N
5245
.P 38
1786
UNIVERSITY OF MICHIGAN,
CALURIDUS UMUM
SI QUÆ HIS-PENINSULAMAMCENAM
CIRCUMSPICE
* Libris
David B. Heinen11an,
Detroit.
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1817
ARTES
SCIENTIA
VERITAS
LIBRARY
OF THE
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TRIUMNITH MITTE
HEIDIHIMI
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THE GIFT OF
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Mrs. John T. Norton
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DESCRIPTION
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OF THE
ANTIQUITIES and CURIOSITIES
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WILTON-HO U S E.
Price, in Boards, los. 6d.
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Austin , Zorang
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DESCRIPTION
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OF THE
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ANTIQUITIES and CURIOSITIES
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Illuſtrated with Twenty-five ENGRAVINGS of ſome of the Capital
STATUES, BUSTOS, and RELIEVOS,
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In this work are introduced the Anecdotes and Remarks of
THOMAS EARL OF PEMBROKE, who collected theſe
Antiques, now firſt publiſhed from his Lordſhip’s MSS.
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Sedibus altis
Augiſtâ gravitate fedent.
OVID.
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A NEW
EDITION.
SARUM: PRINTED FOR AND SOLD BY E. EASTON.
MDCCLXXXVI. .
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HISTORICAL INTRODUCTION
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ANTIQUITIES and CURIOSITIES
I Ν.
WILTON - HOU S E.
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HE ſlow progreſs of the arts of ſculpture and
painting in England is derived from many cauſes;
two particularly deſerve attention, theſe were the exiſtence
of the feudal policy for many ages and our inſular ſituation.
LIBERTY, the nurſe of genius, was only to be found
among the nobility, from the eſtabliſhment of the Saxons
to the reign of Henry VII. The lower claſſes were in the
moſt abject ſtate of vaſſalage ; dependant both for life and
fortune on the nod of ſome haughty Baron. The learning
of thoſe times was confined within very narrow limits ; the
poorer fort were totally ignorant of letters, and the higheſt
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INTRODUCTION.
attainments of the clergy were to be able to read their bre-
viary, and the legendary lives of their faints.
These impediments reſulting from our political conſtitu-
tion were further augmented by our inſular ſituation,
which excluded us from the advantages, which might have
been expected from a free intercourſe with continental na-
tions. We, for the ſame reaſon, retained longer our bar-
bariſm and national prejudices, and ſeemed, as it were,
ſhut out from improvement, while other nations were ad-
vancing faſt in it.
After the coming in of the Normans, a communica-
tion was opened with the continent, and ſuch architecture,
painting and ſtatuary as was then practiſed in France, were
introduced here. As for the firſt, our cathedrals are beau-
tiful monuments of the taſte of thoſe ages. The number
of finelyilluminated manuſcripts ſhews painting was car-
ried to tolerable perfection, and many images of kings and
faints, ſtill extant, give us no mean opinion of thoſe an-
tient artiſts.
In this ſtate things continued till the reformation, when
a revival of the polite arts began in Italy, and gradually ad-
vanced through Europe. The popes Leo X. and Julius II.
gave every poſſible encouragement to genius, and in their
time, brought painting to perfection in the perſons of
Raphael
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Raphael and Michael Angelo. Every ſtreet, garden and
corner of Rome was dug up in ſearch of antiques; the
foundations of ruined palaces and decayed cities were exa-
mined, and multitudes of fine ſtatues, relievos and other
curioſities were found.
It was not before the reign of Charles I. who had a taſte
for the arts, that any collections were formed in this
kingdom: His Majeſty, the Duke of Buckingham and
the Earl of Arundel firſt procured antiques from Italy;
others of the Nobility and Gentry followed their example,
and we were in the way to have had very fine galleries;
but for the unfortunate cataſtrophe of that juſtly lamented
Prince. The Earls of Pembroke had from the reign of
Henry VIII. been encouragers of the fine arts, and very
early ſhewed their taſte in employing Holbein and Jones
in improving and adorning their noble ſeat at Wilton;
however it was reſerved for Earl Thomas, to raiſe it to a
degree of magnificence and ſplendor, beyond any this na-
tion afforded, and which juſtly made it vie with the moſt
celebrated abroad.
This Nobleman poſſeſſed every .qualification, neceſſary
to conſtitute a real connoiſſeur and virtuoſo, in a very emi-
nent degree. He had an exquiſite natural taſte, improved
by extenſive learning, and a fondneſs for the ſtudy of an-
tiques.
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tiques. His converſation with the beſt Italian Antiquaries
of his age, cheriſhed his own propenſities, and he reſolved
to form a collection on a plan, which would render it valu-
able, and be always a monument of his ſuperiority in this
way.
Before he began to purchaſe, he confined himſelf by the
following limitations.
I. He reſolved not to run into all ſorts of curioſities,
but to buy ſuch as were illuſtrative of antient hiſtory and
antient literature. It would have been an endleſs matter
to have endeavoured to acquire Gems, Statues, Medals,
Relievos, Buſtos, domeſtic utenſils, and a thouſand other
antiques, which however Cardinal Albani, many of the
Popes, and the preſent King of Naples have done. Being
on the Spot when any of theſe were found, they had op-
portunities of completing Sets, which no foreigner can pof-
fibly have. It was therefore certainly more prudent, to
decline what he had no hopes of perfecting, than to fill
his houſe with fragments, which would neither ſatisfy the
ignorant, nor pleaſe the Connoiſſeur.
For this reaſon he rejected Cameos, Intaglias, and the
ſmaller Lares and Penates. Buſtos he was particularly
fond of, as they expreſſed with more ſtrength and exact-
neſs, the lineaments of the face. Beſides the viewing of
theſe
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theſe brought to the ſpectator's mind the hiſtory and glo-
rious exploits of antient Kings and Heroes.
Though his Lordſhip had a fuperior eſteem for the
Antique, yet he greatly praiſed the grand Duke of Tuf-
cany's collection, conſiſting of above eight hundred modern
Statues. Lewis XIV. in his eſtimation, deſerved not leſs
applauſe for his encouragement of French artiſts, who
made many Statues in marble and lead after originals, and
ornamented his gardens with them. Theſe made excellent
models for young Statuaries and Engravers to copy.
LORD Pembroke was ſenſible, that in a few
years ſculp-
ture would receive but little encouragement, that Antiques
would be monopolized in a few hands, and therefore was
willing, before this event took place, as many copies might
be taken, as would diſleminate a correct taſte, and give a
reliſh for antient beauties. This accordingly is come to
paſs, at preſent a Sculptor of the beſt genius can ſcarce find
employment, while every paultry Painter, who can ſketch
a likeneſs, is careffed.
II. No duplicates were admitted. This rule is ſo ne-
ceſſary for every collector to obſerve that it ſeems ſtrange
any ſhould violate it. What purpoſe can Statues with ſimi-
lar heads, trunks and draperies ſerve? Undoubtedly none
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uſeful; they only occupy ſpaces, which may eaſily be fill-
ed up with other things, more valuable.
The caſe is widely different in reſpect of Divinities. As
the ſymbols of many of theſe could not with propriety
be repreſented together, ſo more figures than one of them
became neceſſary. To exemplify this: Venus riſing from
the ſea cannot be exhibited but in that one action. Suppoſe
her chariot drawn by Doves, with Cupid, Mars, Adonis,
and a variety of other Actions and Deities belonging to her
were introduced into one piece, what would be the conſe-
quence, but that it muſt diſguſt every obſerver, as all things
ſo crouded univerſally do? Venus picking a thorn out of
her foot, and Venus holding a ſhell, are as different in
attitude, as if they no way related to the ſame Perſon.
The ſame reaſoning will hold good of Apollo, Hercules,
Bacchus and others, ſo that his Lordſhip moſt judiciouſly
multiplied ſuch Statues as were explanatory of different
Attributes; for thereby, as it were, a hiſtory was made of
theſe Divinities.
Altars, Urns and ſuch like came under the denomination
of Duplicates, for the moſt part; however ſome of them
preſerved in Relievo many curious things, relative to the
ſepulture, marriages and other rites and ceremonies of the
Greeks and Romans; when this was the caſe, they were
valued
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valued and retained. Accordingly here are eleven ſorts of
interment, and five different Altars.
III. Lord Pembroke rejected whole Nations, as the pro-
ductions of Egypt, Hetruria and Magna Græcia; though
he admitted a few to diverſify his Collection. The nume-
rous and whimſical Egyptian Deities, which captivate the
eyes of fome Connoiſſeurs, were looked on by his Lordſhip
with indifference. The Hieroglyphics wherewith they are
loaded, at preſent are unintelligible, or if they were known,
could communicate nothing worthy attention. He there-
fore was ſatisfied with an Iſis, Oſiris and Örus, nor wasohe
ſolicitous about more;, though he greatly admired the Jaſ-
pers and marbles of that Country.
Hetruscan figures are not leſs outré and inexplicable
than the foregoing, yet great regard has been paid to the
works of that country, and much pains taken to elucidate
them. Some of their Vaſes, particularly, are beautifully
relieved and painted; but not eaſily to be met with, unleſs
in the Cabinets of the Curious. Even were they to have
been procured, they would have anſwered none of his
Lordſhip's views.
For the ſame reaſon, the Baſſo Relievos of Valetta, who
lived in Magna Græcia, (the kingdom of Naples) were
not purchaſed, though antient, becauſe Sculpture did not
flourile
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Aouriſh in that country, till after its decline in Greece:
There were but little hopes of finding valuable pieces there,
eſpecially as we know the Romans pillaged all the neigh-
bouring Kingdoms to adorn their Capital
IV. Even Works of the beſt ages were bought with
limitations.
As Images were objects of adoration with the
Heathens from the earlieſt times, they conſequently were
multiplied, each family having many, and the temples
great numbers. To this religious opinion concerning Sta-
tues, that they reprefented the Deity under a human appear-
ance, is owing the improvement and perfection of Sculpture.
Statues at the beginning, were as groſs as Mens concep-
tions, being little better than rude ſtones and blocks
without ſhape. As politenefs and improvement advanced,
they entertained more becoming ideas of the divine Nature,
and the only means they had of expreſſing them ſuitably,
were to exhibit them under thoſe appearances moft eſteemed
among men.
Thus Beauty, or a juſt conformation of features, with a
complexion ſuited to the Climate, has always and ever will
claim the love and admiration of the beholder. Hence the
moſt beauteous perſons were the models for their Gods and
Goddeffes, and the cloſer they followed the original, the
nearer they approached to perfection. His Lordſhip obſer-
ved,
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ved, that this perfection was not to be expected in the an-
tient productions of the Grecian artiſts, it was a work of
time, advanced but ſlowly, and was confined, in ſome mea-
fure, to a particular Epoch.
Nothing does more honour to Lord Pembroke's taſte
than confining his choice to the beſt Ages. If we con-
ſider at that time the civil eſtabliſhment in each ſtate was
fettled as well as their manner of conducting Wars: That
theſe were tranſmitted to us with accuracy by the celebrated
Pens of thoſe days, and conſequently that the artiſts and
writers mutually illuſtrated each other, which could not
be the caſe with obſcure Ages; when theſe conſideratious
are laid together, we ſhall clearly fee, that theſe reſtric-
tions were not the effect of caprice; but of an intimate
knowledge of the Subject.
Athens, at the beginning of the firſt Peloponneſian war;
had attained great power and opulence. Pericles, who then
had the management of affairs, was reſolved to make his city
as fuperior to others in its buildings and ornaments, as his
Citizens were in letters and elegance. We need not doubt
how tranſcendent theſe were, when Phidias had the direction
of them: that Phidias, whoſe Statue of Olympian Jove:
was. eſteemed ſuch a Miracle of Art, that the Sculptor was
b.
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fuppoſed to have had a revelation of the ſupreme Deity, to
be able to deſign and execute ſo amazing a performance.
The mentioning this Statue ſuggeſts a remark which
will be found uſeful to thoſe not well acquainted with an-
tient manners aud opinions. It is, not to pronounce pe-
remptorily on the comparative merit of either ſculpture or
painting from the dreſs, air or attitudes of the ſubjects.
For inſtance. Naked figures were highly prized by the
Greeks, becauſe the beauty and ſymmetry of parts were
ſhewn to greater advantage. The warmth of the eaſtern
climate made the inhabitants go very ſlightly cloathed, and
in the heats of ſummer with ſcarce any covering at all.
None of the indelicate ideas, which we, who live ſo far
northward have, were then annexed to nakedneſs. Moral
decency could not be violated, for this decency is not in-
nate, but reſults from the ſentiments of mankind modified
by the Climate: So that what bears the character of turpi-
tude in one country, very often has the oppoſite in another.
This obſervation is the more neceſſary, as many
unthink-
ing perſons have repreſented the Greeks, as wanton and
laſcivious, becauſe they made their figures naked, whereas
the very oppoſite is true. Morality, Legiſlation and unaf-
fected Virtue were never better taught and practiſed, than
in the
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in the writings and examples of Socrates, Plato, Xenophoni
and the Philoſophers of thoſe times.
Olympian Jupiter was made with a thick beard and
head of hair. The antient Statues and Buſtos exhibit theſe
appearances. We who have different Cuſtoms can entertain
no conception how theſe could be the marks of Divinity and
importance; yet were we to travel into the Levant, and
farther eaſtward, we ſhould find the ſame notions of Sanc-
tity and Veneration connected with a flowing beard, as the
antients had of it two thouſand years ago.
The Coloſſal Hercules in this Collection is beyond any
thing we know, for magnitude and ſtrength; and yet mo-
dern diſcoveries inform us of ſome men above his fize,
which is ſeven feet: But even if none exiſted, it certainly
required a body nothing inferior to this Coloſſal Figure to
undergo the Labours this Hero atchieved. The antient
Artiſts are rather to be commended for having extended the.
bounds of imagination in ſuch exhibitions..
V. As it was impoſſible to make a complete Collection,
folely from the Works of the beſt Ages, particularly as his
Lordſhip began his late, ſo it had been want of taſte to,
reject thoſe of the times next ſucceeding. Neither. Sculp-
ture, nor any other Art decays at once; there were many
Performances which came little ſhort of the beſt ages, and
were
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INTRODUCTION.
were worthy of being preſerved. Thoſe, whoſe execution
was but indifferent, as the Baſſo Relievo with the firſt
Greek letters, were yet very curious and of conſiderable
uſe. The ſame may be ſaid of the Buſtos of. Heſiod and
Epicurus, they were worth having, becauſe, according to
Cardinal Mazarine’s Catalogue, there were no others of
them known.
Inſcriptions, which ſome value ſo highly, his Lor:ſhip
paid no regard to, when they did not anſwer ſome hiſto-
rical or chronological uſe. Thus the letters on the Egyp-
tian granite column were remarkable, as they ſhewed the
origin of writing in Egypt, and ſupplied us with ſome of
the letters of that antient Alphabet. Under the claſs of
curious Inſcriptions may be ranked, that on the Biſto of
the Victor, on the Sarcophagus of Epaphroditus, on the
two Baſlo Relievos and the Columbarium.
Laſtly, no unknown Heads were admitted, nor Frag.
ments. His Lordſhip’s deſign being, aş is
what has been ſaid, to make a Collection of Antiques not
mutilated, he could not, conſiſtently, include any in it
which were ſo. They did very well for Statuaries to copy,
but otherwiſe were mere lumber. Theſe then were the
Limitations which the Earl of Pembroke preſcribed to
himſelf before he purchaſed Antiques; we ſhall now pro-
ceed
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proceed to give an account of thoſe Collections from which
he principally made his up.
We before obſerved, that from the age of Pope Leo X.
antiques began to be valued and eſteemed as they deſerved.
From that time they were bought up with avidity ; ſo that
in a few years thoſe which were really valuable became ex-
ceedingly ſcarce. It had therefore been impoſſible for
Lord Pembroke with all the diſpoſitions in the world, to
have made a tolerable Gallery, but for ſome incidents, and
theſe were, the ſale of thoſe excellent Collections, of Juſti-
niani, Lord Arundel and Valetta of Naples.
The firſt, with good Reaſon, was eſteemed the largeſt
in Europe belonging to a private Perſon; it contained, ,
with Duplicates and broken parts, thirteen hundred diffe-
rent Antiques. Juſtiniani had one hundred and ſix antique
Buſtos, of which ſeven were duplicates of Homer, and
above ſixty old heads, unknown and much alike: The beſt
of the latter were purchaſed by Cardinal Albani, who af-
terwards fold many of them.
The Arundelian collection conſiſted of one hundred and
twenty-eight Buſtos, ſeveral Baſſo Relievos and miſcella-
neous pieces, with thirty-ſeven Statues. All whole and
in good preſervation, many of them as white and beautiful
as when they came from the Sculptor's hand, being found
in Vaults
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in Vaults and ſubterraneous places, where no tinging or
fouling Subſtances touched them.
The Statues were placed in Lord Arundel's houſe, but
that not being capacious enough to contain ſo great a num-
ber of Antiques, he was neceſſitated to ſet up many of them
in his Garden, contiguous to his houſe. It is an obſerva-
tion deſerving the attention of Connoiſſeurs, though Lord
Pembroke was the firſt who made it, that valuable Mar-
bles ought, in this Climate, to be as little expoſed as pof-
fible to the external air and the uncertainty of Seaſons.
Becauſe the Atmoſphere of this Illand being extremely
humid and replete with ſaline particles, pervades the pores.
of marble, and deſtroys their poliſh as well as ſubſtance.
He found this fully verified at the Arundelian ſale. The
Statues in the Garden, in the ſpace of a few years, were ſo
honey-combed and disfigured by the weather, as to make
them little worth, although when firſt put there, they
were in tolerable condition. Among theſe were fourteen
Statues, four only with heads. Cicero was known, the reſt
were cloathed like Senators, as Mark Antony, and the
father of Julius Cæſar.
Lord Arundel cauſed thoſe bodies which had good' dra-
peries, and no, heads, or legs, or Arms to be repaired, and
they
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they looked very well with ſuch additions. Pallas was fur-
niſhed with a new head and arm, and was of the ſame
height with the Coloſſal Hercules, when meaſured to that
part of the Helmet, where the top of the head was ſup-
poſed to come. The Egyptian Granite column, and the
black porphyry Pillars were in this Collection, as alſo a
marble pillar as high as the Column, but in two pieces.
In a Garden beyond the Thames, belonging to the Earl
of Arundel, were many mutilated Antiques; as eight or
nine mere trunks, a number of heads not fitting any of
the bodies, ſome of them with noſes, chins and lips defa-
ced, beſides fragments of hands, fingers, toes, &c. This
detail would make one wonder, how his Lordſhip came by
ſuch a number of uſeleſs fragments; the fact is, what is not
uncommon, that for the ſake of a few excellent pieces he
was obliged to take a great deal of traſh.
Lord Pembroke was exceedingly apprehenſive of this ;
when the Arundelian collection came to be diſpoſed of, Lord
Arundel's Agents propoſed to have the whole ſold together;
but his Lordſhip and other Noblemen, who attended, op-
poſed it, and after ſome time brought the Agents to divide
it into three parts.
1. Thoſe in the Houſe; 2. Thoſe in
the Garden; 3. Thoſe beyond the Thames. Lord Pem-
broke gave conſiderably more than any one elſe would, to
have
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have the firſt Lot. Of the ſecond he was willing to buy
many, could they have been ſeperated, but the father of
Lord Pomfret gave an advanced Price for them, not to be
troubled with the third.
The laſt parcel found no purchaſer until the year 1717
when it was ſold to Mr. Waller, Grandſon of the Poet, for
ſeventy-five Pounds. Mr. Freeman Cooke took half of it.
It was judged that this parcel would have brought more
money at Rome, and not improbably, there being always
in that City Artiſts engaged in mending and repairing bro-
ken Antiques.
The Arundelian marbles were beſtowed on the Univer-
ſity of Oxford; they had been brought to England at an
immenſe expence from the Iſle of Paros, and ſet
Lord Arundel's Garden without Temple-Bar, from thence,
they were removed to Oxford and placed on the outward
wall of the Theatre. It is fortunate for the learned world,
that Selden publiſhed them as foon as they came, for the
weather has fo injured them, as to render them fcarce
legible. This confirms what was before remarked of our
Climate, which in leſs than a Century deſtroyed what the
warmth and dryneſs of other places preſerved for twenty.
The marbles now, are in one of the Schools.
Lord
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Lord Pembroke purchaſed ſome Antiques from Cardinal
Mazarine's collection, which had that of Cardinal Richlieu's
incorporated with it. The latter intended to build a fine
palace at Richlieu, which he effected, and furniſhed with
niches for above forty Statues and as many Buſtos. Lord
Arundel adviſed him to buy a furniſhed Palace at Rome,
and recommended to him one, with about fo many, though
not all antiques, many being Doctors of the Church. The
Cardinal did ſo, but ſoon fold it again, removing however
the marbles. to Richlieu. Lord Arundel informed him of
about eighty. Buſtos, which he had ſeen difperſed in various
parts of Italy, and though duplicates to many of the Car=-
dinal's, were yet much finer; theſe too he bought, and
placed on wooden pedeſtals, adorned with rich gilding, in
his Palace at Paris. This, which is now called the Palais
Royale, he gave to Gaſton, Duke of Orleans.
The Duke about this time collected Medals as the Car-
dinal did marbles; they were moſtly Roman, and became
the foundation of the King of France's fine Cabinet :
Greek ones were afterwards added, chiefly through the
induſtry of Vaillant.
On the death of Richlieu, Mázarine had the Antiques"
within the Houſe given to him; the Statues indeed were
few, but of the beſt Sculpture. King Charles I. had of
Lord:
1
C.
1
1
1
xviii
INTRODUCTION.
:
+
Lord Arundel many of his Statues and Bufts, which after
he was beheaded, were diſperſed abroad, and ſome of them
bought by Mazarine. The Cardinal had twenty-fix Buſtos
finely caſt of braſs at Florence and ſet up on fineered
marble Termini.
LASTLY, Valetta's collection ſupplied a few Buftos, he had
not many, but of the very beſt Workmanſhip.
LORD Pembroke having thus taken every precaution to
make a good Collection, we ſhall find he ſucceeded to the
utmoſt of his wiſhes, as will appear by analyzing it.
We
may divide it into four parts, 1. Statues. 2. Buſtos. 3. Re-
lievos. 4. Miſcellaneous pieces.
The Statue of Jupiter Ammon with a Ram on his ſhoul-
ders, was taken out of a Temple in Thrace built by Seſo-
ftris. This Prince ſeemed fatisfied with nothing leſs than
reducing the world under the Egyptian yoke; he warred
with ſucceſs againſt the Aſſyrians, Medes and Scythians ;
he fubdued Phænicia and Afia minor, and penetrated into
Thrace and Colchis. Herodotus informś us, that in every
Country he conquered, he left immenſe columns with In-
ſcriptions, as laſting monuments of his Victories; this Hi-
ftorian himſelf faw many of them in different places, and
Strabo aſſures us, they remained to his time. If we recol-
lect that no expedition was undertaken without conſulting
the
1
1
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!
.
INTRODUCTION.
xix
the Gods, we ſhall readily think many images of their De-
ities were carried with them, and Seſoſtris was, no doubt,
as anxious to diſperſe abroad the Egyptian ſuperſtition,
to make the people obedient to his power.
The two Perſian Statues as Termini are very curious.
They were dug out of the ruins of a Palace in Egypt, in
which the Perſian Kings lived, until Amyrteus, 113 Years
after Cambyſes returned to Perſia. Perhaps there is no
where to be found ſuch beautiful remains of theſe very
remote' Nations, as the Antiques juſt mentioned. It was
Lord Pembroke's deſign to form a School of Sculpture,
beginning at its moft early period, and proceeding down-
ward.
The beauty and execution of the Apollos and Bacchus's
in this collection can never be enough admired. It will
greatly ſurpriſe a modern Anatomiſt to obſerve, how accu-
rately the antient Sculptors marked the origin and continu-
ation of the Muſcles, eſpecially as we are taught that but
little of this Science was known before latter ages.
If the
frame of the human body has more nicely been inquired
into, it may be aſked, why are not our Sculptors ſuperior
to thoſe of former ages, which confeffedly they are not ?
The anſwer is, that enough of Anatomy was formerly
known, to anſwer every uſeful purpoſe, and further than
that,
f 2
1
!
.
:
1
1
1
INTRODUCTION.
XX
:
1
:
that, it was trifling. What gave riſe to this Reflection is
the coloſſal Hercules here'; which, though above ſeven feet
high, yet preſerves great conſiſtence and harmony; no
part is diſproportionate to another, nothing offends the
niceft eye, and the whole, notwithſtanding its magnitude,
is as agreeable to contemplate, as if it was of the common
Size.
Observe by what fixed Rules antient Artiſts worked ; the
ſame proportion that this Hercules bears to common Sta-
tues, the fame does Hercules about to die bear to his friend
Pæan, who ſupports him. The latter lived in the heroic
times, and was of great ſtrength and large body, yet the
characteriſtic magnitude of Hercules makes him but a dwarf.
How is the mind - delighted with comparing a Bacchus
crowned with vine-leaves, drawn by Panthers and accom-
panied by his jovial drunken train, with the deſcription of
an antient Poet; it heightens the reliſh for claſſical learn-
ing, as each is a comment on the other. The ſame may
be ſaid of the ſymbols of Mercury, Ceres, Pallas, and the
other Deities.
Groups are included under Statues; thus that
thus that very old
one of Saturn holding a child ſmiling on him, is a good
confutation of the barbarity uſually imputed to that God.
Hercules and Antæus, and Hercules and Achelous give us
better
1
:
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/
A
1
1
1
INTRODUCTION.
Xxi
1
better Ideas of the Heroe's labours than any deſcription
poſſibly can.
Bustos make the ſecond Diviſion of this Collection.
There are one hundred and ſeventy-three all on marble
Termini. Of theſe fifty-two are fineered, and forty-two
of ſolid marble. Thoſe that are fineered are of the fineſt
antique Marbles and Alabaſters, made at Rome for Cardi-
nal Mazarine. Some are Coloſſal with Inſcriptions, and
others with Agate eyes, and ſome of Copper with one
hand. Under Buſtos are included, Bifronts, learned Per-
ſons, both Grecian and Roman. Kings and Queens of
Greece, Aſia, and Africa. Roman Emperors, Cæſars and
Auguſtæ, and Divinities, Egyptian, Grecian and Roman.
The head of Seſoſtris is as great a rarity, as is any where
to be found. Some Italian Gentlemen travelling to the Py-
ramids in Egypt, diſcovered it there, and brought it with
them; it is of red Egyptian granite, and the countenance
remarkably lively. The antiquity of it is indiſputable,
and the Sculpture will give us no contemptible Idea of the
Artiſts of that country, in very early times.
We now think it ſtrange, that in the beſt ages of Art in
Greece, they made their Statues and Buſts, not of the ſame
materials throughout, but of different. Many were of
marble, ivory and wood, and of various colours ; to us fuch
would
1
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1
1
!
xxii
INTRODUCTION.
1
would appear tawdry, yet it pleaſed their eyes; which
evinces, that no general definition of taſte can be formed,
to ſuit every country. So far as it
So far as it regards proportion and
harmony of parts, it'is univerſal, but as to faſhion, attitude,
clothing, and ſuch incidental matters, as do not partake
of the eflence of Art, every nation has its peculiar fancies.
Agate eyes in Buſtos come under this claſs, and were very
common among the antients. It is ſomewhat deſerving.
attention, that the Romans ſhould, according to the con-
fefſion of Pauſanias, have made bronze Statues and Buſtos
before the Greeks. Rhæcus and Theodorus of Samos were
the firſt Grecian Artiſts in this way. They flouriſhed in
the time of Polycrates, about the fixtieth Olympiad. Di-
onyſius Halicar. in his Roman Antiquities, ſays, Romulus
made his own Statue of bronze, crowned by a Victory and
drawn by four horſes. The Chariot and horſes were brought
from Camerinum, when that City was taken. This hap-
pened after his triumph over the Fidenates, in the feventh
year of his reign, which anſwers to the eighth Olympiad.
The inſcription on it, according to Plutarch, was in Greek
letters, but Dionyſius ſays, they greatly reſembled the moſt
antient Greek Alphabet.
ABOUT the reign of Cræſüs, the Greeks worked in all
förts of metals. Theodorus before-mentioned, made for
that
A
INTRODUCTION.
xxiii
-
i
that King, a ſilver Vaſe, which held fix hundred Eimers.
An Eimer is a German meaſure containing fixty-four Ger-
man pints. The firſt Quadriga, or chariot drawn by four
horſes in bronze, which is mentioned among the Greeks,
was made by the Athenians after the death of Piſiſtratus,
in the fixty-ſeventh Olympiad.
The judgment of Lord Pembroke in Antiques and clar-
ſical learning, if from nothing elſe, "might be proved by
the ſimilitude between the buſts of Apollo and Auguſtus;
the faces are ſo like each other as frequently to be miſtaken.
Ovid, Virgil, Suetonius and Martial expreſly inform us,
that this Emperor had an Apollinean face, that is, ſo nearly
reſembling the antique Statues of that Deity, as to be
thought his ſon. He gave into this flattery; for at a Feaſt
in which he and five of his courtiers repreſented the great
Gods, and as many Ladies the fix Goddeſſes, he was dreſ-
ſed with the Attributes or Symbols of Apollo, and what is
more, he affected to have it ſuppoſed, that his eyes beamed
forth brightneſs like Apollo's, and was mightily pleaſed,
when he looked fully on any one, if they held down their
eyes, as when the ſun glares too ſtrong upon them.
The Jaſpers, Alabaſters and Marbles, whereof the Buſts
are made, are valuable and beautiful beyond deſcription.
So great a number and in ſuch preſervation are not to be
found
.
1
Come
1
xxiv
INTRODUCTION.
1
-
found in any collection ; they have conſtantly obtained the
applauſe and admiration of every connoiſſeur who hath
viſited Wilton, and always will, ſo long as true taſte and
diſcernment exiſt.
The third diviſion of this Collection conſiſts of Relie-
vos both high and low. Du Bois, in his Reflections, has
made an obſervation, which it is not eaſy to acquieſce in..
It is, that it requires leſs Genius to be a good Sculptor
than a good Painter. Where is the difference between the
deſign, ordonnance and expreſſion of the famous Groupe of
the Niobe, &c. in marble and the ſame on canvas? Sculp-
ture in fome refpe&ts will not admit of ſuch deceptions as-
painting, but in thoſe inſtances where real Genius is con-
cerned, it is capable of them as extenſively as the other.
The maternal tenderneſs of Niobe in protecting her Chil-
dren, the terror and amazement in the faces of thoſe that
are flying, and the various attitudes of thoſe that are dy-
ing, would furniſh a ſubject for the beſt antient or modern
pencil. It cannot therefore be truly affirmed, more inven-
tion, which is the mark of Genius, is found among Pain-
ters than Sculptors.
Another remark of Du Bois is better grounded, and as
it is curious and relative to our Subject, is worth tranf:
cribing. "We do not, ſays. he, find by any of the remain-
ing
1
1
1
1
1
V
i
INTRODUCTION.
XXV
1
ing fragments of Greek and Roman Sculpture, that this Art
was perfectly underſtood by the Antients. Their Sculptors
could only cut out figures in Relievo, perpendicularly down
from head to foot and clap them, as it were on the ground
of the Baſſo Relievos, ſo that the figures which deepned in,
received no degradation of light. A Tower which ſeems
to be five hundred paces diſtant from the fore part of the
Baſto Relievo, to judge by the proportion of a ſoldier
mounted thereon, to the perſonages placed neareſt the
edge of the plain, this tower, I ſay, is cut as if it were :
ſeen at the diſtance of fifty paces. We may perceive dif-
tinctly the joining of the ſtones, and reckon the tiles of the
roof. It is not thus objects preſent themſelves to us natu-
rally. They appear not only ſmaller in proportion to their
remoteneſs, but they are even confuſed, when they are at
a certain diſtance, by the interpoſition of the air.
The modern Sculptors, better inſtructed herein than the
Antients, confound the ſtrokes of objects which ſink into
the Baſſo Relievo, and thus preſerve the rules of perſpec-
tive. With two or three inches of Relievo they make ſome
figures, which appear in full relievo, and others which ſeem
to fink into the deepning. They repreſent alſo Landſkips .
thrown ingeniouſly into perſpective by a diminution of the
ſtrokes, which being not only ſmaller but likewiſe leſs dif-
D
tinct,
)
i
1
0
xxvi
INTRODUCTION.
.
+
:
tinct, and mixing with one another as they remove farther
off, produce the ſame effect almoſt in ſculpture, as the de-
gradation of colours in a picture. We may therefore ven-
ture to affirm, that the antients had not this Art in ſuch
perfection as we have it at preſent.”
The Relievo with the inſcription called Bouſtrophedon,
is older than the completion of the Greek Alphabet, and
was brought out of Peloponneſus, where it was moſt pro-
bably made for a Victor in the Olympic Games. Statues,
and Relievos were uſually erected to thoſe who were con-
querors in thoſe Games. Cicero ſays a Victory in theſe
ſports was not leſs honourable than a triumph at Rome.
If any man merited repeated honours, he was thought to
have attained to the utmoſt felicity that human nature
capable of. To this purpoſe, Plutarch relates a remarkable
ſtory of a Spartan, who meeting Diagoras, who himſelf
had been crowned in the Olympic Games, and ſeen his
fons and grandchildren Victors, embraced him and ſaid,
Die, Diagoras, for thou canſt not be a God.
MANY of our Relievos were Friezes taken from Porti-
coes and Temples. The antients always adapted the Sub-
jects to the Deities. Thus nothing could inſpire greater
awę for the power and anger of Apollo and Diana, than
the dreadful vengeance they took on the family of Niobe.
The
1
:
i
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1
5
INTRODUCTION.
XX.Vi
The ſame propriety was obſerved in the Temples of Jupiter,
Neptune and Bacchus. The modern practice in the Romiſh
Church, of adorning their Altars with pieces of painting,
was common among the heathens. But they had ſculptures
as well as paintings, of the former fort is that relief in the
Stone hall of a child's ſtealing meat from the Altar, and
fome others.
We ſhall now give a few Remarks on the ſtate of Sculp-.
ture among the Romans. The age of Auguſtus, was a
period in which we are naturally led to look for excellence
in the Arts. Literature had then attained its ſummit, and
the Emperor encouraged men of Genius; Architecture rather
than Sculpture ſeemed to flouriſh. The greateſt part of the
Roman ſculptors. made their apprenticeſhip in the condition :
of ſlaves; when they ſhewed abilities, their maſters improved
them with the greateſt care; ſo that an Artiſt in this ſitu-
ation, had a better opportunity of having his talents cul-
tivated, than a freeman in indigent circumſtances.
Nero fent Carinas and Acritus, two, connoiſſeurs, into
Greece, to collect all the fine pieces of ſculpture which
were to be met with, that he might embelliſh his new build-
ings at Rome. The poor Greeks, as Juvenal obſerves,
were ſtript even of their houſhold Gods.
Their
D 2
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:
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xxviii
INTRODUCTION. .
L
1
Their rapine is ſo abječt and profane,
They not from trifles nor from Gods refrain;
But the poor Lares from the niches ſeize,
If they be little images that pleaſe.
STEPNEY.
1
1
Hadrian, Marcus Aurelius and Alexander Severus encouraged
this Art, as did their ſucceſſors, and yet they were never
able to reſcue it from the degeneracy into which it was fall-
ing. We may look upon the Buſto of Caracalla as the laſt
effort of Roman Sculpture. The two triumphal Arches
erected in honour of his father Severus, the chapiters of
the columns in the Septizonium at Rome, which were
afterwards removed into different churches, ſufficiently
demonſtrate how much ſculpture had declined under that
Prince and his children. The Baſſo Relievos of the largeſt
of thoſe two triumphal Arches, were done by an indiffe-
rent hand. It is natural, however, to ſuppoſe they were
executed by the beſt that age produced, were it only out of
a regard to the place where they were erected. This was the
moſt conſiderable part of the City, at the further end of
the Forum Romanum, and as we have reaſon to believe,
at the foot of thoſe ſtairs, deſtined for aſcending to the
Capitol.
ONE
.
1
1
1
INTRODUCTION.
xxix
C:
ONE cannot behold the ruins of Caracalla's baths with
out being aſtoniſhed ; there never was a more ſumptuous
fabric, more loaded with ornaments and incruſtations, or
which did greater honour to a ſovereign by its bulk, than
the baths of Diocleſian and Gallienus. The great hall of
this edifice is now the Carthufian church at Rome, and
one of the porters lodges forms another circular church,
viz. that of the mendicant Friars of St. Bernard.
When the Senate and people of Rome determined to
erect a triumphal Arch in honour of Conſtantine, there
was not in all probability in the Capital of the Empire, a
Sculptor able to undertake the work. Notwithſtanding the
reſpect they had at Rome for the memory of Trajan, they
ſtript the Arch of that Prince of its ornaments, and with-
out any regard to conformity or fitneſs, employed them in
the fabric which they erected to Conſtantine. This ſhews
what a paucity there was of Sculptors, and to what a low
ebb the Art was then reduced.
What has been advanced is to be taken with ſome re-
ſtrictions. There might under the Emperors be men of
not ſo much Genius as to undertake capital works, and yet
be able to execute inferior performances. The great num-
ber of beautiful Buſtos in this collection, ſeems to be a
proof of this. Moſt of them are of a very fine ſculpture,
and
1
1
t
.
INTRODUCTION.
1
and would not diſgrace the beſt Ages of Art. We know
that a good Portrait Painter very rarely can execute a
Landſkip or ſuch like, beyond the limits of his natural
turn; fo to make a Baffo Relievo conſiſting of many
Figures in various Attitudes, to give the features ex-
preſſions adapted to the occaſion, and to make an agreeable
Whole, requires other Talents than bare copying nature
exactly, which is the principal excellence of any Bufto.
AMONG the beſt pieces of Sculpture, relating to the
Romans may be reckoned that by Cleomenes, of Curtius.
leaping into the fiery gulph. This Sculptor was one of the
moſt eminent of his time, and was ſent from Corinth to
Rome by Polybius, the celebrated Hiſtorian, to execute
this work. At whoſe deſire hiſtory does not inform us, let
this be as it may, it is ſo maſterly a performance as does
honour to the ſkill of the Artiſt. The beautiful Statue of
a Faun looking over his ſhoulder, was alſo of his work,
and made at the requeſt of a Roman nobleman.
We ſhall now take a view of the Engravings. It need
not be inſiſted on, that the moſt accurate deſcription of
any piece of antient Sculpture, will never convey fo clear
an idea of the beauty and proportion of it, as a view of the
work itſelf, or a good engraving of it. This conſideration
was of itſelf ſufficient to. indịce the Editor to lay before
the
)
-
INTRODUCTION.
xxxi
1
the Public fome of the valuable remains of antient Art.
He moreover conſidered how conducive they would like-
wife be, in diſſeminating a correct taſte. On communi-
cáting his intentions to ſome Gentlemen of diſtinguiſhed
ſkill and judgment in theſe matters, he received their
Approbation and Encouragement. He then was to find
an Artiſt of Abilities, equal to ſuch an Undertaking, and
was fortunate enough in meeting with Mr. Greſſe, to whoſe
labour and ingenuity the Public will, no doubt, do juſtice.
1
!
-.
SC
.
1
ENGRAV-
:
1
1
xxxii
INTRODUCTION,
ENGRAVINGS contained in this work.
Plate
Page
I.
HE Statue of the Roman ÆSCULAPIUS;
the drapery is finely diſpoſed. We have al-
9
ready enlarged on this Article in its proper place.
IT
II. MELEAGER. The juſt proportions and
execution of every part can never be enough admired.
ΙΟ
III. NERO. The buſt part is beautifully exe bro
cuted, and at the bottom are two little Cupids.
}
IV. CURTIUS.
17
V. SATURN The attitude of this Divinity ex-
hibits, a view of the moſt antient ſtile of ſculpture, 18
and is therefore very valuable.
}
VI. FAUNA dancing a Child. This Relievo,
of Egyptian Jaſper, is not to be exceeded for beauty
of Deſign and execution. The Fauni or Children}18
of Faunus were imaginary beings; - they were only
regarded in Italy, and wholly unknown to the Greeks.
VII. HERCULES and ÆGLE.
20
VIII.
1
-
A
INTRODUCTION.
xxxiii
VIII. HERCULES. Mr. Sharp in his travels
to Italy, makes an objection to the Farneſe Hercules,
which is applicable to ours. It is, that the inflation
of the muſcles is fuch as never exiſted in a human
body, in health, in ſo remarkable a degree as we find >23
it does in thoſe Coloſſal Statues. But it is anſwered,
that them uſcles are not more ſtrongly marked in theſe
Figures, conſidering their fize, than in any common
Statue. His criticiſm is therefore trifling.
1
IX. MARCUS ANTONIUS the Orator.
34
X. APOLLO. This God appears with all his
45
Symbols.
1
his34
bis}+9
XI. FAUNUS looking over his ſhoulder at his
Leopard.
XII. CUPID breaking his bow after his Mar-
riage with Pfyche. There is a delicacy and ſoftneſs
predominant in the whole Statue, which mark it to be
the God of Love.
50
XIII.
1
ina
.
1
-
xxxiv
INTRODUCTION.
XIII. A VENTINUS. In this Bufto we behold)
much of the beauty and vigour of Hercules his father.
$52
The lion's Skin is gracefully tied on his left ſhoulder,
and the head of it appears above his forehead.
XIV. APOLLONIUS TYA NÆUS.
His
arm is invelopped in his Garment, his countenance 53
very expreſſive, and the ſculpture excellent.
..
h
1
XV. SEMIRAMIS.
53
1
XVI. METELLUS. Nothing can be richer than
the Work on this Buſto. The chain, medal and fringed
Garment are admirable efforts of Art, and
56
among the Romans at this time, neither Genius nor
abilities were wanting.
prove that
1
XVII. BACCHUS ſtanding upon an antient
Altar, dedicated to him. We behold, this Deity un-
der a very handſome appearance. He is not drunk 57
amid his Bacchanalian crew, but mild and ſober, and
with a divine aſpect.
!
:
XVIII.
1
1
1
1
1
INTRODUCTION.
XXXV
1
XVIII. PYRRHUS. Very rich work; the
Countenance ſtrongly marked and making a warlike 57
appearance, ſuited to his Character.
1
XIX. MARCUS BRUTUS. His counte-
nance is characteriſtic of his mind. By profeſſion he
was a Stoic, a fect the moſt rigid and ſevere of any 64
other. In principles a Republican, which was per-
fectly conſonant with his ſtoical notions.
+
XX. JULIUS CÆSAR. There is not a finer
Buſto extant, of this celebrated Roman, than this.
Valetta of Naples, out of whoſe Collection it was pur-
chaſed, eſteemed it greatly.
64
>
us, that
XXI. ARTEMIS OR DIANA. Strabo informs
that the Goddeſs received this name from preſid-
ing over Child-birth, on which occaſion, ſhe was ſup- 465
poſed to aſſiſt women in travail. It is fine. Greek
Sculpture.
.
e 2:
23
XXIIL.
+
$
:
/
i
,-
V
1
1
:
xxxvi
INTRODUCTION.
XXII. LUCA N the Epic Poet. In another place
we have remarked, that the Pegaſus on the bottom of
this Buſto is a happy fymbol to expreſs his Genius. It $65
carries the air of great antiquity, and was the work of
an excellent Artiſt.
1
XXIII. CASSANDRA. The face is
The face is very hand-
fome, and the different Bandages are expreſſed with
the greateſt care and nicety. It muſt be very old as
fuch head-dreſſes were in later times diſuſed.
>66
+
!
XXIV. ALCIBIADES. The Buſto of this cele-
brated Athenian is very rare.
Lord Pembroke never
met with but one other in any Collection, and conſe-
quently ſet a high Value on this.
67
XXV. PRUSIAS. From this Buſto being in-
tirely naked, we may eaſily pronounce it to be Gre-
cian. The ſculpture points out the Country where it
was executed; the hair is worked very delicately.
67
HAVING now gone through the Engravings, we ſhall
conclude with a few Remarks on the diſpoſition of the An-
tiques in the Houſe.
At the
1
:
INTRODUCTION.
xxxvii
Ar the finiſhing of the Houſe, proper projections were
made, upon which ſixty Buſtos now ſtand. On the Floor
were the heavieſt Statues. The Rooms lie in Viſto as a
great Gallery, and through them the Marbles are placed,
except, that it was not judged proper to encumber the
bed-chambers and Drawing Rooms with them. To ar-
range this Collection with due Harmony and Diſtance,
would require the Space of a thouſand feet. Such a Gal-
lery is only fit for a Royal Building, and yet without ſuch,
the Antiques loſe a great deal of their beauty. Lord
Pembroke made as judicious a diſpoſition as his houſe would
permit, and it muſt be ſaid to his praiſe, that the ſituati-
ons he hath choſen for each, are exceedingly proper, and
the beſt that could be made.
The Great-hall of Wilton-houſe being very ſpacious,
contains the largeſt and moſt ponderous Statues and Groups
in the Collection. Some of the ſmaller Relievos are rather
too high to be viewed diſtinctly, but this could not be pre-
vented.
The revival of Sculpture having begun in Italy, the
different ſorts of antique Marbles were there diſtinguiſhed
by Italian names, which the Connoiſſeurs throughout Eu-
rope have adopted. The ſame is obſerved in the following
Account, and thoſe names are marked in Italics. It muſt
alſo
..
.
Xxxviii
INTRODUCTION.
!
alſo be obſerved, that the Quarries of all thoſe marbles,
which are called Antique, are at preſent unknown, as
are thoſe of Porphyry and Serpentine.
.
1
1
1
U
1
i
1
1
1
1
AN
1
::
A
1
1
A
DESCRIPTION
OF THE
ANTIQUITIES and CURIOSITIES
I N
WILTON - HOUSE.
I
.
N the Court, before the grand Front of the Houſe, ftands a
Column of white Egyptian Granite, out of the Arundel Collection,
The Shaft weighs betwixt 60 and 70 hundred Weight, of one
Piece. It has a Fillet (as very antiently was uſual) five Inches broad
below, and another at Top, three Inches broad, which Fillets project:
but half an Inch. The Height is 13 Feet and a Half, the Diameter
22 Inches, and leſſens ſcarce two Inches at Top. The Greeks. after-
wards, by Degrees, leſſen'd more. It had a Hole both at Top and
Bottom, which ſhews that it antiently ſtood as a ſingle Pillar. .Mr.
Evelyn bought it for the Earl of Arundel at Rome, where Julius Cæfar:
had ſet it up before the Temple of Venus Genetrix.
The Statue of Venus, ſtanding on its Top, Lord Arundel valued
much, becauſe it was the only one caſt from a Model made at Rome,
B
propor-
:
2
A Deſcription of the CURIOSITIES
proportionable to fome Parts remaining of the broken Antique. This
Column was never erected ſince it fell in the Rains of old Rome, till
ſet up here, with a Corinthian Capital and Baſe of white Marble, which
make the Column eight Diameters. The whole, with all its Parts,
is
32
Feet high.
On the lower Fillet of this Column are five Letters in the follow-
ing Shape:
1
3 kool
ܪ
T R T S A
1
1
Which Letters being read after the Manner of the eaſtern Tongues,
from the Right Hand to the Left, and having the proper Vowels ſup-
plied, make A STARTE, the Name by which Venus was wor-
ſhipped among the antient Nations of the Eaſt, particularly the Sido-
nians; for it is ſaid in the firſt Book of Kings, that Solomon went after
Alhtoreth, whom the Septuagint call Aſtarte.
This Goddeſs was the ſame with the Venus Cæleſtis of the Greeks,
and originally an oriental Deity; as Selden in his Treatiſe of the Syrian
Gods, abundantly proves. The Perſians gave her the Name of Mitra,
the Arabians of Alilat, and the Syrians Mylitta; the laſt, when lite-
rally tranſlated from the Caldee, is Genetrix.
Lord Pembroke in his MSS. very clearly ſhews the Letters above
to be Egyptian, and of the antient Alphabet; which was common to
the Phenicians and contiguous Nations. The firſt Letter is uſed
fifteen Times as an Alpha' on his Lordſhip’s Phenician Medals; the
Second is a Caph, which was formerly uſed for an S; the Third is a
T, and may be ſeen on Phenician Coins: If the middle Stroke of the
Fourth
1
1
--
1
In WILTON-HOUSE.
3
Fourth joined the Hook at the Bottom, it would then be the old
inverted triangular R of the antient Greeks.
For theſe Reaſons, which exactly correſpond with each other, the
Column is certainly of great Antiquity as well as the original Statue
from which the preſent was made.
-
!
In the Front of the Houſe, on each Side the Entrance.
!
Two Statues of black Marble, out of the Ruins of the Palace of
Egypt, in which the Viceroys of Perſia lived many Years after Cam-
byfes had conquered Egypt, and returned to Perſia. There is a Gar-
ment on their Shoulders of different coloured Marble, and only their
Toes appear at Bottom. There is the oid Bandage Diadem on one of
them; ſingle Statues without Arms were in Uſe long after they could
make them with Arms, not only in Egypt, but in Greece. Such Ter-.
mini were ſet at their Doors without, as the Limits and Boundaries
of their houſes. Theſe Termini ſometimes repreſented illuſtrious
Men, and therefore were reverenced by both Grecians and Romans ::
However the latter did not allow in their Figures the obſcene Parts to
be expoſed to view; the Perſians, who abhorred Idols as Objects of
religious Adoration, yet admitted Termini with the fame decent Res.
ſtrictions.
Vitruvius ſays, they ſerved as. Ornaments in Architecture; the
Pedeſtals being on Plinths. high enough for the Door, when their
Heads came to the Bottom of the Architrave. They ſhewed a Pride
(as ſome think) to repreſent their Captives in this ſervile Poſture of
bearing and ſupporting.
The
B.2.
..
4
A Deſcription of the CURIOSITIES
The great Gate-Way and Tower into the Inner-Court, were
begun by William Earl of Pembroke, in the Reign of Queen Eliza-
beth, and finiſhed by his Son Henry Earl of Pembroke. The ſaid Earl
William received from King Henry VIII. a Grant of Wilton-Abbey.
In the Middle of the Inner-Court.
In four Niches of a Pedeſtal (whereon ſtandeth a Horſe as large as
the Life) are four Statues; the firſt DIANA.
On the Right-Hand, is VENUS picking a Thorn out of her Foot.
See this Circumſtance mentioned in Bion's ſecond Idyllium.
The next is VENUS holding a Shell in her Right-Hand, her Left-
Hand has hold of the Tail of a Dolphin. Thoſe Symbols are to
ſhew that the Empire of the Goddeſs of Love extends over the Inha-
bitants of the watry Element : Or they may allude to her being gene--
rated from the Sea,
4
The fourth is VENUS and CUPID. He is begging for his
Quiver of Arrows.
On one Side of the Gate-Way.
The Buſto of ÆNOBARBUS.
On the other Side.
PERSIU S the Poet. This Buſto ſtands upon an antient Altar
of Bacchus; round it wę may ſee the whole Dreſs of his Prieſt, alſo the
Thyrſus
1
.,
2
1
.
+
i
In WILTON - HOUSE.
5
1
Thyrſus in one Hand: He has a Panther after him, alſo two Prieſteſſes
going in Proceſſion round the Altar: The Thyrſus in the Prieſt's
Hand, is a plain Pine-Apple, not adorned with Bunches of Grapes, as
that mentioned in the Great-Hall; which therefore ſeems to be an
adorned Sceptre for Bacchus himſelf, and the father, becauſe in the tri-
angular Altar, upon a Table in the Cube-Room, the Prieſt has alſo a
Thyrſus, but plain as this here, only with this Addition, that it has
Pine-Apples, one at each End, the Stalks being joined at the
Middle where his Hand holds it.
Here follows the Inſcription, ending in a Circle round the Altar :
MELCOMEN:DIONYLON
Canamus.
-
Dionyfium.
!
AMA OMOROON BAKXEYTORA
Pulchri-Formem.
Bacchatorem.
TANO OKAPENON
1
Flavi-Comum.
1
The Epſilon for an Eta is ſufficient to Thew, that it was before the
Addition of the four laſt Letters, and therefore it is likely Omicron
ſtands for Omega, becauſe learned Men agree that meer wp.tv Canamus ſuits
the old Hymn to Bacchus, better than meats omav Canimus.
In two..
1
1
1
.1
-
6
A Deſcription of the CURIOSITIES
1
V
1
In two painted Niches are two Statues: The firſt iş Attys, the
High Prieſt of Cybele, cloathed as a Woman. Attys was a Phrygian
Shepherd, and of a comely Form; he afterward became the Prieſt of
Cybele, or the Syrian Goddeſs, and firſt inſtituted Rites and Ceremo,
nies in Honour of her, and travelled from one Country to another to
eſtabliſh the Worſhip of Rhéa and Magna Mater, and at length he
himſelf obtained a Place in Heaven.
He was uſually adored as the Sun, and it is ſaid the Sun, Serapis,
Mithras, Pluto, Typhon, Attys, Ammon and Adonis are the ſame
Deity. Julian, the Roman Emperor, called Attys, Magnum Deum,
the great Divinity: Statues were erected to him, and Lucian, particu-
larly mentions a golden one to Attys, and placed among thoſe of Anu-
bis. and Mithras. We frequently ſee him on. Monuments with
Cybele, and fometimes alone. - He ſometimes holds a Shepherd's
Crook and Pipe, and is repreſented with the Pine-Tree which
was facred to Rhea.
1
:
In the other Niche is a Statue of Autumnus, with Autumnal Fruit.
In the Porch (built by Hans Holbein) leading into the
Veſtibule.
.:
3
The Buſto of HANNIBAL..
PESCENNIUS NIGER:
ALBINUS.
MIL TIADES..
Bultos.
A
+
IN W 1 1 TON - H Ở Us E.
7
Buſtos in the Veſtibule.
PINDAR
:
THEOPHRASTUS.
JOTA PÍ Wife of ANTIOCHUS COMAGENA.
LYSIMACHU S.
1
TRYPHIN A.
VIBIUS VARU S.
HADRIAN.
AGRIPPINA MAJOR.
SABINA TRANQUILLINA Wife of GORDIAN.
ARISTOPHANES.
CALIGULA,
1
Here are two Columns of the Pavonazzo or Peacock Marble, each
nine Feet ſeven Inches high ; both of them had Capitals which
ſerved for Urns. There are Holes at the Top to put the Aſhes in;
they were in the Columbarium of a Nobleman and his Wife, and the
Inſcription over them, which was in the Wall, fignified, that they
bad made that Columbarium.
In the Middle of the Veſtibule.
The Statue of APOLLO, out of the JusTINIANI Gallery.
He
appears with a moft graceful Air in a reſting Poſture, having hung
his Quiver on the Laurel, which is ornamented with very
fine
Sculpture.
IN
1
8
A Deſcription of the CURIOSITIES
>
IN THE
:
GREAT
H
A L L.
STATUES, Bustos, SARCOPHAGUS's (or Tombs) and BASSO-
RELIEVOS.
A
PANTHEON, having the Symbols of three Divinities, a
Cornucopia with Fruit for Vertumnus ; out of it, Grapes for
Bacchus; and Ears of Corn for Ceres. The Figure is a comely Man,
in the Prime of his Age and Strength, without any Beard, and there-
fore is probably an Apollo, larger than the Life.
1
!
:
The Statue of DIDIA CLARA, Daughter to the Emperor
Didius Julianus, bigger than the Life, ſitting in a Chair: She holds
a fenatorial Roll, in a. genteel Poſture. The Drapery of her Cleath-
ing is very
fine..
A Buſto of MARCUS AURELIUS, when Cæfar:
:
:
'ANTINOUS the Favourite of the Emperor Hadrian; a beau-
tiful Youth.
1
1
The Buſto of CLEOPATRA, the Siſter of Alexander the Great,
and Wife to. Antipater:
A Sarcophagus, (or Tomb), adorned in the Front in Alto-Relievo,
two Cupids holding two Feſtoons of Fruit: Over, each Feſtoon are
two
A
.
i
.
:
1
In WILTON - HOU S E.
9
two Heads of the Hcathen Deities: Under one of the Feftoons is a
Lion and an Ox, under the other Feſtoon is a Goat and a Cock. This
is deſcribed by Salvini, vide Tab. 7.
1
Upon the foregoing Tomb is EUTERPE the Muſe, ſitting with
a Flute. She is ſaid to be the Inventor of Wind-Mufick. A Num-
ber of the Muſes were found at Rome, but moſt of them injured
by Time and Accidents; only two had Heads. Algardi mended for
Chriſtina Queen of Sweden, thoſe that were defective, and ſup-
plied the reſt to make a complete Set. Very fine Sculpture.
1
!
:
BY CLEOMENES,
PORTIA, Wife of Brutus. The Medal of Brutus is on her Breaſt,
a Necklace about het Neck, and a Diadem on her Head; being the
only one known to have this Ornament of a Medal.
1
1
1
A ſmall Statue of ÆSCULAPIUS. The Countenance of this
God reſembles that of the placid Jove; he has one Arm bare as ready
for an Operation; the antient Phyſicians being alſo Chirurgians. The
Stick with the Serpent twiſted round it, thews he is the Roman
Æſculapius, who came to Rome under the Form of that Animal.
1
The Buſto of JULIA MAMÆA, Mother of Alexander Severus.
C
A ſmall
1
LO
A Deſcription of the CURIOSITIES
A ſmall antique Statue of MELEAGAR. The Expreſſion of
the Muſcles deſerves Attention, and ſhews what characterizes all the
antient Heroes, great bodily Strength. Very fine Sculpture.
U
1
A Buſto of NERO. This Emperor was the laſt of the Julian
Family. At the Beginning of his Reign, he gave great Hopes to
the Roman People, of much Felicity; but in a few Years his Con-
duct was changed, and he became a moſt bloody and cruel Tyrant,
and ended his Life miſerably. His Countenance very ſtrongly marks
the Character of his Soul; a brutiſh Stupidity is predominant
in
every Lineament of his Face. The Shape of his left Arm and
Hand is ſeen through his Robe, there are two little Cupids at the
Bottom of the Buſto.
ز
A Sarcophagus. In the Middle of the Front is a Circle, wherein
are repreſented the half Lengths of a Man and Woman, for whom it
may be ſuppoſed the Tomb was made; the other Part of the Front is
fluted Work: At one End is a Lion, with a Unicorn under him ; at
the other Enda Lion, with a wild Boar under him: At the. Bottom,
under the Circle, are two Maſks, one of them with Hair, the other
having a Veil upon the upper Part.
Part. Whence it has been thought
by Antiquarians to be the Tomb of Terence the Poet. This is de-
ſcribed by Salvini, Tab. 8.
1
Upon the foregoing Tomb is, a Queen of the AMAZONS, beau-
tiful, though in a warlike Action, being on one Knee, as under a
Horſe,
!
:
1
1
In WILTON-HOUSE.
II
7
1
Horſe, defending herſelf in Battle. Her Shield is in the Figure of
a: Half Moon, according to the Deſcription Virgil gives of it in the
firſt Æneid:
With Fury ſtorm'd PENTHESILE A there,
And led, with moony Shields, ber AMAZONS to War;,
Amidſt the Thouſands stood the dire Alarms,
And the fierce Maid engag'd the Men in Arms.
Pit, B. 1, L. 663.
Behind the lower part of the Shield, to illuſtrate the Action, the
Sculptor has carved a Horſe's Foot. Her Buſkin plainly ſhews the .
antient Shape and Manner of fixing it.
By: CLEOMENES.
i
A Buſto of LUCILLA, the Wife of Ælius, very fine Sculpture.
,
The State of MERCURY with his Symbols, his Petaſus and
Purſe.
A Buſto of APOLLO. This Deity is always repreſented ex-
tremely handſome, the preſent Buſto exhibits him with an agreeable.
Countenance.
A Copy of the VENUS of MEDICIS.
BY WILTON.
!
The Original of this Statue is in the Florentine Gallery, of which
Gori has given the following ingenious Account.
Of all
C 2
1
1
i
I 2
A Deſcription of the CURIOSITIES
Of all the beautiful Statues which have ſurvived the Ruin of Art,
this of Venus is the moſt admirable; it is, as it were, a Compen-
dium of the Excellencies of antient Sculpture. The Greeks called
this Deity, Venus Anadyomene; ſhe is deſcribed as emerging from the
Sea, gentle Love is ready to receive her, the Nereids and Nymphs
ſtand round, Neptune with a Chorus of Tritons chant her Praiſe, and
foft Perſuaſion offers her a Crown.
The Beauty, Deſign, Elegance and Execution of the whole is not
to be expreſſed; it is the general Opinion, that this Medicean Venus
is the Workmanſhip of either Phidias, Praxiteles or Scopas. Near
the Feet of the Goddeſs riſes a Dolphin, on him two Cupids are fit-
ting, Statius deſcribes them.
*
A
Alma Venus thalamo, pulſa modo no&te, jacebat,
Amplexu duro Getici refoluta mariti,
Fulcra toroſque Dea tenerum premit agmen Amorum ;
Signa petunt, quas ferre faces, qua pectora figi.
Imperet, an terris ſavire, an malit in undis ;
An miſcere Deos, an adhuc vexare Tonantem.
1
.
Şilvar, lib. 1.
I
SILENUS and BACCHUS, a Group, very fine.
1
FLORA. This and the foregoing (both of Parian Marble)
were a Preſent to the firſt Philip, Earl of Pembroke, by the Duke of
Tuſcany,
1
1
1
1
2
A
I
In WILTON-HOU's E.
13
Tuſcany, who in King Charles the Firſt's Time was in England, and
reſided at Wilton, with the faid Earl, three Weeks.
A Copy of the APOLLO of Belvedere.
+
BY WILTON.
The Buſto of PHILEMON.
The Buſto of LEPIDU S.
de
:.
1
A Sarcophagus, adorned with a fine Column of the Corinthian
Order at each End; in the Middle is a double Door, partly open,
which confirms what antient Authors have ſaid, that ſome were ſo
made that the Soul might go out to the Elyſian Fields : At each End
of the Tomb is a Griffin. Salvini, Tab. 10. Upon the foregoing
Tomb is
1
HERCULES not long before he died. He leans ready to fall,
and appears very ſick; Pæan, his Friend, looks up at him with great
concern. Apollodorus informs us, that the Hero having fallen a
Sacrifice to the Jealouſy of Dejanira, aſcended the Funeral pile,
which Pæan ſet on fire; Hercules as a Reward of his Fidelity be-
ſtowed on him his Arrows. Anatomiſts greatly admire the Expreſſion
of the Muſcles.
CONSTANTINE the Great, of better Work than was com-
mon in that Age, as are alſo a few of his Medals.
The
i
camente
1
1
14
A Deſcription of the CURIOSITIES
1
The Buſto of SOPHOCLES,
1
A Sarcophagus. In the Middle are repreſented three Figures;
MELEAGER religiouſly turning ſomething off from à Patera
into the Fire on an Altar ; at his Feet lies the Head of the Calydonian
Boar ; by himn is ATALANTA, with a Quiver hanging from her
Shoulders: The third is THESEUS: The Antients often devoted
themſelves, when they died, to ſome Divinities, as here to theſe.
The whole Bodies of two Perſons, perhaps a Man and his Wife,
ſeem to have been buried here, becauſe there is a little Riſing at the
End for their Heads. This Sepulchre is adorned with two whole
Length Figures, of Caſtor and Pollux, at the two Ends. Salvini,
Tab. 9. Upon the foregoing Tomb is
.
i
One of the Labours of HERCULES. He is repreſented as turn-
ing the River Achelous, which is figured as an old Man; his Thighs
end in Snakes, to ſignify the winding of the River.
This Story
wrapt up in a poetical Figment might be this. Achelous was a wind-
ing River, whoſe Stream was ſo rapid that it overflowed its Banks,
and flooded the Country. Hercules reſtrained it within two Chan-
nels, that is, broke off its Horns, and thereby reſtored Fertility to the
Country.
?
The Burto of POMPE Y the Great
1
The Buſto of BRUTUS Senior.
The Statue of LIVIA, Wife of Auguſtus, bigger than the Lifeg.
ſitting in a Chair; one Hand reſting on a Patera, to Thew that ſhe
was
)
1
}
In WILTON-HOUSE.
15
was honoured as Pietas, in which Character ſhe is alſo ſeen on a
Medal; the Drapery very natural.
FAUSTINA, Wife of Antoninus Pius, larger than the Life; the
Drapery very natural.
1
1
1
1
1
+
1
1
16
A Deſcription of the CURIOSITIES
+
THE AL TO AND
B AS SO. - R E L I E V OS
IN THE.
GREAT HAL L.
A
Baffo Relievo. A POLLO and DIAN A deſtroying Niobe's
Children, by ſhooting Arrows at them. It is ſaid that the
Fable of Niobe denoted the annual Inundation of Egypt. The Af-
front ſhe offered to Latona, was a Symbol to Thew the Neceſſity the
laid the Egyptians under of retreating to the higher Grounds. The
fourteen Children of Niobe, are the fourteen Cubits that marked the
Increaſe of the Nile. Apollo and Diana killing them with their
Arrows, repreſent Labour and Induſtry, with the Affiſtance of the
Şun’s warm Influence, overcoming thoſe Difficulties after the Retreat
of the Flood. There are twelve Figures beſides. Apollo and Diana,,
and fix Horſes, very ſmall neat Work.
i
An Alto Relievo. Two CUPID S; one looks angry at the otherg.
whoſe Bow he has broke, which makes the other whimper.
Alto Relievo. The Ornament of a Pedeſtal belonging to a Victor;
it repreſents very particularly ſome of the antient Greek Games. Here
are ſeveral peculiar Circumſtances: Neptune, as the Judge, is the only
Figure
In WILTON-HOU s E.
17
Figure fitting; Saturn ſtands behind; at the End of the Relievo is a
handſome Piece of Architecture, ſomething higher than the Heads of
the Perſons, and is as a Portico to terminate the End of their Running;
in it are Mars and Venus, minding each other only; over them is a
Cupid, who has in his Hand a peculiar Light, not long as a Torch,
but as a Lamp, in the Palm of his Hand; two young Men are run-
ning, ſuppoſed to have ſet out from the End where Neptune is, and
one is almoſt got to the End terminated by the Building; he has
ſuch a Light in his Hand as Cupid has. Antiquaries ſpeak of the Ex-
erciſe of Running in this Manner with a Light; the other young
Man, who is running after him, has an Oar in his Hand of the An-
tique Form. In the Middle of the Place for the Exerciſes, are two
ſtrong, made. Men with Beards; they ſhew another Sort of Trial, not
of Motion, (as the young Men) but of Strength; one of their Hands
is tied to the other's two Hands, in this it is ſuppoſed they took
Turns to try which could pull the other fartheit after him...
An Alto Relievo. CURTIUS on Horſeback, leaping into the
Earth which opens with a Flame of Fire: Of the fineſt Work by
a Greek Sculptor. This illuſtrious Roman devoted his Life to the
Service of his Country. Livy relates, that the Earth opened in the
Forum from whence iſſued a dreadful Flame; the Gods: were con-
fulted, and an Anſwer returned, that the Gulph would not be
cloſed, nor the Fire extinguiſhed before ſome Nobleman had thrown
himſelf into it; Curtius mounting his Horſe in complete. Armour;
leaped into it and thereby removed the Plague. In the Villa Bur-
gefe, at Rome, is a Marble exactly ſimilar to this, which for Ele-
gance of Deſign is greatly admired. The Cuſtom of devoting them-
ſelves was practiſed by the Greeks, as appears by the Story of Co-
D
drus,
!
S
1
.
*
18
A Deſcription of the CURIOSITIES
drus, from whom the Romans might have adopted it. The Decii,
Father, Son, and Grandſon, were prodigal of Life for the Preſer-
vation of their country. Mutius Scævola, having by Miſtake killed
one of the Nobles iuſtead of Porſenna, King of Tuſcany, burnt off
his Right-Hand in the King's Preſence without flinching.
!
An Alto Relievo. SATURN, a ſmall one, but of moſt beauti-
ful.Work; it has the Appearance of great Antiquity. The Deity is
repreſented with a Scythe, which the Greeks ſuppoſed to be his At-
tribute, as the God of Time ; and therefore called him Xporos. The
Romans conſidered it as a Symbol of Huſbandry, pretending that he
introduced ſeveral Parts of Agriculture in Italy.
An Alto Relievo. A FAUNA dancing a Child upon her Foot;
of the antient Red Egyptian Jaſper; it is on a Ground of oriental
tranſparent white Alabaſter, with a Frame of antient Greek Marble.
1
An Alto Relievo. Four Boys gathering and eating Grapes: They
are in various Poſtures. The Relief high and beautiful.
A
1
An Alto Relievo. EN-DYMION aſleep, and Diana (the Moon)
coming down to him. This Shepherd is ſuppoſed to be the firſt who
obſerved the various Phaſes of the Moon, and reduced them into Order;
wherefore Poets feign that the Moon was in Love with him, and caſt
him into a deep Sleep that ſhe might kiſs him. Another Account is
given of this Fable. The Egyptians in the Feaſt of the New Moon,
in which they celebrated the antient State of Mankind, choſe a Grove,
or ſome retired Grotto, where they placed an Iſis, with her Creſcent
or Moon, and by her Side an Horus aſleep, to denote the Repoſe
and Security Mankind enjoyed in thoſe ages of Simplicity.
A Greek
•
1
i
In WILTON-House.
19
1
A Greek Relievo of the very fineſt Work, an oriental Alabaſter.
Eleven Figures beſides a Dog. Thoſe on the foremoſt Ground are in
Alto Relievo. It is Ulyſſes, who is gone into the Cave to Calypſo,
where they are kneeling round a Fire. The Cave (a moſt beau-
tiful Ruin of Architecture !) has a fine Frieze of Figures, ſeve-
ral of which are on Horſeback. The other Figures are Ulyſſes's At-
tendants, and Spectators, ſome of whom are got upon the Ruins.
An Alto Relievo. SATURN crowning Arts and Sciences.
This refers to the Golden Age, in which he reigned, and Mankind
emerged from their Barbarity by his Means.
Is
genus indocile, ac difpörfum montibus altis
Compoſuit; legeſque dedit.
Virg. Æn. lib. 8. 1. 321.
i
An Alto Relievo. JUPITER holding Bacchus to ſuck Juno as
ſhe lies aſleep. Bacchus was fabled to have been brought up in Jove's
Thigh, but here we behold on this Relievo a more probable Account
of that Tranſaction.
A
An Alto Relievo. BRITANNICUS. This and Britannicus's
Junia are of that which is called the antient red Egyptian Jaſper (Dea
aſpro Egitto) on a Ground of the antient
green
Marble.
An Alto Relievo. VENUS, and Cupid ſucking. She is ſitting
under a large rich carved Canopy. Mörs is ſitting by in rich Accou-
trements.
A Relievo. SILENUS drunk upon an Aſs, held on by two Fi-
gures ; a Boy is leading the Aſs and blowing a Bull's Horn, (likely
the firſt Trumpet) another Boy ſitting againſt a Tree playing on a Pipe,
D 2
another
:
1
I
!
A
1
1
20
A Deſcription of the CURIOSITIES
another Boy has hold of the Aſs’s Tail; at ſome Diſtance Venus is laid
down aſleep, Cupid has hold of fome Part of her Garment to cover her
therewith ; higher up is a Boy gathering Apples from a Tree; on the
back Ground is a Group of four Boys, one of them is ſitting and play-
ing on a Pipe, another is playing on a Timbrel, the other two are
Dancing.
An Alto Relievo of BRITANNICUS's JUNIA.
A Baflo Relievo. An old Greek Moſaic teffelated Work, the Pieces
of Marble of various Colours, not only flat, but riſing as the Figures;
it repreſents the Garden of the Heſperides, in the Middle is the Tree
bearing the Golden Apples, and the Dragon to preſerve them; by it
is a Rock, and Hercules with his Head and Garment girt with Golden
Faſces; at his Feet is his Quiver, &c. On the other Side lies his Club.
Ægle Daughter of Heſperus is in View; her Head adorned with Green;
cloathed with a double Garment; the inward Green, and the out-
,
ward Red, folded and looſe to her Feet, in her Left-Hand ſhe holds
a Branch with Golden Apples on it. She ſhews Beauty and Modeſty,
and he the Majeſty of a Hero, and Comelineſs of Youth. This is
very ſingular; and it is doubted whether there is any other Relievo in
Moſaic Work.
1
A Relievo of an old Man, like a Silenus, he is filling a Baſket with
Grapes.
i
The Head of REMITALCES, King of Thracia, as big as the
Life, in Porphyry.
An Alto
:
1
1
!
---
A
In WILTON - HOU s e.
21
An Alto Relievo from a Temple of Bacchus. This Work
This Work appears
to have been made in the Ages of the beſt Sculpture; and it is very
remarkable that the Thyrſus or Sceptre of Bacchus, has here the Addi-
tion of Bunches of Grapes. There is a Vine ſhooting up from the
Bottom, which is of the fineſt Sculpture.
An Alto Relievo. VENUS riding on the Sea in a Shell drawn
by two Dolphins, attended by two Cupids, above in the Clouds is her
Chariot with two Doves.
An Alto Relievo. The three GRACES; a Boy with Wings
holding up a Feſtoon.
1
!
An Alto Relievo. The Story of CLÆLIA.
The Story of CLÆLIA. The River Tyber,
and Romulus and Remus playing with the Wolf on its Banks. This
celebrated Inſtance of Female Fortitude is thus mentioned by Valerius
Maximus. At the ſame Time that Horatius Cocles bravely defended
the Sublician Bridge over the Tiber againſt the Hetrurians, Clælia a
Roman Virgin immortalized herſelf againſt the ſame Enemy and on
the Tiber. Being given up with others to Porſenna as Hoſtages, ef-
caping the Guard under covert of the Night, the mounted on Horſe-
back, ſwam acroſs the River, and by this bright Inſtance of heroic
Virtue inſpired her Countrymen with ſuch Courage as freed them
from a Siege and the Fear of the Enemy. There are thirteen Women
and four Horſes.
1
1
0
An Alto Relievo. EUROPA on the Bull, his Feet end in Finns;
there are four other marine Deities aſſiſting at the Rape.
An
1
i
22
A Deſcription of the CURIOSITIES
An Alto Relievo. GALATÆA riding on the Sea in a Shell
drawn by two Dolphins. There are three other Figures.
An Alto Relievo. Two CUPIDS and four other Boys at play.
An Alto Relievo. A Boy on a Sea Horſe, blowing a Concha or
Shell Trumpet.
1
An Alto Relievo. DIANA with her Favourite Stag, and two
Dogs aſleep.
::
An Alto Relievo of eight Figures, beſides a Dog and a Goat.
An Alto Relievo. ARIADNE and THESEUS. There are
two other Figures and two Horſes.
1
A
very
antient Conſular Chair, called SELLA CURULIS; the
Back is in three Parts; the middle Part is in the Shape of a Term; on
the Top is a Bifrons; the Faces are of a young Man and
Man and a young Wo-
man, as the Genii of Rome; there is an Iron goes through the Shoul-
der Part of the Term, which gradually flopes down about ſix Inches,
and is there faſtened to the Tops of the other two Parts, which are
of Braſs (as is the Term alſo) ornamented with Silver, the two Fore-
Legs are Iron; the Seat is thick old Board.
In the Gallery of this Hall, are five Suits of Armour: That in
the Middle was William Earl of Pembrokes, the other four and the
Parts of five more Suits in the oppoſite Parts of the Hall, were taken
from
3
:
.
- v
1
!
.
-
-
1
In WILTON-HOU se.
23
from the noble Perſons, on the following Occaſions. This Earl in the
Reign of Queen Mary, was Captain-General of the Engliſh Forces
at the Siege of St. Quintin, in 1557; at which Siege were taken Pri-
ſoners the Conſtable Montmorency, Montheron his Son, with the Dukes
of Montpenher and Longueville, Lewis of Gonzaga (afterwards Duke
of Nevers) the Marſhal of St. Andre, Admiral Coligny (who was af-
terwards murdered at the Maſſacre at Paris) and his Brother, not to
mention Fohn de Bourbon, Duke of Anguien, who was found dead
among the Slain.
the Slain. Here are alſo ſome of the Weapons which were
taken at the fame Time.
A Picture of the above-mentioned Earl of Pembroke.
}
1
By HANS HOLBEIN:
A Picture of Capt. Bernard.
By J. E. ECCARD.
A Colofs Statue of HERCULES. His Action is to ſhew fome
of his Labours; he looks with an Air of Satisfaction that he has com-
paſſed the taking of the Golden Apples, Three of which he thews in
one Hand. This is not in a reſting Pofture as that of Farneſe; it
was judged to be very curious, and executed by one of the beſt Sculp-
tors of the oldeſt Time.
of
:
.
1
.
24
A Deſcription of the CURIOSITIES
1
Of the Tomb.
I ſhall here Tranſcribe the Account given of it by Father Mont-
faucon, when it was in the Poſſeſſion of Mr. Foucault.
The Monument that follows, is one of the fineſt and moſt in-
ſtructive that has been ever ſeen : The Excellence of the Work, and
correctneſs of the Deſign, would eaſily inform us it muſt be a Piece
of ſome Greek Artiſt, even though the Place where it was firſt diſ-
covered did not. It was a Tomb near Athens, and was diſcovered by
ſome Travellers, who brought it over into France and preſented it to
Cardinal Richlieu ; but the Cardinal dying in the mean Time, it came
into the Hands of one of the Family of Roſtaing, and from that into
M. Foucault's.
The Tomb is of white Marble, fix Feet four Inches long, and two
Feet broad, and about the ſame Height taking in the Cover, which is
about two inches and a Half thick ; the Cover is raiſed about one Foot
higher before, and is adorned with ſome Figures in Baſs-Relief, which
relate to the Hiſtory repreſented below, as we ſhall take Notice of
hereafter. The inner Superficies of the Tomb is plain, with a Riſing
of about one Inch in the Place where the Head of the deceaſed ſhould
feft.
1
This
A
:
1
a
In WILTON-HOU'S E.
25
is.
This is the Epitaph.
O.K.AYPHAIW. EilAPP 04EITW
. €
CYMBIWANTWNIA BALEPIA
EOHKE.
1
3
That is, To the Gods the Manes. ANTONIA VALERIA hath
made this Tomb for AURELIUS EPAPHRODITUS her Hus-
band.
+
7
M. de Boze, Secretary of the Academy of Belles Lettres, a ſkilful
Antiquary, hath given a very ingenious and learned Explication of this
Monument, of which, we ſhall here give an Abſtract.
CERES, angry for the Rape of her Daughter, (eſpecially becauſe
the Gods had confented to it,) reſolved to lead a wandering Life among
Men, and for this purpoſe aſſumed a human Shape. She came to the
Haven Eleuſis, and lat herſelf down on a Stone. Celeus, King of the
Eleuſinians, perſuades her to come and lodge in his Houſe. His Son
Triptolemus, then an Infant, was Sick, and for want of ſleep was re-
duced to the laſt Extremity. Ceres, at her Arrival kiſſed him, and
by Virtue of that Kiſs only, reſtored him to Health; not content
E
with:
1
A
Loco
26
1
..
A Deſcription of the CURIOSITIES
with doing this, ſhe takes Care of his Education, and deſigns to
make him immortal; to this End ſhe nouriſhed him by Day with her
own divine Milk, and by Night puts him under hot Embers, in order
to burn away all that was terreſtrial in his Body. The Infant grew
ſo faſt, that his Father and Mother Metanira were curious to ſee what
was done to the Child; Metanira ſeeing Ceres juſt going to put the
Child into the Fire, cryed out, and interrupted the Goddeſs in her
Deſigns; then ſhe declared who ſhe was, gave Triptolemus a Chariot
drawn by two Dragons, and ſent him through the World to teach
Mankind Agriculture, and gave him Corn for that Purpoſe. The
Eleufinians, who were the firſt that applied themſelves to Agricul-
ture, inſtituted a Feaſt in Memory of it; and the Goddeſs herſelf
regulated the Ceremonies, and appointed the four principal Men
of the Town, Triptolemus, Diocles, Eumolpus, and Celeus to preſide
over them; and this Inſtitution of the Rites called Eleuſinia, is the
Thing repreſented on the Tomb of Epaphroditus.
pears here ſitting, and like an old Woman, but her Age takes nothing
from the Majeſty proper for a Goddeſs, Her Head-dreſs ends
in a Peek, ſomething raiſed before ; and half her Head is covered
with a Veil, the uſual Dreſs of the Goddeſſes and Empreffes. The
Stone, on which the ſits, repreſents that on which Celeus found her
fitting, and oppreſſed with Grief. The Serpent is frequently pic-
tured with Ceres, the Goddeſs holds a crooked Staff in her Hand
that is a Sceptre, and which we find repreſented longer, and more
ſtrait in other antient Monuments. The four Perſons about Ceres,
are Celeus and his family. He appears at a Diſtance from the God-
deſs, but his Daughter nearer, Metanira is there too, they both
have
porno
Ceres ap-
-
"
!
In WILTON-HOU S E.
27
1
have Ears of Corn in their Hands, becauſe they were the firſt ac--
quainted that ſhe was a Goddeſs.
1
S
Triptolemus is mounted in his Chariot, with a Cloak or Pallium over
his Shoulder, rather to hold the Corn he is going to low, than to
cover himſelf.
The Chariot is drawn by two Dragons a-breaſt.
Beyond Triptolemus's Chariot, two Women are pictur'd with Torches
in their Hands ſuch as were uſual for Women to bear at the Ceremonies
of this Goddeſs. The Man between theſe two Women is Eumolpus, one
of the Perſons appointed by Ceres to preſide at her Myſteries; and in
whoſe Family the Prieſthood continued for twelve hundred Years.
The Hierophanta, of this Family of the Eumolpida, were obliged to ,
Celibacy. Eumolpus leans one Hand on one of the Women's Shoul-
ders, and the other Hand on the other Woman's Shoulder. The
Child holding Ears of Corn in his Hand, denotes that Ceres's Gifts-
are of every Age, and that even Children were initiated into her Myſ-
teries. The Woman laſt in this Piece holds a Sickle in her Hand, an
Inſtrument the Pagans believed they owed to Ceres, as alſo all others »
uſeful in Agriculture.
1
1
7
1
!
This is all the Goddeſs's Company on one side, but behind her:
there are other Figures. Bacchus, the firſt of them, leans negligently
on Ceres's Shoulder, and touches a Vine full of Grapes with his other
Hand, the Crown of Vine Leaves which he wears, leaves us no ;
room to doubt that it is Bacchus; Ceres and Bacchus are ſo frequently
joined together in the Myſteries as well among the Romans, as the
Greeks and Sicilians, that it is not at all ſtrange to meet them together.
in this Monument. On the Side of Bacchus a Man ſtands with his .
Hair in a Knot upon his Forehead, and his Habit tied up twice with :
his:
1
E2
1
1
28
A Deſcription of the CURIOSITIES
his Girdle, holding a Whip in one Hand, and with his other ſeiz-
ing the Reins of Horſes in a Chariot in Order to ſtop them. It is
probable this is Diocles, one of the Four that Ceres had appointed to
preſide at her Feaſts; and what further ſupports the Conjecture is,
that Homer, when he names theſe four Perſons in a Hymn, calls Dio-
cles the Guider of the Horſes. Beſides, ſince we have ſeen, Celeus,
Eumolpus, and Triptolemus, three of theſe four Perſons in the Com-
pany, can we think Diocles would be om ited? The Figure that
drives the Chariot is Proferpine or Diana, the Moon according to
Mythologiſts, and who is frequently called by the Poets Triple Hecate,
with Reference to the different Offices the performs under different
Names in Heaven, in Hell, and on Earth. It may be
be proved by ſuf-
ficient Authorities, that Proferpine partook of the Myſteries of her
Mother Ceres. The Bacchanalian under the Chariot of Proferpine,
hath laid herſelf there, tired with long Dancing, as was uſual in all
Grecian Rites and Myſteries.
This is the Explanation of the principal Face of the Tomb. We
come now to that of the Cover or Lid, which exhibits the four
Seaſons of the Year, repreſented by a like Nuinber of Women; the
Diverſity of their Crowns and Habits, and the different Fruits they
hold, together with the Children or Genii with them, do accu-
rately expreſs the Variety of the Seaſons. The Artiſt hath not placed
the Figures in the ordinary Situation, but in an Order that makes a
fine Contraſt in the whole, and gives more Force and Spirit to the
Compoſition. Summer and Winter Seaſons, oppoſite to each other,
are repreſented by two Figures, one at each Extremity; the one lying
down, leaning from the Right towards the Left, the other from the
Left towards the Right; and between both of theſe, the Spring and
the
In WILTON-HOUS E.
29
1
the Autumn are placed, as partaking equally of both thoſe Seaſons.
The four Genii are placed in the ſame Order. The Summer is pic-
tured at one Extremity lying down, leaning from the Right towards
the Left, half naked, crowned with Ears of Corn, and touching
others, which are tied up together in the Cornucopia. The Ge-
nius by her, touches the ſame, and holds beſides, a Reaping-Hook in
his Hand, denoting the Seaſon of Harveſt.
The Winter, at the other Extremity, lies down, leaning from the
Left towards the Right, in the Figure of a Woman cloathed well,
and her Head covered with Part of her Robe, ſhe ſtretches out her
Hand over ſome other Fruits. The Genius before her hath no Wings,
ſeems to be cloathed warm, and holds a Hare, becauſe Hunting is the
only Exerciſe of the Field in this Seaſon.
Autumn turns towards the Summer, is crowned with Vine-Twiſts
and Bunches of Grapes; ſhe touches the Vine-Leaves with one Hand,
and her little Genius places Grapes in her Cornucopia.
Laſtly, that Part of her Body which is next to the Summer is naked,
and that next the Winter cloathed.
The Spring, with her Back joined to Autumn, is repreſented in the
Figure of a Woman crowned with Flowers, with her Cornucopia,
which a Genius holds, filled with the ſame. Her Foot, which ſhe
extends towards Winter, hath a Covering on, and that Part of her
Breaſt only is naked which is turned towards the Summer,
1
A
The
1
1
30
A Deſcription of the CURIOSITIES
The Torch which is pictured on both the ſmall sides of the Tomb,
is ſo frequently repreſented in Funeral Monuments that it is ſufficient
to convince us they were as much in Uſe at the Funerals of thoſe Times,
as they are in theſe of the preſent Age. The two Griffins and the Tripos
are the Symbols of Apollo, whoſe Head is pictured at each End of the
Tomb, denoting him to be the Tutelar God of Epaphroditus.
There ſtands, upon this Tomb, a Coloſs Buſt of ALEXANDER
the Great, of the beſt Greek Sculpture; MEDUSA's Head is on the
Breaſt-Plate, and a Lion's Face appears on the Helmet, which has a
particular Creſt on it.
1
Under the Tomb läſt mentioned.
A little Statue of a crouched BACCHUS.
A finall Tomb, ſuppoſed for Children : There are two Cupids on
the Front, ſupporting a Circle which projects; under the Circle are
two Baſkets lying Sideways, with Fruit in them;' a Lion at each Baf-
ket, as going to devour the Fruit: At the Ends.of the Front are alſo
two Cupids, they look very ſorrowful, with one Hand upon their
Breaſt, the other Hand holding a Torch with the lighted End down-
ward. There is a Griffin at each End of the Tomb. A Statue of
Cupid lying aſleep upon the aforeſaid Tomb. Another Cupid look--
ing on him.
1
The Statue of MERCURY, with all his Symbols, his Petaſus,.,
or winged Cap ;; the Talaria, or Wings to his Feet ; his Wand ,
with the two Sèrpents about it, which they call his Caduceus, an
2. Purſe, in his Hand. Theſe Attributes denote his Employment,
that
1
:
w
!
.
t
1
In WILTON-HOU S E.
31
that of Meſſenger of Jupiter and the greater Deities.
His Cap
is the fame which the Servants of old wore: The Wings to it might
be taken off, and from Plautus's Amphitryon we learn, that fome-
times there were only twa Feathers ſtuck in it. The Roman Meffen ,
gers generally Ituck a Feather in their Caps, and often in the Letter
itſelf, as may be obſerved from the fourth Satire of Juvenal. On
Gems we frequently fee his Chlamys floating behind him in the Air.
By the flying back of the Drapery, the Artiſts mark the motion of a
Perſon going on ſwiftly.
SATURN, with a Child. fmiling on his Hands as it looks up at
him; not as ſome, (eſpecially of the Moderns) who have made a cruel
Spectacle, by repreſenting him as actually eating the Child. This
Fiction, according to Le Clerc in his Remarks on Heſiod, was foun-.
ded
upon a Cuſtom Saturn had of baniſhing or confining his Children,
for fear they ſhould one Day rebel' againſt him.' The Stone, which
he is ſaid to ſwallow, was founded on the double Meaning of the
Word Aben or Eben, which in the Phenician Language ſignifies both
a Stone and a Child; and only means that Saturn was deceived by
Rhea's ſubſtituting another Child in the Place of Jupiter.
1
1
+
The Statue of JUPITER AMMON from Thrace, not only with
Rams Horns, but with a Ram on his Shoulders; it came out of the
Temple, ſaid to be built there by Sefoftris. The preſent Biſhop of
Gloceſter has proved the very remote Antiquity of Egypt, and that
Civilization was thoroughly eſtabliſhed there ſo early as the Days of
Abrahami. Nevertheleſs their Wiſdom and great improvements
in every Art and Science, did not prevent their lapfing into
the groffeſt Idolatry; they adored the vileſt Animals with an Exceſs
of Superſtition. As Greece was peopled from thence by three Colonies,
led
1
!
1
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32
A Deſcription of the CURIOSITIES
I
led at different Times by Cecrops, Cadmus and Danaus, ſo they intro-
duced the religious Sentiments of their Country, and among others, the
Adoration of Jupiter Ammon, who is here repreſented with Ram's
Horns, and a Ram on his Shoulders, which Animal was worſhipped
by the Egyptians, and by them made one of the Signs of the Zodiac.
>
.
The Statue of BACCHUS clad with an entire Skin, the Head of
which appears on the Breaſt; his Sandal is fixed in a Manner differ-
ing from others.
A Shepherd playing on the Flute, admired for the Action of his
Fingers; a Goat ſtanding by him.
The Foſter Father of PARIS, with the Phrygian Bonnet and
Shepherd's Coat of Skins.
1
The Buſto of PTOLEM Y, Brother of Cleopatra,
The Statue of DIA NA; fhe has a Creſcent on her Head, holds
Part of a Bow in her Left-Hand, and takes an Arrow with her Right-
Hand out of her Quiver. This is the Diana Venatrix, or the Goddeſs
of the Chace, with the Symbols relating thereto. She is, by the Poets
and Artiſts, repreſented with a Bow and Arrows, a ſhort Tunic bound
Thus Ovid.
cloſe up.
Talia. ſuccin&ta pinguntur crura Diana,
Cum ſequitur fortes fortior ipfa feras.
Dogs often accompany her, as may be ſeen on a Relievo in this Cola
lection. By the Creſcent on her Forehead, ſhe is ſuppoſed to direct
the Planet of the Moon. This Lunar Crown is very common on
Gems and Relievos of her.
the
A
In WILTON-HOU & E.
33:
The Buſto of MARTIN FOLKES, Eſq; of Hillington in Nor-
folk, and Preſident of the Royal Society in the Year 1749;
BY ROUBILIAC:
1
She holds a Roll, as preſiding
1
The Statue of CLI the Muſe.
over Hiſtory.
The Buſto of A SPASI A. This Lady was celebrated for her.
Learning and fine Genius. Socrates and the other Athenian Philoſo-
phers attended her Lectures on Rhetoric. Her Influence over Pericles
was ſo great, as to force him to make War on the Samians, to favour
the People of Miletus, who claimed the City Priene. There was
another. Aſpaſia, Concubine to Cyrus, and afterwards to Artaxerxes
his Brother. Ælian hath written her Life.
The Buſto of DOL ABELLA..
The Statue of the Father of Julius Cafar, when Governor in
:
Egypt.
The Buſto of Sir ANDREW FOUNTAINE.
By ROUBILIA C..
The Statue of PLAUTILLA, the Wife of Caracalla, dreſs'd like.
Diana the Huntreſs.
The Buſto of CORIOLANUS.
1
E
7
.
-
--
--
1
..
34
A Deſcription of the CURIOSITIES
THE OLD
-
B I L LI AR D-RO O M.
HE Statue of BACCHUS, very fine antient Sculpture,
adorned in a particular Manner with Poppies; the Poppies hang
as a Belt from both Shoulders as low as the Knees.
---
The Buſto of TITUS LIVIUS.
The Statue of POMON A fitting; the Cuſhion ſo naturally cut
as to appear ſoft.
The Buſto of M. JUNIUS BRUTUS, who ſtabbed Julius
Cæfar. It is of the beſt Sculpture.
The Statue of MARCUS ANTONIUS, the Orator; very
much admired, His right Arm is bare, as antiently was uſual with the
Roman Pleaders. The Drapery of his cloathing is well diſpoſed and
executed, and the Air of his Countenance has all that Livelineſs which
is attributed to him by antient Writers.
.
LUCILLA JUNIOR, Wife of Lucius Verus.
HERCULES killing the Serpents, which were ſent to deſtroy
him in his Cradle, Artiſts have ſhewn great Fancy in the various
Ways
1
'i
1
In WILTON-HOU S E.
35
.
Ways of repreſenting this Story. Sometimes the young Hero has a
Smile on his Face, as if pleaſed with the Colour and Motion of the
Serpents, and ſometimes the Steadineſs and ſtrong Gripe of the Infant,
are expreſſed as here.
The Buſto of LABIENUS PARTHICUS.
The Statue of VENUS, ſtanding in an eaſy. Poſture, holding a
Vaſe which ſhe has emptied, reſting her Arm on a Pillar.
The Bufto of NERVA.
1
The Statue of HERCULES wreſtling with ANTEUS;. he raiſes
him from the Ground, agreeable to the Story, that if he touched his
Mother Earth he would have regained Strength.
1
The Buſto: of CÆLIUS CALDUS:
The Buſto. of MARCIA OTACILLA, Wife of Philipa
On a: Pedeſtal
Young BACCHUS ſmiling, and Grapes growing up a Tree. .
.
A Statue of CERES; The holds a Cornucopia in her Right-Hand' ;;
iner Left a Poppy, and ſome Ears of Corn; ſhe invented. Agri-
culture, and firſt introduced the Uſe of Wheat; Mankind: before:
living on Acorns, and the ſpontaneous Produce of the Earth..
F 2
Thes
1
1
.
!
1
:
3:6
A Deſcription of the CURIOSITIES
A
The Statue of ADONIS: He was an Idol of Syria, and the ſame
as Thammuz; the Lamentation of whom is condemned by the Prophet
Ezekiel. He is repreſented as a very beautiful Youth, and is ſaid to
have made Gardens pleaſant by pruning. Here he has a pruning Knife,
hence the Proverb, Adonidis Horti.
.
The Buſto of MATID I A.
The Buſto of GRYPHINA, Daughter of Ptolomy Evergetes.
/
S T A-
1
:
....
0
.
--
In WILTON-HOUŠ Ė.
37
3
STATUES and BUSTOS
IN THE
:
White Marble-Table Room.
The Headly if in a Petition bending on the Lege od 9
1.
HÉ Statue of ISIS: She has the Flower of the Lotus on
her Head; is in a Poſition bending, and her Legs and Arms
appear round, not as commonly in Egyptian Statues, which are ſtrait
and formal, ſhewing only the Feet. This was reckoned the oldeſt, and
by the Mazarine Catalogue the only one known with that Improve-
ment. It is a Group, holding betwixt her knees, OSIRIS her
Huſband, in a Coffin open, in one of whoſe Hands is a Paſtoral
Staff, This was the antient fatherly Sceptre, and anſwers to the Cro-
ſier with the Clergy. In the other Hand he has an Inſtrument of
Diſcipline like a Whip, the Symbols of Power to protect and puniſh.
On his Head is the antient Diadem or Mitre, being Triple, yet not
as the Pope's Crown, but rather like the Mitre of Biſhops, only with
three Points inſtead of two at t': Top,
ORUS, her Son, is about her Neck. Theſe were the inoſt an-
tient Divinities. There are numerous Hieroglyphicks round the Bot-
tom, and behind the Statue, which at any Time may be taken off, by
applying to them ſtiff Paper moiſtened, and preſſed with a Bodkin.
One Mr. Pulleine, my Lord informs us, was the airſ who practiſed
this Manner at Rome, and from him the celebrated Antiquary
Fabretti learned it. The latter took off a Port-Folio of Hetrufcan
Inſcrip-
::
!
1
38
A Deſcription of the CURIOSITIES
Inſcriptions, which he made a Preſent of to our Royal Society. The
Statue is of Theban Iron Stone, ſo called, becauſe of the Colour; it
is heavier and harder than Marble.
V
The Buſto of HESIOD.
The Buſto of PHÆDRA..
A white Marble Table, ten Feet and eight Inches long, four Feet
and fix Inches wide, four Inches thick. On it is a dying Gladiator.
BY VEREPOIL.
:
i
:
NEW
.
In WILTON-HOUSE.
39
NE W
DINING-ROOM
.
A
FRIAR and NUN.
2. BY ALDEGRAAF.
A NATIVITY.
3. BY TRIGA.
.
The late Duke of MARLBOROUGH.
By REYNOLDS.
A FRUIT PIECE.
BY MICH. ANGELO dalla Battaglia.
A LANDSKIP.
.
BY ZUCCARELLI.
JUPITER, CUPID, and PSYCHE.
3.
By GIUSEPPE ARIGONI.
A Draw-
:
--
1
40.
A Deſcription of the CURIOSITIES
A Drawing of the late Lord and Lady Pembroke.
By REYNOLDS.
A Copy of Mich. Angelo's
. BACCHUS,, in the Florentine Gallery.
BY GORI.
A Compofition, callid S.CALIOLA,
A LAND-SKIP.
By E. WILSON..
Three of DIANA’s Nymphs bathing, Acteon looking at them.
5: By GIUSEPPE DEL SOLE.
Commodore HERVEY.
By REYNOLDS.,
i
A Boy gathering Fruit.
2. By MICH. ANGELO Pacci di Campi Doglio.
A FLOWER PIECE,
By Mrs. CERJAT.
Our SAVIOUR in the Temple.
By SALVIATI.
An old
6
.
.
1
1
:
In W I-LT
WILTON - HOUSE,
41
An old Woman reading.
3.
;BY REMBRANDT.
:
A Herdſman and Cattle, big as the Life.
2. By' ROSA DI TIVOLI..
A LANDSKIP..
BY VERNET.
A Winter Piece.
4. BY JANS. BRUGEL VELVET.
A LANDSKIP with Hagar, Iſhmael, and the Angel.
1
3:
By NICH, AND GASPER POUSSIN..
Two whole Lengths of two Kings of France, Francis II. and
Charles IX..
BY FRED. ZUCCHERO..
.
Fiſh, and an old Woman feeding her Càt. .
4:
By: SNYDER..
:
A Carpet and Boar's Head.
2. BY MALTESE..
G:
A Winter
1
:
I
:
!
42
A Deſcription of the CURIOSITIES
A Winter Piece.
1
4. BY MUMPER AND BRUGEL.
A Fair.
--
3. BY JANS. BRUGEL VELVET.
ܢ
CHRIST in the Virgin's Arms; three Angels looking on.
3. BY CARLO MARATTI.
Three Children of King Henry VII. Arthur Prince of Wales;
Henry about three Years old, who was afterwards King Henry VIII.
and Margaret who married the King of Scotland.
?
6
4. By HANS HOLBEIN, the Father,
A Country Boy as big as Life, with a Bird's Neſt in his Hand; at
a Diſtance a Cow bemoaning her Calf.
4. BY ANT. AMOROSI.
-
CUPID giving a Boy ſome Fruit and Flowers.
A
BY CAR. DI FIORI.
A FLOWER PIECE.
BY MRS. CERJAT.
The
1
In W ILTON-HOUSE.
43
/
The Duke of Epernon on Horſeback.
t
BY VANDYKE.
The Rev. Mr. Woodroffe..
BY HOARE or Bath.
BACCHUS on an Altar in the Wood, many Figures about it:
celebrating his Myſteries, and ſhewing great Spirit in different Porn
The Light darts through the Wood in a pleaſing Manner.
tures.
1. By SALVATOR ROSA.
The late Sir ANDREW FOUNTAIN.
By: HOARE of Bathi.
The VIRGIN, and our SAVIOUR, JOSEPH looking on
.
2. By GUERCINO.
BACCHUS and ARIADNE.
By: FRAN, MOLAS..
NYMPHS Dancing, and differently employed.
By: WATTEUX..
Thirty of the chief Reformers; their Names are on a Stone in the
Bottom of the Landſkip. Wickliff is ſuppoſed to be the Preacher ;;
the.
G 2
&
V
1
44
A Deſcription of the CURIOSITIES
the Biſhops are in Purple, the Prieſts in Black, and the Martyrs in
White, diſtinguiſhed by Purple and Black about their Necks.
By a Diſciple of CAR. MARATTI.
The Buſto of CURIUS DENTATUS.
The Buſto of OTHO, very rare; the firſt who wore a Peruke.
The Bufto of Thomas Earl of Pembroke, who collected all theſe An-
tiques.
The Buſto of Lord VERULAM.
The Buſto of Sir ISAAC NEWTON.
Two Red Egyptian Granate Tables.
F.
I.
4
Il 7 each.
Long,
Wide,
;}
3
-7
1
1
.
THE
!
In WILTON-HOU S E.
4:5
Τ Η Ε
$
BILLIARD - RO O M.
T
HE Buſto of PLATO, of great Antiquity and moſt reverend
Aſpect.
The Buſto of ANACHARSIS, a Scythian Philoſopher who
came to Athens, where he was greatly eſteemed. The Head of this
Buſto is bald, as Hiſtorians ſay the Scythians were.
Over a Marble Chimney-piece of Inigo Jones is a ſmall Statue of
Apollo, with all his Symbols. His Attitude is eaſy and very genteel ;
he ſeems to lean on one of the Horns of his Lyre, which is placed on
a Tripod; round the latter'a Serpent twiſts himſelf. Over the right
Shoulder of the God is ſeen his Quiver, and his Head is adorned with a
Laurel Crown. All theſe Attributes mark his Preſidence over Poetry,
Muſic, Divination and the Chace.
The Workmanſhip of this Statue deſerves the greateſt Applauſe,
though ſomewhat injured by Time, the Traits are moſt beautiful, and
the Sculpture of the very beſt Ages.
The Buſto of MARY FITZ-WILLIAM Counteſs of Pembroke.
A ſmall Statue of ORPHEUS, with his Symbols.
The Buſto of SOCRATES.
The Bufto of ARISTOTLE.
"The
1
46
A Deſcription of the CURIOSITIES
The Buſto of HOMER..
+
The Buſto. of SE NECA.
A Statue of CU PID; with a Phrygian Bonnet on his Head, and
his Hands tied behind him. From this Statue we may obſerve, that
before Sculptors were numerous in Greece, there were ſome good
Pieces, executed. The little God ſhews in his Countenance a. Senfi-.
bility of his Condition, though by no Means a Sullenneſs. He has.
no Wings, as the Antients. had no Notïon of the Inconſtancy of
Love.
1
The Buſto.of PLOTINA, Wife of Traján,
A very fine Greek Statue of a River, repreſented by a beautiful
NAID: (or. River Nymph) ſleeping on the Bank, with a genteel
Turn of her Body, the Linen covering her very decently.. This is.
probably the River called in Scripture the River of Egypt, tranſlated
in the Septuagint: Rhinocolura, and is the Boundary between Egypt
and Paleſtine. In the Front, a Bird holds a Lizard by the Tail :.
It has a Tuft of Feathers on its Head, and is like a ſmall ſpeckled
Bird in Egypt, almoſt as large as a Dove, which is called Ter Chaous,,
i, e. the Meſſenger Bird; it ſpreads the Tuft of Feathers on its Head
very beautifully, when it alights on the Ground. Another Lizard is.
going away, and a Snail is near it, exactly like the Snail of Paleſtine..
A Bird like a Duck, has a Serpent in its Mouch..
1
The Buſto of ASINIUS POLLIO.
The
>
1
.
1
In WILTON-HOU S Ê.
47
The Statue of a Boy holding up the Golden Apple in his Right-
Hand.
The Buſto of ANACREON.
A Bifrons of an old Man and Woman.
A Bifrons of two young Women, their Countenances are different,
as well as their curled Locks; one has a Diadem, the other a triple
Contexture of her Hair elegantly tied.
A Figure Recumbent, leaning on a Sea-Dog and repreſenting the
River Meander,
The Bufto of DOMITIANUS.
The Statue of ANDROMEDA chained to the Rock,
The Buſto of PHOCION, the famous Athenian General:
The Buſto of ISOCRATES,
..
The Buſto of SUL PITIA, the Poetreſs; the wrote a Satye on
Domitian's baniſhing the Philoſophers from Rome.
't
The Buſto of LIBERTAS.
S
The Buſto of DOMITIA.
On the
-
}
-
!
4:8
A Deſcription of the CURIOSITIES
On the Window in the Chapel are painted.
WILLIAM, Earl of Pembroke, and his two Sons, Henry and
Edward. Henry, the Eldeſt, who ſucceeded his Father, married Mary,
Siſter to Sir Philip Sidney, by whom he had two Sons William and
Philip; William, in the Reign of King Charles the Firſt, was Lord
Steward; Philip ſucceeded him in the Earldom, and was Lord Cham-
berlain to King Charles the Firſt. Edward the youngeſt, was Anceſtor
of the Powis Family. In another Pannel is the Counteſs of Pembroke,
who was Ann Parr, Siſter to Queen Catharine, the laſt Wife to King
Henry VIII. There is with her their Daughter, whoſe Name was
Ann, married to Francis, Earl of Shrewſbury..
1
The Buſto of LIBERA, the Female Divinity of Intemperance..
Views of Lincoln's-Inn-Fields, and Covent-Garden.
5
By SCOT
The Picture of VAN DYK E.
BY HIMSELF.,
?
1
1
THE
.
In WILTON-HOUSE.
49
THE
1
1
H U N T I N G ROOM.
.
i
HE Bufto of JULIA, incomparably fine Greek Sculpture,
and (as ſeveral others in this Collection) of Parian Marble. She
was Wife to Agrippa, Daughter of Scribonia, third Wife to Auguſtus,
from whom he was afterwards divorced, when he married Livia Dru-
filla, with whom he lived happily. She however procured the
Death of his Grandchildren, Caius and Lucius, the Sons of this Julia,
to make Way for Tiberius, one of her own.
The Buſto of ANTONIA, Wife of Druſus the Elder. The.
Linen of this Buſt is very natural.
The Buſto of ALEXANDER SEVERUS.
The Buſto of BERENICE, the Mother; her Hair in a particu.
lar Manner.
The Buſto of BERENICE, the Daughter.
1
The next are two Statues, then proceed on with the Bufts.
1
The Statue of FAUNUS, finely twiſting his Body, by looking
down over his Shoulder at his Leopard.
BY CLEOMENES..
H
The
1
A
A
50
A Deſcription of the CURIOSITIES
The Statue of CUPID, when a Man, breaking his Bow after he
had married Pſyche. Apuleius after giving an elegant Relation of
the Loves of Cupid and Pſyche, concludes with this Account of their
Marriage.
« Immediately the nuptial Supper was prepared. Cupid reclined
“ on the higheſt Couch, and embraced Pſyche in his Boſom ; the reſt
" of the Gods ſeated themſelves in Order. Ganymede, Jove's Cup-
“ bearer, ſupplied them with Celeſtial Nectar, as did Bacchus. Vul-
can was Cook; the Hours ſtrewed Roſes and Flowers, thé Graces
ſprinkled the moſt odoriferous Balſams, the Muſes played on their
* various Inſtruments, and Apollo fang to his Lyre, beauteous Venus
danced, and the woodland Deities joined in the Chorus. In this
“ Manner was the Marriage of Cupid and Pſyche celebrated, from
" which, in due Time, ſprang a Daughter, whom we Mortals call
Pleaſure."
BY CLEOMENES.
.
..
A
The Buſto of JULIA, Daughter of Titus.
.
The Buſto of ANNA FAUSTINA, third Wife of Heliogabalus;
very
fine, like that of Antonia.
The Buſto of M AGO, the famous Carthaginian. . Scipio would
not burn Carthage till he had ſecured the Book which Mago had writ-
ten of Agriculture; the Subſtance of which is ſtill preferved in the
Writings of Cato, Varro, and the other Authors : dè. Re Ruſtica.
The Buſto of TI TU S.
The
!
1
.
.
In. WIITON - HOU S: E.
5.4
The Buſto of FAUNU S.,
The Buſto of JUPITER.
1.
The Buſto of TULLI A.
On a Table of antique Oriental Alabaſter, ( Alabaſtro Orientale) of one.
ſolid Piece, of great Value.
A GROUP: CUPID and GANYMEDE: Ganymede is fitting,
and reſting againſt the Stump of a Laurel; the Leaves ſhew that it is
an Alexandrian Laurel, the ſame as we ſee on antient Medals, not the
ſtiff, large leaved Laurel, which adorns modern Kings in their Coins,
from a Miſtake of what the Antients uſed. It is rare to ſee the diſtinct
Form of ſeven Pipes as here expreſſed. Cupid is very attentively look-
ing on, and reaching his Hand out towards the Pipes, as if to inſtruct
Ganymede how to play.
On the Pannels of the Wainſcot are painted eighteen different Sorts.
of Hunting
BY TEMPESTA, Junr..
1
+
J
பாடாயாமம்
Laporu
A
H 2
BU SE
-
1
1
52
A Deſcription of the CURIOSITIES
BU S T OS
A N D
S T
A T U E S
IN THE
C U B E R O O M.
T
HE Buſto of MASSINISSA, King of Numidia, with the
African Bonnet on his Head, and the Head of Meduſa and the
upper Parts of two Dragons on his Breaſt-Plate ; between the Dra-
gons is a Plant, probably the Silphium, for which Numidia was famous.
The Buſto of AVENTINUS, Son of Hercules; the Head of a
Lion's Skin making the Covering for his Head, and the two fore Paws
tied in a Knot upon his right Shoulder; an elegant Performance.
The
Peculiarity of this Hero's Dreſs agrees with the Deſcription Virgil has
given of him in the ſeventh Æneid:
:
1
0
Great AVENTINUS great Alcides' Son,
Wore the proud Trophy that his Father won.
He ſtalk'd before his Hoft, and wide deſpread
A Lion's Teeth grinn'd borrid o'er bis Head;
+
Then
1
1
1
j
--
.
In WILTON-HOUSE.
53
Then fought the Palace in a ſtrange Attire,
And look’d. as ftern and dreadful as his Sire.
Pitt, B. 7. L. 838.
i
The Buſto of DIDIA CLARA, Daughter of the Emperor Didius
Fulianus, with a Bracelet on her Arm. Her Right-Hand is holding
up Part of her Cloathing; two little Cupids at the Bottom of the Buſto.
The Buſto of APOLLONIUS TYANÆUS. It is lively in
the Attitude, with his Arm tucking his Garment about him. When
it was firſt ſold at Valetta's Sale, a Gentleman gave upwards of 2701. for
it. There were then in the South-Sea Time ſeveral Antiques ſold for
above 2001. each, as the Homer which the Emperor Conſtantine got
from Smyrna; Horace, the Poet, of Porphyry; Cicero, of Touchſtone;
and Julius Cæſar, in Oriental Alabaſter, which Thomas Earl of Pembroke
afterwards bought.
1
1
The Buſto of POPPÆA, Nero's ſecond Wife: Her Right-Hand
is holding up Part of her Garment; the Plaiting and Dreſs of the Hair
very ſingular.
The Buſto of SEMIRAMIS; at the Bottom of the Buſt are two
little Cupids. Semiramis, ſays Valerius Maximus, was Queen of the
Affyrians; while ſhe was dreſſing her Head, it was told her that Ba--
bylon had rebelled: Whereupon ruſhing forth with one Part of her
Hair tied up and the other looſe, ſhe attacked the City, nor did the
attend to her Dreſs until ſhe had reduced it to Obedience. Agreeable
to the preceding Account, a Statue of her was erected in Babylon.
POL Y ÆNUS relates much the ſame of Rhodo-
guna,
1
!
!
54
A Deſcription of the CURIOSITIES
1
guna, who being informed of one of the conquered Provinces throw-
ing off their Subjection, neglected her Hair, whịch ſhe was about to
waſh, and mounting a Horſe, led forth her Army, and obtained a Vic-
tory. In Memory of this Tranſaction, the Perſian Kings, had the
Image of Rhodoguna with diſheveled Hair cut on their Seals.
The Buſto of MARCELLUS the Younger.
The Buſto of CÆSONIA, the fourth Wife of Caligula, of tranſ-
parent Alabaſter.
!
The Buſto of ARSINOE, the. Daughter.
On a Table of Jaſper Agate, (Diaſpro Agata) which is very beautiful,
are the three following
A
A Nuptial Vaſe, -repreſenting the whole Ceremony of a Greek
Wedding, from the Beginning of the Sacrifice to the Waſhing of
the Bride's Feet; it is very fine Work. Before any Marriage could
be folemnized, the Gods were conſulted and their Afliſtance implored
by Prayers and Sacrifices, which were uſually offered by the Parents
or Relations of the Parties. When the Victim was opened, the En-
trails were carefully inſpected; and, if any unlucky. Omen appeared,
the former Contract was diffolved, as diſpleaſing to the Gods.
Torches were carried before the Bride in her Paſſage to her. Huf-
band's Houſe, Singers and Dancers attended, and a ſumptuous Ban-
quet
A
F
t
1
i
1
1
.
In WILTON-HOU S E.
:55
}
quet was prepared. Before the Bride went to Bed, the bathed her
Feet in Water fetched from the Fountain Callirboe. This ſeems to
have been a Cuſtom peculiar to the Athenians, as we learn from Ari-
ſtophanes, and hence we may conclude, that this curious nuptial
Vaſe, was the Workmanſhip of ſome Artiſt in that City.
--
The Statue of DIANA of Epheſus ; the Head, Hands, and Feet
black, the reſt white Marble, as deſcribed by Pliny ; probably of the
ſame Form as the Statue of Diana of Epheſus, mentioned in the Afts
of the Apoſtles. It is engraved in Montfaucon's firſt Volume. In the
Statues of the Epheſian Diana, more Symbols are obſervable in ſome
than in others. They exhibit Crabs; Oxeni or Bulls, Lions, Griffins;
Harts, Sphinxes, Inſects, Bees, Branches of Trees, Roſes, and ſome-
times human Figures, all united together. In the Explication of
theſe there is a Diverſity of Opinions among the Learned. Many
think, that under them is ſhadowed, the Nature of Things, the
World itſelf, or that generative energy, which is the Parent of every
Thing earthly. The Inſcriptions on many of theſe Statues. ſeem to
intimate as much.
!
Diana of Epheſus may be conſidered as a Pantheon including the
Symbols of many Deities; the Turret on her Head relates to Cybele,
as alſo the Lions; the Fruits and Oxen to Ceres; the Griffins to
Apollo, the Harts to Diana, and the Cancer is a Sign of the Zodiac.
ܪ
A Roman Urn; Variety of very fine Work all round it, of Figures,
Foliages, Birds, &c.
The
.
1
1
}
56
A Deſcription of the CURIOSITIES
The Buſto of OCTAVIA, the firſt Wife of Nero, of fine coloured
Marble; her Head-Dreſs alſo very fine, with Leaves and Ears of
Corn bound round upon her Hair.
her Hair. This Buſt, and that of Poppæl,
are both very curious.
1
t
:
The Buſto of METELLUS without a Beard, by a very fine Greek
Sculptor, all of a Piece down to the Navel; the only one which ſhews
the Ornament of a Chain, which is of very rich Work. On his
Breaſt-Plate is an Elephant, and a Laurel round the Outſide of it.
The Conſular Medal of METELLUS has likewiſe an Elephant on
the Reverſe, but the Head of that is bearded, ſuppoſed to be a Divi-
nity with the Name only of Metellus: The Elephant is added in Me-
mory of the Vi&tory he gained over Jugurtha, King of Numidia, upon
which he obliged him to deliver up all his Elephants to the Romans.
}
!
The Buſto of MESSALINA, fifth Wife of Claudius, of hard faline
Marble: She has a confident Air agreeable to her Character; the Mar-
ble of her Cloathing very naturally repreſents a fine ſtriped Silk.
The Buſto of MARCIA, the firſt Wife of Septimus Severus. The
Plaiting of the Hair and the Dreſs of the Head very ſingular.
On a Marble Table, (the Produce of Mount Edgcumbe ) are the
five following
3
An antient Greek triangular Altar dedicated to Bacchus: On one Side
Silenus holds a Torch inverted in his Right-Hand, and in his Left a Ca-}
gifter full of Fruit: On another Side is an Attendant of Bacchus dans
cing
1
--
+
1
1
1
t
In WILTON-HOU'S E.
57
cing with one Foot up, and a Thyrſus in his Right-Hand; in his
Left a Bowl, and the Skin of a Beaſt on his Arm: On the other Side
is a Bacchus dancing in a long thin Garment.
Upon this Altar ſtands a little Statue of Bacchus, with Grapes and
with the Snake, the peculiar Symbol of the Egyptian Bacchus, who
invented Medicine, and was ſaid to be the Sun and Apollo.
An Alto Relievo of PYRRHUS, the Son of Achilles ; it is an
Oval, and has a ſplendid Aſpect as of a very large Gem, the Face
iš Porphyry, which the Cardinal Mazarine ſo much valued, as to
finiſh his Dreſs with a Helmet of different coloured Marble.
.
A ſquare Altar, each of the four Sides has a Divinity, Jupiter,
Mars, Diana, and Juno. This was one of thoſe Altars for a pri-
vate Room, which they uſed to have in their Houſes, in Order to ſacri-
fice to ſuch Deities as they made their Lares and Penates.
Upon this. Altar ſtands a little Statue of an antient Prieſt with a
Phrygian Cap, ſacrificing a Hog to Iſis.
The Bufto of VESPASIAN.
The Buſto of TRAJAN, the Head, Buſt, and Plinth of Parian
Marble, the Face and Neck only poliſhed.
An Equeſtrian Statue of MARCUS AURELIUS, made at:
Athens and fo eſteemed, that the Sculptor was ſent for to Rome to
make that, which is there in Copper, as big as the Life..
I.
The :
.
58
A Deſcription of the CURIOSITIES
The Perſon is in the ſame Poſture, but this has a Macedonian
Horſe, ſmall and of Marble; to prevent the breaking, Cardinal
Mazarine had one side cemented to a Marble which comes out at
the Bottom, ſquared as a Pavement, on which the Horſe is as walk-
ing; this ſtands upon a Table, called Lumachella, from its being a
Petrifaction of Shells, which belonged to a Temple and was for the
facrificing of leſſer Animals, as Birds, &c. That the Blood might
not run over the Edges; it has a remarkable Channel big enough to
lay one's Finger in, round the qutermoſt Edge of the four Sides of
the Flat next the Moulding, and in the Middle of one of the Chan-
nels is a Hole for the Blood to run through.
The Buſto of CLAUDIUS, of Jaſper Marble.
The Buſto of PYRRHUS King of Epirus, with a noble Air ;
there is a Dragon on the Helmet, and on his Breaſt-Plate a Head with
Wings; like the Head of a Bat.
Pictures in this Room.
MRS. KILLIGREW,
1
Celebrated Beauties.
Mrs. MORTON,
BY VANDYKE.
MR. JAMES HERBERT and his Wife.
1
BY SIR PETER LELY.
The
1
!
In
WILTON - HOU E.
599
The Earl and Counteſs of BEDFORD.
BY VANDYKE.
By
..
The Counteſs of PEMBROKE (Mother of Earl Thomas) and
her Siſter.
1
BY SIR PETER LELY.
HENRY Earl of Pembroke (Father of the preſent Earl) when
about ſeventeen Years old.
BY SIR GODFREY KNELLER,
WILLIAM Earl of Pembroke, elder Brother to Earl Thomas..
1
BX S-AR PETER LELY.
Lady CATHERINE, eldeſt Daughter to Earl Thomas, .
(married to Sir Nicholas Marrice) and her Brother, Mr. Robert Herbert.
By SIR GODFREY KNELLER.
Thomas Earl of Pembroke, when Lord High Admiral.
BY WISSING..
Our SAVIOUR and the Woman of Samaria:
I. By GIUSEPPE CHIARI..
I 2
The
A
1
1
60
A Deſcription of the CURIOSITIES
!
The Counteſs of Pembroke, firſt Wife of Earl Thomas.
By WISSING.
The VIRGIN, our SAVIOUR, and JOSEPH reading:
There are alſo ſeveral Boys in different Actions.
1
I. BY GENNARI.
In the Cieling.
DÆDALUS and ICARUS.
1. BY GIUSEPPE ARPINO.
A Table inlaid with Specimens of 135 different Sorts of Antique
Agates and Marbles.
On the Bottom Pannels of this Room is painted the Hiſtory of the Counteſs
of Pembroke's Arcadia, written by Sir Philip Sidney.
By the Brother of SIGNOR TOMASO.
PIC-
:
1
1
1
In WILTON - HOU'S E.
1
61
PICTURE S,
BUSTOS and TABLES
Ι Ν Τ Η Ε
GRE A T
T
ROOM.
The Celebrated FAMILY PICTURE.
С
ONSISTING of ten whole Lengths, the two principal Figures
(and theſe are fitting) are PHILIP Earl of Pembroke and his
Lady; on their Right-Hand ſtand their five Sons, CHARLES Lord
HERBERT, PHILIP, (afterwards Lord Herbert) WILLIAM,
JAMES, and JOHN; on the Left their Daughter ANNA SO-
PHIA, and her Huſband ROBERT Earl of Carnarvan; before
them Lady MARY, Daughter of George Duke of Buckingham, and
Wife to Charles Lord Herbert; and above in the Clouds are two Sons
and a Daughter who died young. This, and all the other Pictures in
this Room are
BY VANDYKE.
A half Length of King CHARLES the Firſt.
A half Length of his Queen.
A whole
62
A Deſcription of the CURIOSITIES
1
A whole Length of WILLIAM Earl of Pembroke, Lord Steward.
A whole Length of the firſt Lady of the ſecond Earl Philip.
Three Children of King Charles the Firſt.
Whole Lengths of the Dutcheſs of Richmond, (firſt married to
Charles Lord Herhert) and Mrs. GIBSON the Dwarf.
A whole Length of the Duke of RICHMOND and LENOX.
A half Length of the Counteſs of CASTLEHAVEN.
A half Length of the ſecond Earl PHILIP.
.
Two large Pier-Glaſſes,
.
F.
I.
6
7 high,
}
In the Plate..
4
7 wide,
1
Under
:
In WILTON-HOUSE.
63
Under the one,
1
A Red Egyptian Granite Table,
F.
I.
1
4
9
Long,
Wide,
I
IO
:
On it MORPHEUS, the God of Sleep, in black Touchſtone; his
Head wreathed with Poppies, and a Poppy in one Hand.
Under the other,
I.
A Lapis Lazuli Table,
F.
Long,
5
Wide,
I
2
2
On it a ſleeping CUPID.
The Paintings in the Cieling repreſent ſeveral Stories of PER-
SEUS; as, particularly, the cutting off Meduſa’s Head, and the re-
lieving of Andromeda. The great Oval, in the Middle of theſe, ſhews
a very natural Section of a Temple in Perſpective, ſeeing the Sky thro'
a round Top: It plainly relates to Perſeus, becauſe it ſhews șhe ſame
Face and Drefs as in the former. There is a Prieſt, in great Concern,
at the Altar; it is. Perfeus, to revenge himſelf on Polydectes, for the
Injuries offer’d to his Mother and Diętys, whom he found at the
Altar ; whither they had been forced to fly for Sanctuary from his
Violence.
BY SIGNOR TOMASO.
1
o The
.
t
S
64
A Deſcription of the CURIOSITIES
The Buſto of MARCELLUS, the famous Conſul.
The Buſto of DRUSUS the Elder, Brother of Tiberius.
The Buſto of LUCIUS VERUS. CÆSAR.
The Buſto.of MARCUS. BRUTUS, of the beſt Greek: Sculp-
ture.
1
The Buſto of CAIUS: CÆSAR, upon a Table of the Verde
Antico, or, green antique Marble.
The Buſto of DIDIUS JULIANUS..
1
The Buſto of LUCIUS VERUS, when Emperor..
+
The Buſto of LUCIUS. CÆSAR, Brother to Caius Cæfar, ona
an Agate Table. This Perſon and Caius were Sons of Julia, Daugh-
ter of the Emperor Auguftus and Scribonia.
!
The Buſto of. JULIUS CÆSAR, Oriental. Alabaſter, noted,
as may be ſeen by what is ſaid of it in Valetta's Collection. The
Marble of the Breaſt-Plate is of the Colour of Steel.
The Buſto of ANTINOUS.
+
The Buſto of SEPTIMUS SEVERUS:
The
>
1
:
1
In WILTON-HOUSE.
65
1
The Buſto of HORACE, in Porphyry; mentioned alſo in
Valetta's Collection; Fabretti in his Comment gives good Reaſons
for its being Horace.
The Buſto of MARCUS AURELIUS:
!
1
The Buſto of ANTONINUS PIUS, of the beſt Greek Sculp-
ture.
On this Buít, as alſo on ſeveral others in this Room, may be
feen the true Habit that the Emperors wore when they appeared in
various Colours, different coloured Marbles being choſen for that.
Purpoſe.
The Buſto of CICERO, of Touchitone, with the Mark of the
Cicer or Vetch on his Face, from which he had the Name of Cicero.
The following Buſtos are all of white Marble, and the Terms upon which
the, Buſtos ſtand in this. Room are very fine Jaſper and Marbles, many
of which are antient.
*
The Buſto of ARTEMIS or. DIANA: Her Hair tied behind
her, not to hinder her ſhooting: The Air of the whole Buſt is like
the
upper
Part of the celebrated Statue of this Goddeſs, and thought
to be by the fame Sculptor. This (as ſeveral others) has,, in Greek:
Characters, the Name inſcribed on it: It is of moſt excellent Greek
Workmanſhip.
1
B.
:
The Buſto of LUCANUS, the Head and Büſt of Parián Marble ;;
fine Sculpture. On the Bottom of the Buſt is, a Pegaſus.
Κ.
Quintilian
:
1
1
66
A Deſcription of the CURIOSITIES
an
Quintilian in his Inſtitutions gives him this Character.
Lucanus ardens & concitatus & fententiis clarißimus, &, ut dicam,
quod fentio, magis Oratoribus quam. Poetis, imitandus.
The Pegaſus then is happily expreſſive of the Poet's rapid and ſublime
Genius; he is ſure to rant whenever he gets into a Battle or Sea Engage-
ment. And yet he is to be admired for many fine philoſophical Paſſages
to be met with in his Works, and for his génerous Sentiments, parti-
cularly, on the Love of Liberty and Contempt of Death. Theſe
perhaps he owed to his Uncle Seneca, and his Maſter Cornutus.
The Buſto of CASSANDRA, Daughter of Priam: She was
a Propheteſs, and had a Temple; and therefore wears a peculiar
Head-Dreſs, with ſeveral Bandages.
The Buſto of AMMONIUS; on it is the following Inſcription.
л
M
II
I A
Σ
ଏ
M
K.
А
M
M
Ο Ν Ι
wi,
The Olympiad 229, anſwers to the Year of Chriſt 137. Buſtos
were frequently erected to remarkable Victors in the Olympic and
other Ganies, but this is the only one known with the Olympiad marked
on it. Chronologers mention, Ammonius Alexandrinus, alias Epidaurus,
fuit Victor ftadii.
N
:
The
In WILTON-HOUSE..
67
The Buſto of AUGUSTUS, of Parian Marble.
The Buſto of GERMANICUS.
The Buſto of PRUSIAS King of Bithynia; excellent Sculpture.
The Buſto of SCIPIO ASIATICUS.
The Bufto of CARACALLA.
The Buſto of VITELLIUS.
The Buſto of ALCIBIADES.
1
-
.
1
K 2
PIC-.
:
1
68
A Deſcription of the CURIOSITIES
1
P I C T U R E S
i
A N D
BU S T O S
IN THE
L
0 B
B
Y.
.
T
HE Decollation of St. JOHN. The Painter is an Honour
to the Engliſh Nation. This Picture is ſo finely painted, and
with ſuch ſtrong Expreſſions, as to make him inferior to few of the
beſt Italian Maſters. King Charles the Firſt, called him the Engliſh
Tintoret. Sir Peter Lely reckoned this the chief Hiſtorical Picture
that he did.
T
2. By DOBSON.
1
...
Variety of Fruits; Vines growing up a Pomegranate-Tree, and two
Vintage People as big as the Life. Michael Angelo the Painter of this
Picture was famous for travelling Figures; of which Sort one may
here ſee at a Diſtance, a Man driving an Aſs. Sir Robert Gere
gave his Widow three hundred Piſtoles for this Piece, it being
a favou-
1
/
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In WILTON-HOU S E.
69
a favourite of her Huſband's which he kept for himſelf. He painted
the Figures, that are as big as the Life, which was not uſual for him,
as in moſt of his Pictures, they were put in by other Painters. .
1. By MICHAEL ANGELO della Battaglia.
A Piece of ſtill Life, of Fowls, and a young Boar.
:
0
3.
BY GABRIEL SALCI.
NEPTUNE and AMPHYTRITE, with ſeveral other Figures.
1. BY LUCA GIORDANO.
NATIVITY.
i
<
BY TADDEO and FRED. ZUCCHERO.
i
Two Pictures compoſed of different. Sorts of Marble, out of the
Duke of Florence's Collection. This work is called in Italian Pietra
Gomeſa.
A Country Family; a Man and his wife and two Children, one
of which is aſleep in a Cradle.
5. BY BRAWER.
$
CERES
1
!
.
1
70
A Deſcription of the CURIOSITIES
!
CERES ſtanding with a moſt genteel Air, holding up Wheat.
Given by the Duke of Parma to the Earl of Peterborough, when he
conducted James the Second's Queen to England.
2. By PARMEGIANO.
1
A Flemiſh School, The Painter commonly called the little Van
Dyke.
2. By GONSALES.
1
The ANGEL, as ſpeaking to TOBIAS about the Fiſh, which
is ſwimming up to them. The Dog is between Tobias's Legs, bark-
ing at the Fiſh.
1
2: BY PROCACINO.
.
The Diſcovery of ACHILLES,
1
2 By SALVIATI
The VIRGIN with CHRIST:
1
4.
BY SOLARI:
An Antique Picture from the Temple of Juno ; Juno is ſitting by
a. Temple; Pallas, Hercules, Diana, Apollo, Ceres and Vertumnus, are
are coming to her, with their Symbols in their Hands.
Ą NAS
1
1
.
In WİLTON-HOU S E.
71
A NATIVITY.
4. BY: JAN VAN EYCK, 1410.
A Landſkip with Rocks, Water, and three Travellers.
1
4. By BARTOLÉMEO.
A Landſkip with a Man carrying a Fiſhing Net.
--
4. By FRANCESCO GIOVANNI.
$
:
BUS.
:
72
A Deſcription of the CURIOSITIES
B U S T O S
HE Buſto of MARCUS MODIUS, the only one known:
with an Epitaph on it; the Bottom is made round, ſo as to
fix it on the Hole in which his Alhes were put,
T
T H T H P.
M E .O A OT:
Α Σ Ι Α Τ Ι Κ Ε
Γ Ρ Ο Σ Τ Α. Τ. Α
X. AI PE
ΠΟΛΛΑ ΜΕΝ ΕΣΤΘ.ΛΑ,
Π Α Θ Ω Ν ΦΡΕ ΣΙ
II O A A A
ΔΕ
ΛΥ Γ Ρ Α.
Medice, methodi. Afatice magifter Salve.
Multa quidem bona paſe mentibus multa vero triftia,
On the PEDESTAL.
M.
M:04:1. O C
A CA II KOCIAT POC
MEQOA: I KOO
Marcus Modius. Afiaticus Medicus methodicuş. One would ima-..
gine from this Inſcription, that. Marcus Modicus was a very cele-.
brated Phyſician, though his Name is not come down to us. If any.
Conjecture can be made from the Greek Characters concerning his
Age, he flouriſhed about the Times of the firſt Emperors. The;
Letters are antients, the Sigma and Epſilon on the Breaſt retain the
antique Form. Theſe Letters, from the Reign of Auguſtus, began .
to loſe their priſtine Shape. Marcus Modius, ſays Montfaucon, as..
far as can be conjectured, lived about the Age of Auguſtus; he is.
called
1
In WILTON - HOU s E.
73
called the Methodical Phyſician; the firſt who probably introduced
Method into Medicine was Themiſon, who was cotemporary with
Pompey, and from him proceeded the Methodiſts in that Profeſſion.
The Word zcepe ſeems to ſhew, that this was a fepulchral" Inſcrip-
tion, and was placed on this Tomb. Paufanias ſays, Ad hunc modum
fuorum cadavera condunt. Sicyonii: Corpus terra contegunt, deinde
Capidea bafi extructa, columnas erigunt ; quibus faftigia imponunt,
eadem fpecie, qua intemplis. Inſcriptionem nullam ponunt, fed ejus
quem extulerunt nomen appellantes, patris mentione prætermiffa,
illuna valere jubent, κελευεςι τον νεκρον χαιρεια.
Lib. 2.,
A
The two Verſes in which he is ſaid to have experienced much good
and evil, are exactly in the Style of an Epitaph. The ſecond Verſe
is from the fourth Odyſſy, where mention is made of that Potion,
which Helena prepared to make them forget their Misfortunes.
1
On an Antique African Marble Table,
A ſquare Urn of the Emperor Probus and his Siſter Claudia ; their
Names are in a Square in the Centre of the Front;, there are Feſtoons
at the Sides of the Inſcription ;, over it is an Eagle ſtanding upon a
Feſtoon of Fruits, out of whoſe Wings come two Serpents,, they
are folded up in Ringlets with their Heads directed towards the Head
of the Eagle; at the Bottom is a Tripod with a Griffin on each side of
it; at each Angle of the Front is a wreathed Column ; the Angles next:
to the back Part are fluted Pilaſters, between which and the Columns .
*
/
L.
is a:
}
i
!
74
A Deſcription of the CURIOSITIEŚ
is a Laurel Tree ; in the Pediment of the Cover are two Birds, that
hold in their Bills the Ends of a String which ties a Wreath of Laurel ;
on the Top of the Cover are in Alto Relievo, the Emperor and his
Siſter.
!
The Buſto of SAPPHO, with the Bandage as deified, of the
fineſt Marble, like Ivory; the laſt Perfection of Greek Sculpture,
white as at firſt making, becauſe (with ſeveral here) found in a Vault.
1
I
-
R
1
!
THE
In WILTON-HOUSE.
75
THE
1
COLLONADE ROOM.
T
HE Head of St. PAUL.
4. BY AUGUSTINO CARRACHI.
A CALM..
4. By. VANDERVELT.
BELSHAZZAR's Feaft, a Multitude of Figures. Great Aſton-
iſhment appears in all the Company at the Table, &c.
4:
BY OLD FRANK..
Pictures of the preſent Lord and Lady PEMBROKE.
BY REYNOLDS..
A CALM.
By PATTEN.
!
L 2
A MA-
---
..
76
A Deſcription of the CURIOSITIES
A MADONA.
3. BY CARLO DULCI.
A GALE.
By PATTEN.
i
!
St. SEBASTIAN ſhot with Arrows.
5. BY SCARCELINA di Ferrara.
A LANDSKIP.
4. BY HERMAN SACHTLEVEN.
The Labours of HERCULES.
4. By FRANCIS FLORIS.
The Inſide of the COLUMNS. A Harveſt-Home.
By RUBENS.
A
The MONEY CHANGERS and People with the Doves in the
Temple.
3. By DOMINICO FETTI
CHRIST
1
/
1
1
.
1
In WILTON-HOUSE.
77
CHRIST taken from the Croſs, ten other Figures with ſtrong
Expreſſions of the Solemnity. The Virgi'r has her Right-Hand, un-
der our Saviour's Head, as lifting him up, while Joſeph of Arimathea ,
(who is richly dreſſed) is wrapping the Linen-Cloth round him.
Behind Fofèph are two Men, one of them has the Superſcription in his
Hands, and the Crown of Thorns upon his Arm ; the other is as
talking to him, pointing with one Hand to the Virgin, and the other
towards yoſeph. On the other Side is St. John with his Hands folded
together, and ſhews great Concern. Mary Magdalen is wiping off the
Blood, and wrapping the Linen round our Saviour's Feet. Mary, the
Wife of Cleophas, is, as ſpeaking to Nicodemus, who is giving Directions
about the Spices. Behind them are two Men, one holds the Nails
taken from the Croſs, the other the Hammer and Pinchers.
Here is alſo the Tomb ſhewn, and the People rolling the Stone from
the Entrance of it, and Mount Calvary, with Bones and Skulls ſcattered
about where the Croffes ſtand, with a view of the Multitude re-
turning into Jeruſalem ; at a Diſtance, a Landſkip with Rocks, & c.
3. BY ALBERT DURER.
1.
A NATIVITY,
BY THEODORO.
The VIRGIN, CHRIST, St. JOHN, and St. CATHA-
RINE.
3:
By PARMEGIANO.
A
A MAG
.
78
A Deſcription of the CURIOSITIES
A MAGDALEN, contemplating with a Crucifix ; Angels ap-
.
pear above.
4. BY ELIZABETHA Daughter of Sirani.
A NATIVITY; at a Diſtance the Shepherds with their Sheep,
and an Angel in the Clouds.
3
3. BY DIONIGO CALVART.
A Landſkip with Figures, fitting by the Water Side.
.
3. BY ORIZONTI,
St. PETER and the Angel coming out of Priſon.
BY STENWICK.
Buildings Perſpective, and Figures.
1. BY SEBAST. and MARCO RICCI.
+
A Multitude of Figures at a Fair.
5. BY CASTEELS.
The late Lord PEMBROKE.
BY JERVOISE.
An old
1
-
1
In WILTON-HOUSE.
79
>
!
An old Woman teaching School.
4. BY OSTADE.
LEDA and the Swan.
3. BY LEONARDO da Vinci.
VIRTUE coming to Parnaſſus, to awaken Apollo and the Muſes.
3. BY LUIGI GENTILI.
The Port of Leghorn, on Copper.
5. BY VIVIANO CODAZZO.
The VIRGIN, our SAVIOUR, St. JOHN, and an Angel.
3.
BY BERNARDINO GATTI.
HERCULES and DEJANIRA.
4. BY GIOVANNI MANTOUANO.
The Birth of St. JOHN.
4. BY DOMINICO PELUGIO.
CUPID
$
80
A Deſcription of the CURIOSITIES
Boy.
CUPID wrenching his Bow out of the Hands of a
i
4. BY TARUFFI da Bologna.
An Antique of the VIRGIN. and our SAVIOUR, ſaid to be
painted by St. LUKE.
1
The four Seaſons; Winter is the Stump of a Tree, with odd Faces
and Qwls.
2. BY MURILLO.
The Siege of Pavia.
5. By HANS HOLBEIN.
St. ANTHONY.
4;
BY CORREGGIO.
A Salutation of the Angel to the Virgin.
4. BY FRANCESCO DANI..
JUDITH cutting off Holofernes's Head:.
5. BY. ANDREA MANTEGNA:
The
!
In WILTON - HOUSE.
8 C
The half Length of a Gentleman, ſuppoſed to be Prince Rupert.
By VANDYKE.
1
A Porphyry Table, with a Border round it, of the antient yellow
Marble (Giallo antico) and alſo of the antient Green (Verde Antico).
Upon this is a Statue of a ſleeping Venus, of the Size of the Herma-
phrodite in the Borgheſe Palace at Rome; but it differs, this having
the Hair truffed up behind, that as a Man's, and here the Linen
decently covers more of the Hip. This is of fine Greek Sculpture,
and
appears
much older than that, as is obſerved in Cardinal Maza-
rine’s Catalogue.
The Buſto of DRUSILLA.
The Buſto of HORACE the Conſular:
The Buſto of COMMODUS.
The Buſto of POLEMON.
A
:
!
Imm!
M
PIC-
1
.)
82
A Deſcription of the CURIOSITIES
PICTURES
Ι Ν Τ Η Ε
CORNER ROO M.
HE VIRGIN, with CHRIST leaning the back Part of
his Head againſt her Breaſt. He has a Bird in his Right-
Hand.
T T
.
3. BY CRESPI.
1
The VIRGIN teaching our SAVIOUR to read.
3.
By GUERCINO.
1
PHILIP Earl of Pembroke..
1
BY VANDYKE.
The WOMAN bringing the Children to CHRIST.
4, BY SEBASTIAN BOURDON.
The Head of MIERIS.
5. BY HIMSELF.
А С НА-
In WILTON-HOUSE.
83.
A CHARITY with three Children, very natural. It was one of?
King Charles the Firſt's Pictures.
2. By GUIDO RHENI.
A LANDSKIP.
3. BY RUBENS.
MARY MAGDALEN.
2. BY TITIAN.
!
CHRIST from the Croſs, two Boys holding up the Arms, and
the VIRGIN devouțly ſtretching out her Hands. At a Diſtance:
appear the three Croſſes, and a Group of little Figures with a Horſe.
It was made for Henry IŤ. King of France, which he gave
to his
Miſtreſs, DIANA VALENTINOIS; and on the painted flat Frame in one.
Corner, are the Arms of France, in another, a Monogram of the firſt
Letters of their Names; the other two Corners the Emblems of Diana,
three Half-Moons in one, and a Quiver and Bow in the other...
3. BY MICHAEL ANGELO.
An Aſſumption of the VIRGIN.
In the Arundel Catalogue it is ſaid, that his Lordſhip deſired Rubens :
to paint for him a fine finiſhed Cloſet Picture, which is this Picture,
being on an old Flemiſh Board, moſt beautifully coloured. There is.
a Group at Bottom of nine Angels, all in different Poſtures, as rasſing.
M 2
the
1
1
th
84
A Deſcription of the CURIOSITIES
the Cloud under the Virgin Mary. There are ſeveral pretty Cheru-
bims Heads at the Side, and at the Top. It ſo much pleaſed Rubens,
that he ſaid he would make a great picture after it; which he did for
the Church of a Convent at Antwerp, where he has added Apoſtles,
as big as the Life.
5. BY RUBENS.
BACCHUS, with a Bowl in his Left-Hand, his right Arm reſt-
ing on a Veſſel'; an old Man emptying a Baſket of Grapes into a Vat,
a Woman and Boys with two Baſkets of Fruit.
5. By a Scholar of RAPHAEL.
A whole Length of DEMOCRITUS laughing, a Book in his
Hand. Very much efteenied.
By SPAGNOLET.
i
.
:
- MAGDALEN, as a Penitent, over-looking the Vanities of the
World. Below her are fix Boys, as Cupids; they are handling Jew-
els, 8.C.
1
5.
By DOMICHINO, a Scholar of GUIDO.
NARCISSUS ſeeing himſelf in the Water. There are ſeveral
Cupids in various Actions.
3. By POUSSIN.
The
A
In WILTON-HOU S E.
85
The Deſcent of the HOLY GHOST.
5. By SALEMBENI.
The Counteſs of PEMBROKE, and Lord HERBERT, now
Earl of PEMBROKE, when very young.
3. BY MR. HOARE, of Bath.
S:
CHRIST aſtride upon a Lamb, is held by the VIRGIN, old
JOSEPH is lookng on, and leaning on a Staff.
5.
BY FRANCESCO PENNI.
1
V
The VIRGIN, our SAVIOUR, and St. JOHN.
3. By BAROCCI.
A young Woman, with a Shock-Dog.
3. BY CORREGIO.
.
A MADONA, very fine, with Seven Stars round her Head.
3. BY CARLO MARATTI.
A PIPER.
1
3.
By GEORGIONE,
Old
86
A Deſcription of the CURIOSITIES
Old JOSEPH at Work, our SAVIOUR holding a lighted
Lamp to him.
5. BY LUCA CONGIAGIO.
The Virgin holding our S AVIOUR by his Arms, St. John em-
bracing him, old JOSEPH is reading.
5. By LUDOVICO CARACCI.
MARS and VENUS.
1
4: By V ANDERVUARFE,
1
Four Children, repreſenting our SAVIOUR, an ANGEL, St.
JOHN, and a little GIRL. The ANGEL is lifting a Lamb to St.
JOHN, who has his Left-Hand upon it and is in Diſcourſe with our
SAVIOUR, as they are all fitting cloſe together. Behind our
SAVIOUR is. a Tree,, and a. Vine growing up it, with. Grapes
thereon.. The GIRL (repreſenting perhaps, fymbolically, the Chri-
ſtian Church) has hold of the Vine with one Hand, and in the other
Hand has a Bunch of Grapes, which ſhe is offering to our SAVIOUR.
This is allowed to be the beſt Picture in England of
5
2. RUBENS.
A Landſkip
1
4. By, CLAUDE LORRAIN..
A dead
1
i
1
In WILTON-HOU S E:
87
A Dead SAVIOUR ſurrounded with Angels ;a very fine Sketch.
5. BY BONAMICO BUFALMACO.
The VIRGIN holding CHRIST in her Lap. St. John has led
a Lamb to him. CHRIST is looking at an Angel below on the
Ground gathering Flowers; old Joſeph is higher up, with an Aſs by
him.
4. BY CONTARINI,
CHRIST lying on Straw in a Manger.
4. BY VANDYKE,
3
King RICHARD II. &c. I here tranſcribe Hollar's Account of
it. An elegant Repreſentation of King Richard the IId. (in his
Youth) at his Devotion, painted on two Tables.
painted on two Tables. In one he is re-
preſented kneeling by his three Patron Saints, St. John Baptiſt, King
Edmund, and King Edward the Confeffor, having a Crown on his
Head, clad in a Robe adorned with white Harts and broom-Cods, in
Alluſion to his Mother's Arms, and his own Name of Plantageniſta.
Thus he is praying to the Virgin Mary, with the Infant in her Arms,
(on the other Table) ſurrounded with Chriſtian Virtues, in the Shape
of Angels, with Collars of Broom-Cods about their Necks, and
white Harts on their Boroms ; one holding up a Banner of the Croſs
before them, and on the Ground are Lilies and Roſes.
St. JOHN
:
88
A Deſcription of the CURIOSITIES
St. JOHN Baptiſt holds a Lamb in his left Arm. King Edward
the Confeſſor holds a Ring between the Thumb and Fore-finger of
his Left-Hand ; King Edmund holds an Arrow in his Left-Hand, all
their Right-Hands are directed to King Richard, as preſenting him to
our Saviour, who inclines himſelf in a very kind Manner towards
them. There are eleven Angels repreſented, each of them hath a
Wreath of white Roſes round his Head. The Diſpoſition of their
Countenances and Action of their Hands, is deſigned to thew that
their Attention is employed about King Richard. On the Glory round
our Saviour's Head you may ſee the Croſs repreſented in it, and round
the Extremity of the Orb are ſmall Branches of Thorns. On two
Braſs Plates on the Bottom of the Picture is engraved as follows, viz.
/
Invention of Painting in Oil, 1410.
.
This was painted before, in the Beginning of Richard II. 1377.
Hollar engraved and dedicated it to King Charles 1. and called it Ta-
bula Antiqua of King Richard II, with his three Saints and Patrons,
St. John Baptiſt, and two Kings, St. Edmund and Edward the Con-
feſſor. This Picture was given out of the Crown by King James II.
to Lord Caſtlemain, when he went Ambaſſador to Rome, and bought,
ſince he died, by Thomas Earl of Pembroke.
Auto
4.
The three Kings offering. There are Horles and many Figures,
at ſeveral Diſtances, of this Painter's beſt colouring, with a glorious
Eclat of Light breaking through the Clouds, in which are many
Cherubims.' That King who has a ſtrong Light on his Forehead is
the
1
*
In WILTON - HOUSE.
89
the Painter himſelf. His whole Figures are beſt, for he was famous
for ſuiting a proper Action to every Part, and to the Genius of the
Perſon; as here a Groom, for Example, thews a natural Affection to
his Horſe, by kiſſing his Noſe.
3. BY PAOLO VERONESE.
APOLLO feaing MARSYAS.
By PIOMBO.
CHRIST taken from the Croſs,
BY FIGINO.
-
The VIRGIN, old JOSEPH, ELIZABETH, and
CHRIST, who is putting a Ring on St. Catharine’s Finger.
1
5: BY ANGUISCIOLA.
A
1
ISAAC bleſſing JACOB.
4. By: LAZARINI.
Our SAVIOUR carrying the Croſs.
4. BY ANDREA del Sarto.
1
The Harmony between Hiſtory and Poetry; very fine.
2. By ROMANELLI.
..
N
A SERAG-
1
90
A Deſcription of the CURIOSITIES
A SERAGLIO.
1
By
BY OTTO VENI.
MIDA S's Judgment.
5.
BY PHILIPPO LAURO.
The VIRGIN end old JOSEPH teaching CHRIST to read.
1
!
4. BY BERNARDINO GATTI.
Hercules is
Rape of DEJANIRA by Nelus the Centaur.
ſhooting at him.
5. BY CARLO CRESTI.
The VIRGIN, with CHRIST in her Lap. St. John has hold
of his right Foot with his Right-Hand.
5. BY GIO BAT. VICO.
Some Market People.
4. BY CRESPI.
1
A Shepherd and Shepherdeſs.
.
2." By BLOEMART.
The
A
In WILTON-HOUSE, .
9T
The VIRGIN with CHRIST in her Lap.
5. BY RAPHAEL.
A NATIVITY on Copper; neatly finiſhed.
5. By RUBENS.
A Man forcing a Bøy to take Phyſick.
5. By BAMBOCCI.
1
The VIRGIN with CHRIST about four Years old, as big as
the Life, ſtanding by her, a Figure as graceful as Raphael Urbin's.
The Virgin is as talking to St. John. . More backward at her right
Side is a Woman with a Child in her Arms, both with graceful Coun-
1
tenancesa
2. BY ANDREA del Sarto.
The VIRGIN reading with CHRIST in her Lap.
5. BY ALBANO.
1
JOB and his three Friends.
5. BY ANDREA SACCHI.
N 2
CHRIST
A
;
92
A Deſcription of the CURIOSITIES
i
him;
CHRIST in the Virgin's Arms, St. John kiſſing
Joſeph is looking on them.
5. BY SCIDONE.
In the Cieling:
The Converſion of St. Paul. St. Paul is ſtruck from his Horſe,
he and his Company appear in great Surprize.
1. BY LUCA GIORDANO.
The Buſto of the Emperor PERTINAX.
A
2
The Buſto of SOLON.
i
}
,ع
Τ Η Ε
1
1
1
In WILTON-HOU s E.
93
THE
CLOSET
WITHIN THE
CORNER ROOM.
F
.
IVE Soldiers, two expreſſing great Fury to tear CHRIST's
Coat, another is gravely interpoſing, as if he was perſuading
them to caſt Lots for it; very fine,
1
2. BY ANNIBAL CARRACCI.
The VIRGIN; our SAVIOUR is reſting his Head and Right-
Hand on her Bofom.
4. BY BLOEMART, Junr.
A Ruin with Landſkips and Figures.
4. BY VIVIANO.
A Shepherdeſs in a Straw-Hat, repreſenting the Princeſs Sophia.
4. BY GERRARD HUNTORST.
A Ruin
1
94
A Deſcription of the CURIOSITIES
A Ruin with Landſkips and Figures.
4. BY VIVIANO.
An Affumption of the VIRGIN; ſeveral of the Apoſtles looking
up, and one of the Twelve is haſtening down the Hill to the reſt.
1
4. BY RAPHAEL URBINO.
Our SAVIOUR taken from the Croſs; the VIRGIN Theweth
great Concern: There are three other Figures by them, and AN-
GELS in the Clouds.
1
2. BY VALERIO CASTELLI.
King EDWARD VI.
4. BY HANS HOLBEIN.
1
Our SAVIOUR aſcending, with the four Emblems of the Evan-
geliſts at the bottom of the Clouds; two Angels are ſupporting his
Arms.
3. BY GIULIO ROMANO.
The VIRGIN, exceedingly fine; the Veil painted with Ultra
Marine. Maria da Fiori painted the Flowers with which the
VIRGIN is furrounded.
3.
BY CARLO DULCI.
A half
!
In WILTON-HOUSE.
9:5
S
A half Length of TITIAN.
3. By HIMSELF.
Two Boys playing with a Bird, which is tied with a String.
1
4. BY POUSSIN.
Two CUPIDS holding a Third upon their Hands as carrying him,
another Boy lying down by them.
5. BY SIRANI.
The Circumciſion of our SAVIOUR.
5. BY FIORENTINO.
CHRIST in the VIRGIN's Lap; he holds St. JOHN by the
Hand.
5., By LORENZO GARBIERI.
The DEVIL tempting our SAVIOUR.
5. By PARIS ALFANO PERUGIA.
The Prodigal Son returning Home.
BY W OVERMAN.
1
Some
.
96
A Deſcription of the CURIOSITIES
Some Dutch People playing at Draughts, a Woman by them cut-
ting Bread and Butter for a Boy, who is ſaying Grace.
4. By EGBERT HEMSKIRK.
People playing at Cards.
4. BY LUCAS VAN LEIDEN.
+
DAY repreſented by APOLLO riding upon a Cloud, drawn by
four Horſes. NIGHT repreſented by a Figure with dark Wings,
and Poppies round her Hand, By her are two Owls flying;
5: BY SOLIMENE,
St. JEROM.
5. By BORGIANO.
Bei
1
Ruins and Figures..
.
BY PAOLO PANINI..
St. JOHN preaching in the Wilderneſs, ſmall neat Figures.
5. BY ROWLAND SAVORY.
St, JEROM..
.
1
In WILTON-HOUSE.
9.7
St. JEROM.
By GIULIO CAMBI VERONESE.
5.
1
St. SEBASTIAN ſhot with Arrows..
5.
BY BENEDETTO LUTI..
The Prodigal Son going abroad.
4. By WOVERMAN:
1
A young Woman holding a Candle.
Icons
4. By: SCHALKEN
The River Tiber, ROMULUS and REMUS fucking the
Wolf,
4. BY DEL PO:
N
Our SAVIOUR about two Years old, fitting on a Stone; a Lamb:
is ſtanding by him and licking his Hand, in which he holds a String:
that is tied to the Leg of a Dove, which ſits in a little open work'd
Baſket. There are two other. Figures. The Rays from the Glory.
round our SAVIOUR's Head ſtrike a fine Light upon them.. One:
of them has her Hand upon the Dove.
1
1
3:
BY PAOLO MATHEI.
0
CHRIST
1
98
A Deſcription of the CURIOSITIES
CHRIST raiſing LAZARUS from the Dead.
3. BY SEB. RICCI.
PYRRHUS brought dead out of the Temple. They are put-
ting him into his Chariot. Several Figures appear in great Surprize.
3. BY PIETRO TESTA.
An old Man ſelling Sweatmeats to the Children, which he carries
in a Pot; there are ſix about him, an extraordinary Pleaſure appears
in all their Countenances.
3: By FRAN. HALLS.
ANDROMACHE fainting on hearing of the Death of her Huſ-
band Hector. Here are twenty-five Figures.
1. BY PRIMATICCIO.
Two Båttle-Pieces..
3:
BÝ BURGOGNONE.
Two young Faces in Bronze.
VENUS's Birth: She is riſing out of the Sea, the thirée GRACES
attending her : There are alſo five Cupids in different Actions."
1. By LORENZINO da Bologna.
VENUS
In WILTON-HOU s E.
99
VENUS and the GRACES Dreſſing:
BY ANDREA CAMASSEI
1
The Flight into EGYPT.
5.
BY GIOVANINI..
ABRAHAM's Steward putting the Bracelets on REBECCA's Arm.
at the Well..
5 By PIETRO BAMBINI:.
CHRIST praying in the Garden, with two Angels to comfort
him ; on Copper.
4.. By GIUSEPPE GRATTI da: Bologna.
A ſleeping Cupid, on a black and yellow Marble Table, whereon:
Cards are repreſented.
1
Eight ſmall Buſtos, upon gilded Maſk-Truſſes..
TITHONU S, Divinity of the Morning.
į
VENUS of Medicis.
BACCHUS; very beautiful Work..
2
CRISPINA, Wife of Commodus.
FAUNA,, the Female Divinity of Faunus; very rare.
A PAN-
2.
3
joo
IOO
A Deſcription of the CURIOSITIES
A PANTHEON of a peculiar Marble, and in the old Termini
Way: It has the Symbols of Ammon, Mavors, and Thoth, three of
the Egyptian Dii Majores; from whom the Greeks made Jupiter, Mars,
and Mercury.
EPICURUS, valued by Cardinal Mazarine, there being no other
of him.
ACHILLES, with a young Face, probably before he went to the
Trojan War ; his Breaſt is adorned, and on his Helmet are Rams
Heads. We read in Homer, that the Antients made their Armour
of the Skins of different Animals, contrived generally to bring their
Faces in the Front of their Helmets, to render their Appearance
more terrible to the Enemy. This Buſt is ſmall and of very neat
Workmanſhip.
1
From theſe Apartments are the following Views: The Garden, or
rather a beautiful Lawn, planted with various Trees. The River
which the late Earl Henry much inlarged. The Bridge which the faid
Earl built from Palladio's Deſign. Between ſome large Cedar-Trees,
a Rock-Bridge, by Chambers, with a Fall of Water. The Stable
Bridge: a Piazza (the Front of the Stables) by Inigo Jones. A beau-
tiful Hill in the Park, on which is a triumphal Arch, deſigned by
Chambers, having an equeſtrian Statue of Marcus Aurelius upon it.
A Wood on the ſame Hill, in which ſtands an elegant Caffine, de-
ſigned likewiſe by Chambers. The Engine Houſe with an ornamented
Front. An Arcade, the Front of which being originally the Front
of a Groth, was deſigned by Inigo Jones. The Spire and Weſt
Front of Saliſbury Cathedral, Clarendon Park, and Places adjacent.
Two
1
In WILTON-HOUSE.
IOI
One repreſenting TORMENT,
Two BUSTOS,
The other, CONTENT.
An Antique Maſk.
A Bifrons of JANUS. It was in the Temple of Janus at
Rome.
The Urn of HORACE, on one side of which is this Inſcrip:
tion,
DM
H () R. F L A C C. PIIS M A R:
:
P A M P H. MIN FA FE CI T.
Diis Manibus Horatii Flacci, the other Letters before Fecit pro-
bably relate to the Perſon who had the Urn made, but they were de-
faced, and ſince mended, as the Traces of former Letters were per-
ceptible: On the other Side is the Apotheofiş of a Lyric Poet. There
is a Wonian in a looſe Garment holding a burning Torch, as one of the
Muſes;, another holds a Lyre in her Left-Hand, and a Volume in her
Right, which ſhe offers to a third Woman with large Wings, repre-
ſenting Fame: Near them ſtands a great Altar adorned with' a Crown;
in an obſcure Corner fits a Figure with his Head reclined, which
ſome think may be Momus or Zoilus; they are genteel Figures, and .
elegantly cloathed; it is Baſſo Relievo.
1
)
THE
IO2
A Deſcription of the CURIOSITIES
THE
S Τ Ο Ν Ε
H A L L.
A
N. Alto Relievo. A Rape of NEPTUNE, twelve Fi-
gures beſides two Horſes.
1
An Alto Relievo. Six Figures, NEREIDS, TRITONS,
and a Horſe.
An Alto Relievo. The Rape of the CENTAURS;. eight
Figures.
-
A Greek Alto Relievo of very curious Work. It is. VICTORIA:
She has a wreathed Corona in each Hand, which ſhe holds over two:
Captives. bound at her. Feet. There are a great many Weapons of
War, with Armour and Enſignsy, and a particular Trumpet,
An Alto Relievo. Two Figures,, one repreſenting Painting, the
other Sculpture, very fine Drapery.
An Alto Relievo. A Prieſteſs bringing a Sheep for. Sacrifice
There are two Altars, upon one is a Fire, upon the other an Idol.
An Alto Relievo. JUPITER and JUN O.; fix other Figures
bringing Offerings.
A Relievo. . A Man and Woman;; the Woman ſitting; their Right
Hands joined together, as bidding adieu to cach wther
The:
O
Ín WILTON - HOUSE.
103
The Statue of APOLLO, of the fineſt Greek Sculpture: He
ſtands in a very genteel Poſture, with the Middle of his Bow in his
Left-Hand. It was found in the Earth near Epheſus, where there
were ſome Minerals, which have given it a Stain that makes it ap-
pear like old Ivory. His Sandal is a fine Repreſentation of the antient
Shape and Manner of fixing it.
The Statue of URANI A the Muſe, with her Symbol cut on
the Plinth, with ſo reverend an Air of old Age, that Cardinal Maza-
rine would not ſuffer any part of it to be mended.
A Relievo. A Bull, with his Head adorned with a Mitre and
Fillets; the Middle of his Belly bound round with a Ribband. The
Perſon that facrifices is naked, with his Head laureated; He leads the
Bull with his Right-Hand. The Popa or Prieſt follows behind, lau-
reated likewiſe, and cloathed from the Naval to his Knees; in his
Right-hand is a ſacrificing Olla or Pot, and in his Left-hand is
the Ax.
A
A very large Alto Relievo weighing about a Tun and a Half. It
was a Frieze in a Greek Temple of Diana and Apollo, and repreſents
the Story of Niobe and her Children, &c. Here are ſeven Sons, and
ſeven Daughters, ſuppoſed to be hunting in the Heat; and being ill,
the Father and Mother, &c. come out of the Shade, to aſſiſt them.
All the Figures and Trees, eſpecially the Horſes on which the Sons
ride, are ſo high, that the Heads and Necks ſtand off without touch-
ing the Marble. The Foreſt Cythæron in Bæotia, in which they are
hunting, is finely repreſented; and at a Diſtance, by ſome of the
Trees, Sylvanus, thë Divinity of the Woods fits looking on with a
grave
1
V
104
A Deſcription of the CURIOSITIES
grave
Concern. In this, neither Apollo nor Diana appear, by which
probably it was intended to repreſent their Deaths, as proceeding
from the Heat of the Sun, the Rays of which are as Apollo's Arrows :
He is, indeed, often in Medals fo repreſented, either by the Sun
alone, or with the Rays round his Head. Thus, by the Heat of the
Sun, which was Apollo, and from the Fatigue of Hunting, over
which Diana preſided, they got ſome inortal Fever. An Arrow ſticks
in one only, as a Symbol. Here are twenty Figures;. Sylvanus and
three old Men, (the Father, and two Uncles or Tutors) and two old:
Women, (the Mother and a Nurſe or. Aunt) ſeven Sons, ſeven Daugh-
ters; alſo five Horſes; two of the youngeſt Sons are on Foot, as
are the Daughters.
1
1
The Statue of CALLIOPE, one of the Muſes, with a Roll in
her Hand: She invented Epic or Heroic Poetry.
i
The Buſto of CATO. MAJOR.
The Statue of, PANDORA..
I
A Relievo. Two. Prieſts, or Miniſters of the Prieſt, as going
before the Victim: One of them is playing upon two Pipes, the other
ſtands laureated, prepared to do his Office, with an earthen Chalice
or Simpulum in his. Right-Hand, and a Patera in his Left,
The Ştatue of SABINA, Wife of Hadrian, fine Drapery.
A Relievo. JUPITER ſits on the Right-Hand of JUNO,
on Mount Olympus, with a. Thunder-bolt in his Right-Hand, and
embracing
.
In WILTON - HOU S E.
10-5
embracing her with his Left, ſhe holds him with her Right-Hand,
both naked to the Navel; before them is a Fire blazing upon an Altar,
and a Prieſt ſtanding bare headed, having a very long Robe, and caft-
ing ſomething into the Fire.
An Alto Relievo. FAUNU S playing on two Pipes.
A Baffo Relievo. Having the Inſcription, called Bouſtrophedon,
the Writing in the ſucceſſive Lines going forward and backward:
Firſt from Left to Right, then from Right to Left, as they turn or
guide Oxen in the Plowing of Lands. This was eſteemed the moſt
antient Way of Writing, and proves the great Antiquity of this Mar-
ble. The Figures repreſent a Hiſtory agreeable to the Inſcription. In
the Middle is a Tripos of a very curious and peculiar Form, ſupported
by three Feet, with three Projections one above another; on the up-
permoſt of which is the Patera. The dedicating of a Tripos was an
uſual Expreſſion of Thanks to the Deity among the Antients; and ac-
cordingly this (with the Inſcription above). is the Expreſſion of the
Father's Thanks to Jupiter; who is here repreſented fitting in a Chair,
with his Head bound with a Diadem, and an Eagle not held, but reſt-
ing on the Palm of his Hand, as ready to go and come at Command.
The other Figure repreſents a Libation made by the Son, who waſhes
his Hánds in a Bowl ſet on the Tripos of the common Form.
The Buſto of JULIA MÆSA, Mother of Heliogabalus.
An Alto Relievo. Shewing the antient Manner. of Eating; here
Jupiter, attended by Pallas, is ſerved by Hebe. Mr. Caſtel has en-
graved this in his Book of the Villas of the Antients.
i
р.
The
J
1
1
106
A Deſcription of the CURIOSITIES
The Buſto of OCTAVIA the Elder.
The Front of MELEAGER's Tomb cut off from the reſt,
of fine Greek Marble, with thirteen Figures, beſides a Dog and a
Boar’s Head; the Fable here repreſented is as follows: At his Birth
the Fates left a Billet in the Chamber, with an Aſſurance the Boy
ſhould live as long as that remained unconſumed. The Mother care-
fully preſerved a Pledge, on which ſo much depended. It happened
that his Father, King of Ætolia, in offering Sacrifices to the rural
Deities, had forgot Diana. The Goddeſs was not of a Character to
put up ſuch a Neglect, but fent a huge wild Boar into his Lands,
who laid every Thing waſte before him. Meleager, with Theſeus,
and the Virgin Atalanta, undertook to encounter it. The Virgin
gave the Monſter the firſt wound, and Meleager, who killed it, pre-
ſented her the Head, which his Uncles by his Mother's Side attemp-
ted to take from her. Meleager oppoſing them flew them in the
Conflict. His Mother enraged by the Death of her Brothers, threw
the fatal Billet in the Flames, and. Meleager inſtantly ſeized with a
conſuming Diſeaſe, expired, as ſoon as it was burnt. That which
Montfaucon copied from Mafei has three Perſons leſs than this has,
and wants the Quarrel at the Beginning with the Boar’s Head.
come
A ſmall Frieze from the Temple of NEPTUNE, four TRITONS
and four NEREIDS.
An Alto Relievo. A Child ſtealing Meat from an Altar through
an Idol's Mouth.
An Alto Relievo. VENUS wringing the Water out of her
Hair.
The
4
1
In WILTON-HOUSE.
107
i
The following Verſe is cut on the Relief.
Nuda Venus madidas exprimit imbre Comas.
An Alto Relievo. SILENU S drunk. Boys binding his Arms
and Legs with Vine-Twiſts, Ægle painting his 'Face with a Mul-
berry: There are ſixteen Figures beſides an Aſs.
.
Two Satyrs, on the Ground,
Stretch'd at his Eaſe, their Sire Silenus found;
Doſed with his Fumes, and heavy with his Load,
They found him ſnoring in his dark Abode,-
And ſeized with youthful Arms, the drunken God.
His roſy Wreath was dropt not long before,
Borne by the Tide of Wine, and floating on the Floor:
His empty Can, with Ears half worn away,
Was hung on high, to boaſt the Triumph of the Day..
Invaded thus, for want of better Bands,
His Garlands they unſtring, and bind his Hands;
For by the fraudful God, deluded long, ,
They now reſolve to have their promiſed Song..
Ægle came in to make their Party good,
The faireft Nais of the neighbouring Flood;
And, while he ſtares around with ſtupid Eyes,
His Brows with Berries, and his Temples dyes;
He finds the Freud, and with a Smile demands,
On what Deſign the Boys had bound his Hands,
Loofe me, he cry'd, 'twas Impudence to find.
A ſleeping God, 'tis Sacrilege to bind.
Dryden's- Virgil, Ecl. 6.
.
i
P 2.
CLEO-
.
108
A Deſcription of the CURIOSITIES
CLEOPATRA, with the Aſp in a covered Vaſe; She is here
repreſented as having it ready, but does not ſhew it.
The following is cut on the Marble.
Vivitur infamis moritur Cleopatra decore.
:
Upon a Grey Granate Table, commonly called Moor Stone, from the
Moors in Devonſhire.
A very high Alto Relievo of MARCUS AURELIUS and
FAUSTINA, as big as the Life.
A SARCOPHAGUS; in a Round in the Front is the Buſto of
a Man; the Phyſiognomy of which is on purpoſe left unfiniſhed by
the Sculptor. It is deſcribed by Salvini in Table 9.
1
Upon this Tomb is SESOSTRIS; the Head is of Red Egyptian
Granite ; the Buſt Part is of the white Egyptian Granite ; the Head is,
adorned with a Tiara after the Egyptian Form, and has a peculiar Live-
lineſs ; it was found amongſt the Pyramids.
.
PIC-
.
1
1
1
.
>
In WILTON-HOUSE.
109
PICTURE
R E S,
BUSTOS and STATUES
IN THE
+
Black Marble-Table Room.
TH
HE Table is 11 Feet 9 Inches long, 4 Feet 2 Inches wide,
and 4 Inches thick. Upon it is the Buſto of Geta, Brother to
Caracalla. .
A
An ANGEL driving Adam and Eve out of Paradiſe.
5. By ISENBACK.
Three Pictures of the preſent Lord Pembroke, and managed Horſes.
By MORIER.
-
Lord CHATHAM; from a Print.
BY, QUIN.
GANYMEDE upon an Eagle.
4. By GIUSEPPE PASARI.
:
The
.
IIO
A Deſcription of the CURIOSITIES
The VIRGIN, with CHRIST and St. JOHN, as big as Life,
on Wood.
1
3.
BY CARLETTO.
VENUS leading CUPID, with the three Graces following, to fee
Vulcan, with four others, forging Arrow-heads for Cupid.
A-
4. By. ALESSANDRO TURCO VERONESE, .
A Favourite Dog.
-
BY REYNOLDS.
Four of DIANA's Nymphs bathing, Acteon looking at them.
4. BY SEBASTIAN CONCHA,
The Diſcovery of CALISTA.
4. By: GIROLOMO PESCHI.
A Favourite Dog.
By WOTTON..
MARY MAGDALEN.
By DANINI.
JE PH-
In WILTON-HOUSE.
III
JEPHTHA’s raſh Vow; ſeven Figures, three are dancing, the
Foremoſt is his Daughter.
.
3. BY FLAMINIO TORI.
!
VENUS and CUPID.
4. BY FIALETTI.
CLEOPATRA, with CÆSARION her Son by Yulius Cæfar ;
very naturally ſucking on her Lap. Her Seat is an Egyptian Improve-
ment for Softneſs, ſo as to ſit higher or lower as they pleaſed. The
Bottom has a Layer like ſhort Bolſters, the next over them croſs the
contrary Way, and ſo on to the Height which they would fit. Her
Poſture is very natural, and her Locks hang gracefully on her
Shoulders. Auguſtus killed Cæfarion by the Advice of Arius the Phi-
loſopher from too politic a Reaſon, Non eſſe probandam multitudinem
Cæfarum.
A Statue of SHAKESPEARE, by Scheemakers, in the ſame
Manner as in Wejtminſter-Abbey, only the Lines on the Scrole are
different, theſe are out of Macbeth.
i
Life's but a walking Shadow,
a poor Player,
That ſtruts and frets his Hour
upon the Stage,
And then is beard no more.
The
1
!
IL 2
A Deſcription of the CURIOSITIES
The Statue of MANILIA SCANTILLA, Wife of Didius.
TMOLUS,, upon, a Table ſtained with Figures and Landſkips.
The Buſto of LYSIAS the Orator, of whom Cicero gives this.
Commendation.
Venuſtifimus Scriptor. ac politiſfimus, & alter pene
. Demoſthenes,
The Buſto of THEMISTOCLES.
The Bufto of TERENTIUS:
The Bufto of POSIDONIUS.
i
1
LORD
1
1
In WILTON-HOUSE.
+
#13
LORD HERBERT's
DINING ROOM.
1
A
BIFRONS of CECROPS and his Wife, in Memory
of inſtituting Marriage. Leaves of Sea Weed on his Beard, in
Memory of his coming by Sea from Egypt.
JUDITH cutting off Holofernes's Head under a Canopy; his
Army has a Multitude of fine Figures.
By BONIFAZIO BEMBI.
1
Lady ROCKINGHAM.
internet
+
BY SIR PETER LELY.
MARY Counteſs of PEMBROKE, laſt Wife to Earl
THOMAS,
BY JERVOISE.
Four of the ROYAL FAMILY.
3
By ZIMMEN.
A LANDSKIP and Figures.
2. BY STEPHEN DELLA BELLA,
!
Q
The
:
A
114. A Deſcription of the CURIOSITIES
The VIRGIN looking on CHRIST with great Affection,
5. BY DOMINICO BECAFUMI.
DALIL AH cutting off Sampſon's Hair, and the Philiſtines ap-
pearing.
2. BY SISTO BADOLOCCI.
11
A Battle Piece.
3. By* LUCATELLI.
On
HAGAR, with Tears, looking back on the Angel.
Copper.
3
.
BY FRANCESCO BUZZI.
TOBIAS and the Angel.
By ELSHAMER.
A NATIVITY.
4. BY CARLO CIGNANI.
The late Duke of MONTAGUE.
By DAHL.
BAR.
In WILTON - HOU S E.
115
BARBARA, Counteſs of PEMBROKE, ſecond Wife to Earl
THOMAS, with her Daughter, Lady BAB HERBERT, afterwards
married to Mr. NORTH.
BY SIR GODFREY KNELLER.
The late Sir CHARLES HOTHAM.
i
BY RICHARDSON.
A NATIVITY.
$
By RAPHAEL di Regio.
A DEAD SAVIOUR, with the VIRGIN and ANGELS.
BY MICH. ROCHE.
A NATIVITY.
BY PONTORMO.
1
IN
---
116 A Deſcription of the CURIOSITIES
! IN THE
.
!
LITTLE L O B B Y.
A Monfaucon.
LARGE Alto Relievo of a Veſtal Virgin, engraved in'
Monfaucon.
The following Inſcription is on the Relief.
1
VEST Æ
SACRU M.
C. PU PIU S FIRM IN US E T
M U DA SE NA TR O P H I ME
I A NI PAR T H ICI
DI VIN ER VÆ. P R O N E P.
T. A E L IO. Η Α D RI Α Ν Ο.
A N T ON IN O. AU G. PI 0.
P O N T. M A X. 'T R I B. P O T ES T.
I M P.
Å
II. COS. III. P. P.
VII.
She holds in her Right-Hand a Simpulum, in her Left a Spear.
Her Head is not veiled as in ſome Coins. The Simpulum is the
Mark of her Prieſthood.
The Model of a Seventy-Gun Ship, cáfled, The Old Hampton Court.
IN
A
1
}
In WILTON-HOU S E.
93
A
IN THE
1
B U G L E
R O o
M.
HE Buſto of LUCIUS VITELLIUS PATER.
TH
The Buſto of GALBA.
The Buſto of OLYMPIA S.
The Buſto of COLLATINUS.
!
F I N I S.
1


UB
Sakarus
WHO
A. Relievo
Curtius.
IsA.brefso delatsen

2
FM Grefue delavenly

A. Relievo.
Saturn).
3


A. Relievo.
Fauna & (hild.
I AGrepe deletsonly
.
1


Obsculapins.
I. A Grefse del.stracalp.
5

AN
Meleager
IeM Grofo del ot sendo


6

BE
มาสค์ได้
COIN
Nero.
JA-Grefse delsetzaly

7.
IA Gefor deletsculp.
ME
be
BA
be
Hilan
DIET
With
Min
w
va
Tini
B. Relieve.
Hercules & Agle

8

Hercules
TAGrepe del et sonly.
9

sotme
Marcus Antonius.
S.A.Crepe del creulpa

10

I. A Grepe debatsauf.


Faunus .
IA. Grefse debet sculp

12

Cupid.
IA.Grefe delit seulp
13

Wentinus.
I:Alrepose del otrseily
14

Apollonius Tyanaus
I Alpepe dale et sempe.

15

Semiramis.
IA.Grepe del. et sculp.

16

Metellus.
I. A.Grefse del citromley

17

LEATOIMUNITET
Bacchus
I A. Grofo delitovely
18

MORE
(
Burshow
I. IM Grofve del diserp.
19

Marcus Brutus
I. A Grefore delet seul.
20

مراعات
MPW
Julius Casar.
IM propos delesculp
27

Artemis.
IA.Grefse delci sculp.
22

Lucan.
I'Moroko delatively
23

1
Cassa
sandra
TH_Grefse delectrocult
24


աղացա
Prusias.
F.M.Grofoedel
etisculp
25

Alcibiades.
Ied.
polu dol.etramp
UNIVERSITY OF MICHIGAN
:
3 9015 01193 1733
1
i.
1
C 378920
DUPL