xiv, 17. Roscher , Lexikon der grieeh. und rom. Mytbologie, ii, 
 
 p. 1862. 
 
 Close by, — 
 
 556 (7). Relief of a Bacchante. 
 
 Found in 1875 in the old Villa Magnani, the grounds 
 of which were included in the gardens of the Emperor 
 Licinius Gallienus. 
 
 This well-executed relief represents a Maenad, who in 
 her Bacchic fury has torn a goat to pieces and now ad- 
 vances, dancing, holding its hind-quarters in her left hand. 
 Her right arm is bent behind her head, and her right 
 hand holds a knife and a corner of her drapery. This 
 figure often recurs in neo-Attic reliefs (see Nos. 578, 785). 
 The original seems to have been an Attic work of art, 
 perhaps a painting, dating from the period immediately 
 before that which produced the frieze of the Parthenon. 
 As the marble slab is slightly curved, it would seem to 
 have formed part of a large circular base, divided into 
 several pieces for convenience of transport. Some author- 
 ities contend that this base was an original Attic work, 
 dating from the fifth century B.C. ; but this opinion does 
 not seem tenable. The style of execution, though more 
 careful than usual, differs in no essential point from that 
 of the neo-Attic reliefs. 
 
 Bull, della comm, municipale, hi (1875), T. xn, 2, p. 127. 
 Fiinfzigstes Berliner Winckelmannsprogramm (1890), T. i, pp. 97 
 et seq. Comp. Havser , Die neu-attischen Reliefs, pp. 154, 155, 
 
OCTAGONAL ROOM. 
 
 417 
 
 157. Deutsche Litteraturzeitung , 1891, p. 506. Furtwaengler. 
 Masterpieces, p. 439 (where this and other similar Bacchic types 
 are placed in relation to the art of Callimachos). 
 
 To the right of the entrance, — 
 
 557 (2). Tombstone of Quintus Sulpicius Maximus. 
 
 The sepulchral monument of which this stone formed 
 part was built up in the Aurelian Wall, close to the Porta 
 Salara, and was discovered in 1871 during the recon- 
 struction of this gate. It consists of a small sepulchral 
 chamber, above which rises a rectangular pedestal. The 
 stone was found lyiug beside the pedestal; but marts on 
 the latter show that it originally stood on it. 
 
 As we learn from a Latin inscription chiselled on the 
 upper part of the base, this grave was the resting-place 
 of Quintus Sulpicius Maximus, who died at the age of 
 eleven years, five months, and twelve days, after disting- 
 uishing himself by the improvisation of a Greek poem 
 at the competition [agon) instituted by Domitian at the 
 Capitol in 94 A.D. The subject of the poem was Zeus 
 censuring Helios for lending Phaethon the chariot of the 
 sun. The parents caused these verses to be reproduced 
 on the front of the tombstone, in order to avoid, as the 
 above-mentioned inscription expressly informs us, the 
 charge of having exaggerated their son’s achievement. 
 The poem is, however, very poor stuff, stilted in style and 
 full of hollow phrases. On the lower part of the base are 
 two Greek epigrams, celebrating the poetic talents of the 
 young Maximus. One of them adds that he died of illness 
 and feebleness, because neither in the morning nor in the 
 evening could he be weaned from his devotion to the 
 Muses. The figure of the boy, clad in tunic and toga, 
 stands in the niche hollowed out on the front of the 
 tombstone, and answers excellently to all the inscriptions 
 tell us of the young poet. This prematurely withered 
 little face, with its expression of exhaustion, reveals too 
 clearly the miserable existence of an infant prodigy, 
 with his brain developed at the expense of his physical 
 health. 
 
 Helbig, Guide I. 
 
 27 
 
418 
 
 PALAZZO DEI CONSERVATORI. 
 
 C. L. Visconti , II sepolcro del fanciullo Q. Sulpicio Massimo, 
 Roma, 1871. Cioffi , Inscrip tiones latinae et grsecae cum carmine 
 grEeco extemporali Q. Sulpicii Maximi, Romse, 1871. Bull, dell’ 
 Inst., 1871, pp. 98-115. Kaibel , Inscriptions grsecse Sicilise et Italiae. 
 No. 2012. 
 
 Our description of the antiquities in the room itself 
 begins to the right and first treats the objects ranged 
 along the walls. 
 
 558-560. Bust of Commodus, flanked by two Tritons 
 or Marine Centaurs. 
 
 These three sculptures were found on the Esquiline, 
 in December, 1874, in the Villa Palombara, which occu- 
 pied part of the imperial gardens. They lay amid the 
 ruins of a subterranean chamber, communicating with a 
 richly decorated crypto-porticus ; hut it is evident that 
 they originally stood on the ground-floor of .the building 
 and fell into the cellar when the flooring gave way. The 
 two statues of maidens, Nos. 564, 565 (24, 23), and the 
 statue of a young girl, No. 566 (26), were found in the 
 same chamber. 
 
 Though the bust is made of a different kind of marble 
 from the other figures and has received a much higher 
 polish, it yet seems that the three pieces of sculpture 
 belonged to the same group. We are easily able to re- 
 
 construct this group from numerous sarcophagus-reliefs, 
 in which two Marine Centaurs are represented holding the 
 portrait of the deceased placed within a shell or on a 
 shield (comp. No. 552). The probable arrangement of the 
 three figures before us is, therefore, indicated by the 
 accompanying sketch (Fig. 26). 
 
OCTAGONAL ROOM. 
 
 419 
 
 During the latter years of his reign Commodus allowed 
 himself to be worshipped as Hercules, and he is here 
 represented with the attributes of that demigod. His 
 head is covered with the lion’s skin ; he shoulders the club 
 with his right hand ; his left hand holds the apples of the 
 Hesperides. While the Tritons refer to the sea, the figures 
 below the bust typify earth and heaven. The two Ama- 
 zon-like forms with cornucopise, kneeling upon the ped- 
 estal of oriental alabaster, of which one only is com- 
 paratively perfect, are probably personifications of pro- 
 vinces of the Roman empire. The celestial globe between 
 them bears three signs of the Zodiac: the Scorpion, the 
 Ram, and the Bull; as these are not placed in their usual 
 order, it is possible that they may recall three events of 
 special importance in the life of the emperor. The Ama- 
 zon’s shield between the cornucopiae perhaps refers to 
 the surname of Amazonius , which Commodus assumed, 
 and which he assigned to January when he undertook to 
 alter the names of the months. 
 
 The workmanship of this marble bust is a masterpiece 
 of technical skill. The way in which the lion’s skin has 
 been rendered is a wonderful tour de force ) as the slightest 
 awkwardness in the strokes of the chisel would have 
 shattered the thin film of marble. The impression it 
 makes, however, is not wholly agreeable, since we recog- 
 nize how violence has been done to the material employed. 
 It seems to be a piece of porcelain, rather than of marble, 
 that we see before us. A still more disagreeable effect is 
 produced by the contrast between the massive bust and 
 the slenderness of its supports. The spectator feels as if 
 the bust were balanced merely by its own weight and as 
 if it might topple over at any moment. The lower extrem- 
 ities of the statues flanking the bust of the emperor 
 were carved out of separate blocks of marble and have 
 not been discovered. We are, therefore, unable to say 
 whether the figures ended simply in the body of a fish 
 and so were meant for Tritons, or were also furnished 
 with horses’ legs in front, in which case they would be 
 
 27 * 
 
420 
 
 PALAZZO DEI CONSERVATORI. 
 
 Marine Centaurs. The heads differ considerably from the 
 type created by Scopas for the male members of the 
 marine thiasos (comp. No. 187), and seem to reproduce 
 a Hellenistic type. To emphasize the fact that their home 
 was in the depth of the sea, the artist has covered their 
 eyebrows, cheeks, neck, breast, and body with sea-weed. 
 
 Bull, della comm, municipale, hi (1875), T. i, n, pp. 8-15, T. 
 xiv, xv, 2, 8, pp. 140-143. Rom. Mitth., hi (1888), pp. 303-311. 
 The bust of Oommodus is also reproduced in Baumeister , Denkm. 
 d. kl. Alterthums, i, p. 398, Fig. 432; in Bernoulli , Rom. Ikonogr., 
 ii, 2, T. lxi, p. 229, No. 1, pp. 237, 243, 253; and in Brunn und 
 Bruckmann , Denkm. gr. und rom. Sculptur, No. 270. 
 
 561 (19). Statue of a Genius. 
 
 Found in the Esquiline, in the Giardino Altieri, ad- 
 joining the Via Labicana. The restorations include the 
 nose, the right forearm, the cup, the left hand, the lower 
 end of the cornucopia, the right leg from the middle of 
 the thigh downwards, the lower part of the left leg, the 
 stump, and the plinth. 
 
 As the cornucopia seems to indicate a Genius (see 
 No. 310), the restorer has probably done right in placing 
 a cup, the other attribute of a Genius, in the right hand. 
 But the scholar who published this statue is surely in 
 error when he describes it as the Genius of Jupiter ( Ge- 
 nius Jovialis ), on account of the aegis which hangs like 
 a mantle over the left shoulder; for it seems difficult to 
 think of any good reason why an artist should choose to 
 represent the Genius of a god rather than the god himself. 
 The aegis, intended to inspire terror in the foe, would be 
 quite in place on the statue of the Genius of an army 
 [ Genius exercitus) or of a body of troops ( Genius castro- 
 rum , cohortium , etc.). 
 
 Bull, comunale, x (1882), T. xvm, xix, pp. 173-179. 
 
 562 (21). Sarcophagus with reliefs of the Calydonian 
 
 Hunt. 
 
 Found in a tomb on the bank of the Anio, between 
 Tivoli and Yicovaro. 
 
 This sarcophagus, the reliefs of which testify to the 
 lowest decadence of art, is remarkable on account of its 
 
OCTAGONAL ROOM. 
 
 421 
 
 colossal proportions. The heads of the figures on the lid 
 have not been finished, as it was left to the purchaser to 
 carve the portraits of the couple interred in the sarco- 
 phagus. The reliefs on the body of the sarcophagus afford 
 another proof of the tendency to introduce into the myth- 
 ological narrative realistic references to the deceased 
 (comp. No. 416). There, alongside of Meleager, Atalanta, 
 and the two riders probably meant for the Dioscuri, are 
 represented three men, clad in tunics, who have nothing 
 to do with the myth but are merely hunting-companions 
 of the Roman sportsman buried in the sarcophagus. 
 
 Bull, comunale, i (1872), T. n, nr, pp. 175-191. Baumdstir , 
 Denkm. d. kl. Altertbums, n, p. 918, Fig. 992. 
 
 Below, on the floor, — 
 
 563. Group of a Combat between a Panther and a 
 Boar. 
 
 Found close to the city-wall , between the Porta S. 
 Lorenzo and the Porta Maggiore. 
 
 The panther has been knocked over by the impetu- 
 ous rush of the boar and bites the latter in the neck as it 
 passes over its prostrate body. The composition of the 
 group is admirable, and represents with great cleverness 
 the contrast between the clumsy strength of the boar and 
 the agility of the panther. The execution, however, leaves 
 much to be desired. 
 
 Notizie degli scavi, 1884, p. 189. Bull, comunale, xii (1884), 
 p. 258, No. 9. 
 
 564 (24), 565 (23). Statues of Maidens. 
 
 Found in the Villa Palombara, on the Esquiline (see 
 note under Nos. 558-560). The restorations include the 
 extended right forearm of No. 23, and both arms, the 
 cithara, and the toes of the right foot of No. 24. In each 
 statue the head and bust, down to the beginning of the 
 drapery, were carved out of a separate piece of marble. 
 The missing arms were also carved in separate blocks, i 
 
 The figure numbered 2 3 sees or hears something that 
 moves her deeply. The features express grief or pity. 
 As the mouth is open, we may assume that she is about 
 
422 
 
 PALAZZO DEI CONSERVATORI. 
 
 to speak, either to defend herself or to protest against 
 some demand made on her. The left arm is stretched 
 stiffly downwards, and the hand seems to clutch convul- 
 sively at the drapery in which it is enveloped. The in- 
 clined head of No. 24 wears a profoundly melancholy 
 expression, which harmonizes poorly with the attempt to 
 restore it as a lyre-player. There are, unfortunately, no 
 indications of the original position of the arms. It is, 
 however, certain that they were stretched out a little and 
 did not touch the body, as there are no marks of such 
 contact on the latter. The hands may possibly have been 
 clasped or crossed somewhat in front of the body. In any 
 case the attitude of the arms must have corresponded 
 with the melancholy expression of the face. 
 
 The colonnade surrounding the temple of the Palatine 
 Apollo contained a cycle of statues representing Danaos 
 standing, with drawn sword, amidst his daughters. The 
 artist of this series has evidently chosen the moment when 
 Danaos called upon his daughters to murder their hus- 
 bands. This motive furnished an excellent opportunity 
 to represent the most diverse feelings in the countenances 
 of the Danai'des and was thus just such a motive as would 
 appeal to the Hellenistic artists. The two statues before 
 us could easily find their place in such a composition, 
 and it is by no means unlikely that they are copies of 
 two of the Danai'des in the Palatine cycle. 
 
 Bull, della comm, municipale, hi (1875), T. ix, x, pp. 57-72. 
 Comp, ii, p. 247, Nos. 11, 12. — On the Palatine cycle of Dana'ides, 
 see Stark, Niohe, p. 828. The statues reproduced in Clarac (iv, 
 PI. 590, No. 1276, v, PI. 836, No. 2096 A, PI. 978 C, No. 2343) 
 seem also to he connected with this cycle. 
 
 566 (26). Girl binding a Fillet round her Head. 
 
 For the circumstances of its discovery, comp. Nos. 
 
 558-560. The end of the nose is modern. 
 
 This maiden is occupied in fastening a wide fillet 
 round her head. The left hand raises the mass of hair at 
 the back of the head, while the right hand holds the 
 ribbon, which has already been coiled once round the 
 
OCTAGONAL ROOM. 
 
 423 
 
 head and is now to be passed under the back-hair. The 
 slender vase, adorned with an Uraeus-serpent, standing 
 beside the maiden, and the mantle hung over it seem to 
 indicate that she has either just had a bath or is just 
 about to take one. The square object on which the vase 
 stands is probably her toilet-case. The flowers seen on 
 the uncovered side of this case are probably meant to 
 be in chased metal-work, such as we see on the round 
 gold brooches found in Etruscan tombs of the second and 
 third centuries B.C. 
 
 The statue is a product of an eclectic art, which 
 seems to have been developed about the end of the Re- 
 public and the beginning of the Empire. The general 
 model for the figure was evidently a Greek original of 
 the middle of the fifth century. The too high position 
 of the ears and the strongly developed chin recall archaic 
 types. The expression of the face, on the other hand, 
 shows a blending of sensuality and gentle melancholy 
 very characteristic of the Hellenistic period. The treat- 
 ment of the body is thoroughly realistic, as is especially 
 noticeable in the plumpness below the breasts. The legs 
 are too massive in proportion to the trunk and may even 
 be called coarse at the joints. In these parts the sculptor 
 has evidently copied his living model without any attempt 
 at improvement. 
 
 The current identification of this statue with Aphro- 
 dite meets with various difficulties, not the least of which 
 is that its type cannot be reconciled with the develop- 
 ment of the ideal of Aphrodite. Much more plausible is 
 the theory recently maintained that the sculptor was in- 
 fluenced by an Attic painting of the fifth century, which 
 represented Atalanta in the act of preparing for her race 
 with Hippomenes. She has bathed and anointed her 
 limbs, and is now binding her hair, so that the rapid 
 motion of running may not make it fly loose round her 
 head. This theory is based on the painting on an Attic 
 vase of the end of the fifth century, in which Atalanta is 
 represented preparing herself for the race in the manner 
 
424 
 
 PALAZZO DEI CONSERVATOR!. 
 
 indicated (see Fig. 27). It is clear, however, that the 
 sculptor has made many mistakes in transferring the 
 subject from painting to sculpture. The body he has 
 given to Atalanta is by no means that of a young woman 
 
 accustomed to physical exer- 
 cise (comp. No. 378). The 
 Fjgypto-Hellenistic vase and 
 the so- called toilet- casket 
 would also appear strangely 
 out of place in a mytholo- 
 gical representation. These 
 considerations, therefore, 
 justify us in asking whether 
 the sculptor, while basing 
 his work primarily on the 
 motive of the Atalanta, has 
 not purposely modified it to 
 represent a maiden devoted 
 to the service of Isis. The 
 Uraeus-serpent on the vase 
 is one of the symbols of the 
 Egyptian goddess. At the 
 very epoch too, to which its 
 style of execution relegates 
 the figure , the cult of Isis 
 and its attendant ceremonies 
 were celebrated with great 
 zeal by the fashionable world 
 of Rome. It is easy to see 
 in the expression of the sta- 
 tue a reflex of the charac- 
 ter, at once sensual and my- 
 stical, of this religion. And, lastly, we know that baths 
 and lustrations played a conspicuous role in the religious 
 ceremonies of Egypt. It is, therefore, possible that the 
 sculptor meant to represent a young woman preparing 
 for a bath in connection with some such ceremony, and 
 binding up her hair to prevent its getting wet. 
 
OCTAGONAL ROOM. 
 
 425 
 
 Bull, della comm. arch, municipale, hi (1875), T. m-v, pp. 
 16-28; xviii (1890), T. hi, iv, 1, pp. 48-56. Gazette archdologique, 
 1877, PI. 28, pp. 138-152. American Journal of Archaeology, hi, 
 PI. 1, No. 3, pp. 12, 13. Erunn und Bruckmann , Denkm'aler griech. 
 und rom. Sculptur , No. 305. Comp. Furtwaengler , Masterpieces, 
 p. 387, note 1. 
 
 567. Two Statues of Roman Magistrates. 
 
 Found in 1879 in the Yiale Principessa Margherita. 
 They were immured in a wall which had been built in 
 the middle ages to close one of the niches in the Nym- 
 phaeum (popularly known as the temple of Minerva 
 Medica), in the HortiLiciniani. The restorations include, 
 in each statue, several fingers of the right hand, parts of 
 the cloth held in the right hand, the left forearm, the 
 eagle-headed sceptre, and the margin of the plinth. 
 
 The statues represent two Roman magistrates, an older 
 and a younger, presiding at the circus games and giving 
 the signal to start the races by throwing into the arena 
 a piece of cloth (mappa). In the left hand the restorer 
 has placed a sceptre ending in the head of an eagle, 
 grounding on the fact that both emperors and consuls are 
 sometimes furnished with this attribute in coins and ivory 
 diptychs representing the opening of the sports of the 
 circus. The costume is that prescribed for the higher 
 functionaries from the time of Constantine the Great on- 
 wards. It consists of a long sleeved tunic, above which 
 are a shorter, sleeveless tunic and a tightly drawn toga On 
 the feet are what seem to be the ‘Calcei Aurati’, or sena- 
 torial boots. The style of execution and the clean-shaven 
 faces indicate the fourth century of our era. The bodies 
 and drapery are treated in a mechanical and lifeless way, 
 forming a curious contrast to the successful manipulation 
 of the heads, which are evidently speaking likenesses. 
 
 Bull, comunale, xi (1883), T. m, iv, pp. 17 et seq. Comp, vii 
 (1879), p. 241, Nos. 6, 7. — On the sceptre terminating in an 
 eagle’s head, see Meyer , Zwei antike Elfenheintafeln der Bibliothek 
 in Miinehen (Munich, 1879), pp. 18, 19. 
 
 Between these two statues, — 
 
 568. Statue of a Youth. 
 
 Found on the Quirinal, in the part of the Rospigliosi 
 Garden destroyed by the Via Nazionale. 
 
426 
 
 PALAZZO DEI CONSERVATOR!. 
 
 It is clearly seen that the missing parts of the head 
 and back were carved in separate pieces and fastened to 
 the marble that is still preserved. As the youth is in the 
 same attitude as a so-called Eros in a relief on the drum 
 of a column from the Temple of Diana at Ephesus, it has 
 been assumed that the figure before us is also an Eros 
 and that the missing part of the back was furnished with 
 wings. The resemblance between the two figures may, 
 however, be quite accidental; and to judge from the frag- 
 ment before us, the presence of wings seems at least 
 questionable. In any case the theory that the Capitoline 
 statue reproduces the Thespian Eros of Praxiteles is 
 quite untenable , as it shows not the slightest affinity to 
 the artistic methods of that master. It would be more 
 plausible to connect this type with the school of Poly- 
 cleitos. 
 
 Bull, comunale, xiv (1886), T. i, n, pp. 54-76. Comp. Robert , 
 Archseol. Marchen , pp. 160 et seq. Furtwaengler , Masterpieces, 
 pp. 270-272. 
 
 569. Statue of Thanatos, of mediocre workmanship. 
 
 Found on the Esquiline, near the Via Merulana. 
 The restorations include the nose, the left arm, the 
 cithara, the right hand with the lower part of its attrib- 
 ute (restored as a plectrum), the right leg from the 
 knee downwards , the upper half of the left thigh , the 
 lowest part of the left leg (most of the foot ancient), and 
 parts of the stump. The head , which had been broken 
 off, has been replaced in a wrong pose. 
 
 The restoration of the object in the right hand as a 
 plectrum is a mistake. The part preserved seems much 
 too long and is of a different shape from all authenticated 
 representations of this instrument. The support reaching 
 from the right thigh to the attribute would also be unne- 
 cessary for so short an object as a plectrum. The restor- 
 ation of the lyre is likewise wholly arbitrary. On the 
 analogy of the monuments cited under No. 187, it is 
 much more likely that this figure should be restored as 
 Thanatos, holding an inverted torch in the right hand and 
 a bow in the left. 
 
OCTAGONAL ROOM. 
 
 427 
 
 Bull, della comm. arch, comunale, v (1877), T. xvi, xvn, 1, 
 pp. 135-145. Comp. Bull, municipale, iv (1876) , p. 214, No. 7. 
 Bull, dell’ Inst., 1877, pp. 151 et seq. Furtwaengler , Masterpieces, 
 p. 316. 
 
 Behind, to the right, — 
 
 570. Relief of Hephsestos forging the Arms of Achilles. 
 
 Found in the Vigna Belardi , between the. church of 
 S. Bibiana and the Porta Maggiore. The restorations in- 
 clude the left arm of Hephsestos, the block of the anvil, 
 the shield lying on the anvil , the legs of the three Cy- 
 clopes , the figure of Hera from the bosom downwards, 
 almost all the trunk of the oak-tree behind her, the tail 
 of the peacock sitting on the tree, and the cuirass and 
 sword lying beneath it. 
 
 Hephaestos and the Cyclopes are busy forging the 
 shield of Achilles , while the helmet and the greaves are 
 already finished and lie on the ground behind them. 
 Pallas and Hera are standing by, though it is not very 
 clear why the artist has represented these two goddesses. 
 Perhaps he wished to indicate that Achilles enjoyed their 
 special protection. On the other hand Pallas may be 
 present as the goddess of industry (Ergane) and Hera as 
 the mother of Hephsestos. In any case these two figures 
 make a somewhat cold impression, as they are not placed 
 in any close relation to the group around the anvil. Be- 
 hind Pallas stands the olive-tree, sacred to this goddess, 
 with her owl and aegis; while behind Hera is an oak- 
 tree, with her sacred bird, the peacock. 
 
 Bull, comunale, iv (1878), T. x, pp. 142-152. 
 
 To the left, — 
 
 571. Hellenistic Relief. 
 
 Found near S. Vito. 
 
 This relief shows a crenelated city-wall, strengthened 
 with a tower. In front stands a vine-wreathed laurel 
 tree, a branch of which grows into one of the windows of 
 the tower, while a typanum and two flutes, tied together 
 by a ribbon, hang from a small window in the wall. To 
 
428 
 
 PALAZZO DEI CONSERVATOR!. 
 
 the right is preserved the upper part of an Ionic temple, 
 which, apparently, is supposed to be projecting above 
 the wall. The fact that the tree has grown into the tower 
 indicates that the latter has been deserted. The motive 
 thus suggested is characteristic of the idyllic-romantic 
 tendency of Hellenistic art and finds many analogies in 
 Graeco-Roman mural paintings (comp. No. 808). 
 
 Bull, municipale, m (1875), p.247, No. 4. Schreiber , Die 
 hellenistischen Reliefbilder, T. xli. Comp. Helbig , Untersuchungen 
 fiber die campan. Wandmalerei, p. 99. 
 
 572 (36). Head of Cheiron. 
 
 Found in the Piazza Vittorio Emanuele. The lower 
 part of the nose and the tip of the left ear are modern. 
 
 In the Saepta at Rome stood a group in marble, re- 
 presenting the Centaur Cheiron teaching the young Achil- 
 les to play on the lyre. The main features of this group 
 are familiar through mural paintings, reliefs, and gems. 
 The Centaur rested his hindquarters on the ground and 
 looked down, inclining his head slightly to the left, at 
 his pupil, who stood beside him. The Capitoline head 
 comes from a statue of Cheiron , which formed part of a 
 replica of this group. In its present position it is 
 wrongly posed. A fold of the skin running obliquely 
 across the left side of the neck proves that the head of 
 the Centaur was bent to this side as in the group above 
 described. The antique replicas of the group represented 
 the Centaur with a crown of laurel. That the Capitoline 
 example wore a wreath of metal is shown by the shallow 
 circular groove which runs from the hair above the fore- 
 head to the back of the neck, passing behind the ears. 
 Apart from the restored portion of the nose , which is 
 much too large, the head expresses not only the strength 
 but also the seriousness and benevolence which charac- 
 terized the wise Cheiron, the most human of all the Cen- 
 taurs. The wrinkled forehead, the frowning brows, and 
 the protruding under-lip indicate a slight degree of dis- 
 satisfaction. The disposition of the ears seems determined 
 by the same feeling. While the right ear lies close to the 
 
OCTAGONAL ROOM. 
 
 429 
 
 skull, the left points outwards, as is seen in horses when 
 their attention has been aroused by a noise coming from 
 one side (comp. No. 615). Obviously Cheiron is not alto- 
 gether well pleased with the musical performance of his 
 pupil. The view put forth by several authorities, that 
 the group in the Saepta must have been a work of the 
 Hellenistic period, is strongly confirmed by the character- 
 istics of the Capitoline head. In the treatment of the hair 
 this head recalls the types of the Barbarians of Pergamum 
 (comp. Nos. 533, 884); the mouth resembles that of the 
 statues of the hanging Marsyas (comp. No. 576). The 
 execution is vigorous, but shows, especially in the mani- 
 pulation of the hair and the folds of the skin, a somewhat 
 mechanical character, which makes it impossible to admit 
 that it formed part of the original group. 
 
 Mon. dell’ Inst., xn, 1 ; Ann., 1884, pp. 50-74. Roscher , Lexi- 
 kon der griech. nnd rom. Mythologie, n, p. 1083, No. 15, p. 1080. 
 
 573-575 (38, 42, 43). Three Statues of Athletes. 
 
 Found amid the ruins of an ancient villa in the Te- 
 nuta Ariano, at Velletri. In No. 38 both hands, the front 
 of the right foot, most of the toes of the left foot, and the 
 plinth are modern, as is the left foot of No. 42. 
 
 The figures numbered 38 and 42 formed a group, 
 representing two athletes about to engage in a wrestling 
 match. They stood opposite each other, bending a little 
 forward, holding out their hands, and watching each other 
 keenly, in order to seize the favourable moment for attack. 
 The sharp edges of the flesh-modelling and the chasing- 
 like execution of the hair seem to indicate bronze originals. 
 These would be free from the supports of the arms, the 
 necessity for which mars the work of the sculptor in 
 marble. The style shows no trace of the realism intro- 
 duced by Lysippos, and we may consequently assume 
 that the bronze originals were of earlier date than this 
 master. The attitude of the figure numbered 43 is similar 
 to that of Nos. 38 and 42, but shows more movement. 
 The individualistic formation of the head indicates that 
 it is a portrait. The style points to the Hellenistic period. 
 
430 
 
 PALAZZO DEI CONSERVATOR!. 
 
 Bull, municipale, iv (1876), T. ix-xi, pp. 68-83, Nos. 38 and 
 42. Brunn und Bruckmann , Denkmaler, No. 353. Comp. Ab- 
 handl. des arch.-epigr. Seminars in Wien, vm (1890), p. 46. Furt- 
 waengler , Masterpieces, p. 128, note 1 (where the older interpret- 
 ation of the figures as runners is maintained). 
 
 576 (46). Statue of Marsyas. 
 
 Found on the Esquiline , not far from the so-called 
 Auditorium of Maecenas. The restorations include the 
 front of both forearms, part of the abdomen, the left leg 
 from a little above the knee downwards , the lower part 
 of the right leg, the stump, and the plinth. 
 
 Marsyas is hanging from a tree and awaits, with his 
 head bent in suffering and exhaustion, the penalty that is 
 to befall him for daring to engage in a contest with 
 Apollo. The red-veined Phrygian marble (paonazzetto), 
 in which this statue and several replicas of it are executed, 
 seems to have been purposely chosen to indicate the con- 
 gestion of blood produced by the tying of the extremities. 
 The artist who conceived the realistic treatment of the 
 hanging Marsyas has, indeed, produced an anatomical 
 masterpiece. The statue known as the 1 Grinder’, in the 
 Uffizi Gallery of Florence, obviously represents a Scythian 
 entrusted with the task of flaying Marsyas; and it seems 
 a natural step to suppose that it formed a group with the 
 original of the Marsyas. But a difficulty arises in the 
 great stylistic difference between the Grinder and the 
 extant replicas of the Marsyas. The former, to judge from 
 its material and style, seems to be a product of the art 
 of Pergamum under Attalos I. (comp. Nos. 533, 884), and 
 resembles the Pergamenian Barbarians in its treatment, 
 which is full of character but sober in details. The figures 
 of Marsyas, on the other hand, though recalling the types 
 of the Pergamenian Gauls in the manipulation of the hair, 
 exhibit a minute and painstaking rendering of the anato- 
 mical details such as finds no analogy in authenticated 
 works of the early Pergamenian school. This difficulty 
 may, however, be got over by assuming that the type of 
 the Marsyas has been modified by later artists. The early 
 Pergamenian school created a group, in which the hang- 
 
OCTAGONAL ROOM. ? 
 
 431 
 
 ing Marsyas and his executioner were represented opposite 
 each other and treated in the same manner. At a later 
 date arose the idea of subtracting the Marsyas and treat- 
 ing him as a single, independent statue ; and this practice 
 gave occasion for the creation of the piece of anatomical 
 pretentiousness, from which all the extant figures of Mar- 
 syas have been copied. 
 
 Bull, comunale, viii (1880), T. xvii-xx, pp. 198-206; comp, 
 iv (1876), p. 213, No. 14. Overbeck , Kunstmythologie, iv, p. 476, 
 No. 2, pp. 478-481; Atlas, xxvi, 24. Comp. Friederichs-Wolters , 
 Bausteine, No. 1415. Overbeck , Geschichte der griech. Plastik, ii 4 , 
 p. 382. Loewy , Lysipp und seine Stellung in der griech. Plastik, 
 
 p. 28. 
 
 577 (47). Bust of a Homan. 
 
 Found in the Castro Prsetorio. The front of the nose 
 is modern. 
 
 This bust has also been taken for a portrait of Gnaeus 
 Domitius Ahenobarbus, hut its resemblance to the coin- 
 portraits is even less marked than that of No. 52. The 
 type of features and the style indicate, however, the 
 transition period between the Republic and the Empire. 
 
 Bull, municipale, iv (1878), T. xiii, pp. 85-91. Bernoulli, Rom. 
 Ikonogr., i, p. 199, Fig. 28. 
 
 We now pass to the monuments placed in front of 
 or between the pillars that hear the vaulting. 
 
 Opposite the entrance, — 
 
 578. Rhyton, used for the decoration of a Fountain. 
 
 Found in May, 1875, on the Esquiline, in the former 
 Villa Caetani. Most of the horns, ears, and fore-legs of 
 the Chimaera, and about two-thirds of the wings are 
 modern. 
 
 The rhyton, which rests upon a clump of large-leaved 
 water-plants, ends below in a Chimsera, while the upper 
 part is adorned with reliefs representing three dancing 
 Bacchantes and a cratera. As the cratera is on the back 
 of the rhyton, the sculptor has represented it in profile 
 only. The water-pipe entered the monument below the 
 
432 
 
 PALAZZO DEI CONSERVATORI. 
 
 plinth and emerged in front, above the leaves, where the 
 opening is still visible. The inscription on the plinth 
 names Pontios the Athenian as the sculptor of the work ; 
 and, to judge from the style of the rhyton and the shape 
 of the letters of the inscription, this artist must have 
 flourished in the first century of the Empire. As was the 
 wont of Athenian artists of this period, he has borrowed 
 the motives of his reliefs from earlier schools of art. The 
 figures of the three Bacchantes are derived from Attic 
 originals of the middle of the fifth century, and one is re- 
 produced, with infinitely better execution, on the relief al- 
 ready described under No. 556. The horn is hollowed out 
 for two-thirds of its depth, and the cavity thus made was no 
 doubt used for planting flowers in the rhyton, the varied 
 forms and colours of which must have formed a charming 
 contrast with the architectonic severity of the vase con- 
 taining them. 
 
 Bull, della comm, arch. municipale, hi (1875), T. xii, 1, T. xm, 
 pp. 118-134. Comp. Loewy , Inscliriften griech. Bildhauer, No. 839. 
 Hauser , Die neu-attischen Reliefs, pp. 3, 8, No. 2, pp. 115, 187. 
 
 To the left of the rhyton, — 
 
 579. Head of an Amazon. 
 
 Found in 1874 on the Esquiline, near the so-called 
 Auditorium of Maecenas. 
 
 This head belonged to a statue of the type which is 
 seen at its best in No. 503. The execution is very good. 
 
 Jahrbuch des Arch. Inst., i (1886), p. 18n. Furtwaengler , 
 Masterpieces, p. 132, note 1. 
 
 Behind the rhyton, — 
 
 580. Dog, in green marble (verde ranocchia). 
 
 Found in the Villa Caserta, not far from the so-called 
 Auditorium of Maecenas. 
 
 This dog seems to have been placed, perhaps with a 
 companion, as a watch beside a door. 
 
 Bull, comunale , vm (1880), T. xx. p. 207, No. 2. Notizie 
 degli scavi. 1877, p. 85. 
 
OCTAGONAL ROOM. 
 
 433 
 
 By the second pillar to the right, — 
 
 581. Statue of a Young Shepherd in a Phrygian Cap. 
 
 Found in the Villa Casali, on the Caelius. The nose 
 is modern. 
 
 Both in the motive and in the expression of the face 
 this figure resembles in all essentials that described under 
 No. 109, which the addition of the eagle distinguishes 
 as Ganymede. In this case, however, instead of an eagle, 
 the plinth bears an ox, at which the young man looks 
 down, touching its flank with the curved end of the pedum 
 held in his left hand. The statue, then, represents a hand- 
 some youth, indulging in pleasant reveries as he pastures 
 his herd; the Phrygian cap shows that he is an Oriental. 
 It may thus either represent Ganymede, before his trans- 
 lation to Olympus, or Paris, feeding his flocks on Mt. Ida, 
 before his judgment on the beauty of the three goddesses. 
 
 Bull, comunale, xv (1887), T. ii, pp. 25-28. Furtwaengler , 
 Masterpieces, p. 857, note 5. 
 
 Between the third and fourth pillars, - — 
 
 582. Marble Cratera, with relief of Paris and Helen. 
 
 Found in 1875 on the Esquiline, in the vigna of the 
 Convent of S. Antonio , i.e. in the district now hounded 
 by the Via Principe Amedeo, the Via Cappellini, the 
 Via Rattazzi, and the Viale Principessa Margherita. The 
 restorations include the whole of the figure of Paris, ex- 
 cept the feet and ankles; both forearms, the lower part 
 of the abdomen, and the thighs of the Eros ; the neck, the 
 breast, the left arm, and the abdomen of Aphrodite ; and 
 the left hand and lower part of the legs (from the knees 
 downwards) of the farthest back of the three dancing 
 girls. The group of girls behind Helen is almost wholly 
 of modern workmanship. The only ancient parts are a 
 narrow strip on the body of the first maiden (from the 
 middle of the left upper arm downwards), the head of the 
 last figure, and the upper end of the column beside her. 
 
 The figures of Paris , standing with Eros in front of 
 Helen, and Aphrodite counselling the latter to give ear 
 to the young Trojan, are treated as in the reliefs at 
 Naples and in the Vatican (No. 148). From the scanty 
 
 Helbig, Guide I. 28 
 
434 
 
 PALAZZO DEI CONSERVATORI. 
 
 fragments of two female figures behind Helen, the restorer 
 has made a group of three Muses. In this restoration he 
 has followed the reliefs on the so-called Jenkins Vase, a 
 puteal at Marbury Hall (Cheshire), in which the meeting 
 of Paris and Helen is treated as a hymeneal scene. It is, 
 however, very questionable whether he can be congrat- 
 ulated on his work, as the crowded group of the Muses 
 seems quite out of keeping with the comparatively wide 
 spaces between the other figures of the relief. In any 
 case the presence of the Graces (Charites), who both in 
 poetry and art figure so often in marriage scenes, justifies 
 us in assuming that the sculptor of the Capitoline vase 
 also interwove hymeneal motives with the meeting of 
 Paris and Helen. The archaistic treatment of the three 
 dancing figures (comp. No. 83) contrasts disagreeably 
 with the freer style of the other figures. 
 
 Bull, comunale, vm (1880), T. yi-viii, pp. 119-131. Comp. 
 Berichte der sachs. Ges. der Wiss., 1878, p. 129, No. 2. Hauser, 
 Die neu-attischen Reliefs, p. 30, No. 34a, p. 114. — On the so-called 
 Jenkins Vase, see Michaelis , Ancient Marbles in Great Britain, 
 p. 511, No. 36. 
 
 Between the fourth and fifth pillars, — 
 
 583 (35). Statue of the Boy Heracles. 
 
 Found in the Campo ^erano. The restorations in- 
 clude the left forearm (hand ancient) , morsels of the 
 part of the lion’s skin on the left arm, and the middle of 
 the club. 
 
 This figure is based on the same original as the 
 colossal statue No. 514, but makes an infinitely better 
 impression on account of its admirable execution and 
 because it does not exceed the natural dimensions of a 
 child’s body. The roguish smile of the boy is repre- 
 sented very happily. 
 
 Bull, municipale, i (1872), T. n, pp. 21 et seq. 
 
 Between the sixth and seventh pillars, — 
 
 584. Statuette of an Old Fisherman. 
 
 Found in 1880 on the Villa Milano, below the Giar- 
 dino Panisperna. The restorations include the brim of 
 
OCTAGONAL ROOM. 
 
 435 
 
 the hat, the end of the nose, the left forearm and net, 
 the right arm and stick, the lower parts of the legs, and 
 the plinth. 
 
 This statuette is one of the genre figures, representing 
 types of different arts and crafts, which were so frequently 
 treated in Alexandrian poetry and art. Although the attri- 
 butes in the hands were added by the modern restorer, 
 there can be little doubt that a fisherman is represented. 
 The hat is characteristic, and the description given by 
 Theocrites (Id., i, 38 etseq.), in pourtraying the reliefs 
 on a cup, of a hook-nosed, much weather-beaten fisher- 
 man casting a net, accords perfectly with the figure be- 
 fore us. 
 
 Overbeck , Geschichte der griech. Plastik, n 4 , p. 356, Fig. 206b. 
 Comp. Bull, comunale, viii (1880), p. 287, No. 4. Helbig , Unter- 
 suchungen liber die campanische Wandmalerei, p. 187. 
 
 585. Statuette of an Old Peasant Woman carrying a 
 
 lamb to market. 
 
 Found on the Esquiline, near the former Yicolo di 
 S. Matteo. The restorations include the head of the old 
 woman, her left hand and stick, part of her right hand, 
 the head of the lamb, and parts of its legs 
 
 This figure belongs to the same category as No. 584, 
 but is more carefully executed. 
 
 Overbeclc : Gesch. d. griech. Plastik, n 4 , p. 365, Fig. 206a. Comp. 
 Bull, municipale, m (1875), p. 242, No. 5. Ath. Mitth., x (1885 ', 
 p. 396, where the head is wrongly said to be ancient. 
 
 Between the fountain and the two last-mentioned 
 statuettes, — 
 
 586. Statuette of a Boy. 
 
 Found in the Campo Verano. The end of the nose 
 and the right arm, with the nut, are modern. 
 
 Nuts formed one of the favourite playthings of anti- 
 quity. In one game the object was to throw a nut so that 
 it would alight on the centre of three others without 
 disturbing their arrangement; in another the object was 
 to hit a particular nut among several arranged in a line 
 along the ground; in a third it was to throw a nut from 
 
 28 * 
 
436 
 
 PALAZZO DEI CONSERVATOR!. 
 
 a distance into a hole. The restorer has rightly assumed 
 that the boy before us was engaged in some such game, 
 for both attitude and expression seem entirely appropriate 
 if we imagine that the youngster is just about to throw 
 his nut and is looking at the object he wishes to strike 
 with it. This view is confirmed by the reliefs of a sarco- 
 phagus found at Ostia, where a boy is represented shoot- 
 ing a nut at a pyramid of other nuts in the same attitude 
 that is shown in the Capitoline statuette and the Vatican 
 replica (No. 341). Traces of red colouring? may be seen 
 on the mantle of the figure before us. 
 
 Bull, della comm. arch, comunale, x (1882), T. xi, pp. 55-62. 
 Baumeister , Denkm. des kl. Alterthums, n, p. 780, Fig. 835. Birt, 
 De Amorum in arte antiqua simulacris (Marpurgi, 1892), T. vn, 
 pp. xx, xxvn. — On the sarcophagus from Ostia, see Gerhard , An- 
 tike Bildwerke, T. 65. 
 
 In the alcove at the back of the room, — 
 
 587. Tombstone of Gains Julius Helius, the Shoe- 
 maker. 
 
 Found on the Via Triumphalis, outside the Porta An- 
 gelica. The front of the nose is modern. 
 
 This bust is of excellent execution. The head shows 
 a note of distinction, such as we should expect to find in 
 a man of family rather than in an artizan. A character- 
 istic example of the realism of the sculptor is given in the 
 hairy wart near the left corner of the mouth. Within the 
 gable at the top of the tombstone are two shoemakers’ 
 lasts, with handles, one of which is covered with a boot 
 (caliga). The style and the inscription point to the time 
 of the Flavian emperors. The inscription tells us that 
 the workshop of Helius was near the Porta Fontinalis, a 
 gate of which some remains still exist in the court of the 
 Palazzo Antonelli, in the Piazza Magnanapoli. 
 
 Bull, comunale, xv (1887) , T. hi, pp. 52-56. Notizie degli 
 scavi, 1887, p. 78, No. 14. Lutzow , Zeitsclirift fur bildende Kunst, 
 new series, i (1890), p. 154, Fig. 15. 
 
 588 (75). Statue of Heracles. 
 
 The fragments of this statue were found on the Es- 
 quiline, immured in a mediaeval wall separating the 
 Villa Palombara from the Villa Caserta. 
 
OCTAGONAL ROOM. 
 
 437 
 
 Heracles is here depicted in the midst of some violent 
 action, with his head turned upwards. He probably 
 brandished his club in his right hand, while his left arm 
 was stretched out, either to protect himself or to seize 
 his adversary. Such an attitude would be quite in place, 
 for example, in his contest with the horses of Diomede, 
 King of Thrace ; and the fact that remains of three figures 
 of horses were found in the same place might seem to 
 indicate that our statue really was connected with that 
 particular exploit of the hero. One of the horses, of which 
 considerable remains were found, has been placed oppo- 
 site Heracles (No. 74 of the Museum Catalogue), but its 
 attitude is too quiet to allow us to suppose that it could 
 have been engaged in such a contest, while its execution 
 is very inferior to that of the Heracles. The latter, to 
 judge from the type of the head and a certain severity in 
 the style, seems to go back to an original of a date ante- 
 rior to Lysippos. 
 
 Bull, comunale, viii (1880), T. ix, x, pp. 153-161 (comp, i 
 1872, p. 292, No. 35). Brunn und Bruckmann, Denkmaler, No. 352. 
 Roscher , Lexikon der griech. und rom. Mythologie, i, p. 2172. 
 
 Adjacent, on the column numbered 76, — 
 
 589. So-called Statuette of Penelope. 
 
 Found behind S. Eusebio, within the area of the im- 
 perial gardens. 
 
 This*is a reproduction of the same type as Nos. 92 
 and 191. The body, however, is more in profile and not 
 bent so far forward, while the style is somewhat freer. 
 
 Bull, comunale, xvi (1888), T. xi, pp. 204-208. AntikeDenk- 
 m'aler herausgegeben vom Arch. Inst., i (1889), T. 310. 
 
 590. Archaic Greek Stele from a Grave. 
 
 Found on the Esquiline, in the old Villa Palombara, 
 which also lay within the area of the imperial gardens. 
 
 This relief represents the maiden whose ashes reposed 
 beneath the stele. In her right hand she holds a pet bird, 
 apparently a dove, while her left hand draws forward the 
 
438 
 
 PALAZZO DEI CONSERYATORI. 
 
 edge of her mantle in a manner characteristic of the ar- 
 chaic style. Her girlish naivete is admirably expressed 
 by the severe style of the relief. This monument is not 
 improbably of northern Greek origin, as its forms differ 
 considerably from Attic works and find their closest ana- 
 logy in the sculptures of two tombstones, found, one at 
 Pharsalos in Thessaly and the other on Thasos. Like 
 many other originals, it was removed from Greece to 
 Rome in ancient times. The fact that only the soles of 
 the sandals are plastically represented indicates that the 
 straps were added in painting. This makes it probable 
 that the rest of the relief was also coloured with more or 
 less fidelity to nature. The lower end of the stele is cut 
 so as to fit into a base, on which the inscription was 
 doubtless chiselled. 
 
 Bull, comunale, xi (1883), T. xm, xiv, pp. 144-172. Comp. 
 Rom. Mitth., i (1886), p. 126. Furtwaenyler , Sammlung Sabouroff, 
 i, introduction, p. 6. • — On the two reliefs of Northern Greek origin, 
 referred to above, see Friederichs-Wolters , Bausteine, Nos. 36, 41. 
 — On the art of Northern Greece, see Miinchener Sitzungsberichte, 
 1876, i, pp. 323 et seq. 
 
 591. Fragment of an Archaic Greek Relief. 
 
 Found in the old Yilla Caserta, where it formed part 
 of the cover of a drain. 
 
 This relief seems to be of Attic origin, as it is carved 
 in Pentelic marble, while its style finds its closest analogy 
 in that of an Attic votive relief. It is doubtless a frag- 
 ment of a funereal stele, and the remaining figure is prob- 
 ably that of a relative or servant, represented as standing 
 in front of the seated figure of the deceased (now missing) 
 and holding a child (comp. No. 762), a toilet - casket 
 (comp. No. 592), or an ornament. The manner in which 
 the lower ends of the mantle are tied together has no 
 analogy in other monuments. 
 
 Bull, comunale, ix (1883), T. xiv, pp. 205-213. Comp. Furl- 
 waengler , Sammlung Sabouroff, i, introduction, p. 6, note 7. — On 
 the Attic bas-relief in the same style, s eeSchone, Griechische Reliefs, 
 T. xix, 83, p. 45. 
 
OCTAGONAL ROOM. 
 
 439 
 
 In front of the column numbered 76, — 
 
 592. Fragment of an Attic Stele. 
 
 Found on the Esquiline, in the area formerly belong- 
 ing to the Villa Palombara and now traversed by the Via 
 Macchiavelli. 
 
 The deceased is represented as sitting, while a servant, 
 standing in front of her, holds a toilet-casket. The fact 
 that the stele is of Pentelic marble and the style of the 
 reliefs show that we have to do with an Attic work, which, 
 to judge from the nobility and freedom of its forms, was 
 executed towards the close of the fifth century B.C. 
 
 Bull, comunale, xv (1887), T. vi, pp. 109-113. 
 
 593. Torso of a Draped Female Statue. 
 
 Found in 1750 on the Aventine, in the Convent of 
 S. Alessio. 
 
 This torso belonged to a statue of a type, which was 
 used by archaic art in the representation of various god- 
 desses and votive figures , and by Graeco-Roman art in 
 delineations of the goddess Spes. The writer cannot un- 
 dertake to decide whether it is an archaic Greek original 
 or a Roman copy of such an original. In any case the 
 work lacks the freshness which usually characterizes ar- 
 chaic works and shows a someyhat dry and mechanical 
 treatment, especially in the folds of the upper garment. 
 
 Nerini , De templo et coenobio Sanctorum Bonifacii et Alexii 
 historica monumenta (Rom®, 1752), T. i, p. 5. Bull, comunale, ix 
 (1881), T. v, pp. 106-164. Comp. Romische Mittheilungen, in 
 (1888), p. 277. Collignon , Histoire de la sculpture grecque, i, p. 
 146, note 2. — On the type of this statue, see Homolle , De anti- 
 quissimis Dian® simulacris deliacis (Paris, 1885), pp. 39 et seq. 
 Bull, de correspondance hellenique, xiv (1890), pp. 572 et seq. 
 
 594. Archaic Statue of Nike. 
 
 Found in the so-called Nymph®um, in the Gardens 
 of Sallust. Parian marble. 
 
 The goddess of victory is represented as just on the 
 point of alighting on the ground, with her feet close together. 
 She seizes with.both hands the border of her Doric chiton, 
 as if to steady herself in her flight. The holes in the part 
 
44 U 
 
 PALAZZO DEI CONSERVATOR!. 
 
 of the drapery covering the shoulders contained metal 
 clasps (fibulae). As the feathers of the wings are not 
 plastically represented, we may assume that they were 
 indicated by painting. In style the statue recalls the ped- 
 iment sculptures of the temple of Zeus at Olympia. It 
 seems to be an archaic original. The execution, however, 
 is somewhat rough and indicates only the essential features, 
 though these with great energy. We may, therefore, con- 
 clude that the figure was intended for a pediment, a col- 
 umnar pedestal, or some other lofty position. 
 
 Bull, comunale, xiv (1886), p. 51. Notizie degli scavi, 1886, 
 p. 22. Furtwaengler , Koerte , Milchhoefer , Archaologische Studien 
 Brunn dargebracht, p. 81. 
 
 Above, — 
 
 595. Archaic (?) Greek Votive Relief. 
 
 Found in the Vicolo Gesh e Maria, in jdigging the 
 foundations of a school-house. 
 
 The relief represents an athletic youth washing his 
 hands in a basin supported by a tripod. Its meaning is 
 explained by a relief in the same style at Wilton House 
 (Wiltshire), in which the youth stands in front of a statue 
 of Zeus, and which is therefore without doubt a votive 
 offering dedicated to the Father of the Gods by a victorious 
 athlete. The athlete washes his hands preparatory to 
 making his thank-offering to the god who has helped 
 him to victory. The object represented in the left upper 
 corner of the Capitoline relief, and enclosed in a frame, 
 seems to be the crown won by the athlete; it is adorned 
 with bows. The curious headdress of the athlete consists 
 of a close-fitting cap, presumably of leather, which is 
 fastened by two bands, one passing round the chin, the 
 other under it. The forms do not possess the primitive 
 freshness, which we usually find in archaic sculptures, but, 
 on the contrary, show a singular hardness in the mod- 
 elling of the body. The phenomenon may, perhaps, be 
 explained by the hypothesis that the relief was executed 
 in a district in which art had long made no progress, but 
 adhered mechanically to the archaic style. 
 
PASSAGE BEHIND THE OCTAGONAL ROOM. 441 
 
 Bull, comunale, xn (1884), T. xxiii, pp. 245-253. On the 
 relief at Wilton House, see Michaelis , Ancient Marbles in Great 
 Britain, p. 680, No. 48. Friederichs- Wo Iters , Bausteine, No. 239. 
 A similar headdress is seen in the figure of an athlete on a red- 
 figured cup in the severe style: Arch. Zeitung, xxxvi (1878), T. 11, 
 pp. 58-71. 
 
 Passage behind the Octagonal Room. 
 
 Close to the entrance, on a column numbered 70, — 
 596. Front of the Foot of a Colossal Statue. 
 
 Found on the Yia Appia in front of the church of S. 
 Cesareo. 
 
 The edge of the sole of the sandal is adorned with 
 a train of Tritons, with Amoretti perched on their tails. 
 Another Eros bestrides a dolphin and strikes a fish with 
 a trident. The manner in which these figures are treated 
 has very few analogies in extant works of marble. The 
 execution is wonderfully delicate and the figures, in spite 
 of their small scale, are represented in great detail ; the 
 general effect, however, is somewhat hard. The waves 
 are realistically represented, a somewhat unusual phenom- 
 enon in a piece of sculpture adhering in the main to 
 good traditions of art. This fragment gives us some idea 
 of the effect produced by the reliefs on the sandals of 
 the Athena Parthenos. 
 
 Bull, della comm. arch, municipal^, i (1872), T. i, pp. 33-41. 
 Comp. Abhandlungen der phil.-hist. Classe d. sachs. Ges. d. Wiss., 
 viii (1883), p. 598, note ***. Roscher , Lexikon der gr. und rom. 
 Mythologie, n, p. 482. Jahrb. des Arch. Instituts, vi (1891), p. 196. 
 
 To the left, — 
 
 597 (126). Statue of a Charioteer. 
 
 Found in 1874 on the Esquiline near S. Eusebio, 
 within the area of the imperial gardens. The front of the 
 nose is modern. 
 
 We may ascertain the original motive of this statue 
 by comparing it with figures on Attic vases representing 
 
442 
 
 PALAZZO DEI CONSERVATOR!. 
 
 gods, heroes, or mortals about to enter a chariot. The 
 adjoining sketch (Fig. 28) will show how the restoration 
 should be made. The youth, standing on his left leg, 
 places his right foot on the step of the chariot, while he 
 holds the reins in his outstretched arms. The statue is 
 an indifferently executed Roman copy of a Greek bronze 
 
 original, dating from about the middle of the fifth cen- 
 tury. This original may have been by Calamis, who was 
 celebrated for his representations of bigae and quadrigae. 
 The influence of the archaic style is seen in the conven- 
 tional arrangement of the hair and in the sharpness with 
 which the muscles are accentuated. The pose of the body, 
 
PASSAGE BEHIND THE OCTAGONAL ROOM. 443 
 
 on the contrary, is entirely in consonance with the freer 
 style of art. 
 
 Bull, della comm, arch., xvi (1888), T. xv, xvi, 1, 2, pp. 335- 
 365. Comp, ibid., hi (1874), p. 53. Loewy , Lysipp und seine 
 Stellung in der gr. Plastik, p. 20, Fig. 8. Comp. Furtwaengler , 
 Masterpieces, pp. 81 et seq. 
 
 To the right, — 
 
 598 (70). Torso of Pallas. 
 
 Found in 1881 on the Esquiline, behind the semi- 
 circular building belonging to the Thermae of Diocletian. 
 
 The statue to which this torso belonged was a copy 
 of the Athena Parthenos of Pheidias. It differed from the 
 original, so far as the extant portion allows us to judge, 
 in lacking the locks which fell on the shoulder of the 
 goddess and in having the aegis of a more circular form 
 Comp. Nos. 600, 870, 898. 
 
 Bull, comunale, xi (1883), T. xv, xvi, pp. 173-183. 
 
 On the sarcophagus of Posilla (No. 87 of the Mu- 
 seum), — 
 
 599. Term of Anacreon, with inscription. 
 
 Found within the area of the Gardens of Caesar, 
 outside the Porta Portese. * The nose and most of the 
 moustache are modern. 
 
 This bust reproduces the same original as a statue, 
 formerly in the Villa Borghese, which was at one time 
 taken for either Tyrtaeos, or Pindar, or Alcaeos, and may 
 now be recognized as undoubtedly a portrait of Anacreon. 
 To judge from the nobility of both style and conception, 
 this original cannot date from a later period than the 
 middle of the fifth century B.C. The Greeks of the Hellen- 
 istic era generally represented Anacreon as an aged 
 man, but he appears here in the prime of life, full of 
 force and fire. 
 
 Bull, comunale, xii (1884), T. it, hi, pp. 25-38. Arch. Zei- 
 tung, xlii (1884), T. xi, 2, pp. 149-153. Comp. Jahrbuch desArch. 
 Instituts, vii (1892), pp. 119-126, p. 188, note 19; viii (1893), 
 Arch. Anzeiger, p. 75. Furtwaengler , Masterpieces, pp. 60 et seq. 
 
444 
 
 PALAZZO DEI CONSERVATOR!. 
 
 Adjoining the sarcophagus numbered 87: 
 
 600. Torso of Pallas and Fragment of her Shield. 
 
 Found in 1874 on the Esquiline, in the construction 
 of the present Via Ariosto. 
 
 This is another copy of the Athena Parthenos, repro- 
 ducing the arrangement of the hair and the shape of the 
 aegis more closely than No. 598. Pheidias decorated the 
 shield of the goddesses with reliefs of the contest between 
 the Greeks and the Amazons (comp. No. 80). Among 
 the Greeks was represented on old man, raising a stone to 
 hurl it at an Amazon. According to a tradition, which 
 can be traced back to the Hellenistic period, this figure 
 was a portrait of Pheidias himself. A replica of the shield 
 of the Athena Parthenos in the British Museum shows 
 clearly a bald-headed warrior, who, however, is not hurl- 
 ing a stone but brandishing an axe. A similar figure is 
 recognizable on the fragment before us. It would thus 
 seem that the two sculptors followed, not the Athena 
 Parthenos of Pheidias himself, but some more or less free 
 copy of it. 
 
 Abhandlungen der phil.-hist. Classe der sacbs. Ges. d. Wissen- 
 schaften, vm (1883), T. hi E, 1-3, pp. 564-567, 600, 601. Comp. 
 Bull, comunale, xi (1883) p. 174. Archaol. Zeituug, xli (1883), 
 p. 208. Berliner philolog. Wocbenschrift, v (1885), p. 899. Furt- 
 waengler , Masterpieces, p. 48. 
 
 By the wall opposite the entrance, — 
 
 601 (124). Marble Basin. 
 
 Found in the Piazza Dante. 
 
 Like the Biga of the Vatican (No. 326), this is one 
 of the most beautiful examples that have come down to 
 us of the decorative art of the Graeco-Roman period. 
 Magnificent acanthus-leaves, from which sprays of foliage 
 detach themselves, spread with wonderful symmetry from 
 the bottom to the edges of the basin, occupying the whole 
 surface in the most harmonious manner. In order fully 
 to appreciate the effect intended by the sculptor, it must 
 be remembered that the basin was to be placed in a hori- 
 
PASSAGE BEHIND THE OCTAGONAL ROOM. 445 
 
 zontal position. To enable tbe beholder to survey the 
 whole of the reliefs, the basin must have been somewhat 
 above him; and this end was attained by the support on 
 which it rested and (probably) by a comparatively lofty base 
 below that. A fragment of a support, formed of three 
 dolphins with intertwined tails, was found at the same 
 time and place as the basin and very probably belonged 
 to it. 
 
 Bull, municipale, iii (1875), p. 80. 
 
 On the sarcophagus numbered 116, — 
 
 602. Group of a Giant fighting with two Satyrs. 
 
 Found in a Nymphseum near the Porta S. Lorenzo. 
 
 The clue to the interpretation of this group is found 
 in the fact that the serpent’s body in the left part of the 
 plinth formed the end of a human leg. The upper part 
 of the knee, the beginning of the calf, and the scales 
 which mark the transition in the figures of Giants from 
 the human to the amphibian body are all distinctly re- 
 cognizable. The group, therefore, represented the struggle 
 of a Giant with two Satyrs. Apparently it formed part 
 of a cycle of sculptures, in which the Bacchic thiasos was 
 represented as taking part in the contest between the 
 Gods and the Giants. One of the Satyrs has fallen on the 
 rocky ground before his antagonist and endeavours to 
 support himself with his right hand. His right forearm 
 and his left shoulder are wrapped in the coils of one of 
 the serpents forming the lower limbs of the Giant. The 
 terrified way in which he turns his head aside may be best 
 explained by supposing that the serpent’s head, in which 
 the Giant’s leg ended, is threatening it with attack. Of 
 the second Satyr only the left leg and the right foot have 
 been preserved, the latter visible under the back of his 
 fallen comrade. These remains are enough, however, to 
 allow us to reconstruct his attitude : he supported himself 
 on his left knee and stretched his right leg out in an effort 
 to rise, frustrated by the coils of the other serpentine 
 
446 
 
 PALAZZO DEI CONSERYATORI. 
 
 limb of the Giant wound round this leg. He was not 
 entirely hors de combat like his neighbour, but menaced 
 the Giant with the thyrsos or some other Bacchic weapon. 
 This group offers many points of resemblance with known 
 works of Hellenistic art. The subject recalls the Perga- 
 menian frieze of Giants, and the composition that of the 
 Laocoon (No. 153), while the dimensions of the figures 
 and the style of their execution remind us of the statuettes 
 reproducing the votive offerings of Attalos I (comp. 
 No. 385). The fallen Satyr shows a close affinity to the 
 Dying Gaul (No. 533) both in attitude and the treatment 
 of his hair. 
 
 The two statuettes of Satyrs placed beside this group 
 are said to have been found in the same place ; but they 
 cannot have belonged to it, as they are larger and of 
 inferior execution. 
 
 Bull, comunale, xvn (1889), T. i, n, pp. 17-25. 
 
 603. Silenus with a wineskin. 
 
 Found in the Via di Porta S. Lorenzo, near the Monte 
 della Giustizia. 
 
 This Silenus must have been a fountain-figure, as the 
 wineskin is penetrated by an opening for a pipe (comp. 
 Nos. 350, 658, 659). In all except the disposition of the 
 legs, it resembles the statues of Silenus, still partly pre- 
 served, which supported the stage of the Theatre of 
 Dionysos at Athens; and appears to be a copy of some 
 lost pendant to these figures. The sculptor, however, 
 made a mistake in retaining the scroll on which the left 
 hand rests, as this attribute is entirely out of place in a 
 fountain-figure. 
 
 Bull, municipale, hi (1875), T. xiv, xv, 1, pp. 135-139. Comp. 
 Jahrbuch des Arch. Inst., n (1887), p. 201. — On the stage of the 
 Theatre of Dionysos, see Mon. dell’ Inst., xi, 16; Ann., 1870, 
 pp. 97 et seq. 
 
 On the sarcophagus (No. 104) by the rear-wall, — 
 
 604. Herma of Heracles. 
 
 Found on the Quirinal in 1876. The front of the nose 
 is modern. 
 
TERRACOTTA ROOM. 
 
 447 
 
 This herma is one of those which, as it would seem, 
 reproduce a type of Heracles created by Seopas (comp. 
 Nos. 121, 417). It differs from other known replicas in 
 the more vivid treatment of the mouth and in the greater 
 finesse with which the transition from the eyes to the 
 temples is rendered. 
 
 Romische Mittheilungen, iv(1889), T. ix, pp. 190, 191, 200. 
 Lutzow , Zeitschrift fur bildende Kunst, new series, ii (1891), p. 253. 
 Overbeck, Gesch. d. griech. Plastik, ii 4 , p. 25, Fig. 142c. 
 
 On the bracket to the left, — 
 
 605. Head of a Young Charioteer. 
 
 Found on the Esquiline, in the vigna of the Convent 
 of S. Antonio. The point of the nose has been restored. 
 
 The occupation of the boy before us is indicated by 
 the helmet-shaped cap, which formed part of the equip- 
 ment of the charioteers of the Roman circus. The confident 
 expression and steady eye are excellently pourtrayed. 
 Traces of a red pigment show that the hair was gilded. 
 Comp. No. 334. 
 
 Bull, comunale, viii (1880), T. xi, pp. 163-168. 
 
 606. Head of the Youthful Pan. 
 
 Found on the Cselius, in the Villa Casali. The end of 
 the nose is modern. 
 
 This finely executed head reproduces the type of Pan 
 evolved from that of Polycleitos (comp. No. 389). Its forms 
 are, however, softer than in most of the other replicas, 
 and the languid expression is accentuated. 
 
 Bull, comunale, xv (1887), T. iv, pp. 57-60. Furtwaenyler, 
 Masterpieces, p. 270, note 1. 
 
 Terracotta Room. 
 
 As the Terracotta Room has not yet been definitively 
 arranged, we must content ourselves with a brief general 
 survey of its contents. The collection is especially rich 
 in a particular kind of polychrome terracottas, which 
 give us a good idea of the art of decoration as it developed 
 
448 
 
 PALAZZO DEI CONSERYATORI. 
 
 both in Greece and Italy before the employment of decor- 
 ations in stone. This ceramic decoration was soon aban- 
 doned by the Hellenic races, but in Etruria and in Latium 
 it was not till the latter half of the second century B.C. 
 that terracotta began to give place to stone. Indeed this 
 style of decoration had not entirely died out at the be- 
 ginning of the Empire. Two objects placed in the middle 
 of the room under glass belong to a very early stage of 
 this development: viz. an antefixa (or edge-tile), in the 
 form of a woman’s head, and a mask of Silenus in the 
 centre of a colossal antefixa. To judge from their archaic 
 and vigorous style, both these terracottas date from the 
 fifth century B.C. The first-mentioned, along with a slab 
 of terracotta, now in the new museum in process of 
 formation on the Caelius, was found on Monte Caprino, 
 between the wing of the Palazzo dei Conservatori contain- 
 ing the picture-gallery and the garden opposite, belong- 
 ing to the Municipio 1 . They may thus have belonged! o 
 the original temple of Jupiter Capitolinus, which was 
 built in the Etruscan style. A somewhat later period, 
 perhaps the last century of the Republic, is indicated by 
 the fragments of a polychrome group from a pediment. 
 These were found in the Via di S. Gregorio, during the 
 construction of a sewer, and are at present placed on the 
 floor of the Terracotta Room, along the wall between the 
 two doors. The group seems to have represented several 
 deities, taking part in the ‘Suovetaurilia’, or sacrifice of 
 a swine, a sheep, and a cow 2 . On the opposite wall are 
 
 1 For notes on the terracotta slab, which was discovered in 1878, 
 see Notizie degli Scavi, 1878, p. 235. The antefixa, as Signor 
 Lanciani informs the writer, was found in the same place in 1875 or 
 1876. For later discoveries in the same place, see Bull, dell’ Inst., 
 1882, pp. 228 et seq. The Bulletino della commissione arch, comu- 
 nale makes no mention of either the antefixa or the mask of Silenus. 
 The writer’s own researches have not enabled him to find out where 
 the latter was found. 
 
 2 Bull, della comm, archeologica comunale, vi (1878), pp. 293 
 -295, Nos. 1-10. Museo italiano di antichita classica i (1884), 
 p. 5, note 8. 
 
TERRACOTTA ROOM. 
 
 449 
 
 hung several slabs of terracotta adorned with reliefs, 
 belonging to a terracotta frieze, — a kind of decoration 
 which was much in vogue in Rome and its vicinity during 
 the last century of the Republic and the early years of 
 the Empire. Six of the slabs, all evidently belonging to 
 the same frieze, bear the same representation: viz. two 
 Satyrs standing on tiptoe in order to see into the interior 
 of a cratera. Two slabs represent Heracles discovering 
 his son Telephos, suckled by the hind. Another shows a 
 farewell scene, perhaps Theseus leaving Ariadne K On 
 yet another is depicted a quadriga bearing a youth in 
 Phrygian dress (perhaps Pelops or Paris) and a woman 
 (perhaps Hippodameia or Helen). A slab that is larger 
 than the others represents two arches of a colonnade, with 
 a view of an Egyptian landscape. 
 
 To the right of the entrance to the Room of the 
 Bronzes has been placed a fragment of mural painting, 
 which adorned a tomb found on the Esquiline, near 
 S. Eusebio 2 . The scenes, arranged in horizontal bands, 
 evidently refer to historical events. The lowest row shows 
 remains of a battle-scene. In the second row is depicted 
 an interview between two generals, named by the inscrip- 
 tion as Quintus Fabius and Marcus Fannius. Fannius, 
 probably an Oscan or Umbrian leader, stretches out his 
 right hand towards his Roman foeman as if to remonstrate 
 or to pacify him. Behind Fabius stand four soldiers, clad 
 in tunics and armed with spears ; behind Fannius are the 
 remains of a man blowing a trumpet. The scene in the 
 next row also represents an interview between two military 
 commanders, the subject under discussion being appar- 
 ently the surrender of a fortified town, to judge from the 
 rampart visible to the left of the central group, above 
 which appear the upper parts of the bodies of two men, 
 clad in a garment resembling the toga. The fragmentary 
 
 1 Comp. Ann. dell’lnst., 1863, pp. 464 et seq. 
 
 2 Bull, della comm, arclieologica comunale, xvn (1889), T. xi, 
 xii, pp.340-350. Comp. Romisclie Mittheilungen, vi (1891 j, p. Ill, 
 
 Helbig, Guide I. 29 
 
450 
 
 PALAZZO DEI CONSERVATOR!. 
 
 inscription over the heads of the generals has not yet been 
 satisfactorily explained. A leg seen above the wall proves 
 the former existence of a fourth row of paintings. These 
 frescoes are a product of an art with distinctly realistic 
 tendencies. If we compare them with other monuments, 
 of which the date can be approximately fixed, we find their 
 nearest analogy in the paintings on vases made in Cam- 
 pania during the third and part of the second century B.C. 
 Another chronological clue is supplied in the fact that 
 the Romans are all represented as beardless. It may, 
 therefore, be assumed that, at the time these paintings 
 were executed, the Hellenistic fashion of shaving the 
 beard had become universally popular in Latium; and 
 this, so far as our knowledge goes, cannot have been 
 earlier than the close of the First Punic War. The mural 
 paintings before us seem, therefore, to date from the third 
 century B.C., or the first part of the following century; 
 and this conclusion finds confirmation, as the writer is 
 informed by competent authorities, in the palaeography of 
 the inscriptions. 
 
 Finally, we may glance at the ivory writing- tablet 
 ( dip ty chon, pugillares) and the accompanying stilus, which 
 are placed by the same wall as the mural painting, to the 
 left of the entrance to the Bronze Room * 1 . This tablet 
 consists of two folding wings, united by four rings of 
 silver. The inner side of each was covered with wax nearly 
 up to the top of the raised rim. The pointed end of the 
 stilus was used to write on the wax, while the blunt end 
 served as an eraser. The raised rim prevented the two 
 waxed surfaces rubbing against each other when the 
 tablet was closed. The name of the owner is inscribed 
 on the outside of the tablet: Gallienus Concessus v(ir) 
 c(larissimus). 
 
 1 Bull, della comm. arch, municipale, n (1874), T. vii, vm, 
 pp. 101-115. Daremberg et Saglio , Dictionnaire des antiquites, n, 
 
 1, sub voce Diptychon, p. 271, Fig. 2454. Comp. Meyer, Zwei an- 
 tike Elfenbeintafeln (Miincheu, 1879), p. 78, No. 45. 
 
ROOM OF THE BRONZES. 
 
 451 
 
 Room of the Bronzes. 
 
 The description begins to the right of the entrance. 
 
 607. Bronze Statue of a Camillus. 
 
 This statue, which, according to a doubtful tradition, 
 was formerly in the Lateran, was transferred to the Ca- 
 pitol by Sixtus IV (Rom. Mitth., vi, 1891, pp. 14, 15). 
 In the oldest descriptions it is called La Zingara, or the 
 gipsy, evidently from the supposition that the right hand 
 was stretched forward to take hold of the hand of another 
 person for purposes of palmistry. Comp. Revue archeo- 
 logique, xlhi (1882), pp. 26, 28 ; also Kekule , Ueber die 
 Bronzestatue des so g. Idolino (Berlin, 1888), p. 16. 
 
 As in several Roman reliefs of religious ceremonies, 
 the Camilli, or boy-acolytes, are represented in a manner 
 closely akin to this (comp., e.y., Nos. 156, 546), we may 
 recognize a Camillus in this figure and admit that it is 
 a type created on Roman soil. The effect is somewhat 
 marred by the absence of the attribute in the right hand. 
 The figure gains both in vividness and perspicuity, if we 
 imagine a cup in the right hand and a wine-pitcher in 
 the left. The Romans demanded that the Camilli should 
 be handsome in person, blameless in conduct, and of a 
 good family. The figure before. us admirably indicates 
 all these qualifications; and the utmost objection we can 
 make is that the charming face is rather lacking in ex^ 
 pression. The ideal figures that can be attributed with 
 certainty to the imperial epoch furnish no analogy to 
 the one under review; and the question arises whether 
 it may not be a work of one of the Greek artists who 
 flourished in Rome during the Republic. The technique 
 of the bronze work is wonderfully careful and delicate. 
 A thin streak of a different colour from the rest of the 
 figure, consisting of an alloy with a larger infusion of 
 copper, passes from each shoulder over the tunic, both 
 before and behind. These were probably intended to re- 
 present two purple stripes on the tunic. The seams are 
 indicated in the parts of the tunic covering the upper 
 
 29 * 
 
452 
 
 PALAZZO DEI CONSERVATORI. 
 
 portion of the arms, and the edges of the sleeves are 
 finished with overcast stitching. The straps of the sandals 
 are adorned with tasteful arabesques. 
 
 Kekule , Die Gruppe des Menelaos, T. in, 3, p. 39. To the 
 bibliography collected in this work must be added : Bighetti , i, 33 ; 
 Montagnani , n, 87; Baumeister , Denkm. des kl. Alterthuins, n, 
 p. 1108, Fig. 1305; and Brunn und Bruckmann , Denkmaler, 
 No. 316. Comp. Friederichs- Wolters , Bausteine, No. 1561. Furt- 
 waengler , Masterpieces, p. 20. 
 
 608. Foot of an Equestrian Statue. 
 
 Found at Trastevere in 1850, in the "Vicolo delle 
 Terme. Comp. Nos. 31, 611, 615. 
 
 The fact that this foot has no supports, hut hangs, 
 as it were, in the air, proves that it belongs to a mounted 
 figure. The leather covering the heel is tastefully adorned 
 with acanthus leaves. It has been suggested that the 
 owner of this foot was the rider of the horse (No. 615), 
 found in the same place. But the execution of the two 
 objects is too unlike to allow of this hypothesis. The 
 bare portions of the foot are much less lifelike than the 
 body of the horse. 
 
 Bull, dell’ Inst., 1850, pp. 34, 35, 108, 109. Braun , Ruinen 
 und Museen, p. 137 , No. 18. De Bonstetten , Recueil d’antiquites 
 suisses, 2 m e supplement (Lausanne, 1867), p. 14. Verhandlungen 
 der Berliner Ges. fur Anthropologie, 1890, pp. 202, 203. 
 
 609. Bronze Cratera. 
 
 Found at Porto d’Anzio (Antium) , under Bene- 
 dict XIII. Comp. Ficoroni , in Fea , Misc., i, p. cxxxv, 
 No. 35. The handles and the foot are modern. 
 
 This elegantly formed and tastefully decorated vase 
 derives a special interest from the inscription punctured 
 on the brim, which informs us that King Mithradates 
 Eupator presented it to the Eupatoristse of the Gymna- 
 sium. This Mithradates was evidently no other than the 
 famous king of Pontos (d. 63 B.C.). The Eupatoristse 
 formed a gymnastic society which existed in some city 
 politically allied with Mithradates (perhaps Athens), and 
 had assumed the king’s surname. The cratera was doubt- 
 
ROOM OF THE BRONZES. 
 
 453 
 
 less carried off in one of the wars waged by Home with 
 Mithradates, and so eventually found its way to Antium. 
 
 Bottari , i, p. 48 (Italian edition). Montagnani , hi, 2, T. 92. 
 Righetti , i, 134. Reinach , Mithradate Eupator, PI. hi, pp. 288; 460, 
 No. 10. All other references are collected in the Corpus inscr. 
 graec., ii, No. 2278. Comp. Visconti , Mus. Pio-Clem. , v, p. 215. 
 Fredericks- Wolters , Bausteine, No. 2034. 
 
 610 . Portrait-Head in bronze. 
 
 This head was presented to the Municipio of Rome 
 in 1564 hy Cardinal Pio Ridolfo of Carpi ( Aldroandi , in 
 Mauro , Le antichita di Roma, p. 209; Rom. Mitth., vi, 
 1891, p. 34). The eyes are inlaid, the cornea in a white, 
 the pupils in a brown material. The writer cannot ven- 
 ture to decide whether they are ancient or modern. The 
 bust seems to have been made in the 16th century. 
 
 The profile of this head resembles in all essential 
 points that of Lucius Junius Brutus, as known to us from 
 a denarius presumably struck by Marcus Brutus and from 
 a gold coin of Lucius Pedanius , a lieutenant of Marcus 
 Brutus. It would seem, then, that we have here in very 
 deed a portrait of the man, who, according to the legend, 
 delivered Home from the kings. In any case it agrees 
 perfectly with the picture drawn for us of Lucius Brutus 
 by the Roman writers. It shows power, energy, and un- 
 bending severity. A profound melancholy lurks in the 
 deep-set eyes, looking out gloomily from under their 
 bushy brows ; in the mouth , of which the corners are 
 slightly turned down; and in the wrinkles about the nose 
 and on the forehead. We recall involuntarily the terrible 
 sacrifice that Brutus, according to the legend, made for 
 his principles, in ordering, as consul, the execution of 
 his own sons for their participation in the conspiracy in 
 favour of Tarquin. As the art of both Greece and Italy 
 was still in the archaic stage at the end of the sixth cen- 
 tury B.C., it follows that this head, if it really represents 
 Lucius Brutus, cannot be a contemporary portrait. We 
 must rather see in it the free creation of a later artist, 
 perhaps a Greek sculptor of the third or the second cen- 
 tury B.C., who possessed as keen an insight into the 
 
454 
 
 PALAZZO DEI CONSERVATORI. 
 
 Homan character as Polybius among historians. The dis- 
 proportionately large and ugly ears of this head will strike 
 the beholder. As ears of a similar character appear fre- 
 quently on portrait-heads of the Republican period, it 
 would seem that this was one of the distinctive traits of 
 the ancient Roman. The faithful reproduction of a na- 
 tional feature of this kind would accord perfectly with 
 the realistic tendency of later Greek art. 
 
 Bernoulli , Rom. Ikonogr., i, p. 20, Fig. 1. To the bibliography 
 collected here must be added: Montagnani , m, 2, T. 90, Nos. 1,2; 
 Visconti , Opere varie, iv, p.323, No. 91 ; and Rom. Mitth., vi (1891), 
 p. 34, note 100. 
 
 611 . Hind- Quarters of a Colossal Bronze Bull. 
 
 Found at Trastevere in 1850 , in the Vicolo delle 
 Terme. Comp. Nos. 31, 608, 615. 
 
 The original motive of this figure can be supplied 
 from the reverse of the coins of Thurii (Fig. 29). The bull 
 is represented in the act of charg- 
 ing, with his head lowered and 
 lashing his sides with his tail. Both 
 composition and execution seem 
 admirable. Defects in the casting 
 have been made good by the inser- 
 tion of small pieces of bronze. 
 
 Bull, dell’ Instit, 1850, pp 33, 34, 
 110 - 112 . 
 
 612. Hand of a Colossal Bronze Statue. 
 
 Formerly in the Lateran, but removed to the Capitol 
 at the beginning of the sixteenth century, if not earlier. 
 The supposition that this hand belonged to the same 
 statue as the foot No. 614 is disproved by the fact that 
 its size shows it formed part of a figure about half as tall 
 again as that which owned the foot. 
 
 Ann. dell’ Inst., 1877, pp. 381-384. 
 
 613. Colossal Bronze Statue of Heracles. 
 
 Found under Sixtus IV. near the Circus Maximus, on 
 the destruction of the Ara Maxima; it was placed on the 
 Capitol during the same reign (Revue archdologique, xliii, 
 1882, pp. 25, 28; Rom. Mitth., vi, 1891, pp. 16, 30, 45), 
 
ROOM OF THE BRONZES. 
 
 455 
 
 The hero holds the apples of the Hesperides in his 
 left hand and swings his club with his right, as if to ex- 
 press joy in his victory; the expression of the face is one 
 of full consciousness of his powers. The figure seems to 
 have been inspired by a work of Lysippos. The execu- 
 tion is unequal, being better in the hard than in the soft 
 portions of the body. 
 
 A drawing by Heemskerck has been published in Rom. Mitth., 
 vi, p. IT, Fig. 3 (eomp. Jahrbuch des Arch. Inst., vi, p. 149, No. 
 53, va). Be Cavaleriis , Antiquae statuse urbis Romae, T. 75. Be 
 Rossi , Raccolta, T. 20. Montagnani , i, 41. Righetti, i, 35. Clarac , 
 v, PI. 802 E, No. 1069 B. Comp. Braun , Ruinen und Museen, p. 
 181, No. 48. Welcker , Alte Denkmaler, v, pp. 79-82. Brunn , 
 Geschicbte der gr. Kiinstler, i, p. 541. Roscher , Lexikon, i, pp. 
 2172e, 2905, 2906, 2944, 2945. Rom. Mitth., iv (1889), p. 214, 
 note 2. 
 
 614. Colossal Bronze Foot. 
 
 The frequently repeated assertion that this foot was 
 found near the Pyramid of Cestius, and consequently be- 
 longed to the colossal statue that adorned that monument, 
 is false. The fragments of the statue of Cestius were not 
 discovered till the reign of Alexander VII. (1655-67), 
 while this foot is enumerated among the antiquities of 
 the Capitol by Aldroandi, in 'Mauro , Le antichita di 
 Roma, a work published in 1558 (pp. 269, 270). 
 
 S. Bartoli, Gli antichi sepolcri, T. 63. Comp. Bull, dell’ Inst., 
 1873, p. 8. Rom. Mitth., vi (1891), pp. 19, 30. 
 
 615. Bronze Horse. 
 
 Found in April, 1849, at Trastevere, in the Vicolo 
 delle Palme. Comp. Nos. 31, 608, 611. 
 
 That this horse bore a rider is shown by the opening 
 on the back, the holes for fastening the reins, and the 
 movement of the lower jaw. The position of the ears, 
 one bent forward and one backward, indicates that the 
 attention of the noble animal has been roused by some 
 sight or sound. The rider, quite aware of this, has reined 
 his steed up sharply, as is shown by the way in which the 
 
456 
 
 PALAZZO DEI CONSERVATOR!. 
 
 lower jaw is pulled backwards. The inscription on the left 
 hind-leg (LTXXIIX shows the place i loco primo ) in 
 which the statue was erected, and its number in the list 
 of objects in the same place. 
 
 The slender body of the horse, the fine and compar- 
 atively small head, and the treatment of the skin recall 
 the manner of Lysippos fcomp. No. 31). It also shows 
 a strong kinship with the horse of a bronze equestrian 
 statuette of Alexander the Great, found at Herculaneum 
 (now in the Naples Museum), which certainly stands in close 
 connection with Lysippos. It thus seems probable that the 
 Capitoline horse reproduces a type of Lysippos, or at any 
 rate is inspired by a work of that master. 
 
 Bull, dell’ Inst , 1849, pp. 130,161, 162; 1864, p. 10. Braun, 
 Ruinen und Museen, p. 137, No. 18. 
 
 Close to the horse is a statue of Diana of the Ephe- 
 sians (comp. No. 347), which rests upon, — 
 
 616. Triangular Marble Base. 
 
 This base was undoubtedly surmounted by a candela- 
 brum (comp., e.g ., Nos. 212, 213, 344, 345). On the first 
 face is represented a Satyr playing the flute; on the second, 
 a Maenad dancing and playing the tambourine ; on the 
 third, a drunken Satyr, staggering along with his head 
 bowed and accompanied by his panther. These three figures 
 belong to the series of motives so frequently used by the 
 neo- Attic artists. Though full of animation and move- 
 ment, they are skilfully subordinated to the architectonic 
 ensemble and fill the spaces assigned to them in the most 
 harmonious manner. The lower part of the base is adorned 
 with palmettoes and spirals, which, like the Chimseras 
 terminating in lions’ claws, show clearly the influence of 
 the earlier and severer style of working in bronze. 
 
 Bighetti, n, 310. Comp. Welcker's Zeitsdhrift, pp. 512, 514, 
 note 22. Braun , Ruinen und Museen, p. 144, No. 24. Friederichs- 
 Wolters , Bausteine, No. 2135. Hauser , Die neu-attischen Reliefs, 
 p. 18, No. 21. 
 
ROOM OF THE BRONZES. 
 
 457 
 
 In the middle of the room, — 
 
 617. Boy extracting a Thorn from his Foot. 
 
 This figure was at the Capitol as early as the time of 
 Sixtus IV (Revue arch., xliii, 1882, pp. 26, 28; Rom. 
 Mitth., vi, 1891, p. 14). The missing eyes were inserted 
 either in coloured glass-paste or in metal, perhaps in 
 silver for the cornea and copper for the pupils. 
 
 The aim of the artist was to reproduce, as strikingly 
 as possible, a motive borrowed directly from nature', and 
 he has succeeded in producing a work the naive simpli- 
 city of which exercises a peculiar charm. The external 
 composition is in so far defective that the beholder can 
 find no standpoint from which the lines of the statue form 
 a harmonious whole. We see a hoy extracting a thorn from 
 his foot. The close attention with which he devotes him- 
 self to this task is specially expressed in the half-opened 
 mouth and the protrusion of the lower lip. His long 
 hair does not hang down over his cheeks, as the bent 
 position of the head would necessitate, but clings closely 
 to his skull; the artist, however, seems to have know- 
 ingly followed this arrangement in order not to further 
 obscure the face, which is already partly concealed by the 
 position of the head. 
 
 This figure is the product of an art which stands on 
 the verge of the freer style but has not entirely broken 
 with the traditions of archaism. The latter assert them- 
 selves in the severe treatment of the hair, the massive chin, 
 and the leanness of the body, while the manipulation of 
 the nude, on the other hand, betokens an already advanced 
 stage of realism. The head resembles that of the so-called 
 Apollo in the W. pediment of the temple of the Olymp- 
 ian Zeus', and the objective manner in which the artist 
 has handled a motive taken from daily life also finds ana- 
 logies in the sculptures of that sanctuary. We may there- 
 fore, perhaps, connect the figure before us with the Pelo- 
 ponnesian school which supplied the decoration of the 
 temple of Zeus at Olympia. It is, however, of a later 
 period; and the question arises whether it was created in 
 
458 
 
 PALAZZO DEI CONSERVATOR!. 
 
 the Peloponnesus itself or in some other country the art 
 of which was influenced by the Peloponnesian school. 
 To the conclusion that the statue goes back to the fifth 
 century B.C., two main objections have been raised. The 
 first of these is the assertion that the arrangement of the 
 hair is contrary to the spirit of the earlier Greek art, 
 which laid so great a stress upon a true reproduction of 
 nature. In the paintings of archaic vases, however, we 
 sometimes meet stooping figures whose hair is arranged 
 like that of the Thorn Extractor, and for the same purpose. 
 In the second place it has been objected that the sculpture 
 before us belongs to the realm of genre ; and that, as genre 
 figures in the proper sense of the term are not known to 
 have existed before the reign of Alexander the Great, it 
 cannot have been produced before this period. The motive 
 of the figure, however, by no means excludes the possibil- 
 ity of its having been inspired by some definite event or 
 by some mythical or historical tradition. If we admit this 
 assumption, the Thorn Extractor falls out of the ranks of 
 genre figures strictly so called and may easily find a place 
 in the development of the earlier Greek art. In this con- 
 nection reference has very justly been made to the legend 
 of the Ozolians of Locris. Their ancestor Locros, having 
 had his foot pierced by a thorn, recognized in this acci- 
 dent the fulfilment of an oracle, and founded the towns 
 of the Locrians in the district in which his injury com- 
 pelled him to linger. Other hypotheses, however, are 
 equally admissible. Thus the statue may have been a 
 votive offering to commemorate the victory of a boy in a 
 foot-race, who had vanquished all his competitors in spite 
 of having trodden on a thorn. 
 
 A marble statue recently found on the Esquiline 
 and now in the British Museum, which in every respect 
 makes the impression of an original Hellenistic work, 
 represents the same motive as the Capitoline example, but 
 with vulgar forms and in a completely realistic style. It 
 proves that the Hellenistic art, which so often trans- 
 formed ideal types into realistic and especially into rustic 
 
ROOM OF THE BRONZES. 
 
 459 
 
 figures, has done so in the case of the figure before us. 
 The fifth century type has been transmuted into a genre 
 figure in the proper sense of the term and represents 
 nothing more than a Street Arab or a country boy picking 
 a thorn out of his foot. 
 
 For the ancient engravings of the statue, see Thode , Die An- 
 tiken in den Stichen Marcantons, p. 17. Be Rossi , Raccolta, T. 28. 
 Collignon, Histoire de la sculpture grecque , i, p. 417, Fig. 215. 
 Overbeck , Gesch. d. gr. Plastik, ii 4 , pp. 182-184, Fig. 186c, p. 186. 
 The best representations are in Rayet (Monuments de l’art antique, 
 i, PI. 35) and Brunn und Bruckmann (Denkm'aler griech. und 
 rom. Sculptur, No. 321). Comp. Rom. Mitth., ii (1887), p. 102. 
 Abhandlungen des arch.-epigr. Seminars in Wien, viii (1890), 
 p. 46. Atben. Mitth., xv (1890), pp. 38, 361 (where the creation 
 of this type is attributed to Boeotian art). Furtwaengler , Master- 
 pieces, p. 287, note 2 , p. 291, note 4. — With respect to the 
 arrangement of the hair, comp., for instance, the crouching women 
 on the cup of Phineus found at Yulci (Mon. dell’ Inst., x, 8). 
 
 618. She-Wolf in bronze. 
 
 The figures of the twins are modern. Tradition ascribes 
 them to Guglielmo della Porta (d. 1577), but recent 
 research has thrown doubt on this (Rom. Mitth., vi, pp. 
 13, 14). 
 
 The chronicle of Benedict, the monk of Mt. Soracte, 
 informs us that this wolf stood in front of the Lateran 
 
 • i 
 
 Palace as early as the tenth century. Thence it was 
 transferred to the Capitol in 1471, as is proved by a 
 document in the papal archives. At first sight it makes 
 a strange and unancient impression, but this is due to the 
 fact that it has been most barbarously treated by a stupid 
 restorer. It is obvious that the tail, the hair of which is 
 treated in the most formless manner, and also the piece 
 of bronze so clumsily attached to the front of the belly, 
 cannot have come from the same hand that modelled the 
 head and neck. The legs also are not in their original 
 condition, and their banal handling forms a strong con- 
 trast to the typically severe style of the body. While the 
 latter represents only the essential forms, but accentuates 
 these with great vigour, the hind-legs, with their callous 
 swellings intended for muscles, show a most unfortunate 
 
460 
 
 PALAZZO DEI CONSERVATORI. 
 
 attempt at anatomical detail. The junction of the legs 
 with the body is effected in the clumsiest manner. Joints, 
 evidently formed by soldering, are visible at various 
 points, but it is impossible now to follow their contours, 
 as the restorer has first melted them with a red-hot iron 
 and then smoothed them over with a file. Under such 
 conditions it is naturally very hard to decide on the 
 genuineness of the different parts of the legs. Thus the 
 piece added on the exterior of the right fore-leg seems 
 due to the restorer. Other parts, however, seem as if they 
 had belonged to the original work, but, having been bent 
 or broken, had been awkwardly straightened out or in- 
 accurately put together by the modern workman. The 
 heat to which the figure was exposed has also seriously 
 damaged the body of the wolf, especially on the under 
 side and on the hindquarters. The head 
 and neck have suffered least, as they 
 were farthest removed from the resol- 
 dered portions. If we confine our atten- 
 tion to these, which afford the best idea 
 of the original state of the figure, we 
 recognize a work the characteristic sev- 
 erity of which produces an effect that is 
 really imposing. The she-wolf of Rome was conceived 
 of by ancient artists in two different ways. The usual 
 mode represents her suckling the twins and turning 
 her head to look at them. More rarely she is seen 
 without the twins and in a threatening attitude, as, for 
 instance, on the denarii of Publius Satrienus (Fig. 30) 
 and on small bronzes of Trajan. The Capitoline wolf 
 reproduces this latter motive. With flashing eye and 
 gnashing teeth, she menaces an approaching foe. The 
 terror-striking effect of the head was enhanced by the 
 glittering enamel of the deeply incised pupils, a frag- 
 ment of which still remains in the right eye. If we may 
 assume that the development of early Roman art was 
 parallel with that of Etruria, we may ascribe the execu- 
 tion of this work to the fifth century B.C. In any case 
 
ROOM OF THE BRONZES. 
 
 461 
 
 we must reject the hypothesis that it is identical with the 
 she-wolf which the sediles Gnaeus and Quintus Ogulnius 
 erected by the Ficus Ruminalis or sacred fig-tree, in 
 295 B.C., with the money paid in fines. At that epoch 
 the Romans were masters of Campania and had there 
 become familiar with both Hellenic and Hellenistic art ; 
 and hence it seems incredible that in the year B.C. 295 
 so archaic a work as the Capitoline wolf could have been 
 publicly inaugurated in Rome. Some authorities have 
 gone the length of seeing in this figure a work of the 
 early Middle Ages. As we know that it existed in the 
 tenth century, it would, if this were true, be natural to 
 attribute it to the epoch immediately preceding. But it 
 seems impossible to ascribe a work of so much importance 
 to a period of such extreme artistic degradation. On the 
 diptych of Rambona, a Lombardic work of the ninth cen- 
 tury, the she-wolf, in the act of suckling the twins, is 
 represented beneath a relief of the Crucifixion; and it 
 would be hard to imagine a more glaring contrast than 
 exists between the infantile barbarity of this representation 
 and the typical severity of the Capitoline example. The 
 maladroit restoration of the ancient Roman work may, 
 however, very well date from these dark ages of art. The 
 Basilica of St. John Lateran was, entirely rebuilt under 
 Pope Sergius III (904-911), after its destruction by an 
 earthquake in 896. It would appear quite natural that 
 a desire should then have arisen to adorn the piazza in 
 front of it with the emblem of Rome. As the sculptors 
 of the time were incapable of producing a statue in any 
 degree satisfactory, search was made for some ancient 
 work of the kind. The she-wolf before us was then dis- 
 covered, lying ruined and forgotten, perhaps in the cellars 
 of some pagan temple ; and was entrusted to the nearest 
 coppersmith to be patched up for its position in front of 
 the Lateran. 
 
 A representation of the wolf as it looked when standing at the 
 Lateran is given in Infessura , Diario della citta di Roma, ed. Tom- 
 masini (Roma, 1890), T. hi, p. 38. Other representations are to 
 he seen in Muller- Wieseler , Denkm. d. alten Kunst, i, 58, 288 
 
462 
 
 PALAZZO DEI CONSERVATOR!. 
 
 (where the earlier bibliography is collected). Rayet , Monuments 
 de l’art antique, i, 27. Baumeister , Denkin. des kl. Altertums, 
 i, p. 510, Fig. 552. Brunn und Bruckmann , Denkmaler, No. 318. 
 Comp. Ann. dell’ Inst., 1867, pp. 184-191. JDetlefsen , De arte Ro- 
 manorum antiquissima, m, pp. 7 et seq. Rendiconti dell’ Acc. dei 
 Lincei, series v, vol. ii (1893), pp. 18-20. — On the history of the 
 wolf, see Ann. dell’ Inst., 1877, pp. 379 et seq. Rom. Mitth., vi 
 (1891), pp. 8, 12-14, 30, 45. — On the document in the papal 
 archives, referring to the statue, see Revue arcMologique, xxxn 
 (1876), p. 161, xliii (1882), p. 25. — The denarius of P. Satrienus 
 Babelon , Monnaies de la republique, n, p. 420. — The coins of 
 Trajan: Cohen , Medailles impe.riales, ii 2 , p. 54, Nos. 338-340. — 
 The diptych of Rambona : Buonarotti , Osservazioni sopra alcuni 
 frammenti di vasi anticlii di vetro, plate to accompany pp. 257 et seq. 
 
 619. Bronze Statuette of the Triple Hecate. 
 
 This statuette was formerly in the possession of the 
 Chigi, and was presented to the Capitoline Museum by 
 Benedict XIV. 
 
 This type is derived from that of the statue by Alca- 
 menes, which was erected in Athens near the temple of 
 the Wingless Victory. One of the figures holds two 
 torches, the venerable emblems of the goddess of the 
 moon. The second holds a snake and a knife or dagger, 
 attributes evidently borrowed from the Furies, to indicate 
 the terror-inspiring side of the goddess. The key and 
 the cord, placed in the hands of the third figure, charac- 
 terize Hecate as the keeper of the gate between heaven 
 and the underworld. The headgear of the first and second 
 figures betrays the influence of Oriental cults. The crescent- 
 moon and the lotus growing from it connect the torch- 
 bearer with Isis, while the Phrygian cap encircled by a 
 crown of rays, which the second figure wears, seems 
 borrowed from Mithras. 
 
 Causeus, Romanum Museum, i, sect, n, T. 20, 22. Muller - 
 Wieseler , Deukm. d. alten Kunst, ii, T. 71, 891. Conze , Heroen- 
 und Gottergestalten , T. lxviii, 2. Roscher , Lexikon d. gr. und 
 rom. Mythologie, i, p. 1906,, Other references are collected in 
 Archgeol.-epigr. Mittheilungen aus Osterreich, v (1881), p. 65 A A. 
 Comp. Rom. Mitth., iv (1889), p. 74. 
 
ROOM OF THE VASES. 
 
 463 
 
 Room of the Vases. 
 
 Most of the painted vases exhibited in this room were 
 found between 1860 and 1870 in the course of excavations 
 carried on in the necropolis of Caere (Cervetri). Those 
 interested in this form of art are advised to leave this room 
 until they have become familiar with the Etruscan Mu- 
 seum of the Vatican, where the Attic vases, in particular, 
 are illustrated by much more numerous and much finer 
 examples. The writer limits himself here to a description 
 of two objects placed in this room. 
 
 620 . Cista of wood inlaid with silver. 
 
 Found in 1861 atPraeneste (Palestrina), in a so-called 
 ‘tomba a fossa’. The silver ornaments alone are 
 ancient. The wooden body of the cista, of which only a 
 few mouldering fragments remained, has been replaced 
 by the modern restorer. 
 
 The body of the cista is cylindrical in form like the 
 bronze cists found in the tombs of the necropolis of 
 Praeneste belonging to the third century B.C. The lid, 
 however, instead of being convex, is flat, and it has no 
 handle. The cist itself has now one movable handle, but 
 in its original condition it probably had two. The or- 
 naments decorating the lid and the lowermost zone of the 
 cist, and also the figures of animals immediately below 
 the upper edge, are partly in repousse work and partly 
 engraved; the masks terminating in palmetto es from which 
 the handle springs, and the winged figures like Harpies 
 on the vertical bands of the cist, are stamped with moulds ; 
 the figures of animals on the two middle zones of the cist 
 have been cut out and their inner lines engraved. The 
 motives both of the figures and of the other ornamentation 
 evidently originated in Hither Asia. The tomb at Praeneste, 
 in which the cist was found, belongs to the second half 
 of the seventh or the first of the sixth century B.C., when 
 both Etruscans and Latins carried on a lively commercial 
 intercourse with the Carthaginians, and when large quan- 
 tities of Phoenician products were imported into Italy. 
 
464 
 
 PALAZZO DEI CONSERVATOR!. 
 
 Our first thought then is that this cist is an imported 
 article of Semitic workmanship. The distinction between 
 the style of the products of the art-industries of the Phoe- 
 nicians, and those of the early Greeks has, however, not 
 yet been definitely established; and the possibility re- 
 mains that the cista may have been made in some early 
 Greek manufactory and exported thence to Praeneste. 
 
 Mon. dell’ Inst., vm, T. 26, 1-3; Ann., 1886, p. 186, No. 70. 
 Arcliaeologia , 41, i (London, 1867), PI. 10, 11, p. 203, No. 3. See 
 also Schumacher , Eine praenestinische Ciste im Museum zu Karls- 
 ruhe, pp. 38-40. 
 
 On the lower console, — 
 
 621. Cratera of Aristonophos (?). 
 
 Found in a tomb at Caere. 
 
 This cratera is one of the oldest vases of Greek make, 
 adorned with mythological scenes, that have been found 
 in Italy. To judge from the style of its paintings, it may 
 date back to the seventh century B.C. On one face are 
 seen Ulysses and his companions putting out the eye of 
 Polyphemos with a red-hot stake. All of the figures, 
 following the earliest Greek fashion, have the upper lip 
 shaved and wear pointed beards on the chin. Above the 
 Cyclops is inscribed the name of the maker, which has 
 been read as Aristonothos, Aristonophos, or Ariston of 
 Cos. On the other side of the cratera is a representation 
 of a sailing boat and a rowing boat advancing to attack 
 each other. The palaeography of the inscription affords 
 no certain clue to the place in which the vase was manu- 
 factured, but its style and workmanship indicate the Hel- 
 lenic Orient. 
 
 Mon. dell’ Inst., ix, 4; Ann., 1869, pp. 157 et seq. Wiener 
 Vorlegeblatter fur archaologische Ubungen, 1888, T. i, 8. Murray , 
 Handbook of Greek Archaeology, PI. hi, No. 4, p. 32. Comp. 
 Klein, Die grieckischen Vasen mit Meistersignaturen, pp. 27, 28. 
 Journal of Hellenic Studies, x (1889), p. 187. Helbig , Das home- 
 rische Epos, 2nd ed., pp. 252, 313, 314. Bie, Kampfgruppe und 
 Kampfertypen, p. 19. Jahrbucli des Arch. Instituts, vii (1892), pp. 
 190, 191 ; Arch. Anzeiger, p. 75. 
 
The Lateran Museum. 
 
 As the entire bibliography relating to the monuments of this 
 Museum, down to 1867, is collected in the catalogue prepared by 
 Benndorf and Schone under the title of ‘Die antiken Bildwerke des 
 lateranischen Museums" (Leipzig, 1867), the writer confines him- 
 self to a mere reference to this work (B. S., p. . . . , No. . . .), 
 except when citing an authority later than 1867. The only ex- 
 ception to this rule is made when the monument has been published 
 in some easily accessible work, which, to save trouble, the writer 
 places at the head of his bibliography. 
 
 First Room of the Museo Profano. 
 
 In the middle of this room has been placed a small 
 part of the large mosaic discovered in the Thermae of 
 Caracalla in 1824 and now preserved in the upper floor 
 of the Lateran (No. 704). This fragment represents three 
 athletes, one of whom is recognizable as a pugilist by the 
 caestus wound round his hands and arms. Comp. No. 704. 
 
 B. S., p. 36, No. 55. 
 
 622 (8). Relief of the Rape of Helen. 
 
 Possibly found in the Yilla Palombara, and formerly 
 in the Appartamenti Borgia.ar the Vatican. 
 
 Paris is seen seated in his boat and eagerly holding 
 out his hands to help Helen to embark. The wife of 
 Menelaos, hesitating to take the decisive step, pauses and 
 gazes pensively in front of her. A companion of Paris 
 expresses his wonder at the beauty of Helen, both in look 
 and gesture. The emotions of the three figures are ad- 
 mirably represented with the simplest means. The exe- 
 cution is merely decorative but probably Greek. The 
 surface of the relief has, unfortunately, suffered seriously 
 from damp. 
 
 Ann. dell’ Inst., 1860, Tav. d’agg. C, pp. 121-128. — B. S., 
 p. 4, No. 8. 
 
 Helbig, Guide I. 
 
 30 
 
466 
 
 THE LATERAN MUSEUM. 
 
 623 (10). Tomb Relief. 
 
 Found, apparently, on the Via Flaminia, near the 
 Monte Pincio, and afterwards preserved first in the Pa- 
 lazzo Ruspoli and then in the Appartamenti Borgia. The 
 right forearms of both the principal figures and also the 
 man’s right knee and part of his spear have been restored. 
 The heads of both are ancient but do not belong to them. 
 That of the man (crest of the helmet restored) is really 
 a head of Pallas. 
 
 The deceased, according to the Greek custom, is re- 
 presented as a hero standing beside his horse. In front 
 of him sits his wife, to whom he extends his right hand, 
 while at his side stands a servant, holding his master’s 
 spear. In the upper lefthand comer of the relief hang 
 the hero’s sword and shield. To the right rises a laurel- 
 tree, the trunk of which is entwined by a serpent, while 
 a bird, opening its beak, sits among the branches. The 
 serpent is doubtless intended to represent a sacred ani- 
 mal , emblematical of the fact that the deceased is to be 
 regarded as a hero or demigod. The composition of the 
 work recalls certain types of tomb-reliefs, often employed 
 during the latter centuries of the ante-Christian era in 
 the islands of the iEgean Sea and hence known as reliefs 
 of the ‘insular’ style. In any case both the conception 
 of the subject and the character of the execution prove 
 that this relief dates from a period earlier than that of 
 the Empire and that it comes from the eastern part of 
 the basin of the Mediterranean. 
 
 B. S., p. 5, No. 10. Friederichs-Wolters, Bausteine, No. 1813. 
 Comp. Furtwaengler , Sammlung Sabouroff, i, Einleitung zu den 
 Sculpturen, p. 47. — On tlie serpent, see Denehen , De Theoxeniis 
 (Berlin, 1881), p. 51. Roscher , Lexikon der griech. und rom. Mytho- 
 logie, i, 2, pp. 2466 et seq., p. 2582. • — As to the so-called insular 
 style, see Arch. -epigr. Mitth. aus Osterreich, xi, p. 171. 
 
 624 (11). Fountain Relief. 
 
 Found in 1822 among the ruins of Falerii, and for- 
 merly in the Appartamenti Borgia. The restorations 
 include the lower part of the falling drapery of the 
 man and fragments of his left hand, his left arm, the 
 cantharos, and the drinking-born ; the upper part of the 
 
FIRST ROOM OF THE MUSEO PROFANO. 
 
 467 
 
 boy’s bead, his nose, his right hand and wrist, and his 
 right leg ; the upper part of the head of the dove ; and 
 parts of the background. 
 
 A bearded man, resembling the bearded Dionysos 
 both in type and costume, with a drinking-horn in his 
 right hand and a cantharos in his left, looks down at a 
 nude boy, seated on the rocky ground at his feet. The 
 latter stretches up his right arm, as if asking for either 
 the horn or the cantharos. Holes for jets of water are 
 bored through both vessels. To the left rises a rock, from 
 which grows a tree, while a dove perches on it. The re- 
 lief agrees with the Arcadian tradition that, when Ascle- 
 pios (^Esculapius) was exposed as an infant, he was 
 nourished by Trygon (turtle-dove) and afterwards dis- 
 covered by Autolaos, son of Areas. The curious mix- 
 ture of styles is one of the most remarkable features of 
 this relief. The figure of the man, in flat relief, recalls 
 the best period; and his eye, though the face is in pro- 
 file, is represented in full front, according to the ancient 
 style. The figure of the boy, on the other hand, both in 
 the modelling of the relief and in the realistic treat- 
 ment of his infantile forms, betrays artistic tendencies 
 which did not come into vogue before an advanced stage 
 of the Hellenistic period. The same remark applies to 
 the landscape-accessories. 
 
 B. S., p. 6, No. 11. Schreiber , Die hellenist. Reliefbilder, 
 T. xiv. Comp. Arch. Zeitung, xxxviii (1880), pp. 153, 154. 
 Schreiber , Die Wiener Brunnenreliefs aus Pal. Grimani, p. 10. 
 
 625 (13). Alto-Relief of two Pugilists. 
 
 The thigh of the figure to the left and the part of the 
 abdomen seen below the drapery have been restored. 
 The head and right arm of the same figure are probably 
 also modern. 
 
 This relief, which was formerly preserved in the Villa 
 Aldobrandini , was already known in the beginning of 
 the sixteenth century, and Raphael made a sketch of 
 it. To judge from its style, it dates from the time of 
 Trajan. 
 
 B. S., p. 8, No. 13. Baumeister , Denkmaler des kl. Alterthums, 
 i, p. 524, Fig. 566. 
 
 30 * 
 
468 THE LATERAN MUSEUM. 
 
 626 (19). Statuette of Nemesis. 
 
 Probably found in Hadrian’s Tiburtine villa. The 
 restorations include the left forearm, the fold of drapery 
 beld by the left hand, tbe right arm, the right shoulder 
 and the drapery covering it, the front of the right foot, 
 and parts of the toes of the left foot. The margin of the 
 plinth has been re-cut by a modern hand. The head, 
 except the back, is ancient, but does not belong to the 
 body, with which it is united by a modern neck. 
 
 The attitude of this goddess and the nobly simple 
 arrangement of her drapery prove that this statuette re- 
 produces an original of the great Attic period of the fifth 
 century B.C. The primitive idea of Nemesis was the 
 personification of the moral feeling of right and wrong, 
 the conscience. From this starting-point was gradually 
 developed the conception of a goddess who maintains 
 the just measure in human affairs and brings about a 
 proper equilibrium of good fortune and bad. The pose 
 of the left arm, which raises the border of the garment, 
 has been explained by the ancient custom of spitting into 
 the bosom to avert accidents. But it seems highly im- 
 probable that an everyday habit like this should have 
 been represented in the image of a deity. It is much 
 more likely that the movement of the left arm, like the 
 modest bending of the head, betokens that feeling of al- 
 most timid humility which the thought of Nemesis would 
 naturally suggest to mortals. The lowered right hand 
 probably held one of the immemorial attributes of this 
 goddess, such as a yard-stick. 
 
 B. S., p. 12, No. 19. Comp. Stephani , Compte-rendu pour 
 1873, pp. 151 et seq. Posnansky , De Nemeseos monumentis (Vra- 
 tislaviae, 1888), pp. 20 et seq. 
 
 627 (20). Relief of an Emperor and his Lictors. 
 
 This relief is said to have been found, along with three 
 fragments of a frieze (Nos. 629-631), in the reign of 
 Clement VIII. Aldobrandini, near Trajan’s Forum, in 
 digging the foundations of the church of S. Eufemia. 
 These four pieces of sculpture were preserved in the Villa 
 Aldobrandini down to 1812, when they were acquired by 
 Camuccini, from whose possession they passed about 
 
FIRST ROOM OF THE MUSEO PROFANO. 469 
 
 1825 into the Appartamenti ^Borgia. The restorations 
 include the head and right hand of the emperor and the 
 head of the man behind him in the same plane. 
 
 Both the style of the relief and the place in which 
 it is reported to have been found point to the time of 
 Trajan ; and the restorer, who is said to have been none 
 other than Thorwaldsen, has probably done right in 
 giving the head of Trajan to the principal figure. The 
 head of the man standing behind Trajan is also modern 
 and has been given the features of Hadrian, whom Trajan 
 adopted and made his associate in the imperial dignity. 
 The restorer has represented the young man with a clean- 
 shaven face, as this was the fashion during Trajan’s reign. 
 
 B. S., p. 13, No. 20. 
 
 628 (26). Fountain Relief. 
 
 Originally in the Palazzo Giustiniani and afterwards 
 in the possession of Lucien Bonaparte, Prince of Caniiio, 
 from whom it passed into the hands of Pius VII. The 
 restorations include the upper lefthand corner of the 
 slab ; the end of the nose and the left heel of the nymph ; 
 the end of the boy-Satyr’s nose, his left shoulder, his left 
 arm from the biceps to the wrist, and thu lowest part of 
 his left leg; the nose of the Paniscos, his left forearm, 
 almost all his fingers, the pedum (except a small piece 
 above the elbow), the lower part of his left leg (hoof 
 ancient), most of the syrinx; the edge of the horn; the 
 right wing of the eagle ; parts of the heads of both goats; 
 nearly the whole of the ravens’ heads ; the head and neck 
 of the serpent. 
 
 This relief represents a Nymph giving water out of a 
 large drinking-horn to a boy-Satyr, seated on a rock before 
 her (comp. No. 388). The hole in the mouth of the horn 
 contained the pipe from which the fountain-jet issued. 
 Behind the Satyr, in an opening of the rock, stands a Pan- 
 iscos, blowing the syrinx and holding a pedum in his left 
 hand. In front are two goats, one grazing and one lying 
 down ' on the rock is an eagle, devouring a hare. Beyond 
 the rock rises a wild fig-tree, bearing a nest with four 
 young ravens. A serpent winds up the trunk of the tree 
 and stretches its head greedily towards the nest, while 
 
470 
 
 THE LATERAN MUSEUM. 
 
 the two old ravens sit, with outspread wings, on the 
 branches, ready to defend their young. The whole scene 
 is permeated by the idyllic spirit which so frequently 
 shows itself in Hellenistic art. This spirit also embraces 
 the accessories, which furnish scenes typical of the free 
 natural life of animals. It has been supposed that this 
 relief does not depict the education of an ordinary Satyr, 
 but that it is an Arcadian representation of Pan, who was 
 worshipped in Arcadia as the highest of the gods and was 
 represented by Peloponnesian artists with a completely 
 human body (comp. No. 389). In this case we have before 
 us the Diopan, or Zeus-Pan, accompanied by an iEgipan, 
 or goat-Pan. It is, however, difficult to admit that so 
 unfamiliar a legend as that of the education of the Arcadian 
 Pan has ever formed the subject of decorative art. So far 
 as we know, Euphorion, who flourished in the third cen- 
 tury B.C., was the only poet who treated of this legend; 
 and his learned and obscure poems appealed to far too 
 limited a circle of readers for them ever to have exercised 
 any influence on the plastic arts. The elegant but lifeless 
 execution shows that this relief is not a Hellenistic original, 
 but a Roman copy of the imperial era. An idea of the 
 artistic style of the original may be obtained by a com- 
 parison of this relief with the fragment in the Vatican 
 (No. 388), which belonged to a relief of the same subject 
 and infinitely better execution. 
 
 B. S., p. 16, No. 24. Schreiber, Die hellenist. Reliefbilder, 
 T. xxi. Comp. Von Wilamowiiz-Moellendorf , Isyllos, p. 88, note 63. 
 Arch. Zeitung, xxxviii (1880), pp. 153, 154. Schreiber , Die Wiener 
 Brunnenreliefs aus Pal. Grrimani, p. 10. — On the poem of Eupho- 
 rion, see Meineke , Analecta Alexandrina, p. 158. 
 
 Second Room. 
 
 The contents of this room consist mainly of architectural and 
 decorative fragments, of which three only are mentioned below (Nos. 
 629-631), all, apparently, found in the Forum of Trajan (comp. 
 No. 627). 
 
 629 (86), 630 (168). Two Fragments of a Frieze. 
 
 These two fragments supplement each other, for it is 
 obvious that the Amoretti of No. 86 were coupled with 
 
SECOND ROOM. 
 
 471 
 
 griffins like those of No. 168, while it is equally obvious 
 that the Eros of No. 168 belonged to a group of two, as 
 shown in No. 86. The frieze, to which both fragments 
 belonged, represented a series of pairs of Amoretti, water- 
 ing griffins and ending below the hips in branches. The 
 Amoretti are subordinated, by the conventional treatment 
 of their bodies and wings, to the decorative effect of the 
 whole. In the middle of No. 86, between the Amoretti, 
 stands an amphora, decorated with a Satyr and two Bac- 
 chantes in relief. 
 
 B. S., p. 38, Nos. 59, 68. Comp. Hauser , Die neu-attischen 
 Reliefs, pp. 43, 107. 
 
 631 (130). Fragment of a Frieze, with Foliage and 
 
 Flowers. 
 
 In spite of its superabundant luxuriancy, this orna- 
 mentation makes an impression at once clear and imposing. 
 
 B. S., p. 43, No. 64b. 
 
 It is interesting to compare the ancient decorative 
 fragments in this room with — 
 
 632 (178). Chimney-Piece, dating from the end of the 
 
 fifteenth, or the beginning of the sixteenth cen- 
 tury. 
 
 The centre of the frieze is occupied by a garland of 
 fruit and flowers, while at each side are arabesques and 
 griffins supporting scenic masks and vases of fruit. The 
 execution is more careful and minute than that of the an- 
 cient works. In the latter the sculptor has emphasized 
 the essential features, neglecting or merely indicating 
 what is of minor importance. The Renaissance sculptor, 
 on the contrary, has worked out all the motives, down to 
 their most insignificant details, with equal care ; and in 
 doing so he has frequently transgressed the bounds 
 proper to the technique of marble. The effect of his de- 
 corations is thus less clear and quiet than that of the an- 
 cients. 
 
 Pistolesi , IiVaticano descritto ed illustrato, hi, 24 (foot), p, 76. 
 
472 
 
 THE LATERAN MUSEUM. 
 
 Third Room. 
 
 633 (256). Statue of Antinoos. 
 
 Found in 1798 at Ostia, near the Tor Bovacciana, 
 and kept at the Vatican till 1863. The restorations in- 
 clude the head, the neck, the fingers (right thumb an- 
 tique, in whole or part), and nearly the whole of the fold 
 of the drapery filled with flowers. This last restoration 
 was justified by a small ancient fragment still preserved 
 in the hack part of it. 
 
 The restoration of this figure as Antinoos is justified 
 by its possession of the vaulted breast and other character- 
 istic forms of Hadrian’s favourite. Antinoos seems to be 
 here represented as Vertumnus, an Etruscan deity, presid- 
 ing over the seasons and their various gifts, whose cult 
 was introduced in Rome at an early period. The fold 
 of the drapery should probably hold, not only the flowers, 
 but also the fruits of the different seasons. 
 
 B. S., p. 51, No. 79. Dietrichson , Antinoos, PI. iv, 11, p. 187, 
 No. 20. 
 
 634 (258). Sarcophagus of a Child, with athletic 
 
 scenes. 
 
 Formerly in the sacristy of S. Stefano in Piscinola. 
 
 To the right we see the end of a pugilistic encounter ; 
 the victor receives a garland from the judge, while his 
 vanquished foe sits on the ground close by. More to the 
 left are two athletes wrestling, under the supervision of 
 another umpire. On the ground between them lies a 
 bucket of sand, emblematical of the floor of the palsestra 
 (comp. Nos. 337-339, 825). The judge holds a palm- 
 branch, the prize of victory, in his left hand, while he 
 raises his right as if giving some piece of instruction. 
 The group of the wrestlers is adjoined by two pancratiasts, 
 also supervised by a judge with a palm-branch. Each is 
 poised on the right foot and raises the left to kick his 
 antagonist; their right hands are locked, and their left 
 hands are raised for attack. To the left is represented the 
 crowning of another victor, who holds a palm in his left 
 
FOURTH ROOM. 
 
 473 
 
 hand and raises his right to the garland placed on his 
 head by the judge. The latter holds a second wreath in 
 his left hand. To the left of the victor stands a bearded 
 man, blowing a tuba to proclaim the victory. 
 
 B. S., p. 54, No. 81. 
 
 Fourth Room. 
 
 635 (278j. Attic Relief of Medea and the Peliades. 
 
 Found in 1814 in the court of the old Acaddmie de 
 France (Palazzo Simonetti), in the Corso. 
 
 In order to revenge herself on Pelias, Medea per- 
 suaded his daughters that they could restore their father’s 
 youth by cutting him in pieces and boiling him in a 
 caldron. The infatuated maidens believed her and inflicted 
 this monstrous death on their father. The relief represents 
 the preparations for this extraordinary recipe for youth- 
 fulness. One of the Peliades is arranging the tripod, with 
 the kettle in which Pelias is to be boiled. The other 
 sister seems troubled by a misgiving as to the success of 
 the horrible experiment suggested by Medea; she leans 
 her head on her raised right hand, which holds the sword 
 intended for the dismemberment of Pelias, while her 
 right elbow rests in the left hand, which also holds the 
 scabbard. Opposite , in her chatacteristic Asiatic dress, 
 stands Medea, holding a vessel full of magic herbs. She 
 raises the cover of this vessel, in order to pour its con- 
 tents into the kettle, and keeps her eyes fixed on the 
 hesitating girl. The style of this relief points to the best 
 Attic period of the fifth century B.C., and its execution 
 is so fresh that it may well be an original work of that 
 era. As only the soles, and not the straps, of the san- 
 dals are plastically indicated, and as the chin-strap of 
 Medea’s headgear is but slightly suggested by the chisel, 
 we may assume that several parts of the relief were paint- 
 ed. In composition, conception, style, and dimensions 
 this work is closely related to reliefs representing Orpheus 
 and Eurydice (comp. No. 790) and to others representing 
 Theseus andPeirithoosinthe Underworld (comp. No. 826). 
 
474 
 
 THE LATERAN MUSEUM. 
 
 An attempt has been made to prove that these works, or 
 their originals, were the reliefs of a tomb; but this sug- 
 gestion seems inadmissible, as no authenticated tomb- 
 relief of the best period represents mythological scenes. 
 Furthermore the story of the Peliades would have been 
 particularly out of place in the adornment of a grave. 
 It is much more likely that the originals were votive 
 offerings, made either by choregi or by poets in commem- 
 oration of successes in dramatic representations. The 
 subject of the sculpture would then refer to the subject 
 of the prize-crowned tragedy; and, as regards the special 
 relief before us, we know that Euripides, for instance, 
 composed a tragedy on the myth of Pelias. 
 
 Brunn und Bruckmann , Denkmaler, No. 341. B. S., p. 61, 
 No. 92. Friederichs-Wolters , Bausteine, No. 1200. Sitzungsberichte 
 der bayer. Akademie , 1881 , n , phil.-bist. Classe, pp. 95 et seq. 
 Jahrbuch des Arch. Inst., hi (1888), pp. 68 etseq., 225 et seq. Ab- 
 handl. des arch.-epigr. Seminars in Wien, viii (1890), pp. 130 etseq. 
 
 636 (288). Head of the Youthful Pan, on a bracket. 
 
 The end of the nose and the bust have been restored. 
 
 This head, formerly supposed to be a Panisca or fe- 
 male Pan, reproduces the type discussed under No. 389. 
 The goat -features are, however, accentuated by the 
 development of the upper jaw and the flattening of the 
 nose. 
 
 B. S., p. 67, No. 101. Ann. dell’ Inst., 1877, p. 203. Furt- 
 waengler , Masterpieces, p. 270, note 1. 
 
 637 (291 Statue of Germanicus (?). 
 
 Found at Yeii in 1819. The restorations include- 
 tne left ear, parts of the right ear, the right arm, the left 
 arm from the biceps downwards with the drapery falling 
 on it, the stick in the left hand, the lower part of the left 
 leg, the lowest part of the right leg with the stump, the 
 feet, and the plinth. 
 
 This personage is represented, after the Greek heroic 
 manner, with the himation wrapped round his loins and 
 over his left arm. He is evidently represented in the act 
 of speaking, though the oratorical gesture is less marked 
 
FOURTH ROOM. 
 
 475 
 
 here than in Nos. 5 and 649. The left hand must have 
 held a spear or a sword, the right hand probably was in 
 about the position assigned to it by the restorer. The full 
 face bears a striking resemblance to the best- authenti- 
 cated portrait of Germanicus (the well-known statue 
 found at Gabii); but the profile, with the pronouncedly 
 aquiline nose, is less like Germanicus than the younger 
 Drusus, son of Tiberius. 
 
 B. S., p. 68, No. 103. Bernoulli , Rom. Ikonogr., n, 1, T. 
 ix p. 170, Fig. 24; p. 169, No. 7 ; p. 204; p. 238, No. 2. 
 
 638 (319). Male Figure, with the Head of Ares. 
 
 Formerly in the Hamilton Collection , afterwards at 
 Frascati, in the Marconi Collection. The restorations 
 include both arms, the left shoulder with the drapery 
 covering it, the part of the mantle hiding the chest, the 
 agrafe on the right shoulder, various other small pieces 
 of the figure, and the margin of the plinth. The head 
 (nose, lips, and crest of helmet modern) is ancient hut 
 does not belong to the figure. 
 
 This statue has been shorn of much of its interest by 
 the discovery that the head does not belong to the body. 
 The head is a variation of a type of Ares, probably created 
 in the school of Pheidias. The helmet and hair show 
 traces of red paint, which was, perhaps, the ground-colour 
 for a coat of gilding. The insignificant motive of the body 
 was freely used for portrait-statues in the imperial epoch, 
 and the figure before us probably belongs to this category. 
 The body seems too long in comparison with the legs, 
 while the length of the latter above the knee seems dis- 
 proportionate to that below the knee. 
 
 B. S., p. 78, No. 127. Comp. Furtwaengler , Masterpieces, 
 pp. 92-94. 
 
 639 (348). Statue of a Satyr, probably after Praxiteles. 
 
 The restorations include the nose, the right arm from 
 the biceps downwards, three fingers of the left hand (fore- 
 finger and thumb on the hip ancient), part of the hide, 
 the lower part of both legs, the feet, the stump, and 
 the plinth. 
 
476 
 
 THE LATERAN MUSEUM. 
 
 This statue reproduces the type discussed under 
 No. 525. The general execution is mediocre and that of 
 the back is also careless. 
 
 B. S., p. 90, No. 150. 
 
 640 (352). Portrait of a Member of the Gens Claudia. 
 
 The nose , the tips of the ears , and the bust are 
 modern. 
 
 Until recently, this carefully executed head was sup- 
 posed to be either Octavius or Tiberius. It is, however, 
 neither the one nor the other. The type of the features 
 indicates a member of the Gens Claudia belonging to the 
 family of the Julian emperors. 
 
 B. S., p. 94, No. 153. Bernoulli , Rom. Ikonographie, n, 1, p. 
 170, No. 8, p. 171, Fig. 25. 
 
 641 (371). Fragment of a Marble Vase. 
 
 The well-executed reliefs on this fragment exhibit 
 Pan and a young Satyr, moving towards the right with a 
 lively, dancing motion. Pan, who is represented with 
 human forms except for his tail and horns (comp. No. 389), 
 strikes the cymbals. The Satyr clutches his fluttering 
 lion-skin with both hands, and also holds the thyrsos in 
 his raised left hand. 
 
 B. S., p. 99, No. 167. Ann. delT Inst., 1877, p. 212, note 1. 
 Hauser , Die neu-attiscken Reliefs, p. 51, No. 68. 
 
 Fifth Room. 
 
 642 (396), 643 (405). Male and Female Hermse. 
 
 Said to have been found at Nettuno. The restorations 
 of the male herma include most of the horns and ears, 
 the ribbon falling on the left shoulder, the left arm from 
 the biceps downwards, the bunch of grapes, the torso 
 and lower right leg of the boy, the part of the shaft below 
 the drapery, and other unimportant fragments. Those of 
 the other herma embrace the head, the neck, the left hand, 
 the right arm below the biceps, the basket of fruit, the 
 lower part of the shaft, and part of the drapery. The 
 child on the left shoulder of the female herma is entirely 
 modern, except the lower part of the back and a bit of 
 the left foot. 
 
FIFTH ROOM. 
 
 477 
 
 These two hermae were evidently executed as a pair 
 by the same chisel. One undoubtedly is of the masculine 
 gender ; the other, to judge from the slashed sleeves of 
 the chiton and from the softly rounded forms of the re- 
 maining left forearm, belongs to the opposite sex. The 
 child seated on the shoulder of each herma, the basket of 
 fruit held by the man (which is certainly ancient), and 
 the garland of fruit hanging from the left shoulder of the 
 other figure, all seem to indicate that we have before us 
 two deities specially concerned with the care of children 
 and fruit. The head of the male herma has features of a 
 somewhat oriental cast, resembling Priapos more than 
 any other god of whom the type is precisely defined (comp. 
 No. 147). The identification with Priapos is, however, 
 excluded by the horns, which are entirely foreign to that 
 deity, and by the female companion. There is no tradi- 
 tion of any feminine counterpart of Priapos ; and, indeed, 
 such a pair would contradict his very essence, since the 
 ancients conceived him as a kind of hermaphrodite, unit- 
 ing both sexes in himself. The attempt to see in these 
 hermse simply a Pan and Panisca encounters the difficulty 
 that the head of the male figure bears no resemblance to 
 any authenticated type of Pan. Perhaps we have here, as 
 in No. 365, to conclude that tlie figures before us are 
 Italian deities represented under Greek forms. We may 
 suppose, for example, that the artist has found a suitable 
 form for Faunus, the ancient Latin god of agriculture, by 
 adding the horns of Pan to the Greek conception of Priapos. 
 
 B. S., p. 105, Nos. 181, 188. 
 
 644 (407). Cinerary Urn. 
 
 This urn was found in 1825 in the Vigna Ammen- 
 dola, on the Yia Appia, and doubtless comes from the 
 adjacent Tomb of the Yolusii. Comp. No. 157. 
 
 This urn was evidently one of a ready-made stock, as 
 the field for the inscription is destitute of any lettering 
 except the initials D(is) M(anibus), common to all Latin 
 epitaphs. The tastefully arranged and carefully executed 
 reliefs indicate the first century of the imperial period 
 
478 
 
 THE LATER AN MUSEUM. 
 
 and in this they agree with the inscriptions found in the 
 Tomb of the Yolusii (comp. No. 157). The reliefs in- 
 clude figures as well as merely ornamental patterns. On 
 the front, below a garland of fruit, is represented the end 
 of a cock-fight. A boy has joyfully taken his victorious 
 bird to a table, on which lie the crowns and palms of 
 victory; and the cock holds in its left claw a garland 
 evidently lifted from the table. To the left is another boy, 
 weeping as he carries away his slaughtered champion. 
 On both sides of the urn are garlands of fruit and nests 
 of young ravens. The relief on the right side shows one 
 of the old birds feeding its young, while the other is 
 attacked by a snake, which has coiled itself round its legs 
 and body. The scene on the left side was probably simil- 
 ar but is too much mutilated for the details to be made 
 out. Below the garland on this side is a group of two 
 Amoretti teasing a young panther while on the right is 
 a tipsy boy supported by a companion. 
 
 B. S., p. 110, No. 189. 
 
 645 (391). Group of Mithras. 
 
 Found at the Scala Santa a little before 1853. 
 
 Mithras was an ancient Aryan god of light, the chief 
 seat of whose worship was in Persia. His cult gradually 
 assumed a mystic character, apparently in consequence 
 of the religious fermentation and the assimilation of 
 Hellenic with Oriental divinities, which took place in the 
 kingdoms of the successors of Alexander the Great. The 
 first trace of this cult in Italy is found in the reign of 
 Domitian. It became of great importance in the time of 
 Hadrian and the Antonines; and under Septimius Severus 
 we find it among the cults of the Domus Augusta. In the 
 train of the legions it gradually spread over all the pro- 
 vinces of the Roman Empire. The usual representation 
 of the god in the Roman period is inspired by an oft- 
 recurring Greek composition , depicting a Victory sacri- 
 ficing a bull (comp. No. 729). Our group is distinguished 
 from the other replicas in Roman museums by its ex- 
 
FIFTH ROOM. 
 
 179 
 
 cellent preservation. Mithras, according to wont, is re- 
 presented as a youth, in Asiatic dress, in the act of slaying 
 a bull. The action probably symbolizes the power of the 
 sun over terrestrial nature, while the fertility of the latter 
 is indicated by the bunch of wheat-ears terminating the 
 tail of the bull. No perfectly satisfactory explanation has 
 yet been given of the dog and the serpent, which stretch 
 their heads towards the wound of the bull, or of the scor- 
 pion below the belly of the animal. 
 
 B. S., p. 117, No. 199. The entire bibliography relating to the 
 Mithras monuments is collected in Preller- Jordan, Rom. Mythologie, 
 ii, p. 413, note 4. 
 
 646 (399). Stag, in basalt. 
 
 Found in 1822 or 1823 outside the Porta Portese, in 
 the Vigna dei Signori della Missione, within the area once 
 covered by the Gardens of Caesar. The restorations in- 
 clude the antlers, both ears, the eyes (of painted plaster), 
 the muzzle, part of the tail, the whole of the left fore-leg, 
 and the lower part of the other three legs. The right 
 fore-foot and the support below the left fore-foot are, 
 however, ancient. Of the plinth only the front part has 
 been preserved. 
 
 A quadrangular hole on the right flank and a projec- 
 tion below it prove that the stag was connected at this 
 point with some other figure. It has, therefore, been 
 supposed that it belonged to a colossal figure of a de- 
 ity, such as Apollo or Artemis. This theory, however, 
 is disproved by the size of the plinth, which can easily 
 be estimated from the remaining portion and affords no 
 room for a second figure. The above-mentioned traces of 
 the presence of another figure may, however, be explained 
 by the assumption that it was seated on the back of the 
 stag, a position in which Artemis, for example, is some- 
 times represented (comp. No. 5). 
 
 B. S., p. 118, No. 200. For Artemis riding on a stag, see 
 Stephani , Compte-rendu pour 1868, pp. 6, 7. 
 
 647 (406). Cow. 
 
 The restorations include both horns, both ears, all 
 four legs, the tail, and the teats of the udder. 
 
480 
 
 THE LATERAN MUSEUM. 
 
 The effect of this figure is impaired by the fact that 
 the restorer has overlooked the traces of the original feet 
 left on the plinth and has consequently restored the legs 
 falsely. The execution is unequal, the body being treated 
 in a lifelike manner, while the forms of the head are dull 
 and indefinite. 
 
 B. S., p. 119, No. 201. 
 
 Sixth Room. 
 
 All the sculptures exhibited in this room were found at Cer- 
 vetri (Caere) in 1840 and 1846 amid the ruins of the theatre, a 
 building which dates, so far as its remains allow us to judge, from 
 the early imperial days. The statues (Nos. 649-654) must have 
 been placed in niches or against walls, as their backs are very care- 
 lessly finished. Some of them, perhaps, decorated the proscenium 
 wall. Comp. B. S., pp. 121, 122. 
 
 648 (428). Colossal Head of Augustus. 
 
 The end of the nose, the nape of the neck, and the 
 bust are modern. 
 
 The rounded edges of the neck show that this head 
 was meant to he inserted in a statue. The proportions 
 are somewhat short and broad in comparison with other 
 portraits of the emperor; but this is probably due to the 
 fact that the head was to be seen from a considerable 
 distance. 
 
 B. S., p. 124, No. 208. Bernoulli , n, 1, p. 31, No. 20. 
 
 649 (433). Statue of a Man in Armour. 
 
 The restorations include the head (plaster; with the 
 features of Germanicus) , the right arm, the top of the 
 sword-hilt, a great part of the drapery, fragments of the 
 armour, the great toe of the right foot, and most of the 
 plinth. 
 
 Most of the statues found on the site of the theatre 
 of Caere are portraits of members of the Julian imperial 
 house; and the style of this statue, together with the 
 arrangement of the armour and the reliefs which adorn 
 it, points to the early days of the Empire. We may there- 
 fore assume that this figure, the original head of which 
 is missing, represents an individual belonging to the Gens 
 
SIXTH ROOM. 
 
 481 
 
 Julia. Like Augustus in the statue from the Villa ad 
 Gallinas-(No. 5), the man was represented as addressing 
 his troops. The left hand holds the hilt of a sword, the 
 rest of which is concealed by the mantle. The right arm 
 was extended, shoulder-high, to the left; and the whole 
 right side of the body follows this movement. The relief 
 at the top of the cuirass shows the sun-god ascending 
 from the ocean in his quadriga; below are two kneeling 
 barbarians in Asiatic dress, giving water to two griffins. 
 The conception and the execution of the statue are equally 
 admirable. 
 
 B. S., p. 124, No. 204. Bonner Studien (Berlin, 1890), T. i, 
 
 2, p. 10. 
 
 650 (435). Colossal Statue of Tiberius, 
 
 The nose is modern. 
 
 The type is the same as that of the statue found at 
 Piperno, discussed under No. 93. The head, however, 
 is encircled by a civic crown ( corona civica) of oak-leaves, 
 as in another statue of Tiberius found at Veii (No. 87); 
 and the mantle covers the whole of the back. 
 
 B. S., p. 126, No. 206. Bernoulli , n, 1, p. 148. No. 8. 
 
 651 (436). Statue of Octavia (d. 62 A.D.), daughter of 
 
 Claudius. 
 
 Tke restorations include the nose, the left ear, both 
 forearms, the sceptre and cup, and paTts of the drapery. 
 
 This statue has been identified with Agrippina the 
 Younger because a fragment of an inscription bearing the 
 name of that empress was found beside it. This opinion, 
 however, needs no special refutation now that authentic 
 portraits of this empress have been recognized. The statue 
 seems to represent Octavia, daughter of Claudius and 
 Messalina and wife of Nero, to whose coin-portraits the 
 head shows some resemblance. The chaplet of round and 
 egg-shaped pearls indicates that the princess is repre- 
 sented as a priestess , either of the Gens Julia in general 
 or of the deified Claudius in particular. The restoration 
 of the arms with cup and sceptre seems correct. The 
 Helbig, Guide I. 31 
 
482 
 
 THE LATE RAN MUSEUM. 
 
 execution is much inferior to that of the other statues 
 of members of the imperial house found in the same place. 
 
 B. S., p. 127, No. 207. Bernoulli , RUm. Ikonogr., n, 1, T. xix, 
 p. 183, No. 10; pp. 366, 367. For the portraits of Agrippina the 
 Younger, see Rom. Mittheilungen, yii ('1892), pp. 231-238. 
 
 652 (437). Colossal Statue of Claudius. 
 
 The emperor is represented seated, as Zeus, with an 
 oak-crown ( corona civica) on his brows. The head is of 
 a strongly idealized character similar to the colossal head 
 of Otricoli (No. 306). The strip of im worked marble 
 descending vertically from the left shoulder, and the 
 hollow behind it, indicate that this part of the statue was 
 in contact with the back of the throne (comp. No. 656). 
 
 B. S., p. 128, No. 208. Bernoulli , n, 1, p. 333, No. 7. 
 
 653 (438). Statue of a Man in a Toga. 
 
 The restorations include the end of the nose, parts of 
 both ears, the left hand with the scroll (probably a correct 
 restoration), the right forearm, the right foot, the front 
 of the left foot, part of the lower margin of the drapery, 
 and the plinth. 
 
 There is no good reason for identifying this figure 
 with the elder Drusus. 
 
 B. S., p. 128, No. 209. 
 
 654 (439). Armed Statue of the Elder Drusus (?). 
 
 The restorations include the nose, the left ear, the 
 right arm, the left forearm with the drapery and sword, 
 part of the right calf, the left foot and ankle, the stump, 
 and the plinth. 
 
 This personage is represented as delivering an address, 
 in the same attitude as No. 637. The noble head, the 
 forms and expression of which denote a high degree of 
 intelligence and energy, resembles the coin-portraits of 
 Drusus the Elder and Germanicus. The strong likeness 
 of father and son makes it impossible to say more than 
 that it is a portrait of one or other of them. 
 
 B. S., p. 129, No. 210. Bernoulli , n, 1, T. xiii, p. 170, 
 No. 9; pp. 205, 206, 214, 239. Brunn und Arndt , Griechisohe 
 und rom. Portrats, No. 81. Bonner Studien (Berlin, 1890), p. 10. 
 Rom. Mitth., vi (1891), p. 314, 
 
SIXTH ROOM. 
 
 483 
 
 655 (444). Portrait-Bust of a Man. 
 
 The end of the nose and parts of the ears are modern. 
 
 The usual identification of this head with Caligula is 
 untenable. The shape of the skull, the profile, and the 
 cut of the hair all differ from the same details in the 
 authenticated portraits of this emperor, and the features 
 are free from Caligula’s characteristic malignity. 
 
 B. S. p. 130, No. 211. Bernoulli , n, 1, p. 305, No. 4, Fig. 46, 
 p. 318. 
 
 656 (442). Fragment of a Relief, representing the cities 
 
 of the Etruscan Confederation. 
 
 The personifications of three cities are preserved, all 
 denoted by inscriptions. The representative of Tarquinii 
 is a bearded man , wearing his toga over the back of his 
 head in the manner prescribed for a sacrificer. It has 
 been, with great probability, identified with Tarchon, the 
 hero of Tarquinii, to whom the Etruscans attributed the 
 foundation of their religion and civilization. Next to 
 Tarchon is the patron goddess of Vulci, seated on a throne 
 and holding a flower in her outstretched right hand. A 
 Roman would have called this figure Venus, an Etruscan 
 Turan. Vetulonia is personified by a vigorous nude 
 figure, holding an oar in his left hand. Behind him rises 
 a pine-tree; and the slopes of the hill on which Vetu- 
 lonia lay (near Colonna a Mare) are to this day covered, 
 on the side next the sea, with an abundant growth of 
 pines. The reverse of the fragment shows a relief of a 
 swine standing on an altar or base, and thus the slab 
 must have been visible on both sides. Its original position 
 cannot, however, be now determined with any certainty. 
 It has been supposed, for instance, that it formed part of 
 a square seat, each of three sides of which contained re- 
 presentations of four Etruscan cities; and it has been 
 further surmised that this seat belonged to the statue of 
 Claudius (No. 652) found in the same excavation. A seat 
 decorated in this fashion would have been quite appro- 
 priate for that emperor, who bestowed many favours on 
 
 31* 
 
484 
 
 THE LATERAN MUSEUM. 
 
 Etruria and wrote a Greek history of the Etrurians. 
 Another theory supposes that this relief decorated one of 
 two projections resembling antae , attached to opposite 
 sides of an altar or base. 
 
 Ann. dell’ Inst., 1842, Tav. d’agg. C, pp. 37-40. B.S., p. 130, 
 No. 212. Comp. Archaol.-epigr. Mitth. aus Osterreich, xi (1887), 
 pp. 104 et seq., 124, 125. 
 
 657 (445). Portrait -Statue of a Woman. 
 
 The right forearm and the margin of the plinth are 
 modern. The head is ancient (end of nose restored), but 
 does not belong to this statue. 
 
 As an inscription found at the same time and place 
 contained the name of Drusilla , it seems as if the statue 
 represented the daughter of Germanicus and sister of Cali- 
 gula. The incense-casket ( acerra ) , which she holds in her 
 left hand, may refer to the privileges of the Vestal Vir- 
 gins, which Caligula had conferred on his sisters. The 
 ancient head which has been placed on this figure was 
 formerly described, without reason, as a portrait of Livia. 
 It is rather an insignificant ideal type of late origin , to 
 which no precise name can be given, as the Graeco-Ro- 
 man artists used it for various goddesses and personi- 
 fications. 
 
 B. S., p. 132, No. 213. Bernoulli , n, 1, p. 326. — On the por- 
 traits of Livia, comp. No. 243. 
 
 658 (447), 659 (450). Two Sileni sleeping on their 
 
 wineskins. 
 
 The restorations in No. 447 include the nose, the left 
 ear, and the front of the left foot; in No. 450, the nose, 
 the right ear, the right foot (heel ancient), and parts of 
 the plinth. 
 
 The openings made in the wineskins prove that these 
 two statues were used as fountain-figures. The Sileni are 
 sleeping off the effects of a carouse and are using their 
 wineskins as pillows. They have, however, forgotten 
 that the skins have been left open, and the precious liquor 
 is consequently being pressed out by the weight of their 
 heads. Pairs of similar fountain-figures have been found 
 
SIXTH ROOM. 
 
 485 
 
 in the theatres of Arles and of Civita Castellana (Colonia 
 Junonia Faliscorum). The execution of the two before us 
 is purely decorative. 
 
 B. S., p. 1B3, Nos. 214, 215. 
 
 660 (448). Ara of Manlius. 
 
 According to the inscription on its face, this altar 
 was dedicated to the Censor perpetuus Gaius Manlius by 
 his clients. Below the garland enclosing the inscription 
 is a relief of the sacrifice of a hull, a representation which 
 gives us much information about the sacrificial rites of 
 the ancient Homans. The Roman who is offering the 
 sacrifice stands to the right of the altar, on the point of 
 pouring out a libation. Beside him stands a Camillus 
 (comp. No. 607), holding a pitcher in his right hand and 
 wearing over his left shoulder a garment which is appar- 
 ently adorned with fringes ( ricinium ?). To the left of 
 the altar is the bull, the head of which is held down by 
 two kneeling youths ( cultrarii ) wearing nothing but an 
 apron. Another man (popa), also clad simply in an apron 
 ( limus J, raises an axe to deal the fatal blow on the head 
 of the bull. Behind the animal stands another popa, 
 shouldering the sacrificial mallet (malleus) and holding 
 in his left hand a vessel, filled {apparently) with flowers 
 and fruit. In front is a flute-player, accompanying the 
 sacred ceremony with his music. On each of the two 
 lateral faces of the altar is represented a Lar, with rhyton 
 and cup (comp. No. 551).' The relief on the rear of the 
 altar shows a goddess enthroned, with three men and 
 three women raising their hands in adoration or suppli- 
 cation. The cornucopia in her left hand and the cup in 
 her right are the attributes of Fortuna ; but apparently 
 the figure is to be taken here in a narrower sense, as the 
 patron-deity of Caere. The sacrifice on the front of the 
 altar is evidently offered in her honour. 
 
 Mon. dell’ Inst., vi, 13; Ann., 1858, pp. 1-17. B. S., p. 134, 
 No. 216. 
 
486 
 
 THE LATERAN MUSEUM. 
 
 Seventh Room. 
 
 661 (462). Statue of Marsyas, after Myron. 
 
 Found in April, 1823, in the studio of an ancient 
 sculptor on the Esquiline, Via dei Quattro Cantoni 46-48. 
 The ears, hoth arms, the lower part of the left leg, and 
 the front of the right foot are modern. 
 
 In earlier times the flute was a very popular in- 
 strument at Athens and had its regular place in the mu- 
 sical education of the young. Later, however, in the 
 period following the Persian wars, a decided prejudice 
 
 Fig. 31. 
 
 arose against it, and this prejudice was strengthened by 
 the fact that the flute was considered the national in- 
 strument of the Boeotians, the hated neighbours of the 
 Athenians. This sentiment inspired a bronze group by 
 Myron (comp. No. 333), in which Athena, the patron- 
 deity of Attica, expressed her contempt for the flute in 
 the presence of the Satyr Marsyas. Of this group copies 
 have come down to us in three Attic monuments: a 
 relief on a marble vase, a painting on a red-figured vase 
 (Fig. 31), and on the die of a coin (Fig. 32). Athena has 
 
SEVENTH ROOM. 
 
 487 
 
 just contemptuously thrown away the flutes which had 
 made her distort her face. Marsyas, who had quietly 
 approached, curious to hear the unfamiliar tones, springs 
 backward, startled by the violent and unexpected action 
 of the goddess; he still, however, looks with desire at the 
 flutes, which, in the original work, probably lay on the 
 plinth. The statue before us is a copy of this figure of 
 Marsyas. The restorer is mistaken in supplying him with 
 castanets (xpoxaAa). The hands held 
 no attributes, but expressed by their 
 attitude, in harmony with the move- 
 ment of the body, the shock felt by 
 Marsyas at the action of the goddess. 
 
 The right arm was raised aloft, the 
 left arm held to one side (see Fig. 31). 
 
 Like the Discobolos of the same sculp- 
 tor (No. 333), the Marsyas of Myron 
 fixed the human figure in the most pregnant moment of a 
 movement that affected every part of the body. As the 
 original figure was made of bronze, it dispensed with the 
 tree-stump and the supports for the feet, which so 
 seriously impair the effect of the marble before us. The 
 execution of this statue corresponds closely with the in- 
 formation that we possess of the artistic methods of My- 
 ron. The bodily forms , though a little angular, are re- 
 produced with wonderful clearness and precision. The 
 expression, on the contrary, is still somewhat rigid, while 
 the treatment of the hair is distinctly archaic. 
 
 The best reproductions are given by Rayet (Monuments de 
 1’aTt antique, i, PI. 33) and by Brunn und Bruckmann (Denkm. gr. 
 und rom. Sculptur, No. 208). Collignon , Histoire de la sculpture 
 grecque, i, pp. 467-471, Fig. 243. Overbeck , Geschichte der griech. 
 Plastik, i 4 , p. 269a. Baumeister , Denkm. d. kl. Alterthums, n, 
 p. 1002, Fig. 1210. B.S., p. 141, No. 225. See also Friederichs- 
 Wolters , Bausteine, No. 454. Gazette archeologique , xi (1886), 
 pp. 304 et seq. Sauer , Die Anfange der statuar. Gruppe, pp. 68 
 et seq. Melanges del’Ecole Fran^aise de Rome, x (1890), pp. 118- 
 122 . 
 
488 
 
 THE LATERAN MUSEUM. 
 
 662 (476). Statue of Sophocles. 
 
 Found at Terracina and given by the Antonelli to 
 Pope Gregory XVI. in 1839. The sculptor Tenerani 
 restored the hair above the right side of the forehead, 
 most of the eyebrows, the nose, a large part of the right 
 cheek, the lower part of the right side of the moustache, 
 parts of the beard, almost the whole of the right hand 
 (part of the palm, near the root of the thumb, ancient), a 
 small part at the foot of the drapery falling over the back, 
 the feet, the scrinium, and the plinth. 
 
 ‘The statue in itself produces all the effect of an ori- 
 ginal work; it seems to have been planned for the material 
 in which it is executed and to have been sculptured by a 
 free Greek chisel’ (B. S., p. 159). It is much more likely 
 that it reproduces, possibly with some modifications, the 
 bronze statue of Sophocles erected, on the proposal of 
 Lycurgos, in the Theatre of Dionysos at Athens, between 
 350 and 330 B.C. It has ‘the distinct character of a 
 public monument’, and both in conception and style it 
 shows affinity with the Second Attic School, then in its 
 heyday. An artist who produced a portrait of Sophocles 
 more than fifty years after his death could use the statue 
 erected by Iophon, the son of Sophocles, immediately after 
 his father’s death, and also a painting in the Stoa Pcecile, 
 in which the tragedian was represented playing on the 
 cithara. In any case the statue gives an image of the 
 person represented that is in all essentials accurate and 
 exhaustive. Sophocles stands before us in his prime, 
 presenting in every way the noble aspect and easy grace 
 of a harmoniously cultivated Athenian. The position of 
 the left arm and the slight tendency to embonpoint are 
 treated so as to enhance the predominant characteristic 
 of quiet dignity. The expression of the face unites, in a 
 marvellous way, the qualities of intelligence, imagination, 
 seriousness , and benevolence. The drapery is a master- 
 piece of skill ; it reveals with perfect clearness all the 
 forms of the body beneath it, and is handled in a manner 
 that combines perfect freedom and ease with the demands 
 of artistic effect. The extreme care with which the sculptor 
 
EIGHTH ROOM. 
 
 489 
 
 has studied the directions of the folds is seen in the way 
 in which the mantle is gathered up over the left hand. 
 He has thus, in the happiest manner, avoided the confused 
 impression, which would have been caused by the con- 
 vergence of a great number of lines on the same point. 
 The only feature of the statue that can be considered as 
 foreign to the spirit of the fifth century, and so to the 
 character of Sophocles, is a slight trace of the fastidious- 
 ness, which characterized the fashionable society of Athens 
 in the fourth century B.C. and was frequently reflected in 
 the art of the Second Attic School (comp. Nos. 265, 266). 
 This tendency asserts itself in the not entirely natural 
 pose of the head and in the over-careful arrangement of 
 the beard. 
 
 B. S., T. xxiv, p. 153, No. 237. Baumeister , Denkm. d. kl. 
 Alterthums, m, p. 1685, Fig. 1767. Brunn und Arndt , Griechische 
 und rom. Poxtrats, Nos. 113-115. Comp. Friederichs-W otters , Bau- 
 steine, No. 1307. Athenische Mittheilungen, x (1885), p. 100. Jahr- 
 buch des Arch. Inst., v (1890), pp. 159, 160. 
 
 Eighth Room, 
 
 663 (487). Hellenistic Relief. 
 
 The nose of the man is modern. 
 
 An elderly man, with well-niarked features and clean- 
 shaven face, evidently either a poet or an actor, sits at a 
 table on which rest two theatrical masks and a half-opened 
 scroll. In his left hand he holds' another mask, which he 
 has apparently just lifted from the table. Behind the 
 table, on a lofty support, is a tablet, the right side of 
 which is missing, though the fracture has been smoothed 
 over by a modern hand. To the right of the table, facing 
 the man, stands a draped female figure. Her right hand 
 has been broken off, but the form of the fracture shows 
 that it probably held some small pencil-like object, such 
 as a stylus. A comparison with a mural painting found 
 at Herculaneum suggests that the relief may represent a 
 poet or an actor making a votive offering in remembrance 
 of a victory won. The poet or actor holds the scenic mask 
 
490 
 
 THE LATERAN MUSEUM. 
 
 lie is about to dedicate ; the tablet in the background has 
 been prepared for the dedicatory inscription; while the 
 female figure, whom we may assume to be either a Muse 
 or a personification of dramatic instruction (StSaoxaXia), 
 stands ready to trace the inscription with her stylus. A 
 recent theory supposes that this relief is a reproduction 
 of a painting by Protogenes, which represented Philiscos 
 of Corcyra, one of the leading tragic writers of Alex- 
 andria, plunged in meditation. This theory, however, 
 encounters the difficulty that one of the masks on the 
 table is undoubtedly a comic mask. The relief appears 
 to be a Hellenistic original. The execution is careful and 
 full of character. In spite of its diminutive size, the artist 
 has succeeded in clearly pourtraying the individuality of 
 the poet. 
 
 B. S., p. 163 , No. 245. Tke oldest representation of this 
 hasrelief is given in Bellori , Illustrium philosophorum poetarum 
 rhetorum el oratorum imagines (Romae, 1685), T, 69. Schreiber, 
 Die Wiener Brunnenreliefs aus Pal. Grimani, p. 8, Fig. 3, 4 (comp, 
 p. 67, note 25) ; Die hellenist. Reliefbilder , T. 84. Comp. Benn- 
 dorf , Beitrage zur Kenntnis des attischen Theaters, p. 36. Abhandl. 
 des arch.-epigr. Seminars in Wien, viii (1890), pp. 54 et seq., 149. 
 — On the mural painting, see Helbig , Wandgemalde der vom Vesnv 
 verschiitteten Stadte Campaniens, No. 1460. 
 
 On the bracket on the entrance- wall, — 
 
 664 (496). Fragment of a Sleeping Nymph. 
 
 The nose and the hack of the head are modern. 
 
 The original motive of this figure is intelligible from 
 better -preserved replicas, which are recognizable as 
 fountain-figures. The nymph lay on the ground, support- 
 ing herself on her left elbow; while her head, heavy with 
 sleep, rested on her right hand, which lay on her left 
 shoulder. A vessel under her left arm formed the open- 
 ing of the fountain. The execution is careful but rather 
 unequal. 
 
 B. S., p. 169, No. 252. As to the replicas, see B.S., pp. 247,248. 
 Rheinisches Museum, xxv (1870), p. 154. 
 
EIGHTH ROOM. 
 
 491 
 
 On the bracket on the exit-wall, — 
 
 665 (520). Head of a Female Satyr. 
 
 Part of the left cheek, the chin, and the bust are 
 modern. 
 
 The pointed ears and the little horns above the fore- 
 head show that this is a Satyr, while the sex is indicated 
 by the feminine forms and the arrangement of the hair. 
 The hair is confined by a fillet and encircled by a wreath 
 of pine-leaves. The holes in the latter seem to have been 
 intended for attaching tufts of pine-needles in bronze. 
 The mouth opens in a hearty laugh, exposing both rows 
 of teeth. 
 
 B. S., p. 177, No. 273. 
 
 666 (524). Head of a Youthful Pan. 
 
 The nose, upper lip, and bust are modern. 
 
 This head reproduces the type of Pan evolved from 
 that of Polycleitos (comp. No. 389). In regard to form 
 and expression the same remarks apply to it as to No. 606. 
 
 B. S., p. 178, No. 277. Comp. Ann. dell’ Inst., 1877, p. 203. 
 Furtwaengler , Masterpieces, p. 270, note 1. 
 
 667 (534). Colossal Statue of Poseidon. 
 
 Found in 1824 at Porto , among the remains of a 
 large building generally supposed to have been Thermae. 
 The restorations include the nose, the left arm and 
 trident, the front half of , the right forearm with the 
 aplustre, the lower part of both legs, fragments of the 
 hair and beard, the vessel, the dolphin, and the plinth. 
 
 This statue embodies a type, standing in close re- 
 lation to the art of Lysippos, which seems to have attained 
 its most complete development in a bronze statue of the 
 time of Alexander the Great and has often been repro- 
 duced, more or less modified, by later art (comp. No. 836). 
 Poseidon places his right leg, bent at a right angle, on 
 the prow of a ship, leans his right elbow on his thigh, and 
 supports himself by a trident held in his left hand. The easy 
 attitude and the slightly exhausted expression of the face 
 seem to indicate that the god is resting after some exertion. 
 
492 
 
 THE LATERAN MUSEUM. 
 
 The type of the head is more akin to the Zeus ideal than 
 is that of No. Ill, though here also the hair is soaked 
 with brine. The body is more thickset than that of Zeus. 
 The sharpness with which the chief lines of the head are 
 brought out by under-cutting and the downward direction 
 of the eyes prove that the statue was meant to be placed 
 at a considerable height. As the 
 aplustre in the right hand inter- 
 feres with the simple beauty of the 
 contours, it is probable that the 
 restorer has done wrong in adding 
 it and that the hand hung empty 
 by the knee, as represented in coins 
 reproducing the same type of Po- 
 seidon (see Fig. 33, a coin of De- 
 metrios Poliorcetes). It is also 
 questionable whether the right leg was supported by a 
 dolphin. The other restorations are justified by better- 
 preserved replicas (comp., e. y., No. 836). 
 
 B. S., p. 182, No. 287. Overbeck , Kunstmythologie, hi, pp. 251, 
 255 ; p. 259, No. 2: p. 279, No. 1 ; p. 280; Atlas, xi, 1, 2, xir, 29. 
 Baumeister , Denkm. d. kl. Alterthums, in, p. 1392, Fig. 1540. 
 Comp. Lange , Das Motiv des aufgestiitzten Fusses (Leipzig, 1879), 
 pp. 31 et seq. Loewy , Lysipp und seine Stellung in d. gr. Plastik 
 
 p. 10. 
 
 Ninth Room. 
 
 668 (579). Helmeted Portrait-Head of the Hellenistic 
 Period. 
 
 The front of the nose and parts of the left ear are 
 modern. 
 
 This head cannot be a Roman portrait, as usually 
 assumed, for the Romans did not wear short beards like 
 this till the reign of Hadrian, while the style and the 
 careful, yet free and unpretentious execution point to the 
 Hellenistic period. The melancholy expression of the 
 face also recurs in most of the portraits of this epoch. 
 That beards were sometimes worn in the Hellenistic 
 period is proved by coin-portraits of Philip V. and Perseus 
 
NINTH ROOM. 
 
 493 
 
 of Macedonia, the Seleucidse Antiochus III., Demetrios II., 
 and Demetrios III., Prusias I. and II. of Bithynia, and 
 other Hellenistic rulers. 
 
 B. S., p. 193, No. 304. 
 
 In the middle of the room, — 
 
 669 (156). Triangular Base. 
 
 Found, in the Forum in 1844, between the Temple of 
 Saturn and the Column of Phocas. 
 
 The faces of this base have a concave form, such as 
 we find only in the bases of the tripods dedicated by 
 Athenian choregi in the name of victorious tribal choirs. 
 The base itself has the same proportions as a base of a 
 similar kind found in Athens ; and its reliefs, depicting the 
 delights of the Bacchic cult, are entirely suitable for a 
 monument of this kind. And, lastly, the execution shows 
 a distinctly Athenian character. We may, therefore, con- 
 clude that the work before us is indeed one of these 
 tripod-bases, made in Athens and afterwards transported 
 to Rome. Authorities differ widely as to the period of 
 its execution. The sculptor has not, indeed, invented all 
 the figures represented, but has borrowed ancient models, 
 chiefly paintings, for several of them. The borrowed 
 motives, however, are not mechanically reproduced, but 
 have been appropriately modified and combined in har- 
 monious groups. The execution, is lifelike, and shows 
 no trace of the elegant smoothness that characterizes si- 
 milar decorative sculptures of the Roman imperial pe- 
 riod. Such considerations justify the conclusion that the 
 base was executed in the time of Alexander the Great or 
 in the early days of the Hellenistic period. 
 
 In the centre of one of the faces is a female figure, 
 touching with fingers and plectrum the chords of a six- 
 stringed lyre. By her dance two girls, one of whom seems 
 to have castanets (xpoxaXa) in her right hand. On the 
 next side, to the right, are three other dancing maidens. 
 The hole, in the place where the head of the central figure 
 
494 
 
 THE LATE RAN MUSEUM. 
 
 should be, shows either that the head was restored in an- 
 tiquity and again lost, or that the restoration was planned 
 but not completed. The reliefs of the third side represent 
 a Satyr dancing between two maidens, one of whom 
 is also dancing while the other is standing still. The 
 latter holds some indistinguishable object to her breast 
 with her left hand, which is wrapped in her mantle. In 
 the execution of the Satyr either the sculptor of the basis 
 or the ancient restorer has made a mistake. As the fall 
 of the nebris, the position of the thyrsos, and also various 
 replicas of the figure prove, the Satyr should be holding 
 the extended panther-skin with his left hand behind and 
 his right hand before, while the latter should also hold 
 the thyrsos. The left arm and right forearm of the Satyr 
 have either been almost entirely cut away or were ori- 
 ginally indicated only in extremely low relief. The existing 
 traces show, however, that a false direction has been given 
 to the right forearm, for it is raised, without touching the 
 skin or thyrsos, which consequently appears, as it were, 
 suspended in the air. That this figure was also in course 
 of restoration in antiquity is shown by the two cavities 
 in the panther-skin, near the point where it should be 
 grasped by the back-stretched left hand. 
 
 B. S., p. 201, No. 328. Hauser , Die neu-attischen Reliefs, p. 25, 
 No. 33; pp. 146, 147, 179. Abhandl. des arch. -epigr. Seminars 
 in Wien, vm (1890), pp. 92-94. 
 
 Tenth Room. 
 
 This room contains a most interesting series- of sculp- 
 tures (Nos. 670-675) found in 1848 on the Via Labi- 
 cana, three miles from the Porta Maggiore and not far 
 from Centocelle. The subjects of the representations in- 
 dicate that these sculptures formed part of the decoration 
 of a rich mausoleum, which, from two inscriptions found 
 at the same place, seems to have belonged to a branch of 
 the Gens Hateria, a family that played a considerable 
 role in the early days of the Empire. We begin our de- 
 scription with three reliefs pourtraying the pomp of an 
 aristocratic Roman funeral. 
 
TENTH ROOM. 
 
 495 
 
 Opposite the windows, — 
 
 670 (691). Relief of a Lying in State. 
 
 When a Roman of the better classes died, his body was 
 washed and anointed by the Pollinctor and made to look 
 as well as possible. It was then placed on a state-bed ( lectus 
 funebris) in the atrium of the house. The relief represents 
 this ‘Collocatio’, or lying in state. The dead woman lies 
 at full-length on the bed. The four tablets piled at her 
 feet seem to be writing-tablets (pugillares ) , which, we 
 may assume, contain the will of the deceased. Behind 
 the bed are two hired mourners (praejicae'j , with dishevelled 
 hair and beating their breasts with their hands ; beside 
 them is a man, perhaps the Pollinctor, about to place a 
 garland on the corpse or the bed. To the right and left 
 burn candelabra and lamps. Below, to the left, a flute- 
 player sits in front of the bed, accompanying the mourners 
 with her music. Behind her stands another woman, with 
 clasped hands, gazing up at the corpse. To the right of 
 the bed sit three weeping women, each wearing a stiff, 
 pointed cap. As this kind of a cap ( pileus ) was the sym- 
 bol of liberty and was placed on the head of slaves at 
 their emancipation, it seems probable that these women 
 are slaves enfranchized by the lagt will and testament of 
 their mistress. The two men and two women standing 
 in front of the support of the bed, with their hands crossed 
 on their breasts, seem to be relatives of the deceased. 
 Below the legs of the bed are two vases filled with burn- 
 ing perfumes, while to the right is a man bringing some 
 round object (perhaps a ball of incense?). 
 
 Mon. dell’ Inst., v, 6; Ann., 1849, pp. 865-370. Baumeister , 
 Denkm. d. kl. Alterthums, i, p. 239, Fig. 218. B. S., p. 221, No. 348. 
 
 After the corpse had lain in the atrium for a certain 
 time, usually three days, it was carried in solemn pro- 
 cession to the Forum. The train assumed a particularly 
 imposing appearance when the deceased belonged to a 
 family whose members had filled curule offices. The bier 
 was then preceded by persons wearing portrait-masks of 
 
496 
 
 THE LATERAN MUSEUM. 
 
 such ancestors and clad in their official garments. On 
 arrival at the Forum the bier was placed in front of the 
 Tribune of the Orators’, the masked ancestors took their 
 seats on curule chairs; and a relative of the deceased 
 delivered a funereal oration. If the body was to be burned, 
 it was then transferred to the Ustrinum; if not, it was 
 taken direct to the family tomb. The route followed by 
 the funeral of the Haterii on leaving the Forum by the 
 Via Sacra is shown in the relief on the exit-wall. 
 
 671 (719). Relief showing part of the Via Sacra. 
 
 Five buildings are shown, following each other from 
 right to left as here enumerated. 1. A temple, within 
 which Jupiter is seen seated with thunderbolt and 
 sceptre. — 2. A triumphal arch, described in the inscrip- 
 tion on its upper attic, as The arch at the highest point 
 of the Via Sacra’. Below the archway sits the Dea Roma, 
 with various pieces of armour at her feet. — 3. A second 
 arch, surmounted by a quadriga. On a flight of steps 
 below the vault sits the Mater Magna, flanked by her 
 lions, while in front of her is an altar, the fire of which 
 is protected by a hemispherical cover. — 4. The Colosseum 
 (curtailed). — 5. A triumphal arch, which, the inscription 
 on the attica informs us, lay near a sanctuary of Isis. In 
 the central archway is a figure of Minerva. The figures 
 in the lateral passages have not been distinctly finished off. 
 
 As the Colosseum is distinctly recognizable, and as 
 the arch at the top of the Via Sacra can be only the Arch 
 of Titus, the relief before us evidently represents, though 
 with considerable freedom and curtailment, the principal 
 buildings in or near the east end of the Via Sacra. The 
 temple of Jupiter is thus the temple of Jupiter Stator, 
 situated in front of the Palatine. The sanctuary of Isis, 
 mentioned in the inscription on the third arch, seems, 
 to judge from various indications, to have lain near the 
 Colosseum. The figures of deities within the arches 
 evidently refer to the gods whose temples lay near the 
 part of the Via Sacra indicated on the relief. These 
 
TENTH ROOM. 
 
 497 
 
 divinities have descended, as it were, from their fanes to 
 the Via Sacra in order to pay the last honours to the 
 deceased member of the Gens Hateria. Thus the Dea 
 Roma has quitted the temple of Venus and Roma and 
 taken her place below the neighbouring Arch of Titus. 
 To the temple of the Mater Magna, the proximity of which 
 is indicated by the figure under the second arch, is now 
 assigned the large concrete podium on the E. slope of the 
 Palatine, hitherto identified with the temple of Jupiter 
 Stator. Minerva, the goddess placed under the third arch, 
 had a sanctuary between the Colosseum and the Lateran, 
 near the present church of SS. Quattro Coronati. 
 
 Mon. dell’ Inst., v, 7 ; Ann., 1849, pp. 370-382. B. S., p. 230, 
 No. 358. Comp. Jordan , Topographie der Stadt Rom , i, 2, p. 277. 
 Hermes , xx, pp. 418 et seq. — In reference to the temple-found- 
 ations on the east slope of the Palatine, see Richter , Topographie 
 der Stadt Rom (Nordlingen, 1889), p. 102. 
 
 The third relief, which hangs on the entrance-wall to 
 the right of the door, represents the goal of the funeral 
 procession — the grave in which the member of the Ha- 
 teria family is to find its last resting-place. 
 
 672 (676). Relief of a Tomb. 
 
 The tomb on this relief is richly decorated and in the 
 form of a temple. It serves admirably to help us to form 
 an idea of the original appearance of many tombs on the 
 great Roman roads, the marble or stucco lining of which 
 has long since vanished, leaving nothing but the kernel 
 of brick or stone. The lower part of the structure was 
 the funereal chamber; the upper part, in the shape of a 
 Corinthian temple and reached by a flight of steps, formed 
 a chapel for the cult of the dead. Beside the staircase, 
 which is obviously made of hewn stones, is a structure, on 
 the face of which are visible six pillars, arranged in close 
 order. The object of this erection seems to be to admit 
 air to the grave-chamber below. On it stands an altar, 
 with a burning sacrifice, protected by a hemispherical 
 qover, similar to that seen below the second arch of 
 No. 67 1 (p. 496). It is not likely that the position assign- 
 Helbig, Guide I. 32 
 
498 
 
 THE LATERAN MUSEUM. 
 
 ed to this altar in the relief is the correct one ; according 
 to all analogy it should stand in front of the flight of 
 steps, in the axis of the temple. The whole building is 
 richly adorned with sculptures. In the pediment of the 
 temple is a female bust, doubtless a portrait of one of 
 the Hateriae interred in the tomb. The front-wall is em- 
 bellished with three flat reliefs of boys, with the emblems 
 of the seasons. On the lateral wall of the temple are 
 shells containing busts of three Haterian children ; below 
 are reliefs with figures of the Parcse. On the wall of the 
 grave-chamber, to the left of the door, is represented the 
 facade of a small temple, within which Hercules is seen 
 sitting on an upturned basket. The hero’s attributes — 
 scyphos, bow, and club — occupy the pediment and the 
 triangular spaces above it. 
 
 The representations on the roof of the temple are dif- 
 ficult to explain. A woman is seen, reclining on a couch 
 and holding a bird in her right hand. In front of the 
 couch are a group of three children at play and an old 
 woman, who bears a cup ( thymiaterium ?) in her left 
 hand, while with her right she casts something (grains of 
 incense?) into the fire of a small altar. To the left of 
 the couch stands a large lighted candelabrum. To the 
 right is a structure resembling a triumphal arch , the 
 centre of which is occupied by a niche containing a nude 
 female form. Over the arch three masks are roughly 
 carved. No satisfactory explanation of this structure has 
 been offered. The woman on the couch is probably one 
 of the female members of the family interred below. As 
 it was impossible for the sculptor to represent her as in 
 the interior of the chamber, he has placed her on the roof 
 of the building, where she welcomes other members of 
 the family who have come to their last rest in this or an 
 adjoining tomb. To the left of the mausoleum is a huge 
 crane for lifting heavy weights, set in motion by a tread- 
 ing-wheel. It seems to have no connection with the tomb, 
 and the reason of its appearance in the relief is obscure. 
 The mausoleum seems^finished; and, besides, it is not 
 
TENTH ROOM. 
 
 499 
 
 at all clear why a huge machine like this should have 
 been necessary in the construction of a mausoleum of so 
 moderate dimensions. 
 
 Mon. dell’ Inst., v, 8; Ann., 1849, pp. 382-407. B. S., p. 211, 
 No. 344. — As for the lifting crane, see Blumner , Technologie und 
 Terminologie der Gewerbe, in, Fig. 11, pp. 118 et seq. 
 
 Adjoining the last-mentioned relief, — 
 
 673 (675), 674 (677). Busts of a Roman Man and 
 Woman. 
 
 These two busts, evidently portraits of members of 
 the Haterian family, are interesting, because they throw 
 light on the Roman custom of erecting busts of their 
 ancestors. According to Polybius (VI, 53, 4), the ances- 
 tral busts, made of wax, were preserved in small wooden 
 temples (£oAiva vatSia). The shrines in which the busts 
 before us are placed correspond perfectly to this descrip- 
 tion. The bust of the man is entwined by a serpent, and 
 it has been supposed that this means that the Haterian 
 here represented was a physician. In all probability, 
 however, the serpent here, as in No. 623, symbolizes the 
 fact that the defunct became a hero after his death. 
 
 Mon. dell’ Inst., v, 7 ; Ann., 1849, pp. 407, 408. B. S., p. 208, 
 No. 343, 345. For the female bust, see also Baumeister , Denkmaler 
 des klass. Alterthums, i, p. 28, Fig. 29. 
 
 On the exit-wall, — 
 
 675 (721). Alto-Relief with the busts of four Infernal 
 Deities. 
 
 The god to the left is recognizable by his caduceus 
 as Mercury, though his head is missing. He obviously 
 owes his place in this connection to his function of con- 
 ducting departed spirits to Hades. Next to him is Pro- 
 serpine, with a fold of her garment filled with fruit and a 
 garland of flowers passing from the right shoulder across 
 her breast. Next comes Pluto, with his sceptre, while 
 Ceres brings up the rear, leaning her right hand, with its 
 
 32* 
 
500 
 
 THE LATEKAN MUSEUM. 
 
 bunch of wheat-ears, on Pluto’s shoulder and holding a 
 lighted torch in her left hand. As the busts of the four 
 deities are arranged in the same way as the portrait-busts 
 of Roman sepulchral reliefs, we may, perhaps, assume 
 that special relations existed between the gods represented 
 and various members of the Haterian family. This con- 
 sideration may also explain why Pluto is represented in 
 more intimate relations with his mother-in-law Ceres than 
 with his wife Proserpine. 
 
 Mon. dell’ Inst., v, 7 ; Ann., 1849, pp. 405-407. B. S., p. 236, 
 No. 359. Overbeck , Kunstmythologie, in, p. 510, No. 20; Atlas, 
 xiv, 15. Roscher , Lexikon der griech. und rom. Mythologie, ii, 
 pp. 1371, 1372, Fig. 18. 
 
 Eleventh Room. 
 
 The three sarcophagi, Nos. 676-678, come from a tomb on the 
 E. side of the Yia Latina, which is still accessible. The principal 
 chamber is richly adorned with stucco reliefs and mural paintings 
 (B. S., p. 244). 
 
 676 (761). Sarcophagus, with Reliefs of Dionysos and 
 Ariadne. 
 
 In the middle of the relief on the front of the sarco- 
 phagus are two Satyrs holding a circular cartouche, evi- 
 dently intended for the epitaph. To the left stands Dio- 
 nysos, leaning on a Satyr; to the right is Ariadne, both 
 in chariots drawn by two Centaurs. The nearest of the two 
 Centaurs harnessed to the chariot of Dionysos is playing 
 on the cithara, while the corresponding Centaur in Ariad- 
 ne’s chariot plays the double-flute. On the back of the 
 first Centaur sits an Eros, with a mask of Pan on his head; 
 in his right hand he holds a pedum, and with his left he 
 touches the shoulder of the Centaur, as if to call his atten- 
 tion to something. Another Eros, holding a pedum in 
 his left hand, kneels on the Centaur attached to Ariadne’s 
 chariot and grasps with his right hand a mask of Silenus 
 extended to him by Ariadne. The lid of the sarcophagus 
 is decorated with a Bacchic festival, the central point of 
 which is formed by the kissing figures of Ariadne and 
 
ELEVENTH ROOM. 501 
 
 Dionysos. At tlie left end is a Satyr, wearing a loin-cloth 
 and kneeling before a small stove. Flames issue from the 
 stove, which bears a kettle. The Satyr is putting fresh 
 wood in the stove, while his inflated cheeks and the 
 movement of his lips show that he is at the same time 
 blowing the fire. In this figure we have, perhaps, a Hellen- 
 istic reproduction of the boy blowing a fire, executed 
 in bronze by Lycios, the son of Myron. 
 
 B. S., p. 251, No. 373. On ‘the hoy blowing up the fire, see 
 Rhein. Mus., xxxix (1884), pp. 92 et seq. 
 
 677 (769). Sarcophagus, with Relief of Adonis. 
 
 The front of this sarcophagus is adorned with three 
 scenes from the myth of Adonis. To the left is Adonis, 
 taking leave of Aphrodite, as he starts for the fatal chase. 
 The goddess, disturbed by sad presentiments, tries to detain 
 the parting youth; an Eros, standing on the back of her 
 chair, is busy arranging her locks. Another Eros, stand- 
 ing beside the chair, looks up anxiously at Venus and 
 Adonis, while he leans, like Thanatos (comp. Nos. 185, 
 325, 678), on an inverted torch — thus typifying that 
 death will soon part the lovers. The next scene to 
 this, in logical sequence, would be Adonis at the chase. 
 The sculptor, however, has selected the care of the 
 wounded Adonis, as this gave him an opportunity of re- 
 presenting, in the central compartment, Venus and Adonis, 
 with the features of the man and woman interred in the 
 sarcophagus. Adonis sits with his left arm round Aphro- 
 dite’s neck, holding his wounded limb over a basin. A 
 servant or a physician presses a sponge on the wound, 
 while an Eros, kneeling on the ground, wipes off the blood 
 trickling over the calf. The third scene (to the right) 
 shows Adonis on his knee before the boar, which charges 
 furiously from a cavern. An Eros, hovering above Adonis, 
 raises his right hand as if to scare the animal. Aphrodite 
 hurries in alarm to the aid of her threatened darling. To 
 the right, in the background, is a mountain-god, raising 
 his right hand with a gesture of amazement. The reliefs 
 
502 
 
 THE LATERAN MUSEUM. 
 
 on the lid of the sarcophagus depict seven scenes from 
 the myth of Laios and (Edipus, adhering closely to the 
 ‘Phoinissae’ of Euripides. The first scene (left) shows 
 the youthful Laios, accompanied by a servant bearing 
 votive offerings, imploring the Delphic Apollo to grant 
 him offspring. In the second scene Laios, who has be- 
 gotten a child, (Edipus, contrary to the warning of the 
 god, sits solitary on a rock, brooding over the evils which 
 threaten him. Third scene : the infant (Edipus is exposed 
 on Mt. Cithaeron. Fourth: (Edipus leaves Corinth, on 
 finding out that he is not the son of King Polybos, while 
 a bearded man, presumably the Corinthian shepherd who 
 found him on Mt. Cithaeron, seeks to detain him. Beyond 
 the pilaster bounding this group the scenes run from right 
 to left instead of from left to right. The first scene to the 
 right represents (Edipus slaying Laios. Second : (Edipus 
 before the Sphinx. Third : (Edipus hears from the Theban 
 shepherd who exposed him the true story of his origin, 
 which provokes the catastrophe. 
 
 Mon. dell’ Inst., vi, vii, 68 A, B; Ann., 1862, pp. 161 et seq. 
 Wiener Vorlegeblatter, 1889, T. viii, 11. B. S., p. 261, No. 887. 
 Arcli. Zeitung, xli (1883), p. 110, note 11. On the lid, see Robert, 
 Die antiken Sarkophag-Reliefs, n, T. lx, 183, p. 191. 
 
 678 (777). Sarcophagus, with Reliefs from the Myth 
 of Hippolytos. 
 
 To the right is Hippolytos following his favourite 
 occupation, the chase. He is on horseback and directs 
 his spear against a wild boar charging furiously from a 
 cave. The Amazon-like figure who accompanies him is 
 Virtus, the goddess of manly courage (comp. No. 416). 
 Above sits a youthful mountain -god, a pine -branch in 
 his left hand. On the left we see Phaedra, a prey to 
 love and desire, and Hippolytos, indignantly rejecting the 
 overtures made to him by Phaedra’s nurse. The thoughts 
 of Phaedra are symbolized by the group of Eros and Psyche 
 embracing each other (comp. No. 457), which is placed 
 beside her chair. The Eros standing in front of her, and 
 leaning on an inverted torch (comp. Nos. 185, 325, 677), 
 
ELEVENTH ROOM. 
 
 503 
 
 indicates the fatal results of her passion. The relief ,on 
 the left end of the sarcophagus shows Hippolytos pouring 
 a libation to Artemis. The horseman at the right end of 
 the sarcophagus evidently belongs to the hunting scene 
 depicted on the front. The fragmentary remains of the 
 lid also exhibit reliefs of hunting scenes. 
 
 Mon. dell’ Inst., viii, 38; Ann., 1867, pp. 109 et seq. B. S., 
 p. 269, No. 394. Puntoni, Le rappresentanze relative al mito di 
 Ippolito (Pisa, 1882), p. 10 D. Arch. Zeitung, xli (1883), p. 65, 
 note 81 H. 
 
 679 (783). Greek Relief. 
 
 This relief, the composition of which is at once simple 
 and dignified, represents a bearded man, a younger beard- 
 less man, and a stripling. A correction is visible in the 
 face of the youth in the middle of the group. The head 
 of this figure was found to be too broad, and the sculptor 
 has remedied the defect by cutting back the profile. The 
 marble is Greek. The style of the work points to the 
 end of the fifth century B.C. 
 
 B. S., p. 274, No. 399. 
 
 680 (785). Fragment of a Group of Eros and Psyche. 
 
 Formerly owned by Canova, the sculptor. 
 
 Eros is represented as tormenting Psyche, who lies 
 on the ground, raising her right hand. Her left hand 
 rests on a wreath of flowers. Eyes was depicted of much 
 larger dimensions than Psyche, and nothing remains of 
 him except the lower part of his left leg, trampling on 
 the maiden’s body. 
 
 Muller -Wieseler, Denkm. d. alten Kunst, ii, 54, 686. B. S., 
 p. 274, No. 401. Comp. Stephani , Compte-rendu pour 1877, p. 210. 
 
 681 (792). Sarcophagus, with the Triumph of Dio- 
 
 nysos. 
 
 Found in a small tomb-chamber, to the west of the 
 Via Latina (B. S., p. 243). 
 
 The myth of the conquering march of Dionysos to 
 India took its rise and received its poetical embellishment 
 
504 
 
 THE LATERAN MUSEUM. 
 
 under the influence of Alexander the Great’s expedition 
 to the same storied country. The reliefs represent the 
 triumphant return of the victorious god. Dionysos stands 
 in a chariot drawn by two elephants, holding a thyrsos 
 in his right hand and in his left an inverted cantharos, at 
 which a panther, crawling below the elephants, looks up 
 with greedy eyes. Beside him stands Nike, holding a 
 garland over his victorious head. The elephants are 
 guided by young Indians, seated on their backs; while a 
 tusk bound to the shoulder of one of the animals indicates 
 the rich booty of ivory won in the campaign. Between 
 the two elephants advances a lion , from which a boy, 
 lying on the ground, turns away in terror. The Bacchic 
 thiasos sweeps onward in confusion before the chariot of 
 the god. Silenus staggers along in drunken happiness. 
 Above him towers a giraffe, another piece of booty. In 
 front prances a Centaur, holding a lyre in his hand and 
 bearing a flute-playing Satyr on his back. A little Pan, 
 couched under the Centaur, lifts the lid of a cist, from 
 which issues a serpent. To the extreme right is another 
 Satyr, giving drink from a cratera to a Boy Satyr, who 
 stands on tiptoe to reach it, while a goat buts at him play- 
 fully. The female element in the thiasos is represented 
 by three Bacchantes, with musical instruments, and by a 
 female Satyr with a torch, visible near the right end of 
 the relief. On the ends of the sarcophagus are represented 
 pairs of dancing Satyrs and Bacchantes. 
 
 Mon. dell’ Inst., vi, 80, 1 ; Ann., 1863, pp. 372 et seq. B. S., 
 p. 280, No. 408. Qrcief, De Bacchi expeditione indica (Berolini, 
 1886), p. 29, No. 14; p. 23. 
 
 Twelfth Room, 
 
 Tlie three sarcophagi in this room, Nos. 682-684, come from 
 a tomb discovered in 1839 in the Yigna Lozano- Argoli, not far from 
 the Porta Yiminalis, Among the bricks of which this tomb was 
 built were found two with stamps, one of the year 134 A. D. and the 
 other of a time later than 132. It would thus seem that the mau- 
 soleum was erected in the reign of Hadrian. 
 
TWELFTH ROOM. 
 
 505 
 
 682 (7 99). Sarcophagus of Orestes. 
 
 The sarcophagus rests on two marble supports, the 
 front of each of which is adorned with a relief of a 
 bearded Atlas. Both Atlantes hold aloft round objects, 
 which appear to represent the ends of the shafts of a litter. 
 The reliefs on the principal face are similar to those of 
 the sarcophagus No. 348, in the Vatican. While, however, 
 the sculptor of the latter has confined himself to repre- 
 senting, at the left end of the relief, the Eumenides sleep- 
 ing at the grave of Agamemnon, we here see Orestes and 
 Pylades praying beside the grave — a motive evidently 
 borrowed from the ‘Choephori’ of JEschylos. In the door 
 of the grave-chamber stands the shade of Agamemnon, 
 wrapped in his winding-sheet. Orestes advances to his 
 father, stretching out both arms; Pylades, behind his 
 friend, raises his right hand with a gesture usual in prayer. 
 On the right end of the sarcophagus is represented an 
 Erinys lying under a pine-tree, with a flaming torch in 
 her right hand and laying her left on a serpent rearing 
 itself beside her. This figure evidently belongs to the 
 scene on the adjacent part of the front of the sarcophagus. 
 On the left end of the sarcophagus we see the shades of 
 iEgisthos and Clytsemnestra, clad in winding-sheets, ap- 
 proaching Charon’s ferry-boat. The reliefs on the lid 
 refer to the later adventures of Orestes in Tauris. The 
 first scene to the left shows the sanctuary of the Taurian 
 Artemis, in front of which stands Iphigeneia, in the act 
 of recognizing her brother, as he approaches with Pylades. 
 The presence of a Scythian guard is probably to be as- 
 cribed to a blunder of the stone-cutter. The second scene 
 depicts the descent to the sea, nominally to purify the 
 image of the goddess, but really to carry it off. In front 
 Walks Iphigeneia, bearing the image; behind are Orestes 
 and Pylades, in fetters and accompanied by a Scythian 
 guard. In the third scene we see the contest on the shore 
 before the departure. Iphigeneia has already embarked 
 and stands in the boat, wrapped in an ample mantle and 
 holding the divine image in her right hand. 
 
506 
 
 THE LATERAN MUSEUM. 
 
 B. S., p. 286, No. 415. Robert , Die antiken Sarkophag-Reliefs, 
 ii, T. liy, 155, p. 168. 
 
 683 (806). Sarcophagus, with Garlands of Fruit and 
 
 Masks of Gorgons. 
 
 The front of the sarcophagus is decorated with two 
 heavy garlands of fruit, held at the ends by two Amoretti 
 and in the middle by a Satyr with a syrinx. The spaces 
 above the garlands are occupied by heads of Medusa. 
 Each of the ends of the sarcophagus bears a group of two 
 griffins and a lighted candelabrum. The lifelike and charm- 
 ingly composed reliefs on the front of the lid pourtray 
 a race of eight boys riding upon various animals, wild 
 and tame. The first boy to the left is riding on a bear. 
 The bull, on which the next was mounted, has fallen on 
 its knees ; and its rider tries to raise it by pulling at its 
 tail. The third boy bestrides a roe-deer. The fourth has 
 been thrown by his horse suddenly sitting down on its 
 haunches. The fifth has slipped sideways from the back 
 of a panther. The sixth steed is an ass. The seventh 
 boy, . alone characterized as Eros by the possession of 
 wings, is mounted on a lioness. The palm-branch bran- 
 dished by the eighth urchin, riding on a lion, points him 
 out as the victor. 
 
 B. S., p. 293, No. 421. 
 
 684 (813). Sarcophagus, with Niobe and her Children. 
 
 At the ends of the lid stand Apollo and Artemis, dis- 
 charging their arrows. The object and the result of their 
 action is seen on the front of the sarcophagus, where the 
 destruction of the family of Niobe is represented, with 
 details and motives similar to those on the sarcophagus 
 in the Vatican (No. 394). The arrangement and contents 
 of the composition prove that in this case also the sculp- 
 tor was inspired by pictorial models. As most of the 
 sons of Niobe are on horseback, it is probable that one 
 of these models was a painting in which the young men 
 were represented as overtaken by their fate while at the 
 chase. The sons, however, are here not separated from 
 
TWELFTH ROOM. 
 
 507 
 
 the daughters but mingled with them. Most of the daugh- 
 ters are represented with nude busts, a voluptuous trait 
 pointing to Hellenistic art. At the right end of the 
 relief stands Niobe herself, trying to protect her two 
 youngest daughters, a motive in which the stone-cutter 
 has followed a pictorial modification of the familiar plastic 
 group. At the left end is Amphion in full armour, raising 
 his shield and supporting with his right hand his youngest 
 son, who sinks, mortally wounded, at his feet. Of special 
 beauty is the group in the middle, where a wounded 
 youth has fallen from his rearing horse and tries to draw 
 the arrow from his wound. On the right end of the sar- 
 cophagus is depicted Niobe, wrapped in an ample cloak, 
 sitting in a mournful attitude by the grave of her children. 
 The tomb, a circular structure with a dome, recalls the 
 so-called treasury of Atreus and similar monuments erect- 
 ed in the eastern parts of Greece before the Doric immi- 
 gration. The bearded man to the left of the tomb has 
 been explained as the pedagogue of the Niobides and as 
 the mountain-god Sipylos; the former is the more pro- 
 bable explanation. On the left end of the sarcophagus, 
 in the lower right corner, sits a young shepherd, with 
 two oxen lying in front of him. He raises his right hand, 
 as if talking, towards a local goddess who lies on a ter- 
 race in the background, holding a branch of a tree grow- 
 ing beside her. Apparently this group personifies the 
 environs of Thebes, in which the massacre of the Niobides 
 took place, and the goddess may be the patron deity of 
 that city. It has been suggested that the shepherd may be 
 Amphion in his youth. On the left end of the lid of the 
 sarcophagus are represented the attributes of Apollo : a 
 crow pecking at a lyre, a bow, a quiver, and a discus. On 
 the right end are those of Artemis: a bow, a quiver, two 
 spears, a diadem, a roe-deer, and a hound. The sarco- 
 phagus stands on two marble supports, with decorations 
 like those of No. 682 (799). 
 
 B. S., p. 296, No. 427. 
 
508 THE LATERAN MUSEUM. 
 
 685 (831). Circular Base. 
 
 Found at Yeii between 1811 and 1813. 
 
 According to the inscription, this base bore some ob- 
 ject devoted to the goddess Pietas. The reliefs represent 
 four ten-stringed lyres, among which a garland of fruit 
 runs round the base, while below the latter are four attri- 
 butes of Vulcan: an anvil, a hammer, a pair of pincers, 
 and a pileus (comp. No. 89). These motives are the same 
 as those, known to us from coins, of the Puteal Libonis, 
 situated in the Forum. According to the meaning of the 
 Latin word, this Puteal must have been the enclosure 
 either of a well, or of some sacred spot. No satisfactory 
 explanation has been offered of the transference of the 
 relief-decorations of the Puteal Libonis to a solid base 
 for an object dedicated to Pietas. 
 
 Mon. dell’ Inst., iv, 36; Ann., 1846, pp. 244 et seq. B. S., 
 p. 307, No. 440. Comp. Jordan , Topographie der Stadt Rom, n, 2, 
 pp. 403, 404. Jahrbuch des Aroh. Instituts, vi (1891); Archaol. 
 Anzeiger, p. 15. 
 
 Thirteenth Room, 
 
 686 (842). Fragment of a Frieze representing a Gi- 
 
 gantomachy. 
 
 This fragment suggests the same remarks as No. 141. 
 The giant is violently attacking a god, whom we must 
 suppose to have been represented on the next portion of 
 the frieze. The back-stretched right arm seems about to 
 hurl some projectile like a block of stone. The move- 
 ment of the outstretched left arm, from which hangs a skin, 
 is not so evident. It is usually assumed that it brandished 
 the tree-trunk which crosses the upper part of the frag- 
 ment. But this assertion encounters the difficulty that, in 
 that case, the giant must have held the tree by one of its 
 branches — — a most improbable supposition. It is more 
 likely that the left arm was extended to parry a blow, 
 and that the tree-trunk was the weapon of another giant, 
 stationed in front of the one before us. 
 
 B. S., p. 316, No. 450, T. vm, 2. Overbeck , Kunstmythologie, 
 it, p. 381 A ; Atlas, v, 2b. Comp. Mayer , Die Giganten undTitanen, 
 p. 364, No. 9; p. 386. 
 
THIRTEENTH ROOM. 
 
 509 
 
 687 (868). Belief of Orestes and Pylades. 
 
 Formerly in the Palazzo Rondanini and acquired by 
 the Lateran in 1824. The restorations include the nose 
 of Orestes, both his forearms, his left knee and the ad- 
 joining portion of the thigh, and the part of his legs just 
 above the ankles ; the end of Pylades’ nose ; the part 
 of the rock bearing the right foot of Pylades ; most of the 
 background; and several fragments of the margins of 
 the slab. 
 
 The moment selected for representation is that in 
 which Orestes, in Tauris, after an attack of frenzy, falls 
 back swooning into the arms of his friend Pylades. The 
 composition seems to have originally been made for a 
 group of a son of Niobe holding one of his wounded bro- 
 thers, and afterwards transferred to Orestes and Pylades. 
 In the original group the standing figure must have looked 
 upwards at the quarter from which the death- dealing 
 arrows were coming. This attitude would have no sense 
 in the present group; and Pylades is accordingly repre- 
 sented as looking down at his helpless friend. 
 
 B. S., p. 331, No. 469. Robert , Die antiken Sarkophag-Reliefs, 
 ii, p. 178. Bie , Kampfgruppe und Kampfertypen, p. 108. 
 
 688 (851, 853, 854, 856, 858). Five Fragments of 
 
 Colossal Porphyry Statues. 
 
 Nos. 851, 853, 856, and 858 are all said to have been 
 found near the Arch of Constantine. No. 854 was found 
 in 1875 under the apse of St. John Lateran, during the 
 restoration of that basilica, and consequently is not men- 
 tioned in Benndorf and Schone’s catalogue (see Ann. 
 dell’ Inst., 1877, p. 341, where this torso is erroneously 
 described as of rosso antico). 
 
 No. 851 is the upper half of a torso of a statue with 
 a toga. As the cavity and the mortise between the 
 shoulders prove, the head and neck were carved in a 
 separate block and let into the body. — 853. Fragment 
 of the bust of a toga-statue. — 854. Torso of a man in 
 armour, with the same arrangement as No. 851 for attach- 
 ing the head to the body. — 858. Fragment of drapery. — 
 These fragments are among the best, and hence probably 
 among the oldest, sculptures in porphyry that Graeco- 
 
510 
 
 THE LATERAN MUSEUM. 
 
 Roman art has bequeathed to us (comp. No. 233). The 
 sculptors have taken account of the refractory nature of 
 the material, by renouncing accessory details and con- 
 fining themselves to the principal forms, which are repre- 
 sented with great vigour. 
 
 B. S., p. 321, Nos. 457-463. 
 
 Fourteenth Room. 
 
 689 (902). Colossal Statue of a Barbarian. 
 
 Found in 1841 at No. 211, Via dei Coronari, not far 
 from S. Salvatore in Lauro, a district in which there were 
 many sculptors’ studios in the imperial period. The 
 restorations include the right foot, the 'front of the left 
 foot, and the front of the plinth. 
 
 The barbarian, recognizable as a Dacian by his dress 
 and facial type, stands with an expression of resignation, 
 his right hand crossed over the left wrist. In style and 
 composition this statue resembles the figures of barbarians 
 transferred to the Arch of Constantine from some monument 
 of Trajan, and must therefore have been intended to adorn 
 some public building erected in the reign of the latter 
 emperor. It was, however, left unfinished. The marble 
 between the plinth and the lower edge of the drapery 
 has not been chiselled away, and that between the body 
 and the left hand has been only partly removed. The 
 ‘ copy-points’, left by the sculptor to guide the workman’s 
 chisel, are visible over the whole figure. 
 
 •B. S., p. 349, No. 492. 
 
 690 (909). Torso of an Armed Man, in Porphyry/ ff| 
 
 Formerly in the Appartamenti Borgia. 
 
 The work is admirably planned, but was never finished. 
 The ‘copy-points’ are visible here as in No. 689. The 
 head was carved in a separate block, for insertion in the 
 body. 
 
 B. S., p. 352, No. 496. 
 
 Until a few years ago this room contained two columns 
 of Phrygian marble (paonazzetto), which were found in 
 
FOURTEENTH ROOM. 
 
 511 
 
 1844 at the Marmorata, on the hank of the Tiber, and 
 were provided with inscriptions on the horizontal sections 
 of their shafts. Pope Leo XIII. had the inscriptions sawn 
 off and used the columns for the decoration of the altar 
 erected to S. Andrea Avellino in the church of S. Andrea 
 della Valle, from the plans of the architect RafFaele 
 Francisi. The sections with the inscriptions were left in 
 the Museum (No. 691). 
 
 691 (886, 889, 899, 903). Four Sections of Columns, 
 
 with Inscriptions. 
 
 These inscriptions are of importance as throwing light 
 on the formalities observed in the importation of foreign 
 marble at Rome under the Empire. We learn from them 
 that these columns were delivered in the consulate of 
 Lucius iElius V erus and Publius Ceelius Balbinus Vibullius 
 Pius (137 A.D. ; «.e., in the reign of Hadrian), to the 
 Commission charged with the administration of the im- 
 perial property in Rome. Irenseus, the Procurator, the 
 executive officer of this Commission, is named as the 
 consignee of the columns, while Tullius Saturninus, the 
 Centurion, is stated to have supervised their quarrying 
 and shipment. The inscriptions also tell us of the work- 
 shop of the stone-cutter, to wjiom the finishing off of 
 the columns was entrusted, and of the place where they 
 were stored on landing. 
 
 B. S., pp. 353-355, 
 
 692 (898). Hernia of Dionysos. 
 
 The nose, the lips, and parts of the ribbons and the 
 shaft are modern. 
 
 The identification of this herma with Dionysos is 
 justified by the mingled expression of bliss and yearning 
 and by the headdress, consisting of a fillet and two bunches 
 of ivy-berries over the forehead. The vigorous forms of 
 the face show no trace of the feminine element which 
 was introduced into the Dionysos ideal after the time of 
 Alexander the Great. We may therefore place the creation 
 of this type in the preceding part of the fourth century. 
 
512 
 
 THE LATER AN MUSEUM. 
 
 It seems impossible to name a more definite date, as the 
 face has suffered from a ruthless cleansing with acids and 
 seems also to have been retouched with the chisel. Comp. 
 No. 796. 
 
 B. S., p. 348, No. 489. Ann. dell’ Inst., 1875, p. 39. Boscher , 
 L exikon d. gr. mid rora. Mythologie, i, p. 1131. Jahrbuch derKunst- 
 sammlungen des Allerh. Kaiserhauses, ii (Wien, 1883), pp. 49, 50. 
 Gottinger Nachricbten, 1891, pp. 379, 387. Arnelung , Florentincr 
 Antiken, p. 22. Furtwaengler , Masterpieces, p. 356, note 7. 
 
 693 (896). Head of a Youth. 
 
 The restorations include the end of the nose, the part 
 of the circlet above the right ear, parts of the hack of the 
 head and of the ribbons, the foot of the shaft. 
 
 This head reproduces, with slight modifications, the 
 same type as No. 69, which was created either by Poly- 
 cleitos himself or under his influence ; like it, it represents 
 either a victorious athlete or Heracles. The headdress 
 consists of a circlet entwined by a ribbon and adorned 
 with a small flower above the left ear. There should 
 doubtless be a similar flower above the right ear. 
 
 B. S., p. 349, No. 491. Furtwaengler , Masterpieces, p. 234, 
 note 1. 
 
 694 (892). Fragments of a Mosaic Pavement. 
 
 The mosaic to which these fragments belonged formed 
 the floor of a room, perhaps the dining-room, of an 
 extensive ancient building, part of which was laid bare 
 in the Vigna Lupi, on the Aventine, at the beginning of 
 1833. It has been supposed that the building may have 
 been connected with the Horti Serviliani, which lay in 
 this neighbourhood. The report of the discovery describes 
 the arrangement of the whole mosaic decoration in the 
 following way. The middle of the floor was occupied 
 by a mosaic, enclosed by a raised kerb of marble. This 
 mosaic was, however, in a state of total ruin, as a wall, 
 constructed across the room at a later period, ran right 
 over it. The central mosaic was surrounded by four other 
 narrow mosaics, representing the Nile and its fauna on 
 a black background; these were separated from each other, 
 
FIFTEENTH ROOM. 
 
 513 
 
 at the corners, by Telamones in the Egyptian style. The 
 six fragments on the floor are the only relics of these four 
 scenes. Beyond these landscapes, on all sides, extended 
 a mosaic with a white background, sprinkled with remains 
 of food. These remains included the bones of fish and 
 birds, parts of crabs, sea-urchins, and cuttle-fish, shells 
 and snails of every kind, apple-parings and nut-shells, 
 grape-stalks, and various vegetables, among which heads 
 of lettuce are recognizable. To animate the scene, the 
 artist has added a mouse gnawing a nut. The part of the 
 mosaic which is adorned with six scenic masks interspersed 
 with all kinds of vases and other objects was found near 
 one of the walls. On it is an inscription naming Heraclitos 
 as the maker of the mosaic. His work is evidently an 
 imitation of the celebrated mosaic of Sosos, representing 
 an unswept floor; and it seems not unlikely that the 
 missing central scene may have been a copy of Sosos’ 
 doves (see No. 450). The execution of these mosaics is 
 very careful. The cubes, some of which are of coloured 
 stones and some of glass, are smaller than those used in 
 the mosaic of the doves from Tivoli (No. 450). 
 
 Bull, dell’ Inst., 1833, pp. 81 et seq. Corp. inscr. graec., m, 
 No. 6153. Braun , Ruinen und Museen, p. 750, No. 22. Brunn , 
 Gesch. der griech. Kiinstler, n, pp. 311, 312. Arch. Zeitung, xxiv 
 (1866), p. 229. Overbeck, Schriftquellen, Nos. 2158-2160. Schreiber , 
 Die Wiener Brunnenreliefs aus Pal. Grimani, p. 78, note 69. 
 
 Fifteenth Room. 
 
 By the south wall, — - 
 
 695 (970). Head of the Boy Hermes. 
 
 Found at Ostia in 1862. The whole of the margin of 
 the petasos, the end of the nose, and the lips are modern. 
 
 The character of the wanton boy is well indicated. 
 The mouth is open in a mischievous smile, showing both 
 rows of teeth. The execution is slight but full of life. 
 
 B. S., p. 379, No. 539. Comp. Archaologische Zeitung, xliii 
 (1885), T. 9, pp. 151, 152. 
 
 696 (972). Head of Atys. 
 
 Found in 1861 at Ostia, in the sanctuary of the Mater 
 Magna and not far from the altar. The rays fixed in the 
 Helbig, Guide I. 33 
 
514 
 
 THE LATERAN MUSEUM. 
 
 Phrygian bonnet are modern, but this restoration is vin- 
 dicated by the holes bored in its lower edge. 
 
 The place of its discovery, the Phrygian cap, the 
 crown of rays, and the expression of grief and agitation 
 (comp. No. 700) all prove that this is Atys, the favourite 
 of Cybele. The type of face seems derived from an ideal 
 of Helios, created after the time of Lysippos. 
 
 Mon. dell’ Inst., viii , 60, 4; Ann., 1868, pp. 411, 412. The 
 head is here published without the cap, which, as Sig. C. L. Visconti 
 informs the writer, was found and placed on the head at a later date. 
 
 697 (975). Head of a Girl. 
 
 Found in 1862 at Ostia, in an ancient building in 
 which stamped tiles of 117 and 134 A.D. were also 
 found. The point of the nose and the chin are modern. 
 
 A special charm is lent to this highly attractive and 
 admirably executed head by the warm, golden tone of the 
 marble in which it is carved. The bend of the neck shows 
 that it belonged to a figure in motion, and the lips are 
 parted in a smile. It is thus likely that the head belonged 
 to a girl in an amorous group. 
 
 B. S., p. 381, No. 544. 
 
 By the east wall, — 
 
 698. Niche with a Mosaic of Silvanus. 
 
 Found in 1861 at Ostia, in a room adjoining the 
 Mithrseum. 
 
 As usual, Silvanus holds a pine-branch in his left 
 hand and a sickle-shaped knife in his right. His head is 
 encircled by a bluish nimbus, a symbol adopted by 
 Christian art for the halo of the saints. To the left of the 
 god sits a dog, to the right is a burning altar. The exe- 
 cution is rough. 
 
 Ann. dell’ Inst., 1864, Tav. d’agg. LM 3, pp. 174 etseq. B. S. 
 p. 384, No. 551. 
 
 Sixteenth Room. 
 
 699 (1043). Bronze Statuette of Aphrodite. 
 
 Found at Ostia in the portico in front of the sanctuary 
 of the Mater Magna. 
 
 When this statue was discovered and published, the 
 hands still contained enough of their attributes to explain 
 
SIXTEENTH ROOM. 
 
 515 
 
 the action of the goddess. Aphrodite is here represented 
 as making her toilet. The object in her left hand was 
 evidently the handle of a mirror, in which she was gazing 
 at her reflection. The attribute in the right, much injured 
 by oxydizement, seems to have been a small spatula for 
 laying on rouge. The fulness of form, which distinguishes 
 this statuette from the usual representations of Aphrodite, 
 is characteristic of nearly all the figures of the goddess 
 originating in Alexandria. It would therefore seem that 
 this type was created in that city. 
 
 Mon. delf Inst., ix, 8; Ann., 1869, pp. 211 et seep 
 
 700 (1061). Statue of Atys. 
 
 Found in the winter of 1867-68 at Ostia, in the por- 
 tico of the temple of the Magna Mater. The five rays 
 adorning the head are modern, hut were inserted in five 
 ancient holes bored in the marble. 
 
 According to the inscription on the plinth, this statue 
 was consecrated to Atys by Gains Cartilius Euplus at the 
 instigation of the goddess (*. e. the Mater Magna). The 
 palaeography of the inscription and the execution of the 
 statue both point to the time of Hadrian. The bodily 
 forms are delicate, almost womanly; the face expresses 
 melancholy resignation rather than the suffering of No. 696, 
 The favourite of Cybele is represented as a god. His 
 connection with vegetation is symbolized by the solar rays 
 round his head, by the chaplet of pine-cones, pomegra- 
 nates, and other fruit, by the bouquet of wheat-ears and 
 fruit in his right hand, and by the wheat-ears springing 
 from the point of his Phrygian cap. The crescent-moon 
 under the wheat-ears is explained by the surname ‘Lord 
 of the Moon’, which was applied to Atys. The bearded 
 bust, on which the youth leans, seems to represent the 
 Idsean Zeus, whose domain was the starting-point and 
 centre of the cult of Cybele. The mantle and cap still 
 show traces of red paint, while remains of gilding are 
 visible on the hair, the crescent-moon, and the ears of corn. 
 
 Mon. dell’ Inst., ix, 8 a, 2 ; Ann., 1869, pp. 224 et seq. Corpus 
 inscr. lat., xiv, No. 38. Roscher, Lexikon, i, 1, p. 727. 
 
 33* 
 
516 
 
 THE LATERAN MUSEUM. 
 
 The three mural paintings on the walls of this room, 
 Nos. 701-703 (1063-1065 of the Museum), come from 
 two tombs discovered in 1865, near the road leading 
 from Ostia to Laurentum. 
 
 701 (1064). Orpheus and Eurydice. 
 
 To judge from the style of its construction and from 
 the oldest inscriptions found in it, the tomb which was 
 adorned by this painting belonged to the first century of 
 the present era. The painting seems to be contem- 
 poraneous in style. 
 
 There can be no question as to the subject of this 
 painting, for nearly all the figures are denoted by inscrip- 
 tions. The moment represented is that in which Orpheus, 
 about to lead Eurydice back to the upper world, looks 
 round at his wife and so loses her for ever (comp. No. 790). 
 To the left is the gate of Hades, guarded by the three- 
 headed Cerberus and a youthful door-keeper (IANITOR) ; 
 to the right is Ocnos, whose rope of rushes is being eaten 
 by an ass (comp. No. 373). At the top of the slab are 
 remains of a group of Pluto and Proserpine. 
 
 Mon. dell’ Inst., vm, 28, 1 ; Ann., 1866, p. 293. B. S., p. 401, 
 No. 590. 
 
 The two other mural paintings, Nos. 702 (1065) and 
 703 (1063), adorned the rear-wall of another tomb, 
 No. 702 to the right and No. 703 to the left. Their 
 execution is much inferior to that of No. 701 (1064), 
 and it is likely that they belong to a later epoch , pro- 
 bably the latter half of the second century. 
 
 702 (1065). Rape of Proserpine (?). 
 
 The subject of this painting is probably as above in- 
 dicated, but is not quite certain. The painter, indeed, has 
 omitted the mythological figures usually represented in 
 the rape of the young goddess, and has confined himself 
 to representations of Pluto and Proserpine. This, however, 
 may be easily explained by the assumption that he con- 
 ceived the daughter of Ceres as symbolizing the deceased 
 and did not wish to obscure this idea by accessory figures. 
 
 Mon. dell’ Inst., vm, 28, 2; Ann., 1866, pp. 309 et seq. Over - 
 beck , Kunstmythologie, hi, p. 655a; Atlas, xviii, 3. B. S., p. 401, 
 
UPPER FLOOR. 
 
 517 
 
 No. 591. Roscher , Lexikon der griech. und rom. Mythologie, n, 
 p. 1376. 
 
 703 (1063). Scene of a Tragedy. 
 
 The tragic character of this scene is determined by 
 the onkos (comp. No. 271), worn both by the bearded 
 man seated in the middle of the picture and by the woman 
 hastening towards him. The subject has, perhaps, to do 
 with the recognition of the boy, who has sunk on one 
 knee before the bearded man and is raised by him with 
 both hands. The gesture of the woman, and the attention 
 with which she is listened to by the man visible above 
 the boy, would accord well with the supposition that she 
 is making some startling revelation about the child. The 
 indistinguishable yellow object, which she holds forth 
 with both hands, may be some sign revealing the boy’s 
 origin. Other authorities see in the picture a representation 
 of Cronos (Saturn) about to devour one of his children. 
 
 Mon. dell’ Inst., viii, 28, 3; Ann., 1866, pp. 312 et seq. 
 Roscher , Lexikon, ii, p. 1570, Fig. 18. B. S., p. 400, No. 589. Comp. 
 Berichte der sachs. Gesellschaft der Wissensckaften, 1878, p. 124. 
 
 On the Upper Floor. 
 
 704. Mosaic representing Athletes. 
 
 The different figures composing this mosaic were found 
 in 1824 in the course of the excavations carried out by 
 Count Yelo in the Thermae of Caracalla. Along with 
 other mosaics, found in fragments, they formed the pave- 
 ment of the two semicircular ‘Exedrae’ of the large central 
 room. On the removal of the various parts of the mosaic 
 to the Lateran, at the order of Gregory XVI., the papal 
 restorer arranged them in the most arbitrary fashion, in 
 order to adapt their ensemble in shape and size to the 
 room destined for their reception. Two pieces, which he 
 found superfluous in this arrangement, are now in the 
 first room of the Museo Profano (see p. 465). Most of 
 the mosaic-pictures represent athletes who had disting- 
 uished themselves in the palaestrae attached to the Thermae 
 of Caracalla, or at least were well-known in Pome during 
 his reign. Twenty of these athletes are pourtrayed at full 
 
518 
 
 THE LATERAN MUSEUM. 
 
 length, twenty-six in busts. Most of the former hold in 
 their hands the palms and garlands of victory; others are 
 equipped with the attributes of their special departments 
 of athletics, including four pugilists with the csestus, two 
 disk-throwers with their disks, and a spear-thrower with 
 three spears. While the full-length figures are all young 
 and beardless, the busts, some of which are bearded, re- 
 present older men and are probably portraits of celebrated 
 veterans of the palaestra. There are also eight full-length 
 figures of gymnasiarchs, who, presumably, had especially 
 distinguished themselves in the training of athletes and 
 the management of contests. They are easily distinguished 
 from the nude athletes by their dress and by their ad- 
 vanced age. Other square mosaics represent objects con- 
 nected with the palaestra, including a herma (comp. 
 Nos. 825, 861-865), a strigil (comp. No. 31), a lehythos 
 or oil-flask, leaping weights ( hctlteres ) , disks, the victor’s 
 garlands and palm-branches, and a vase with two handles, 
 either meant as a prize or to hold the fine sand which the 
 wrestlers rubbed into their bodies (comp. No. 31). To 
 judge from their typical forms, most of the athletes belong 
 to barbarian races. Their faces are low and ugly, and 
 their expression is bestial. The execution is rude; but 
 the mosaicist cannot be denied the merit of a natural and 
 lifelike representation of the muscular development, on 
 which the strength of each of these athletes depended. 
 
 Secclri, II musaico Antoniniano rappr. la scuola degli atleti 
 (Roma, 1843). Blouet, Restauration des thermes de Caracalia, Pi. iv, 
 v, xiv. A piece of the mosaic is reproduced in Baumeister , 
 Denkm. d. kl. Alterthums, i, p. 223, Fig. 174. Comp. Braun , Rui- 
 nen und Museen, p. 753, No. 23. Friedldnder , Darstellungen aus 
 der Sittengeschichte Roms, ii 5 , p. 452. It is interesting to compare 
 the athletes of this mosaic with the judgments passed on tliis class 
 of men by various writers of the imperial period ( Friedldnder , Op. 
 cit., ii 5 , pp. 448, 449). 
 
 Leipsic: Printed by Breitkopf and Hartel. 
 

 WNSZ