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*
UN DER THE SUPER IN TEN DENCE OF THE SOCIETY FOR THIS
DI FF USION OF USEFU L KNOWLEDGE,
THE LIBRARY
OF
E N T E R 'I' A IN IN G. K. NOW L E D G E.
THE
BRITISH MUSEUM.
THE
TOW NLEY G A LLERY.
VOL. II.
I, O N DO N :
PRINTED BY W. CLOWES AND SONS,
14, Charing Cross.
M.3 – 232.
- THE LIBIRARY OF ENTERTAINING KNOWLEDGE,
THE
BRITISH MUSEUM.
THE
TO WIN L E Y G A L L E R Y.
VOLUME II.
L O N DO N :
CHARLES KNIGHT & Co., LUDGATE-STREET.
MDCCCXXXVI,
COMMITTEE.
Chairman.—The Right Hon. LORD BROUGHAM, F.R.S., Member of the National
Institute of France.
Vice-Chairman.—JOHN WOOD, Esq.
Treasurer.—WILLIAM TOOKE, Esq., M.P., F.R.S.
W. Allen, Esq., F.R. and R.A.S.
Capt. F. Beaufort, R.N., F.R. and R.A.S.,
Hydrographer to the Admiralty.
G. Burrows, M.I).
Peter Stafford Carey, Esq., A.M.
William Coulson, Esq.
R. D. Craig, Esq.
J. Frederick Daniell, Esq., F.R.S.
J. F. Davis, Esq., F.R.S.
H. T. Delabeche, Esq., F.R.S.
The Rt. Hon. Lord Denman.
T. Drummond, Esq., R.E., F.R.S.
Samuel Duckworth, Esq. -
The Right Rev. the Bishop of Durham, D.D.
The irt. Hon. Visc. Ebrington, M.P.
Sir Henry Ellis, F.R.S.,Prin. Lib. Brit. Mus.
T. F. Ellis, Esq., A.M., F.R.A.S.
John Elliotson, M.D., F.R.S.
Thomas Falconer, Esq.
I, L. Goldsmid, Esq., F.R., and R.A.S.
B. Gompertz, Esq., F.R., and R.A.S.
G. B. Greenough, Esq., F.R., and L.S.
H. Hallam, Esq., F.R.S., A.M.
M. D. Hill, Esq.
Rowland Hill, Esq., F.R.A.S.
The Rt. Hon. Sir J. C. Hobhouse, Bart, , M.P.
David Jardine, Esq., A.M.
Henry B. Ker, Esq.
Thos. Hewitt Key, Esq., M.A.
J. T. Leader, Esq., M.P.
George C. Lewis, Esq., M.A.
Thomas Henry Lister, Esq.
James Loch, Esq., M.P., F.G.S.
George Long, Esq., M.A.
J. W. Lubbock, Esq., M.A., F.R., R.A.,
and L.S.S.
H. Malden, Esq., M.A.
A. T. Malkin, Esq., M.A.
James Manning, Esq.
J. Herman Merivale, Esq., M.A., F.A.S.
Sir William Molesworth, Bart., M. P.
The #5. Hon. Lord Nugent,
W. H. Ord, Esq., M.P.
The Right Hon. Sir H. Parnell, Bt., M.P.
Dr. Roget, Sec. R.S., F.R.A.S.
Edw. Romilly, Esq., M.A.
Right Hon. Lord J. Russell, M.P.
Sir M. A. Shee, P.R.A., F.R.S.
John Abel Smith, Esq., M.P.
The Right Hon. Earl Spencer.
John Taylor, Esq., F.R.S.
Dr. A. T. Thompson, F.L.S.
Thomas Vardon, Esq.
H. Waymouth, Esq.
J. Whishaw, Esq., M.A., F.R.S.
John Wrottesley, Esq. M.A., F.R.A.S.
Thomas Wyse, Esq., M.P.
J. A. Yates, Esq.
THOMAS COATES, Esq., Secretary, No. 59, Lincoln's Inn Fields.
CONTENTS.
CHAPTER VIII.
Page
Heads and Busts (continued) . tº tº • 1
CHAPTER IX.
Ancient Masks tº e º g • 67
CHAPTER X.
- Domestic Fountains . * i. o . 74
CHAPTER XI
Candelabra . { } gº * i. . 76
CHAPTER XII.
Brackets and Support of Tripod Tables sº . 87
CHAPTER XIII.
Votive and Bacchanalian Bas-Reliefs . g . 9
CHAPTER XIV.
Sepulchral Bas-Reliefs º tº tº . 157
CHAPTER XV.
Sarcophagi bearing Bas-Reliefs * > tº . 174
CONTENTS.
Bacchanalian Wases
Funereal Urns
Sepulchral Cippi
Altars
Pigs of Lead .
Architectural Bas-Reliefs and Fragments
Marble Paterae
CHAPTER XVI.
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX.
CHAPTER XX.
CHAPTER XXI.
CHAPTER XXII
© g
CHAPTER XXIII.
Inscriptions . * > tº
CHAPTER XXIV
Miscellaneous Antiquities o
APPENDIx tº e ©
Page
. 209
. .263
. .293
. .297
. 313
ERRATA.
Fol. I. page 205, line 13, and 207, line 1, for “Room XI. No.
23,” read “ Room VI. No. 22.”
250, line 2, for “Room XI. No. 22," read “Room
XI. No. 23.”
321, line 2, for “Room XII.” read “Room IV. ;”
after line 12, insert “Room XII. No. 4.”
330, line 26, for “Room IV. No. 11,” read
“ Room II. No. 1 }.”
ſol. II., page 37, line 4, for “Room III.” read “Room IV.”
204, line 20, page 205, line 1, for “No. 17” read
“ No. 47.”
THE
BRIT IS H M U S E U M.
---------
TOWNLEY GALLERY.
CHAPTER VIII.
HEADS AND BUSTS-(continued.)
Sop110cLEs.
Room III. No. 26.
A Bust of Sophocles, the Greek tragedian. It
was found about the year 1775, near Gensano, seven-
teen miles from Rome. It is not executed in a very
superior style, but is remarkable for its preservation,
as the only part restored is a portion of the nose. The
height of this bust is one foot seven inches and three-
eighths.
Sophocles was born in the second year of the 71st
vol. II*. B

2 THE BRITISH M US EU M.
Olympiad', 495 B. c., at Colonos, a small town
near Athems, and was contemporary with Æschylus,
Euripides, and Pericles. His genius and talents
were not confined to poetry: he was associated in
command with Pericles and Thucydides, and assisted
in reducing the isle of Samos. In his maturer age
he exercised the functions of a priest. His tragedies
are said to have been a hundred and twenty in num-
ber, of which seven only have come down to us. He
lived to the age of ninety years”, and gained nume-
rous dramatic prizes”.
The accounts of the death of Sophocles vary.
According to Lucian, he was choked, like Anacreon,
with the stone of a grape ‘; but Valerius Maximus,
who makes his age greater than Diodorus Siculus,
informs us that the last time he obtained the prize,
his delight and surprise were so great that he died
in a transport of joy ".
There is a small bust of Sophocles in the Vatican
Museum, which was discovered at Rome in 1778";
and a medallion of him, in marble, in the Farnese
Palace " : both of these have the name of Sophocles
* Anonym. in vita Sophoclis.
* Diodor, Sicul., lib. xiii. c. 103.
* Diodorus Siculus says eighteen ; Suidas says twenty-
eight prizes.
* Xotoxx7; 6 742).3%zoids, £2.7% arzºv2.7; 22+2%riðy, &zsºyſºn,
~$vºrs 22i ivºvázowſz Khaz; †n. Luciani Macrob.sec. 24; Opera,
ed. Reitz. 4to. Amst. 1743, tom. iii. p. 226.
* “Sophocles quoque gloriosum cum rerum natura certamen
habuit; tam benigne mirifica illa opera sua exhibendo, quam
illa operibus ejus tempora liberaliter subministrando. Prope
enim centesimum annum attigit, sub ipsum transitum ad
mortem (Edipode Coloneo scripto. Qua sola fabula omnium
ejusdem studii poetarum praeripere gloriam potuit.” Valer.
Max., lib. viii. c. 7; Externa 12, ed. Abr. Torren. 4to. Leid.
726, p. 739.
* See Visconti, Iconographie Grecqrie, pl. iv. fig. 1, 2.
1 Bellorii Vet. Illustr. Philos. Poet. &c. Imagines, tab.
lxiv.; Wisconti, Iconogr. Grecque, pl. iv. fig, 3.
TOWNLEY GALLERY. 3
upon them, and bear a strong resemblance to the
present head.
PERICLEs.
Room III. No. 32.
A terminal Head of Pericles, covered with a hel-
met, and inscribed with his name in Greek cha-
racters,
IIEPIKA HX.
It is one foot eleven inches in height, and was found
in 1781, about a mile from Tivoli, in the Pianella del
Cassio, together with a repetition of this head in a
more finished but less ancient style of sculpture, also
helmeted, and bearing the inscription in front IIEPI-
KAHX. EANOIIIIIOY. AeHNAIOX. Pericles, son
of Xanthippus, an Athenian.
Plutarch tells us that the sculptors who represented
Pericles, in order to help the want of proportion in his

B 2
4 THE BRITISH MUSEUM.
head, and yet not quite lose so striking a peculiarity,
generally covered it with a helmet. He was other-
wise of a graceful figure. The Athenian poets, Plu-
tarch adds, found a copious source of wit and raillery
in this defect, and called him a 2-yozápº.05, the onion-
head ".
Of the two heads found near Tivoli, that with the
lengthened inscription was taken to the Vatican :
it is engraved in the “ Museo Pio-Clementino,”
tom. vi. tab. xxix. ; that in the British Museum was
given to Mr. Gavin Hamilton, in exchange for other
antiquities, and passed from him to Mr. Townley.
Of this last head, the greater part of the nose, and
some small portions in front of the helmet, are mo-
derm restorations.
Pericles was of a noble family, the son of Xan-
thippus, who commanded at the battle of Mycale, and
Agariste, the niece of Clisthenes, who reformed the
constitution of Athens. It is generally said that he
was born about the year 499 before the Christian era,
but this date is probably too early. He is also said to
have been deterred for a considerable time from en-
tering into public life, by his strong but unpopular
resemblance to Pisistratus”, a story which is not very
probable, as Pisistratus died at least thirty years
before Pericles was born, unless we suppose that there
were portraits of the great tyrant of Athens. Plu-
tarch, however, adds that it was the very old people
who were struck with the resemblance.
As the leading man in Athens for a long period,
and during the first two years of the Peloponnesian
war, as an orator, a general, and a statesman, his
* Oi 3’ ‘Atrixoi rounraf axwox{paxoy abrov indºovy rºy yºg
ox{xxov torty ºre xzi aziyov čvogº.gov.au. Plutarchi Vitae Pa-
rallelae, Gr. Lat. ex recens. Aug. Bryan. 4to. Lond. 1729,
tom. i. p. 339, in Peric'. See again ibid, p. 353,
* Plutarch, ut supr., p. 343.
TOWNLEY GALLERY. 5
name is immortalized by the history of his country-
man, Thucydides. His most durable reputation, how-
ever, was founded upon his love and encouragement
of the arts. The Elgin collection of marbles presents
a specimen of the sculpture which was executed under
his auspices.
Plutarch says, that, as for the temples and other
public works with which Pericles adorned Athens,
all the structures of that kind in Rome put together,
to the time of the Caesars, could not be compared with
them either in grandeur of design or excellence of
execution ". Colonel Leake reckons that the sum of
6,342,500l. sterling would nearly represent, in our
present currency, the total cost of the buildings of
Pericles, including the Propylaea, the Parthenon, a
portion of the Erectheium, a portion of the long walls,
the flour-portico in the Peiraeus, and the mystic
Temple of Eleusis”.
Pericles died in the year 429 before Christ, and in
the third year of the Peloponnesian war, of a chronic
malady; being almost the only member of his family
who had survived the ravage of the plague.
In Pausanias's time there was a statue of Pericles
in the citadel of Athens”. Phidias placed his por-
trait in the shield of Minerva, where he was repre-
sented as an Athenian combating with the Amazons.
Plutarch calls this portrait eiköva Taykd}\mv, a repre-
sentation perfectly beautiful; and Visconti conjectures
that it was from this representation that the portraits
of Pericles were copied “.
Pliny speaks of a portrait of Pericles, painted by
Aristolaus"; and Christodorus mentions a bronze
* Plutarch, ut supra.
** Topogr. of Athens, p. 418. See also p. 406.
* Pausan. Attic. c. 25.
* Visconti, Iconographie Grecque, part i. p. 141.
** Hist. Nat, lib. xxxv, sec. 40.
6 THE BRITISH MUSEUM.
statue of him, which remained to the fifth century in
p.
the gymnasium of Zeuxippus, at Constantinople”.
Hippocrat Es.
Room III. No. 20.
The head of an aged person, bald; believed to
represent Hippocrates. It was found near Albano,
amongst what are supposed to be the remains of the
villa of Marcus Varro, who, according to Pliny, pos-
sessed no fewer than seven hundred portraits of
illustrious men in his library". The nose and upper
part of the left ear are modern, and also the neck
and bust. Its height, including the restorations, is
one foot six inches and a half.
The reason for assigning this head to Hippocrates
is founded upon the resemblance it bears to a head
* Christod. Annal, tom. ii. p. 469.
* Plin. Hist. Nat., lib. xxxv, c. 2.

TOWNLEY GALLERY, 7
of that celebrated physician, which occurs upon a
coin struck in honour of him by the people of Cos.
This coin was formerly in the collection of Fulvius
Ursinus. An engraving of it first appeared in 1606,
in a work entitled “Illustrium Imagines";” and an-
other engraving of it is prefixed to Dr. Mead's dis-
sertation “De Nummis quibusdam a Smyrnaeis in
Medicorum honorem percussis,” published in 1724.
The latter is executed from a coin in the collection of
the king of France. The great rarity of this coin
of Cos has caused it to be suspected, and Eckhel did
not hesitate to declare his suspicion of its being a
forgery". Visconti, however, in the Iconographie
Grecque", assures us that its genuineness has been
verified by competent judges. It bears the head of
Hippocrates, with his name on one side, IIITIOKPA-
THX, and on the other KOION, with the serpent of
/Esculapius twined upon a staff. There cannot be
the smallest doubt of the genuineness of this coin,
which may be considered as established, by another
coin of Cos recently purchased for the British Mu-
seum. It is smaller in size, and also bears the head
of Hippocrates, with only the two letters III behind
it. The device and inscription of the reverse are the
same as upon the larger coin. The genuineness of
that in the French collection seems to have been
suspected only because it was believed to be unique.
* “Illustrium Imagines, ex antiquis Marmoribus nomis-
matibus, et gemmis expressaº, quae exstant Roma, major
pars apud Fulvium Ursinum. Editio altera, aliquot ima-
ginibus et I. Fabri ad singulas commentario auctior atque
illustrior, 4to. Antv. 1606, tab. lxxi.
* Doctrina Num. Vet., vol. ii. p. 599. “Ceterum numum
hunc confictum suspicor.” Again, vol. iv. p. 349, “Exstat in
numo Insulae Co, sed forte suspecto.” See also Mionnet, De-
scription de Médailles Antiques Grecques et Romaines, tom.
iii. 8vo. Par. 1808. p. 407,
* Pl, lvii, fig. 2.
8 THE BRITISH MUSEUM,
The numerous repetitions of the head in marble
here given, Mr. Combe observes”, show that it is
the representation of a person who possessed a con-
siderable share of celebrity. A similar head is in
the Capitoline Museum”; two others are engraved
in the Musée Napoleon”, one of which was taken
from the Villa Albani. Mr. Combe speaks of a
fourth, in the possession of Richard Payne Knight,
Esq., which has been since added to the collection
in the British Museum”. Mr. Knight, however,
afterwards assigned this last bust to Diogenes the
cynic”.
The sculpture of the head of Hippocrates in the
Townley collection is excellent, and exhibits a fine
specimen of the best style of Grecian art.
Hippocrates, the most distinguished of ancient
physicians, and usually called the father of scientific
medicine, was born in the island of Cos, in the first
year of the 80th Olympiad, about 460 years be-
fore Christ. Cos was famed for its temple to AEscu-
lapius. Plato informs us that Hippocrates was of
the family of the Asclepiadae, or descendants of
AEsculapius”, from whom, according to a later au-
thority, he was himself the seventeenth in suc-
cession”.
Born under these favourable circumstances, and
aided by the collective knowledge of his ancestors,
Hippocrates devoted himself zealously to the cultiva-
* Descr. of the Anc. Marbles in the Brit. Museum, part ii.
4to. Lond. 1815, pl.xx.
* Mus. Capitol., tom. i. p. xlii.
* Mus. Nap., tom. ii. pl. 78, 79.
* Now standing in Room XI., on the shelf marked 28.
* See the present volume, p. 11.
* In Protagora, Opera edit. Bipont, vol. iii. p. 88. Ibid, in
Phaedro, vol. x. p. 371.
* Wit, Hippocr. Sorano auctore, tom, ii. p. 951.
TOWNLEY GALLERY. 9
tion of the art which he was destined to improve ;
and to the empirical practice which had been here-
ditary in his family he added all the knowledge
which he could derive from Herodicus, who had
established the gymnastic medicine”. In both
branches he thought for himself, and was, in fact,
the first known physician who combined reasoning
with experience.
After he had studied and practised the profession
of medicine in his own country, he travelled through
Asia Minor, Libya, Scythia, Macedon, Thessaly, and
part of Thrace”. He spent a considerable time at
the court of Perdiccas II., King of Macedon, and
died at Larissa in Thessaly, where his monument
was still existing when Soranus wrote, who lived
under the Emperor Hadrian. Beyond these facts
little is known with certainty of Hippocrates.
The different treatises attributed to him are
seventy-two in number, but of these a large portion
have been considered spurious even from ancient
times. His essay “On Air, Waters, and Situations,”
the first and third books of “Epidemics,” his work
on “Prognostics,” the first and second books of
“Predictions,” the books of “Aphorisms,” and the
treatises “On the Diet in Acute Diseases,” and “On
Wounds on the Head,” are considered genuine.
Some of the pieces ascribed to Hippocrates were
obviously written after the Christian era, and Galen
affirms that several interpolations and alterations
were made by Dioscorides and Artemidorus, sur-
named Capito, in the time of Hadrian. Polybus,
the son-in-law of Hippocrates, who collected his
works, is believed to have written some of the
treatises; and Thessalus and Draco, his sons, as well
* Hippocratis Vita, apud Fabric. Bibl. Graec. edit. Harles,
tom. ii., 4to. Hamb. 1791, p. 510. -
* Visconti, Iconographie Grecque, tom, i. p. 173.
B 5
10 THE BRITISH MUSEUM.
as Hippocrates III. and IV., his grandsons, are sup-
posed to have written others, especially several of
the books of epidemics. Again, Hippocrates, the
first of the name, and grandfather of the great Hip-
pocrates, is the reputed author of three treatises”;
while some essays have been ascribed to the phy-
sicians of the contemporary Cnidian school.
Hippocrates's age, at the time of his death, is va-
riously stated; whether it was eighty-five, or ninety,
or a hundred and four, or a hundred and nine years,
is uncertain. The marble to which these remarks
refer appears to be the bust of a person considerably
advanced in years.
Those who would know more of this great man
and his works may consult Harles's edition of Fa-
bricius's “Bibliotheca Graeca,” vol. ii. chap. xxiii.,
where every thing is brought together relating to
him, which the most critical reader can require, by
Dr. Jo. Chr. Gottl. Ackermann. A short but
masterly analysis of the doctrines of Hippocrates
will be found in Rees's Cyclopaedia, vol. xviii.
DioGENEs.
Room XI., on the Shelf marked 28.
A Bust of Diogenes the Cynic. Bequeathed by
the late Richard Payne Knight, Esq.
Diogenes was born at Sinope, a city of Pontus, in
the third year of the 91st Olympiad, 413 years
before the Christian era. His wisdom was practical ;
and has been preserved to us chiefly in maxims and
apophthegms, which have been collected by Orelli.
The letters attributed to him are manifestly spurious.
He left behind him no system of philosophy. He died
in the year 324 B.C. Alexander the Great, of whom
it is said, that, had he changed his condition of life,
* These are the treatises IIegi 'Ayaav, IIsai 'Aggāy, and
IIsé Tºxyns,
TOWNLEY GALLERY. 11
Diogen Es.
diſſi
he would have wished to have been Diogenes, died
at Babylon the next year. -
This is the head which was at one time ascribed by
Mr. Knight to Hippocrates.
Alexander's visit to Diogenes in his tub, forms
the subject of a bas-relief in the Albani collection.
See Zoega's work, Part i. tav. xxx. It is also en-
graved as a vignette at the head of one of the chap-
ters in Winckelmann's Hist. de l’Art, lib. iv. c. vii.
DEMosTHENEs.
Room XI. No. 38.
A Head of Demosthenes, purchased in 1818. Its
height is one foot eight inches and a half. There is
no memorandum of where it was found.
This great orator and statesman was born at
Athens, according to some accounts, in the fourth
year of the 98th Olympiad, that is 384 years before
Christ; according to others, in the second year of
the 101st Olympiad, 370 before Christ. The time
of his death is usually assigned to the third year of

12 THE BRITISH MUSEUM.
DEMosTHENEs.
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the 104th Olympiad, 322 years before Christ. He
was the son of Demosthenes, an Athenian, a master
cutler and manufacturer of utensils in metal. His
mother Cleobule was the daughter of Gylon, an Athe-
nian, by a Scythian woman, whom he married in the
Crimea. Thus the greatest of Athenian and of all
orators was not of pure Greek stock, a circumstance
with which his rival AEschines, in their war of mutual
abuse, did not fail to reproach him.
The disadvantages under which Demosthenes set
out in life were great; he had an impediment in his
speech, a weak voice, and an ungracious manner,
But the strict discipline which he imposed upon him-
self removed these defects; and he became a re-
markable instance how far parts and application will
go toward perfection in any profession, notwithstand-
ing the impediments of Nature. According to a







TOWNLEY GALLERY. 13
story, perhaps not of much authority, (Life of De-
mosthenes, by Zosimus of Ascalon), he remedied the
defect of speech by accustoming himself to declaim
with pebbles in his mouth. The mouth in the pre-
sent bust is represented to a small extent open, as if
something was within it.
His master was Isaeus, also a distinguished orator;
and he is said to have profited by the rhetorical
writings of Isocrates.
A similar bust of Demosthenes is engraved in the
Museo Pio-Clementino, tab. xxxvii. p. 53.
EPICURUs.
Room III. No. 34.
© of Epicurus, the founder of the
Epicurean sect. His doctrines were warmly at-
tacked by the philosophers of other schools, and par-
ticularly by the Stoics. Epicurus, a native of Gar-
§§ttus in Attica, was born in the 109th Olympiad,
342 B.C.", and died at the age of seventy-two, in
* See Corsini in fast. Attic, iv. p. 35.


14 THE BRITISH MUSEUM.
the second year of the 127th Olympiad, 271 years
before the Christian era. The name Epicurean,
in its present acceptation, does not convey a correct
notion of the doctrines of Epicurus, though it may
not be quite inapplicable to some of his followers.
Epicurus himself is admitted by all writers of an-
tiquity to have been a man of pure and simple
habits. His writings, which were very numerous,
are all lost. Fragments of his book on Nature have
been discovered among the papyri of Herculaneum,
and published. The poem of Lucretius is the best ex-
tant exposition of his doctrines. Epicurus made hap-
piness to consist in tranquillity of body and mind;
and he considered that what is called virtue must
be estimated solely by its tendency to produce this
State.
Cicero, Pliny, Diogenes Laertius, and Alexander
ab Alexandro, all agree that the memory of this
philosopher was held in such high veneration, that
his admirers not only ornamented their houses with
his portrait, but likewise had it engraved on their
rings and on their drinking-cups”.
It is remarkable, however, says Mr. Combe, that
notwithstanding the great number of portraits which
the ancients possessed of Epicurus, it was not until
nearly the middle of the last century that we were made
acquainted with his real portrait. In digging the
foundation for a new portico to the Church of Santa
Maria Maggiore at Rome, in the year 1742, the heads
of Epicurus and his friend Metrodorus were found,
joined back to back, and inscribed with their names in
Greek characters”: these heads were immediately
placed in the collection of Pope Benedict XIV. A
**Cic. de Fin., lib. v. c. 1; Plin. Hist. Nat, lib. xxxv, c. 2;
Alexand. ab Alexand., lib. ii. c. 19.
* See the Mus. Capitol. tom. i. tav. v. p. 12; Visconti,
Iconographie Grecque, pl.xxv. fig. 2, 3, 4,
TOWN LEY GALLERY. 15
small bust of Epicurus in bronze, with the name in-
scribed upon the circular plinth, was afterwards dis-
covered near Herculaneum”. It is in consequence of
these discoveries that we have been enabled to deter-
mine with certainty that the head now before us repre-
sents Epicurus, as it bears a perfect similarity to both
the heads which are inscribed with his name”.
This head probably belonged to a statue ; it was
found at Rome, in the Villa Casali, near the church
above-mentioned, in the year 1775. The nose and
the lobe of the left ear are modern ; as are likewise
the term and a portion of the cloak. Height, one foot
six inches seven-eighths.
ARATUS.
Room XII. No. 3.
A Head of Aratus, who was born at Soli in Cilicia.
It was found in 1770 at Murena, among the ruins of
the villa of Marcus Varro. Aratus wrote a Greek
poem, commonly entitled “The Phenomena” (con-
sisting of two parts, the Phenomena, and the Prog-
nostics), which was much esteemed by the ancients,
and, from its subject describing the appearances and
motions of the stars, gave him some doubtful title
to be considered as an astronomer. St. Paul, who
Was a native of Tarsus in Cilicia, refers to it in the
Acts of the Apostles, xvii. 28. Aratus lived about
the 127th Olympiad, 270 years before Christ, while
Ptolemy Philadelphus reigned in Egypt. Cicero
translated the “ Phenomena” into Latin verse in
his earlier years. A very ancient manuscript of
Cicero’s translation of this poem was edited in 1835
* Bronzi di Ercolano, tom.i. tav. xxi. xxii; Visconti, Icono-
graphie Grecque, pl.xxv. fig. 1.
* Combe's Descr. of the Anc. Marbles in the British Mu-
Seum, part ii. pl.xxxiv. -
16 THE BRITISH MUSEUM,
ARATUs.
Room XII, No. 3,
by the late William Young Ottley, Esq., in the
Archaeologia of the Society of Antiquaries.
Ovid, Amor. lib. i. 15, 16, says,
“Cum sole et lună semper Aratus erit.”
This bust is placed upon a small modern pedestal
of yellow marble, upon which some former possessor
has inscribed the name of ERAcLITE.
Room VI. No. 47.
An animated Head, larger than life, considerably
inclined to the right, and looking upwards. The
countenanee expresses a mixture of earnestness and

TOWNLEY GALLERY. 17
anguish. The hair of the head is arranged in bold
and distinct masses; the beard short, and almost close
to the face. It formerly received the appellation of
a Titan. Mr. Combe speaks of it as a head of one of
the Homeric heroes”. It is impossible to ascertain
the particular person whom it is intended to represent.
The writer of a short notice of this head in the second
Dilettanti volume upon sculpture conjectures that it
was intended for Diomed; as a specimen of sculpture,
he places it among the finest monuments of the Mace-
donian age.
It was found in 1771 by Mr. Gavin Hamilton, in
his great and successful excavations made in that
part of Hadrian's villa now called the Pantinella.
Some fragments were found with it, but whether of
the statue or of a group to which it belonged was
* Description of the Anc. Marbles in the Brit. Museum,
Tart ii. pl. xxiii.
§

18 THE BRITIS H MUSEUM.
uncertain. A similar head, found in the same exca-
vation, but of inferior workmanship, is in the Vatican
Museum.
The height of this marble is one foot mine inches
and a half. The nose, a small portion of each lip,
part of the lobe of the left ear, and a tuft of hair on
the crown of the head, with the bust on which the
head is placed are modern restorations,
HEAD of A YouTII, CoNSIDERED BY MR. TownLEY As on E OF
THE Dioscuri.
Room XII. No. 13.
The character of this beautiful Head, says the
writer of the first volume of the “Dilettanti Spe-
cimens of Sculpture,” is manifestly ideal; but for
what personage of poetical mythology it was meant
there are no circumstances that will warrant any
reasonable conjecture. Mr. Townley, whose learning
and sagacity in explaining the works of ancient art
were equal to his taste and judgment in selecting
them, held it to be one of the Dioscuri; but Mr.
Knight observed that he had never seen any repre-
sentations of those deified heroes without the egg
cap of one parent, or the characteristic locks of hair
of the other; and not many without both *.
This head, which appears, like many others in this
collection, to be the fragment of a statue, is in a state
of great preservation, and in a soft and mellow style
of sculpture. It was found near Rome, by Mr. Gavin
Hamilton.
ATYs.
Room VI. No. 41.
A Head of Atys, or it may be of Adonis, or Paris,
bearing the cap or Phrygian mitra. It was found
at Rome, in the Villa Palombara, and, in purity of
taste and finished skill, has few rivals as a specimen
* See Specimens of Ancient Sculpture, vol. i. pl. lxi.
TOWNLEY GALLERY. 19
; % D º
º
(º §
*NS
ſ
of sculpture. It belongs to the school of Praxiteles,
and is supposed to have been part of a statue”.
Atys, or Attis, had a shrine at Dyme in Achaia,
where he was associated with Dindymene. Pau-
§anias, lib. vii. 17, gives the strange fables told of
his birth and life in two wild versions, one of which
Was current among the Greeks, and the other among
the Galatians of Pessinus in Phrygia.
Room XII. No. 12.
A Bust of an unknown Female, rather larger than
life, seemingly placed upon the petals of a flower. It
has been called a Grecian lady, and also Isis resting
upon the flower of the nymphaea lotus ; Mr. Town-
* See Specimens of Ancient Sculpture, published by the
Dilettanti Society, vol. ii, fol, 1835, p. 33.


20 THE BRITISH MUSEUM.
.” 24I / \ ! ---
<Sº if \ c |
sºlº - || Aſh, \ A
&\\\,...,x*f; ſ/7->
§§ \ \ º iſ, '*'.
fºil)
Žº z,”
W
ley called it Clytie rising from the sunflower *: and
D’Hancarville surmised, in the mystic manner of
some of the antiquaries of his day, that it was sepul-
chral, designating both the individual represented
and her apotheosis.
The hair, which is strongly parted above the fore-
head, is thrown back, and falls in small ringlets on
the neck. A thin drapery, fastened by studs, covers
* Unfortunately, the Heliotropium which the petals of the
sculpture jº, was unknown before the discovery of
America. That this bust, however, is connected with some
classical fable admits of no doubt. It has recently been sug-
gested that it may possibly be Daphne, enveloped in the laurel.






TOWNLEY GALLERY. 21
the right shoulder and a part of the bosom, leaving
the rest, with the left shoulder, entirely bare.
This singularly beautiful bust was purchased at
Naples from the Laurenzano family, in 1772, in
whose possession it had been for many years.
The fable of Clytie transformed into a sunflower
is in Ovid’s “Metamorphoses,” lib. iv. 264.
Tantãm spectabat euntis
Ora Dei: vultusque suos flectebat ad illum.
Membra ferunt haesisse solo : partemque coloris
Luridus exsangues pallor convertit in herbas.
Est in parte rubor: violaeque simillimus ora
Flostegit. Illa suum, quamvis radice tenetur,
Vertitur ad Solem: mutataque servat amorem.
She turn’d about, but rose not from the ground,
Turn'd to the Sun, still as he roll'd his round:
On his bright face hung her desiring eyes,
Till fix'd to earth, she strove in vain to rise.
Her looks their paleness in a flower retain'd,
But here and there some purple streaks they gain'd.
Still the lov’d object the fond leaves pursue,
Still move their root, the moving Sun to view,
And in the Heliotrope the Nymph is true.
The value which Mr. Townley placed upon this bust
has been already noticed in the chapter on his life.
Augustus.
Room XI., on Shelf 51.
A Head of Augustus, two feet in height including
its pedestal. It was purchased in 1812 at the sale of
the Right Honourable Edmund Burke's marbles.
Augustus was not a family name, but a title of honour
bestowed upon the first emperor of Rome, and
adopted by his successors; and though the title was
afterwards used to designate the Roman emperors
who for the time held the supreme power (while the
title of Caesar was given to the presumptive successor),
the name Augustus is peculiarly applied to the first
who held it, and is almost looked upon as his proper
appellation. -
22 THE BRITISH MUSEUM.
AUGUSTU's.
Octavius was the family name of the emperor
whose bust is here represented. He was the son of
Caius Octavius and Atia, and was born while Cicero
was consul, in the sixty-third year before Christ.
Atia was the daughter of M. Atius Balbus by Julia,
sister of Caius Julius Caesar, who, in his will,
named Octavius as his heir. He was also adopted
into the Julian family, and took the name of Caius
Julius Octavianus Caesar.
It was not till twenty-seven years before Christ,
four years after the battle of Actium, that Octavius
received, from the flattery of the senate, the title of
Augustus.
Having adopted Tiberius as his successor, he dic d
at Nola in Campania, A.D. 14.

TOWN LEY GALI,ERY. 23
The head of Augustus is known from his coins.
Two other heads of him in marble, one crowned
with ears of wheat, as Frater Arvalis, the other in
more advanced life, occur in the Museo Pio-Clemen-
tino, tom. v., tav. xxxix. xl. p. 55, 56. See another
head, in bronze, ascribed to him, pl. xlvi. of the
second volume of Specimens published by the Dilet-
tanti Society.
Suetonius, cap. 79, says that Augustus was grace-
ful in person through every period of his life”.
MARCELLUs.
Room VI. No. 53.
ſº
wº
% º/, = 2
º
Ø
}ºrsTillins
===== = ~~i====
& º * s & 33
* “Forma eximia, et per omnes actatis gradus venustissima.








24 THE BRITISH MUSEUM.
A Bust of the young Marcellus, dressed in the
Roman toga, erected to his memory by the body of
the Decemvirs, as is indicated by the following in-
scription engraved upon the plinth :
DECEMI VIRI. STLITIBVS. IWDIC ANDIS.
The word stlitibus is a well-known archaism for
LITIBUs”.
This bust, which is much corroded on the surface,
was brought to light in an excavation near Rome.
in 1776; the exact site where it was found was con-
cealed, and is now unknown. Its height, including
that of the plinth, is two feet eight inches. The plinth
takes up seven inches five-eighths. Mr. Townley
procured this bust through the agency of Mr. Gavin
Hamilton.
Marcellus was the nephew of Augustus, and the son
of his sister Octavia. His merit procured him a place
in the senate, among those of praetorian rank, when he
was not above sixteen years of age. Augustus made
him pontiff and aedile, adopted him his successor in
the empire, and gave him his daughter Julia in mar-
riage. He survived. however, but a short time. The
disorder which carried him off was a hectic fever, not
without suspicion that Livia, the wife of Augustus, had
had a hand in his death, to make room for Tiberius and
Drusus, her children " by a former husband, Tiberius
* Aldus Manutius de Veterum Notarum Explanatione,
12mo, Ven. 1566, p. 150.
“sti. Ivd. wel sti,1TIB. Ivd.
St/itibus judicandis quod inventum est apud Ferentum in
Civitate Histomo.
“STLITIBus. &vri row. Litibus, sic et STLATVM ; pro Latum.”
So Steph. And. Morcelli de Stilo Inscript. Latinar. 4to,
Patav. 1819, lib. i. e. ii. p. 111; “Decemviros litibus judicandis
(st/itibus dicebant veteres), apud quos Tullius adolescentulus
caussas egit, constitutos dicit Pomponius,” &c. See Gruter,
passim. g
* See Dion, lib, liii. 517, 519; Velleius Paterculus, lib, ii.
c. 93
TOWN LEY GALLERY. 25
Claudius Nero. He died when little more than
eighteen years of age, in the year of Rome 731, and
the twenty-third before the Christian era. His funeral
obsequies were performed in the Campus Martius.
Augustus, his nearest relative, himself pronounced
his funeral oration, and paid distinguished honours
to his memory. But the flattery of Virgil has done
more to preserve the name of Marcellus than any
events of his short life.
TIBERIUs.
Room XI., on Shelf 51.
22:2:2-
ØØ\\
ſº!) Å. \ AS \ | \ SN
§ º lºº tº\ § s \
º NS \ -
t | E.ºr §§ | }
a. º | - ill - \ - f t
º | | !)
| || > || "A $2%
\'ºr º, " f %
tº. = || ||
- | w
\ fºllºw $.
\ W. º }
wº * . ji |
wºmmº-
A Head of Tiberius; purchased in 1812, at the
Sale of the marbles of the Right Honourable Ed-
mund Burke. The portrait is identified by a coin, in
Vol. II*. C



26 THE BRITISH MUSEUM.
middle brass, struck by the Senate, A.D. 23, an im-
pression of which is preserved in the cabinets of the
British Museum : it bears the legend on the obverse
TI. CAESAR. DIvi. AVG. F. AVGVST. IMP. VIII.,
and, on the opposite side, S.C. in the centre, and round it,
PontiF. MAXIM. TRIBV.N. Potest. xxiiII*.
Height of this bust, two feet three inches.
Tiberius was the son of Tiberius Nero, by the
paternal and maternal line of the house of Claudius,
though his mother passed by adoption into the Livian,
and afterwards into the Julian family “. He was
born in the year 42 B.C.; was adopted by Augustus,
in the year 12 of the Christian era; and became
emperor A.D. 14. He died, after a reign of three-
and-twenty years, A.D. 37.
Tacitus says his manners, like his fortune, had
their distinctive periods. While a private man, and
in the highest employments under Augustus, he was
virtuous and honoured. During the lives of Drusus
and Germanicus, he played an artificial character,
concealing his vices, and assuming the exterior of vir-
tue. After their decease, and while his mother lived,
good and evil were equally blended in his conduct.
Detested for his cruelty, he had the art, while he
loved or feared Sejanus, to throw a veil over his most
depraved and vicious appetites. All restraint being
at length removed, he broke out without fear or
shame, and, during the remainder of his life, hurried
away by his own umbridled passions, made his reign
one scene of lust, cruelty, and horror”.
It was in the year 27 that Tiberius, weary of all that
he saw upon the continent, passed over to Capreac
(now Capri), a small island in the bay of Naples,
where he fitted up no fewer than twelve villas, and
* This coin is engraved in Mongez, pl.xxii. fig. 5.
* Tacit, Anmal, lib, vi, sec, 51, 44 Ibid.
TOWN LEY GALLERY. 27
where, for the remainder of his reign, he hid himself,
his vices, and his sensualities from public view.
A puteal found among the ruins of one of these
villas, exhibiting five groups of fauns and baccha-
malian nymphs, was purchased by Mr. Townley from
the Columbrano Palace, at Naples, belonging to the
Duke Caraffa, where it had stood for many years.
This puteal is not exhibited with the rest of the Townley
collection.
MEss ALINA.
Room VI. No. 65.
s
The Synopsis of the British Museum, since the first
of the two editions printed in 1814, has described this
is a bust of Domitia. Previous to that time, Mr.
Townley's own catalogue, followed by seven editions of
the Synopsis, had assigned it to Messalina, the fifth


28 THE BRITISH MUSEUM.
wife of the Emperor Claudius *. It is two feet in
height. A bust of Messalina, similar in every minute
particular to this of the Townley collection, is en-
graved in the Museum Capitolinum ". We have,
therefore, restored the Townley bust in these volumes
to its old designation. It was found in the Villa
Casali, upon the Equiline Hill, in 1775.
Valeria Messalina, daughter of Valerius Messala
and Domitia Lepida, has perpetuated her name by
her unparalleled excesses. Juvenal gives her the
appellation of “Meretrix Augusta".” While Claudius
was at Ostia, she had the boldness openly to cele-
brate her nuptials with her paramour Silius. On the
emperor’s return to the city, she was put to death, by
his orders, in the year of Rome 801, A.D. 48 “.
Tacitus informs us, that, to blot the name of Mes-
salina altogether from Claudius's memory, all repre-
sentations of her, whether in public or private pos-
session, were ordered by the senate to be destroyed”.
Mongez has engraved a medal in bronze, struck in
honour of Messalina, at Nicaea in Bithynia, bearing
on one side her portrait, with the legend MEXXA-
AEINA SEBAXTH NEA HPA, Messalina Augusta,
the new Juno, on the reverse, a portico, circum-
scribed T KAAIOX POYipOX ANOYTIATOX, Caius
Cadius Rufus, pro-consul ; in the exergue NEI.
KAEON, a coin of the Nicaeans". A sardonyx in
the French collection, in which Messalina is repre-
sented with her children, Britannicus and Octavia,
also identifies her portrait”.
* See the enumeration of his wives, Sueton. in Claud. c. 26.
* Tom. ii. tab. 14. *7 Sat. vi. v. 118.
* Compare Tacit. Annal. lib. xi. c. 26, and Sueton. ut supr.
* “Juvitgue oblivionem ejus Senatus, censendo nomen et
effigies privatis ac publicis locis demovendas.” Tacit. Annal.,
lib. xi. c. 38. -
* See Mongez, Iconographie Romaine, tom. ii. 4to. Par.
1821, p. 196, pl.xxviii. fig. 4. Vaillant calls this coin “num-
mus stupendae raritatis.” Numism. Imp, Graeca, p. 14. * Ibid.
TOWN LEY GALLERY. 29
There is a statue of Messalina bearing Britannicus
upon her arm in the gallery of the Louvre. It was
brought from Rome to France in the seventeenth
century”.
NERO.
Room VI. No. 44.
A Head of Nero, larger than life. It was brought
from Athens by Dr. Askew in 1740. Its height is
one foot ten inches and a half, including the pedestal;
without the pedestal, one foot four inches.
Lucius Domitius Nero, the sixth Roman emperor,
was the son of Cneius Domitius AEnobarbus, by
Agrippina, the daughter of Germanicus and Agrip-
pina. The first Agrippina was the daughter of
Agrippa, by Julia, the daughter of Augustus. .
Nero was born in the year of Rome 790, in the
thirty-sixth year of the Christian era. Till his mother
* Description du Musée Royale des Antiques du Loyre,
par M, le Cte. de Clarac, 12mo, Par. 1830, p. 84, º 183.
C

30 THE BRITISH MUSEUM.
became the wife of Claudius, in the year 48, he was
called simply Domitius; but, by the adoption of
Claudius, he passed into the Claudian family, and
took the name of Nero.
The Scholiast on Juvenal (Sat. v. 109) says that
Seneca, when he returned from exile, intended to go
to Athens, but that Agrippina called him to Rome to
direct the education of her son. Seneca saw immedi-
ately the ferocious and cruel character of his pupil, and
tried to soften it; but he was accustomed to say to his
private friends, “When this lion has once slaked his
thirst with human blood, his matural ferocity will
know no bounds.” Nero began his reign in the year
54, under circumstances which for a time gave the
promise of a virtuous prince. His enormities after-
wards accomplished Seneca's prediction; and have
transmitted his name to the execration of posterity:
“Quid Nerone pejus **
After a reign of rather more than thirteen years;
and after having become a burthen to himself as well
as others, he was condemned to die by a decree of
the senate, A.D. 68. But he escaped a public exe-
cution. The suicide, which he himself but half per-
formed, was completed for him by his secretary.
The family of the Dictator, Caesar, ended with Nero,
who was descended from the Dictator’s sister, Julia;
J. Caesar had only a daughter, who left no children.
Nero was thus the last and perhaps the worst of that
illustrious house. Suetonius tells us there were not
wanting persons who for several years dressed his
tomb with spring and summer flowers “; a story,
which, if it be true, shows that there were some at
least who cherished his memory. Nero appears to
* Martial, lib. vii. ep. 34.
* “Non defuerunt qui per longum tempus vernis a sti-
visqua floribus tumulum ejus ornarent.” Sueton, in Neronem,
sec, 57.
TOWNLEY GALLERY, 31
have had some taste for the arts, and an unbounded
passion for magnificent profusion.
VITELLIUs.
Room XII., in the Case No. 13.
A small Bust of Vitellius, clothed in the imperial
paludamentum. The head is of yellow marble; the
drapery dark. It is ten inches seven-eighths in
height, including the pedestal; and seven inches and
a half without. It was presented, in 1757, by
Thomas Hollis, Esq. In the Synopsis of the Con-
tents of the British Museum, this head has hitherto
been described as an unknown bust; but his coins
identify the portrait of the emperor.
Vitellius was born in the year 15 of the Christian
era. He was the son of Lucius Vitellius; and in
early life the favourite of Tiberius. He advanced
himself to honours by practising the most obsequious

32 THE BRITISH M USEUM.
arts under Caligula, Claudius, and Nero”, and be:
came emperor in the year 69.
Gibbon calls him the beastly Vitellius. He is
said to have consumed, in mere eating, at least six
millions of our money in the short space of seven
months; but this story must be taken with abate-
ment. Tacitus compares him to a hog ; but not
even a hog could contrive to eat at the rate of
28,570l. per diem.
Mongez, Iconogr. Romaine, tom. ii. p. 280, says,
“Son caractère, bas et vil, sembloit se peindre dans
toute sa personne; il avoit un embonpoint énorme;
son visage étoit enflamme; son ventre très gros; et il
boitoit légérement.”
TRAJAN.
- tº Sº, º
!" . . . | | y
\\\\ ||
\{\}\}, ... |W
§§ S- *',
ſº
\ijº
w
l ſº
* Suetonius in Vitel.., sec. 4.



TOWNLEY GALLERY. 33
A Bust of the Emperor Trajan. This prince was
born at Italica, in Spain ", now Santiponce, in Anda-
lusia, on the Guadalquivir, not far from Seville. He
succeeded to the Roman empire on the death of
Nerva, in the year 98, being at that time in the
forty-second year of his age”.
He subdued Dacia, Armenia, Mesopotamia,
Arabia, and Parthia, and in all his enterprises com-
manded in person. Nor was he neglectful of the
arts of peace”. He embellished Rome with many
noble buildings, and his name appeared on so many
edifices which he had either built or repaired, that
Constantine the Great is said jocosely to have desig-
nated him as the “wall-ſlower *.” Trajan's venera-
tion for the religion of the empire, or perhaps motives
of policy, led him to persecute the Christians. He
died, according to Eutropius, at Seleucia in Isauria"
—Dion Cassius says, at Selinus in Cilicia *—in the
year 117.
The senate gave Trajan the title of OPTIMUs.
Eutropius, who lived in the fourth century, says, that
even in his time, when the senators received a new
emperor, among their acclamations they uttered
aloud the wish that he might be more fortunate than
Augustus, and better than TRAJAN".
The bust of Trajan here represented is of the
size of large life: its height, including the pedestal,
two feet five inches and three-eighths. The breast
is uncovered, and the head is not crowned with
laurel. The want of elevation over the forehead,
which is remarkable in this head, may be observed
in all the ancient portraits of Trajan, whether on
* Eutropius, lib. viii. sec. 2. "7 Dion. Cass. lib. lxviii, c. 4.
* Aurel. Victor de Caesar. c. xiii.
* Ammianus Marcellinus, lib. xxvii. c. 3.
* Eutrop., lib. viii. sec. 5. " Dion. Cass...lib. lxviii, c. 33.
* Eutrop., lib, viii, c. 5.
34 THE BRITISH MUSEUM.
medals or in marble. The only restorations which
this bust has received are the tip of the nose, one
nostril, and a portion of the outer edge of the right
ear. It was found in an excavation made in the
Campagna di Roma, by Mr. Gavin Hamilton, in 1776.
Room IV. No. 4.
|
%
ſº
| º & º **** r
ſº s & ñºl.
º º º \\,
ºùº
ŠišNui
- ſº Ul
tº
(WW —.
Č.
wr: | W
W’ º
. . . . .
siderable quantity of hair on the head, but has no
beard, except on the upper lip". It was found in
Trajan’s Forum, and has evidently belonged to the
statue of some barbarian chief; perhaps to a figure
* The Britons, according to the description of Caesar,
appear to have adopted the same fashion of wearing their
beard only on the upper lip. “Capilloque sunt promisso, atque
omni parte corporis rasa, praeter caput, et labrum superius.”
Caesar de Bello Gallico, lib. v. c. 14. It is probable that this
custom was common also to the Germans and Gauls, at the
time when Caesar wrote his Commentaries: how long the
practice continued with these nations is uncertain; but we know
that in later times the Germans wore their beards on the chin
as well as on the upper lip.









TOWN LEY GALLERY. 35
that had formed one of the ornaments of a triumphal
arch.
Such is Mr. Combe's description of this valuable
fragment. He adds,
“This head has generally been supposed to repre-
sent Decebalus, the formidable leader of the Dacians,
who, after he had baffled the power of the Romans
under Domitian and Nerva, was finally subdued by
Trajan, and forced to submit to the galling condi-
tions of peace imposed upon him by that emperor.
The feelings of rage, disappointment, and revenge,
which may be conceived to have agitated Decebalus
at the moment of his submission, are strongly
marked in the expression of this head; yet we are
nevertheless of opinion that it was never intended to
represent Decebalus. The only undoubted portraits
of this spirited prince are to be seen in the basso-
relievos that adorn the Trajan Column; and in all
these portraits Decebalus is invariably represented
with a beard"; and indeed the custom of wearing
the beard appears to have been general among the
Dacians in his time. The precise age of Decebalus,
at the period of his overthrow, is not known ; but
When we consider that he had been engaged in hos-
tilities against the Romans for a term of nineteen
years, it is highly probable that he was considerably
more advanced in age than the person whose portrait
is here preserved. We may remark, also, that the
excellence of the sculpture, and the bold style in
which the head is executed, evince an era in the
art anterior to the time of Trajan.
“If we were inclined to hazard a conjecture with
respect to this marble, we should think it more pro-
bable that the head was intended to represent Ar-
minius, the German chieftain, who was conquered
“Colonna Trajana, da Pietro Santi Bartoli, tav, civ, cik,
36 THE BRITISH MUSEUM.
by Germanicus. We at least know that for this vic-
tory Germanicus obtained the honours of a triumph,
and that his conquest was commemorated at Rome
by the erection of a triumphal arch". The import-
ance which the Romans attached to the success of
their arms against Arminius may be inferred from
the high terms in which Tacitus speaks of his mili-
tary talents, when he calls him the defender of the
liberties of his country, and the only German who
had contended with the Romans in the plenitude of
their power". The strongly-marked expression in
the features of this head agrees with the description
which Welleius Paterculus has given of the counte-
nance of Arminius"; and the period of life indi-
cated in the marble also perfectly coincides with that
of Arminius, who was about thirty-four years of age
at the time of his defeat”.”
The writer of a short account of this head, in the
second volume of the “ Dilettamti Specimens of
Ancient Sculpture,” considers it to be a portrait of
Caractacus”. It is unquestionably the head of some
* “Fine anni (U.c. 770), Arcus propter acdem Saturni, ob
recepta signa cum Varo amissa, ductu Germanici, auspiciis
Tiberii,” &c. Tacit. Annal. lib. ii. c. 41.
* “Liberator haud dubie Germania, et qui non primordia
populi Romani, sicut alii reges ducesque, sed florentissimum
imperium lacessierit: praeliis ambiguus, bello non victus:
septem et triginta, annos vitae, duodecim potentiae explevit:
caniturque adhuc barbaras apud gentes; Graecorum annali-
bus ignotus, qui sua tantum mirantur; Romanis haud perinde
celebris, dum vetera extollimus, recentium incuriosi.” Tacit.
Annal., lib. ii. c. 88. -
°7 “ Tum juvenis genere nobilis, manu fortis, sensu celer,
ultra barbarum promptus ingenio, nomine Arminius, Sigimeri
principis gentis ejus filius, ardorem animi vultu oculisque
praeferens.” Paterc., lib. ii. c. 118.
* See the Descript. of the Ancient Marbles in the British
Museum, part iii. 4to. Lond. 1812, pl. vi.
* Tacitus has attested the high esteem in which the cha-
racter of Caractacus was held by the Romans : “ Ne Roma.
TOWN LEY GALLERY. 37
barbariam chieftain or king, who was a captive at
Rome.
This head was brought to England by Mr. Lyde
Browne, and formed a part of his collectiom 7". Its
height is ome foot six inches and a quarter.
AELIvs HADRIANvs.
Room III. No. 12.
Q -1
2-*
htii
tttt\Sj
A Bust of Hadriam, larger than life, with the breast
naked; formerly in theº Villa Montalto, belonging
quidem ignobile Caractaci nomen erat, et Cæsar, dum suum
decus extollit, addidit gloriam victo.” Tacit. Annal. lib. xii.
c. 36.
7° Itis thus described in Mr. Browne's Catalogue, 8vo. Lond.
1769: « Barbari caput, humani capitis magnitudinem superans,
vultu dejecto, capillis, et in superiore labro barba, promissis et
Squalidis. Provinciam (si modo Provinciam, sub virili formâ
repræsentari fas sit) Barbarorum subjectam non ineptè referre
videtur,'' p. 9.
voL. II *. D

38 THE BRITISH MUSEUM.
to Pope Sixtus V. Visconti, in the “Museo Pio-
Clementino,” tom. vi. p. 61, in speaking of the five
most valuable busts known of this emperor, says,
“com tutto il petto nudo e di stile grande e sublime
era quello (busto) della Villa Montalto.”
Hadrian was the first of the Roman emperors
who wore a beard; and he is said to have adopted
the custom, in order to hide the blotches with which
his face was disfigured”. The practice was con-
tinued by his successors, without having the same
reason for it.
The height of this bust is two feet. The preser-
vation of the marble is remarkably good : the ex-
treme edge of the right ear, and a very small piece
in the right breast, are the only parts which have
been restored”.
Room VI. No. 27.
A Bust of Hadrian, of no common character as
a specimen of art, draped with the paludamentum
over the military cuirass : it was found in the grounds
of Cavaliero Lolli, which joined to those of the Conte
Fede, and occupied a part of that emperor's villa
near Tivoli". It was purchased by Mr. Townley in
1768. Height, two feet seven inches and a half.
7* “Promissa barba, ut vulnera quæ in facie naturalia
erant, tegeret.” Spartian. in vita Hadriani, c. 27.
7* See Combe's Descr. of the Ancient Marbles in the Bri.
tish Museum, part ini. pl. xv. -
7” The villas of the old Romans, says Lumisden, were only
country-houses, contrived for the conveniency of private life.
But when riches, the effects of their conquests, grew upon them,
their villas rather resembled cities than the seats of particular
persons, and in which nothing breathed but luxury and plea-
sure. The taste increased greatly under the emperors, each
endeavouring to outdo his predecessor in grandeur.
Hadrian, endowed with an excellent genius for the fine arts,
as has been already observed, having visited all the empire,
brought home with him whatever he found most curious to
adorn his villa, of which he himself was the architect. And
indeed, whether we consider its extent, being about three
TOWNLEY GALLERY. 39
SABINA.
Room VI. No. 58.
***-----
~~~~
A Bust of Julia Sabina, daughter of Matidia,
whose mother was Marciana the sister of Trajan.
Its height is two feet three inches.
miles long, and a mile broad, or the greatness and variety of
the buildings, temples, theatres, circuses, baths, porticoes, &c.,
or the exquisite works of sculpture and painting that orna-
mented it, this villa must have been one of the finest of
antiquity.
Spartian writes that the emperor gave the names of the most
remarkable buildings of the world to these he erected in it:
the Lyceum of Aristotle, the Academia of Plato, the Pry-
taneum of Athens, the Canopus of Egypt, the Poecilé of the
Stoics, the Tempé of Thessaly, the Elysian Fields, and the
Infernal Regions, were to be seen here.
Pirro Ligorio, a better architect than accurate antiquary,

D 2
40 THE BRITISH MUSEUM,
Sabina was married to Hadrian before he was em-
peror, in the year 100 of the Christian era, and died
in the year 137. Rumour attributed her death to
poison given by her husband”, who seems, about
the close of his life, to have gone nearly mad, appa-
rently from the effects of the mortal disease under
which he was suffering. Sabina accompanied Ha-
drian in many of his progresses through the empire;
and her name is still legible on one of the great
colossi in the plain of Thebes, in Egypt.
The elaborate and intricate style of dressing the
hair in this bust, as well as the tiara, exactly resemble
those on Sabina’s medals”.
A head of Sabina, found near Civita Lavinia, the
old Lanuvium, by Gavin Hamilton, is engraved in
the “ Museo Pio-Clementino,” vol. vi. tav. xlvi.
Room XII. No. 18.
A colossal Head of Antinous (the favourite of
Hadrian) deified, in the character of Bacchus, being
crowned with a wreath of ivy. This head, with
several parts of the statue to which it belonged, was
found, in 1770, in small pieces, made use of as stones
has given a plan and description of this villa, and which has
been since revised by Contini (Pinuta della Villa Tiburtini di
Adriano Cesare, da Pirro Ligorio, &c. fol. Roma, 1751), but in
which there are still many mistakes. Barbarous hands, joined
to all-devouring time, have indeed so defaced it, that it is now
very difficult, almost impossible, to trace out these different
buildings. And it must become daily more so, as the persons
who have got possession of it throw down the remains, either
in the hopes of finding statues and other valuable things, or
to plant vineyards. See Lumisden’s Remarks on the Anti-
quities of Rome, 4to. Lond. 1812, pp. 411, 412.
** “ Etiam Sabina uxor, non sine fabula veneni dati ab
Hadriano, defuncta est.” Spartianus. -
* See Waillant, Numism. Ærea Impp., Par. 1695, p. 162.
Mongez, Iconographie Romaine, pl. 38. In Philippo Buonar-
rotti's Osservazione sopra alcuni Medaglioni Antichi, Roma,
1698, p. 24, is a head of Sabina with a tiara, from an agate.
TOWNLEY GALLERY. 41
ANTINous.
Room XII. No. 18.
in a wall, erected during the barbarous ages, in the
grounds called La Tenuta della Tedesca, near the
Villa Pamfile". It is one foot ten inches in height,
exclusive of the plinth, which stands eight inches
high. r
A fragment of a bas-relief, representing a head
of Antinous, not unlike the present bust, will be
* See Dallaway, Anecd. of the Arts, 8vo. Lond. 1800, pp.
320, 321. The two most noted busts of Antinous, for pre-
servation and workmanship, though not superior to this, are,
one in the Museum Capitolinum, with the chlamys on the left
* and another in the Villa Albani, also with the breast
Ila, € tº

42 THE BRITISH MUSEUM.
seen, Room XII., in the Case No. 8. From the
collection of Sir William Hamilton.
Captain Smyth, in his descriptive Catalogue of his
cabinet of large brass Roman medals, observes that
the fine obelisk on Monte Pincio at Rome was dedi-
cated to the memory of Antinous, in the joint names
of Hadrian and Sabina, as appears from the hiero-
glyphic inscription.
AELIvs CAESAR.
Room XI., on the Shelf marked 43.
A Bust of Ælius Caesar, whom Hadrian, in the
latter part of life, intended to make his successor.
It is two feet two inches and a half in height,
exclusive of six inches of plinth. Spartianus speaks
of him as “quondam forma commendatum Ha-
driano 77.”
He was the son of Cejonius Commodus, a man of
consular rank and of Etrurian descent, and had
originally the name of Lucius Aurelius Cejonius
Commodus Verus; but when he was adopted by
Hadrian, in A. D. 135, he passed into the AElian
family, and, dropping every other name, assumed that
of AElius Verus Caesar.
The title of Caesar, which appears upon the coins
of AElius, is said to have been now first used as an
adjunct to the presumptive successor to the empire.
He was elected consul in the year 136, created
Praetor, and sent to govern Pannonia, whence, in
declining health, he returned to Rome at the end of
the year 137, and died upon the day when he was to
have delivered an eulogium on Hadrian's generosity.
Hadrian had celebrated the adoption of AElius with
magnificent games and great largesses. Spartianus
has preserved the terms in which he expressed his
grief and disappointment at the loss of his adopted
77 Spartianus, in wit. Hadr, c. 23.
TOWN LEY GALLERY. 43
heir : “In caducum parietem,” he said, “nos incli-
navimus, et perdidimus quater millies H. S. quod
populo et militibus pro adoptione Commodidedimus.”
Alluding to the approaching apotheosis of the dying
Caesar, he exclaimed, “Ego Divum adoptavi, non
filium.”
Hadrian survived Ælius Caesar scarcely a year.
The curled hair and beard of this bust bear a
strong resemblance to the coins of AElius. A similar
head of Ælius Caesar, bought out of the Villa Mattei
is preserved in the Blundell Museum at Ince.
ANToNINUs Pius.
Room XII. No. 11.
# A small Bust of Antoninus Pius; the head only is
*que. It affords a good specimen of the minute

44 THE BRITISH MUSEUM.
and highly-finished state of sculpture in the time of
the Antonines. It was formerly in the Barberini
Palace at Rome, in the apartments of the princess.
Height, sixteen inches seven-eighths.
Antoninus Pius was born in the year 86, and was
for a time pro-consul in Asia. He was adopted by
Hadrian, and took the title of Caesar upon the death
of Ælius. He succeeded Hadrian in the empire in
138. He was said to be “nulli acerbus, cunctis
benigirus.” Under his paternal rule the Roman
world enjoyed general peace and prosperity for more
than twenty-two years. He died at Lorium, in Etru-
ria, A.D. 161.
MARCUs AURELIUS.
Room IV. No. 6.
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TOWNLEY GALLERY. 45
emperor of Rome, in the year 161; but took Lucius
Verus as his associate and partner in governing the
state. Marcus Aurelius died in 180, at the age of fifty-
eight. He was the son of Annius Verus, of an ancient
and illustrious family, which claimed descent from
Numa. Marcus Aurelius is here represented as one
of the Fratres Arvales, being veiled with the prae-
texta, or sacerdotal robe, and crowned with a wreath
of corn, and with the sacred infulae, or fillets, which
were appropriate marks of distinction worn by that
order of priests, who are said to have been instituted
by Romulus”: it was their office, at particular sea-
sons, to go into the fields in solemn procession, and
to offer up prayers for the fertility of the earth.
Julius Caesar is frequently represented on his coins in
the character of Frater Arvalis, that is to say, veiled,
and crowned with a wreath of corn. The collection
of ancient sculptures at Paris contains busts of
Antoninus Pius and Lucius Verus, both of whom are
represented, in like manner, as Fratres Arvales”;
and in the Vatican is a head of Augustus in the same
character", not veiled, but simply crowned with a
wreath of corn”.
The Emperor Aurelius was the most remarkable
man of all who ever possessed the sovereign power
of Rome. He was a soldier and a philosopher, a
man of business and of letters, whose general con-
duct in life was a practical exemplification of the
stoical principles which he professed. His “Medi-
tations,” in twelve books, written in Greek, entitle
him to honourable mention as an author. This
* See Plin. Hist. Nat., edit. Harduini, lib. xviii. c. 2.
* See the Musée Napoleon, tom. iii. pl. 50, 57.
* Engraved in the Museo Pio-Clementino, tom. vi. tav.
XXXIX.
* Combe's Descr. of the Ancient Marbles in the Brit.
Museum, part iii. pl. ix.
D 5
46 THE BRITISH MUSEUM.
work, which consists of maxims, opinions, and re-
marks, apparently put down as they suggested
themselves, may be considered one of the best codes
of moral discipline that yet exist.
The present head of Marcus Aurelius was formerly
in the Mattei Collection, and is engraved in the
“Vetera Monumenta Matthaeiorum, vol. ii. tab. xxii.
fig. 1. It was obtained thence in 1773; and is two
feet three inches high”.
A work of great erudition, on the subject of the
Fratres Arvales, was published a few years ago at
Rome, entitled “ Gli Atti e Monumenti de' Fratelli
Arvali,” par Gaetano Marini, 2 tom. 4to. Rom. 1795.
THE YoUNGER FAUSTINA.
Room VI. No. 32.
* Statues and busts of Marcus Aurelius were probably
numerous in ancient times. Capitolinus, in his life of him,

TOWN LEY GALLERY. 47
A Head of Annia Faustina, the daughter of the
Emperor Antoninus Pius, and wife of Marcus Aure-
lius. It was purchased in a private house at Poz-
zuolo, in 1777. Height, one foot ten inches and a
quarter.
Faustina, having accompanied her husband into
the east, died suddenly at Halale, a village at the foot
of Mount Taurus, A.D. 175. In profligacy of life she
is said to have exceeded her mother, Amnia Galeria
Faustina, the wife of Antoninus Pius. But the
emperor (Meditat. i. 17) extols the obedience,
affection, and simplicity of his wife : a testimony
which may be set off against the evidence of Capito-
linus and Dion Cassius, on the other side. Upon
one of her medals she is termed MATER CASTRo-
RUM". She was the first empress who assumed
this title.
LUCIUS WERUS.
Room. IV. No. 7.
A colossal Bust of Lucius Verus, clothed in the
imperial paludamentum. It was formerly in the
Mattei collection, and, in general air, answers to the
description of his countenance left to us by Julius
Capitolinus”. The face has dignity, but the beard
is long, and the hair upon the head thick and curled.
c. 1. says, “Sacrilegus judicatus est, qui ejus imaginem in
Sua domo non habuit, qui per fortunam vel potuit habere
vel debuit.”
* This coin is in the collection of the British Museum. It
is engraved in Mongez, Iconographie Romaine, tom. iii. p. 97,
who says “Si on l'eſt surnommée la femme des soldats, ou Mes-
Salina, on eit peint d'un seul motles débauches effrénées qui
Seules lui ont fait accorder une place dans,l'histoire, et dontsa
mère, Faustina, lui avoit donné le honteux exemple.”
* Fuit decorus corpore, vultu gemmatus, barba prope bar-
barice demissa, procerus, et fronte in supercilia adductiore
Venerabilis. Hist. Augustae Script. vi. 8vo. Lugd. Bat. 1661;
Julii Capitolini Verus Imperator, tom. i. p. 435, sq.
48 THE BRITISH MUSEUM
LUCIU's VERUs.
Capitolinus says that Lucius Verus was vain of the
beauty of his hair, and took great pains in its adjust-
ment”.
The height of this bust, including the pedestal
(both formed of one block of marble), is three feet
one inch. It is engraved in the “ Monumenta Mat-
thaiorum,” by Venuti, vol. ii. tab. xxiv. fig. 1.
Upon the death of Antoninus Pius, in the year
161, Marcus Aurelius, his adopted son, was left sole
successor; but he chose to invest Lucius Verus, to
whom he also gave his daughter Lucilla in mar-
* Dicitur sane tantam habuisse curam flaventium capil-
lorum, ut capiti auri ramenta respergeret, quo magis coma
lluminata flavesceret. Hist, Aug. Script, tom. i. p. 436.

TOWN LEY GALLERY. 49
riage, with an equal share in the imperial dignity;
and Rome, for the first time, saw itself governed by
two sovereigns of equal power, but of very different
merit and pretensions. Marcus Aurelius was dis-
tinguished for his virtues and accomplishments ;
Lucius Verus by his ungovernable passions and de-
bauchery”. Werus died of apoplexy at Altinum, in
returning from Germany, A.D. 169. According to
Capitolinus he was forty-two years of age". He
was buried in the tomb of Hadrian.
The present bust has great merit as a work of art;
but is not considered so fine as the Lucius Verus, in
the Borghese collection, found at Roma Vecchia.
There is another highly-estimated bust of the same
personage in the Barberini collection; and a fourth,
found at Hadrian's Villa, and purchased by Mr. Jen-
kins, was sold by Mr. Lyde Browne, about 1787, to
the Empress of Russia”.
A statue of Lucius Verus, the head like the
Museum bust, is engraved in the “Museo Pio-
Clementino,” tom. ii. tav. l. ; and another, a perfect
statue, in early life, found at Palestrina, in the ruins
of the ancient forum, is also given in the same work,
tom. iii. tav. ix.
Severus.
Room VI. No. 29.
A Bust of Lucius Septimius Severus, in height,
including the pedestal, two feet seven inches, found
in 1776, on the Palatine Hill, in the part of the
Palace of the Caesars afterwards occupied by the
Villa Magnani. The breast is draped with the impe-
rial paludamentum.
* Alege cupidissimus, vitae semper luxuriosae, atque in
pluribus Nero, praeter crudelitatem et ludibria. Ibid. p. 437.
* Vixit annis quadraginta duobus. Ibid.
* See Dallaway's Anecd, of the Arts, pp. 355, 370,389.
50 THE BRITISH MUSEUM.
Severus was born at Leptis, now called Tripoli, in
Africa, in the year 146. He became emperor in 195,
and died at York, in Britain”, in 211. His remains
were carried to Rome, and deposited in the Mauso-
leum of Hadrian. His character has been ably
drawn by Gibbon.
The portraits of Severus are numerous. The like-
ness is known by his medals, and by their conformity
to the description of his person by Spartianus".
A bust of him, found at Otricoli, in countenance
* “Periit Eboraci in Britannia: subactis gentibus quae
Britanniae videbantur infestae, anno imperii decimo octavo,
morbo gravissimo extinctus jam senex.” AElii Spartiani
Severus, Hist. Augustae Script. tom. i. 8vo. Lugd. Bat. 1671,
). 629.
P * “Ipse decorus, ipse ingens, promissa barba, cano capite
et crispo, vultu reverendus.” Ibid, p. 632.

TOWNLEY GALLERY. 51
not unlike the present, is engraved in the “ Museo
Pio-Clementino, tom. v. tab. liii. Another bust, in
the imperial paludamentum, found at Roma Vecchia,
occurs in the same work, tom. vi. tav. li.
The present bust is two feet two inches high
without the pedestal.
CARACALLA.
Room VI. No. 51.
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A Bust of Caracalla, two feet in height, found, in
1776, in the Garden of the Nuns at the Quattro
Fontane on the Esquiline Hill. The excavation had
been made to the depth of forty Roman palms when
this head was discovered. The breast is modern.
:* *









52 THE BRITISH MUSEUM.
Caracalla, the eldest son of Severus, was born,
according to Spartianus, in the year 174. His name
was Marcus Aurelius Antoninus Bassianus. He
received the appellation of Caracalla from the long
mantle of that name used in Gaul, which he had caused
the Roman soldiers to adopt. The name he himself
used upon his coins was Marcus Aurelius Antoninus.
He succeeded his father in the empire, jointly with
his half-brother Geta, A.D. 211; whom he murdered
in 212; and, happily for mankind, he was himself
assassinated by a soldier in 217. Macrinus, who
planned the conspiracy against him, was his successor.
Caracalla, after his father's death, and after the mur-
der of Geta, married Julia Geta's mother, who was
the second wife of Severus *.
The busts of Caracalla usually represent him with
the head a little inclined to the left, in imitation
of Alexander the Great, of whom he was a great
admirer”.
There are several busts of Caracalla, all exhibiting
this peculiarity of the head inclined, in the Louvre
Gallery at Paris, Numbers 68, 160, and 327.
Room VI, No. 39.
A Head of Plautilla, the wife of the Emperor
Caracalla; the features and head-dress exactly cor-
respond in likeness to the medals of that empress,
particularly to those in silver. It was purchased by
Mr. Townley from Cavaceppi, the sculptor, at Rome,
and is one foot seven inches and a half in height.
* Spartianus, Geta, c. 7; Antoninus Caracallus, c. 7, 10;
Severus, c. 20.
* “Corpore Alexandri. Macedonis conspecto, Magnum
atque Alexandrum se jussit appellari, adsentantium fallaciis
eo perductus, ut truct fronte, et ad lavum humerum conversa
cervice, quod in ore Alexandri notaverat, incedens, fidem vultus
simillimi persuaderet sibi.” Sexti Aurelii Victoris Epitome, c.
xxi, ed. Arntzenio, 4to, Amst, 1733.
TOWN LEY GALLERY, 53
PLAUTILLA.
Plautilla was the daughter of Plautianus, the fa-
Wourite minister of Severus. The date of her mar-
riage with Caracalla is fixed by Eckhel to the year
202. She was exiled to the island of Lipari, in the
year 203, and was murdered by order of Caracalla
in 21298.
The union of the eyebrows (which is not repre-
sented in the cut) immediately above the nose is a
marked feature both upon the coins and in the busts
of Plautilla”. -
* See Dion. Hist. Rom., lib. lxxvi. edit. S. Reimari, fol.
Hamb. 1752, pp. 1276, 1287.
“See not only the present bust, but that engraved by
Mongez in his Iconographie Romaine, pl.xlix, fig. 7. It is

54 THE BRITISH MUSEUM.
Room VI. No. 55.
A Bust of Gordianus Africanus the elder. It is
draped with the toga, and ornamented with the
latus clavus. The hair is marked by scratches, cor-
responding with the style of that emperor's time. It
is two feet five inches and a half in height. A fine
bust of Commodus, purchased by Cardinal Alexan-
der Albani, was found along with this bust of Gordi-
&l Ill IS,
Room XII., on the Shelf No. 13.
The Head of a Muse, crowned with a wreath of
laurel, and the head-dress corresponding with the
figures of the Muses upon the medals of the Pom-
ponia family. It was found by Mr. Gavin Hamilton,
near Frascati. Height, fourteen inches, including
the pedestal.
Room VI. No. 18.
A Female Head, resembling, in the disposition of
the hair, and in the character of the face, the head
of a muse. The attitude of this head being some-
what similar to that of a statue of Apollo, engraved
in the “ Museum Capitolinum,” tom. iii. tab. xv.,
induced Mr. Townley to consider it as the head of a
statue of Apollo Musagetes, or leader of the Muses.
The neck, however, decides it to be female. This
head was brought from Rome by Mr. Lyde Browne.
It is two feet in height.
Room VI. No. 42.
A beautiful Head of an unknown Female, smaller
than life; the hair elegantly bound with broad fillets,
which cross each other ; a tuft of hair rises upon
common in Turkey to see the eyebrows joining over the nose,
where the women encourage them to meet by various arts;
Augustus's eyebrows naturally joined, but the sculptors cor-
rected this superfluity in his statues and busts,
TOWNLEY GALLERY. 55
Room VI. No. 42.
*\\\ % º º :
Wºº
f|.
ji,
| i
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i
3.
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the summit of the head. It seems to be the fragment
of a statue, and was found, about the year 1784, in
an excavation made by the then Duke of St. Alban's
and Mr. Brand, in grounds belonging to the Cesarini
family, near Genzano. It is one foot five inches in,
height.
Mr. Townley, as well as the author of the letter-
press to the first volume of the “ Specimens of
Ancient Sculpture,” published by the Dilettanti
Society, considered, for what reason it is impossible
to discover, that this head was intended to represent
ºn androgynous personage, in which the charms of
both sexes were blended in the freshness of youth.
Mr. Townley, in illustration, added, that this cha-
racter of head, exactly thus ornamented, is often seen
on Etruscan vases upon the body of the animating





56 THE BRITISH MUSEUM.
spirit with wings. See Antiq. Etrusc. Grec. et
Rom. by D'Hancarville, tom. ii. tav. 91.
Room XI., on the Shelf No. 34.
A Bust, the second upon the shelf, supposed to be
intended for Achilles. Such is its description in the
“Museum Synopsis.” In the Gymnasia the Greeks
wrestled naked. Images of such persons were called
Achilleae". It is two feet three inches in height with-
out the pedestal.
Room XI. No. 34. Art. 3.
|
||||Illir
==> ==ºs
A Bust of a Faun. It was bequeathed to the
Museum in 1824, by Richard Payne Knight, Esq.
Height, twenty-one inches and a half.
Room XII., on No. 8. Art. 2.
A Head of a Laughing Faun, which seems to
have belonged to a statue of exquisite workmanship.
* See Plin. Hist, Nat, lib, xxxiv. c. 5, edit. Hardouin, tom.
ii. p. 642.

TOWNLEY GALLERY. 57
The countenance is animated by a momentary ex-
pression excited by the appearance of something
ludicrous”. It was found in 1772, in the Tenuta.
di Tor de Sapienza, about four miles from the Porta
Maggiore of Rome. The statue to which this head
belonged lay near it, under the foundation of a house
belonging to the Prince Borghese, but could not be at
the same time obtained. Height, seventeen inches.
Room XII., in the Case No. 8.
A small Female Head in white marble, the hair of
which is formed of a distinct and darker marble, and
is fitted to the head in the manner of a wig. It is
marked 26.
A small Head of a young Man, covered with a
helmet which is ornamented with the horns of a
ram. From the collection of Sir William Hamilton.
Marked 27.
Room XI. No. 11. Art, 1.
i º . # l d
ū! |
º
{ ... Flaxman, in his Lectures on Sculpture, p. 152, says,
The Fauns are youthful, sprightly, and tendonous; their
*es round, expressive of merriment, not without an occasional
mixture of mischief.”


58 THE BRITISH MUSEUM.
An unknown Bust, the head perfectly bald. Be.
queathed by the late Richard Payne Knight, Esq.
Room XI. No. 28. Art 2.
An unknown Bust of a Female. Height, in:
cluding the pedestal, two feet. Also bequeathed by
the late Mr. Knight.
Room XI. No. 39.
An unknown Head, somewhat resembling that of
the statue called Cicero at Oxford. Height, including
the pedestal, seventeen inches and a half.
Room XI. No. 51.
The draped Bust of a Female in a rich head-

TOWNLEY GALLERY. 59
dress; two feet two inches in height. It stands
upon a plinth, upon which, and immediately beneath
the bust, is an inscription, implying that it was dedi-
cated to the memory of Olympia by Epithymetus
her freedman :
ME MOR.I.A.E.
CL. TI. P. O'LYMPIADIS.
EPITHYMETV.S. LIB.
PATRONAE. PIENTISSIM.A.E.
It was purchased in the year 1812 at the sale of
. marbles of the Right Honourable Edmund
urke.
Room VI. No. 61.
A Bust of a middle-aged Man; two feet three
inches high. The hair of the head and beard is
short and bushy. The right shoulder and most of
the breast is naked, and the left shoulder bears part
of the chlamys, fastened with a round button, under
which was the ancient fibula. Round the base on
Which this bust rests is the following inscription, sig-
lifying that L. AEmilius Fortunatus dedicates this
bust to his friend:
L. AEMILIWS. FORTW NATWS
AMICO. OPTIMO. S. P. F.
The letters S. P. F. stand for “Sua pecunia fecit.”
The pedestal is of a different marble from the bust:
It seems doubtful whether the two originally be-
longed to each other.
This bust was found amongst extensive ruins in
the grounds belonging to the Cesarini family, near
tenzano, in 1776.
60 THE BRITISH MUSEUM.
Room XII. Shelf 2. Art, 1.
º \ º SN
WS
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§§
º
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An unknown Female Head; one foot three inches
in height. The sockets of the eyes are hollow, and
have been originally filled with coloured stones or
some other material.
Room XII. Shelf 2. Art. 3.
This Head of an unknown Female, with a broad
fillet across the forehead, stands the last head upon
the shelf. It is sixteen inches in height.







TOWNLEY GALLERY.
61
Room XII. Shelf 2. Art, 3.
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UW ſº


62 THE BRITISH MUSEUM.
A Head of a Female Bacchante, surrounded by
a broad fillet diadem, but which is not seen at the
point whence the present view of it was taken. It is
one foot six inches in height. The hair is disposed in
large irregular tresses, and tied before and behind in
knots in a fantastic manner. It was found in 1776,
in the vineyard of the villa of the Chevalier Giraude,
opposite to the Villa Pamphili, about half a mile from
the Porta San Pancrazio at Rome.
Room XII., in the Case No. 13.
A small unknown Male Head, the neck modern :
a chlamys fastened on the left shoulder. From the
collection of Sir William Hamilton.
Room XII., in the Case No. 13, the 2d article upon the Shelf.
A small unknown Female Head, the hair of which
is tied in a knot behind. From the collection of Sir
William Hamilton.
Room VI., on No. 28.
The Head of a Child. Height, eleven inches seven-
eighths. It is undoubtedly a portrait. From a
hanging curl of hair, placed on the right side of the
head, Mr. Townley was induced to suppose it repre-
sented a child who was dedicated to or put under the
protection of Osiris; that being the usual symbolic
decoration of the heads of Osiris.
Room XII., on Shelf No. 1 1.
A Bust of a Child; sixteen inches in height; the
breast naked. It was purchased from Albacini, the
sculptor, at Rome, in 1772.
Room XI, on Shelf No. 11.
A Bust of a Sleeping Child in alto-rilievo; six
inches and a half in height,
TOWN LEY GALLERY. 63
Room XI., on the Shelf No. 43.
A small unknown Bust of a Boy. Bequeathed
by R. P. Knight, Esq. Height, including the
pedestal, fifteen inches five-eighths.
An unknown Bust, twenty inches and one-eighth
in height; also bequeathed by the late R. P.
Knight, Esq. -
ſºlill [1];
*
*=>
TT. >
-*
A Head of a Female Child, eleven inches seven-
eighths in height. The hair is divided into plaits,
which are twisted into a knot on the back part of the
head. Some of the red paint, with which the hair
was originally coloured, is still visible. It was
brought from Rome in 1785, and is probably a
portrait.
Room XII. Shelf 19.
A Head, apparently of a Trumpeter. Height, one
foot one inch.


64 . The BRITISH MUSEUM.
Room XII. Shelf 19.
FRAGMENTS AND PARTs of STATUES.
Room VI., under No. 30.
A colossal foot of Apollo, two feet eleven inches
in length. It was presented to the British Museum
in 1784, by Sir William Hamilton.
Room VI., under No. 57.
Two colossal feet, with sandals, in coarse marble;
one, sixteen inches in length, by eleven inches in
height of instep ; the other, fifteen inches in length,
by ten inches and a half in height of instep. Round
each foot, which terminates a little above the ankle,
is twined a serpent, whose crested head rests upon
the summit. They were brought from Rome, many
years ago, by the Duke of St. Alban's.
Mr. Townley thought that these feet were dedicated
to, or were symbols of, Pluto, Jupiter Serapis, or

Town LEY GALLERY. 65
Jupiter Catacthonius, the foot being the well-known
representation of those deities.
Bonanni has engraved a naked foot in marble,
with a serpent coiled three times round the ankle,
and raising its head in a similar manner above it,
in the Museum Kircherianum, fol. Rom. 1709,
classis ii. tab. xxiii.; he has (p. 61) no doubt
that it was a votive offering to Æsculapius, for a
cure. This seems to have been most probably
the purpose for which the present feet were de-
signed. The history of such dedicatory offerings
has been already detailed in the sixth chapter of the
account of the Elgin and Phigaleian Marbles. Re-
presentations of those parts of the human body
which had been afflicted with maladies, or had been
healed, formed the third class of Anathemata, or
offerings to the gods.
Room VI., also beneath No. 57.
A fragment of a colossal toe, eight inches in
length, by nine inches in width.
A fragment of a colossal foot, six inches and a
half in length, by six inches in width.
A colossal hand, six inches in length, by six in
width.
º left foot covered with a sandal. It is numbered
f
The right foot of a child.
Room XII., in the Case No. 13.
. The right hand of a female holding a musical
pipe.
The left hand and lower part of the arm of a
female, probably Psyche, holding a butterfly.
The left hand of a female, stretched out upon a
fragment of something unknown. It is marked 72.
E 3
66 THE BRITISH MUSEUM,
The right hand of a youth, holding, apparently, a
fragment of a bow. Mr. Combe thought it might
have been part of a statue of Cupid bending his bow.
The right hand of a child holding the head of a
ram. Marked 74.
A left foot, covered apparently with linen, round
which bandages are fastened.
The left hand of a child holding a fragment.
Room XII. Case 13.
A hand of a Female, holding a lock of hair.
This fragment is conjectured to have belonged to a
statue of Venus, in which she was represented in the
act of wringing the water from her hair. From the
collection of Sir William Hamilton.
TOWNLEY GALLERY, 67
CHAPTER IX.
ANCIENT MASKS.
Room III. Nos. 23 *, 24*, 25*.
ſ
No. 24**
The Bas-reliefs and the detached Mask here repre-
*nted are specimens of the three more common

68 THE BRITISH MUSEUM.
classes of masks in use among the Greeks and
Romans. The Tragic and Comic Masks; the Female
Mask; and the Bacchic Masks.
In the first of these, Room III. No. 23*, the
Masks of Tragedy and Comedy are represented,
each with the mouth open; the latter crowned with
a wreath composed of the flower of the ferula, or
fennel-giant, a plant which was saered to Bacchus'.
One of the lower corners of this marble, including the
chin of the Tragic Mask, is modern. Its dimensions
are nine inches and a half, by eight and three-eighths,
The second is a Female Mask, in crisped curls,
and is a detached sculpture let into a slab of wood.
It is very similar in form to one engraved in
Ficoroni’s Treatise”, pl. xlviii. It is seven inches
high, and is numbered 25 *.
The lower bas-relief represents four Bacchic
Masks. Its dimensions are twenty inches by
eighteen, and it is numbered 24*. This last sculp-
ture was purchased at a sale of Egyptian antiquities
in 1818.
In the old Greek comedy it was the fashion to
represent as accurately as possible, by masks,
(Tpoorwireia, literally “faces,”) the persons who
were introduced into the piece, so that each charac-
ter was known as soon as he came on the stage”.
Theatrical masks, such as are represented in the
two upper sculptures, are supposed to have come into
use about the 70th Olympiad, or somewhat earlier,
* Venit et agresti capitis Sylvanus honore,
Florentes ferulas, et grandia lilia quassans.
- Virg. Ecl. x. v. 25.
* Dissertatio de Larvis scenicis et Figuris comicis, 4to,
Rom. 1754.
* Julii Pollucis, Onomast, lib. iv. c. 19, edit. IIemsterhus,
fol. Amst. 1706, § 143, p. 435. See also Suidas, in voce
‘Ełuxarºivoj, edit. Kusteri, fol. 1705, tom. i. p. 770.
TOWNLEY GALLERY, 69
They were head-pieces, which covered the whole
head", and represented not only the features of the
face, but the beard, ears, hair, and even the orna-
ments of a woman's head-dress.
Suidas observes that some writers give the credit
of the invention to the poet Choerillus", contem-
porary with Thespis, about the 64th Olympiad.
Horace gives it to AEschylus:
Post hunc personae pallaeque repertor honestab
AEschylus":
whilst Aristotle tells us, in the fifth chapter of his
Poetics, that it was unknown in his time to whom
the credit of the invention was due’.
The names of one or two persons, however, are
preserved to us, who introduced particular kinds of
masks upon the stage. Suidas says the poet Phry-
nichus, who gained the prize in the 67th Olympiad,
* See the Noctes Atticae of Aulus Gellius, lib. v. c. 7, where
Gellius comments on Caius Bassus's derivation of the Latin
word persona, signifying a mask, a personando, from sounding
through: the head and countenance being on all sides pro-
tected by the covering of the mask, and one only aperture left
for the emission of the voice: whence we learn too that these
masks were also used for strengthening and extending the
Voice of the actors. How defective these masks must have
been in scenic representations cannot but strike every one.
It is obvious, says Lumisden (Remarks on the Antiq. of Rome,
}: 292), that the sudden changes of the countenance, and the
fine expression either of the strong or gentle passions, which
give such pleasure to the spectators, and distinguish our great
*tors, could never be so well imitated by masks, which could
only express in all parts the same cast of countenance; and the
Vºice alone left imperfectly to notify the changes of passion
which the audience were to hear represented, as the mask was
always the same, utterly incapable of variation.
* Xolºſaxos, 'Aénvaſos, rezyızès, £3. 32.varić3, 229sis tis &yðvøs.
** 2:32: play %áuz to rivráxoviro. 24, 6'. wizna's 23, 1% of ros
:27% *was roi; ºrgagoretol; zai rā azny; ray orožºv irszeience.
**as, edit. Kusteri, fol. 1705, tom.iii. p. 695.
7 De Arte Poetica, l. 278.
-- ri; }; ºrpºraro. 32.Éaxty #yvánrzi, Aristot, de
* Poet, edit, Harles, 8vo, Lips, 1780, p. 37.
70 THE BRITISH MUSEUM.
first brought the female mask upon the stage";
and Neophron of Sicyon introduced that which was
used by the kind of domestic among the ancients
who was charged with the care of their children, and
from whom our present appellation of pedagogue is
derived".
Athenaeus says it was an actor of Megara, named
Maison, who invented the comic masks for a valet
and a cook ".
Pausanias speaks of AEschylus, not as the inventor,
but as the introducer of hideous masks in his Eume-
nides; and says that Euripides first added serpents
to the hair of the Furies ".
Men always acted the parts of women in the
Greek and Roman theatres; whence the propriety,
at least, if not the necessity, of using female masks.
Aulus Gellius expressly mentions a tragic actor of
the name of Polus, who performed the part of Elec.
tra”, who bore the ashes of his own sons, lately dead,
in the urn supposed to contain those of Orestes.
Diomedes says” it was one Roscius Gallus who
first appeared with a mask upon the theatre a
Rome, to hide an ugly cast with his eyes; but he
does not say at what period this Roscius lived.
We have Virgil's authority that some of the early
masks were made of the bark of trees:
Oraque corticibus sumunt horrenda cavatis “.
Leather lined with linen was afterwards used, bill
such masks were easily spoiled; and Hesychius tells
us that at last they were made entirely of wood *.
* Suidas, edit. Kuster, ut supr., tom. iii. p. 636. v. Paſvizos,
* Ibid. tom. ii. p. 610. v. Neopgåy.
* Athenaei Deipnosoph. edit. Casaub. p. 659.
* Attica, c. xxviii.
* Noct. Attic. lib. vii. c. 5.
18 Lib. iii.
* Virg. Georg. lib. ii. v. 387.
* Tøs argyrë ºrgoraſarsia. §Auya, irrív.
THE BRITISH MUSEUM. 71
Various ancient masks, beside those here en-
graved, occur in the Townley Gallery, derived from
other collectors.
In Room XII., in the case No. 8 (marked 28), is
a small mask of Silenus, from the collection of Sir
William Hamilton. In Room XII., in the case No.
13, a Funeral Mask, used to cover the face of a female
corpse, also from Sir William Hamilton's collection;
and under the same number are, a votive mask
of a Bearded Faun, presented in 1765 by Thomas
Hollis, Esq., and a small bas-relief representing also
the mask of a Faun.
A Mask of a different kind is represented below,
Room XII. No. 6, cut from the cover of a sarco-
phagus:
this was formerly also in Sir William Hamilton's
collection.
One of the most curious of all, however, is a de-
tached mask of Bacchus, an oscillum or countenance
of marble, the pupils of the eyes and the mouth of
Which are perforated; a loop of metal remains upon

72 TOWN LEY GALLERY.
the crown, by which it appears to have been anciently
suspended. It is in Room VI., beneath No. 57.
Whether this mask was ever actually suspended in
the manner which will presently be described, 0.
only made in imitation of those of terracotta, the bark
of trees, or some lighter material, which were moſt
generally used, seems doubtful.
Masks or faces of Bacchus, of this latter kind
were unquestionably hung on trees, in order to pro-
duce fertility to vineyards. Several are seen sus.
pended in this manner upon a gem engraved in
Spence's Polymetis, pl. xx. fig. 2, as it is ther:
said, from the original in the collection of the Grand
Duke. No such gem, however, is engraved in the
Museum Florentinum; though it occurs in Rossi;
“Gemme Antiche".” The original was in the cok
lection of Signor Marc Antonio Sabbatini. The laſt
Lord Colchester had an ancient gem, found in
* “Gemme Antiche date in luce da Domenico de' Rosº
colle sposizioni di Paolo Alessandro Maffei.” 4to, Rom. 1708,
part iii. tav. 64, where the gem in question occurs, represen”
ing a tree bearing four Bacchic masks upon its boughs."
pedum against the tree on one side, and a pan-pipe on tº
other: the title given to it is “Givochi Liberali, in corniola da
Museo del Signor Marcantonio Sabbatini.”


TOWNLEY GALLERY. 73
Sussex, on miccolo (a species of sardomyx) on which
a double oscillum was represented suspended from a
branch, the two faces ornamented with grapes.
Virgil alludes to this practice in his Georgics, ii.
V, 392 : +
“Ette, Bacche, vocant per carmina lacta, tibique
OscII.I.A er altá suspendunt Moi,LIA * pinu.
Hinc omnis largo pubescit vinea foetu:
Complentur vallesque cavae, saltusque profundi;
Et quocumque deus circum caput egit homestum.”
Virgil says there is plenty wherever the god turns
his gracious countenance. It is remarkable that
Dryden, Lauderdale, Pitt, and Warton, and even
Sotheby, in translating the passage of Virgil just
quoted, all consider Oscilla to mean figures or
images of Bacchus: thus Sotheby—
“And Bacchus ! Bacchus! rings around the land:
While on the lofty pine his figure hung,
Floats to and fro the breezy boughs among.
Where'er the God his gracious front inclines,
There plenty gushes from the loaded vines”.”
Room XI. No. 1, presents a fragment of a marble
Mask of Bacchus, of a similar kind to that before
the reader, but without the loop, fixed in a pannel.
Two tragic masks in marble, from the Villa
Yegroni, three feet in height, one with a wreath of
flowers on the head in form of a festoon, and another
marble mask of the same size from the Altieri Villa,
are preserved in the Blundell Museum at Ince in
Lancashire. Masks of such extreme size are of very
Tare occurrence.
” The “Senatusconsulti de Bacchanalibus Explicatio,” by
Matthaeus AEgyptius, fol. Neap. 1729, p. 36, says, “Cur
"olia’ non igitur fictilia tantum, sed lintea, bombycina, aut
** alia molli materia, praeter lanam, quam in sacris adhibere
nefas fuit.” *
"Sotheby, Georgica P. V. Maronis Hexaglotta, fol, Lond.
1827, p. .." Orgica aromis Hexaglotta,
VOL. II*. F.
74 THE BRITISH M USEUM.
CHAPTER X.
DOMESTIC FOUNTAINS.
Room II. No. 10.
A Dom ESTIC Fountain, in the form of a pillar en-
riched with foliage. It is divided into three parts,
and stands upon a base enlarged by inverted leaves
of the vine. The first or lower division of the stem
of this pillar is ornamented with branches of the
olive-tree; the second or middle with ivy; the third
or upper division with the leaves and flowers of
some unknown plant. Twined round the second
division is a serpent, in whose mouth are the remains
of the leaden pipe through which the water was dis-
tributed. In its original state, this pillar probably
stood in the centre of a basin or reservoir of water.
It was found in 1776, by Nicolo la Picola, near the
road between Tivoli and Praeneste. Its height, in-
cluding the pedestal, is five feet ten inches and six-
eighths. Its diameter in the thickest part is six
inches and a half.
Room XI. No. 50.
A small domestic Fountain, used for sacred pur-
poses. It is decorated with four flights of steps,
and four figures of Satyrs and Fauns in bas-relief.
TOWNLEY GALLERY. 75
Room XII., beneath the Shelf marked No. 19.
Another small domestic Fountain, of a square
form, which was used for sacred purposes:
the raised part, in the centre, is ornamented alter-
nately with shells and the heads of animals. It is
two feet five inches in length, by two feet in width.
... Both these last fountains were presented to the Bri-
tish Museum by Mr. Charles Townley, the founder
º this collection, in 1786.
f

76 THE BRITISH MUSEUM.
CHAPTER XI.
CANDELABRA,
CANDELABRA were among the richest ornaments 0.
the temples and houses of the Greeks and Romans
They were made of the precious metals, iron, bronze,
marble, wood, and in terracotta; and in some irº
stances the meaner material was overlaid with silver
They greatly varied in shape, and many of them
present models of pure taste in form, ornament, and
execution. They consisted, generally, of a columni
let into a triangular base resting upon three feet, and
surmounted by a broad but shallow plateau ºf
bason. The top varied in size or depth, according:
as it was used for a lamp-stand, or designed for
brazier, on which incense was offered or odoriferou
woods occasionally burnt. If the candelabrum wa
made to hold more than one lamp, branches drº
verged from the top or from the sides of the stem
according to the additional number of lamps require
to be suspended. The stem or shaft was sometime
formed of several pieces, each portion terminatingſ
with a flat top. When thus constructed they weſt
made of marble, and used in their taller or theſ
shorter form, as suited the purposes of convenientº
Or Ornament. a ºš
Sometimes statues of youths, probably always ".
metal, were used as candelabra; the lamp or light
was placed in the hands of such figures: -
Sinon aurea sunt juvenum simulacra per aedeis,
Lampadas igniferas manibus retinentia dextris,
i Lumina nocturnis epulis ut suppeditentur.
Lucret, ii, 24.
|












TOWNLEY GALLERY. 77
Candelabra have been sometimes found deposited
in tombs, where their appropriate place appears to
have been at the head of the deceased. They appear
on the types of many medals'; and were sometimes
sculptured in bas-relief on the outsides of temples,
where they were introduced to show that the building
was consecrated to the gods. t
In the opinion of Visconti, the earliest trace of
the existence of candelabra is found among the
Egyptians, and hence they have sometimes been
considered the inventors of them.
Of the ancient use of them among the Jews we
have unquestionable record in the scriptures, where
We have the directions for fashioning the great can-
delabrum which was placed first in the Tabernacle,
and afterwards in the Temple at Jerusalem”; and
removed thence by Titus, upon whose triumphal
arch it is still represented among the spoils which
Were carried from Jerusalem to Rome.
The excavations at Herculaneum and Pompeii
have brought to light a large number of candelabra
and lamps of bronze and terracotta, in a great variety
of forms.
Tarentum and Ægina were considered by the Ro-
mans as the best manufactories of candelabra. The
shafts were chiefly executed at Tarentum”. Pliny
records it to the reproach of Gegania, an opulent
Roman lady, that she had bought a candelabrum for
50,000 sesterces.
In Cicero" we have an account of a candelabrum
lesigned for the Temple of Jupiter Capitolinus at
Rome, which was of very large dimensions, exe-
! See Rasche's Lexicon Rei nummariae, v. Candelabra,
3 ºl, ch. xxv. v. 31–37. g
Privatim AEgina candelabrorum superficiem dumtaxat
elaboravit, sicut Tarentum scapos. In his ergo juncta com-
mºtio officinarum est.” Plin. Hist. Nat. lib. xxxiv. § 6.
Cicero in Verrem, lib. iv. § 28, edit. Varior, p. 233.
78 THE BRITISH MUSEUM.
cuted by the most skilful artists, and profusely
adorned with the most brilliant gems. Cicero asserts
that there was not a house in Sicily without these
utensils made in silver. -
None, it is probable, now remain in the precious
metals. Their intrinsic value alone must have proved
a temptation to destroy them. The want of that
value in the meaner materials of bronze and marble
has preserved to us the specimens which we possess.
Two marble candelabra of considerable height
and excellent workmanship, found in the ruins of
Hadrian's villa at Tivoli, were given to the Univer-
sity of Oxford by Sir Roger Newdigate, Bart., where
they are preserved in the Radcliffe Library.
Room II. No. 5.
The late Mr. Taylor Combe took such pains to
illustrate this marble, that we cannot do better than
copy his description of it. It is a candelabrum
considerably restored. Those parts which are antique,
are the upper half of the stem, the three figures in-
serted in the sides of the triangular pedestal, and
one of the ram’s heads, together with a portion of
the pedestal attached to it. The upper part of the
candelabrum was found in the ruins of the villa of
Antoninus Pius; the three figures in the pedestal
have belonged to a candelabrum of a similar kind.
One of these figures appears to have been part of a
group, which represented Victory pouring out a liba-
tion to Apollo Musagetes, a subject which has been
explained in the description of the terracottas". Of
the remaining figures which are not shown in the
wood-cut one represents an old Faun carrying an
uter or goat's skin, filled with wine, on his shoulder,
and making use of a pedum, as a walking-stick, in
* Room I. No. 18. See vol. i. p. 98.
TOWNLEY GALLERY. 79
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his right hand; the other represents a female Bac-
chante, who is distinguished by the wildness of her
gesture: her head is thrown back, her hair is
dishevelled, she holds a human head in one hand



80 THE BRITISH MUSEUM.
and brandishes a sword in the other hand There
can be little doubt but that this figure represents
Agave, the priestess of Bacchus, with the head
of her son Pentheus", king of Thebes. Pentheus,
having forbade his subjects to celebrate the festivals
of Bacchus, was for this act of impiety torn in pieces
by his mother and her two sisters, when, with other
Theban women, they were assembled to perform the
orgies of the god on Mount Cithaeron. Agave,
whose sense of vision was deluded by the influence
of Bacchus, mistook her son for a lion’, and it
was not till her return to the palace that she per-
ceived her unhappy mistake, and that the head
which she held by the hair was not that of a wild
beast, but of her own son". Agave is represented in
* Figáuivo; #sis—ty zigzi tº: Eurip. Bacch., v. 968.
— x6%ro. 3 #9xtoy
"Ozric X2000ao, rvyxzével ºrné zipory
II#zz' fºr’ &zgoy eſſeroy. Ibid., v. 1139.
Quid, caput abscissum demens cum portat Agave
Gnati infelicis, sibi tum furiosa videtur.
Horat. Serm., lib. ii. 3,303.
visis ululavit Agave,
Collaque jactavit, movitgue per aera crinem,
Avulsumque caput digitis complexa cruentis
Clamat, Io, &c. Ovid. Met, lib. iii. 725.
Felix Agave facinus horrendum manu,
Qua fecerat, gestavit: et spolium tulit
Cruenta nati Maenas in partes dati.
Senecae Phoeniss. v. 363.
7 The form in which Pentheus appeared to his mother was
that of a wild boar, according to Ovid (Met, lib. iii. 714), and
of a bull, according to Oppian. Cyneg. lib. iv. 307.
* Ká3, Tſvos ºrgározov ºr' iv &yx4x21; $ºsis;
'Ay. A$ov'ro;, & y Épocazov & Sºngººsval.
Ká3. Xzáºbal www 829&s, £22%us ó AzózSo; tıcıºsſy.`
*Ay. "Ez, Tí Asúzoo; + pigoºg, rô' iv ×840ſy ;
Kø. "A Sangoy airó, axi coºpéra-sgow Azá9s.
'Ay. ‘Ogø Azáyia Toy &x yo; # ºrgazly' ty&.
Ká3. Møy col 2.Éoyz, poſvara reorgizºva;
'A'y. Oiz, &AA& IIey9éas # rāaziw' （22 2442.
Eurip, Bacchae, v. 1278,
TOWNLEY GALLERY. 81
a similar manner on a funeral urn published by
Spon". The story of Pentheus suffering for his
crime in not acknowledging the divinity of Bacchus is
engraved in a bas-relief in the Giustiniani Palace”;
and the same subject, according to Pausanias, was
painted on the walls of the Temple of Bacchus
which stood near the theatre at Athens”.
The height of this candelabrum is four feet one
inch and an eighth.
Room II. No. 6,
The triangular base of a Candelabrum, two feet
eight inches high, the lower angles of which are or-
namented with the fronts of sphinxes, and the upper
with rams' heads. On the sides, three little figures
are represented carrying the armour of Mars; one
his helmet, a second his sword, and a third his
shield. The helmet carried upon the shoulder of the
second figure is marked in front with the head of a
ram, which designates it as the armour of Mars, to
whom as well as to Mercury, that animal was con-
secrated. The Latin word aries, which signifies a
ram, is deduced by Isidorus, absurdly enough, from
the Greek name of Mars”; but it is possible that
some motion of this kind may have governed the
sculptor in his application of the ram’s head to the
helmet of Mars. The work is of the Roman period.
Arabesque ornaments fill the borders below the
figures. The place in which the stem of the can-
ºum was inserted is visible on the top of the
dSe, *
* Miscellanea Eruditæ Antiquitatis, p. 29.
'" Galleria Giustiniana, part ii. tav. civ.
Toºro. 33 ysyegºvo. sial, zoºi IIsv9sus 22 Auxoiſyas & Aid.
vuzov iſ guozy 3.3%vºrs; 3'x25. Pausan. Att. c. xx.
* “Aries vel &rd roi, "Agios, i.e. a Marte vocatus.” Isidori
Orig. lib. xii. c. 1.
F 5
82 THE BRITISH MUSEUM.
Mr. Combe mentions three other pedestals similar
to the present, with the exception of some slight va-

TOW NLEY GALLERY. 83
riation in the arabesque ornaments, extant in dif-
ferent collections; one in the Gallery at Florence,
another in the Picchino Palace at Rome, and the
third, when he wrote, in the Louvre at Paris”;
which last was removed from the library of St.
Mark at Venice”.
The only restorations which this marble has re-
ceived are two of the heads of the sphinxes, and the
lower part of each of the faces of the rams. It was
found among some ruins near the church which was
dedicated to Pope Sixtus II., in the Appian way”.
Room VI. No. 38.
The lower part of a Candelabrum, ornamented on
three sides with the attributes of Apollo, namely, a
raven, a tripod with its bason to hold the fire, and a
griffin. It is supported by three legs of a lion, ac-
companied by a foliage ornament; and has also a
central support in a plain pillar. It was purchased
out of a palace in the Strada de' Condotti at Rome.
It is two feet eight inches high, including the plinth.
Breadth in the centre fourteen inches.
Room VI. No. 33. Art. 2.
A triangular base of a small Candelabrum, its sides
Ornamented with flowers, and festoons of fruits. In
the centre of one of the sides is represented a ewer
of elegant form; on another a stork pecking at a
flower. --
* Mon. Ant. du Musée Napol, tom. iv. pl. 15.
“Antiche Statue della Libreria di San Marco di Venezia,
part ii. tav. 33.
*See the Museum Kircherianum, fol. Rom, 1709, p. 7, and
tab, i., where it is engraved.
84 THE BRITISH MUSEUM.
Room VI. No. 56.
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A winged Sphinx, three feetin height. It anciently
formed part of the base of a superb Candelabrum. It
was found by Mr. Gavin Hamilton, in the ruins of the
villa of Antoninus Pius, near the ancient Lanuvium.
The support for the higher part of the candelabrum
is concealed between the wings.
Room XII. in the Case No. 8.
A small cylindrical piece of marble, which ap-
pears to have been part of the stem of a Candela-
brum. It is ornamented, in bas-relief, with four
griffins and two candelabra.

86
THE BR
ITISH MUSEUM.
Room II.
No. 15,

TOWN LEY GALLERY. 87
4
CHAPTER XII.
BRACKETS, AND SUPPORTS OF TRIPOD TABLES.
Room II. No. 15.
A BRACKET or Support of marble, rather more than
three feet in height, formed by a double volute, the
scrolls of which turn in different directions, and the
lower of which serves as a pedestal to a small
winged figure of Victory holding a wreath. The
Synopsis of the British Museum calls it the key-
stone of a triumphal arch. The figure of Victory
has been so elaborately hollowed out between the
two volutes, as, with the exception of the feet and
wings, to stand perfectly detached. The head and
the left fore-arm of the figure are restorations.
This marble was found, with many other similar
fragments, in the neighbourhood of Frascati, twelve
miles from Rome.
Room II. No. 3.
One of the Feet or Supports of an ancient tripod
table, composed of a Lion's Head, surrounded by the
foliage of the Lotus, which is joined upon the leg of
the same animal. It is two feet eight inches high.
The pedestal in which it is inserted is modern.
These supports of tables were called Tpatte‘opápa
(Trapezophora).
* See Cicero, Ep. Fam. lib. vii. 23. The Trap ezophoron
entioned by him in the 27th letter of the Seventh Book of
Familiar Epistles, was probably a statue, or figure, made in a
°rm to support singly a table. -
88 THE BRITISH MUSEU M.
Room II. No. 13.
A fragment of a Pedestal, or, more properly, of
one of the Supports of a tripod bason or table. The
central part is composed of the head and neck of a
Lion, rising from the stem of a plant, the leaves of
which are expanded like the lotus. On the forehead
are the horns of a goat. When perfect, this sculp-
ture probably terminated in the leg of a lion, in the
manner similar to another support which has been
just described.
Our artist has represented this fragment as it
stands in the Museum collection, upon the capital or
upper division of a votive cippus, with which it has
no connection, and which will be separately described
in another part of the present volume.
Mr. Combe was of opinion that the animal really
intended in the fragment here described was a
griffin; and quoted in confirmation of it two figures
of griffins guarding a lyre, twice repeated on the
frieze of the Temple of Apollo Didymaeus at Miletus,
engraved in the Ionian Antiquities, part i. chap. iii.
pl. x., as well as two similar figures represented
with the same characteristics of the head of a lion
with the horns of a goat, on a marble vase in the
collection of M. Van-Hoorn, engraved in Millin's
Monumens Antiques Inédits, tom. i. pl. xxxi. xxxii.
The fragment which forms the subject of the pre-
sent description was found in the year 1769, by
Mr. Gavin Hamilton, in the Pantanella, within the
grounds of Hadrian's Villa, near Tivoli.
The foliage beneath the head, the alae of the nose,
and both the horns, with the exception of a small
portion towards the base, have been restored. The
height of this fragment is one foot three inches and
a quarter.
* Descr. of the Ancient Marbles in the British Museum,
part i. plate xiii.
TOWNLEY GALLERY,
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92 THE BRITISH MUSEUM.
Room XI, No. 55, supporting the Bronze Apollo: and
Room XI. No. 24, Art. 2, supporting the Bronze of Hercules,
s
Of the two Feet or Supports of tripod tables
here represented, the plainer and larger one is
of porphyry. It represents the head and leg of a
panther. The eyes have now hollow sockets; the
eyes and teeth of the animal, whose mouth is open,
were formerly composed of some other material in
imitation of Nature. It stands two feet eight inches
high. The porphyry has been broken into three
pieces. The upper part, including the head, was
discovered at the depth of about twenty-five feet
in the excavation made in the Forum under the
Palatine Hill, in 1772, and was purchased with other
fragments by Vinelli, a mason at Rome, who soon



TOWN LEY GALLERY. 93
recollected that near thirty years before, among
another parcel of fragments he had then bought,
there was a piece of a panther's leg, with its foot,
in porphyry. It was at last found among his
rubbish, and when it was applied to the upper part
which he had recently obtained, the fractures exactly
fitted, so that the junction was almost imperceptible,
and it was evident that the two parts belonged to
each other.
The support here engraved upon the right of the
page, is only two feet two inches and a quarter in
height, and made of what the Italians call Pavonazzo
marble. This also represents the head and leg of
a panther, but with intervening foliage. No record
has been preserved of the place where it was found.
Mr. Combe observes of these feet or tripodal sup-
ports, that the ancients, in designing them, seldom,
if ever, suffered the table to rest directly upon the
head of the animal: the weight was generally thrown
upon an intermediate part, which projected from the
back of the neck. This is particularly seen in the
porphyry support. By this contrivance, the head
was rendered more prominent, and appeared per-
fectly free from incumbrance *.
Room XII., in the Case No. 13,
are two Lion's Feet, which have probably been por-
tions of a tripod table.
* See Combe's Descr. of the Ancient Marbles in the British
Museum, part iii. plate viii.
94 THE BRITISH MUSEUM.
CHAPTER XIII.
VOTIVE AND BACCHANALIAN BAS-RELIEFS.
BAs-RELIEF is a term commonly applied to any work
of sculpture connected with a plane surface behind
it, in which the subjects represented are usually em-
bedded two-thirds of their depth or thickness, though
sometimes they are given in a flattened relief, and
sometimes rise to what the Italians term mezzo-
milievo.
The Greek sculptors appear to have considered
high relief as best adapted for the open light, as in
the Phigaleian frieze, where the projection of the
sculpture is bold; but, where a temple was less
perfectly lighted, or where a secondary light only
was afforded, the very situation prescribed a flatter
sculpture, as we see in the frieze of the Parthenon,
which, receiving all its light from between the outer
columns of the temple, and by reflection from the
pavement below, could never be reached by the
direct rays of the sun.
These seem to be the reasons which induced the
ancient sculptors to vary the style of their works in
bas-relief; the higher relief in some situations pro-
ducing shadows unfavourable to a clear view of the
composition. -
In the reliefs of the Greek friezes the area is
usually filled; the figures are represented as if fixed
against a wall, and there is no attempt either at
depth as in a picture, or imitation of space. In some
of the tablets of the Elgin frieze, the figure which
is standing is as tall as the figure which is seated
upon a horse. It was the custom of the Greek sculp-
tor of a bas-relief to fill his area,
TOWNLEY GALLERY. 95
In the tablets of the Roman time we have less
simplicity; an unfilled space often occurs above the
composition ; objects are introduced behind the
figures; and the effects of perspective are attempted
to be expressed. Thus the principles of painting
were united with those of sculpture, which the Greeks
had evidently considered as connected with archi-
tecture only.
The chronological order of the Bas-reliefs which
are represented here, and in the two succeeding
chapters, cannot be given with direct precision. The
most ancient in the Townley Gallery is, beyond a
doubt, that of Hercules securing the Maenalian Stag';
followed, but at a considerable distance of time, by
Castor managing a Horse *, a sculpture which par-
takes strongly of the character of the Elgin frieze.
The sculpture of Xanthippus” probably comes next
in point of date, followed by the small bas-relief of
the female Bacchante *. The large Bacchanalian
bas-relief" is of early and fine workmanship; as are,
the smaller bas-relief of Castor and Pollux"; the
Nymph and Faun 7; the Cow drinking *; and Vic-
tory pouring a libation to Apollo": the crisped
drapery of Apollo's figure is a characterstic of its
early date. Nessus and Deianira " is a relief of fine
Work, but a little lower in its age.
The Apotheosis of Homer having been found in
the ruins of Claudius's palace, and that emperor
eing known for his devoted attachment to the poet's
compositions, it may not be too much to ascribe the
marble to the time of that emperor. The name of a
Greek artist is upon it.
. Room III. No. 7. * Room III. No. 6.
5 Room VI. No. 23. * Room VI. No. 28.
7 Room III. No. 12. * Room III. No. 11.
Room III. No. 1. * Room III. No. 16.
* Room III. No. 13. * Room III, No. 15.
96 THE BRITISH MUSEUM.
Instances of the perspective which has been
alluded to in the Bas-reliefs of the Roman period
will be found among the terracottas already described,
in the representation of Minerva assisting the Argo-
nauts"; in that of the two persons navigating the
Nile *; and in the chariot-race, where fore-shorten-
ing is introduced in the figure of the horseman who
has turned the Metae". It will be seen also in the
fragment of a frieze representing two Cupids start-
ing from the carceres of a circus"; but, above all,
in that magnificent bas-relief which relates the story
of Bacchus's reception by Icarius”.
Compositions in bas-relief, of the middle period,
and of considerable size, are less common in gal-
leries of ancient sculpture than those of either a very
early or a very late date.
The fronts and ends and fragments of Sarcophagi
form the great assemblage of Bas-reliefs of the later
time ; these, however, were not made large enough
to be employed as receptacles for the dead till the
practice of burning had ceased. From that time,
through several centuries, to the close of the Empire,
they were of universal use. All the approaches to
Rome became streets of tombs decorated with bas-
reliefs; and from these repositories the galleries
through Europe have been in great part furnished.
The British Museum possesses numerous specimens
of bas-relief, in the Townley Gallery, of various de-
grees of excellence, through the whole of the period
just mentioned; and some which might seem un-
worthy of their place, if they did not instruct us ill
the state of Roman art when at its lowest ebb, and
thus form that link with the early Italian style
which connects the history of ancient with the his
tory of modern sculpture.
* Room I. No. 16. * Room I. No. 36,
1* Room I. No. 60. * Room XI. No. 10.
* Room III, No. 4.
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THE BRITISH MUSEUM
HERCULES AND THE MAENALIAN STAG.
Room III. No. 7.
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TOWNLEY GALLERY. 99
Room III. No. 7.
A Bas-relief, representing Hercules securing the
Stag of Mount Maenalus in Arcadia. This stag had
golden horns and brazen feet, and was famous for its
extraordinary fleetness. Eurystheus, king of Argos
and Mycenae, having sufficiently tried the strength
and courage of Hercules, commanded him, as a
proof of his agility, to bring him this animal alive.
Hercules pursued the stag for a whole year, and at
length overtook it as it was crossing the river Ladon.
Hercules is here represented at the moment when
he is securing his prize: he is holding the animal by
both its horns, and forcing its body to the ground by
the pressure of his left knee. This marble has been
already mentioned as in the earliest style of bas-
relief preserved in the Townley collection.
The hair of Hercules is in small curls, similar to
those on the ancient colossal head already described,
which was found at the Pantinella in Hadrian’s
Villa": his beard is formal, stiff, and pointed, or
rather wedge-formed, as it is frequently seen in
the earliest specimens of Greek sculpture. This
subject is represented, with very little variation, on
an altar in the Capitoline Museum ”; on a marble
Vase in the Villa Albani”; and on a frieze found at
Præneste”. We find it also frequently repeated on
Greek coins struck under the Roman emperors”.
* See vol. i. p. 329.
!" Spence's Polymetis, pl. xviii. fig. 4.
* Winckelmann, Monumenti Antichi Inediti, tav. lxiv.
* Museo Pio-Clementino, tom. iv. tav. xl.
* It occurs on a coin of Nicaea, in Bithynia, struck in the
reign of Severus (Vaillant, Num. Imp. Gr. p. 85); also on a
coin of Perinthus in Thrace, struck in the time of Caracalla
(Cim. Vind. tom. ii. p. 61); and on a coin of Germe in Mysia,
struck in the reign of Elagabalus (Vaillant, Num. Imp. Gr.,
* 126). Passerius, tom. iii. tab. xciv. has engraved Hercules
1 00 THE BRITISH MUSEUM.
In the “Anthologia Graeca” is an epigram remark-
ably descriptive of the figures on this marble”. It
describes Hercules as precisely in the same attitude,
and the stag as exhibiting the same marks of exces-
sive fatigue.
The order in which the labours of Hercules suc-
ceeded each other does not appear to have been
generally decided. In the description which Euri-
pides has given of them the present is enumerated
as the third labour *; in the “Anthologia” it is
spoken of as the fourth *; and by Callimachus * it
is said to be the last”.
This bas-relief is surrounded by a narrow mould-
ing. Its dimensions are one foot eleven inches and
a quarter, by eleven inches and three quarters.
Room III. No. 6.
A very beautiful Bas-relief, three feet four inches
in length, by two feet five inches and a half in height,
in the flat early style of Greek sculpture, similar in
character to that of the Elgin frieze. It represents
Castor managing a Horse. He appears to hold the
rein of the animal (which was formerly of metal, as
the holes for its insertion indicate) with his right
hand, and has the left up-lifted, holding a stick, as if
to strike. A short cloak, fastened round his neck, is
blown backwards by the wind; and a fillet or diadem
encircles his head. He is followed by a dog. Mr.
Combe observes that Laconia, the country in which
Castor and Pollux were born, was famous for its
subduing the Maenalian Stag upon a lamp, in the same atti-
tude as the Museum bas-relief.
* Antholog. Graeca, tom. iv. p. 177, edit. Jacobs.
* Euripidis Herc. Fur., v. 374.
* Antholog. Graeca, tom. iii. p. 179, edit. Jacobs.
* Callimachi Hymn in Dian., v. 108.
* Combe's Descr. of the Anc. Marbles in the Brit, Museum
part ii 4to, Lond, 1815, pl. vii.
TOW N LEY GAL I, E R Y. I 01
J
breed of dogs. A particular species of this animal,
he adds, in Laconia, derived its name from that of
Castor, and was said to have been presented to him
by Apollo. They were called Koo Togio, *.
The figuresof Castor and the Horse are long and
* See Xenophon de Venatione, edit. H. Steph. P. 570,
Julius Pollux, lib, v, c. v. § 39. .

G 3
102 THE BRITISH MUSEUM
meagre; such as appear upon the coins of Selinus
and Tarentum of the same period.
This bas-relief, which is well preserved and entire,
except a few splinters from the legs, was found by
Mr. Gavin Hamilton, in the ruins of Hadrian's
Villa, on the banks of the Tiber, about the year
1769 27.
Room VI. No. 28,
A Bas-relief, seventeen inches in height, by nine
inches in width, representing a female Bacchante,
clothed in thin transparent drapery, through which
the forms of her body are perfectly apparent. With
the right hand, which is held somewhat above the
head, she holds a knife, and at the same time se-
cures a portion of her robe, which is blown behind
her; with the other hand, which is held downwards,
she carries the hind limbs of a kid.
This piece of sculpture is supposed to have been
originally one of the ornamental figures on the trian-
gular base of a candelabrum.
A female Bacchante, brandishing a knife, in an
attitude very similar to the present figure, occurs on
a beautiful vase which will be described hereafter.
The priestesses of Bacchus, during the celebration
of the Dionysia, ate the raw flesh of different ani-
mals, which is perhaps the reason why so many
are represented carrying the knife and limbs.
Euripides describes the Bacchae as rushing upon
the herds while they grazed, to rend them piece-
meal. You might see, he says, the ribs and cloven
feet tossed here and there, or hanging upon the
pines and dropping blood *.
The right foot of the Bacchante, and a portion of
* See Combe's Descr. of the Anc. Marbles in the Brit. Mu-
seum, part ii. pl. vi., and the first Dilettanti Volume, pl. xiv.
* Eurip. Bacchae, l, 738–741.
TOWN LEY GALLERY.
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106 THE BRITISH MUSEUM.
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TOWN LEY GALLERY. 107
the hind quarter of the kid, in this sculpture, have
been restored.
Room VI. No. 23.
A Bas-relief, two feet nine inches in height, by
seventeen inches in width, representing an aged
person sitting in an elegant Grecian chair, his
body naked to the waist, below which he is covered
with drapery. His beard is bushy, a fillet sur-
rounds his head, and in his right hand, which is ex-
tended forward, he holds a human foot. The left
hand presses to him a child, whose arms and looks
are raised towards him, and a young woman stands
before him. This bas-relief finishes at top in a pedi-
ment, shaped like the roof of a house, upon the lower
margin of which the word ZANOIIIIIOX is written
in old Greek characters.
This marble was brought from Athens by Dr.
Anthony Askew, at whose sale it was purchased, in
1775, by Mr. Townley, for six guineas and a half.
Dallaway * considers it to have been the front of
the sepulchral cippus of that great Athenian general,
the father of Pericles, whose name is inscribed upon
it. The sitting figure, he adds, represents Pluto, the
Jupiter or deity who presides in inferis, of whom
the foot is the well-known symbol.
Dr. Askew supposed this figure to be a votive
portrait of Xanthippus himself, presenting a foot as
an offering to AEsculapius for the cure of his wound,
which he is said to have received at the battle of
Mycale, in which he commanded the Grecian fleet
against the Persians, 479 years before Christ.
D'Hancarville is of the same opinion; and con-
iders the figure of the boy to be that of Pericles.
!! a près de lui une jeune fille, et un jeune garçon
qu'on croit étre Péricles son fils.”.”
º Anec, of the Arts in England, 8vo. Lond. 1800, p. 333. .
80 - -- sº # *
i §heches sur l’Origine, &c. des Arts de la Grèce, tom.
l, P. 62. .
108 THE BRITISH MUSEUM.
Room III. No 12.
A Bas-relief, representing three Bacchanalian fi-
gures, accompanied by a Panther. It is of exquisite
workmanship, and surrounded by a plain moulding,
deeper at the top and bottom than at the sides. The
figure represented as foremost in the dance is a female
Bacchante, playing on a tambourine, wearing a float-
ing drapery, but so disposed as to leave one side of
her form uncovered; the head thrown back as in
extasy. The second figure is a Faun playing on the
tibia or double pipe, the cincture or bandage called
pop/3etit (usually worn by performers on that instru-
ment) round his mouth and cheeks, and a panther's
skin thrown over the left shoulder. The third figure,
a male Bacchante, apparently intoxicated, bears the
thyrsus in his right hand, whilst the left arm, also
covered with a panther's skin, is stretched forward.
In the present, as in most of the Bacchanalian dances
the figures are on tiptoe. -
This bas-relief, four feet one inch and a half in
length, by three feet two inches and a half in height,
was found by Mr. Gavin Hamilton, in 1776, at Civita
Vecchia, five miles from Rome.
The writer of the short letter-press description to
an engraving of this marble, in the second Dilettanti
volume upon Sculpture, says, the composition seems
to have been entire, and to have been intended for a
tablet.
Bacchanalian processions, like that here repre-
sented, were not merely imaginary. Tacitus, in his
“Annals,” when relating the frantic loves of Silius
and Messalina, (see the present volume, pp. 27,
28,) describes an interlude which the empress ordered
to be exhibited at the palace, in honour of the autum-
nal season. He says the wine-presses were set to
work, the juice flowed in streams, and round the vats
a band of women, dressed after the Bacchanalian
TOWNLEY GALLERY.
109
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Wol, 11”.

TOWNLEY GALLERY. 1 11
fashion, with tigers' skins, danced in frolic measures,
with the wild transport usual at the rites of Bacchus;
Messalina herself joining in the revelry, with flowing
hair, waving a thyrsus; Silius at her side, his temples
bound with ivy, his legs adorned with buskins, and
his head, with languishing airs, moving in unison
with the music, while the chorus circled round
them *.**
CASTOR and Pollux.
Room III. No. 11.
ºn, ſº
A Bas-relief, representing the Dioscuri, Castor and
Pollux, seated on their horses; their figures in every
espect alike *. They have fillet-diadems upon their
lºads, and are clothed in light vests, gathered in round
ſhe waist, with skirts which do not quite reach to the
*ees. Their horses stand erect, are small, and have
"opped manes: these also are in every respect alike.
Tacit. Annal., lib. xi. c. 31. -
li They are expressly so described in the Thebais of Statius,
ib. v. 437.
3]
32

H 2
112 THE BRITISH MUSEUM.
The bridles, which in many ancient sculptures were
of metal inserted into the marble, appear to have been
marked on this with red paint, remains of which are
still distinctly visible.
The present relief possesses high merit as a work of
art. Its dimensions are one foot nine inches, by one
foot five inches and a half. In the Medal-room of
the British Museum a bas-relief is preserved, of similar
character both as to workmanship and dimensions,
representing Leda and her Swan. The Dioscuri were
Leda's sons”. It was purchased in 1810, of Lieut.-
Colonel De Bosset, governor of Cephalonia, for the
sum of fifty pounds.
The late Mr. Combe was of opinion that the two
bas-reliefs, wherever they came from, had once been
ornaments of the same building.
This relief of the Dioscuri belonged to Sir William
Hamilton, with whose collection it came to the Mu-
seum by purchase.
Room III. No. 13.
A Bas-relief, representing Victory pouring a liba"
tion to Apollo, in his character of leader of the muses,
usually called Apollo Musagetes. It came to the
Museum with the collection of Sir William Hamilton,
A similar subject has been already described among
the terracottas *.
In the present bas-relief both figures are standing
on tip-toe, beneath a colonnade supported by two
Corinthian pillars. Apollo wears a tiara, and is
clothed in flowing drapery; he holds a lyre on his
left arm, and is touching the strings with his left
hand; his right hand in part sustains the patera intº
which Victory is pouring the libation. Victory is
* See the Auctores Mythographi Lat. 4to. Lugd. Bat. 174%
tom. i. p. 151. Hygini, Fab., lxxvii, tom. ii. p. 694. Fulgent"
Mythºlog: cxxi.
* See vol. i. p. 98.
TOWNLEY GALLERY. | 13
represented by a youthful female, with wings half ex-
panded. Near her is a circular altar ornamented
With festoons, upon which a small figure of Victory
ls represented in bas-relief.
. A large portion of the lower part of this bas-relief
is not antique; but the restorations have been made
from other marbles of the same subject in the Albani
‘ollection. The dimensions form a square of two
*et three quarters of an inch.
NEssus and DEIANIRI.
Room III. No. 15.
The story to which the subject of this bas-relief
refers is thus related by Mr. Combe. Hercules pass-
"g through Ætolia in company with Deianira, his
Wife, and his infant son Hyllus, arrived at the river
Venus. Being desirous of crossing it, he under-

1 14 THE BRITISH MUSEUM.
took the charge of conveying the boy over himself,
but entrusted his wife to the care of the centaur
Nessus, who plied as a ferryman on the banks of that
river, and was accustomed to transport passengers
across for hire. Hercules proceeded first with Hyllus,
leaving Nessus to follow him with his charge,
Nessus, however, in his way over, being struck with
the beauty of Deianira's person, had the temerity to
offer her some indignities. Hercules, upon hearing
the screams of Deianira, turned back to render her
assistance, and instantly punished Nessus for his
audacity, by shooting him with a poisoned arrow, just
as he reached the shore *.
Nessus is represented with the skin of a panther
tied round his neck and flying behind him; his
whole figure is full of character and spirit. He is
represented at the moment after he has landed, and
precisely at the time of receiving the arrow of Her:
cules in his breast. The arrow does not appear; but
the excessive agony which is visible in the counte-
nance of Nessus proves that he has already received
his death-wound. Deianira is clothed in a long
flowing tunic; she exhibits the strongest marks of
alarm and distress ; her arms are uplifted and
stretched forward, and she appears to be earnestly
calling upon her husband to rescue her. On the
right of this bas-relief is a tree, and near it a vase
placed upon a column.
The principal parts of this bas-relief are antique,
and those which are modern have been so well exe-
cuted by Bartolomeo Cavaceppi, that they are dis’
cernible only on a very close inspection. The figures
both of the centaur and Deianira are antique, with
the exception of the following parts, namely, the four
* The ancient authorities for this story are Sophociº
Trachin. v. 559–568; Diodorus Siculus, lib. iv. p. 281, edit.
Wesselingii; Apollodori Bibliotheca, lib. ii. c. 7, § 6.
TOWN LEY GALLERY. I I 5
legs and tail of the former, the greater part of
the right arm, and a portion of the left arm of the
latter. The skin of the panther is antique, as are
also the vase and the upper part of the tree; all the
rest of the marble is modern.
This bas-relief was formerly in the Verospi Palace
at Rome, and an engraving of it has been published
by Cavaceppi in his “Raccolto.” Its dimensions
are one foot eleven inches and seven-eighths, by one
foot nine inches and a half.
An ancient painting, which represented the subject
of Nessus and Deianira, and included also the figures
of Hercules and Hyllus, is described by Philo-
stratus”. The description which he gives both of
Nessus and Deianira so exactly accords with the re-
presentation of those figures in the marble, that it is
highly probable that the painting and the sculpture
were copied from the same original”.
Room III. No. 16.
A bas-relief, representing a Cow drinking from a
circular vessel while suckling her calf. Dimensions,
one foot by eight inches.
This subject seems to have been a favourite one
amongst the ancient sculptors. A cow turning to the
left towards a calf which she suckles occurs upon the
obverse of most of the coins of the island of Corcyra,
as well as upon those of the towns of Apollonia and
Dyrrhachium, in Illyria. The same device will be
found upon one of the coins of Carystus in Euboea.
* Raccolta d'Antiche Statue, Busti, Teste cognite, ed altre
sculture Antiche scelte, ristaurate dal Cavaliere Bartolomeo
Cavaceppi, Scultore Romano, tom. iii. tav. 29.
* Philostrati Junioris Icones, No. 16.
* See Mr. Combe's Descr. of the Collect. of Ancient Mar-
bles in the British Museum, part ii. 4to. Lond. 1815, pl. xv.,
whence the whole of the account of the present bas-relief has
been taken.
116 THE BRITISH MUSEUM,
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Specimens of all these are preserved in the cabinets
of the British Museum”.
A gem, engraved by Count Caylus", bears, a
representation similar to that of the coins, with the
addition of a tree. Whether the Count be correct in
supposing it to have been a copy of the celebrated
cow of Myro”, may be doubted.
Mr. Combe says the cow suckling her calf, on the
coins we have mentioned, is a symbol of the fertility
of the land, and of the pasture which it afforded
for cattle in the countries where they were minted ;
* A coin of Corcyra with this device is engraved in Pellerin,
Recueil de Med. de Peuples et des Villes, tom. iii. pl. xcvi,
fig. 2. For those of Apollonia and Dyrrhachium, see Begeri
Thesaurus Brandenb., tom. i. pp. 455,462, 463. The coin of
Carystus, which Mionnet speaks of as of great rarity, is
engraved in Combe's Veterum Populorum et Regum Numi qui
in Museo Britannico adservantur, tab. viii. fig. 18. See also
Eckhel, Num. Vet. Anecd., tab. x. fig. 17.
* Recueil d’Antiquités Egyptiemmes, &c., tom. i. pl. 4, fig. 2.
* See the Anthologia Graeca, tom. ii. p. 349; edit, Bosch.
4to. Ultraj, 1797.



5
118 THE BRITISH MUSEUM,
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TOWN LEY GALLERY. 119
and he thinks there can be little doubt that this mar-
ble has the same allusion. He also thinks it probable
that it has been dedicated to Apollo, who was sup-
posed to have pastures and cattle under his especial
protection; whence Callimachus, “Hymn to Apollo,”
V, 50:
‘Psić ze govg60 toy rexé9o, ºrxāoy, oil?% zey cºyºs
Agioivºro 64spéoy irºnx&ºss, jaw 'Arôxxov
Borzogávas ºp92Xaby ºráygyey, oily &yºxazºrou
"Ois ow?’ &xv901, r2go. 38 xsy sley iſzogyou,
"H 38 xi govvoróxos, 3:30p.27%zo; oftºpo, yávoiro.
His herds increas'd and overspread the ground;
Kids leapt, and sportive lambkins frisk’d around:
Where'er Apollo bent his favouring eyes
The flocks with milk abounded, grew in size;
And pregnant eves, that brought one lamb before,
Now dropt a double offspring on the shore. Tytler.
A bas-relief, found at Otricoli, and still preserved
in the Papal collection, very much resembles the
present subject, though with more objects in the com-
position. It is engraved in the “Museo Pio-Clemen-
tino, tom. v. pl.xxxiii., and is entitled “Lustrazione
Rustica.”
Room III. No. 23.
This beautiful Bas-relief represents the Deification
or Apotheosis of Homer.
It is clearly of Roman workmanship, and was
found about the middle of the seventeenth century,
at Frattocchi, the ancient Bovillae, on the Appian
Road, ten miles from Rome, at a spot where the
Emperor Claudius had a palace, whose veneration
for the poet and his works” has led to the not im-
* Claudius was so fond of Homer as to be almost always
Quoting his lines. Suetonius, edit. Casaub. lib. v. Tib. Claud.
Caesar, p. 76, says, “Multum vero pro tribunali etiam Ho-
mericis locutus est versibus. Quoties quidem hostem vel in-
sidiatorem ultus esset, excubitoro tribuno signum de more
Poscenti, non temere aliud dedit quam
9. 3} Ayög’ iro.a.ſvgota, śrs ris zgóragos zzxtraſºn.”
D'Hancarville thought this marble of an anterior age.
120 THE BRITISH MUSEUM.
probable conclusion, that this sculpture was executed
for him by the artist whose name appears in the
upper part: Archelaus, the son of Apollonius, of
Triene. It was for many years in the Colonna
Palace at Rome; and was added to the Townley
Gallery, in 1819, by the trustees of the British
Museum, at the expense of one thousand pounds.
This bas-relief has been often published, and pro-
bably the pens of more antiquaries have been em-
ployed in the investigation of its allegory than on that
of any other single marble known. Kircher, Fal-
conieri, Spanheim, Cuper, Kuster, Gronovius, Wet-
stein, Fabretti, Schott, Winckelmann, D'Hancarville,
and Visconti, have all exercised their talents upon it,
and differed in some point or other in all their ex-
planations. To the works of these and other eminent
persons, therefore, the reader must be referred for
more lengthened discussion *. It is enough for the
present purpose to show, first, what appears upon
the marble itself, and secondly, what seems, upon a
fair examination of the numerous opinions which have
been offered, to be its most probable explanation.
The first figure which attracts the eye is Jupiter
seated on the upper part of an immense rock, leaning
* See Athanas. Kircheri Latium, fol. Amst. 1671. Gisb.
Cuperi Apotheosis vel Consecratio Homeri, 4to. Amstel. 1683.
Historia Critica Homeri, a Ludol. Kustero, sect. v. p. 40. De
Homeri Apotheosi, 8vo. Francof. ad Viadr. 1696. Jac. Gro-
movii Thesaurus Graecarum Antiquitatum, vol. ii. tab. xxi.
Montfaucon, Antiq. Expliq. tom. v. p. i. p. 168. pl. lxx. Fa-
bricii Bibliotheca, Graeca, tom. i. p. 153. Explication Nouvelle
de l’Apotheose d’Homere, representée sur un Marbre ancien;
de l'Usage du Trepied de Delphes; et de l'Emploi des En:
gastrimythes; par M. Schott, Conseiller, Bibliothecaire, et
Antiquaire, de S. M. le Roi de Prusse, 4to. Amst. 1714.
Wetstein, Dissert. de Fato Scriptorum Homeri, $ 5. Fa'
bretti, Lettre au docte Magliabechi, D'Hancarville, Recher:
ches, &c., 4to. Lond. 1785, vol. ii. p. 296. Indicazione di
Monumenti citati nel corso dell' Illustrazione, at the end 0
the Museo Pio-Clementino, tom, i, Tavola B.
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TOWNLEY GALLERY. 125
back: a long sceptre” in his right hand, and the eagle
at his feet. He looks round, as if listening to one
of the Muses, who apparently addresses him upon
the poet’s merits, and supplicates the concession to
him of divine honours. Upon the rock, immediately
below Jupiter, is the inscription already spoken of:
APXEAAOX AIIOAAQNIOT
EIIOIHXE IIPIHNETX.
Whether the mount on which Jupiter is seated be
Olympus, or Parnassus, or Helicon, has been dis-
puted. Helicon seems the least appropriate to so
august a ceremony. Parnassus, we are reminded
by the poet, had a double summit”, and here the
mountain has but one. Jupiter, moreover, would
probably, upon such an occasion, be sought only in
his own residence. Olympus has, therefore, the
fairest claim to be the mountain represented.
In a range beneath Jupiter are seen six of the Muses.
The first to the spectator's left is Calliope, known by
her tablets; then Clio, Thalia, Euterpe holding out
two flutes or pipes, Melpomene veiled, (who is ad-
dressing Jupiter) and Erato, the muse of lyric poetry.
Still lower than these, in another series, we have
Terpsichore with her lyre, Urania placing her hand
upon a sphere, and Polyhymnia wrapped in her
mantle. In the same range, also, Apollo Musagetes
appears, clothed in female attire, a plectrum in his
right, the lyre in his left hand; the Delphic cortina,
or tripod-cover”, with the bow and quiver at his feet;
and the Pythia, who is offering a libation in a patera,
by his side. These two figures are represented as
Within the Corycian or Nymphaean cave.
This row is completed by the figure of a man in
... It was a sort of pike, see the present Work, vol. i. p. 222.
* Nee in bicipiti somniasse PARNAsso -
Memini-Persius, Prol. 1. 2.
“.9n the Cortina, see Eckhel, Doctrina Numorum Veterum,
4to, Vindob. 1792, parti, vol. i. p. 225.
126 THE BRITISH MUSEUM.
middle life, raised upon a pedestal, and standing in
front of a tripod : he is barefooted, has his tulic
wrapped round him, and holds a scroll or book in
his right hand. This personage has given rise to
endless conjectures: he has been named the Flamell
or priest of Homer; Orpheus; Linus; Cinaethus
Chius, who, Salmasius says, was the first who recited
the poems of Homer as a rhapsodist, about the sixty:
ninth Olympiad 7; Homer himself; Lycurgus; and
Pisistratus *. Visconti suggests that it may be
Bias, the countryman of Archelaus, the sculptor of
the marble *. Tripods, it will be remembered, were
often bestowed by the Greeks as rewards of merit;
and it seems not improbable that the person, who
here stands in front of the tripod, may have been the
winner of such a prize, for an eulogium on the father
of poetry. The whole is conjecture, and the reader
may take his choice of a name.
In the lowest range of all we have the ceremony
of the Deification. The bas-relief here represents
the interior of a Temple, the inclosure marked by
square pilasters, from which a veil, continued the
whole length, is suspended.
Earth and Time stand behind the chair on which
Homer is seated; Earth bears a modius upon her
head, and crowns the poet with a garland; while
Time, whose wings extend to the edge of the bas-
* “Fortefest quo ducit volumen quod manu tenet Cinaethus
Chius qui circa Olympiadem nonam et sexagesimam, docente
illustri Salmasio, primus Homeri carmina fertur #2 pºical
sive cantasse.” Cuper, pp. 34, 35.
* “ Heinsius putabat Pisistratum esse, qui Homeri scripta
ante dispersa in unum corpus collegit, atque ita posteris con-
servavit.” Ibid. p. 35.
* Probably from what Strabo has said of Priene, a city of
Ionia, situated on the confines of Caria. Atysra, 3 57% ryº,
# IIguhyn Kážan, irº, Pixéra; ; ºrix'ríaz; airy Bourlos $oriazi,
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vač, Kai Aixázarsal Bíavros reiſ IIginºtos retreas. Strabo, lib, xiv.
edit. Oxon. T. Falconer, 1807, tom. ii. p. 912.
TOWNLEY GALLERY,
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TOWN LEY GALLERY. 129
relief, holds forth his volumes. Their names,
OIKOYMENH and XPONOX, are written beneath
them. Homer, seated on a chair of state, is the
next figure: a fillet binds his head; in his left hand
he upholds a long sceptre, supposed to indicate
the power of poetry, and in his right hand, which
rests upon his knee, a book. At the sides of his chair
are two females kneeling : one bears a sword, and
represents the Iliad; the other, who holds forth the
aplustre or flag-staff of a vessel, represents the Odys-
sey, or Adventures of Ulysses. The form and posi-
tion of the aplustre in a Roman vessel are here shewn
in the reverse of a coin of the Emperor Hadrian.
The names IAIAX, OAYXXEIA, and OMHPOX, ap-
pear upon the marble below. At the corners of a
cushion, upon which the poet rests his feet, are seen a
mouse and frog. These have been considered as em-
blematical of the Batrachomyomachia ; but as it is
uncertain whether that poem was the work of Homer,
and as in the oldest representations of this marble two
mice appear, and not a mouse and frog, the latter ani-
mal must be considered as a more recent substitution.
Indeed the figure, as will presently be noticed, is
among the restorations of the marble. The two mice
Were, of old, supposed to represent the critics, who
Were envious of Homer's reputation.
Immediately in front of Homer stands a youth,

130 THE BRITISH MUSEU M.
who bears a praefericulum in one hand and a patera
in the other, preparing to pour a libation; the name
MY00X, fable, written below: close to him stands an
altar, on the base of which are the letters AA, or AA";
and behind it a Bull, or Bison, ready to be sacrificed
to the new god”. Behind the victim are a train
of figures, Some of them lifting up their hands in
admiration of the poet and applause of the solemnity.
History, IXTOPIA, is sprinkling incense upon the
altar; Poetry, IIOIHXIX, holds forth two torches:
Tragedy, TPATOAIA; Comedy, KQMQAIA; Na-
ture, by XIX; Virtue, APETH: Memory, MNHMH;
Fidelity, IIIXTIX; and Wisdom, XOd'IA.
In this marble, the heads of the greater part of
the muses, with the arm of one, the head of the
figure in front of the tripod, one head in the lowest
range, and the patera in the youth's hand who stands
before Homer, are modern, as well as the leaf-
border of the whole. The frog at the foot of
Homer's chair of state is in composition.
The dimensions including the border, are as fol-
lows: height, four feet six inches and three quarters,
by three feet two inches and a half in width; within
the border, four feet in height, by two feet eight
inches and a quarter”.
* If A A, perhaps APXEAAOx AIIOAAQNIom.
* “Denique bos nondum percussus, quod etiam Domitiani
Imperatoris nummi, necnon marmora apud Choulium usitatum
fuisse evincunt. Et Sane talis cernitur in Gordiani nummo ab
Ephesiis percusso apud Tristanum.” Cuper, ut supr., p. 72.
The supposed bull, however, upon the small brass coins of
Domitian is a rhinoceros. The coin of the younger Gordian
struck at Ephesus, mentioned by Cuper, has the Indian bull.
The Museum Collection possesses it.
* Millingen, in his Ancient Unedited Antiquities, Series II.
pl. xiii., has engraved another monument in commemoration
of the Apotheosis of Homer, from a vase of silver found at
Herculaneum, and preserved in the Royal Museum at Naples;
the description of which it may not be inappropriate to intro:
duce here, Homer, whose appearance bespeaks his advanced
THE BRITISH MUSEUM.
Room VI. No. 3.
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TOWNLEY GALLERY. 133
Room VI. No. 3.
This bas-relief, two feet two inches in length, by
eigh
punl
teen inches in height, representing two Fauns
shing a Satyr, together with another, of the same
Room VI. No. 6.
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age,
is seated on the eagle of Jupiter. The bird, with ex-
Pauded wings, is at the moment of taking its flight, and con-
"eying a new inhabitant to Olympus. The attitude of the
Poet indicates calmness and meditation: his head, reclining
ºn his hand, is veiled, as a symbol of apotheosis (Visconti,
Iconogr. Grecque, tom. i. p. 53). In the other hand is the
Volume of his unrivalled poems. His two immortal daughters,
the Iliad and Odyssey, witness the divine honours paid to
their parent. They are personified as two females, with ap-
prop
riate attributes. The first, of a warlike character, has a
helmet, shield, spear, and sword. The younger sister has the
Rºleus, or mariner's cap, characteristic of Ulysses (Plin. Hist.
Nat.
..lib. xxxv. §36; Winckelm. Mon. Ined., p. 208), and holds
* rudder (IIn32Xíow), the emblem of naval concerns. A short
*"ºrd is suspended by a belt on her left side. This monument
pl. x
pl. 8
WOL. II*.
been before engraved in Count Caylus's Recueil, tom. ii.
lis, and by Winckelmann in his Histoire de l'Art, tom. ii.
I








134 THE BRITISH MUSEUM.
dimensions, representing two Cupids and a Faun
carrying an intoxicated Satyr, were cut from the ends
of the same sarcophagus. º
Both are engraved in the “Admiranda” by Bartoli.
They were first published by Battista Franco, in 1570.
PRIAM ASKING For THE BoDY of HECTOR.
Room VI. No. 54.
A Bas-relief representing Priam in the act of sup-
plicating Achilles to deliver to him the body of
his son Hector. Its dimensions are eighteen inches
six-eighths, by nine inches three-eighths. Three
figures only form the group. Achilles in a warrior's
habit, seated; his helmet at his side; a youth bearing
a spear and shield; and Priam, in a rude dress and
Phrygian cap, in the act of supplication. This com-
position has been frequently repeated by the ancients,
but in a more elaborate style, as well as more con-
formably to the description of the scene in the last
book of Homer's Iliad. See the Museum Capitolinum,
tom. iv. tab. iv., and Winckelmann's Monumenti In-
editi, tabb. cxxxiv. cxxxv.
Room III. No. 5.
A Bas-relief representing a father and two son:
consulting the oracle of Apollo. They are clothed

TOWN LEY GALLERY.
135
Room III, No. 5.
ºorroav ºo atroveſ O EIHL Ho Nor Lv L’InsNo:0

TOWNLEY GALLERY. 137
alike in Roman military dresses, and each has his
right hand placed upon his breast, to express their
awe of the god. Apollo, whose figure, with the ex-
ception of the right side, is clothed to the feet, is
seated on the cortina, or cover of the tripod, deliver-
ing his response. His right hand is uplifted, holding
a fragment which has been restored as a torch, but
whether it has really been a torch or a sceptre seems
liable to doubt. He wears sandals. Latona and Diana,
the mother and sister of Apollo, stand between him
and the warriors. The former holds in her left hand
the offering which has been made to the god, and
which Mr. Combe concludes to be frankincense”.
This marble is, in form, a kind of portico, sup-
ported at each end by a pilaster, within which the
figures are represented. Below are the evanescent
remains of an hexameter and a pentameter verse, of
which the following letters only are visible.
XAI - - - - - AETIIAIANEKATHBOAATIOA - -
- - - - - - - - THAIXANE6HKATOAE.
They are written in the Kionedon or columnar
manner, already described in the account of the Elgin
Marbles, vol. ii. p. 138. -
Mr. Combe has given the following conjectural
restoration of the first line,
Xzies at ºv, Gzoºxeſ, IIzièy, ixz'rnó6A' 'Azoxxoy :
but observes, that, owing to the circumstance of the
proper name having been lost, it is not possible to
restore the second line *.
* “Et date Latonae, Latonigenisque duobus,
Cum prece thura pia, lauroque innectite crinem.”
Ovid. Met. lib. vi. v. 160.
* Boeckh, Corpus Inscript. Graec., vol. ii. p. i. fol. Berol.
1832, p. 47, restores what remains of this inscription thus:
Xzies ºx26, 32012 sº IIzi&y, ixz'rnſº "Aroxxov.
lio - - - ov rais &y:Snxz rôs.
I 3
J 38 THE BRITISH MUSEUM.
As Mr. Combe observes, Latona was usually wor.
shipped in those cities where adoration was paid to
her children, Apollo and Diana: joint sacrifices were
offered to these three deities, and the author of the
hymns ascribed to Homer invokes them together,
and prays that he may be held in their remem-
brance *. The Pythian games, also, were under the
protection of Latona and Diana, as well as of
Apollo” ; and it is, therefore, highly probable that
this bas-relief was erected in a city which was under
the especial care of these deities.
From the subject of this bas-relief, and from the
invocation to Apollo in the Greek inscription, there
can be little doubt of its having been a votive offering
to that deity. It belonged to the late Duke of Bed-
ford, by whom it was presented to Mr. Townley in
1805. There is an engraving of it in Bartolomeo
Cavaceppi’s “Raccolta d'Antiche Statue,” &c., tom. iii.
tav. i. lts dimensions are two feet seven inches and
a third, by one foot seven inches and three quarters.
The oracles of Apollo held the next rank to
those of Jupiter; they were delivered in many diſ-
ferent parts of Greece, but the most celebrated of
these prophetic seats were Delphi and the island of
Delos”7.
These oracles were in general delivered by the
priestess of Apollo, but they were supposed to be
sometimes delivered by the god himself”.
Apollo is frequently represented upon the reverses
of the coins of the early Syrian kings, seated upon
the cortina, not clothed, as in the present marble, but
* Homeri Hymn. in Apoll. v. 165.
* Pind. Nem. Od. ix. v. 8. . .
* Compare Mr. Combe's Descr. of the Ancient Marbles in
the British Museum, part ii. pl. v.
* Iphig. in Tauris, v. 1259.
140
THE BRITISH MUSEUM
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TOWN LEY GALLERY, 141
always naked, holding sometimes a bow, though
generally an arrow in his right hand *.
Virgil and Ovid both put the cortina for the oracle
itself 90.
Room III. No. 4.
The reader who wishes to see a correct delineation
of an Athenian house, with its roof of pantiles, its
eaves like inverted battlements, its pediment or gable-
end adorned with a head supposed to be that of Me-
dusa, supported by two tritons, its rude windows with a
single mullion and capitals, not unlike to those of our
Norman buildings, may gratify his curiosity by stu-
dying this Bas-relief, which represents such a house,
as a back-ground to the story of Bacchus received by
Icarius.
On the right of the marble, at the angles of an outer
Wall in front of the house, are two pilaster-formed
pedestals, one plain at the top, the other ornamented
With a bas-relief representing a biga, or car drawn
by two horses, in full course. On the left of the
marble are two columns, one behind the other; a
Yase stands on the larger, and a terminal figure of
Mercury on the smaller column. Behind these is an
attached porch or vestibule to the house, the door of
which is concealed by a curtain. At the back of the
hºuse the branches of a large tree are seen rising
above the roof, and in front of the pediment stands
* palm-tree. A Faun, mounted on the wall, is deco-
Hating the whole building with garlands, as for some
estive occasion.
Carius, or Icarus, for he is called by both names,
* lower half of his person only wrapped in drapery,
”See Gough's plates of the Coins of the Seleucidae, 4to.
nd, 1803
“Neque te Phoebi Cortina fefellit
Dux Anchisiada.”— AEn. vi. v. 356.
Cortinaque reddidit imo
Hanc adyto vocem—” Metam, xv. v. 635.
(g
142 THE BRITISH MUSEUM.
sits upon a couch ; below which, upon a stool, lie two
tragic and two comic masks. His right hand is
extended in the act of welcoming his guest; and in
front of him stands a tripod table bearing a cantharus
or two-handled drinking-cup, and fruit-cakes. Bac.
chus, who forms the principal and central figure
of the bas-relief, corpulent and unwieldy, approaches
him, dressed in the costume which he wore after his
return from India. He has a long beard, a bandeau
of flowers round his head, and is clothed in a heavy
drapery descending in long folds to his feet. A faul
supports his left arm, as if to steady him, whils
another faun is drawing the sandal from his right
foot". Behind him are his attendants, namely, a faul
bearing a thyrsus, Silenus playing on the double pipe,
another faun with his right arm uplifted holding a
garland, and an aged figure supporting a female
Bacchante, who carries the hind quarter of a kid in
her left hand; the head and greater part of the body
are gone; the lower part, consisting of long drapery
only, is remaining. The heads of the male figures
last mentioned are bound with wreaths of ivy.
Mr. Combe” supposes that the vacant part of the
couch to the left of Icarius was reserved for the
reception of his guest; but afterwards acknowledges
from a close inspection of the marble, and he is coll"
firmed by an engraving of this very bas-relief in the
middle of the sixteenth century", that Erigone, the
* On the removal of Bacchus’s sandal by the faun, it may
be observed, that, before the ancients reclined to their meals
their sandals were taken off. Martial alludes more than 0n"
to this custom ; and Terence, Heaut. A. i. sc. i. v. 72., says:
adcurrunt servi, soccos detrahunt,
Video alios festinare, lectos sternere,
Coenam apparare.
* Descript. of the Museum Marbles, part. ii. pl. iv.
** Published at Rome in 1549 by Ant. Lafreri, and SUP
posed to have been engraved by Battista Franco. -
TOWNLEY GALLERY. 143
daughter of Icarius, once filled the space. See also
the representation of it given by Bartoli and Bellori in
the “Admiranda Romanarum Antiquitatum acVeteris
Sculpturae Vestigia,” fol. Rom. 1693, pl. 43; at which
time it was preserved in the palace called the Villa
Montalto ; “in hortis Montaltis “.”
Erigone is represented, together with the other
principal figures of the present bas-relief, in the same
costume, upon one of the terracottas of the Museum
collection, No. xlvii.
A representation of this same subject, in which Eri-
gone reclines upon the couch to the right of Icarius, is
published in the Museo Pio-Clementino, vol. iv. tav.
XXV. : and it occurs again, amplified with a more mu-
merous assemblage of figures, though whence is not
said, in Spon’s “Miscellanea Eruditæ Antiquitatis,”
p. 310. See also Houel, “Voyage Pittoresque des
ſles de Sicile, de Malte, et de Lipari,” fol. Par. 1782,
tom. ii. pl. cxxxvii., where a bas-relief from the Mu-
seum of the Benedictines at Catana represents that
Mortion only, reversed, which contains Silenus and the
figures behind him: the Bacchante holding a lyre:
and the “Galerie du Musée Napoleon par Filhol,”
tom. vi. 8vo. Par. 1809, No. 414 : Festin de Bacchus,
in which the figure next behind Silenus holds a torch.
“From the following description of this bas-relief, as
ºngraved by Bartoli, it will be seen that its subject was at that
time taken for a representation of the Feast of Trimalcion, in
which Petronius satyrised the debaucheries of Nero.
“Triclinium sive Biclinium.
“Trimalcio a Balneo ad Triclinium deductus accubiturus
fºstis epulis soleas deponit quas puer detrahit, inductiscomadis
Silenus senex tibias pares inflat, Sileni juvenes ad numerum
choreas ducunt, praeeunte Narthecophoro, apposita est mensa
‘ºpes, aulaeisque Triclinium instratum. Täbella cum auriga
*stos ludos designat.” Petr. Arb. c. 30, 59.
The style of the bas-relief, however, of itself settles that
‘!"estion. It is long anterior to Petronius’s time.
144 THE BRITISH MUSEUM.
These are sufficient proofs that the composition of
this bas-relief was a favourite with the ancients.
Apollodorus and Hyginus detail the story upon which
it is founded".
Bacchus, desirous that mortals should become
acquainted with the grape, and with the art of making
wine from its juice, came to Attica upon a visit to
Icarius, who received him hospitably, and to whom
he disclosed his secret, directing that it should be
imparted to other countries. The visit is represented
in the bas-relief, but not its catastrophe. Icarius,
in compliance with the terms of the gift, gave a por-
tion of the wine to some neighbouring shepherds,
who having drank copiously of the inspiring liquor,
became intoxicated, and conceiving that some deadly
ingredient had been administered to them, killed
Icarius with their clubs. Erigone, going in search of
her father, was attracted to the spot where his body
lay, by the howling of his faithful dog Maera: and,
in her grief, suspended herself from a neighbouring
tree.
The memory of this fatal story was preserved to
future times by adding Icarius, Erigome, and Maera,
to the number of the constellations *. Icarius was
metamorphosed into Bootes, Erigone into the sign of
Virgo, and Maera into Syrius or the Dog-star".
Tibullus alludes to this transformation in his
Elegies, lib. iv. ad Messallam. i.
6&
et cunctis Baccho jucundior hospes
Icarus, ut puro testantur sidera coelo,
Erigoneque, Canisque.”
The bas-relief of Bacchus and Icarius came into
* See also Natalis Comitis Mythologiae, 4to. Ven. 1568,
p. 150 b. * *
* Compare Apollodori Biblioth. Svo. Par. 1675, lib. iii,
c. xiii. sec. 7; Hyginus, Fab. cxxx. 8vo. Par. 1578.
*7 Jul. Pol, Onomasticon, lib, v, c. 5,
TOWN LEY GALLE IRY, 145
Mr. Townley’s possession in 1786. Its dimensions
are four feet eleven inches by three feet. The heads
of the two Fauns who follow Silenus are modern, as
well as the uplifted arm of one of them.
Room III. No. 9.
A Bas-relief, divided into three compartments.
Mr. Combe says, it is very difficult to ascertain the
use to which this extraordinary piece of sculpture
was anciently applied; it is of coarse workmanship,
and was probably not executed before the time of
the Antonines. The marble comprises three divisions,
each of which exhibits a distinct series of figures in
alto-rilievo.
In the upper division the infant Bacchus is repre-
sented riding on a Goat, followed by Silenus, and
preceded by a young Faun, in a dancing attitude,
who bears across his shoulder a stick of the fennel-
giant, or plant which the Romans called ferula. Be-
hind these figures is another Faun, seated, who is
rudely attempting to detain a Nymph who tries to
extricate herself from him. *
In the middle division Venus, seated on a rock,
which juts out upon the sea, is waiting with open
arms to receive Cupid, who is descending from
above with a torch. Near these figures are two
tritons; one of them holding an oar or rudder, and
at the same time securing a marine bull by the horns;
the other appears in a recumbent posture on the sur-
face of the waters. -
In the lower division is a company of hunters re-
turning home with their spoil. Two of them are
carrying a wild boar fastened to a hunting-pole, the
ends of which are supported between them on their
shoulders”. They are preceded by one of their
* This mode of carrying a wild boar appears to have been
Very ancient; an instance of it occurs on a Greek vase. See
Vol. II*. K
146
THE BRITISH MUSEUM.
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TOWNLEY GALLERY, 147
companions, and followed by two others; one of the
latter, accompanied by a dog, carries the nets across
his shoulder, and something which looks like a dog-
collar in his left hand.
This piece of sculpture belonged to Pope Sixtus
the Fifth, and was formerly in the Villa Montalto.
It has been much mutilated,
In the first division, the heads of all the figures,
including that of the goat, are modern. In the
middle division, the figure of Venus from the hips
upwards is modern; and also the head of Cupid,
and a portion of his torch. In the lower division,
the heads of all the huntsmen are modern, except
that of the leading figure carrying the wild boar, in
which figure the upper part of the head only is not
antique.
The dimensions of this bas-relief are one foot ten
inches, by one foot six inches and a half.
Room XI. No. 4.
A Bas-relief, supposed to represent Jupiter and
Ceres standing, each holding a Cornucopia. It was
presented to the British Museum by the Right Hon.
Sir Joseph Banks, Bart. Dimensions, two feet nine
inches, by one foot ten inches.
Room XI., at the back of the pedestal of No. 14.
A Bas-relief, in the upper part of which Metcury
is represented sitting upon a heap of stones. At
the sides are two palm-trees, and below, a tripod
bearing a flame, between two serpents erect upon
their coils. This bas-relief is three feet four inches
Millin, Peintures de Vases Antiques, tom. i. pl. 18. A similar
example, though of much later date, occurs on the lid of a
Sarcophagus in the collection of the late Henry Blundell, Esq.
See Statües, Büsts, &c, at Ince, vol. ii. pl. 126.
K 2
148 tit E BRITISH MUSEUM.
Room XI. No. 4.
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high; and was formerly in the collection at the
Villa Montalto at Rome.
Room XI. No. 10. Art. 2.
A fragment of a Frieze, four feet long, and one foot
high, on which are represented two Genii, or Cupids,
in cars drawn by dogs in full course, just started from
the carceres of a Circus, consisting of four double
gates made of rails, separated by termini with heads
of the bearded Bacchus, which reach to the top of
the gates and of the pilasters, from whence spring
the arches of the carceres. These arches are orna"
mented with foliages of the lotus. This fragment

TOWNLEY GALLERY,
149
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150 THE BRITISH MUSEUM.
was found, with many valuable marbles, among
the ruins of a magnificent ancient building near
Frascati.
Room XI., on No. 3.
A Bas-relief, representing youthful Genii contend-
ing in a chariot-race within the circus *. One or
two persons are represented as trampled down by
the charioteers; round whose bodies the reins from
the horses pass, as noticed by Statius, and repre-
sented in the terracotta, Room I. No. 60. Dimen-
sions, three feet nine inches in length, by thirteen.
inches in height.
Room XI., in No. 7.
A Bas-relief, representing two Men pouring wine
into a large vessel, and two others attending on a
cauldron placed upon a fire. It is one foot nine
inches in length, by six inches in height.
Room XI. No. 9.
A Bas-relief, representing the Arms of the Dacians
and Sarmatians; similar to those represented in the
bas-reliefs on the pedestal of Trajan’s column at
Rome, which are said to have been copied from the
originals brought to Rome by that emperor, and
which he had displayed in his triumph". Pausanias,
* In the Museum Capitolinum, tom. iv. fol. Roma, 1782,
tab. 48, p. 227-230, a bas-relief from a sarcophagus is given
representing winged Genii or Cupids exercising at the Circen-
sian games with chariots and horses. It was a favourite sub-
ject, even on sarcophagi. Spartianus says, that Ælius Verus
clothed the persons whom he employed to contend in the race
with wings like Cupids. “Cursoribus suis, exemplo Cupidi-
num alas frequenter apposuit, eosque ventorum nominibus saepe
vocitavit; Boream alium, alium Notum, et item Aquilonem,
aut Circium, caeterisque nominibus appellans, et indefesse
atque inhumaniter faciens cursitare.” }. Augustae Scrip-
tores VI. accurante Schrevelio, 8vo. Lugd. 1661, p. 236.
* See the opening bas-reliefs engraved in Bartoli's Colonna
Trajana. - -
TOWNLEY GALLERY. 151
in his Attica, c. xxi., describing a Sarmatian coat of
mail made of horses' hoofs, and suspended in the
Temple of Æsculapius at Athens, says, “ which
whoever beholds, will not suppose the barbarians
less skilful in arts than the Greeks.” This bas-relief
is two feet seven inches and a half in height, by two
feet eight inches seven-eighths in width.
Room XII, without Number.
A Bas-relief, one foot two inches long, by one
foot five high, representing five figures; three in
the centre are of Nymphs clothed, each holding a
shell before her; on one side is a figure of Jupiter,
with his long sceptre and eagle; on the other Pan,
with a goat between his feet. It is of coarse Roman
work, and without any inscription.
Pan and the Nymphs were jointly commemorated
on various occasions". $ . ,
Pausanias, Arcad. xxx., says, that Sinoe and other
nymphs were the nurses of Pan,
Spon, in his “Miscellanea Eruditæ Antiquitatis,”
p. 32, has engraved a bas-relief from the Villa
Mattei, in which three nymphs are similarly repre-
sented, with Diana on one side, and Hercules and
Sylvanus on the other. It is engraved with greater
accuracy in the Museo Pio-Clementino, tom. vii.
pl. x., and bears this inscription:
TI . CLAVIDIVS , ASCLEPIADES
ET. CAECILIVS . ASCLEPIADES
EX. VOTO . NYMPHABVS. D. D.
* Compare Aristoph. Thesm, 985; the Life of Plato by
Olympiodorus; and Pausan. Phocic. xxxi. They are also
placed together in an, inscription in the Corycian cave, in
which Pan is represented as the guardian of the place with
the nymphs, preserved by Walpole in his Memoirs relating to
European and Asiatic Turkey, p. 314. . . * : *
152 THE BRITISH MUSEUM.
Room VI. Nos. 1, 13, and 8.
The first of the marbles here represented is a
profile Bust in a medallion, three feet in diameter,
representing an unknown Greek philosopher; without
a beard, draped in the Grecian habit and manner. It
was purchased in a palace at Florence, in 1771. A
similar bust, smaller in size, of later as well as
inferior sculpture, and Roman, is given at the oppo-
site corner of the page. This last bust was imported
into England from Rome, by the late Sir William
Stanhope.
The central heads are those of Paris and Helen.
They are seventeen inches and a half in height,
by fourteen inches and a half in width. That of
Paris is completely in alto-rilievo. The reader may
compare them with the more ample representation
of these personages in the terracotta bas-relief, Room
I. No. 34.
Room XI. No. 11.
A Bas-relief, of round form, eleven inches in dia-
meter, representing a Faun playing on the double
108.
Pº was very common, says Spence, in his Poly-
metis”, with the musicians of old, to play on two
pipes at once; agreeably to the remarks prefixed to
Terence's plays, and as we often find them actually
represented in the remains of the artists. It is said
of the Andria that it was acted tibiis partbus, dertris
et sinistris ; the Eunuchus, tibiis duabus deatris;
the Phormio, tibiis imparibus. It was over this
species of music that Euterpe presided:
66
Sineque tibias
Euterpe cohibet.”.”
* Dial. viii. p. 89. * Hor, lib, i. Od. 1. v. 33.
TOWNLEY GALLERY, 153
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TOWNLEY GALLERY 155
Room XI. No. 12.
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A fragment of a Bas-relief, one foot ten inches
in length, by one foot nine inches in height, repre-
senting three Legs; they belonged to two figures,
probably of Pancratiastae, in powerful action, one of
whom appears to have been aiming a blow at the
other, who is falling. It was bequeathed, in 1812,
to the British Museum, by the late Charles Lambert,
Esq. Where it came from originally is unknown.
Beside the simple pentathlic games (which con-
sisted of leaping, running, throwing the disc, darting,
wrestling, and boxing), the ancients had two others
more violent formed out of them, viz. the pancratium,
which was composed of wrestling and boxing, and the
pentathlon, in which the whole of these exercises
were united. These two required a severe study, and
were commonly practised by professed gladiators “.
Room XI. No. 11. Art 2.
A Bas-relief, four feet four inches in length, by one
foot five inches in height, representing eleven infant
- * See Lumisden's Remarks on the Antiq, of Rome, 4to.
Lond, 1812, p. 175. º




156 THE BRITISH MUSEUM.
Genii in the manner of a Bacchanalian procession,
Two are bearing baskets on their heads; one is play-
ing on the pipe of Pan; another the double flute;
and another on the tambourine. Others are frolicking.
Room XI. No. 13.
A sepulchral Monument, in bas-relief, twelve inches
in length, by eight inches and a half in height. It
represents a Boy sacrificing to Mercury, standing
near an altar inscribed Deo MERCVRIo.
A fragment, representing Pan playing upon a lyre,
with a Faun playing upon a reed, one foot in width,
by ten inches and a half in height.
A fragment of a Bacchanalian Group, one foot in
length, by seven inches and a half in height. The
chief figure a Bacchante holding a thyrsus.
Room XI., under No. 51.
A Bas-relief, within a recess, representing the
goddess Luna, surrounded on an outer edge by the
signs of the Zodiac. It was presented to the
Museum, in 1818, by Lieut.-Colonel De Bosset. It
is two feet two inches high, by twenty-one inches in
width. 4.
Room XII, in the Case No. 8.
A fragment of a Bas-relief, representing the Head
of an elderly man. It has the beard on the chin
and upper lip, and the hair of the head is short and
curly. From the collection of Sir William Hamilton.
Dimensions, five inches six-eighths, by five inches.
It is numbered 30.
Room XII. in the Case No. 13.
A fragment of a Bas-relief, representing the greater
part of a Female Figure, fully clothed in drapery:
also from the collection of Sir William Hamilton.
Dimensions, nine inches three-eighths, by five inches.
It is marked 63. - *
TOWNLEY GALLERY. 157
CHAPTER XIV.
SEPULCHRAL BAS-RELIEFS.
.
i
A GREEK funereal Bas-relief, surrounded by a deep
moulding; the sides supported by pilasters. Its di-

158 the BRITISH MUSEUM.
mensions, three feet eight inches and a half, by two
feet one inch. w
A warrior, who has dismounted from his horse,
thoughtfully approaches a trophy which is fixed upon
the stem of a tree: he is clothed in a slight drapery,
which passes partially over his left arm, and he wears
a helmet; in his right hand he bears a spear inverted,
which rests upon his shoulder. Opposite to him,
on the other side of the trophy, is a female figure in
long drapery; her right arm uplifted in the act of
pouring from a vase, while in her left hand she holds
a patera, from which a serpent, coiled round the
trunk of the tree, is feeding. The fore part of his
horse is introduced behind the warrior, together with
the face of an attendant.
On the upper and lower surfaces of this monument
is an inscription, the first line of which is entirely
obliterated; but the rest contains the names of cer-
tain parties, with those of the cities to which they
belonged, and probably enumerates the names of
persons who fell in some engagement, which the
bas-relief was intended to commemorate.
The cities mentioned are those of Aliphera,
Caphya, and Tegea, in Arcadia; Troezen, in Ar-
golis; Lebadasa and Larymna, in Boeotia; Delphi,
Elataea, and Abae, in Phocis; Opus and Scarphia, in
Locris; Ægae, in Macedonia; Echinus, Pharsalus,
Scotussa, Metropolis, Tricca, and Phalanna, in
Thessaly; Chalcedon, in Bithynia; and Byzantium.
From the trophy represented in this marble, Mr.
Combe thought it reasonable to infer that Victory
was on the side of those whose names are com-
memorated upon it. • ,
This bas-relief was brought to England by Mr.
Topham in the year 1725; and was presented to the
British Museum in 1780, by the Right Honourable
Sir Joseph Banks and the Honourable A. C. Frazer,
Town LEY GALLERY. l 59
This marble is particularly alluded to by D'Han-
carville in his “Recherches sur l'Origine, l’Esprit, et
les Progrès des Arts de la Grèce,” tom. i. p. 489,
when describing a bas-relief in some respects si-
milar, which he has engraved in pl. xxix. of the
same volume. The warrior, in dress and attitude,
is precisely the same figure, with the spear, in
both marbles; but in D'Hancarville's he approaches
a statue of Minerva placed upon a cippus, instead of
the trophy, round which a serpent is also coiled
receiving food in the same manner as in the Museum
bas-relief, from a priestess who is adorned with
wings. The animal represented in D'Hancarville’s
bas-relief, as it accompanies the figure of Minerva, is
probably the guardian serpent of Athens.
Room III. No. 3.
A Bas-relief, surrounded by a broad but shallow
moulding. In its centre, in front of a pine-tree,
stands a funeral stele or column, its shaft orna-
mented with flowers, and its capital supporting a
cinerary urn. To the left, upon the edge of a rock,
stands a figure of the God of Lampsacus, a pedum
and syrinx behind it, and two geese, birds sacred to
Priapus', approaching the rock in front. To the
right of the column is a stork, the emblem of filial
piety ", and in the right-hand corner of the bas-relief,
a goose pecking at the root of a tree.
A considerable portion of the moulding, and part
of the bird in the right-hand corner, are restora-
“Neseis quam magnum flagitium admiseris. Occidisti
Priapi delicias, anserem omnibus matronis acceptissimum.”
Petron. Arbiter, c. 137. Arbitri Satyricon, edit. 12mo, Lutet.
1587, p. 101.
t * “Ciconia etiam grata, peregrina, hospita,
Pietaticultrir, gracilipes, crotalistria.”
- Ibid. c. 55.
| 60 THE BRITISH MUSEUM.
tions. The dimensions of this marble are two feet
eleven inches, by one foot eight inches.
The well-known custom, even yet continued in
some places, of suspending garlands, at stated times,
upon the tombs of friends, is of very remote an-
tiquity. It is frequently alluded to in passages of
the classic writers; and was, no doubt, the origin of
the festoons in marble, which are so frequently seen,
as in the present instance, decorating sepulchral
stelae. t
Room VI. No. 37.
A Greek sepulchral Monument, bearing the figure
of a female in bas-relief, inscribed to Isias the
daughter of Metrodorus, a native of Laodicea.

IXIAAA MHTPOAQPOT AAOAIKlAA.
This marble, with the two which immediately
follow it (No. 49 in Room VI., and No. 41 in
Room XI.) came from Smyrna. They were pur-
chased by Matthew Duane, Esq., and Thomas Tyr-
whitt, Esq., at an auction in London, in 1772, by
whom they were presented to the Museum.
The marble No. 37 was first published by Mont-
faucon in his Antiquit. Expliq. Supplem., tom. v. p.
25, and he thus translates the inscription: “Populus
Isiadem Metrodori filiam Laodicemam hoc monu-
mento donavit.” He supposes that the words & Sipoc,
encircled by a crown of laurel, signify that the monu-
ment was erected at the public expense; but they
probably mean no more than that the deceased, upon
TOWN LEY GALLERY. 161
Room VI. No. 37.
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162 THE BRITISH MUSEUM.
some occasion or other, had a crown voted to her by
the people.
Height of this marble, four feet five inches, by one
foot mine inches and a half in width: height of the
figure, twenty inches and a half.
Room VI. No. 49.
A Greek funereal Monument, but whether of one
or two persons of the name of Democles seems not
entirely certain. It is most probable that it was that
of Democles, the son of Democles, only. It came
from Smyrna with the preceding marble. A bas-
relief in front represents two figures; one to the right,
seated, Democles the son of Amphilochus, his right
hand joined in that of Democles, the son of Democles,
who stands before him. Two smaller figures, appa-
rently of sons, stand one behind each of the larger
figures. Above the heads of the principal figures are
the words
OAHMOX OAHMOX
AHMOKAHN AHMOKAHN
AHMOKAHOTX AMPIAOXOT
Crowns of laurel surround the words 6 diploc. Below
the bas-relief is the following epitaph in eight elegiac
lines:—
TON IIINTTON KATA IIANTA KAI EEOXON EN IIOAIHTAIX
ANEPA. THEPAAHOT TEPMAT EXONTA BIOT
AIAEQ NTXIOIO MEAAX TIIEAEEATO KOAIIOX
ErzEBEON 9 OxIHN ETNAXEN Ex KAIxIHN
MNHMAA ATIOp.8IMENOſO IIAPA TPHXHAN ATAPIICN
TOTTO IIAIx KEANHI TETEE XYN EYNETIAI
EEINE XTA AEIXAX AHMOKAEOX TIEA XAIPEIN
AHMOKAEA XTEIxoix ABAABEx IXNox ExoN *.
* Mr. Tyrwhitt has thus translated the whole inscription:

Town LEY GALLERY. 163
Montfaucon, who has published this inscription in
his Supplem., tom. v. p. 25, from the papers of
Tournefort and the Chevalier de Camilli, considers
it as a monument erected at the public expense, in
honour of two persons of equal desert who bore the
same name; and to each of whom the epitaph was
applicable “. -
Mr. Tyrwhitt, however", considers from the fifth
and sixth verses of the inscription, that this monu-
ment was erected, not by the city of Smyrna, but by
the son of the deceased, together with the wife,
either of himself or of the deceased; for the original
is capable of either sense: and he thinks it plain,
from the whole tenour of the eight elegiac verses,
that they speak only of one Democles, the son of
Democles, and, as he supposes, the grandson of
Amphilochus. This supposition helps to account for
the two crowns. It is not improbable, Mr. Tyrwhitt
says, that Democles the father might have received a
crown, by a vote from the people, as Democles the
Populus Populus
‘Democlem Democlem .
Democlis (coronat.) Amphilochi (coronat.)
Prudentem in omnibus et eminentem inter cives
Pºrum, longaevae terminos tenentem vita,
Inferni obscuri niger suscepit sinus,
Et piorum sacrá recumbere fecit in sede.
Monumentum autem defunctijuata asperam viam
Hoc filius venerandá strualit cum urore. -
*:::: tu vero, cum jusseris salvere Democlis filium
'emoclem, pergas inoffensum gressum servans.
Osann, Sylloge Inscript. Graec. et Lat, fol. Lips. et Darmst.
1834, p. 228, gives another Latin version of this inscription.
* Montfaucon has misread the beginning of the last line,
Instead of AHMOKAEA XTEIxoix he has printed AHMOK-
AEOT2 TTXOIX, of which (not to mention the false quantity)
it is impossible to make any sense. * .
* See his Observations on the Inscriptions upon the Ancient
Marbles, Archaeologia, vol. iii. p. 233, -
164 THE BRITISH MUSEUM.
son did after him ; and in that case it was very
natural for the builder of this monument to record
the honours of his grandfather, as well as those of
his father, upon the tombstone of the latter.
Height, four feet four inches, by one foot seven
inches and a half in width.
Room XI. No. 41.
Another Greek sepulchral Monument, brought
from Smyrna, with the two which precede it, for a
person named Alexander, a native of Bithynia. In
front, within a portico, is a bas-relief, representing
the caena feralis, or funeral feast, with the figures of
the persons mentioned in the following epitaph, and
apparently two children of the deceased :
AAEEANAPOx AAEEANAPor BEierNIE[rx
KAI NEIKOMHAErx zoN EATTo KATEx KETAx [E
TO MNHMEION - KAI TH MHTPI MOT KAI TH XTMBIſ)
‘PIAIIIIA IIONTIANOT.
KAI BOTAOME META TO TE8HNAI HMAX EIX THN
KAMAPAN MHAENA ETEPON ANOISE , EI AE IIAPA
TATTA IIoIHXEI AQXEI EIX TON PIXKON # /Bºb
KAI Eix THN IIoAIN + AB+ : XAIPETE".
* The following is Mr. Tyrwhitt's translation of this in-
scription:
Alexander Alerandri filius, Bithyniensis
et Nicomediensis, vivus sibi construalit
hoc sepulchrum. Et matri meat et ua ori
Philipia, Pontiani filiae.
Et volo, postguam nos illati fuerimus in
cameram, neminem alium aperire. Si quis vero praeter
hoc fecerit dabit fisco denarios bis mille quingentos,
et civitati denarios bis mille quingentos. Palete.
The fourth line, he observes, containing the name of the wife,
seems to have been inserted after the rest was engraved, and
he was not quite certain that he had read it right. Philipia,
he adds, is a strange name. See the Archaeologia, ut supr.
The form of the 5 is very particular in this inscription, and
different from any of those which Montfaucon has collected in
his Palaeographia Græca.

TOW NLEY GALLERY. 1.65
Height, two feet fourteen inches, by one foot eight
inches in width.
Room VI. No. 63.
A Greek sepulchral Monument, with a bas-relief
and double inscription, to Exacestes and Metreis his
wife. Exacestes is seated, his right hand joined in
that of Metra, who stands before him. Two children
stand below.


OAH oSºŞ.
MOX MO
EEAKEXTHN METPEINEPMI IIIIO'ſ
ANAPOBOTAO'ſ EEAKEXTOT AE ITNAIKA
Dimensions, two feet nine inches in height, by
fifteen inches and a half in width.
Room XI. No. 1.
A sepulchral marble slab, to the memory of
Abeita, who is represented sitting; in front of her
is a column on which is a tablet with rolls of paper,
and behind her a Dog in a fawning attitude. In the
Pediment is a discus, and at the bottom:
ABEITA . ZHXAXA - ETH. I.
MHNAX ATſ?
XAIPETE,
. Dimensions, thirteen inches five-eighths, by eleven
inches.
Room XI. No. 2.
(Blank.)
Room XI. No. 3.
... A fragment of a sepulchral Monument to Eporia:
* represents a female figure seated, her right hand
166 THE BRITISH MUSEUM.
joined to that of a male figure, who stands before her.
The upper part of the monument appears formerly
to have finished in an arch. Below is this inscrip-
tion: - s
EIIQPIA AHMHTPI
OTANTIOXIXAIT
NIIT AEETNIKOT
XPHXTHKAIAAT
IIEXAIPE. - -
Exaguz Anº, nºrétou Avruožuao, yuyn 3. Evvuzov %6%arn x2. o:2.07%
23%ips.
Dimensions, seven inches by fifteen.
Room XI. No. 7.
A small sepulchral Bas-relief, representing a veiled
female seated. One foot in length, by seven inches
and a half in width.
A fragment of another Bas-relief, representing four
figures, part of a female procession apparently ap-
proaching some deity. One foot in length, by ten
inches in width.
A small sepulchral Bas-relief, much mutilated. It
represents a youth, nearly naked, with a drapery about
his middle, seated on a bank or rock, fishing with an
angle, a basket or pannier on his left knee. It is in:
scribed to Asilchus :
Aſ A
GHMOTA
POC ACIAXQ
CYNTPO4) QMNH
MHCXAPIN
Aya&nºorages Arixxo avy'rgopal awmans 2:261w,
“Agathemotaros to Asilchus, his comrade, in remembrance"
* The marble-cutter has written TYNII, no doubt for TTNH,
leaving out the cross-bar.
TOWNLEY GALLERY. 167
It is fourteen inches in length, by ten inches in width,
and was purchased at the sale of Lord Besborough's
marbles at Roehampton, in 1801.
Part of a sepulchral Bas-relief, twelve inches and a
half, by eight inches, representing a funeral banquet.
Room XI. No. 8.
Three ancient marbles:
One, a sepulchral Monument, representing a hus-
band, wife, and child, preparing to sacrifice to Serapis,
who is represented reclining at a funeral banquet. It
is one foot one inch in length, by eleven inches in the
widest part.
sºft|||ſſiſſiliſi;]]||
ºn-en-
sº
Fº
The second, also a sepulchral Monument, is a Bas-
relief representing a family of seven persons preparing
to sacrifice a Pig to two Deities, seated at a funeral
banquet. A horse's head is seen at a window. -







168 THE BRITISH MUSEU M.
Dimensions, twenty-one inches in length, by one
foot two inches in width.
Mr. Townley, who had a private plate engraved of
this marble, considered the two figures on the couch
to be those of the Dioscuri".
The third Bas-relief represent a Horse held by a
Slave; cut from a monument, probably of one of
the equites singulares, who fought at the emperor's
left hand *. It is thirteen inches and a half in
length, by ten inches and a half in height.
Room XI. No. 10. Art. 1.
A sepulchral Monument, representing the Dioscuri
standing, with an Altar between them, in a distyle
Temple: each has his spear. Dimensions, nineteen
inches and a half, by fourteen inches.
Room XI. No. 10. Art. 3.
Part of a mutilated Bas-relief, supposed to be
sepulchral. It represents a male figure clothed in
long drapery, holding a bunch of grapes, with a cock
at his feet. It was presented to the Museum in
* The plate alluded to bore the following explanation :
“Dioscuri, toro incumbentes, adstante Dea Libera, coenam
feralem agunt. Iacchus, serpentis formā, sub mensa videtur,
velut in Inferis. Aper ad aram a Ministris sacrorum ducitur,
et insuper ad fenestram Equus Castorem expectate tenebris
in lucem. Marmor exculptum longitudine unc. 27; apud
Carolum Townley Londini; alterum edidit Maffeius, parum
absinnile, in Museo Veronensi, p. 139, fig. 6.”
* This sepulchral bas-relief is illustrated by one very
similar in character, preserved in the Ince Museum, an
engraved by Mr. Blundell in his eighty-sixth plate, the in-
scription of which begins, D. M. T. AvRelio. MANsueTINo. EQ.
sING. Another inscription for one of the equites singulares,
or praetorian guard, occurs in Gudius's Antiquae Inscriptiones,
fol. Leovardiae, 1731, p. clxxxiii. 2. See also Morcellide Stilo
Inscriptionum Latinarum, 4to. Patav. 1819, tom. i. PP.
31, 32.
TOWN LEY GALLERY. 169
1833, by Dr. Jarvis. Dimensions, eighteen inches,
by fourteen.
Room XI., at the back of the pedestal of the Mithraic Group,
No. 14.
A Bas-relief, representing two persons; one, aban-
doning his arms, has his hand upon a helmet ; the
other is sacrificing at an altar: beneath is this in-
scription:
TIAYCAMENOCCTPATACAPHCA-
PHITIAPEAQKENOTIAA
KAICTPATIANKATA/\!\!’ACTAYTA
€ICETEPON KOCMONAKOCMON
Aſle/\HAY66:OTIOYOYAGNYTIAPXI
eIMHMONONCKOTIHIKO
Dimensions, one foot ten inches, by one foot three
inches.
This bas-relief is either a restoration of a more
ancient work or it is an imitation. The latter, seems
most probable, as far as the inscription is concerned.
Room XI., also at the back of the same pedestal.
A sepulchral Tablet, with a Greek inscription, an
the bas-relief of a Skeleton below :
€Iſle|NTICAYNATAI
CKHNOC/\ITIOC APKON
A6 PHC AC elſlePYAAC
HOEPC eITHCHNU)
TIAPOAGITA
“O, traveller, who shall be able to say, upon sight of this
skeleton, whether the ashes it contains were those (of a hand-
some or a deformed person) of Hylas or Thersites ?”
Dimensions, one foot four inches and a half, by
One foot one inch.
It was purchased from the Burioni Villa, near the
Vol. II*. L -
170 THE BRITISH MUSEUM.
Salarian Gate of Rome, and is cited by the Abbate
Giovenazzo, in his treatise upon the Fragments of
Livy, published in 1772, as an example of the
ancient Greek usage of not separating words in in-
scriptions”. He adds two Latin versions of the
inscription ".
Room XI., below the Shelf 28. -
A mutilated Bas-relief, representing the Heads of
four Horses, in a spirited style, let into the wall. One
foot in length, by eleven inches and an eighth in
width.
A mutilated fragment of the front of a Sarco-
phagus, with a youthful figure of Hercules bearing a
club. It is two feet in height, by mine inches and a
half in width.
Room XI. No. 35.
A Greek sepulchral Monument, bearing a bas-relief,
representing a female figure seated beneath a circular
arch, inscribed to Mousis, a native of Miletus, the
daughter of Argaeus.
It came from Athens, and was presented to the
Museum, in 1785, by the Society of Dilettanti”.
Dimensions, two feet five inches high, by fourteen
inches in width.
"Titi Livii Historiarum, lib. xci.; Fragmentum 'Ayíx}oro, de-
scriptum et recognitum a cc. vv. Vito M. Giovenazzio Paulo
Jacobo Brvns ex Schedis vetustissimis Bibliothecae Vaticanæ.
Ejusdem Giovenazzii in idem Fragmentum Schölia, 4to. Rom.
1773, p. xli.
* “Quod sic converti potest:
Quis potis, adspiciens nudato jam osse cadaver,
Thersites, an Hylas fuerim, diarisse, viator 2
“Et brevius, ut multo ante verteram:
Quis osseam, viator, intuens formam,
Hylasne fuerim, dicat, anne Thereites?”
* This inscription is published in Chandler's Inscriptiones
Antiquae, part ii. p. 69, and in Boeckh, Corpus Inscr. Graeco
tom. i. p. 509. - -
TOWNLEY GALLERY. 171
Room XI. No. 35.
- S.
ſº Oisſ
N\O Y > || 2 /\ P T A
NM (A H XE ( &
O O
Room XI. No. 36.
(Blank.)

1 72 THE BRITISH MUSEUM.
Room XI., beneath the Shelf No. 35.
A sepulchral Monument to Sotnikus, who is repre-
sented standing, enveloped in his pallium, with his
hand to his cheek. Above are the words,
XOTNIKE
XAIPE
Dimensions, two feet three inches high, by one foot
in width.
Room XI. No. 46.
A bas-relief, terminating above in a pediment;
below which, within a wreath of laurel, are the words
o AHMOX, and below,
-ANAION APTEMIAſ, POT.
Within a sunken area beneath is a male figure, in full
drapery, reclining on a couch; before him a tripodal
table bearing viands; with his right hand he is lift-
ing his cap from his head; the left holds a square
vessel. The inscription below is,
KAITOIIPINENIIO AEMOIXTHPQNIITPIONIIAPOAITA
KAINTNTHPHXQſ>ATNAMAINEKTXQN
It was purchased with the next bas-relief, and several
other antiquities, in 1836. -
Room XI. No. 48.
A sepulchral Bas-relief, four feet one inch in height,
by one foot five inches in width; bearing, in the
upper part, the words,
EPMOAOPox
APIXTOMENOT
Below, within a sunken area, stands a male figure,
draped, with the exception of the right arm and
breast. The height of the figure in this bas-relief is
two feet three inches.
TOWNLEY GALLERY. 173
Room XII. Nos. 5 and 16.
º *: . . . § ~ *
ÚVº W
Y- ----->
º
C =-3 * *
T(G/X|
tº WN
N y tºs
Heads of Lions, parts of a large sarcophagus found
in a mutilated state, in 1776, near the Appian Road,
opposite to the Circus of Caracalla. Dimensions of
each, twenty-two inches and a half, by thirteen inches
and a half.
º
; :
f










L 3
174 THE BRITISH MUSEUM,
CHAPTER XV.
SARCOPHAGI, BEARING BAS-RELIEFS.
THE Romans followed two methods in the disposal of
their dead : they buried them and they burnt them.
T’liny the elder says that the practice of committing
the dead to the funeral pile was not introduced till it
was known that the bodies of soldiers, who died in
foreign war, were dug up by the enemy, and exposed
to public view . And yet Plutarch, in his Life of
Numa, observes that Numa was buried in a stone
coffin *, pursuant to his own express injunction that his
body should not be committed to the flames, which
shows that it was supposed that at this early period the
practice of burning was prevalent”. Pliny also records
a tradition that Sylla introduced the practice of burning,
because, having caused the body of Marius to be dug
up, he was afraid of being treated himself in the
same manner, and therefore ordered his remains to
be burnt to ashes". Both practices, however, are
mentioned in the Law of the Twelve Tables,
“Hominem mortuum in Urbe ne sepELITo, neve
URIto *;” and it must not be forgotten that the
Greeks, whom the Romans imitated, burnt the bodies
of the dead to obviate the inconveniences which
might possibly arise from putrefaction.
The custom of burning the dead probably became
* Plin. Hist. Nat., lib. vii. c. 54.
* Vitae, edit. Aug. Bryan, 4to, Lond., 1729, tom.
l, ſ), te
ſ The Romans had a notion that by burning the body they
º soul to its rest more speedily: whence Silius Italicus,
“ — Atque recens crepitantibus undique flammis
AEthereas anima exultans evasit in auras.”
* Hist. Nat, ut supr. * Cic. de Legibus, lib, ii, c. 23.
TOWNLEY GALLERY, 175
general about the time of Sylla, and continued for a
long time under the emperors". It ceased under the
Antonines, when the use of sarcophagi was revived.
The era of sepulchral vases, cippi, and cinerary urns,
now commenced, upon which the sculptors exerted
their utmost skill 7.
The workmanship of the Roman sarcophagi, how-
ever, is seldom excellent; and they are embellished
with heterogeneous ornaments, such as Bacchamalian
feasts, and sacrifices to the Bona Dea. There are
Various symbols of destruction or dissolution which
are common on sarcophagi; such as a lion destroy-
ing a horse, Cupid burning a butterfly, and several
others. A frequent subject was also Apollo and the
mine muses. Apollo was only blocked out roughly,
but the other figures were completed; and the sar-
cophagus was kept by the sculptor to be adapted to
ally purchaser. When it was bought, the head, which
remained to be finished, was made to resemble the
deceased ".
Several fronts and ends of sarcophagi, unfinished
in their sculptures, will be found in the Townley col-
lection; and from the general appearances of some, it
may be fairly inferred that they were never applied to
the purposes for which they were intended.
Pitiscus, in his “Lexicon of Greek and Roman
Antiquities,” quotes one or two instances of the
anxiety shown by Romans to be buried in sarco-
phagi"; particularly of one Gallus Favonius Secundus,
Tacitus, Annals, lib. xvi. c. 6, speaking of Poppaea's fune-
*al, says, her body was not, according to the Roman custom,
“ommitted to the funeral pile, but, after the manner of the
§astern kings, embalmed with precious spices, and deposited
ºn the monument of the Julian family. He here marks the
*Yiation from the general practice. -
* See Dallaway's Anecdotes of the Arts in England, 8vo.
Lond. 1800, p. 353. - . . .
* Ibid. p. 352. -
* “In Epistola Liberti ad AElium Severum : Rogo Domine
P°rmittas mihi in eodem loco in marmoreo sarcophago quem
176 THE BRITISH MUSEUM.
who, in his will, made his sons his heirs, but on this
condition, that they should go from Rome within five
years to Lusitania, whence they should transport his
bones, and place them in a marble sarcophagus in
the Via Latina”.
AcHILLES AMongst THE DAUGHTERS or LYcomeDEs.
Room VI. No. 2.
A Bas-relief, part of the front of a sarcophagus,
representing Achilles amongst the daughters of Lyco-
medes, whom he is quitting to join the Greeks before
Troy. Part of a bas-relief of the same subject is in
the Villa Belvedere at Frascati, and is engraved by
Winckelmann, in his “Monumenti Inediti,” p. 15.
The story here represented may be told in few words,
Thetis, the mother of Achilles, learning by an oracle
that the Trojan war would prove fatal to her son, sent
him privately to Lycomedes, king of Scyros, and for
concealment clothed him in female attire. But as the
destruction of Troy was to depend upon the presence
of Achilles, the Greeks, who had learned where he lay
in disguise, deputed Ulysses to discover him. Ulysses,
assuming the dress of a merchant, arrived at Scyros,
and among the toys and articles of female attire,
which he offered to the daughters of Lycomedes for
purchase, placed some arms of beautiful workman-
ship, which Achilles no sooner saw, than he handled
them with such an air of eagerness as discovered who
he was. Another account says, that while examining
the merchandize, upon hearing a sudden blast from a
trumpet, and supposing some enemy nigh, he threw
off his female attire, and seized a spear and shield.
Thus detected, he was prevailed upon to go to Troy,
mihi modo comparavi ea corpora colligere.” Pitisci Lex.
Aniqi, tom. ii. p. 758. , tº gº ºn tº
* “Gallus Favonius Jucundus, qui filios suos haeredes
scripsit “hac tamen conditione, ut ab Urbe Roma huc veniant,
et ossa mea intra quinquennium exportent e Lusitania, et Via
latina condant Sepulchro marmoreo.’” Ibid. p. 759.
TOWNLEY GALLERY,
177
f:Žci

180
THE BRITISH MUSEUM.
A MARRIAGE.
Room VI. No. 4.

TOWN LEY GALLERYe _ſsi
Statius, in the second book of his “Achilleis,” has
described the moment represented in the bas-relief,
l. ii. 177 11.
The story is told with slight variations, by Ovid, in
his “Metamorphoses,” book xiii, fab. 4; by Statius;
by Hyginus, fab. xcvi.; and by Apollodorus, in his
Bibliotheca, lib. iii. p. 190, edit. 12mo. ex Off. Com-
melin. 1599. It is not, however, so old as the time
of Homer, who mentions nothing of the concealment
of Achilles, but represents him (Il. i. 1. 439) as pro-
ceeding directly to the Trojan war from the court of
his father.
Dimensions of this bas-relief, three feet eight inches
and a half in length, by one foot eleven inches in
height.
Room VI. No. 4.
Part of the front of a large sarcophagus, represent-
ing a Marriage, similar in its general character to the
group more immediately connected with the nuptial
ceremony upon the sarcophagus in the church of S.
Lorenzo, near Rome, on the Tivoli Road, which
serves as the sepulchre of Cardinal William, nephew
of Pope Innocent IV., and is engraved by Lumisden.
The bridegroom, in the present sculpture, stands
with his head bare, giving his right hand to the
bride, and holding the tabulae nuptiales, or marriage
articles in his left. The Bride, her head covered with
the marriage-scarf, gives her right hand to the bride-
groom. The chief priest's wife (the flaminica), or a
vestal virgin who sometimes performed the same
office, stands behind, embracing the married couple:
* “At Ferus AEacides radiantem ut cominus orbem
Caelatum pugnis saevis, et forte rubentem
Bellorum maculis, acclinem et conspicit hastam;
Infremuit, torsitQue genas, et fronte relicta
Surrexere comae. Nusquam mandata parentis,
Nusquam occultus amor, totoque in pectore Troja est”
WOL. II*, M
182 THE BRITISH MUSEUM.
a bride-man, or pro-nubus, stands behind the bride-
groom.
“The Romans,” says Lumisden, “ seem to have
introduced among them three kinds of marriages, viz.
—by comfarreatio, coemptio, and usus. Of each of
these modes I shall endeavour to give an idea.
“Of these marriages, that by confarreation was
the most solemn and honourable. It could only be
celebrated in presence of the pontifer marimus, or
of the flamen dialis. The flaminica, or a vestal
virgin, seems likewise to have assisted. It was a sort
of sacrifice, in which entered augury. A clap of
thunder, or any other sinistrous omen, would have
stopped or retarded the marriage ceremony. It was
done by means of a little flour, far, mixed with salt,
and some fruits; an emblem, no doubt, of family
economy. Such a marriage had great privileges
annexed to it; since we find that no one could be
advanced to the dignity of the flamen dialis, unless
he was born of parents so married. But these mar-
riages, by comfarreation, were much laid aside towards
the end of the republic, and in the time of the em-
perors”. Perhaps it partly proceeded from the
progress that free-thinking had made, and which
rendered the religious ceremonies by which such
marriages were performed disagreeable; as well as
from the great difficulty of dissolving them, which
could only be done by other tedious religious rites.
Other reasons may have occurred that rendered these
marriages less frequent.
“The second kind of marriage, by coemption,
came to be more common. The man and woman,
as in civil sales, in presence of witnesses, gave each
other a piece of money as a mark of mutual pur-
chase. The man asked the woman if she consented
* Tacit. Ann, lib iv. 16, and the note of Lipsius,
TOWNLEY GALLERY. 183
to be his wife; and the woman asked the man if he
consented to be her husband. On their both answer-
ing in the affirmative, they joined hands, and the
marriage was completed.
“Marriages thus contracted, as well as those by
comfarreation, gave the husband absolute power over
his wife. She became part of his family, partook of
all his civil and religious rights, and was subject to
his domestic tribunal.
“Women, except the vestal virgins, who enjoyed
particular privileges, were by the Roman law always
considered as minors. They were either subject to
the power of their own families, or to that of their
husbands. Of themselves they could execute no
valid act. Hence it was that, to preserve more liberty,
and not to divest themselves of their fortune, they
chose to remain under the tuition of their own
families. To effect which, the woman entered into
a civil contract to live with such a man as her hus-
band. But, unless she lived a complete year with
him, without interruption, he did not acquire over her
the power of a husband. By absenting herself three
days every year she interrupted what the law called
his usucapio, or prescriptive right over her ". This
gave rise to the third kind of marriage, usu, by usage
or custom. It was concluded without the religious
or other ceremonies necessary for the two former,
and became at Rome the most common form of
marriage. But, misled by the word year, some
authors have supposed that these marriages were
ºted for a year only, which surely is a mis-
take.
“A woman married either by confarreation or by
COemption seems to have had the appellations of
* Laws of the Twelve Tables, tab. vi. law 4.
M 2
184 THE BRITISH MUSEUM.
wror, mater familias, and matrona; but, if married
by usus, she was called mulier. The two former were
named nuptiae, and the latter matrimonium, or con-
nubium. Simple marriage was the institution of
mature; whereas the nuptia, were religious and civil
ceremonies invented by society “.”
The present sculpture is the representation of a
marriage by comfarreation.
Room VI. No. 5.
A Bas-relief, the front of a sarcophagus, seven feet
six inches long, and two feet six inches high, repre-
senting the Nine Muses, placed within five arcades,
supported by fluted columns, and richly ornamented
with festoons of foliage. Each muse has her cha-
racteristic attributes.
1. Clio, the muse of history, holding a tablet on
which she is writing with a stylus. 2. Calliope, the
muse of historic poetry. 3. Erato, her left hand
resting on the Psalterium, with which she accom-
panies her erotic songs. 4. Melpomene, the muse
of tragedy, with her attributes of destruction, the club
and the tragic mask. 5. Euterpe, who holds the
double tibia, as presiding over music. 6. Thalia, the
muse of pastoral comedy, holding the comic mask,
and the pedum of the satyrs. 7. Terpsichore, who
presides over dancing, and holds the lyre. 8. Urania,
the celestial muse, pointing to a globe held in her
left hand. 9. Polyhymnia, who presides over mys-
tery and fable; she leans over a column, and is
wrapped in drapery. All these figures, with their
* This statement of the legal consequences of these three
several modes of contracting marriage is correct except in a
few of the less important particulars. The reader will find
most of the passages of the Latin authors relative to marriage
referred to by Heineccius, Antiquatum Romanarum, &c. Syn-
tagma, lib, i. tit. 10.
186
THE BRITISH MUSEUM.

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TOWNLEY GALLERY. 189
attributes, are entire”. Mr. Townley purchased this
bas-relief at the Villa Montalto.
“The order of the Nine Muses," says Spence,
“seems to have been quite arbitrary, and to have been
left wholly to the choice of the artist who was to re-
present them. Was any order to be followed, that of
their names annexed to the nine books of Hero-
dotus's history would certainly carry the greatest
authority with it, as that was done by the general
decree of all Greece, assembled at the Olympic
games”. But, I believe, there was no settled method
of ranging them ever intended or observed; their
order in Ausonius's inscription" for a rilievo of the
* “The muses,” says Spence, Polymetis Dial. viii. p. 92,
“were a frequent ornament for their libraries of old; as well as
the heads of philosophers and poets. We see them often, too,
on tombs; and they have a more particular propriety there, if
the persons interred in them were either poets, or philoso-
phers, or musicians, or astronomers. On these you often meet
with the whole choir of the muses, with some other deity,
that had some relation to them, in the midst of them: some-
times the Hercules Musarum; sometimes Minerva, the god-
dess of wisdom ; and sometimes Apollo. The last was the
case in the rilievo for which Ausonius wrote his inscription;
where he gives us the reason why Apollo is placed in the
midst of them; and there is a sarcophagus in the Justiniani
Palace at Rome, (see Montfaucon, vol. i. pl. lx. fig. 1,) which
represents Apollo standing in the midst of the muses, just as
he is described by Ausonius, and with his lyre in his hand.”
* Their order, in the nine books of Herodotus, is this:
Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Po-
lyhymnia, Urania, and Calliope. º
The reason assigned by Spence for the superior authority of
the order observed in the nine books of Herodotus, however,
cannot be allowed to have any weight, especially since the
story of Herodotus reading his work at the Olympic games has
been so completely refuted by Dahlman, Herodot. Ausseinem
Buche sein Leben, Altona, 1823. See also Journal of Educa-
tion, No. xiii. p. 126, &c. -
” “Clio gesta canens, transactis tempora reddit.
Melpomene tragico proclamat moesta boatu.
M 5
190 THE BRITISH MUSEUM.
nine muses in his time, being different from hat used
for Herodotus's history, as the rilievos we now meet
with differ both from them and from each other in
their methods of ranging the muses 18.”
A FUNERAL CHARIOT.
Room VI. No. 7.
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A Bas-relief, *Presenting a Carpentum or Chariot,
drawn by four horses, with an attendant. Mr.
Townley named it the Funeral Car of Bacchus, or of
Adonis. The body of this chario, is in the form of
* temple. In front, beneath the pediment, Mercury
is represented with his Wand, as the conductor of the
Somica lascivo gaudet sermone Thalia.
Dulciloquos calamos Enterpe flatibus urget.
Terpsichore affectus citharis movet, imperat, auget.
Plectra gerens Erato, saltat pede, carmine, vultu.
Carmina Calliope libris heroica mandat.
Uranie, coeli motus scrutatuſ et astra.
Signat cuncta manu, loquitur Polyhymnia gestu.
Mentis Apollineae vis has movet undique Musas:
In mºdio residens complectitur orj Phoebus.”
Ausonius, Musarum Invents et Munera, Idyll. xx.
* Spence's Polymetis, Dial, viii. p. 88,







TOWN LEY GALLERY. 191
manes”: upon the side panel the Dioscuri are repre-
sented with their spears, and holding their horses.
This bas-relief formed part of a sarcophagus, and had
been buried for many years in the yard of Minelli
the sculptor, in the Campo Vaccino at Rome *.
RECUMBENT AMAzoNs.
Room VI. No. 9.
The front of a Sarcophagus, five feet nine inches
in length, by one foot in height, representing six
recumbent Amazons. The Synopsis of the Contents
of the British Museum has hitherto called them
Captive Amazons; but no reason can be assigned
for this. The four figures in the centre, facing each
other, two and two, have their quivers at their backs,
hold each a shield upon a helmet before them, and,
all but one, have double-headed battle-axes in their
right hands, below. The two Amazons at the ex-
tremity of the sculpture face outwards: one has her
shield placed behind her, the other has her helmet,
battle-axe, and shield, in front.
The shields are of the sort called Pelta, having
portions cut out from the upper part of each, to
afford a view of the adversary. Virgil calls them
lunated, that is, of a crescent form:
“Ducit Amazonidum lunatis agnmina peltis
Penthesilea furens, mediisque in millibus ardet”.”
* Whence Horace, Od. I. x. 7 :
“Tu pias laetis animas reponis
Sedibus, virgadue levem coerces
Aurea turbam, superis deorum
- Gratus et imis.”
* D'Hancarville has commented upon this bas-relief in his
Recherches sur l’Origine, l’Esprit, et les Progrès des Arts de
la Grèce, tom. ii. p. 76.
* Virg. Æn., lib. i. v. 494.
J 92 THE BRITISH MUSEUM.
Julius Pollux says that Xenophon compared the
form of these shields to the ivy-leaf. Xenophon,
however, says of the shields of the Mosynoeci, a na-
tion on the Euxine sea, that they were covered with
hides, elkaopéva kirroi treráAp, made to resemble an
ivy-leaf. Pollux has transferred it to the shields of
the Amazons.
The battle-axes of the Amazons were the bipennes.
Pliny ascribes the invention of them to Penthesilea,
their queen *, the fabled daughter of Mars. They
are frequently represented on the reverses of ancient
coins, especially upon those of Thyatira, Smyrna,
and other cities supposed to have been founded by
these female warriors, as well as upon the reverses
of some of the coins of Marcus Aurelius *.
Horace, in his ode in praise of Drusus, uses the
term Amazonia securis for the bipennis”.
This marble was purchased from the collection
of Cardinal Passionei, at the Camaldoli, near
Frascati.
Room VI. No. 10.
A fragment of a Sarcophagus. The centre con-
tains a bas-relief representing the youthful Bacchus
resting his left hand upon a thyrsus, while his right
arm is thrown over the shoulders of a Faun. At
the sides of these figures are two Hermae or terminal
statues, which support a kind of canopy. Ionic
columns stand at the extremities of the bas-relief.
A small figure of the youthful Bacchus leaning on

* “Penthesileam Amazonem securim invenisse dicunt.”
Hist. Nat., lib, vii. c. 56.
* See Petit, De Amazon. Dissert, 12mo, Amst. 1687, pp.
163, 187, 238, 242, 253, 286; and Rasche's Lexicon Rei
Nummariae, tom. i. col. 1535; Supplem., tom. i. col. 1379.
** Hor, Od. IV. iv. -
TOWNLEY GALLERY. 103
BAccHUs AND A FAUN.
Room VI. No. 10.
-- *IIIſ
sº is s
the shoulder of a muse occurs on a bas-relief in
Bartoli's Admiranda Romanarum Antiquitatum Ves-
tigia, pl. l.”
Room VI. No. 11.
A fragment of a Sarcophagus, three feet six inches
Square, found at no great distance from the Mauso-
* For the explanation of this attitude, in which Bacchus is
80 frequently represented, see the former volume, p. 351.



194 THE BRITISH MUSEUM.
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TOWNLEY GALLERY. 201
Room VI. No. 12.
A Bas-relief, the front of a Sarcophagus, seven
feet four inches long, representing a Bacchanalian
choral procession, composed of nearly thirty figures
of Fauns, Satyrs, Sileni, Bacchant-nymphs, and other
mystical attendants upon Bacchus, who is sitting
with Ariadne in a car drawn by two Centaurs.
It was formerly in the Villa Montalto, and is en-
graved by Bartoli in the Admiranda Roman. Antiq.
Westigia, fol. Rom. 1693, plates xlviii. and xlix., where
it is considered as a procession in honour of Bacchus's
return from India *.
It had previously been engraved by Battista
Franco, in 1549.
Room VI. No. 14.
A Bas-relief, the front of a Sarcophagus, repre-
Senting Genii supporting various pieces of armour.
It was found at Tusculum, and was formerly in
Cardinal Passionei's hermitage at the Camaldoli, near
Frascati. Upon a shield, in the centre, is the follow-
ing inscription in memory of Sallustius Iasius:
* The following is the explanation of the chief figures in
this marble, as given in the “Admiranda:”
“BAcchi ET ARIADNAE CHORUs.
“Subacta India Bacchus Ariadnam, a Theseo derelictam, suo
recepit curru : ipse e cantharo in Fauni poculum hilarem fun-
dit liquorem, Ariadna Smylacis serto ejusdem pectus alligat et
amplectitur. Amor wolitat cum flabello seu vexillo deumque
excitat. Satyrus ebrius merum effundit. Faunus quatit apri
Crus in memoriam Penthei discerpti. Bacchus ipse curru
invectus est a centauris cum isti plurimum vino incalescant
*c lyra praecipue excellant. Faunus vibrat fustem quo se
furiosi percutiébant. Haeret Asello Silenus quem titubantem
Succollans Faunus sustinet. Faunus cum pedone et uvae botro.
ympanistria planum ac rotundum palma quatiens tympa-
num. Pueri ex puerorum choro. Elephas Indiae subactae
index, Silenus duas uno flatu tibias inflans Phrygiis modis.”
202 THE BRITISH MUSEUM.
D. M.
SALLWSTIO . C. F. IASIO
ALVMNO . SVO . B. M.
QVI . VIXIT. ANN. V. DO
MITIVS . AVG. N. DISP.
RATION IS . MON.
CVM . SALLVS
TIA . CAELIANE
CONIVGE . SVA.
w FECER.
below the shield,
B. M.
Room VI. No. 30.
A Sarcophagus, seven feet long ; in the centre of
the front, within a patera, is the portrait of an
elderly Man, supported by two Genii with wings,
It was formerly in the Burioni Villa, near the Sala-
rian gate of Rome.
Room VI. No. 57.
The front of the cover of a large Sarcophagus, six
feet six inches in length, by seven inches seven-
eighths. It represents a group of Cattle, on one
side of which is an old Faun, who holds a pedum in
his right hand, his dog near him; on the other a
young Faun; both recumbent.
Room XI. No. 1.
A fragment of a sepulchral Monument, consisting
of portions of three female figures, in bas-relief. It
is one foot wide, by one foot one inch in height in
the longest extent of the fragment.
- Room XI. No. 3.
A Man conducting a Bull; from a sepulchral mo-
nument ; ten inches in height, by ten inches and a
half in length. §
TOWNLEY GALLERY. 203
Room XI. No. 5. Art. 2.
The front of a Sarcophagus, five feet in length,
by eleven inches five eighths in height. It is imper-
fect at the ends. In the centre is a tablet bearing a
Greek inscription for M. Sempronius Neicocrates.
It speaks in the first person, and represents him as
attached to music, a poet, and a performer on the
lyre; as one also who had risked the dangers of the
seas, and trafficked in the sale of females. He says,
the spirit which he had received from heaven he has
restored; and, in a separate line below the tablet,
that the muses (alluding to the sculptured figures
upon the sarcophagus) have his body.
The following is a copy of the inscription in
modern characters: the first line is now wanting in
the original, but is supplied from the copies formerly
taken of it, when more perfect, by Fabretti and
Montfaucon *:—
M. >eºrg&vios Neixox6%rns
"Hºzny roºrs govrizos &whé,
IIointh; 22 x19x8toºs,
Máxiaºro, 38 xzi ovo’sſrns.
IIox2 & 3véolor, zoºzów
‘O}nºréguss 2 &rovhaos
"Evºrvées eitzęſtoy yºváºzny
‘Puxoi as rársu'ro, yuyauzov: .
IIvsgaz Azgºw 2&vos obezváčºv
Tex$o as zeóvoy &iraºréðazz
Koi girl, row 9&varov G)
Motozi gov 'rd gºaz ×62Toºww.
. At one end of the marble, to the spectator's right,
is the portrait of Neicocrates, between which and the
inscription is the figure of a Poet seated, with a scroll
An his hand, reciting to a Muse, who stands before
him with one elbow resting upon the head of a lyre.
* See Montfaucon, Palaeographia Graeca, p. 170–172.
"'Avráriëaxa is doubtless intended, but it is abraribasa,
There are several other manifest errors in the original.
204 THE BRITISH MUSEUM.
A tragic mask' lies at the corner of the stool on
which he is seated. Corresponding with these latter
figures, on the other side of the inscription, is another
similar figure of a Poet reciting to another Muse,
who stands leaning with one elbow on a pillar. Be-
hind this Muse is a scenic mask of very large dimen-
sions. A low column occupies the corner which cor-
responds to the small mask on the opposite side of
the marble.
When Fabretti saw this marble, it stood in the
garden of the Augustine Friars in Trastevere, near
the Flaminian Road”.
Room XI. No. 5. Art. 3.
A sepulchral Bas-relief. It represents the deceased
person sitting at a funeral banquet; a veiled female
seated near his feet. Two children are also repre-
sented, one standing, the other seated on the ground.
Dimensions, two feet three inches in height, by
one foot six in width.
Room XI. No. 6.
(Blank.)
Room XI. No. 17.
The front of a Tomb, from Delos. It formerly
belonged to Colonel Rooke, and was presented to
the British Museum in 1825, by A. E. Impey, Esq.
It represents two figures, probably a father and son;
the former, the larger of the two, is naked; and
appears to be placing something in the hand of the
smaller figure, which has a cloak thrown over the
left shoulder. The appearance of the marble at the
back of the smaller figure shows that this sculpture
was never finished. Its height, to the highest point
of the pediment by which it is surmounted, is six feet
* See Raph. Fabretti Inscriptionum Antiquarum qua, in
aedibus paternis adservantur Explicatio, fol. Roma, 1699, P.
704; Montfaucon, Palaeographia Græca, p. 170.
TOWNLEY GALLERY.
205
ToMB FROM 1)ELos.
Room XI. No. 17.
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two inches. The breadth at the base is two feet
twenty inches and a half. The height of the larger
figure, four feet eight inches; of the smaller, four
feet. On the side of one of the pillars which support
the pediment of this marble are the letters HAA.
Room XI. No. 31.
One of the four sides of a Sarcophagus, executed
in alto-rilievo, brought from Athens, representing
five of the labours of Hercules. In four of these the
reader will recognize the kneeling on the Maenalian
stag, the death of Diomed, the conquest of the
Amazon, and the combat with Geryon, “ter amplum
Geryonen".” The figure of Hercules is all that
remains of the fifth labour.
This marble formerly belonged to Owen Salusbury
Brereton, Esq., and the sarcophagus of which it
formed a part was said to have been built for
Pericles.
Pausanias, having finished his description of the
city of Athens, before he proceeds to the demi or
towns of Attica, devotes several pages to an account
of the sepulchral monuments which bordered each
side of the road, leading from the outer Ceramicus
to the Academy; and among them he mentions the
tomb of Pericles”. Cicero says it stood a little to
the right of the road”.
The workmanship, however, of the alto-rilievo
before us is decidedly of a later age than Pericles”;
and certainly cannot have been the monument noticed
by Pausanias. Its present dimensions, as a fragment,
are six feet eleven inches in the longest part, by three
feet seven inches in height.
* Hor., lib, ii. Od. 14, v. 8.
* Pausan. Attica, c. xxix. -
* “ Modo etiam paullum ad dextram de via declinavi, ut
ad Periclis sepulchrum accederem.” Cic. de Fin., lib. v. c. 3.
* The spiral wreaths of the columns are of Roman date.
Town LEY GALLERY.
207
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TOWNLEY GALLERY. 209
CHAPTER XVI.
BACCHANALIAN VASES.
FEw remains of antiquity have excited more interest
than Vases. The earliest were undoubtedly made of
clay, rudely formed and without ornament. As re-
finement increased, more costly as well as more
durable materials were used, and we find them of
glass, ivory, bronze, alabaster, marble, and even of
the precious metals; graceful in form, clothed with
exquisite designs, and at once illustrative of the pro-
gress of art, and the mysteries of ancient worship.
The purposes to which vases were applied were
more numerous than can be detailed. Many were
used in the different ceremonies of the temples. Some
were carried in processions; others were bestowed as
rewards in the public games, or given as customary
presents. They were used in the baths; and fre-
quently in domestic entertainments. Some of the
larger ones were placed in the halls of the Roman
houses, or as ornaments to their gardens. But the
largest portion of those which have escaped the
ravages of time have been discovered in sepulchral
chambers; some containing the ashes of the dead,
and others the offerings which it was usual to pre-
Sent to them.
With the painted vases of the ancients, such as
form the Hamilton and Durand collections, of which
So many are now in the Museum, we have no concern
in these volumes. The Wases of the Townley Gallery
are almost exclusively of marble. Three or four only,
remarkable for their forms, but without inscriptions,
are of alabaster. The greater part are sepulchral.
Two vases, illustrative of the Bacchic mysteries, we
shall separate from the rest.
N 3
210
THE BRITISH MUSEUM,

212
THE BRITISH MUSEUM.
Room II. No. 7.
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Room II. No. 7.
A vase, of an elegant oval form, rather more than
three feet in height, with large upright handles; the
body surrounded by a continued bas-relief of exqui-
site workmanship, representing the celebration of the
orgies of Bacchus. The figures which form the
dance consist of a Faun, clothed in a panther's skin,
who holds a thyrsus; a Satyr, bearing an amphora;
and four male and four female Bacchantes, who are
represented, some young and some of maturer years.
The males, except one, are unclothed; the females in
transparent drapery. One of the male Bacchantes
bears an inverted torch; one of the females bran-
dishes a knife, and another carries the hind quarter
of a kid. A principal figure among the male Bac-
chantes, in the centre of the group, appears exciting
the rest to continue the dance. Behind him sits a
panther. Another of the male Bacchantes appears
intoxicated, and is supported. -
At the lower part of the body of the vase, close to
the pedestal, are eight female figures with wings, ter-
minating in the form of tritons, and holding a patera
in each hand ".
* D'Hancarville, tom. i. p. 199, has given a description of
this vase according to his own mythological system:
“Les figures de ce Vase représentent les orgies de Bacchus:
parmi des Thyades dansantes ily a une figure de femme, ou
d’homme déguisé en femme, dans l'habit court appelé Sagum,
que portoient les femmes Scythes; et que l’on voit ordinaire-
ment aux Amazones. L'usage des habits Scythiques, dans
ces fêtes, tenoit sans doute à leur origine; il montre qu’elles
venoient des peuples dont on prenoit les habillemens: a leur
exemple, les hommes y paroissoient nuds, tels sont plusieurs
de ceux qu'on a représentés sur se même vase. Et nous savons
par Apulée, que dans les fêtes des Dieux, on se déguisoit sous
la forme de satyres. J’ai dit ailleurs, que le désordre des or-
gies, et les figures qu'on y employoit, me semblent représenter
214 THE BRITISH MUSEUM.
This beautiful vase was found, in detached pieces,
by Mr. Gavin Hamilton, at Monte Cagnuolo, the site
of the villa of Antoninus Pius, at the ancient Lanu-
vium. The fragments were carefully joined. The
pieces wanting, which have been restored, consisted
of the figure of the faun with the thyrsus, all but the
lower legs and left arm; the female Bacchante next
to him, all but the feet; the face of the figure which
holds the torch; and the left arm and part of the
head of the satyr, with a portion of the amphora,
The pedestal of the vase also is modern.
Room II. No. 9.
A marble vase, two feet eight inches high, of a
lengthened oval form, with two upright double han-
dles springing from the necks of swans. The front
is ornamented with a Bacchanalian group, consisting
of four figures, which we have here given in detail:
it consists of a Bacchante bearing a thyrsus, a
youthful Faun playing upon the cymbals, a Faun of
more advanced age bearing a vase upon his shoulder,
and another youthful Faun playing upon the tibia,
or double pipe. The neck of this vase is ornamented
with ivy. A portion of the faun who is playing on
the cymbals, with much of the upper part of this vase,
is modern. There is no record of the place where it
was discovered.
le désordre des choses, au tems de la création, a laquelle pré-
sida le Dieu, que l’on confondit dans la suite avec Bacchus:
de-lä il arriva que ces fêtes se trouverent célébrées avec celles
du Dieu du vin. Persuadé, comme je le suis, que toutes les
formes des anciens ont leurs raisons, et la plupart des vases
où l’on voit des Bacchanales, ayant une forme ovalaire, je ne
puis m'empêcher de croire, quecette forme fut choisie pour re-
présenter Poeuf de la création, dont la mémoire est rappelée
parles fêtes représentées sur les Vases de l'espèce de celui
dontje parle ici,” &c.
TOWN LEY GALLERY. 215
Room II. No. 9.
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Room II. No. 2.
FUNERAI, URN, REPRESENTING A BATTLE BETwe EN THE
Roy ANS AND THE GERMANs.
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TOWNLEY GALLERY. 221.
CHAPTER XVII.
FUNEREAL URNS.
Room XI., upon No. 15.
A GREEK sepulchral Urm, terminating above in a
slender neck, solid and unfinished; but with a bas-
relief in front, which represents an aged person
seated, whose right hand is joined with that of ano-
ther person advanced in years, standing in front of
him. The names of III6APATOX and HPOqbHAOX
Pitharatus and Herophilus) appear above. It was
from the collection of Sir Hans Sloane. Height
three feet.
Room II. No. 2.
The following is the account which Mr. Combe
has given of this curious marble: “A funeral urn,
of a circular form, ornamented with figures in very
high relief. The sculpture of these figures is exceed-
ingly coarse, but their general effect is good. The
subject represents a battle, in which a number of
combatants are engaged.
“One party, of whom a few are on horseback, is
armed with helmets, cuirasses, and shields, which last
are of an oblong square form, and have a large umbo,
or boss, in the centre of each : the other party is dis-
tinguished by their oval shields; they are bearded,
entirely without covering on their bodies, and are
represented for the most part lying on the ground, as
if completely vanquished.
“In the collection of the late Henry Blundell,
Esq.", is a large bas-relief (eight feet by three), which
* Statues, Busts, &c., at Ince, in the collection of Henry
Blundell, Esq., vol. ii. pl. cxxii.
222
THE BRITISH MUSEU M.

TOWNLEY GALLERY, 223
represents the same subject, and in which the cos-
tume of the respective combatants is precisely the
same as on the urn we are now describing. It is
evident that the subject here recorded is a battle be-
tween the Romans and Germans, in which the former
are triumphant. The costume of the Romans exactly
agrees with that which we see on the Trajan and
Antonine columns; and though the same ancient
monuments represent the Germans clothed, yet the
state in which they are here exhibited accords with
the description given of this people by Tacitus * and
Dion Cassius”, who both speak of them as being
accustomed to fight either perfectly naked or very
lightly clad. The Romans were so frequently engaged
in warfare with the Germans, that it is impossible to
say, with certainty, to what particular period the
present subject alludes; but the victories achieved
over the Germans by Trajan were so popular in
Rome, were celebrated with so much splendour, and
commemorated in so many monuments of art, that
it is most probable the subject of the figures on this
urn refer to the time of that emperor. -
“With respect to the connection which this sub-
ject may have had with the history of the person
whose ashes the urn enclosed, the deceased might
perhaps have fallen or distinguished himself in the
war alluded to: this, however, is exceedingly doubtful,
as the subjects represented on sepulchral monuments
had frequently no allusion to the parties for whom
they were designed. It is not, indeed, improbable,
that the subject may have been chosen by the artist
as being that which was most popular at the time
when the urn was executed. The urn, however, is
without any inscription. Both above and underneath
the figures is a border composed of ivy-leaves. The
lid, the handle of which is restored, is gracefully orna-
* “Nudi, aut sagulo leves.” Taciti Germ., c. vi.
* Dion. Cass., lib. xxxviii, c. 45.
224 THE BRITISH MUSEUM.
mented with the leaves of the acanthus *. The urn,
in its original state,... terminated just beneath the
lower border of ivy-leaves, the rest is a modern
addition.
“This urn was formerly in the collection of Victor
Amadei, at Rome, and was purchased from thence by
Mr. Townley, in the year 1768. Piranesi has en-
graved it in his “Raccolta di Vasi Antichi ".
“The urn, in its present state, measures one foot
eleven inches and a quarter in height; but, exclusive
of the modern addition, its height is only one foot
three inches".” x
One circumstance in the appearance of this marble
has been unnoticed by Mr. Combe; the sockets of
the eyes of the different warriors, of both nations, are
hollow.
Room XI, No. 30.
A marble cinerary Urn. On the cover is a recum-
bent female figure, holding a kind of patera in her
right hand. On the front is a bas-relief, representing
a female dragged by the hair from a chariot drawn
by four horses, one of which has fallen, by a warrior
armed with a drawn sword, behind whom another
warrior stands armed with a spear.
Length of the urn two feet; height to the head of
the female figure, two feet six inches.
Room XI. No. 32. .
A marble cinerary Urn. On the cover is a re-
cumbent female figure, likewise holding a patera in
the right hand. On the front is a bas-relief, repre-
senting a boar-hunt, and at each end a vase.
Length, two feet three inches; height to the head
of the figure on the lid, two feet six inches. .
* Acanthus Mollis. Linn.
* Tom. i. tav. xlv. &
6 Descr. of the Ancient Marbles in the British Museum,
parti, pl. ii.
TOWNLEY GALLERY. . 225,
Rom AN SEPULCHRAL URNs, IN THE Columb ARIUM.
Room V.
This room, at the time the Townley Gallery was
built, was fitted up, upon a small scale, in the manner
of a Columbarium, to show the mode in which the
Romans deposited and preserved the urns and ollae,
containing the ashes of their deceased friends and
dependents.
Spon, in his “Miscellamea Eruditae Antiquitatis,”
has a division of a chapter entitled “OLLE ET Co-
LUMBARIA.” The former were urns let into the
thickness of the wall, within niches, the lids only
being seen, and inscriptions placed in front; they
were mostly for the dependents and servants”. The
columbaria were arched recesses, similar to those in
which the ollae were deposited ; the Ossuaria, con-
taining the remains of the higher members of the
family, were placed in these columbaria. Spon has
followed his definition by an engraved representation
of the Columbarium at Rome, which had belonged
to the Abucci, disposed in three tiers; the upper and
lower containing the olla with inscriptions in front,
and the middle row of niches holding the ossuaria
and cineraria.
Lumisden, in his “Remarks upon the Antiquities
of Rome,” has described several repositories for the
dead of this kind, upon a larger scale than this of
the Abucci family.
“Near to where the Albano Road separates from
the Appian, a mile and eight hundred feet from the
gate, in the year 1726, was discovered, in the vine-
yard of Filippo Benci, the sepulchre of the liberti,
* Kirchman de Funer. Romanorum, 8vo. Lubecae, 1636, p.
297, however, gives an inscription, from which it may be in-
ferred that ollas were sometimes assigned to persons of the
middle class for public services. -
o 5'
226 THE BRITISH MUSEUM.
servi, &c. of Livia, the wife of Augustus. This,
monument was soon robbed of its sarcophagi, urns,
and ornaments. One hundred and eighty-seven of
the inscriptions, containing the names of Livia's ser-
vants, are now preserved in the capitol. They were
first published, with plans and views of the sepulchre,
by the learned Bianchini, and have been since re-
published by Piranesi".” “This,” he subsequently
adds, “was not the only monument built for deposit-
ing the ashes of Livia's servants. Others have been
discovered on the Via Appia and elsewhere. The
number of the inscriptions, as well as the names of
the different offices, cannot but give us a high idea
of the magnificence of the imperial court. The
liberti, &c. entered into societies for building these
monuments, and deputed one or more of their number
to oversee the work. Thus we find that the freed-
man Lucius, called Alexa, one of the curators deputed
by a company to oversee the building of a sepulchre,
executed his trust so much to the satisfaction of the
company, that they allowed him to choose six places
for himself, whilst the others drew lots for theirs.
‘Sine sorte primo ab sociis quas wellet olla sex datae
sunt”.’”
Lumisden, p. 199, mentions the sepulchral cham-
ber of the Aruntian family, erected by Lucius Arun-
tius", for himself, his family, and freedmen. It
was discovered in the year 1736. Here, he says, I
particularly examined the columbaria and the ollula,
or pots, in which the ashes of the dead were preserved.
Many of the inscriptions still remain. This sepulchre
had been much ornamented with painting and stucco.
But it is unnecessary to enter into a particular de-

* Antiq. Rom., tom. iii. tav. 21 to tav. 37 inclusive.
* Fabrettus, Inscript., p. 449. See Lumisden's Remarks
4to, Lond. 1812, pp. 94, 95.
* He lived under Tiberius. See his death, in Tacitus
Ann. lib, vi. c. 48. l
TOWN LEY GALLERY, 227
scription of it, because it has already been done by
Russel" and by Piranesi".
Another sepulchral chamber, he adds, near to that
of the Aruntian family, is to be seen here. It is
likewise published by Piranesi".
Rectangular cinerary urns are more numerous than
round ones in our galleries of sculpture. They have
been more sought for than the round ones, on account
of the greater interest which they excite from their
inscriptions, the greater variety of their ornaments,
and the mythological and historical subjects with
which they are occasionally embellished.
URNS AND SARcoPHAGI DEPoSITED IN THE Colum-
BARIUM, on SEPULCHRAL CHAMBER “.
Room W. No. 1.
A sepulchral Urn, which, from being solid and
without any inscription, is presumed never to have
* Russel, vol. i. lett. 26.
* Antiq, Rom, vol. ii. tav, 7-15. 1* Ibid. tav, 16–19.
* The inscriptions in this room and elsewhere have been
given with as much accuracy as experienced eyes could make
them out; but the originals contain many blunders and omis-
sions, some of which, but not all, can be corrected. . Many of
these mistakes have arisen from the employment of ignorant
workmen by the marble-cutter, and others consist of the omis-
sion of final letters of words, from the workman having mis-
calculated his space upon the marble, as in Zosimeni for Zo-
simenis, in the inscription, Room W. No. 14, and in MANIEv
for manibus, and conIvgi for conjugis, in the inscription
No. 22. These small sarcophagi were prepared for sale, as
tomb-stones are at this day kept for sale in stonemasons’ yards.
No. 10 of the present room affords a clear instance in which
the fluted ornament has been chiseled away from the upper
part of an urn, to allow of the formation of a small tablet to
bear an inscription which suited the purpose of the purchaser.
Omissions of letters, as in the inscription No. 25, in which
º: occurs for FRATRI, are not uncommon in inscriptions of
all ages.
More than thirty years ago an omission of this kind was
228. THE BRITISH MUSEUM.
been used. A bas-relief, in front, represents the
coena feralis, or Funeral Feast. An elderly person is
seen reclining on a couch, with a small tripod table,
furnished with provisions, standing in front. . In his
left hand he holds a cup, or patera, and his right is
stretched out in the act of delivering a sort of fillet to
a boy, who stands at the extremity of the couch; on
the upper part of this urn, intended for a lid, is a
wreath of laurel, from which bands or ribbons reach
to the corners of the lid, and terminate in ivy-leaves.
On the sides of this urn are a vessel for libations and
a patera, also in bas-relief. This urn was presented
to the British Museum in 1817, by W. A. Mac-
kinnon, Esq. Its dimensions are fifteen inches two-
eighths without the cover, by eleven inches at the
base. -
Room W. No. 2.
A sepulchral Urn, dedicated to the memory of Ati-
metus by Flavia Dada, his wife, and Fortunatus his
son. Atimetus and Fortunatus are both designated
in the inscription as the emperor's freedmen, and
Atimetus as the Superintendent of his camp-equipage.
In a bas-relief, in front, is the figure of Atimetus
reclining upon a couch, a wreath in his right hand,
and another upon his head; his left hand holds a cup.
A female attendant, of the size of a child, supports his
shoulder, while two naked children appear playing
behind the couch. Below is this inscription:
pointed out to the present writer in the Greek part of the Ro-
setta inscription, by the late Professor Porson. At the be-
ginning of line 23, the word XONOs occurs, evidently for
zeovos. The keen eye of the Professor presently discovered a
very minute rho placed close above the first omicron. The con-
clusion he came to was, that the person who cut this, as well
as the two accompanying inscriptions in the hieroglyphic and
hieratic characters, was an Egyptian ; that he had been told
of his error, and repaired his blunder by an interlineation.
TOWN LEY GALLERY, , 229
D. M. S.
ATIMETI. AVG. L. A. SVPELL
CASTRENSI . FECERVNT
FLAVIA . DADA . CON IV G. B., M.
ET , FORTV N ATVS. AVG. L. PARENT
OPTIMO.
This urn was likewise presented to the Museum by
W. A. Mackinnon, Esq., in 1817. Gruter gives the
inscription, DLXXXIII. 10, and says it was then in the
church of St. Apollinaris. Dimensions, one foot two
in length, by one foot six inches and a half in height.
Room V. No. 3.
A monumental Inscription, erected by his parents
to M. Naevius Proculus, who died at the age of
twenty-one years, two months, and fifteen days:
D. M.
M, NAEVIO . PROCWLO
oPt. conIv. lin. VENER.
MIL. ANN. III. QVI. VIX. AN.
XXI. M. II. D. XV. PARENTES
FIF.IO . DVLCISSIMO.
It was presented to the Museum in 1757, by
Thomas Hollis, Esq. Dimensions, one foot half an
inch, by eleven inches and an eighth in height.
Room V. No. 4.
An Urm, of a rectangular form; the lid, or pediment,
ornamented in the centre by a wreath of laurel, with
a dolphin at each corner. In front, upon a tablet,
overhung by a festoon, is this inscription:
VERNASIAE
CYCLADI
CON IV GI - OPTIMAE
VIX. ANN. xxvii.
VITALIS. AVG. L.
SCRIB. CVB.
230 THE BRITISH MUSEUM,
Room V. No. 4.
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Below, under another pediment, are the figures of a
man and wife; their right hands joined, and the
letters F. A. P. between them.
On each side of this urn is a laurel-tree. Lighted
torches, standing upright, support the corners of the
front. 4.

TOWNLEY GALLERY. 231
Vitalis, who dedicated this monument to the me-
mory of his wife, Vernasia Cyclas, was the emperor's
private secretary, Scriba Cubicularis. The inscrip-
tion on this urn is given in Gruter, DLXXVI. 2, who
adds, “Romae apud Horatium della Valle.” He
notices the letters F. A. P. in his “Abbreviatarum In-
terpretatio, tom. ii. pt. ii. xcix, ; but, contrary to his
usual practice, leaves them unexplained.
Dimensions, two feet in height, by thirteen inches
and an eighth.
Room V. No. 5.
A square sepulchral Urm; the front supported by
two wreathed pillars with capitals of foliage, from
which a festoon of fruits and flowers is suspended.
Two eagles stand upon the base within the pillars,
their heads thrown back, pecking at the lower part of
the festoon, which hangs between them, and which in
part conceals a pair of folding gates. Within the
festoon, close below the lid, which has the form of a
pediment, is the following inscription, implying that
L. Lepidius Maximus dedicated this urn, at his own
expense, to the memory of his father, L. Lepidius
Epaphras:
DIIS MANIBVS
L. I.EPIDI EPAPHRAE
PATRIS OPTIMI
L. LEPIDIWS
MAXIMVS F.
DE . SVO,
The lid and plinth of this urn are modern. It was
presented to the Museum by W. A. Mackinnon, Esq.,
in 1817. Gruter, DCCXXXII. No. 4, gives this inscrip-
tion, and also Boissard in a less correct form, part vi.
pl. 128. This urn was then in the church of St.
Sebastian at Rome. Dimensions, one foot one inch
and an eighth, by sixteen inches in height.
232 THE BRITISH MUSEUM.
Room V. No. 6.
Two Ollaº, or circular urns of earthenware, let into
excavations of the wall within an arch, in the same
manner in which such vessels were usually placed in
the Roman columbaria, containing the ashes of do-
mestic servants, or people of an inferior order; the
lids only, which are moveable, being seen. An
inscription in front records simply the names of the
persons, probably domestics, whose ashes were once
deposited within.
º
ANntoºnserview
TF IRENE
Room V. No. 7. .
A circular sepulchral Urn, the front of which is
filled by a tablet, inscribed by Lucretius Lucretianus
D - NI,
~ P O NMPEIO. |
IVSTINIAN)
ry NMICO *OPTIMON
| || 4 LVCRETNS'
| Lycºttº
axº~º
s\||
sº |
to his most excellent friend Pompeius Justinianus.
The lid is modern. Height, ten inches..



TOWN LEY GALLERY, . 233
Room V. No. 8.
- º-ºº-º-º-º-º:
E-Sºº Lº-º-º:
Wºlſ||||||||||Willº LTTº
-> *-- * AC
§ $/ſ ſi
§ :: - º
§ & Ž |
X
H ITVLENIHSAVR CI.
"IV L I A:TYC HE.
contVGHENEMERENT
U- _
A sepulchral Urn, in the front of which the figure
of a man is represented lying upon a couch, naked to
the waist, holding a vase in his left hand. The
inscription on a tablet below informs us that it is the
monument of T. Titulenus Isauricus, erected to his me-
mory by his wife, Julia Tyche. This urn was formerly
in the Mattei collection. Dimensions, one foot six
inches and a half in height, by twelve inches and a half.
Room V. No. 9.
(Blank.)
Room V. No. 10.
An oval Urn, with two handles, fluted, tapering
towards the bottom; eighteen inches high by sixteen
inches in the broadest part. A tablet in front shows
it to have been consecrated to the memory of Flavius
** º
* -





234 THE BRITISH MUSEUM.
AElius Victor, a soldier of the fourteenth cohort of
the city, by Orbia Rhodope, his wife, whom he had
appointed to be his heir :
D. M.
FL. AELI. VICTORIS.
MILITIS • COH. XIIII.
WRB. ORBIA . RHODOPE
HERES . CON IV GI
BENE - MERENTI
POS VIT.
This urn was brought from Rome, about 1780, by
the then Duke of St. Alban's.
Room V. No. 11.
An oblong square Urn, eleven inches in height, by
twenty-one inches and a half in width; flat; the lid
and plinth modern. On a lengthened tablet, in front,
is this inscription:
D. M. SILIAE . ATTICAE . FECIT
P. SILIVS . ABASCANTVS , MATRI
PIENTISSIM.A.E.
Little winged genii are represented at each end of the
tablet, stooping, as if preparing each to throw fruit to
a bird beneath. The sides of this urn are ornamented
with griffins standing, and a laurel border runs be-
neath the tablet. The interior of this urn has two
divisions, probably intended to contain the ashes of
two persons. It was formerly in the Burioni villa.
Room V. No. 12.
A sepulchral Urn, shaped like a bowl, flat at the
top; ornamented all round, in relief, with branches
of different plants, among which are seen a lizard,
an owl, and several small birds.
Two handles at the upper part of this urn rest on
twisted stems; on the flat parts of each two naked
boys are represented supporting a vase.
This urn was sent from Rome by Mr. Gavin Ha-
milton, who found it in a tomb near Naples. Height,
TOWNLEY GALLERY, 235
Room W. No. 12.
Çiğ:
§§§
N º yº | tº ſlºt.
º §Sº ºt
: " ' " sº
ſtill /.
Ullſ Wiś -
ſiſſiſ||
seven inches and a half; diameter of the top ten
inches and three quarters, exclusive of the handles.
Room W. No. 13.
A Sarcophagus, on the front of which is repre-
sented a family lamenting over a dead body. The
corpse, which is that of a female, is extended upon a
couch, around which the friends and relatives of the
deceased are assembled expressing their grief. The
Sandals of the deceased lie beneath the couch, where
a dog is also represented. The ends of this sarco-
phagus are ornamented with griffins resting on their
hind legs. The lid, and the plinth at the bottom, are
modern additions.
Spon, in his “Recherches Curieuses d'Antiquité,”
4to, Lyon, 1683, p. 1, has engraved this sarcophagus
as a vignette. Bartoli also engraved it in his “Ad-
miranda Romanarum Antiquitatum Vestigia,” fol.

236 THE BRITISH MUSEUM.
1693, tab. 72, at which time it stood in the Capranica
Palace at Rome". Montfaucon copied Bartoli's plate
as an illustration of the “Luctus Domesticus” men-
tioned by Lucan. The height of this sarcophagus, as
far as the ancient work extends, is eleven inches and
a half, by three feet five inches in width.
Below No. 13, and not yet numbered, stands the
front of a sepulchral Urn.
ZT –S-
|ſ
*—A- -
DISNTANIEVSSERVIVScofiñELNs|
D1ADyN ENVS - coP.N.F.L.AESERVA
NIDAECONIV*SVAE-CAR S.VIXANN:LX
IFTCORN ELIAE.O.N.E.S.TMAE VERNESVA
vix. ANN.VIIllMENVIDIE-XXVIII.
*- ºr wºr" " ºmn 4.
It represents a small female Figure, naked to the
* Bartoli gives the following title and explanation to the
figures on this marble :
“ DoMEsricus LUCTUs MULIERIs DEFUNCTAE.
“1. Universae Familiae luctus, et ejulatus funebrem lectum
circumdat, a capite, Pater togae lacinia operto capite. 2. Ad
pedes Mater velata, uterque cubito mixi, et ad dolorem compositi
sedent. 3. Sororum altera retro stat solutis capillis, altera
solvit. 4, Ex propinquis alter nimio cruciatu actus brachia,
manusque tendit. 5. Alter digitis lacrymastergit. 6. Servi
etiam stantes dolori incumbunt. Infra Canis pultem sive offel-
lam rodit, mox in rogo cum carioribus defunctae injiciendus."





TOWNLEY GALLERY. 237
waist, extended on a couch, between two busts of
larger size. A bird, with a cake in its beak, and a
tripod table, bearing three small vessels, stand in
front of the couch, the ledge of which is inscribed
coR. ones ME. Beneath, upon a tablet, is an in-
Scription indicating that Servius Cornelius Diadu-
menus has dedicated this urn to the memory of his
wife, Cornelia Servanda, who lived sixty years, and of
Cornelia Onesima, his house-born slave, who lived nine
years, five months, and twenty-eight days :
DIS . MANIBVS . SERVIVS ... CORN ELIVS
DIADVMENVS • CORN ELIAE . SERVA
NDAE . Conry. SVAE . CARIs. vix. AN. Lx.
ET ... CORN ELIAE • ON ESIMAE . VERN E . SWA
VIX. ANN. VIIII. M.E.N. V. DIE . XXVIII.
The busts are evidently those of Diadumenus and
his wife. Dimensions, two feet, by two feet one inch.
Room V. No. 14.
A sepulchral Urn, in the form of a circular temple;
its cornice supported by three terminal figures,
bearded, and draped to the waist. Six fluted pilasters
with Ionic capitals, placed at regular distances be-
tween the figures, also support the cornice; and fes-
toons of fruits and flowers hang from the waists of the
terminal figures upon the lower rim of the urn. In
the front is a tablet, with an inscription to Serullia
Zosimenes, dedicated by her son, Prosdecius.
D. M.
SERVLLIAE ZOSIMENI
QWAE WIXIT ANN. XXVI.
BENE MEREN. FECIT
PROSDECIWS FILIWS.
Above the tablet, seated upon vases which are
overthrown, and from which water is pouring, are two
genii, or little boys, playing with a bird. At the base
238 THE BRITISH MUSEUM.
of the terminal figures, respectively, a snail, a lizard,
a frog, a craw-fish, a crab, and a tortoise are seen
feeding upon the fruits of the festoons.
Height, eleven inches, by eleven inches and three
quarters in diameter.
Room V. No. 15.
An altar-shaped Sarcophagus ; the lid in the form
of a pointed roof, ornamented with flowers and leaves.
It is inscribed to Publius Licinius Successus, by
Comicus and Auriola, his parents. He lived thirteen
years, one month, and nineteen days, as is shown by
the following inscription:
DIS. MAN.
COMICVS . ET
AVRIOLA - PARENTES
IN FELICISSIMI
LICIN IO SVCCESSO
V. A. XIII. M. I. D. XIX.
The tablet which bears the inscription is supported
on each side by a Cupid, or winged genius, standing
on a cornucopia, each holding the end of a festoon
which hangs in front, between which and the bottom
of the tablet a genius without wings is represented
riding on a sea-horse: two birds stand at the feet of
the Cupids. -
Boissard engraved this urn in his “Antiquitates
Romanae,” part. iv. tab. 88", as long ago as the
year 1598, when it stood in the Villa Carpenica.
Mr. Townley purchased it, in 1786, at the sale of
Sir Charles Frederick's collection.
The height of this urn is one foot four inches, by
fourteen inches two-eighths in width.
Room V. No. 16.
(Blank.)
"See also Montfaucon, Antiq. Expliq, tom, v, parti, pl. lvi.
TOWN LEY GALLERY. 239
Room V. No. 17. .
- . . . . . . .
t * * * * * * * Sºlº i u : v i ; ; ; * * * : * > . . . . ; . . . . . . . . . fºr tº - º - Nº. 7. **
tº Lº ; : y : º | Nºt ilºtº º - É
gº)
r N
2 A.2%
FIFNTISSIME
BENEMERENI)
;C
º ^º |
º
º
Q
º
|
º
*-
;
:; :
A sepulchral Urn, of an upright rectangular form,
richly ornamented with foliage, and supported at the
sides by pilasters, erected to the memory of Cossutia
Prima. The half-figures of a panther, an eagle, and
a deer are introduced above the tablet, and, below, an
infant genius is represented driving a car drawn by

‘240 THE BRIT] 3 H MUSEUM.
four horses. The sides of this urn are ornamented
with pine-trees, a bird perched at the top, and another
bird and a snake placed at the foot of each tree.
Height, twenty-one inches, by fourteen inches six-
eighths in width at the base. This urn was found
in the grounds belonging to the Villa Maroni, near
Rome, in the year 1788.
Room V. No. 18.
A sepulchral Urn, apparently of a square form,
but rounded at the back. On the front, two female
genii, clothed in long tunics and winged, are repre-
sented supporting a wreath of oak-leaves, within the
area of which is this inscription :
TI. CLAVIDIWS
LV PER CVS
ACTES . I,IB.
“Tiberius Claudius Lupercus, the freedman of
Acte.” The lid, in the shape of a rounded pediment,
is ornamented with the representation of two birds
on each side of a vase ; but it is modern, as well as
the plinth at the bottom of the urn. The urn itself,
including the lid, is fifteen inches six-eighths in height,
by sixteen inches at the base. It was presented to
the Museum in 1817, by W. A. Mackinnon, Esq.
Room V. No. 19.
Two earthen Olle, similar to those described in
Room V. No. 6. A slab in front records the names
of the persons whose ashes they formerly contained:
P. STENIWS PLOSWRNIA
RVFWS T. L. SALVILLA.
DEC,
Room V. No. 20,
A funeral Inscription, dedicated by Eutychion to his
daughter Eutychia, who is stated to have lived nine
years, nine months, twelve days, and four hours:
TOWNLEY GALLERY. 24l
D. M.
EWTY CHIAE
EVTYCHION
PATER . CARISSIMAE
BENEMERENTI. Posv
VI. AN. VIIII. M. VIIII. D. XII.
H. IIII.
It was found in the Villa Pelluchi, near the Pincian
Gate at Rome. Height, eleven inches, exclusive of
the cover, by eleven inches six-eighths in width.
Room V. No. 21.
An Etruscan cinerary Urm, in baked clay. Upon
the cover is a recumbent female figure represented
asleep, her head resting on a pillow. A bas-relief in
front represents Echetlus fighting with a plough-
share for the Greeks at the battle of Marathon.
The following is the account which Pausanias
gives of this combat. It happened, he says, as they
relate, that a man in appearance and dress like a
rustic, brought them assistance; who, when he had
destroyed many of the barbarians with a plough-
share, suddenly vanished: nor, when the Athenians
inquired of the oracle who this unknown person was,
could they get any other answer than that they
should worship the hero Echetlus ".
Upon the border of the urn, over the bas-relief, is
a short inscription, slightly cut into the clay, in
* * >uvignºi, º, 2.Éyourly, &yºgo, iv tº 44×n woºtival, r. sºo; xx.
ºn, orxtuhy &yeoizov” oºro; rºy (3243%gov woxxobs xzropovsøros
&gºrgºſ, as rê, r3 #pyov ºv & payńs' iéoºvois * 'Agnyatois, #xxo wiv 3
§tis is zira izénºw oiºi, rºy *... #x}xsuriy #422.
Pausan. Attica, c. xxxii.
* Qua imagine,” says Osann, Sylloge Inscr. Antiq. Graec. et
Lat., fol. Lips, et Darmst, 1834, p. 231, “ in Etruscis urnis
sepulchralibus nulla frequentior obvenit.” See also Winckelm.
*onum, Antichi Inediti, p. 105; Montfaucon, Antiq. Explip.
tom. v. tab. 57, No. 2; Zoega, Bassiril, tab. 40,
vol. II*. P
242 THE BRITISH MUSEUM.
Etruscan characters. It reads from right to left, and
remains, as yet, undeciphered.
Height of the urn, eight inches and a half, without
the cover, by thirteen inches in length. Height to
the head of the figure upon the cover, thirteen inches
and a half.
Room W. No. 22.
A sepulchral Urn, of a square form, eight inches
and three-quarters high, exclusive of the lid, which is
modern, and mine inches in width. A tablet in front
bears this inscription : -
DIs MANIBv
CLAVIDIAE
FORTWNATAE
CONIWGI
SANCTISSIMAE
OPTIMAE DE SE
MERITAE
Ivcvndws. AVG. LIB.
ACTOR. , XXXX. GAL.
Jucundus, one of the emperor's freedmen, a leader
or commander of forty galeati, dedicates this urn to
the manes of Claudia Fortunata, his most chaste and
deserving wife.
Below the tablet is a vase, from which two stems
of ivy branch out and cover those parts of the front
which are not occupied by the inscription. This urn
was formerly in the collection of Sir William Hamil-
ton.
Gruter gives several inscriptions in which females
bear the name of Claudia Fortunata.
Room W. No. 23.
The front only of a cinerary Urn, with an inscrip-
tion from a father to the memory of his deserving
daughter Lucretia, who lived twelve years and eight
months: • *
TOWNLEY GALLERY. 243
LVCRETIA
QVE VIXIT
ANN. XII. M. VIII.
PATER . B. M. F.”
It was presented to the British Museum in 1757,
by Thomas Hollis, Esq. Dimensions, eleven inches,
by eleven inches and a half.
Room XI. No. 24.
An Etruscan cinerary Urn, in baked clay, on the
cover of which is a female figure half-recumbent,
holding a wreath in her right hand. The story of
Echetlus is told in the bas-relief in front, exactly in
the same manner as on No. 21. An Etruscan in-
scription appears on the upper part of the urn, not
cut into the clay, as in No. 21, but painted in red
letters. Like that in No. 21, however, it reads from
right to left.
The same inscription occurs on a fictile cinerary
urn, which also bears the story of Echetlus, engraved
in Dempster's Etruria Regalis, fol. Flor. 1723,
tom. ii. tab. liv., and which at that time belonged to
the Cardinal Gualtieri at Rome. The Gualtieri
collection was dispersed, towards the middle of the
eighteenth century. Many articles belonging to it
fell into the hands of Sir Hans Sloane. The urn,
however, at present described, came to the British
Museum with Sir William Hamilton's collection. Its
greatest height, extended to the head of the figure
upon the cover, is seventeen inches; the length of the
urn thirteen inches and a half. The figures in the
bas-relief in front retain a considerable portion of
the colours with which they were originally painted.
The height of this urn without the cover is eight
inches and a half.
* Bene merenti fecit,
244 THE BRITISH MUSEUM.
Room V. No. 25.
Fº
A sepulchral Urn, of a square flat form; the lid
modern. It is dedicated by T. Sex. Hecticus, to his
excellent brother T. Sex. Agatha:
D. M. T. SEX. AGATHAE
T. SEX. HECTICWS
FRATI " . opTIMo . F.
Height of the urn, six inches, by twelve inches
and a half in width. It was presented to the British
Museum by Thomas Hollis, Esq.
Room V. No. 26.
An oval-shaped sepulchral Vase in alabaster, with
an inscription to Flavia Valentina. .
The urn itself still contains the ashes of the de-
* No doubt for FRATRI.


TOWNLEY GALLERY. 245
ceased; with which, when first discovered, were
mingled seven coins of emperors, from Antoninus
Pius to Elagabalus, inclusive. It was found in 1772,
abo two miles from the Lateran Gate of Rome,
near the Via Latina.
Height, eight inches and a half.
Room V. No. 27.
A square sepulchral Urn, ornamented with Ionic
pilasters at the sides of the front, between which is a
tablet bearing an inscription to Junia Pieris, whose
bust is represented below within a circular frame,
supported by griffins: the lid forms a pediment.
M. IWNIWS - M. L.
HAMILLWS - SIBI . ET
IWNIAE PIERI DI
CONIWGI . CARISSIM.Al;
Height at the centre of lid, fourteen inches and a
half, by thirteen inches and a half in width.
The lid is pointed. Its front represents five birds
pecking at a berry. Height to the point of the lid
fourteen inches, by fourteen inches in width.
Room V. No. 28.
An Olla or circular Urn of earthenware, similar to
those already described in Nos. 6 and 19. The in-
scription placed in front of it records the name of
Opilia Faustilla, who lived to the age of sixty-five:
D. M.
OPILIA
FAVSTILLA
VIX. AN. LXV.
Height, six inches, by seven inches and a half in
length. r
P 3
246 THE BRITISH MUSEUM,
Room V. No. 29. .
A square sepulchral Urn, the sides of which are
ornamented with full-blown roses, and the front with
figures of birds pecking at a festoon of fruits and
flowers pendent from rams' heads; a tablet in the
upper part of the front bears the words,
COELIAPI,
ASTERIS.
The lid, which is ancient and roof-shaped, has
human heads at the angles, and a bas-relief of two
griffins supporting a wreath in front. This urn is
ten inches in height, without the lid, by thirteen inches
in width at the base. It was found in the environs of
Naples, and came to the British Museum with the
collection of Sir William Hamilton.
Room W. No. 30.
P-ocIAN!!!
S ÉC VNDH #3
f L-

TOWNLEY GALLERY. , 247
An oval Urn of marble, fluted, consecrated to the
memory of Publius Octanus Secundus, by his son
A tablet in front bears this inscription:
ID. M.
P. OCTANI
SECUNIDI
FIL. FEC.
The lid is modern. Mr. Townley purchased this
urn at Rome in 1774. Its height, including the
top, is seventeen inches and a quarter.
Room W. No. 30 *, No. 37*, No. 39.
Three Vases are here brought together, rich in
their material, but without ornament or inscription.
The first, No. 30”, is a broad, but elegantly-shaped
vessel of yellow alabaster, in which white onychine
stripes are intermixed. Its greatest height, to the
upper part of the lid, is twenty-one inches and a half, by
Seventeen inches and a half in width. -

248 THE BRITISH MUSEUM.
No. 37*.

|
§
The second, No. 37*, is a sepulchral Vase in the
same material, somewhat in the form of a truncated
cone, with a cover, and very diminutive handles.
Its height, to the extremity of the lid, is twenty
inches; diameter, at top, eight inches and a half; at
the bottom, above the pedestal, or foot, twelve inches
and a half.
No. 39.
An Urn of alabaster, of a narrow tapering form,
eleven inches and a half high; from the collection of
Sir William Hamilton.
The ancient surface having been destroyed by cor-
rosion, one-half of this urn has been re-polished, in
order to restore it to its original appearance. -
Yuch urns as these were not used as ossuaria only;
many of them were intended to contain unguents.
Pliny, speaking of the onyx, by which the ancients un-
derstood alabaster”, as well as the gem which we still
* Aſses 4xagarrefrns, 3 xaawúuires iné. Dioscor, lib, v, c. 163.

TOWN LEY GALLERY, 249.
No. 39.

call onyx, says, “Humc aliqui lapidem alabastriten
vocant, quem cavant ad vasa unguentaria, quoniam
optime servare incorrupta dicitur *.”
Horace, in his Ode of Invitation to Virgil, offers
to exchange a cask of wine for one of these onychine
vessels : .
“Nardi parvus onyx eliciet cadum”.”
The alabaster vessel is also alluded to by Martial
in his epigram, “de Papilo male olente:”
“ Unguentum fuerat, quod onyx modo parve gerebas:
Olfecit postguam Papilus, ecce garum est”.”
Pliny, in continuation of the passage above quoted,
tells us how particular the ancients were in selecting
the colour and condition of their alabaster vases”.
The best alabaster was furnished by the quarries of
** Plin. Hist. Nat, lib. xxxvi. 3, 12., Ibid. lib. xiii. § 3.
“ Unguenta optime servantur in alabastris.”
* Horat. Carm., lib. iv. Ode 12.
* Martial, lib. vii. Epigr.93. “Parva gerebat” is the usual
reading of the first line in the editions of Martial: but onya:
is always masculine, and parve gerebas has been suggested by
the commentators.
* “Probantur quam maxime mellei coloris, in vertice ma-
culosi, atque non translucidi. Vitia in is corneus color aut
candidus, et quicquid simile vitro est.” Plin, ut supr., lib.
xxxvi. § 12. -
250 THE BRITISH MUSEUM.
Carmania and other parts of Asia; the whitest was
got about Thebes in Egypt, and near Damascus.
Room V. No. 31.
A fragment of a testamentary Inscription, sawed
from the front of a sarcophagus found in 1776, in
the Villa Pellucchi, near the Pincian Gate of Rome:
• - - - - - - - - VVCVIWS
- - - - - MONIMENTI . RELIQVI
- - - M. QVE SVARVM . CVLTVRAM
- - - LIBERTIS . I,IBERTABVS
- - - VIS . VSVM . FRVCTVM INSWIAE
- - ALATIANAE . PARTIS QVARTAE . ET
QVARTAE. ET. VICENSIMAE QVAE IVRIS
SVI. ESSET . ITA VT EX REDITV EIWS . INSW
LAE . QVOD ANNIS DIE . NATALIS. SVI. ET
ROSATION IS ET . VIOLAE . ET . PARENTALIB,
MEMORIAM . SVI. SACRIFICIS .. QVATER . IN . AN-
INVM . FACTIS . CELEBRENT . ET. PRAETEREA . OMNIB. K.
NONIS . IDIBVS. SVIS .. QVIBVSQ MENSIB LVCERNA.
LVCENS , SIBI . PON ATVR . IN CENSO . INPOSITO.
From this fragment it should seem that the
testator bequeathed to his freedmen and freed-
women the usufruct of certain property, with the
annual rent of which they were to celebrate his
memory upon his birth-day, and upon the days
when the Romans were accustomed to dress the
tombs of their friends and benefactors with gar-
lands; to perform sacrifices in his honour four times
in every year; and besides this, on the kalends,
nones, and ides of every month, to place in his tomb
a lamp with incense.
This inscription, in the same state of mutilation as
at present, is engraved by Martini*. The dimen-
sions of this fragment are thirteen inches in its great-
est height, by eleven inches and a half in width.
* Dallaway also has given an incorrect copy of this inscrip-
tion in his Auecdotes of the Arts in England, p. 334.
TOWNLEY GALLERY, 251
Room V. No. 32.
A sepulchral Urn, of a broad oval form, the front
of which represents two storks destroying a serpent,
whose head and tail coil round the necks of the
birds. Between them is a tablet, which records that
Pompeius Locusto, sixty-five years of age, his wife
Attilia Clodia, aged sixty, and their son Pompeius,
aged twenty-one, all died in one day from the effect
of poison:
POMPEIVS LOCVSTO WIX. AN. LXV.
ATTILIA . CLodi.A. conIV . vix. AN. Lx.
PoMPEIvs. Eorv. FILIvs. VIx. AN. xxi.
OMNES - VNO DIE . EADEM . VENENI - VI.
INFELICEM DIEM. obiFRV. svPREM v.
At the back of this urn two other storks are repre-
sented drinking from a vase. The lower part has
flutings, and the lid is ornamented with thin festoons.
Its height and width are each thirteen inches. This
urn was discovered in the vicinity of Rome, in that
part which was called Ager Romanus, and came to
the British Museum with the collection of Sir
William Hamilton.
Room W. No. 33.
An oblong rectangular Urn, with a lid in the form
of a double-pointed roof. It is thirteen inches in
height, by twenty-three inches in length. The front
of this urn is divided, by three spirally-fluted columns
and two pilasters with Ionic capitals, into four compart-
ments, in the lower part of each of which is repre-
sented a portal or door, surmounted by a tablet hung
With a garland of laurel. The first of these tablets
only bears an inscription, to Caius Magius Heraclida,
the son of Quintus, of the Palatine tribe, who died at
the age of eighteen:
252
THE BRITISH MUSEUM.
;
C. MAGIO
Q. F. PAL
HERACLIDAE
V. A. X. VIII.
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TOWN LEY GALLERY. 253
The other three tablets are blank. The pediments
in front of the double lid have each a bas-relief of a
deer, attacked in front by a serpent, and in the rear
by a dog. In the division between them is a rabbit,
feeding from a basket of fruit. Two spears, crossed,
decorate each end of the urn.
Room V. No. 34.
An Etruscan cinerary Urn, in baked clay, on the
cover of which is represented a recumbent female,
asleep, resting her head upon a pillow. A bas-
relief in front represents the single combat between
the two brothers, Eteocles and Polynices, as described
in Statius'. Thebais, lib. xi. v. 540. The Furies,
carrying their torches, stand near the combatants as
spectators and abettors. At each end is a pilaster,
and above the figures an Etruscan inscription, written
from right to left, in red letters.
An urn exactly similar, in material, subject, and
inscription, formerly in the Cardinal Gualtieri's col-
lection at Rome, is engraved in Dempster's Etruria
Regalis, tom. ii. tab. liii. ---
The present urn came to the Museum with Sir
William Hamilton's collection. Its height, including
the head of the figure upon the cover, is fifteen
inches; length of the urn, seventeen inches.
The story of Eteocles and Polynices (like that of
Echetlus) was a favourite subject with the ancient
artists. Pausanias says it was one of the subjects
which were represented upon the chest of Cypselus".
Room V. No. 35.
A Sarcophagus, rounded at the ends, upon the
front of which the marriage of Cupid and Psyche is
represented. They are reclining upon a couch, in
the manner described by Apuleius in his “Golden
* Pausan, Eliac, prior, c. 19, edit. Kuhnii, p. 425.
Vol. II*. Q
254 THE BRITISH MUSEUM.
Ass.” A tripod table, in front, bears a fish, and
near it is an infant Cupid playing beneath the couch
with a rabbit. Other Cupids and Psyches act as
attendants, performing on musical instruments, or
bringing fruits and other offerings in honour of the
nuptials. This sarcophagus was brought from Rome,
many years ago, by the Duke of St. Albans. It
measures four feet four inches in length, by fifteen
inches and a half in height, and eighteen inches in
width.
Room V. No. 36.
A square sepulchral Urn, on the front of which
is a tablet bearing an inscription to D. Albiccus
Licinus:
D. ALBICCI . LICINI
ANTONI LIBERALIS.
On each side of the inscription is a head of
Bacchus tauriformis, supporting a festoon of oak-
leaves, at which two birds are pecking. Two Harpies
appear at the lower corners of the urn. A basket
of fruit, and two more birds, form the chief ornament
of the lid, which is formed like a high roof. This
urn was purchased by Mr. Townley, in 1786, at the
sale of Sir Charles Frederick's collection.
Room V. No. 37.
An Urn of elegant shape, with two solid ears or
handles, formed by masks of the bearded Bacchus
crowned with ivy.
In front is this inscription, in which the N and Y
in EvnyAE form one letter:
- D. M.
FLAVIAE EVNYAE.
TITIVS . IWSTVS
I, IV GI - CARISS.
Town LEY GALLERY. 255
from Titius Justus to his dearest wife Flavia Eunya.
The word LIVGI is obviously a mistake of the
sculptor for conſvg|I.
Room W. No. 37.
TITIV.S* [VSTV5
live ſcAriss
tº Cº. C tº º
rº-
<-- A. | \\
NºS
------------------º-º-º-º-º:
The festoon formed by the branches of a vine in
full leaf, with its fruit, suspended from the Bac-
chanalian heads, recalls a passage of Tibullus, lib. ii.
eleg. 1:
“Bacche veni, dulcisque tuise cornibus uva
Pendeat 37.”
On the side of the urn which is opposite to the
ºption. the same masks support branches of the
OllWe.
The lid is modern. Height of the urn, without
* See also “Senatusconsulti de Bacchanalibus Explicatio,
auctore Matthaeo AEgyptio,” fol. Neap, 1729, pp. 31, 32.
Q 2

256 THE BRITISH MUSEUM.
the lid, fourteen inches, by ten inches and a half in
width.
Room V. No. 38.
The front of a sepulchral Cippus, found in the
Villa Pelluchi, near the Pincian Gate at Rome *.
The inscription upon it is from L. Dasumius Cal-
listus to his excellent freed-woman and most chaste
and deserving wife, Dasumia Soteris, with whom
he had lived for thirty-five years without any dis-
agreement; wishing that she had survived him,
rather than have left him the survivor:
D. M.
DASV MIAE SOTERIDI. LI
BERTAE - OPTIMAE . ET . CON
IV GI - SAN CTISSIM.A.E . BE NE
MER . FEC. L. DASVMIvs CAL
LISTVS . CVM . QVA . VIX. AN
XXXV . SINE VLI.A. QVE
REI, L.A . OPTANS . VT . IPSA
SIBI . POTIWS . SV PERSTES . FV
ISSET .. QUAM . SE - SIB1 . SVPER
STITEM . RELIQVISSETAcſ
It was published by Fabretti in his Inscriptions,
p. 257. -
Room V. No. 40.
An altar-shaped sepulchral Urn, of an upright
rectangular form in front, but rounded at the back.
The front is ornamented at the upper corners by the
heads of rams, and at the lower by two birds. A
festoon of laurel hangs suspended from the rams'
horns. A tablet, immediately below which is a
Medusa's head, bears an inscription, intimating that
Junia Lais, a slave, consecrated this urn to the
* Dallaway's Anecdotes of the Arts in England, p. 329.
TOWNLEY GALLERY. 257
memory of Isochryses, her master, who died at the
age of twenty-four:
DIs MANIB
ISOCHRYSI
V. A. XXIIII.
IvNIA
LALS
SER,
BENE
MERENTI.
The height of this urn, exclusive of the lid and
plinth, which are modern, is thirteen inches, by nine
inches and a quarter in width. It was formerly in
the Mattei collection.
Room V. No. 41.
Another Olla, or circular Urn, let into a recess in
the wall; in front an inscription dedicated by Apuleia
Helpis to her deserving daughter, Apuleia Tychen,
who lived thirty-seven years: .
DIS MANIB,
APWLEIA HELPIS FECIT
APWLEIAE . TYCHENI. F. . SV AE
BENE . MERENT. QVAE
VIXIT . ANNIS, XXXVII.
Dimensions of the inscription, eleven inches and
three-quarters in length, by nine inches in height.
Room V. No. 42.
The front of a funeral Urn, in the upper part of
which two birds are represented contending for
Some fruit. A tablet below bears an inscription
from Flavius Apollonius to his deserving wife,
Flavia Provincia, who died at the age of thirty-
three, with whom he lived twenty-two years. He
258 THE BRITISH MUSEUM.
also dedicated this urn jointly to themselves, their
children, and their posterity:
D. M.
FLAVIAE . PROVINCIAE
QVAE . VIXIT . AN. XXXIII.
FLAVIWS . APOLLONIVS
CONIWGI - SWAE . BENE
MERENTI . FECIT
CVM . QVA . VIXIT . AN.
XXII . ET SIBI
ET . SWIS . POSTERISQ. EORVM.
Height, fourteen inches: width, eleven inches.
Room W. No. 43.
A square sepulchral Urn, fourteen inches and a
quarter high, including the lid, by sixteen inches
and a half in width. In the centre of the front is a
tablet, supported by two eagles, bearing the follow-
ing inscription:
DIs MANIBVS
PILIAE PHILTATAE
M. PILIWS . EWCARPVS
CONIWGI . B. M.
FECIT . ET . SIBI.
Within the pediment of the lid, which is roof-
shaped, is a small bust of Pilia Philtata, to whom
this urn is dedicated. -
Mr. Combe says, the most remarkable part of
this urn is a peculiarity in the lid, by which we are
reminded of a very curious custom which the an-
cients occasionally practised in honour of their de-
ceased friends. After the funeral rites had been
solemnized, it was not unusual to visit the ashes of
the departed at stated periods, and to make offerings
to them of wine, milk, and frankincense, and to
TOWNLEY GALLERY. 259
adorn their urns with garlands of flowers”. These
visits were sometimes acts of friendship, and some-
times the performance of them was expressly en-
joined by the testament of the deceased. In order
that this custom might more conveniently be com-
plied with, a patera has been formed on the top of
the lid of this urn, and in the bowl of the patera is an
aperture, through which the wine, ointments, &c.
were, on these occasions, poured upon the ashes".
This urn was formerly in the collection of Sir
William Hamilton.
Room V. No. 44.
The front of a Sarcophagus, bearing an inscrip-
tion for a child of the name of Isidorus, who lived
five years, twelve days, and five hours. Hermes,
probably the father of Isidorus, who was likewise one
of the emperor's freedmen, dedicated this sarcophagus
to himself and his descendants:
D. M.
ISID ORV S WIXIT
ANN. W. DIES . XII. H. W.
HERMES AVG. LIB, FECIT
SIB [ . ET - SWIS . POSTERIOR.
Height, nine inches and three-quarters, by fourteen
inches and a half. This inscription was presented to
the British Museum by Thomas Hollis, Esq., in 1757.
* “Adferet huc unguenta mihi, sertisque sepulchrum
Ornabit, custos ad mea busta sedens.”
Propert, lib. iii. 16. v. 23.
“Jam tamen extincto cineri sua dona ferebant,
Compositique nepos busta piabat avi.”
Ovid, Fast. lib. v. v. 425.
“Atque aliquis senior, veteres veneratus amores,
Annua constructo serta dabit tumulo.”
- Tibull. lib. ii. el. 4.
* Descr. of the Anc. Marbles in the British Museum,
part v. p. 42, 4to, Lond, 1826. º . .
260 THE BRITISH MUSEUM.
Roman PAVEMENT.
Room V.
In the centre of the floor of this sepulchral
chamber is preserved a Roman tessellated pave-
ment, discovered under the south-west angle of the
Bank of England, London, in the year 1805, about
twenty-feet west, of the westernmost-gate of the
Bank opening into Lothbury, and at the depth of
eleven feet below the surface of the earth. It was
presented to the Museum by order of the Directors of
the Bank, in 1806. The centre part of the pattern is
composed of very small, black, white, and red tessellae,
forming a square of four feet, surrounded by a border
nine inches in width, formed by tesserae of a larger
size, and of a coarse pottery material. The whole
forms a square of five feet six inches.
ANGLO-ROMAN SEPUCHRAL STONE URNs, FROM CHESTERFond
AND SouTHFLEET.
Room VII.
A sculptured stone receptacle or Urn, three feet
nine inches in length, by one foot one inch in
height, in its interior; of a form approaching to half-
oval. The front is angular, and presents three
faces or divisions, ornamented by a female and two
male busts in coarse relief, much injured. It is
supposed, from this circumstance, originally to have
contained three other urns or vases of a smaller
form.
When Horsley wrote his “ Britannia Romana,” he
saw this urn lying neglected in the mill at Ches-
terford, in Essex, in the neighbourhood of which
it is believed to have been found. This monument
was subsequently engraved in a detached plate, at
the expense of Dr. Foote Gower. In March, 1803,
Thomas Brand Hollis, Esq., presented it to the
British Museum. He had received it from Dr.
Town LEY GALLERY. 261
Gower, who had obtained it from a blacksmith at
Chelmsford, in whose yard it had held water. It is
likewise engraved in Gough’s edit. of “Camden's
Britannia," vol. ii. pl. 18.
Dr. Gower supposed this urn to have been a re-
ceptacle of ashes of the kind called by Montfaucon
and others Quietorium *.
At the left-hand corner, at the entrance of the same
room or vestibule in which the Chesterford urn stands,
raised upon the lid of a stone sarcophagus, is an urn
of the rudest form, nearly spherical, of very strong
red pottery: it stands twenty inches and a half in
height, and is sufficiently capacious to hold twenty
gallons. It was discovered at Southfleet, near Graves-
end, in Kent, in the month of January, 1801: and
then contained some burnt bones, and pieces of
broken glass of a blueish colour, which the workmen
threw away. The glass was the remains of a small
bottle, with flat sides.
The sarcophagus, upon the lid of which this urn of
pottery stands, was also found at Southfleet, later in
the same year. It has the appearance of a massy
stone divided into two parts, body and lid; is four
feet four inches in length; and when the two, which
fit each other in a groove, are closed, stands three
feet two inches high. The interior, both above and
below, is excavated in an oval form to considerable
depth and height, and in the roughest manner. In
this oval recess, when the sarcophagus was first
opened, were found two glass urns or vases, con-
taining each a considerable quantity of the remains
of burnt bodies: both urns were open at the top; but
one of them, containing the lesser portion of the
bodies, to the extent of a third of the urn only, was
filled to the brink with a transparent liquor. The
* See Camd, Brit., edit. 1789, vol. ii. p. 62.
Q 5
262 THE BRITISH MUSEUM.
glass urns are preserved in another part of the Mu-
seum collection.
An account of the discovery of these and other
antiquities, found at Southfleet at the same time, was
communicated to the Society of Antiquaries” by the
Rev. Peter Rashleigh, the rector of the parish, by
whose son, George Rashleigh, Esq., the antiquities
above described were presented to the British Museum
in 1836. The spot where they were found was un-
questionably a Roman burying-place.
* See the Archaeologia, vol. xiv. pp. 37-221, and pl. vi.
xxxviii. xxxix. xl., where they are engraved.
TOWNLEY GALLERY. 26S
CHAPTER XVIII.
SEPULCHRAL CIPPI.
A CIPPUS is a low column, usually bearing an
inscription. In form it was sometimes round, some-
times rectangular, and sometimes of uncertain figure;
and was frequently without either base or capital.
The uses to which Cippi were applied were various.
With distances engraved upon them, they served as
milliary columns. From the reverses of ancient coins,
it appears that decrees of the senate were occasionally
inscribed upon them. They were set up as land-
marks: and employed more frequently than for any
other purpose as sepulchral monuments. The mau-
soleums and burying-grounds of the Romans were
full of them.
The whole of the Cippi in the Townley collection
of marbles are of this last description. They are
mostly rectangular : one or two are excavated in the
upper part, in the form of a basin or crater; and in
one instance the upper part, or roof of the cippus, is
perforated to receive libations. The greater part bear
short inscriptions in front.
Cippi of the rectangular form, when without in-
scriptions, from the similarity of their ornaments,
have frequently been taken for altars.

Room II. No. 14.
The capital or upper division of a votive Cippus.
It represents two Birds, in bas-relief, drinking from a
basin, behind which is a terminal figure of the God
of Lampsacus. The sides are ornamented with the
heads of fauns and bacchantes, with some other
Ornaments. -
264 THE BRITISH MUSEUM.
:
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º
§ *. º
3.
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Lampsacus, an old Greek city on the Hellespont,
* noted for its temple to Venus Meretrix, and the
obscenities Practised by its inhabitants under the
*ction of public worship. It was in remote times


TOWN LEY GALLERY. 265
a considerable place, and even under the Romans it
had temples and other public buildings. It is now
only a village, abundantly productive of wine, almost
equal in flavour to that of Oporto when long matured
in English cellars, and for which it still deserves to
be sacred to Bacchus *.
Room VI. No. 33.
A rectangular sepulchral Cippus, hollow, bearing
the general appearance of an altar. In front is a
tablet to the memory of Viria Primitiva, the wife of
Lucius Virius Helius, who died at the age of eighteen
years, one month, and twenty-four days:
D. M.
VIRIAE
PRIMITIVAE
VIX. A N N. XVIII,
MENS . I. DIE , XXIV
L. VIRIWS . HELIWS
CON IV.G.I . DVLCIS
HAVEDOMINA VALE . DOMN
Below the tablet a festoon of fruits and flowers hangs
suspended from two rams' heads at the corners; from
which, and from two goats’ heads, at the corners oppo-
site to the front, similar festoons are suspended to
ornament the sides. At the lower corners of the
front are two sphinxes, with a head of Pan in the
area between them ; at the lower corners opposite
are two birds. A praefericulum above the festoon,
and a lamb below, on one side; and a patera and
lamb on the other adorm the sides. Cavaceppi
engraved this marble in his “Raccolta di Statue,”
tom ii. tav. 6.
# - Room VI. No. 45.
A rectangular sepulchral Cippus, without an in-
* See Dallaway’s Constantinople, p. 366.
266 THE BRITISH MUSEUM.
scription. On the front, beneath a festoon com-
posed of fruits and foliage, suspended from the skulls
of bulls, are two birds resting on the edge of a vase,
out of which they are drinking. Dimensions, twenty-
three inches in height by nineteen inches and a half
in width at the base.
Room VI. No. 59.
A square sepulchral Cippus, two feet one inch and
an eighth in height, by one foot three inches and
a half in width; ornamented with fluted columns
and pilasters, rams’ heads, genii, &c. On a tablet
in front, an inscription to M. Coelius Superstes:—
M. COELIO
SW PERSTITI
FRATRI
OPTIMO
C. COELIWS
SECUN DVS - F.
Room XI. No. 15.
A rectangular sepulchral Cippus, the front and
sides of which are richly ornamented with masks,
festoons of fruit, and birds: at the back is a poppy-
plant. It is without inscription,
Room XI. No. 20.

TOWNLEY GALLERY. 267
A rectangular sepulchral Cippus, two feet six inches
high, the inscription upon which has been erased.
Under the cornice are heads of Jupiter Ammon, and
from it hangs a large festoon of laurel. In the centre
is an Ibis destroying a serpent, and underneath are
two eagles, betwixt which a butterfly is attacked by
two sparrows. On the sides are the patera and the
praefericulum, rams’ heads, festoons, swans, and spar-
rows. This marble formerly stood in the Burioni
Willa at Rome.
Room XI. No. 25.
A large square sepulchral Cippus, two feet eight
inches and a half in height, by two feet in width,
with fluted columns and pilasters at the corners,
bearing an inscription to Marcus Clodius Herma,
Annius Felix, and Tyrannus:
DIS MANIBWS
M. C.I.ODIO
HE - MAE
CONIWGI OPTIMO
ET ANNIO FELICI FRATRI
FECIT
ANNIA AWGVSTALIS
ET TYRANNo CARIssIMo°.
Beneath is a representation of Cupid driving a car
drawn by four horses, in which an aged figure is
seated, carrying off a female; probably intended for
the rape of Proserpine by Pluto. This fable is ex-
* This inscription, with some variation, was published by
Muratori, in his Thesaur. Inscript. p. 1328. It then stood
in the church of Santa Maria Maggiore. Fabretti likewise
quotes it, ch. v. No. 220, on account of the ornaments which
surround it; at which time it was placed in the Villa Negroni.
This Clodius Herma is mentioned in an inscription in the
Mus. Capit, published by Muratori, p. 604. See also Dallaway,
Anecd, of the Arts, p. 331. 3.
268 THE BRITISH MUSEUM.
tremely common upon works of art, especially sar-
cophagi; being particularly appropriate to funeral
monuments, from its obvious allusion to the fate of
persons who were carried away by an untimely and
premature death. Pluto is always represented and
described in a chariot drawn by four horses”.
Addison, noticing the antique bassi-rilievi which
he saw at Rome, says, “I remember I was very
well pleased with the device of one that I met
with on the tomb of a young Roman lady, which had
been made for her by her mother. The sculptor had
chosen the rape of Proserpine for his device, where
in one end you might see the god of the dead (Pluto)
hurrying away a beautiful virgin (Proserpina), and
at the other the grief and distraction of the mother
(Ceres) on the occasion. I have since observed the
same device upon several sarcophagi that have in-
closed the ashes of men or boys, maids or matrons:
for when the thought took, though at first it received
its rise from such a particular occasion as I have men-
tioned, the ignorance of the sculptors applied it pro-
miscuously. I know there are authors who discover
a mystery in this device “.”
Upon this cippus another is placed, of a circular
form, in part hollow; one foot three quarters of an
inch in height, and one foot one inch and three-
quarters in width ; inscribed with the name of Phe-
mariste the wife of Philophanus:
#HNAPIXTHX
THX ºf IAO:PANOT,
Room XI. No. 33.
A square sepulchral Cippus, with a tablet in front,
bearing the following inscription:
* See Millingen's Ancient Unedited Monuments, 4to, Lond
1822, p. 44.
* Addison’s Remarks on several parts of Italy, &c, 8vo.
Lond. 1733, p. 198. -
TOWNLEY GALLERY. 269
VIPSANIA . M. VIPSANI
MVSA. ET . L. THAL ASSA
- SIBI ET
TI. CLAVDIo . Avg. L. EPICTETo°.
Festooms of fruits and flowers, suspended from
rams’ heads, ornament the front and sides. On one
of the sides, above the festoon, a butterfly, on the
other a grasshopper, is represented, both caught by
two birds.
On the top of this cippus, behind the scrolls and
circular pediment which ornament the upper part,
are two cavities, shaped like funnels, to receive liba-
tions. An eagle, with wings expanded, is represented
in fromt, above the tablet.
Room XI. No. 40.
A monumental Inscription, cut from the front of a
sepulchral cippus, to the memory of Claudia Tychen.
Its dimensions, seventeen inches three-eighths, by
eight inches:
D. M.
M. vi.PIvs. CERDö
TITVLVM · POS VIT
CLAVIDIAE . TYC HENI
CONIWGI . KARISSIM.
CVM QVA . VIX. ANNIS
- - I MENS. VI. DIEB.
III. HOR. X. IN DIE
MORTIS • GRATIAS
MAXIMAS . EGI
APVT - DEOS ET
APWT . HOMINES.
Under the same number, above an altar to Diana,
is a circular vase, or capital of a sepulchral cippus,
* This inscription is engraved in Boissard, l. iii. pl. 86. It
was at that time in the Villa Cesi,
270 THE BRITISH MUSEUM.
decorated with foliage. Round the rim above, the
symbolical serpent is represented, with its tail in its
mouth. This vase is one foot eleven inches in
height. It is without inscription of any kind. This
is an elegant vase, but is perhaps not ancient,
Room XI. No. 54.
A large rectangular sepulchral Cippus, ornamented
at the corners with columns and fluted pilasters, with
an inscription to Agria Agatha :
D. M.
AGRIAE
AGATHE
PostIENSIs 'HALvs"
TWTOR . SEWIR, AWG. ET
A GRIA - 'THRY PHOSA . H E REDES
D E SWO . FECERV NT
B. ET , SI . BI . M.
Various animals ornament the upper cornice. The
sides are adorned with griffins. The explanation of
Sevir Augustalis will be found in Facciolati's Lexicon.
* The small i in Thailus was an after-insertion of the
sculptor, who had then no room to insert the letter which he
had omitted in its form of a capital; or perhaps the rounded
termination of the small i may imply it to be an insertion of
later time than Roman,
TOWNLEY GALLERY. 271
CHAPTER XIX.
ALTAR.S.
THE altars of the Greeks were originally made of
heaps of earth, and sometimes of ashes, as that of the
Olympian Jupiter mentioned by Pausanias". In
process of time they were formed of brick, and most
commonly of stone. They were originally placed
on mountains, in groves, and by the side of high-
ways; but when temples were built, they were usually
transferred to those edifices, though altars were often
erected where there was no temple.
The altars among the Greeks were of three classes:
#pºrvpot, those which were designed for burnt offer-
ings; in vpot, those on which no fire was used; and
âvatuakrot, without blood, those on which fire might
be used to consume vegetable productions, but upon
which no blood was to be spilt. Cakes of meal, fruit,
and libations, were the ordinary offerings upon the
two last classes of altars. >
Venus had an altar at Paphos, which was āvat-
pakrog (free from blood), but not àºrvpoc (without
fire). Tacitus” says she was worshipped “precibus
et igne puro,” by supplications and fire alone.
The Greek altars were usually rectangular, but
occasionally circular; sometimes they were of a
triangular form. The Roman altars resembled the
Greek. w
The usual mode of consecrating altars was by
placing a crown or garland of flowers upon them,
* Pausan. Eliac. prior, c. xiii.
* Tacit. Hist, ii. 3.
272 THE BRITISH MUSEUM.
anointing them with oil, and then offering upon
them libations of wine and oblations of fruits. The
unction with oil, a practice derived from the most
remote antiquity, formed the principal feature in the
ceremony of their consecration.
On public festivals the altars were usually hung
with wreaths of flowers; whence, in later times, when
they were for the most part made of stone or marble,
the heads of bulls, from which festoons of flowers
were suspended, were often sculptured upon them.
Instances of such altars will be found in the Elgin
Room, Nos. 117, 121, 179; as well as among the
altars about to be described.
Altars, as well as temples, were accounted so sacred
by the ancient Greeks, that most of them had the
privilege of protecting malefactors of various descrip-
tions, debtors, and even slaves, who fled to them for
refuge; and it was deemed an act of sacrilege to
force the fugitive away.
The most ancient altars were adorned with seg-
ments of spheres, called horns. The figures of Ro-
man altars upon coins are rarely, if ever, without
them; and the altars which remain in the ruins of
old Rome have the same ornament. Moses was
commanded to erect an altar with four horns”. These
horns served for various uses. Victims were fastened
to them; and supplicants who implored protection
clung to them.
The Sanctity of temples, images *, and altars, was
generally preserved inviolate until the time of Tibe-
rius Caesar, who, seeing the encouragement which
* Exod., c. ii. ver. 27.
* In the frieze from the Temple of Apollo Epicurius at
Bassae, now in the British Museum, No. 10 of the Phigaleian
marbles, Hippodamia, the wife of Pirithous, is represented
upon her knees, clinging in terror to the image of Diana. See
the Elgin and Phigaleian Marbles, vol. ii. p. 197.
TOWNLEY GALLERY. 273
such asyla held out to crime, is said to have abolished
all except those of the temple of Juno at Samos and
of a temple of AEsculapius. Tacitus, however, speaks
of them as being only reformed, and their privileges
abridged, by his direction.
Independently of the public altars of the Greeks
and Romans, they had also private or domestic altars,
which, among the Romans, were dedicated to the
Lares or Pemates, the household-gods. The Greeks
called them éaxápat, and the Latims foci. These
ãoxápai and foci were but one step in height from the
ground". .
It was usual to inscribe upon the altars the name
or character of the divinity to whom they were dedi-
cated. St. Paul speaks of an altar at Athens in-
scribed to the “Unknown God.” Sometimes the
attributes of the divinity only were sculptured upon
the altar, without inscription. Of the former kind the
present collection furnishes instances, in the altars to
the Bona Dea Ananiensis, to Diana, to Silvanus,
and to the Tyrian Hercules : of the latter, instances
are afforded in altars to Apollo and Bacchus; on the
front of the latter Silenus is represented riding upon
a panther.
The instruments and vessels of sacrifice often occur
upon these altars as ornaments. 1. The securis, or
axe with which the victim was slain. 2. The secespita,
or culter, with which the sacrifice was cut to pieces.
8. The prafericulum, or ewer, which contained the
wine for libation. 4. The patera, or bowl into which
the wine was poured before it was thrown upon the
altar. The patera was broad and shallow, with a
* So far did the Romans carry their superstition, that on the
Esquiline Hill an altar was consecrated to bad fortune. Cicero
de Natura Deorum, lib. iii. c. 25, says, “Aram malae fortuna,
. consecratam widemus.” See also Pliny, Hist, Natº,
k's ii. c 7.

274 THE BRITISH MUSEUM.
rising in the middle, and had sometimes one or two
projecting handles. The praefericulum and the patera
were so nearly related in their use, that they fre-
quently occur together, in bas-reliefs, upon the same
side of the altar; and sometimes the securis and culter
appear together.
Room VI. No. 17.
A votive Altar sacred to Apollo. In front, a raven
resting upon a festoon of laurel, suspended from the
upper corners. On each of the sides a laurel-tree is
represented: it has no inscription. Height, sixteen
inches five-eighths, by thirteen inches in width.
Room VI. No. 19.
An Altar of Roman work, ornamented with Egyp-
tian figures. In front a female figure, conjectured to
be a priestess of Isis, in bas-relief, kneeling, holds
a tablet before her, on which are represented two
birds. Above, on each side, an Ibis is rudely cut in
outline. On one side of this altar is a figure of Apis,
with the crescent; on the other, two male figures in
lengthened robes, one opening a book in the form of
a roll, the other holding a torch. At the back the
genius of spring is represented by a youthful figure,
on one side of whom is a rose-tree, and on the other
a basket of flowers.
Dimensions, two feet two inches in height, by four-
teen inches in the largest width.
Room VI. No. 24.
Another Altar of Roman work, ornamented in a
similar manner with Egyptian figures. In front is
another priestess kneeling, also bearing a tablet be-
fore her. On one side of the altar, Apis, bearing a
star upon the centre of his body; on the other two
hippopotami among the reeds of the Nile, with a
figure of Harpocrates, or the god of Silence, beyond.
TOWNLEY GALLERY, 275
At the back, summer is represented by a youthful
figure, nearly naked, with a bunch of corn in his right
hand, and a sickle in the left; a vessel filled with
ears of corn is below.
This altar is one foot eleven inches high. Width,
at top, fourteen inches. This and the altar preceding,
(No. 19,) with the bas-reliefs at their backs and sides,
are engraved in the “ Museum Odescalchum,” fol.
Rom. 1752, tom. ii. tabb. xliii. xliv. xlvii. l. li. liii.
Room VI. No. 50.
A votive Altar, sacred to Bacchus. In the front,
Silenus riding on a panther, with the thyrsus in his
hand, and above him the crotola, or castanets. On
the sides, a praefericulum and a patera. Height, two
feet two inches and a half, by sixteen inches and a
half in width at the base. This altar was purchased
at Rome, from Piranesi, in 1771. -.
Room VI. No. 67.
A votive Altar, with a dedicatory inscription from
C. Tullius Hesper and Tullia Restituta, to Bona
Dea Annianensis.
C. TV LLIWS . HESPER
ET . TWLLIA . RESTITVTA
IBONAE DEAE . A NINIA
NENSI . SANCTISSIM.
DONVM
POSWERVNT
The guardian-goddess, whom the Romans desig-
nated as Bona Dea, was Fauna, Fatua, or Fatuella,
the wife of Faunus. Her festival was celebrated on
the 1st of May. Women only assisted at it. Accord-
ing to Macrobius, she was the same as TERRA".
... " Macrobius, in his Saturnalia, lib. i. c. 12, says much upon
the worship of the Bona Dea. See also Tomasinus de Dona-
riis, 4to, Patav. I654, p. 109. Numerous inscriptions to the
276 THE BRITISH MUSEUM.
Room XI. No. 17.
A votive Altar to Silvanus, whose figure is repre-
sented upon it in bas-relief, for the most part naked.
He wears a short mantle fastened round his neck,
and has boots which come half-way up the legs;
these are his only garments: a sickle is in his right
hand, and with his left he supports, in the fold of his
mantle, a collection of fruits. On one side of him is
the stem of a large tree, without foliage. On the
other a cypress, and below, a dog seated. A vessel for
libations, with a lamb beneath, ornaments one of the
sides of this altar; on the other, a patera and a hog
are represented.
Silvanus, as his name imports, was the rustic
deity who presided over woods. Virgil mentions the
cypress as a distinguishing attribute of this god :
“Et teneram ab radice ferens, Silvane, cupressum 7.”
Bona Dea, and the present one amongst them, are given in
Orelli’s Collection of Latin Inscriptions, 8vo. Turin, 1827,
tom. i. § 16, 1512-27.
Ovid, de Arte Amandi, lib. iii. ver. 243, advises the ladies
who have no hair to place a sentinel at the toilet-door, or to
dress in the temple of the Bona Dea, where men were not ad-
mitted:
“Quae malê crinita est, custodem in limine ponat,
Orneturve Bonae semper in aede Deae.”
Anagnia, now Anagni. A city of the Hernici, and appa-
rently the chief city of the confederation. Virgil, AEn. vii. 684,
gives to Anagnia the epithet of “dives.” See Gell's Topogr.
of Rome and its Vicinity, 8vo. London, 1834, i. p. 94. The
remains consist of a few walls only.
* Georg, lib, i.v. 20. Lilius Greg. Gyraldus de Diis Gen-
tium, fol. Lugd. 1565, p. 377, says, “Sylvanus deus, qui Cy-
parissum puerum amasse perhibetur, Puer hic Cyparissus
mansuetissimam cervam habebat, quam cum Sylvanus ignarus
occidisset, puerest dolore extinctus, quem Deus amator in cu-
pressum arborem ejus nominis vertit, eteam pro solatio portasse
dicitur,” - .
TOWN LEY GALLERY. 277
The sacrifice of a hog to Silvanus is noticed in Ju-
venal's sixth Satire :
& & Cedere Silvano porcum.”
A bas-relief, formerly in a private collection at
Rome, in which the figure of Silvanus is represented
in the same attitude as on the present altar, and sur-
rounded by similar attributes, is engraved in Toma-
sinus’ “De Donariis ac Tabellis Votivis,” 4to. Patav.
1654, p. 184, and is described by Gruter.
Horace says that libations of milk were poured
out to Silvanus:
“ Agricolae prisci, fortes, parvoque beati,
Condita post frumenta, levantes tempore festo
Corpus, et ipsum animum spe finis dura ferentem,
Cum sociis operum et pueris, et conjuge fidà,
Tellurem porco, Sylvanum lacte piabant,
Floribus et vino Genium memorem brevis aevi".
Our ancient swains, of hardy, vigorous kind,
At harvest-home, used to unbend the mind
With festal sports; those sports, that bad them bear,
With cheerful hopes, the labours of the year.
Their wives and children shared their hours of mirth,
Who shared their toils; when to the Goddess Earth
Grateful they sacrificed a teeming swine,
And pour'd the milky bowl at Sylvan’s shrine :
Then to the Genius of their fleeting hours,
Mindful of life's short date, they offer'd wine and flow’rs.”
FRANCIs.
Another author has preserved the form of invoca-
tion to Silvanus: “O father, I entreat and conjure
you, that you will be propitious and gracious to me
and to my house and family; that you will disperse,
forbid, and repel all maladies known and unknown,
barrenness, mortality, calamities, and pestilence;
that you will give increase to my fruits, corn, vines,
and trees; that you will preserve my shepherds and
their flocks, and give health and safety to us all.”
See more of the worship of Silvanus in Banier,
* Hor, Epist, lib. ii. pp. 1,
vol. II*. R
278 THE BRITISH MUSEUM.
Mythologie, 4to. Par. 1738, tom. ii. p. 391. Sil-
vanus and Pan were sometimes confounded.
A votive altar to Silvanus was found in 1750, on
the high moors or fells near Stanhope, in the county
of Durham *. It was dedicated by C. Tetius Victorius
Micianus, in consequence of the capture of a boar
which had been in vain sought for by other hunters.
Two other inscriptions to Silvanus, one found in
Stirlingshire, the other in Cumberland, are recorded
by Horsley ".
Dimensions of the present altar, two feet four
inches and a half in height, by sixteen inches in
width.
Room XI, upon No. 20.
A circular Altar, ornamented with the heads of
bulls from which festoons are suspended. It was
presented to the Museum in 1825, by A. E. Impey,
Esq. It is inscribed—
XQXIKAETX
TAOEQX
KAI
AITA®AMEPIAOX
TAX IMATPOX
- EATTO'ſ.
Height, seventeen inches and a half, by thirteen
inches two-eighths in diameter.
Room XI., upon No. 40.
A small rectangular Altar, eleven inches in height
by nine inches six-eighths in width. The front bears
a dedication of it from Aur. Thimoteus to Diana:
AvR. 93 THIMo
TEWS - DEAE DI
ANAE
D. 5 p.
.* See the Philos. Transact, No. 486, and Gough's Camd.
edit. 1809, vol. iii. p. 363.
10 Britannia Romana, pp. 207, 286.
TOWNLEY GALLERY. 279
The three other sides are decorated with mystical
sculptures. .
Room VI. No. 64. Af
The front of a votive Altar, with an inscription for
the safe return of Septimius Severus and his family
from some expedition :
FORTVNAE . AVG. - S
PRO . SALVTE . ET . It EDITV
DOMINORVM - N - - - - - | 1
SEVERI . PII . ET
ANTONINI . PII . AVG - - **
AVG G - - - - - - - - - 14
ANTONIWS, LIB.
PROXIMVS . A. LIBELLIS,
WOTO . SWSCEPTO
& D. R. D. Rº
The parts in the inscription which are erased con-
tained the name of Geta, which, by a severe edict of
his brother Caracalla, was ordered to be erased from
every inscription throughout the Roman empire *.
* Nostr. In this and in the following notes on this inscrip-
tion, the erased parts are proposed to be restored by the words
printed in italics. g
13 El P.
* Sept. Getae Aug. ſilior.
** Antonini et Getae.
* Camden, in his Britannia, gives an inscription from the
front of another votive altar found in Monmouthshire, commu-
nicated to him by Dr. Godwin, Bishop of Llandaff, in which
the name of Geta was erased. See Gough's Camden., fol.
1809, vol. iii. p. 108. Belzoni discovered an inscription
near Assouan, in Egypt, in which also the name of Geta was
erased. Egypt, Antiq., Lib. of Entertain. Knowl., i. p. 361,
Orelli, in his Latin Inscriptions, 8vo. Turici, 1827, tom, i. p.
216, gives one in which Geta has escaped erasure.
280 THE BRITISH MUSEUM.
This bas-relief, two feet seven inches high, be-
longed to a Mr. Topham, of Windsor, who possessed
several valuable marbles, which came by inheritance
to Mr. Topham Beauclerk, at whose sale the present
antiquity was purchased.
Room XI. No. 22.
A Greek Altar, of a square form, ornamented
with Sphinxes both at the upper and lower corners.
It was presented to the Museum by Sir William
Hamilton, in 1775. Height, exclusive of the plinth,
two feet ten inches. Width, one foot nine inches.
In front is a bas-relief representing Apollo, with
his left arm thrown over a lyre: the lyre placed upon
a table, on which are likewise a tripod, a raven, and
three rolls of manuscripts. On one of the sides a
youth is represented dragging a ram to sacrifice,
followed by a priest, who bears a branch of a tree in
one hand, and in the other a praefericulum. On the
other side, in the lower part of the bas-relief, are the
feet of three figures; all the rest has been either
mutilated or left unfinished. At the back a female is
represented, clothed in a full drapery, holding a
torch within her left arm, and with her right hand
feeding a deer.
s ANGLo-Roman ALTARs.
Room VII.
Two Altars only, it is believed, bearing Greek in-
scriptions, have been found in England". Both were
discovered early in the eighteenth century at Cor-
bridge in Northumberland, whence they received the
name of the Corbridge Altars; the inscription upon
each consists of a Greek hexameter.
* Gough, in his edition of Camden, vol. iii. p. 122, men-
tions an altar, from Horsley, found in the county of Durham,
i. a Greek inscription on one side, and a Latin one on
TOW NLEY GALLERY. 281
The first, found in the church-yard at Corbridge,
was removed from that place to Northumberland
House, in London, in 1749, and was given, in 1774,
by his Grace the Duke of Northumberland to the
British Museum.
This altar is three feet five inches and a half in
height, by one foot eight inches in width at top,
and one foot five at bottom. The top is hollow.
On one side a culter victimarius, or sacrificing-
knife, and a bull's head, are sculptured in bas-relief;
on the opposite side is a garland or wreath ; and in
front the following inscription, indicating that it was
dedicated by the arch-priestess Diodora to the Tyrian
Hercules:
HPAKAEI
TTPIQ
AIOAQPA
APXIEPEIA47
The second altar found at Corbridge was dedi-
cated to the Syrian goddess Astarte :
AXTAPTHC BíMON M’ECOPAC
IIOTAXEP MPANE6HKEN
Pulcher has dedicated the altar which you behold to Astarte”.
It is still preserved at Netherby. -
*7 This altar was first engraved in the Philosophical Trans-
actions for 1702, No. 278, and commented upon by Dr. Hugh
Todd in the same work, in 1710, No. 330. See also Horsley’s
Britannia Romana, p. 292; Stukeley’s Carausius; Wallis's
Antiquities of Northumberland; and Gough's edit. of Cam-
den’s Britannia, 1789, vol. iii. p. 250. The Tyrian Hercules,
and his worship, have been already mentioned in the present
work, vol. i. p. 274. -
* Of this altar, see Dr. Pettingal’s Observations, Archaeol.
vol. ii. p. 92; Dr. Milles's, ibid. p. 98; the Hon. Daine's
Barrington's, Archaeol., vol. iii. p. 324; and a Latin letter
from Dr. Morell, ibid. p. 332. It was twice engraved in the
Archaeologia, vol. ii. pl. iv., vol. iii. pl. xvii. -
Of Astarte, Dr. Morell, in the letter above referred to, p.
333, says, “Primi omnium (inquit Pausanias in Att.) hanc
R 3
282 THE BRITISH MUSEUM.
Whether the use of these altars in early times was
in any way connected with the commercial inter-
course of this island with the Phoenicians, or whether
they were dedicated by Romans who had removed
from Syria to Britain, it is not easy to determine, and
in vain to inquire. As has been already shown, when
the Romans became masters of the world, it was their
fashion, if not to despise, at all events, to change the
ancient objects of adoration, and to substitute new
ones from Egypt and Syria.
Beside the Corbridge Altar, the vestibule in which
it is placed contains five other Roman altars found
in Britain. They are small and low. The largest
two feet six inches in height, by ten inches and a
half in width. The smallest twenty-three inches and
a half by nine inches and a half. They are carved in
native stone. Four of these have the figure of a
Roman soldier, helmeted; an upright spear in his
right hand; his left resting on a shield. None of
them had inscriptions: or if there ever were any, they
have scaled off. .
A fifth altar, already mentioned as the largest,
bears a figure with a cornucopia, which looks like
Ceres. This altar, with two of those which bear the
figures of Roman soldiers, was found, many years
ago, at King's Stanley, in Gloucestershire, in com-
Deam venerati sunt Assyrii; ab his acceperunt Phoenices
et Cyprii; ab illis Greci et Afri. Judaei etiam, a vero Deo
deficientes, sacra ei fecerunt in templis, memoribus, et lucis,
sub nomine Astaroth vel Ashtaroth, Jud. iii. 7, 1, Reg. xi. 5:
. “With these in troop -
Came Ashtoreth, whom the Phoenicians call’d
Astarte, queen of heaven, with crescent horns,
To whose bright image,” &c.
MILTON, Par. Lost, b, i. l. 440.
TOWNLEY GALLERY. 283
pany with a coin of Alexander Severus, in large
brass; reverse, TR. P. VI. cos. III. They were pre-
sented to the British Museum by the Rev. P.
Hawker.
The workmanship of these altars is rude, like that
in Italy under the Gothic and Lombard kings,
Since the present pages were placed in the printer’s
hands another Anglo-Roman altar has been pre-
sented to the Museum, by Sir Philip-de-Malpas Grey-
Egerton, and is mow placed with the altars already
described. It was found in 1779, in Watergate-
street, in Chester, at the same time with the remains
of a hypocaust and several adjoining rooms of a
Roman house. It is dedicated to Fortuna Redux,
AEsculapius, and Salus *. The sides of this altar are
ornamented with festoons; below, on one side, are a
cornucopia and rudder, as the emblems of Fortune,
with a patera and praefericulum; on the other side
are the staff and serpent of AEsculapius, the culter,
and other instruments of sacrifice. In front is this
inscription, much defaced:
FORTVNAE . REDVCI
ESC VLAP. ET . SALVTE • EIWS
I, IBERT. ET . FAMILIA
- - - - PONT. T. F. C.A.L. MAMILIAN
RWFI - - TISTIANI . F. WNSWI - N
VETTONIANI. LEG. Avg.
D. D.
This altar is engraved in Moses Griffiths's Supple-
mental Plates to Pennant's. Tour in Wales, tab. x.,
and in the Lysons's Account of Cheshire, p. 430,
who say the names of Pontius, Mamilianus, Antis-
* Salus is frequently used for Hygeia, to whom, jointly
with Æsculapius, several inscriptions will be found in Orelli's
Collection already referred to, tom, i. pp. 305-6,
284 THE BRITISH MUSEUM.
tianus, and Vettonianus, which appear to be family
names in this inscription, are all to be found in
Gruter's Corpus Inscriptionum. Ormerod, in his
History of Cheshire, vol. i. p. 294, conjectures the
following to have been the true reading of this in-
scription when perfect:
Fortunae. Reduci
Esculap. et . Saluti. ejus
- Libert. et. Familia
Caii. Pontii. T. F. Cal. Mamiliani
Rufi. Antistiani. Funinsulani.
Vettoniani . Leg. Aug.
D. D.
In the same vestibule with the altars already
described is a square stone, fifteen inches in length,
by ten in height; in the centre of which is a small
vexillum or banner, with the inscription LEG. I.I. in
small letters; at the sides of this banner are the
figures of a sea-goat and a Pegasus; and below, in
larger characters, LEG. II. AUG. One or two stones,
exactly similar in every respect, are engraved in
Horsley's Britannia Romana, among the plates illus-
trative of the Roman Antiquities of Northumberland.
He says these stones are of the centurial kind. They
were taken from the face of Severus's Wall, in the
construction of which it seems pretty clear that the
cohorts of the second legion were employed in that
emperor's time.
TOWN LEY GALLERY. 285
CHAPTER XX.
PIGS OF LEAD.
Room VII. (between the VIth and XIth Rooms)
THESE pigs, or oblong masses, afford undoubted evi-
dence that the lead-mines of Derbyshire and its neigh-
bourhood were worked in the Roman time. The
inscriptions also which they bear, usually indicating
the emperor in whose time the metal was obtained,
confirm the testimony of Pliny, who says, that “ in
Britain lead is found near the surface of the earth in
such abundance, that a law is made to limit the
Quantity which shall be taken ".” It was, therefore,
necessary, in the royal mines, to mark the lead with
the emperor's name. In a few instances such pigs
* “Nigro plumbo ad fistulas laminasque utimur, labo.
riosius in Hispania eruto totasque per Gallias: sed in Bri-
tannia summo terra corio adeo large, ut lear ultro dicatur, ne
plus certo modo fiat.” Plin. Hist. Nat, lib. xxxiv. c. xvii. edit.
Harduin. tom. ii. p. 670. He then proceeds to acquaint us
with the annual rent at which one of the mines was farmed in
Baetica, the more southern province of further Spain: “Nuper
id compertum in Baetica Santarensi metallo, quod locari soli-
tum x. CC. M. (i. e. denariorum ducentis millibus) annuis, post-
quam obliteratum erat, CCLv. (i. e. ducentis quinquaginta
quinque millibus) locatum est.” The former of these was
equal to £6,458. 6s. 8d., and the latter to £8,234.7s.6d., com-
puting the value of a Roman denarius at 7:#d., as Dr. Arbuthnot
has done in his tables.—As the numerals in this passage of
Pliny seem corrupt, we add the following note from Le Maire's
edition of Pliny, Par, 1831 : “ccLv. locatum est.” Incertivalde
sunt hi numeri. In MSS. Regg. 2, 3, et ed. principe, xxiii.
locatum est. In MS. Reg. 5, quod forte verius, “postguam
obliteratum erat reddit lxxxii.” * :
286 THE BRITISH MUSEUM.
apparently bear the name of a private proprietor;
but all show that the article was under fiscal regula-
tion—a regulation which accounts for the form in
which the lead was cast: the inscription, and some-
times a border which surrounds it, always covering
the upper area of the piece to its full extent.
The mines of Britain in the earlier part of the
Roman time were worked by the subdued natives.
Galgacus, in his memorable speech preserved by
Tacitus, when laying before his soldiers the conse-
quences of defeat, mentions tributes, MINEs, and the
rest of the penalties of slavery ".
When the ore was obtained, it was cleansed ac-
cording to the method used till very modern times,
then smelted in a furnace", and cast into the forms
which the reader sees before him *.
* “Tributa et METALLA, et caeterae servientium poenae.”
Agric. Wit. C. 32.
* See Plin. Hist. Nat., lib. xxxiv. c. i. 6.
* These pigs were undoubtedly for exportation. Professor
Ward, in his “Considerations on a Draught of two large pieces
of Lead with Roman Inscriptions upon them, found several years
since in Yorkshire,” printed in the “Philosophical Transac-
tions,” vol. xlix. p. 694, says, “The method of casting the lead,
when separated from the ore, into large pieces of a proper size,
form, and weight, was very proper, as well to ascertain their
uantity, as to render them portable and fit for sale. And
they might be marked with the name of the Emperor for a like
reason as when it was put upon the coins, namely—to au-
thorize the sale of them by virtue of his permission. The
year likewise, and the name of the people where the mines
lay, were necessary to be added for the sake of the proprietors,
in order to adjust their accounts with the officers, and prevent
frauds in the execution of their trust. And it is observable,
that the method now made use of in our lead-mines is not
much different from this; for the metal, while liquid, is cast
in an iron mould into large pieces, which, from the shape of
them, are usually called pigs; and, as I have been informed,
are, upon an average, near the same weight with that specified
in the draught. And they are likewise commonly marked
TOWNLEY GALLERY, 287
What Pliny says of the lead-mines in Britain
clearly relates to his own time. He lived to the year
80 of the Christian era, or near it: and the first pig of
lead we shall here describe bears a date which refers
to the year 81.
(WCAESSMNOXCG Vil
... "...º.º.:-. 2.E.
E:::::::::::::::::::::::::::::=º::::::::::::::::::::::::::::::::::::::::::::::::.
d *rºmºrrºwrººººººººº-ºº-ººººº. ...:-ºº-ºº::.….:...º.º.º.
º sºº:::::::::::::::...º.º.º.º.º.º.º.º.....…
Transverse Section.
It has the name of the Emperor Domitian upon
it; is twenty-three inches in length at the bottom,
and twenty inches in length upon the upper surface;
in depth of lead four inches; and weighs one hun-
dred and fifty-four pounds. It was discovered in
the year 1734, a foot and a half under ground, upon
Hayshaw Moor, in the parish of Ripon, eight miles
north-west of Ripley, in the West Riding of York-
shire. It was bequeathed to the British Museum by
Sir William Ingilby, Bart., and presented by his
eXecutors in 1772.
with the initial letters of the name of the smelter or factor,
and sometimes both, before they are sent from the mines.”
The lead of Derbyshire, as Farey observes in his Agricul-
tural Survey, was originally smelted by wood-fires on hills, in
the open air; and he has given a list of the places where this
Process was carried on. This inconvenient mode was succeeded
by what were called hearth-furnaces. Farey states that the
last hearth-furnace, which was at Rowsley, was pulled down
about the year 1780, and that another at Hazelford-bridge,
near Hathersege, had been pulled down some time before,
the cupola furnace having been introduced in its room.
f




288 THE BRITISH MUSEUM.
The inscription reads—
IMP. CAEs. Domiti ANo . Avg. Cos. VII.”
The great Roman road from Aldborough into
Lancashire passes within a little distance of the spot
where this pig was found. Gough, in his edition of
Camden's Britannia, folio, 1789, vol. iii. p. 53, says
he was assured that upon the top of a large rock,
about half a mile distance, an impression or cavity of
the size of this and a fellow-pig which was found with
it", large enough to admit a melting-pan, was then
to be seen. Lead was at that time still got at Green,
two miles from the spot.
In 1797 three pigs of lead were presented to the
British Museum, in the joint names of Adam
Wollay, Esq., of Matlock, and Peter Nightingale,
Esq., of Lea, in Derbyshire. The first of these,
which we shall describe, was found upon Matlock
Moor in the autumn of 1783. Its greatest length is
twenty inches and a half, by four inches in breadth;
the length of the upper surface, seventeen inches and
* Although Domitian held his seventh consulate in the
year 80, as appears by the Fasti: yet, as he is here styled
Augustus, the inscription must refer to the year 81, in which
he succeeded to the empire upon the death of his brother
Titus, and took the office of consul for the eighth time the
following year. Prof. Ward's Consider., in the Philos. Trans.,
ut supr. p. 695. -
* The second pig bore the same inscription as is given above,
with the addition of the word BRIG on one of the sloping sides,
showing the lead to have been produced from the territory of
the Brigantes. Camden (see Gough’s edition of 1789, vol. ii.
p. 426) notices the finding of twenty pigs of lead, in his time,
in Cheshire, some bearing the inscription, IMP. Domit. Avg.
GER. DE CEANG. So little however was known of these blocks
at that time, that Camden thought them connected as monu-
ments with some victory over the Ceangi. Professor Ward
supplied the word vectigal DE CEANGIs, and came nearer to the
true explanation. These words unquestionably marked the
lead as produced in the territory of the Ceangi,
TOWN LEY GALLERY. 289
a half, by three inches and three-eighths; and its
weight eighty-four pounds. The inscription upon it
is difficult to read, and has not been given with full
accuracy, even by our own wood-engraver, in conse-
quence of the compound and confused manner, in
which the letters run into each other. The following
is, however, the accurate reading:
L. ARVCONI . VERECVNI). METAL. LWTVD.
E---
|
|#
itlilillºiſtſ
Section.
Dr. Pegge, an antiquary of considerable name,
thought the two last words were METAL, LVND.; and
interpreted the inscription Lucii Aruconi Werecundi
Metallisci (or Metallarii) Lundinensis : presuming
that Lucius Aruconius Verecundus, a lead-merchant
of London, had his name inscribed upon this pig, as
the farmer of the lead-works of Derbyshire. The
Messrs. Lysons, however, the Rev. Robert Wallace,
and other antiquaries, have given a more proba-
ble explanation. Lvivo. is, beyond doubt, a con-
traction for Lutudarum, the Roman station, men-
tioned by Ravennas, next to Derventione, and which,
there is great reason to suppose, was the present
town of Chesterfield. This being conceded, the in-
scription will stand Lucii Aruconii Verecundi Metal-
lum Lutudarense. Lutudarian metal (the property)
of Lucius Aruconius Verecundus. The lead of this
piece is in strata, as if the quantities of which it is
vol. II*. S







290 THE BRITISH MUSEUM.
composed had been run at different times, and
smelted as they were obtained.
The second of the pigs of lead presented by Mr.
Wollay and Mr. Nightingale was found on Crom-
ford-nether-Moor, in the parish of Worksworth, in
the month of April, 1777. Its greatest length is
twenty-one inches and a half by five inches: length
of upper surface nineteen inches by three inches:
weight one hundred and twenty-five pounds. Its
inscription is—
IMP. CAES. HADRIANI . AVG. MET. LVT.
Dr. Pegge was again puzzled to interpret the whole
of this legend. He read the last words ME1. Lv1.
He thought MEI a ligature for MEM, and explained
the whole Imperatoris Caesaris Hadriani Augusti
Memoria Legio serta. “The sixth Legion inscribes
this to the memory of the Emperor Hadrian 7.’ Some
other antiuqaries of the day thought MEI was in-
tended for MET, i.e. metallum, and that the remain-
ing letters, Lv1, were numerals, and denoted the
number of the pig.
MET. LVT, upon the most careful examination, ap-
pears to be the real reading of the inscription; and,
in that case, Metallum Lutudarense, of Verecundus’s
pig, explains the inscription upon this of Hadrian *.
The third pig, presented to the Museum by the
same parties, is twenty-three inches by six in its
greatest length, and seventeen inches and a half by
three inches on its upper surface. It was found on
Matlock Moor, in 1787. The inscription reads at
present,
CL. T.R. LWT. B.R. EX. ARG.
* See Dr. Pegge's Dissertation, in the Archaeologia of the
Society of Antiquaries, vol. v. p. 369.
* Lutudarum—whether Chesterfield, or whatever town-
appears, from these inscriptions, to have been, in the Roman
time, a little emporium for the mining district of Derbyshire.
TOWNLEY GALLERY. 291
Older copies give TI. as the first word, which is
now obliterated *, but for which there is room. Dr.
Gifford thought this inscription stood for Tiberii
Claudiani Triumviri Lutudari Britannorum er Ar-
gentaria. We are inclined ourselves to read the last
words Lutudari Brigantum er Argentariis. BRI-
GANTES was the name given by the Romans to the
inhabitants of a large portion of this part of the
country adjoining to the Coritani; and the known
richness of the English lead, with which silver has
been sometimes found mixed in large quantities, may
serve to explain the words ea Argentariis. -
The last pig of lead in the Museum collection was
presented in 1798 by John Lloyd, Esq.
%
/ \
Transverse Section.
Its greatest length is twenty-two inches by seven;
the upper surface nineteen inches by three inches and
a half. Its weight one hundred and ninety-one
pounds. It was found in the neighbourhood of a
farm called Snailbeach, in the parish of Westbury,
ten miles south-west of Salop; the inscription is
simply,
IMP. HADRIANI . AVG.
* See the Archaeolog. vol. ix. p. 45. *




s 2
292 THE BRITISH M USEUM.
The occupation of the British mines by the Ro-
mans was probably more extensive than most readers
are aware of".
”See the Archaeologia, vol. v. p. 75, where Mr. Strange, in
an account of some Roman and other antiquities in Mon-
mouthshire, says, “I have nothing more to observe at present
relative to the vestiges of Roman antiquity in Monmouthshire,
except that in some old lead-mines at Kevenpwll-du, near
Machen, are very deep and large caverns in the lime-stone
rock, which, as well from their great extent as the manner in
which they appear to have been worked, are supposed by the
inhabitants in the neighbourhood to have been opened by the
Romans. However that may be, Roman coins, especially of
brass, are not uncommonly found there.”
TOWN LEY GALLERY. 293
CHAPTER XXI.
ARCHITECTURAL RAS-RELIEFS AND
FRAGMENTS.
Room III. No. 2.
A BAS-RELIEF, surrounded by a deep moulding, two
feet one inch and three-quarters in length, by one
foot ten inches and a half in height, representing a
candelabrum, the triangular base of which rests on
three feet, apparently those of a lion. The cande-
labrum itself terminates in a lighted lamp, formed
by a vase with two handles, round which the sacred
ribands called lemnisci, or vittae, are wound, and
thence fall, in folds, to the lower corners of the
marble. Poppies are fastened to the extremities of
the ribands.
Priests, altars, victims, and almost everything that
was sacred to the gods, or that was applied to any
religious purpose, were decorated with the sacred
ribands. Virgil, in his AEmeid, lib. ii. v. 156, calls
them expressly vittae deorum”.
Kirchmann, in his treatise “De Funeribus Roma-
norum,” 8vo. Lubeca, 1636, p. 66, quotes passages
which show that the sepulchres of the dead were oc-
casionally decked with ribands; and Tacitus tells us
(Hist. lib. iv. c. 53), that when Vespasian rebuilt
the Temple of the Capitol, the space allotted to the
foundation was encompassed by them. .
The poppy was sacred to Ceres. Virgil calls it
“Cereale Papaver”.”
* Again in Virgil's Ecl. viii. lib. 64:
“Effer aquam, et molli cinge haec altaria vitta.”
* Georg. i. lib. 212. Forcellini gives the explanation of this
294 THE BRITISH MUSEUM. *
This bas-relief is presumed to have served as one
of the architectural ornaments of a temple. In the
portico of the Pantheon at Rome is a bas-relief, in
which two candelabra, very similar to that now de-
scribed, are represented; they each support lighted
lamps, nearly of the same form, and are decorated
with ribands, which terminate in like manner with a
fruit resembling olives *.
The present marble was formerly in the collection
of the Mattei family “.
Room III. No. 10.
A Bas-relief, two feet two inches in length, by one
foot two inches in height, which appears, by its
curved form, to have been the decoration of some
circular building, probably dedicated to Bacchus. It
represents a festoon of vine-branches suspended
from the skulls of bulls. In the centre, above the
festoon, is the mask or face of a Faun, whose head is
crowned with ivy-leaves. Ivy-leaves likewise form
the moulding which surrounds the bas-relief.
This marble was formerly engraved in a work
published by Bartolomeo Cavaceppi, entitled, “Rac-
colta d’Antiche Statue,” &c., tom. iii. tav. 2.
Room III. No. 14.
A Bas-relief, which has served as an ornament on
the outside of some circular building. It represents
adjunct partly from Servius: “Vel Cereale dixit quia eo usuest
Ceres ad oblivionem doloris ob raptum Proserpinae filiae; vel
quia Meconem Atheniensem dilexit, et transfiguratum in pa-
paver (&#xoy Grace papaver significat) tutelae suæ jusserit
reservari. Serv. ad loc. cit. Potest etiam addi alia causa,
quod narrat Ovid, 4 Fast. l. 547, de Triptolemo a Cerere pasto
papavere, ut eum faceret Deum.” Lexic. edit. Patav. 1830,
tom. ii. p. 536. - -
* See the Museo Pio-Clementino, tom.iv.pl, B (it should be
Tav. A. p. 99). fig. 9. -
* Monumenta Matthaeiana, tom. ii. tab. 84.
TOWNLEY GALLERY. 295
an arabesque pattern, consisting of two branches
issuing from one stem, in contrary directions, each
curling to a centre. A bird perched upon a flowering
stem in the centre is catching an insect. Several
kinds of birds and insects are distributed about other
parts of this bas-relief; and at an upper and lower
corner are shells, out of one of which a snail is
creeping. A moulding of ivy-leaves surrounds this
marble, which was first published by Bellorius, in
1688 °; and afterwards by Cavaceppi, in 1772". Its
dimensions are, two feet three inches and a half, by
one foot two inches and a half.
Room XI, included in No. 3.
A Portion of a capital of a pilaster, ornamented
with a festoon of fruits, fourteen inches in length in
the widest part, by nine inches.
Room XII., included in No. 13.
The Capital of a small column of the Ionic order.
From the collection of Sir William Hamilton.
Room XII., under the Numbers l and 20.
Two upright narrow pieces of marble; No. 1, or-
namented with branches of the olive and vine ; its
dimensions, three feet ten inches in height, by six
inches in width: No. 20, ornamented in a similar
manner with branches of the olive and pine. A
raven is represented pecking at the fruit upon the
summit of the principal stem of each. Dimensions
of No. 20, three feet ten inches in height, by six
inches and a half in width.
* P. Bellorii Nota, in Numismata tum Ephesia, tum aliarum
Urbium apibus insignita, tab. viii.
* Raccolta d’Antiche Statue, Busti, &c. ristaurate dal Cava-
liere Bartolomeo Cavaceppi, tom. iii. tav. 2, fig. 2.
296 T H E B R iTISH M USEU M.
These are placed here as architectural fragments;
but it is possible that they may have belonged to
some sarcophagus of large dimensions.

TOWNLEY GALLERY. 297
CHAPTER XXII.
MARBLE PATERAE.
Room III. No. 38.
A CIRCULAR votive Patera of marble, ten inches and
a half in diameter, found in the neighbourhood of
Rome. An eagle is represented on one side, within
a circle, bearing a hare in its talons, surrounded by
a wreath of ivy. On the other side, Cupid, sacrificing
at an altar to a terminal figure of Priapus; a torch
in his right hand, a patera filled with offerings in his
left. The altar stands upon a heap of stones, and
Priapus holds a slip of the wine in his right hand.
Behind the figure of Priapus is a syrinx. Above
both figures is the drapery of a canopy, in part sup-
ported by the stem of a tree. These paterae were
offered in the temples.
Room III. No. 40.
A circular votive Patera of marble, rather more
than ten inches in diameter, representing, on one
side, the full face of Pan crowned with ivy, sur-
rounded by a wreath of oak-leaves and acorns. His
beard adjusted in long curls. On the other side is a
º: face of Pan, his head also crowned with ivy,
efore which rises a branch of the same plant,
opposite to a lighted altar. The relief of this patera
is high.
The places are unknown where this and the pre-
ceding patera were found.
s 5
298 THE BRITISH MUSEUM.
Room XII., in Case No. 13.
A large votive Patera of marble, with a bas-relief
on each side; one representing a full-length figure
of Silenus, carrying a basket on his head, and bear-
ing a thyrsus on his left arm; a rock altar, with a
flame burning on it before him. On the other side,
a bearded Satyr, with goat’s legs; in his right hand
he upholds a bacchic mask, and in his left a pedum.
The skin of a wolf is thrown over his left arm. This
patera is marked 76. Diameter, eleven inches and a
half. From the collection of Sir William Hamilton.
Another votive patera, with a bas-relief on each
side; one representing a mask of the bearded Bac-
chus, and the other a panther, with a thyrsus. On
a border round the head of Bacchus are the words
NEvivs. Po. T. A. CAP. Diameter, eight inches and a
half: also from the collection of Sir William Hamil-
ton. It is numbered 82.
TOWNLEY GALLERY. 299
CHAPTER XXIII.
INSCRIPTIONS.
Room III. No. 36.
WE shall copy Mr. Combe’s account of this marble.
The inscription is also given by Boeckh, in his Cor-
pus Inscriptionum Graecarum, tom i. fol. Berolini,
1828, p. 392.
It is a Greek Inscription upon the convex side of a
large circular shield. It contains the names of the
Ephebi of Athens under Alcamenes, when he held
the office of Cosmetes.
The Ephebi were a select number of young men
from different parts of Attica, who, at the age of
eighteen", devoted themselves to the service of
their country. At that period they were considered
as having attained the rank of citizens, and, until
they reached the age of twenty years, were intrusted
with the office of guarding the city of Athens.
During these two years they were under the care
and superintendence of a prefect or cosmetes *, who
instructed them in the art of war, as well as in
different gymnastic exercises. When this period of
military education was completed, they entered more
fully into the profession of arms, and were then
liable to be sent on foreign service”. The oath by
which they bound themselves to perform their duties,
* Oi 'Eſpágoſ ºrać 'Aénvaious ºxiraxalºaxas'rtis yºvovºrzi, xzi ºvovow
#y roi; pågous Érn 240. Harpocration, Lex. v. triºisºrss.
* Koeunrēs (x:yogºw) ris 'Eſpågøy siragles reoyootºros. Ero-
tiani Lex. Hippocr. v. xào.gov.
* Ulpian, in Demosth. Olynth. III.
300 THE BRITISH M USEUM.
and protect the interests of their country, is still ex-
tant *.
The names of the Ephebi are inscribed in four
columns, ranged in the order of the tribes to which
they respectively belonged. Beneath these are four
other columns, containing a list of names placed
under the head of EIIENTPAd OI. We have no
certain knowledge as to the meaning of this last
word, but it has been inferred, from a consideration
of this and other similar monuments, that the
ETIENTPAJOI comprehended the names of those
young men, who, having been recently added to the
list of Ephebi, were entering upon the first year of
their service ".
The greater part of the border or outer rim of the
shield has been broken off; but the small portion
still remaining shows that it has likewise been in-
scribed. The words which remain are,
• - - - OPOXAAKHX AIENEXANXEMA - - - -
From the number of Roman names which occur
in this list, it is obvious, Mr. Combe says, that the
inscription was executed in the time of the Roman
emperors; and, as the tribe of Hadrianis is inserted
amongst the others, it is certain that it could not have
been engraved prior to the reign of Hadrian. Mr.
Combe inclined to think that it was not executed
till after the time of Marcus Aurelius.
This marble was procured at Athens, about the
year 1748, by Dr. Anthony Askew. He discovered
it in a church in that city, and was informed by the
people of the place that it had been removed from
the Parthenon.
An incorrect copy of this inscription was published
... “Jul: Pollux, lib, viii, c. ix. segm. 105. See also Stobaci de
Rºpºlics Serm. xli.
Compare Corsini, Fast. Attic, tom. iv. prol. p. xv.
TOWN LEY GALLERY. 301
by Corsini in his Fasti Attici, tom. iv. prol. p. 9;
but it is evident that he could never have seen the
original, from the circumstance of his describing it
as being engraved on two columns.
The diameter of the inner circle is two feet seven
inches and a half; fragment of the outer circle, two
inches and a half.
Boeckh differs slightly in the reading of some of
the names of this inscription. Several similar in-
scriptions are given in the “Marmora Oxoniensia,”
on marbles brought from Greece by Sir George
Wheler.
A correct copy of this Inscription, which is of con-
siderable length, will be found in the Appendix to
the present volume.
Room XI. No. 26.
A Greek Inscription, being a decree of the people
of Athens and of the Piraeus, in honour of Calli-
damas. It was brought from Athens by Dr.
Chandler, and was presented to the British Museum,
in 1785, by the Society of Dilettanti. It is published
in Chandler’s “Inscriptiones Antiquae,” accompanied
by a copy in the modern cursive Greek character, and
a Latin translation".
Room XI. No. 5.
A sepulqhral Monument to Cassiodorus : it is
much defaced. Two female figures are represented
upon it, reclining on a couch; another female is
seated on a chair by the side. It is inscribed with six
elegiac verses in Greek. What remains appears
to be :
* Chandler, *cviii. pp. 72, 73. See also Boeckh's Corpus
Inscript. Graecarum, fol. Berol. 1828, vol. i. p. 439.
302 THE BRITISH MUSEUM.
NTM#IAIO'Y'6AA - - MOIOAIIIQNATXIIEN6EAKOXMON
KAITONEQNOIK - - IQNAAK - TOENTAAOMOI
KEIMAIEX - - - - ANPOTXKAIAAAHIIEAXAIAOXETNA X
EIKOXII - - XIXAPIEXQNKAXXIOAQPOXETH
AIIAHz NOTX - - - MEXTNHPIIAXEMOTNOETI
- - IIIAXONKOTPHNAIIIQTIIHEAION.
Room XI. No. 51.
A Greek Inscription in uncial characters, which
originally formed part of the pedestal of a statue of
Jupiter Urius, within a temple erected to that deity
at the mouth of the Black Sea. The hollow which
received the statue still remains in the upper part.
Spon and Wheler saw it inserted in the wall of a pri-
vate dwelling at Chalcedon. They both copied it, but
differed from each other in their readings. It was af-
terwards published by Chishull, in his “Antiquitates
Asiaticae,” fol. Lond. 1728, p. 59; by Bonada, in his
“Anthologia,” 4to. Rom. 1751, vol. i. p. 73; by Fleet-
wood, in his “Sylloge,” p. 53; in the “Supplement
to Muratori,” tom. iv. p. 7; and, lastly, by Osann in
his “Sylloge Inscript. Antiq. Graec. et Lat.," fol.
Lips. 1834, p. 228 ; but by every one of them im-
perfectly. Taylor, who has also published this inscrip-
tion in his “Commentarius ad L. Decemviralem de
inope Debitore in partis dissecando,” 4to. Cambr.
1742, gives it the name of “Marmor Bosporanum
Jovi Urio sacrum.”
The following is a correct copy of this inscription,
which we have given in the ordinary printing cha-
racters :
Ovetov ex revºwns ris 32nynºrneo. zoº. Asura
Çnvo. 22 to reorovoy irriov exºrs roads
sur’ fºr, ºvavsø; 3ivas 360aos eySo, roasièay
x22zvXoy sixtao's avao, ºro.62 ºbozºo. 9ous
sure zoºr' atyczny arovrov ºrwazz vorrow sesvyaz.
zºva robs Øaxay parta, raga, àozvan
dºs roy evavirn roy as Stov avºrazorgou arous
orna's pixoy aya3ns ovg|30Åoy swºrxoins.
TOWNLEY GALLERY. 303
It may be thus interpreted:
“The mariner, spreading his sails, and having called on
Jupiter Urius to be his guide, whether his voyage be to the
Cyaneae, where Neptune rolls the swelling water on the sands,
or whether he' traces his return into the AEgean Sea, let him
proceed when he has offered his cakes of meal to this statue.
Philon, the son of Antipater, placed it here, the token of a
prosperous voyage.”
This inscription was brought to England by Dr.
Murdoch Mackenzie, a physician, and the Rev.
Thomas Payne, chaplain to the merchants at Con-
stantinople, and was by them presented to the cele-
brated Dr. Richard Mead, whose grand-daughter, Miss
Mead, presented it, in 1809, to the British Museum.
If the Philon mentioned in it is intended for the
sculptor who made the statue, as has been conjec-
tured", he was probably the same who made that
of Hephæstion, and who lived in the time of Alex-
ander the Great. Osann inclines to the belief that
Philon, the son of Antipater, is recorded simply as
the person at whose expense the statue of Jupiter
Urius was erected, and that he was probably the son
of some rich merchant of Athens, who was in the
habit of navigating the Bosphorus.
The statue to which this inscription appertained
stood inviolate till the time of Cicero. It was one
of those which Verres had seized upon to enrich his
Gallery of Sculpture. Cicero, in the Accusation against
Verres, which is called “DE SIGNis,” says expressly,
“Quid ex aede Jovis religiosissimum simulacrum
Jovis imperatoris, quem Graeci VRION nominant,
pulcherrime factum, nonne abstulisti” “Did you
not take away the sacred statue of Jupiter, which the
Greeks call Urius, from the temple of that god?”
He afterwards designates it still more pointedly,
1 See Sillig, Catalogus Artificum, 8vo. Dresd, et Lips. 1827,
pp. 350-l.
304 “T H E B R [TIS H M U S E U M.
when stating that there were but three statues of
Jupiter Imperator in the world, sculptured to the
same model: one in Macedonia, which had been
brought to the Capitol by Flaminius ; the second
in the straits qf the Bosphorus at the mouth of the
Eu vine, the very statue we are speaking of; and the
third at Syracuse; this àlso had been seized by
Verres °.
Pomponius Mela mentions the temple in which
this statue of Jupiter Urius stood, and speaks of Jaso
as the founder. - Some of the commentators con-
sider Jaso and Jason as the same person ; they con-
clude that Jason founded the temple in his return
from Colchis °. The whole passage from Mela will
be found in the note below'°, and it forms a comment
on one part of the inscription.
* * Etenim tria, ferebantur in orbe terrarum signa Jovis
imperatoris uno in genere pulcherrime facta: unum illud Ma-
cedonicum, quod in Capitolio videmus; alterum, in Ponti ore
et angustiis ; tertium, quod Syracusis ante Verrem prætorem
fuit. lllud Flamininus ita ex aede sua sustulit, ut in Capito-
lio, hoc est, in terrestri, domicilio Jovis poneret. Quod autem
est ad introitum Ponti ; id cum tam multa ex illo mari bella
emerserint, tam multa porro in Pontum invecta sint, usque ad
hanc diem integrum inviolatumque servatum est. Hoc tertium,
quod erat Syracusis, quod M. Marcellus armatus et victor vi-
derat : quod religioni concesserat: quod cives atque incolae
Syracusani colere, advenae non solum visere, verumetiam ve-
nerari solebant: id Verres ex templo Jovis sustulit.” Cic. in
Verrem, lib. iv. De Signis, Orat. ix. § 58.
° See the Notes to Tzschvckius's edition of Pomponius,
Mela, vol. ii. pt. i. p. 576. -
10 ** Deinde priores erræ iterum jacent; exiturique in Pon-
tum pelagi canalis angustior Europam ab Asia stadiis quinque
disterminat, Thracius (ut dictum est) Bosporus. Ipsis in fauici-
bus oppidum, in ore Templum est: oppidi momen Calchedon,
auctor Archias Megarensium princeps ; templi numen Jupiter,
conditor Jaso. Hic jam sese ingens Pontus aperit ; nisi quâ
promontoria sunt, huc atque illuc longo rectoque limite exten-
tus, sinuatus cetera, sed (quia contrà minùs, qua ad lævam et
TOWNLEY GALLERY. 305
Cellarius, “Notitia Orbis Antiqui,” edit. Lips.
1731, tom. i. p. 1076, mentions this temple of Jupiter
Urius, from Arriam. Dr. E. D. Clarke's Travels,
edit. 8vo, Lond. 1816, vol. ii. pp. 438-9, 441, point
out its site.
Room XI. No. 52.
A very ancient Greek Inscription, known by the
name of the “Marmor Atheniense.” It was brought
to England by Dr. Chandler, and was presented to
the British Museum, in 1785, by the Society of
Dilettanti. It is the record of a public report, made
by a commission, consisting of two inspectors (étwo-
Tārat), an architect, and a secretary, who had been
appointed by the people of Athens to take an account
of the parts of a building which were then finished,
and of those which remained unfinished. The
building is mentioned by no particular designation,
but is described as “the temple in the citadel, in
which was the ancient statue,” and which was, without
doubt, the Erectheium. The report is dated in the
archonship of Diocles, who held that office in the
third year of the ninety-second Olympiad, which was
the twenty-third of the Peloponnesian war, or the
year before Christ 409.
Dr. Chandler failed in the reading of several parts
of this inscription; but a correct copy in the modern
character, with a translation of it, was printed by Mr.
Wilkins in his Atheniensia, 8vo. Lond. 1816, p. 193-
218; and again, by the same gentleman, still more
dextram abscessit, mollibus fastigiis, donec angustos utrinque
angulos faciat, inflectitur) ad formam Scythici arcus maxime
incurvus : brevis, atrox, nebulosus, raris stationibus, non molli
neque arenoso circumdatus litore, vicinus aquilonibus, et quia
non profundus est, fluctuosus atque fervens: olim ex colentium
Saevo admodum ingenio Axenus, post commercio aliarum gen-
tium mollitis aliquantùm moribus, dictus Euxinus.” Pomp.
Melae de Situ Orbis, lib. i. c. 19.
306 THE BRITISH MUSEUM.
perfectly, in the memoirs relating to European and
Asiatic Turkey, edited by the Rev. R. Walpole, 4to,
Lond. 1817, p. 580-603, in which the original is given
in fac-simile, a copy of the inscription divested of its
archaisms, an English translation, and a commentary:
to this work the reader is referred ".
This inscription, as belonging to an early period of
the Greek language, is one of great importance to
scholars. +.
Room XII., under No. 2.
An Epitaph upon a Dog, named Margaret, from
the collection of Sir Hans Sloane. It is unquestion-
ably modern, although there is an attempt at the
archaic manner in the forms of some of the letters:
GALLIA 2 ME • G ENVIT • NOMEN e MIHI • DIW IT IS • UNDAE
CONCHA . DEDIT , FORMAE • NOMINIS ... APTUS • HONOS
I}OCTA e PER INCERTAS · A VDAX • DISCVRRE RE SILVAS
COLLIBWS . HIRSUTAS , ATOVE . AGITARE . FERAS
NON - GRAVIBVs . VINCLIS. VNQVAM . CONSUETA . TENERI
VERBERA . NEC . NIVEO ... CORPORE • SAEVA . PATI
MOLLI . NAMQVE . SINU. . DOMINI · DOMINAEQUE . JACEBAM
ET • NORAM - IN STRATO e LASSA e CUBARE • TORO
ET • PLWS - QUAM . LICUIT . MUTO . CANIS . ORE . LOQUEBAR
NULLI - I, ATRATUS • ‘PERTIMVERE • MIEOS .
SED - JAM - FATA , SWBII • PARTU , IACTATA . SINISTRO
QUAM - NUNC - SUB . PARVO . MARMORE • TERRA . TEGET
MARG ARITA,
* See also Boeckh, Corpus Inscr. Graec. fol. Berol. 1828,
vol. i. p. 261-286; and Hug. Ia. Rose, Inscriptiones Graeca,
Vetustissimae, 8vo. Cantabr. 1825, class iii. sect. i. Inscr. viii.,
where it is also engraved in fac-simile, and the version in mo-
dern characters given, accompanied by a Latin translation,
and a very extended commentary, pp. 145-208.
TOWNLEY GALLERY. 307
CHAPTER XXIV.
MISCELLANEOUS ANTIQUITIES,
Room XI., upon No. 17.
§
sº
§ sº º
Hºnº
A TRoPHY, found upon the plains of Marathon. It
was presented to the British Museum, in 1802, by
John Walker, Esq. ~
W









308 THE BRITISH MUSEUM.
Room XI. No. 29.
An ancient Bath-chair, or Sella Balnearis, of coarse
marble, called pavonazzo'; much injured by expo-
sure to the weather. Its greatest height at the back
is two feet; its width in front twenty-one inches.
In the centre of the seat is a hollow space, or per-
foration, in the form of an extended horse-shoe,
* Ficcoroni, in his Gemmae Antiquae Litteratae aliaeque
rariores, 4to. Rom. 1757, p. 145, gives an account of the names
and colours of the different ancient marbles. The pavonazzo,
or pavonazzetto, was so named from its marks resembling those
upon the peacock's tail.

'TOWN LEY GALI, ERY. 309
serving a double use, either for water to be poured
upon the person sitting in it, or to receive steam or
vapour from beneath. .r
On each side of the exterior a wheel is worked in
relief, in imitation, no doubt, of such wheel-chairs as
were at that time executed in wood, resembling in
some degree the chairs of this day, which are placed
on wheels for the use of lame persons.
This sort of chair, as used in baths, is particularly
described in Cassiodorus's “Variae”.”
This chair was found in the part of the Antonine
Baths formerly belonging to the Jesuits, and was
brought to England by Mr. Lyde Browne.
There was another sort of chair used in the baths,
in which the patient received the strigil. This kind of
chair is engraved in Boissard, part ii.
Room XII., on shelf No. 19.
º: ~ } §
*uuuu \) Q) ' s st
sº
§
º' Sº ~ {\ }º
*ANNY)), º
\! º (*!.
* {}
Mºhſ.
§sº
The Head of a Goat.
* In a letter from King Theodoric to Aloisius, his architect,
concerning the separation of the baths at Aponus :
“Praestat et aliud adjutorii genus visilla medicabilis: nam
juxta caput fontis scintillosi, quendam sibi meatum provida
Natura formavit. Hinc desuper Sella composita quæ humanis

3.10. THE BRITISH MUSEUM.
Room XI., beneath the Shelf No. 43.
A semicircular Sun-dial, hollow; supported by
two heads of lions, each resting on a single foot,
similar to the support of a tripod table. It stands
rather more than twenty inches high : is eighteen
inches in diameter at the upper part, and fourteen
inches at the base.
Lumisden has some observations on the Roman
sun-dials, and the manner in which that people
computed their hours. He says, “On the authority
of Varro, Pliny” informs us, that the first sun-dial
set up for public use at Rome was brought from
Catania, in Sicily, by the consul M. Valerius Messala,
in the year U. c. 491, and was placed on a column
near the rostra; but as this dial had been projected
for a more southern latitude, it did not show the
hours with exactness. However, such as it was, the
Romans regulated their time by it, for the space of
ninety-nine years, when Q. Marcus Philippus, who
was censor with L. Paulus, caused another dial, con-
structed for the latitude of Rome, to be erected near
the old one. But as a sun-dial did not serve in
cloudy weather, Scipio Nasica, five years after,
remedied this defect by introducing a method of
dividing the night as well as the day into hours, by
means of a water-machine, a clepsydra, which Pliny
calls an horologium.” “I do not indeed conceive,”
he adds, “how a sun-dial, or any other instrument,
necessitatibus in absidis speciem perforatur, aegros suscepit
interno humore defluentes: ubidum fessinimio languore con-
sederint, vaporis illius delectatione recreati, et lassa viscera
reficiunt, et humores noxia infusione laxatos, vitali ariditate
constringunt: ut quasi aliquo desiderabili cibo refecti, valen-
tiores queant protimus inveniri. Sic medicabili substantiae
venit a sulphure quod calet, a salsedine quae desiccat.” Cas-
siod. Variarum Libri xii. 8vo. Lugd. 1595, p. 124, lib. ii. c. 39.
* Hist. Nat. lib. vii. c. 60.
* See Vitruvius, lib. ix, c. 9.
TOWN LEY GALLERY. 3.11
could point out the various hours, as time was com-
puted by the ancient Romans. The time the earth
takes to revolve once round its axis, or the space
between the rising of the sun till its next rising,
which makes a day and a night, divided into twenty-
four equal parts, we call hours. Now, the Romans
divided the day and the night into twenty-four
hours. Twelve of these, from the rising of the sun
to its setting, constituted their day; and the other
twelve, from the setting of the sun to its rising, con-
stituted their night. Thus, as the seasons changed,
the length of their hours must have varied. In
winter the twelve hours of the day were short, and
those of the night long : in summer they were the
reverse. How then could these hours of an unequal
length, and which daily varied, be measured by an
instrument I have not been able to discover any
method by which this could be done. However,
they had two fixed points, namely, mid-day and
midnight, which they called the sixth hour. So that
a meridian line would always point out the sixth
hour, or mid-day ".”
Room XII., in the Case No. 8.
A votive Horn, in marble, two feet long. It was
found by Mr. Gavin Hamilton, about the year 1778,
at Cornuazzolo. It is marked 35.
Room XII., in the Case No. 13.
A Head of an Eagle, which appears to have served
as the hilt of a sword. From the collection of Sir
William Hamilton. It is marked 81.
A fragment of a Serpent, in dark marble. Marked
83. -
One of the Handles of a Vase. From the collec-
tion of Sir William Hamilton. It is numbered 62.
* Lumisden's Remarks on the Antiquities of Rome, 4to,
Lond. 1812, pp. 264-5.
312 THE BRITISH MUSEU M.
Room XII., in the Case No. 8.
A votive Barrel, sacred to Bacchus, about ten
inches high. On the bottom is engraved this in-
scription :
DION VSIO
LIBER () SANCTISSIMO
M. L. KOTTA . CENEX.
V. P. V. S.
HAERES . HVC . QVOT.
AN NIS . FAI, EIR NI - AM -
PHORAS - II. EX. TEST.
FVN DITO
This Barrel is marked 33. -
In the same case is another of the same dimen-
sions, bearing an inscription in the same words,
written not upon the bottom, but on the front of the
barrel.
Room XII., under No. 16.
A Labrum or Cistern, of dark green basalt, which,
from a perforation at the bottom, appears to have
been used, at some time, as a bath. The upper edge
is curved, and two rings, in imitation of handles,
are carved on each of the sides ; and, in the centre
of each, a leaf of ivy.
This cistern is six feet in length, two feet ten
inches in width, and one foot seven inches in depth.
From the upper edge to the bottom its form recedes.
Its length at its base is only four feet.
By the will of Christina, queen of Sweden, who
once possessed it, it passed to the Museum of the
Duke of Odeschalchi, from whose heir, the Duke of
Bracciano, it was purchased in 1776.
Room XII., beneath No. 5.
An oblong-square Basin of dark granite; three
feet seven inches in length, twenty inches wide, and
one foot in depth: the sides supported by orna-
TOWN LEY GALLERY. 313
mented pilasters, which rest on plinths of eagles’
feet, in dark variegated marble. It stands two feet
nine inches and a half in height.
This kind of basin was used anciently in temples,
to contain the water necessary for the purification
of those who sought admittance to the sacrifices.
Three, similar to this, have been found in porphyry;
one, discovered in Agrippa's Pantheon, is now placed
in the Church of St. John Lateran at Rome; another
is in the Borghese Palace; and the third, which was
in the collection of Count Caylus, who engraved it in
his Antiquities", now stands in the Church of St.
Germain l'Auxerrais at Paris, where it is adapted as
a mausoleum for the Count, with the addition of a
modern cover 7. This basin was purchased, with the
preceding article, from the Odeschalchi collection in
1776.
Labra were also used in the baths. In those of
Caracalla, we are told, there were sixteen hundred
marble seats, besides the labra, or bathing-tubs of
granite and porphyry, for the use of those who
bathed there. Two of these labra of granite are
mentioned by Lumisden as serving for the fountains
in the Piazza Farnese”.
Cicero, writing to his wife Terentia, and request-
ing that all may be prepared at the Tusculan Villa
for himself and friends, says, “Labrum si in balneo
non est, ut sit: item caetera quae sunt ad victum et
ad valetudinem necessaria”.”
* Recueil d’Antiquités, tom. vii. pl. lxvi.
... " See Dallaway's Anecdotes of the Arts in England, p. 336,
º Caylus, Recueil d’Antiquités, 4to. Par. 1767, tom. vii.
p. 236. *
* Lumisden's Remarks on the Antiq. of Rome, p. 178.
* Epist, ad Familiares, lib. xiv. Epist, 20, ex recens. Graevii,
Amst. 1689, p. 471.
vol. 11*. T.
314
THE BRITISH MUSEUM.
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Stuart, Antiq. of Athens, vol. iii. p. xiii., says, “Here are several
ruins, though without form, and some tolerable sculpture, some sepulchral inscriptions, with Lamptreus on
scription, on which is Agargo. It is about three miles, or three miles and a half, from
* Lampra, a small village near Athens.
them, and another in
the sea-shore.”
É
Erectheidis.
Aur. Demetrius.
Isitychus Zopy.
Zopyrus. , -
Zosimianus Soph.
Phanias Mystici.
Heraclides.
AEgeidis.
Megistodorus.
Carpus.
Leontidis.
Apelles Aphrod.
Eutychianus Aphro.
Asclepiades Apo.
Diocles, quiet Tryph.
Leonides Zosi. . . .
Zosimus.
Isidotus Herm.
Euphrosymus Herm.
Ptolemaidis.
Titus.
Nicostratus.
Timocrates Nico.
Zopyrus Nico.
Aur. Pautaenus.
ALCAMENE COSMETA. EPHEBI.
Sympheron Melis,
Melissus.
Logus.
Euelpistus.
Xenocles Onesi.
Acamantidis.
Criton.
Nicon Eutych.
Chrysanthus Sosi.
Athenaeus Euc.
Hadrianidis.
Cl. Protagoras.
OEneidis.
Isidotus.
Alexander Eut.
Ammonius.
Diphilus Aphro.
Pharnaces Eleu.
Macrinus Philo.
Aphrodisins Phil.
Cecropides.
Eperastus Athenio. Me.
Cl. Paulinus.
Cl. Rhetoricus.
Hymenaeus Metr.
Aphrodisius.
Iatrocles.
Agathopus.
Hippothoontidis.
Theophanes Philerotis.
Philocrates.
Diophantus Phil.
Eucrates Phil.
Theophanes.
Aphrodisius.
Eupuristus.
AEantidis.
Stephanus Tro.
Milo.
Serapiacus Euc.
Phoebus Doryph.
Doryphorus.
Cla. Caius.
Agathocles.
Zosimus Aga.
Artemidorus A.
Antiochidis.
AEl. Dionysius.
Cla. Nymphius.
Heliodorus Arc.
Solon Arcoly.
Proctoctetus.
Diophantus Dion.
Thrasybulus.
Attalidis.
Pu. AEl. Diphilus.
Publius Tauge.
Anticosmetà vero usus non
sum, quoniam in lege de
isto nihil scriptum erat;
et praesertum filio usus
sum in hanc curam,
M. Aurelio
Alcamene Lam-
prensi.
#

.
Adscriptitii.
Cla. Onomastus.
Philinus Mystic.
Nicephorus Euasta. Eutychianus.
Adscriptitii.
Peregines Hygin.
Agatho.
Hermophilus Eud. Er.I)ositheus.
Pomp. Maro.
Olypicus.
Aphrodisius.
Isidotus Dio.
Botrys.
Thiasus.
Smyrnus.
Palymedes.
Damas.
Corymbus.
Heraclides.
Eugnomon.
Neanthes.
Isidotus.
Isidorus.
Maro.
Epaphras.
Eutyches Ca.
Primus.
Zosas Pri.
Epictas.
Atticion.
Zeno.
Pinus.
Nico,
Cla. Soterion.
Artemidor.
Soterichus.
Zosimus.
Demetris.
Cla. Onesimus.
Smaragdus.
Adscriptitii.
Maximus.
Apolloni.
Plato.
Eucarpas.
Eutychas.
Leo.
Posphorus.
Dionysius.
Zopyrus.
Marcus.
Euphranticus.
Cl. Eutyches.
Athenion.
Symphorus.
Panthion.
Aphrodisius.
Eucarpas.
Artemas.
Theodotus.
Artemidoro.
Soterichu.
s
I N DEX.
ABA. in Phocis, ii. 158
Abascantus, Silius, ii. 234
Abeita, sepulchral slab for, ii. 165
Acanthus mollis, ii. 224 -
Achilleae, images of persons so called, ii. 56
Achilles, Bust supposed to be intended for, ii. 56; Bas-relief
of, amongst the daughters of Lycomedes, ii. 176, 177; a
Bas-relief of the same subject in the Villa Belvedere at
Frascati, ii. 176; detail of the story represented in the
Bas-relief, iii. 13%, isi ... } -
Actaeon, statue of, seized by two of his dogs, in the Townley
Collection, i. 294,295, 299 ; his story differently told, i.
294 ; names of his dogs, i. 299
Adair, Dr., purchases two busts of the bearded Bacchus found
at Baiae, in 1771, and brings them to England, i. 336
Adonis, or Mercury, supposed statue of, in the Townley Col-
lection, i. 426; bust of, in the Townley Collection, for-
merly in the Villa Montalto, i. 340, 341; festival of, and
fable relating to, ibid.
AEgae, in Macedonia, ii. 158
AEgina, one of the great manufactories of candelabra under
the Romans, ii. 77 -
AEgis and Lorica, appropriate uses of the names of, i. 257,
note -
AElius Caesar, Bust of, ii. 42; the son of Cejonius Commodus,
ibid.; title of Caesar, said to have been first used by him as an
adjunct to the presumptive successor to the empire, ibid.;
his death, ibid.; terms in which Hadrian expressed his
320 INDEX.
grief for the loss of Ælius, ii. 43; a Head of Ælius
preserved at Ince-Blundell, bought out of the Villa
Mattei, ibid. - -
AEschylus, according to Horace, the inventor of the theatrical
mask, ii. 69; Pausanias speaks of him as the introducer
of hideous masks in his Eumenides, ii. 70
AEsculapius, statue of, by Assalectus, i. 159; Hippocrates one
of the descendants of, ii. 18; a naked foot sometimes a
votive offering to, for a cure, ii. 65; altar to, with Fortuna
Redux and Salus, ii. 283
Agasias the Ephesian, the sculptor of the Gladiator of the
Borghese collection, i. 32, 42, 159
Agatha, Agria, sepulchral cippus for, ii. 270
Agatha, T. Sex, sepulchral urn for, ii. 244
Agathemotaros, inscription of, to Asilchus his comrade, ii. 166
Agave, the priestess of Bacchus, representations of in bas-
relief, with her story, ii. 80, 81 -
Ageladas, of Argos, i. 14; works of, enumerated by Pausanias,
i. 15; epigram in the Anthologia ascribing the statue of
a muse to him, ibid. note *
Ager Romanus, in the vicinity of Rome, sepulchral urn from
the, ii. 257
Agesander of Rhodes, i. 27
Agoracritus, i. 14
Agrigentum, figure of Apollo from the temple of Æsculapius
at, i. 34
Agrippa, pantheon of, i. 40
Aicimus, the servant of Tiberius Claudius Livianus, marble
#. dedicated by, to Mithras, in the Townley Collection,
i. 28
Ainslie, Sir Robert, account of a Head of Jupiter Serapis, in
basalt, formerly belonging to, i. 311
Alabaster, vases of, of great beauty, in the Townley Collec-
tion, ii. 247, 248, 249 ; the best, whence furnished, ii. 249
Albani, Cardinal Alessandro, i. 56,254; marbles of the collec-
tion formed by him referred to, i. 98, 104, 133, 159, 254,
335; ii. 53, 97
Albano, marbles found near, i. 351 ; ii. 6
Alcamenes, inscription containing the names of the Ephebi
who were under the care of, when Cosmetes, ii. 299
Alcamenes the sculptor, i. 14; statue of Hecate made by, for
the Athenians, i.293
Aldborough, Roman road from, into Lancashire, ii. 288
Alexander, a native of Bithynia, sepulchral monument for,
from Smyrna, ii. 164
INDEx. 321
Alexander the Great, his order that no artist but Apelles
should paint him, Pyrgoteles engrave gems of him, or Ly-
sippus make statues of him in brass, i. 24; a figure of
Hercules, his table-deity, i. 25, note *; consults the Py-
thian oracle before he waged war against the Persians,
i. 135; his admiration of and visit to Diogenes, ii. 11
Alexandria, Sir Thomas Roe's account to the Duke of Buck-
ingham of a statue of a negro in black marble at, i. 64
Alexis, i. 14
Algardi, his injudicious restoration of the Iaughing Faun of
the Townley Gallery, i. 180
Aliphera, ii. 158
ALTARs, ii. 271–284; original positions of, and modes of using,
ii. 27 l ; forms of the Greek and Roman altars, ibid.; modes
of consecrating, ii. 272; hung with wreaths of flowers
on festivals, ibid.; privileges of, ibid.; the most ancient
were adorned with segments of circles called horns, ibid.;
sanctity of, how long preserved inviolate, ii. 272,273; pri-
vate and domestic altars, ii. 273; sculptures and inscrip-
tions of, ibid.; instruments and vessels of sacrifice often
occur upon, ibid.; ornamented with Egyptian figures, ii.
274; bearing Greek inscriptions found in England, ii.
280; altar to Apollo, ibid.; to Astarte, the Syrian goddess,
ii. 281; to Bacchus, ii. 275; to the Bona Dea Ananiensis,
ibid.; to Diana, ii. 278; with an inscription for the safe
return of Septimius Severus and his family from some
expedition, ii. 279; to Mithras, found in Cumberland, i.
289; to Silvanus, ii. 278; of Venus at Paphos, ii. 271;
inscribed XOKIAETX, &c. ibid.; ornamented with the
heads of bulls, ii. 278; account of various Roman altars
found at King’s Stanley in Gloucestershire, ii. 282
Amastris in Paphlagonia, portrait of Homer upon the coins of,
i.344; these coins ascribed by Visconti to the time of
the Antonines, ibid.; engraving of a coin of Amastris, i.
345
Amazon, Head of a, i. 342
Amazonia securis, or battle-axe of the Amazons, ii. 192
Amazons, recumbent, marble Bas-relief of, in the Townley
Collection, ii. 191
Amazons and Griffins, terracotta Bas-relief of a combat be-
tween, i. 86
Ammonius, one of the sculptors of a monkey of basalt in the
Capitol, i. 161 •; .
Ampelus, terracotta Bas-relief representing him as rising from
the stem of the vine, i. 104; marble group of Bacchus
and Ampelus, i. 299–302; story relating to, ibid.
322 INDEX.
Amphora, ancient, with an inscription, described by Dr. Hen-
derson, i. 153; the term of, now applied to vessels of dif-
ferent forms and capacities, i. 155; one filled with fine
African sand used by the athletae in their exercises, found
in 1772 in the baths of Titus, i. 156
Amphorae, and other vessels included in the name, account of,
i. 152–156; derivation of the name, i. 152; difference be-
tween the Attic and Roman amphorae, ibid.; used to
preserve olives in, ibid.; model of the amphora kept in the
Capitol, i. 153; produce of a vineyard estimated by the
number of amphorae which it would supply, ibid.; in-
stances of, with inscriptions, ibid.; earthen, of the Roman
time, occasionally found in England, i. 154; amphorae
seen upon the coins of Chios, ibid.; occur on the silver
coins of Athens, i. 155
Anagnia, now Anagni, city of, i. 276, note *
Andro-Sphinx, representations of the, in a terracotta Bas-relief,
i. 122
Angerona, a female statue, in his collection, so named by Mr.
Townley, i. 174; not likely to be represented “nudo et
intecto corpore,” i. 179 -
Anglo-Roman Altars, ii. 280
Anglo-Roman Sepulchral Urns, ii. 260, 261
Anniolena, inscription for, ii. 232
Antaeus, i. 15 ..
Anthologia, epigram from, upon the towns which claimed the
birth of Homer, i. 346, note *; epigrams in the, illus-
trative of ancient marbles, i. 17, 18, 22; ii. 100
Antinous, the favourite of Hadrian, colossal Bust of, ii. 40, 41;
most noted busts of, where found, ii. 41, note 7° ; statue
of, found on the Esquiline Hill, i. 54
Antiochus of Athens, the sculptor of a statue of Minerva, i.
159
ANTIQUITIES, MIscELLANEous, ii. 306–312
Antium, discoveries of the Apollo Belvedere, and the Gladiator
of the Villa Borghese, in the ruins of Nero's palace at, i.
55, 159 - &
Antonine Baths, marble chair in the Townley Collection found
in a part of the, ii. 308
Antonine Column, i. 47 . .
Antonines, time of the, most remarkable for the character and
high finishing of heads intended as portraits, i. 46
Antoninus Pius, statues and other remains of sculpture found
in the ruins of his villa at Lanuvium, i. 46, 49, 189, 190,
253, 289, 299, 302, 303; ii. 78,79, 84, 214; orders the
ashes of the Emperor Hadrian to be removed from Pu-
INDEX. 323
teoli to Rome, i. 259; medallion of, on which Hercules
and the nymphs Hesperides are represented, i. 276; ac-
count of the Bust of, in the Townley Collection, ii. 43;
short notice of his life and death, ii. 44; Bust of, at
Paris, in the character of Frater Arvalis, ii. 45
Apis, figures of, on the sides of altars of Roman work, ii. 271
Aplustre, form and position of the, in a Roman vessel, ii. 129
Apollo, statue of, which Mark Antony took from Ephesus, i.
18; figure of, from the Temple of Æsculapius at Agri-
gentum, i. 34; terracotta Bas-relief of a warrior consulting
him, i. 134; marble statue of, in the Townley Gallery, pur-
chased at the sale of the Duc de Choiseul Gouffier, i. 190,
197; bronze statue of, in the Townley Collection, i. 276,
277; statue of, in the Capitoline Museum, i. 321; ancient
Head of, supposed by Mr. R. P. Knight to have been
copied from a very early production of Greek sculpture in
brass, i. 321 ; colossal foot of, formerly Sir William Ha-
milton's, ii. 64; attributes of, represented on a candela-
brum, ii.83; ancient heads of, upon the silver tetradrachms
of Leontium in Sicily, i. 321, note *; had pastures and
cattle under his especial protection, ii. 119; Bas-relief of
a father and two sons consulting the oracle of, ii. 134, 135
137; oracles of, held the next in rank to those of Jupiter,
ii. 138; representations of, upon the reverses of coins
of the early Syrian kings, seated upon the cortina, ibid.
Apollo and the muses, a common representation on sar-
cophagi, ii. 175, 189; votive altar sacred to, ii. 274
Apollo Belvedere, statue of, where discovered, i. 41, 55
Apollo Didymaeus among Mr. Knight's bronzes in the Museum,
i. 31; Heads of, i. 321, 322; figures of griffins in the frieze
of the temple of, at Miletus, ii. 91
Apollo of Florence, commonly known as the Apollino, referred
to the age of Praxiteles, i. 24 -
Apollo Musagetes, terracotta Bas-relief representing Victory
pouring out a libation to, i. 98; Bas-relief of the same
subject in marble, ii. 112, 113; supposed Bust of Apollo
Musagetes, ii. 54; figure of, in the Bas-relief of the Apo-
theosis of Homer, ii. 119
Apollo Sauroctonos, statue of, now in the Vatican, ii. 24
Apollonia in Illyria, a cow suckling a calf, represented on the
coins of, ii. 115, 116
Apollonius, one of the sculptors of the toro Farnese, i. 159
Apollonius, the son of Nestor, one of the sculptors of the torso
of the Belvedere, i. 32, 158
Apollonius, Flavius, ii. 257
324 INDEX,
*Araúñºn (Apotheke), the name for the apartment in which the
ancients deposited their more durable wines, i. 153, 154,
note * - -
Apotheosis of Homer,i.41, note *; ii. 95; description of the
Townley marble of, ii. 119; explanation of its allegory, ii.
120; enumeration of authors who have commented upon
it, ibid, note *; ceremony of the deification of, ii. 126,
127; description of another monument in commemoration
of the Apotheosis, ii. 130
Apuleius, the first writer who relates the story of Psyche, i. 148
Aratus, Head of, ii. 15
Arcesilaus, i. 38
Arch of Titus, i. 43; at Ancona, of Trajan's time, i. 44; of
Septimius Severus, i. 47; of Constantine, ibid.
Archelaus, the son of Apollonius, of Priene, ii. 120
ARCHITECTURAI, Bas-RELIEF's AND FRAGMENTs, ii. 293-296
Ardea, a mould for casting Bas-reliefs found at, i. 71, note *
Arethusa, fountain of, visited by Mr. Charles Townley, i. 1
Argius, i. 14
Argo, terracotta Bas-relief in the Townley Collection, repre-
senting the construction of the ship Argo, i. 94, 95
Ariadne, the name given by Mr. Townley to the statue now
called Venus or Dione, i. 173, note * .
Aries, the Latin word, which signifies a ram, deduced by Isido-
rus from the Greek name of Mars, ii. 81
Arimaspi, terracotta Bas-reliefs of the contest between the
º and the Arimaspi, i. 87; story of the, explained, i.
89, 9
Aristeas and Papias, sculptors of the Centaurs in black marble
found at Hadrian’s villa, i. 159
Aristides, i. 14
Aristolaus, portrait of Pericles painted by, ii. 5
$6 Anº capta,” coin of Augustus bearing the legend of, i.
0
Arminius, the German chieftain, supposed to be represented in
an unknown Head in the Townley Collection, ii. 35 ; im-
portance which the Romans attached to the success of
their arms against, ii. 36 .
Artemidorus, surnamed Capito, ii. 10; sepulchral monument
for a person of the name of Artemidorus, ii. 172
Arts, fate of the, among the Greeks, i. 32, 33
Arundel, Thomas, Earl of, the first collector of Greek and Ro-
man statues in England, i. 58; notices concerning, i.
60, note *, 61; his bowels interred in the convent of St.
Anthony at Padua, i. 61; Sir Thomas Roe's correspond-
INDEX. 325
ence with him on subjects of antiquity, i. 61, 62,65; Mr.
Charles Townley maternally descended from him, i. 70;
his bronze of a Head then ascribed to Homer, i. 349; how
much esteemed by, i. 350
Aruntian family, sepulchre of the, ii. 226
Asclepiades, Ti. Claudius, Inscription by, to the Nymphs,ii. 153
Ashburnham, George, third Earl of, presents a bronze statue
of a Roman soldier to the British Museum, i. 273, 277
Ashtoreth, ii. 282, note *
Asilchus, sepulchral Bas-relief inscribed to, ii. 166
Askew, Dr. Anthony, marbles formerly belonging to, now in
the Townley Collection, ii. 29, 107, 300
Asopodorus, i. 14
Assalectus, the sculptor of the AEsculapius of the Verospi
palace, i. 159
Astarte, the Syrian goddess, altar to, ii. 281, 282; Milton's
mention of, ii. 282, note *
Astragalizontes, group of the, in marble, the first sculpture
possessed by Mr. Townley, i. 8; supposed to have been
copied, with some little variation, from a bronze group by
Polycletus, in the court of Titus's palace, known by the
same denomination, i. 16, 305; account of the Townley
group of the, i. 303-306
Athenaeus, i. 15
Athenian house, correct delineation of am, in the Bas-relief of
Bacchus received by Icarius, ii. 141
Athenodorus, the sculptor, i. 14, 27
Athenodorus, the son of Agesander, i. 159
Athens, seat of the arts transferred from, to Rome, i. 34; a
Cella at, mentioned by Pausanias as containing many
statues of clay, i. 73; bronze statue of Pindar before the
Portico at, i. 349; sums expended upon, by Pericles, ii. 5;
Head of Nero brought from, by Dr. Askew, in 1740, ii.
29; Bas-relief of Xanthippus brought from, by Dr. Askew,
ii. 107; sepulchral monument from, for Mousis, a native
of Miletus, ii. 170, 171; sarcophagus from, representing
the labours of Hercules, ii. 206; inscription on a circular
shield from, ii. 300; decree in honour of Callidamas from,
ii. 301; “Marmor Atheniense,” ii. 305
Athleta, votive Torso of am, in the Townley Collection of terra-
cottas, of the size of life, i. 82 w
Atimetus, urn dedicated to the memory of, ii. 228
Attalus, Greek artists seek refuge in the court of, i. 31, 33;
palace of, abounds in the finest statuary, i. 33
Attic Amphora, capacity of the, i, 152
vol., II*. U.
326 INDEx.
Attica, Silia, monumental urn for, ii. 234 ~,
Atticianus of Aphrodisias, the sculptor of the statue of Clio
in the Florentine Gallery, i. 160
Attis and Dionysus, held to be the same deity, i. 342
Atys, Head of, found in the Villa Palombara, ii. 19 ; shrine
of, at Dyme in Achaia, ibid.
Augustus, his patronage of sculpture indicated by Livy’s eu-
logium upon him, i. 39; Caligula threw down the statues
of eminent men erected by Augustus, ibid.; coin of, on
his conquest of Armenia, on which Victory is represented
sacrificing a bull, i. 290; Head of, ii. 21; account of, ibid.
22; his portrait, how known, ii. 23; pronounces the
funeral oration of Marcellus, ii, 25; Bust of, in the Vati-
can, crowned with a wreath of corn, ii. 45
Aurelius, Marcus, Bust of, in the character of Frater Arvalis,
ii. 44; the most remarkable man of all who ever possessed
the sovereign power of Rome, ii. 45; his statues and busts
numerous in ancient times, ii. 46, note *; Amazons
represented upon some of the coins of, ii. 192
Auriola, ii. 238
Ausonius, his inscription for a relievo of the Nine Muses, ii.
189, note 17
Autumn and Winter, figures of, represented in a terracotta
Bas-relief, i. 130
B.
B. M. F., meaning of, explained, ii. 243, note *
Bacchae, description of the, by Euripides, ii. 102
Bºulian Choral Procession, marble representing a, ii. 195,
01
Bacchanalian feasts represented on sarcophagi, ii. 175
Bacchanalian group, fragment of a, in bas-relief, ii. 156
Bacchanalian Procession, Bas-relief of a, ii. 108; the subject
not merely imaginary, ibid. 110
BAccHANALIAN VAses, ii. 209
Bacchante, Head of a female, ii. 62; a female Bacchante
represented on the base of a candelabrum, ii. 79; Bas-
relief of a, brandishing a knife, ii. 102
Bacchante and Faun carrying an infant Bacchus, terracotta
Bas-relief of a, i. 125
Bacchi et Ariadnae Chorus, ii. 201, note 28
Bacchus, terracotta Bas-reliefs relating to, i. 75,82, 86, 87, 93,
103, 115, 125, 129; terracotta Bas-relief representing the
bearded Bacchus with a Bacchante, i. 94; of the youth-
ful Bacchus bearing a thyrsus, a faun bearing an amphora
by his side, i. 103, 104; of Bacchus received as a guest
INDEX. 327
by Icarus, i. 129; Indian or Bassarian, the Liber Pater,
i. 129; the youthful and more elegant Bacchus, a later
type in Grecian sculpture, ibid.; Mr. Millingen’s remarks
on the bearded figures of Bacchus, ibid. note **; masks
of, in terracotta, i. 143; androgynous, bronze of, formerly
Mr. R. P. Knight's, i. 47, note *; statue of, by Lysa-
nias the son of Antiochus, i. 161 ; statue of, in the
Museo Chiaramonti, i. 216 ; statue of, represented as a
boy, found in the villa of Antoninus Pius, i. 253; why
called veggi?%aroxos, i. 301, note *; dºzólos, another epithet
applied to him in the hymns of Orpheus explained, ibid.
note *7; representation of the infant Bacchus upon a Bas-
relief, ii. 146; bearded Heads of the, in the Museum, in
terracotta, i. 333, note *; small terminal Heads of the
i. 337; Heads of the, mistaken for portraits of the philo-
sopher Plato, i. 337; figure of, in the Vatican, bearing
the word XAPAANAIIAAAOx on the drapery, i. 167; occa-
sionally represented by the ancient poets and sculptors
as androgynous, i. 338; his mysteries coupled with those
of Adonis, i. 341 ; Plutarch’s opinion that Adonis did, not
differ from Bacchus, i. 342; Head of Antinous in the
character of him, ii. 40; fragment of a marble mask of,
ii. 73; priestesses of, during the celebration of the Diony-
sia, ate the raw flesh of animals, ii. 102; Bas-relief in
marble of Bacchus received by Icarus in the garden of a
villa, ii. 140, 141; details of the story on which the Bas-
relief is founded, ii. 144 ; account of the Bas-relief named
by Mr. Townley the Funeral Car of Bacchus, ii. 190;
altar to, ii. 275
Bacchus Biformis, i. 339, note *
Bacchus Tauriformis, head of, ii. 254
Bacchus and Ampelus, account of the group of, in the Townley
Collection, i. 299–302
Bacchus and Cupid, group of, in a terracotta Bas-relief, i. 87
Bacchus and a Faun, Bas-relief representing, the fragment of
a sarcophagus, ii. 192, 193 -
Bacchus and Libera, terminal Bust of, i. 337, 338; small ter-
minal Heads of, joined back to back, i. 339
Baiae, terminus of Bacchus found at, in 1771, i. 335, 336
Barbarus, AElius, his statue to Diana Triformis, i. 290
Barberini, Princess Dowager, sells to Mr. Charles Townley the
first marble he possessed, i. 304
Barberini Marbles procured by Urban VIII., i. 56
Barberini Palace at Rome, marbles formerly in the, i. 328; ii.
u 2
328 INDEX.
Barking-Hall in Suffolk, an estate of the Earl of Ashburnham,
figure of a Roman Soldier in bronze, found at, i. 281
Barrels, Votive, with Inscriptions, in the Townley Collection, ii.
311
Barry, James, sends a statue of Cupid from Rome to Edmund
Burke, i. 253 -
Bartoli, marbles engraved in the Admiranda of, now in the
Townley Gallery, ii. 134
Bas-relief, explanation of the term, ii. 94; different styles of
bas-relief, ibid.; peculiar and distinguishing characteris-
tics of the Roman from the Greek bas-relief, ii. 95 ;
chronological order of the more ancient Bas-reliefs of the
Townley Gallery, ibid.
BAS-RELIEfs, Wotive AND BAccHANAli AN, ii. 94–156 ; of
Achilles amongst the daughters of Lycomedes, ii. 176,
177; representing a father and two sons consulting the
oracle of Apollo, ii. 134, 135; of Bacchanalian processions,
ii. 108, 195; of a Bacchante brandishing a knife, ii. 102;
of Bacchus received by Icarius in the garden of a villa,
ii. 140, 141; in three divisions, representing the infant
Bacchus, Venus waiting to receive Cupid, and a company
of hunters, ii. 145, 146; of Bacchus and a faun, ii. 193;
of a cow drinking while suckling a calf, ii. 115; of the
Dioscuri, Castor and Pollux, ii. 111, 112; of Castor ma-
maging a horse, ii. 100, 101 ; of two fauns punishing a
satyr, ii. 133; representing two Cupids and a faun car-
rying an intoxicated satyr, ii. 134; of a faun playing on
the double pipe, ii. 154; representing a funeral banquet,
ii. 204; of a funeral-chariot, ii. 190; of two genii or
Cupids in cars drawn by dogs, just started from the car-
ceres of a circus, ii. 148, 149; of genii also contending
in a châriot-race within a circus, ii. 150; representin
infant genii in the manner of a Bacchanalian procession,
ii. 156; representing genii supporting various pieces of
armour, with an inscription for Sallustius Iasius, ii. 201;
of Hercules securing the Maenalian stag, ii. 99; of the
Apotheosis of Homer, ii. 119; representing the heads of
four horses, ii. 170; supposed to represent Jupiter and
Ceres, ii. 147; representing a figure of the god of Lamp-
sacus, ii. 159; of Leda and her swan, ii. 112; of
men pouring wine into a vessel, ii. 150; representing a
marriage, ii. 181; representing Mercury seated upon a
heap of stones, ii. 147; of the Nine Muses, ii. 184; of
Nessus and Deianira, ii. 113; representing three nymphs,
with Jupiter and Pan, ii. 153; fragment of one of pan-
INDEX. . 329
cratiastae, ii. 155; of two persons, one abandoning his arms,
the other sacrificing at an altar, ii. 169; of a poet and his
muse, ii. 194; of Priam asking for the body of Hector,
ii. 134; of Victory pouring a libation to Apollo as leader
of the muses, ii. 112, 113; of a warrior approaching a
trophy, ii. 157, 158; of Xanthippus, ii. 107
Basalt, Bust of Vespasian in, at Strawberry Hill, i. 43; Ves-
pasian places a group of the Nile of this material in
• the temple of Augustus, ibid, note *
Basin of dark granite, formerly a labrum, ii. 311, 312
Bath-Chair, or Sella Balnearis, ii. 307
Batrychus, the sculptor, frogs scattered upon his works, as a
device for his name, i. 257 +
Beauclerk, Topham, ii. 280
Bedas, son of Lysippus, i. 27
Belvedere, in the palace of the Vatican, the first repository of
sculpture in Rome, i. 56; torso of the, i. 32, 158
Bºugh Earl of, marbles formerly belonging to, ii.
I6
Bipennes of the Amazons, ii. 192
Blundell, Henry, Esq., account of his collection of ancient
marbles preserved at Ince-Blundell in Lancashire, i. 69,
note *; his transmutation of an hermaphroditic group,
i. 70
Blundell Museum, marbles of the, referred to, ii. 73, note *,
168, 221, 223
Boar, jº, ancient mode of carrying a, with the hunters, ii.
146
Bodroni, remains of the tomb of Mausolus, prince of Caria, at,
i. 20, note *
Bona Dea, sacrifices to, represented on sarcophagi, ii. 175; vo-
tive altar to, ii. 275; festival and worship of, ii. 276;
jº inscriptions relating to, ibid.
Borghese Collection, begun by Paul W., i. 56; Mithraic Bas-
relief, formerly in the, now in the Louvre Gallery at Paris,
i.286; other marbles of, referred to, i. 159, 183; ii. 49
Bosset, Lieut. Col. De, marbles obtained from, ii. 112, 156
Boviº the ancient, on the Appian Way, marbles found at, ii.
19
Boy, small unknown Bust of a, ii. 63
Boys who had quarrelled for the tali, account of the group of
the, in the Townley Collection, i. 303-306; a similar
one in bronze, by Polycletus, mentioned in Pliny’s Natural
History, i. 305
Bracciolini, Poggio, the Florentine, only six statues remaining
330, INDEX,
in his time at Rome, i. 49; the first collector of ancient
sculpture in his own country, i. 50, 51
BRAckets AND SUPPorts of TRIPod TABLEs, ii. 87–93; bracket
formed by a double volute, the lower one serving as a pe-
destal to a figure of Victory, ii. 87; foot or support of a
tripod table composed of a lion's head surrounded by
the foliage of the lotus, ibid.
Brereton, Owen Salusbury, Esq., marble of the labours of
Hercules, formerly belonging to, ii. 206
Britain, mines of, in the earlier part of the Roman time,
worked by the subdued natives, ii. 286
Britons wore their beards only on the upper lip, ii. 34, note”
Brönsted, Chevalier, i. 265
BRONzE, STATUEs IN, of the Townley Collection, i. 273–281
Bronzes of Syris, account of the discovery of the, i. 30
Browne, Mr. Lyde, marbles formerly belonging to him, i. 254,
335, 343; ii. 37, 49, 54, 308
Bruttii, a gold coin of the, representing Venus riding on a
sea-horse on the reverse, i. 97
Buckingham, Williers, Duke of, t. Charles I., an active collector
of ancient marbles, i. 59 ; extract from one of his letters
on ancient marbles to Sir Thomas Roe, i. 64
Bull, custom of immolating a, in honour of a victory, i. 108,
290; the slaying of one constituted part of the mysteries
of Mithras, i. 286
Bull and a Lion, terracotta Bas-relief representing a, i. 130
Bupalus, º: Chios, sculptures bearing the name of, i. 160, and
note g
Burioni Villa, marbles from the, ii. 169,202,234, 262
Burke, Rt. Hon. Edmund, marbles formerly belonging to, now
in the Townley Gallery, i. 253; ii. 21, 25, 59
Burning the dead, when the practice of, commenced and
ceased among the Romans, ii. 174, 173; notion of the Ro-
mans that by burning the body they sent the soul to its
rest more speedily, ii. 174
Bust, an unknown, bequeathed by R. P. Knight, esq., ii. 58; un-
known, of a Female, also bequeathed by Mr. Knight, ibid.;
another unknown Bust, bequeathed by Mr. Knight, ii. 63
Byblus, festival of Adonis celebrated at, i. 340
Byres, James, an architect, engaged with Mr. Gavin Hamilton
and Mr. Thomas Jenkins, the English banker at Rome, in
making excavations at Hadrian’s villa, i. 3, 4; further
notice of him, i. 5
Byzantium, ii. 158; removal of the Roman imperial court to,
by Constantine's order, i, 49. :
INDEx. 331
- C. '
Caesar, C. J., strong feeling manifested by, for the elegant arts,
i. 39; his family ended with the Emperor Nero, ii. 30
Caligula throws down the statutes of eminent men erected by
Augustus, i. 39; despatches Memmius Regulus to collect
statues from the different cities of the empire, i. 40
Callidamas, Greek inscription, being a decree of the people of
Athens and of the Piraeus, in honour of, ii. 301
Callimachus, extract from his Hymn to Apollo, ii. 119
Calliope, terracotta statue of, i. 81
Callistratus, i. 15
Callistus, L. Dasumius, ii. 256
Callixenus, i, 15
Callon, i. 14; works of, mentioned by Pausanias, i. 15; a na;
tive of Ægina, i. 16
Camden, William, his notice respecting Roman pigs of lead
formerly found in Cheshire, ii. 288
Campagna di Roma, marbles from excavations in the, ii. 34
Campidoglio, one wing of the palace of the, appropriated by
Benedict XIV. to the various discoveries of ancient sculp-
ture made during his reign, i. 56
Campo de Fiori, the torso of Hercules in the Vatican found at,
i. 54 º -
Canachus, i. 14 -
CANDE LABRA, ii. 76–84; representations of, in terracotta bas-
reliefs, i. 99, 130, 135; among the richest ornaments of
the temples and houses of the Greeks and Romans, ii. 76;
sometimes statues of youths used as, ibid.; deposited in
tombs, and sculptured as bas-reliefs on the outsides of
temples, ii. 77; Egyptians sometimes considered as the in-
ventors of them, ibid.; ancient use of, among the Jews,
ibid.; many found in the excavations at Herculaneum and
Pompeii, ii. 77; Tarentum and Ægina considered by the
Romans as the best manufactories of candelabra, ibid.;
Cicero's account of a candelabrum designed for the temple
of Jupiter Capitolinus at Rome, ibid.; he asserts that there
was not a house in Sicily without these utensils made in
silver, ii. 78; ancient marble candelabra preserved in the
Radcliffe Library at Oxford, ibid.
Candelabrum, the upper part of which was found in the ruins
of the Villa of Antoninus Pius, ii. 78, 79, 80; the trian-
gular base of a candelabrum, of the Roman period, va-
riously ornamented, ii. 81; the lower part of a candela-
brum ornamented with the attributes of Apollo, ii. 83;
triangular base of a small candelabrum ornamented with.
332 INDEX.
flowers and festoons of fruits, ibid.; base of a candela-
brum in the form of a winged sphinx, ii. 84; a small cy-
lindrical piece of marble, part of the stem of a candela-
brum, ibid.
Canephorae, representcd in a terracotta Bas-relief, i. 136; statues
of, by Polycletus, in bronze, i. 17, 34
Canon, Tºº, the statue by Polycletus, so called, i. 16, and
note 10 -
Canopus, the name of, given to a portion of Hadrian's cele-
brated villa, i. 120
Canova, his praise of the statue of the matron Venus in the
Townley Collection, i. 168; stated to have delayed the
Rondinini Faun from being brought to England, i. 239
Caphyae, ii. 158
Capitoline Amphora, i. 153
Capitoline Museum, statue of an Amazon in the, i. 342, 343;
statue of Apollo in the, i. 321; Bust of Bacchus in, i. 236;
Head of Hippocrates in the, ii. 8
Capponi, the Marchese, i. 254
Capreae, puteal found in the ruins of one of Tiberius's villas at,
ii. 26
Capua, statue of Venus found in the ruins of the amphitheatre
of, i. 21
Caracalla, Hercules and the group called “Il toro,” found at
the baths of, i. 55; Greek medal of, bearing a figure of
Diana, i. 216, note *; Bust of, ii. 51 ; notices of
his life, ii. 52; his earlier name, Marcus Aurelius Antoninus
Bassianus, ibid.; whence he received the name of Cara-
calla, ibid.; his busts usually represent him with the head
a little inclined to the left, in imitation of Alexander the
Great, ibid.; Busts of, in the Louvre Gallery at Paris, ibid.
Caractacus, the head of a barbarian chief, in the Townley
Collection, ascribed to, by the author of the Dilettanti
Specimens of Ancient Sculpture, ii. 36; Tacitus's attes-
tation of the esteem in which Caractacus was held by
the Romans, ibid, note * . .
Carystus in Euboea, a cow suckling a calf, represented on the
coins of, ii. 115
Carlisle, Earl of, forms a collection of sculptures at Castle
Howard, in Yorkshire, i. 68
Carpenica, Villa, marble in the Townley Collection, brought
from the, ii. 238
Carpentum or Chariot, Bas-relief of a, drawn by four horses,
ii. 190
Caryatide, the, of the Townley Collection, i. 163
INDEX. 333
Cassiodorus, his description of the sort of chairs used in the
ancient baths, ii. 308; inscription on a sepulchral monu-
ment to a person of the name of, ii. 301
Castello di Guido, small statue of Cupid in the Townley Col-
lection found at, i. 206
Castor managing a horse, Bas-relief of, ii. 100
Castor and Pollux, Bas-relief of, ii. 111, 112
Catana, Houel's account of a Bas-relief from the Museum of
the Benedictines at, ii. 143
Cattle, group of, represented on the front of the cover of a
large sarcophagus, ii. 202
Cavaceppi, the sculptor, at Rome, marbles purchased from, ii. 52
Cawdor, first Earl, marbles formerly belonging to, i. 306, 321
Centaur bearing a cornucopia between Hercules and AEscula-
pius, bronze group of, formerly Mr. R. P. Knight's, i. 47
Cephissodorus, i. 15
Cephissodotus, i. 15
Cerdo, Marcus Cossutius, the sculptor of two statues in the
Townley Collection, i. 46, 158, 184, 185
Cerdo, M. Ulpius, ii. 267
Cereale Papaver, ii. 293
Ceres, statue of, from the temple at Catana, i. 34; statue of,
in the Townley Gallery, i. 216; poppy sacred to, ii. 293,
294
Ceres and Jupiter, Bas-relief of, ii. 147, 148
Chalcedon, in Bithynia, ii. 158; Greek inscription, formerly in
the wall of a private dwelling at, ii. 302
Chandler, Dr., marbles brought to England by, ii. 303
Chares of Lindus, the scholar of Lysippus, i. 29
Chariot, Funeral, ii. 190
Chariot-race, terracotta Bas-relief representing a, i. 139, 148
Charles I., when Prince, said to have been in correspondence
with Sir Henry Wotton respecting the purchase of ancient
marbles, i. 57, 58; purchases a great part of the collec-
tion of the Duke of Mantua, i. 58; enumeration of ancient
marbles in his possession, and the prices for which they
were sold, i. 59, note *; Head of, by Bernini, sold for
£800, i. 60
Chester, an image of Mithras seen at, by Dr. Stukeley, i. 289;
account of an altar found in Watergate Street at, in 1779,
dedicated to Fortuna Redux, Æsculapius, and Salus, ii.283
Chesterford, co. Essex, account of an Anglo-Roman sepulchral
urn found at, ii. 260, 261
Chiaramonti, Museo, statue of Mercury in the, i. 325; Bust of
Bacchus Biformis in, i. 339, note *
U 5
334, INDEX,
Child, Head of a, with a hanging curl of hair, ii. 62; Bust of a,
purchased from Albacini, the sculptor, at Rome, ibid.;
Bust of a sleeping child, in alto-ri)ievo, ibid.; Head of a
female child, brought from Rome in 1785, supposed to be
a portrait, ii. 63
Chimaeras, representation of figures so called, i. 90, 91
Chinnery, William, Esq., Head of Mercury formerly belonging
to, i. 324, 325
Chios, portrait of Homer upon the coins of, i. 344, and
note *; Wood gives it the preference as the place of
Homer's birth, i. 346
Ghoerilus, the poet, according to Suidas, the inventor of the
theatrical mask, ii. 69
Christina, Queen of Sweden, makes purchases at the sale of
the marbles of King Charles I., i. 57; marbles formerly
belonging to, now in the Townley Collection, ii. 311, 312
Christodorus, the poet, his account of the statue of Homer
formerly in the Zeuxippus at Constantinople, i. 349
Cicero, Marcus Tullius, invectives of, against the depredations
of Verres, i. 34; himself a collector of works of sculp-
ture, i. 34; extracts from his correspondence relating to
his purchases, i. 35; his mention of the tomb of Pericles,
ii. 206; his instructions to his wife Terentia, concerning
preparations at the Tusculan Villa, and particularly as to
a labrum in the bath, ii. 312
Cippi, sepulchral, ii. 263–270; uses to which they were ap-
plied, ii. 263
Circensian race, what was to be the conduct of the charioteer
in the, i. 142
Circuses, the great number of, at Rome, i. 142, 143; Caracalla’s
and the Circus Maximus, the only ones of which there
are remains, i. 143
Civita Lavinia, notices of statues and other marbles found at,
i. 40, 46, 47, 189, 190, 253,289, 299, 362, 363; ii. 78,79
Civita Vecchia, marbles found at, ii. 108
Clarac, Comte de, his account of the statue of the Venus of
Melos in the Royal Museum at Paris, i. 21, note *
Claudius, Emperor, his fondness for Homer's poems, ii. 119
Clay, baked, one of the materials used by the Egyptians in
forming the small figures which have the appearance of
household gods, i. 73; early use of statues of, i. 73, 74;
Athenians stated to have made an annual exhibition of
their works in clay, i. 74
Clemens Alexandrinus, his statement that Attis and Dionysus,
in the mysteries, were held to be the same deity, i. 342
“f NDEX. 335
Clement XIV., his design of a Museum in the Vatican, com-
pleted by Pius VI. in the Museo Pio-Clementino, i. 56
Cleobulus, fragment of a terminal Head of, found in the Villa
di Cassio at Tivoli, i. 352
Cleomenes, son of Apollodorus, name of, inscribed upon the
modern base upon which the Venus de' Medici is placed,
i. 160
Cleomenes, the sculptor of the statue of Germanicus now in
the Louvre Gallery, i. 40, note *
Cleomenes, the son of Cleomenes, name of, upon a statue in the
Louvre Gallery, i. 160
Clio, statue of, in the Florentine Gallery, i. 160
Clodia, Attilia, sepulchral urn for, ii. 251
Clytie rising from the sunflower, Townley Bust of, ii. 20;
fable of, in Ovid's Metamorphoses, ii. 21
Coelian-hill, equestrian statue of Marcus Aurelius found at the,
i. 54 -
“Coeliapi Asteris,” the words on a sepulchral urn in the
Townley Collection, found in the environs of Naples, ii.
2.47
Coemption, marriage by, among the Romans, ii. 182
Coena feralis, representations of the, on Bas-reliefs and Monu-
ments, ii. 167, 168, 172, 228 -
Coins, ancient, advantages arising from the comparison of,
with sculptures, i. 29; bearing the portrait of Homer, i.
344; bearing the portrait of Hippocrates, ii. 7
Colchester, Charles, first Lord, ancient Bacchic gem formerly
in the possession of, found in Sussex, ii. 72, 73
Colophon, portrait of Homer upon the coins of, i. 344
Colossus of Rhodes, the work of Chares of Lindus, i. 29
Colotes, a second artist of the name, i. 37
Columbrano Palace, at Naples, ancient puteal purchased from
the, ii. 27
Columbarium, room so called in the Townley Gallery, ii. 225;
columbarium of the Abucci family, at Rome, ibid.; of
the liberti, servi, &c., of Livia, the wife of Augustus, ii.
226; of the Aruntian family, ibid. r
Comicus, ii.238
Commodus, bust of, purchased by Cardinal Alessandro Albani,
ii. 54
Confarreation, marriage by, among the Romans, ii. 182
Congius, the eighth part of an amphora, i. 153
Constantine, low state of sculpture in the reign of, i. 47; appli-
cation of bas-reliefs from Trajan's triumphal arch to the
decoration of that of Constantine, ibid.
Constantinople, Sir Thomas Roe's account of his endeavours
336 INDEX,
to procure for Lord Arundel certain sculptures from the
Porta Aurea of, i. 65, 66
Corbridge, co. Northumberland, two altars with Greek inscrip-
tions found at, ii. 280; one of them to the Tyrian Her-
cules, in the Townley Gallery, ii. 281
Corcyra, cow suckling a calf upon the coins of, ii. 115, 116
Corinth, destruction of, i. 32
Cornuazzolo, votive horn found at, ii. 310
Cortina, or tripod cover, Delphic, ii. 125, and note *; put by
Virgil and Ovid for the Delphic oracle itself, ii. 41
Corycian Cave, inscription in the, in honour of the nymphs,
preserved in Walpole's Memoirs relating to European and
Asiatic Turkey, ii. 153
Cos, coins of, on which the portrait of Hippocrates is repre-
sented, ii. 6, 7
Cosmetes, or prefect, who instructed the Ephebi in war, ii.
299
Cossutius, mentioned by Vitruvius as an architect, i. 189 -
Cow, Bas-relief of a, drinking, while suckling her calf, ii. 115;
the subject repeated upon the coins of various ancient
towns, ii. 116 z
Critias, i. 14
Criton and Nicolaus of Athens, sculptors, i. 160, 167
Crocodile, tame, Strabo’s account of one, which he saw at
Arsinoe, in Egypt, i. 306 -
Cromford-nether-Moor, account of a pig of lead found at, in
1777, inscribed with the name of the Emperor Hadrian,
ii. 290
Cubistae, the name among the Greeks for a certain class of
tumblers, i. 306 x-
Culeus, consisting of twenty amphorae, i. 153
Cupid, the celebrated statue of, by Praxiteles, i. 24; terracotta
Bas-relief of, represented pressing Psyche to his bosom, i.
147; statues, &c. of Cupid and Psyche enumerated, i.
148; Marlborough gem of, ibid.; terracotta Bas-relief re-
presenting Cupid in the act of flying, i. 151 ; small beau-
tiful statue of in the Townley Collection, found in an
amphora, i. 205, 206; D'Hancarville's panegyric upon
it, i. 206 ; statue of, winged, formerly belonging to the
Right Hon. Edmund Burke, i. 253; statue of, in the cha-
racter of Somnus, ibid.; the right hand of a youth holding
apparently a bow, supposed to be a fragment of a statue
of Cupid, ii. 65; Cupid burning a butterfly, a symbol of
destruction, found on sarcophagi, ii. 175; Cupid repre-
sented on a sepulchral cippus driving a car drawn by four
horses, ii. 267 . *
INDEx. 337
Cupid and Psyche, front of a sarchophagus in the Townley
Collection, representing the marriage of, ii. 253,254
Cupids in terracotta bas-reliefs, i. 122, 123; frequently repre-
sented accompanying Venus, i. 97
Cybele, Head of, i. 342
Cyclas, Vernasia, sepulchral urn for, ii. 229, 230
D.
Dacian standard, representation of the, i. 119, 120, note *7
Dacians, terracotta Bas-reliefs commemorating Trajan's con-
quest of the, i. 119, 144; arms of the Dacians and Sar-
matians represented in some of the trophies upon the
coins of Trajan, i. 119 ; Bas-relief in marble, representing
the arms of the Dacians and Sarmatians, ii. 150
Dada, Flavia, ii. 228
Dahippus, i. 15, 27
Davus, representation of, in the Vatican MS. of Terence’s
plays, i. 121
Dec. ii. 240
Decebalus, reduction of, by Trajan, and portraits of, upon Tra-
jan's column, ii. 35
Deities, statues of, in the most ancient schools of art, invaria-
bly clad in drapery, i. 22; the gods of Olympus, in the
time of Phidias, partly stripped of their accoutrements,
i. 23
Delos, front of a tomb from, ii. 204, 205
Delphi in Phocis, ii. 158
Delphi and the island of Delos the most celebrated seats of
the oracles of Apollo, ii. 138 •
Democles, the son of Democles, sepulchral monument for, ii.
162
Demosthenes, Head of, ii. 11 ; life and character of, ii. 12,
13; Bust of, engraved in the Museo Pio-Clementino, ii. 13
“Deo Soli Mitrae,” the inscription upon an altar found in
Cumberland, i. 289
Derbyshire, lead-mines of, ii. 285; ancient methods of smelt-
ing lead in, ii. 287
Destruction and dissolution, symbols of, common on sarco-
phagi, ii. 175
Devil, artists of modern times have adopted Pan as a repre-
sentation of the, i. 211 -
Diadumenus, Servius Cornelius, ii. 237
Diana, statue of, in the Townley Gallery, i. 198; character of
her statues as usually represented, i. 201; a gem in the
Museum Florentinum, representing Victory sacrificing a
338 - INDEX,
bull to, i. 290; two Heads of, in the Townley Collection,
one formerly Sir William Hamilton's, i. 323, 324; worship
of, jointly with Latona and Apollo, i. 138; altar to, ii.
278
Diana Lucifera, statue of, found at Woodchester in Glouces-
tershire, i. 212, 215; the name under which the great
female deity of the Greeks and Romans was worshipped,
i. 212; how represented upon various Roman medallions,
ibid.
Diana of the Segestians, i. 34; Mr. Coke's statue of, ii. 167
Diana Triformis, votive statue of, i. 290, 291; Hecate and
Trivia, her distinguishing names under this triple appear-
ance, i. 290; why termed Trivia, i. 293; triple terminal
Head of, engraved in the “Monumenta Matthaeiania,” i.
294
Dibbs, game of tali, so called by the English, i. 305; its
great antiquity, ibid.
Dibutades, the Sicyonian potter, Pliny's story of him as the
inventor of the plastic art, i. 72
Digby, Sir Kenelm, assists King Charles I. in collecting
ancient marbles, i. 58, and note *
Dinomenes, i. 14
Dinon, i. 14
Diogenes, Bust of, ii. 10; ascribed at one time by Mr. R. P.
Knight to Hippocrates, ii. 8, 1 l; account of, ii. 10, 11 ;
Alexander the Great’s visit to, ii. 11 -
Diogenes, an Athenian, prepares the sculpture for Agrippa's
Pantheon, i. 40
Diomed, Head in the Townley Collection so called, by Mr. R.
P. Knight, ii. 17
Dione, the mother of Venus, unknown Head supposed to have
belonged to a statue of, i. 315 #.
Dionysius the Elder, coins of Sicily ascribed to, by Mr. R. P.
Knight, i. 29
Diº Attis and Dionysus held to be the same deity, i.
342
Dioscorides, ii. 10
Dioscuri, a Head of one of the, ii. 18; Bas-relief of the, ii. 111,
1.12; supposed figures of the, on a sepulchral monument,
ii. 168
Dirce, Zethus, and Amphion, the group of, called “Il toro,” now
at Naples, i. 55
Discobolus, Myron's statue of the, i. 18; account of the, in the
Townley Gallery, i. 239; where discovered, i. 243; Barry's
observations on the, in his lectures, ibid.
INDEX. 339
Disputes in ancient times as to the works of particular artists,
i. 44, note *
Dodona, ravage of the temple of, i. 31
Dogs, particular species of, in Laconia, called xzaroglou, ii. 101
“Domesticus Luctus Mulieris defunctae,” account of the mar-
ble so entitled, engraved by Bartoli, now in the Townley
Collection, ii. 236
Domitia, Bust of Messalina formerly so named, ii. 27
Domitian, statues and busts of, rare, i. 43; contemporary
figures of, ordered to be destroyed, ibid.; a bust of him in
the Capitoline Museum, and a statue in the Giustiniani
Palace, ibid.; pig of lead bearing his name found at
Hayshaw Moor, in Yorkshire, ii. 287
Double pipe, playing upon the, common with the musicians of
old, ii.
Duane, Matthew, Esq., ii. 160
Dyrrhachium in Illyria, a cow suckling a calf, represented on
the coins of, ii. 115, 116
Eagle, statue of an, i. 269,270; another of smaller dimensions,
i. 270; head of am, in marble, forming the hilt of a
sword, ii. 310
Earth and Time, how represented in the Bas-relief of the
Apotheosis of Homer, ii. 126
Echetlus, Bas-relief of, fighting with a ploughshare at the
battle of Marathon, ii. 241, 243; account of the combat,
ii. 241
Echinus, in Thessaly, ii. 158
Echion, i. 15
Egremont, Charles, Earl of, completes a gallery of marbles at
Petworth, i. 68
Egyptian figures and compositions, imitations of, abound in
the time of Hadrian, i. 45 ; Roman Bas-reliefs in the
Egyptian style, i. 120, 121
Egyptian tumbler, group of an, practising his art upon the
back of a tame crocodile, i. 306, 307
Elataea in Phocis, ii. 158
Emanations, mystic system of, as adopted by D'Hancarville, i.
6, note
Epaphras, L. Lepidius, monument to the memory of, ii. 231
*Erévypaſpol, meaning of the word in inscriptions, ii. 300
Ephebi of Athens under Alcamenes, names of the, upon a cir-
cular shield, ii.299; description of the, ibid. -
Epictetus, Ti. Claud., ii. 269
Epicureau, the name, ii, 14
340 - INDEX.
Epicurus, terminal Head of, ii. 13; his doctrines, life, and cha-
racter, ii. 14; portrait of, anciently held in high venera-
tion, ibi d. ; different heads and portraits of, ii. 15
Epipyrgidia, statue of Hecate so called, which Alcamenes
made for the Athenians, i. 293
Epirus, exquisite workmanship upon the coins of, i. 30
Epitaph upon a dog named Margaret, ii. 306
EIIOIEI, EIIoIH2E, supposed different meaning of these words
as found upon ancient statues, i. 163
Eporia, sepulchral monument to, ii. 165
Equites Singulares, or praetorian guard, Bas-relief and inscrip-
tions relating to the, ii. 168
“Eraclite,” the name of, placed by some former owner upon a
Bust of Aratus, ii. 16
Erigone, represented in a terracotta Bas-relief of Bacchus's
reception by Icarius, ii. 143
Ermodorus, the son of Aristomenes, sepulchral monument for,
ii. 172
Esquiline Hill, the Antinous found on the, near St. Martin’s
Church, i. 54; a Discobolus found at the, i. 244; bust of
Caracalla found there, ii. 51
Eteocles and Polynices, Bas-relief on a cinerary urn, represent-
ing the combat of, ii. 253; a favourite subject with the
ancient artists, ibid.; the story one of the subjects on the
chest of Cypselus, ibid. -
Etruscan characters upon sepulchral urns, ii. 242, 243
Etruscan cinerary urns, ii. 241, 243, 253
Evander, superior style of, in bas-relief, alluded to by Horace,
i. 38 -
Eubulus, the son of Praxiteles, the sculptor of the term in the
Montalto Gardens, i. 159; occurs again upon a head in
the Villa Negroni, ibid.
Evelyn, John, not, as supposed by Dallaway, a collector of
antiques for Lord Arundel, i. 60; his visit to Lord
Arundel at Padua, in 1645, i. 60 -
ETMOTXIA, small statue of, i. 222, 227
Eunya, Flavia, urn for, ii. 254, 255
Euphranor, i. 15
Euphronides, i. 15
Euripides, story of Actaeon, how told in the Bacchae of, i. 294;
first added serpents to the hair of the Furies, ii. 70; his
description of the Bacchae rushing on the herds, ii. 102
Eurystheus, King of Argos and Mycenae, tries the strength
and courage of Hercules by commanding him to secure
the stag of Mount Maenalus, ii. 99
INDEX. 341
Euthycrates, sculptor, son of Lysippus, i. 15, 27
Eutychia, funeral inscription for, dedicated by her father
Eutychion, ii. 240, 241
Eutychides, i. 15
Exacestes and Metreis his wife, sepulchral monument for, ii.
165
Eyebrows, union of the, common among the women in Turkey,
ii. 53, note *
Eyes, art of putting into statues, in the Roman times, a dis-
tinct profession, i. 317, note *
F.
Farnese Hercules, i. 330, 331 ; its history, i. 331
Farnese Head of Homer, i. 343, 348
Fascia mamillaris, i. 197, note *
Faun: statue of a laughing faun, i. 179; Statue of an old
faun, or of Silenus, i. 232; terminal statue of a faun,
i. 266; small torso of a faun, presented to the Museum
by the Rev. Henry Crowe, i. 273; Bust of a faun, be-
queathed by R. P. Knight, Esq., ii. 56; Head of a laugh-
ing faun, found in the Tenuta di Tor de Sapienza, ii.57;
figure of an old faun, represented carrying an uter or
goat's skin filled with wine, ii. 78; faun playing on the
double pipe, Bas-relief of a, ii. 154; Rondinini faun, ac-
count of the, i. 239; forms of fauns, as they appear
in statues, adopted about the time of Praxiteles, i. 24;
terracotta Bas-reliefs in which they are represented, i.
103, 104, 110, 115, 116, 138, 139; statues of, in the Town-
ley Collection, bearing the name of Marcus Cossutius
Cerdo as the sculptor, i. 184, 185 ; Flaxman's description
of the fauns, in his Lectures on Sculpture, ii. 57, note *;
masks of, ii. 71; Bas-relief of two fauns punishing a
satyr, ii. 134
Faustilla, Opilia, monumental inscription for, ii. 245
Faustina, the younger, bust of, ii. 46; conflicting testimony as
to her character, ii. 47; the first empress who assumed
the title of “Mater Castrorum,” ibid., and note *
Feet, colossal, with sandals, in coarse marble, supposed to have
been a votive offering, ii. 64, 65 .
Felix, Annius, inscription on a sepulchral cippus to, ii. 267
Female, recumbent figure of a, in the Townley Collection, i.
266
Female Head, accompanied by no distinctive attribute, for-
merly supposed to represent Juno, i. 313, 314; beautiful
Head of an unknown female, ii. 55; a small female Head
342 INDEX,
in white marble, ii. 57; draped Bust of a, dedicated to the
memory of Olympia by Epithymetus her freedman, ii.
59; unknown female Heads, ii. 61, 62
Female Mask, in crisped curls, ii. 67, 68; necessity of using
the, in the Greek and Roman theatres, ii. 70
Females, ancient mode of fastening the vests of, i. 197, note *
Ficcoroni’s Treatise on Masks, ii. 68 *
Figure holding a bird, fragment of a, i. 270; male, mutilated
torso of a, i. 270; small mutilated male figure, ibid.
Fire, terracotta Bas-relief referred by D'Hancarville to the
ancient worship of, i. 137
Fisherman, votive statue of a, in the Townley Gallery, i. 221,
223; another small votive statue of a, i. 222, 225
Flamen dialis, ii. 182
Flaminica, or vestal virgin, an assistant at the marriage cere-
mony among the Romans, ii. 182
Fonsega Villa, marbles found at, i. 221
Foot, colossal, of Apollo, formerly Sir William Hamilton's,
ii. 64; a left foot, covered with a sandal, ii. 65 ; frag-
ment of a colossal foot, ibid.; right foot of a child, ii. 65;
a left foot, covered apparently with linen, round which ban-
dages are fastened, ii. 66; votive, representation of one
supposed to be offered to AEsculapius by Xanthippus for
a cure, ii. 107
Fortuna Redux, Anglo-Roman altar to, with Æsculapius, and
Salus, ii. 283
Fortunata, Claudia, sepulchral urn dedicated to the manes of,
ii. 242; inscriptions in Gruter, in which females bear the
name of, ibid.
Fortunatus, son of Atimetus, ii. 228
Fortune, statue of the goddess, in the Townley Gallery, i. 173;
coins of Nerva, Hadrian, and Severus, bearing her figure
on their reverses, i. 174
FounTAINs DomesTic, ii. 74, 75
FRAGMENTs AND PARTs of STATUEs, ii. 64–66
Francis I. forms a collection of antiques, i. 56
Franco, Battista, ii. 134, 142, 201
Fraquier, Abbé, draws up a Dissertation, entitled “The Gal-
lery of Warres,” i. 34
Frascati, marbles of the Townley Collection, found at or
near, i. 205; ii. 54, 87
Fratres Arvales, office of the, ii. 45; Busts of Augustus,
Antoninus Pius, and Lucius Verus in the character of,
ibid.; Gaetano Marini's work on the subject of the Fratres
Arvales, ii. 46 ---
INDEX. 343
Frattocchi, ten miles from Rome, Bas-relief of the Apotheosis
of Homer found at, ii. 119
Frederick, Sir Charles, marbles from his collection, now in the
Townley Gallery, ii. 238,254
Fredis, Felix de, the discoverer of the group of Laocoon, in
1512, i. 54
Frieze, fragment of a, representing two genii or Cupids drawn
by dogs, just started from the carceres of a circus, ii. 148
Funeral Banquets, representations of, on sepulchral Bas-reliefs,
ii. 204, 228
Funeral Mask, ii. 71
FUNEREAL URNs, ii. 221
Furies, represented in the bas-relief of a cinerary urn, ii. 253
G.
Garlands of Flowers, custom of adorning funereal urns with,
ii. 160,258
Ganymede of the Villa Medici, i. 160; statue of, in the Museo
Pio-Clementino, i. 161
Gebelet, or Jebel, on the coast of Syria, bronze statue of Her-
cules, now in the Townley Collection, found at, i. 274
Geese, sacred to Priapus, ii. 159
Gegania, an opulent Roman lady, recorded by Pliny to have
given 50,000 sesterces for a candelabrum, ii. 77
Genii, or Cupids, Bas-relief of, drawn by dogs, just started
from the carceres of a circus, ii. 148; another Bas-relief
of, contending in a chariot-race within a circus, ii. 150;
a favourite subject with the ancient sculptors, ibid.,
note *; eleven infant genii, represented as in a Bac-
chanalian procession, ii. 156; supporting various pieces of
armour, represented on the front of a sarcophagus, ii. 201
Gensano, or Genzano, enumeration of marbles found at, i. 326;
ii. 1, 55, 59
Germanicus, statue of, now in the Louvre Gallery, i. 160;
considered to be of the Augustan period, i. 40
Germans, costume of the, as described by Tacitus and Dion
Cassius, represented on a funereal urn, ii. 223
Geta, the name of, ordered to be erased from every inscription
throughout the Roman empire, ii. 279, and note *; one
inscription given by Orelli, in which his name has
escaped erasure, ibid.
Goat, Head of a, ii. 308
Gibbon's character of the Emperor Hadrian, i. 258; his cha-
racter of Vitellius, ii. 32
Giovenazzo, Abbate, ii. 170
344 INDEX,
Giraude, Chevalier, Head of a female Bacchante found in the
grounds of the villa of, ii. 62
Giustiniani Palace, votive statue of Diana Triformis, formerly
in the, i. 290
Giustiniano, Andreolo, i. 52
Gladiator of the Borghese collection, i. 41, 55, 158; Agasias
the author of the, i. 32
Glycon, sculptor of the Farnese Hercules, i. 32, 158; origin of
his statue of Hercules, i. 331
Gordianus Africanus the elder, Bust of, ii. 54
Gordianus Pius, coin of, in bronze, struck at Tarsus, repre-
senting Hercules in the garden of the Hesperides, i. 275
Gorgias, i. 14
Gorgon’s Head, the usual ornament of an emperor's cuirass,
i. 257, note 7°
Gower, Dr. Foote, ii. 260,261 w
Greece, state of, after the death of Alexander the Great, i. 31 ;
total extinction of the arts in, i. 33; seven sages of, in
what their wisdom consisted, i. 352
Greece and Asia, towns of, which had permission from the
Roman emperors to fabricate money in the baser metal,
use the privilege to perpetuate the memory of great men
who had been their fellow-countrymen, i. 344
Greek Poet, terminal Head of a, i. 350, 351
Greenwich, statues belonging to King Charles I., formerly at,
i. 59, note *
Grey, Earl De, his collection of ancient marbles at Newby, i. 69
Grey-Egerton, Sir Philip-de-Malpas, his gift of an Anglo-
Roman altar, found at Chester, to the British Museum,
ii. 283
Greyhounds, two, account of the group of, in the Townley
Collection, i. 302; a similar group in the Vatican Mu-
seum, found at the same time, ibid.
Griffins, terracotta Bas-relief of their combat with the Ama-
zons, i. 86; Bas-reliefs in terracotta of a contest between
a griffin and one of the Arimaspi, i. 87
Group, fragment of a, in very high relief, of a man seated in
a chair, with a female standing near him, i. 306 •
GROUPs of the Townley Collection, account of the, i. 282–307
Gruter, sepulchral inscriptions now in the Townley Collection
recorded by, ii. 231, 242 ~
Gualtieri, Cardinal, marbles of the collection of, ii. 243, 253;
collection of, when dispersed, ii. 243
Gualtieri, vineyard of, near the baths of Titus, the group of
the Laocoon found in the, i. 54
INDEX. 34%
H.
Hadrian, a practiser of the art of sculpture, 144, and note *;
sets the fashion of having portraits in statuary among the
noble and opulent citizens of Rome, i. 45; a greater en-
courager of sculpture than any preceding emperor, i. 45,
258; Egyptian worship extended during his reign, i. 45;
dies A.D. 138, i. 258; statue of, in the Townley Gallery,
i, 256, 257; his character, i. 258; enriches Italy with
many hundred statues, ibid.; Aurelius Victor’s exagge-
rated praise of him, ibid. note *; the world indebted
to him for a great portion of the statues and busts which
adorn not only the Townley, but other galleries of ancient
marbles, i. 259; buried first at Puteoli, whence his ashes
were removed to Rome by Antoninus Pius, ibid.; Bust of,
in the Townley Collection, with the breast naked, ii. 37;
the first of the Roman emperors who wore a beard, ii. 38;
description of his villa, ibid. note 7° ; Bust of Hadrian,
draped with the paludamentum over the military cuirass,
ii. 38; reverse of a coin of, illustrating the form and posi-
tion in a Roman vessel of an aplustre, ii. 129 ; pigs of
lead in the Townley Gallery, found in England, inscribed
with his name, ii. 290, 291 i -
Hadrianis, tribe of, ii. 300
Hadrian’s villa at Tivoli, excavations undertaken at, about
1769 or 1770, by Messrs. Byres, Gavin Hamilton, and
Jenkins, i. 3, 4; Marbles in the Townley Collection, found
i. 159, 243, 330, 334; ii. 18, 38, 49, 78, 89, 91, 102
Halala, a village at the foot of Mount Taurus, Faustina the
younger dies at, ii. 47
Hamillus, M. Junius M. L., ii. 245
Hamilton, Gavin, originally a painter, embarks with Messrs.
Byres and Jenkins in making excavations at Hadrian's
villa, i. 3.; short notice of his life, i. 5; particular marbles
discovered by him, preserved in the Townley Collection, i.
8, 9; collects the marbles for Lord Egremont, now in the
Gallery at Petworth, i. 68; notices of statues found by or
obtained through his medium, i. 168, 174, 179, 189, 196,
198,214, 216, 253,289, 299, 302, 303, 317, 324,330, 339;
ii. 4, 17, 18, 24, 34, 40, 54, 84,91, 102, 108, 214, 234, 310
Hamilton, Sir William, his intercourse with Mr. Townley, i. 3;
marbles formerly belonging to him, i. 311, 323,331, 332,
337,340; ii. 41, 57, 62, 64, 66, 71, 112, 154, 156, 242,
243, 247, 248,251, 253, 259, 480, 295, 298, 310
Hancarville, M. D', his mythological system adopted by Mr.
346 - INDEX.
Townley, i. 3, note *; Mr. Townley's memorandum in
explanation of it, i. 6, note ".
Hand, a colossal, ii. 65 ; the right hand of a female holding
a musical pipe, ibid.; the left hand and lower part of
the arm of a female, probably Psyche, holding a butter-
fly, ibid.; the right hand of a youth holding apparently
the fragment of a bow, ibid.; the right hand of a child
holding the head of a ram, ii. 66; left hand of a child
holding a fragment, ibid.; hand of a female holding a
lock of hair, a fragment, supposed to have belonged to a
statue of Venus, ibid.
Harmatius, one of the sculptors of the Mars of the Louvre
Gallery, i. 160
Harpocrates of the Capitol, found at Tivoli, i. 55; figure of,
represented on the side of a Roman altar, ii. 272
Hayshaw Moor, in Yorkshire, account of an ancient pig of
lead from, ii. 287, 288
HEADS AND Busts of the Townley Collection, i. 309-352; ii.
1–66; an unknown Head, somewhat resembling that of
the statue called Cicero at Oxford, ii. 58
Hecamede, represented in the terracotta Bas-relief of Ma-
chaon in the tent of Nestor, i. 100
Hecate, one of the distinguishing names of the Diana Tri-
formis, i. 290; Diana in this character holds instruments
of torture, i. 293 ; statue of, which Alcamenes made for
the Athenians, ibid.
Hecate Triformis, figures of, engraved by Passerius in his
“Lucernae fictiles,” i. 293
Hecticus, T. Sex. ii. 244
Hegias, i. 14
Heius, Caius, of Messana, statues stated to have been taken
from the house of, by Verres, i. 34 -
Helen, rape of, a favourite subject with the ancients, i. 120
Helius, Lucius Verus, ii. 265
Helpis, Apuleia, ii. 257
Henry, Prince of Wales, said to have been in correspondence
yº, ‘. Henry Wotton for the purchase of ancient marbles,
1. Of ,
Heraclida, Caius Magius, the son of Quintus, of the Palatine
tribe, tablet bearing an inscription to, ii.251,252
Heraclides of Ephesus and Harmatius, the sculptors of the
Mars in the Louvre Gallery, i. 160
Hercules, statue of, now the Marquess of Lansdowne's, i. 4,
note *, 21; bronze figure of, belonging to Verres, men-
tioned by Cicéro, i. 34; torso of, in the Vatican, when
INDEX. 347
discovered, i. 54; statue of, at Naples, dug up in the
baths of Caracalla, i. 55; figures of, representing him
as holding the golden fruit of the Hesperides, i. 273;
bronze statue of, in the Townley Collection, i. 272,273;
Farnese Hercules, i. 32, 158; of the Pitti palace at Florence,
i. 161 ; fragment of a torso of, in the Townley Gallery,
i. 190; small statue of, sitting upon a rock, in the Town-
ley Collection, i. 222, 230; how represented upon a coin
of Marcus Aurelius, struck at Amastris, in Paphlagonia,
i. 231; Heads of, different periods of life in which they
are represented, i. 325; examples of the second, third,
and fourth periods, i. 326; in youth, ibid.; in middle
life, i. 327; in advanced life, i. 329; Heads of, distin-
guished by a greater variety of chaplets than any other
deity, i. 327, note”; supposed bruised peculiarity of the
ears in the Busts of Hercules, i. 328; colossal Head of,
in advanced life, i. 329, 330; copied from the Farnese
Head of Hercules, i. 330, 331; another aged Head of
the same general character, ii. 332; small Head of Her-
cules, formerly Sir William Hamilton’s, i. 332; Bas-
relief of securing the Maenalian stag, ii. 99; the story
told in the, ii. 99; its subject represented on various
marbles, and on coins of the Roman emperors, ibid., and
note *; order of the labours of, ii. 100; alto-rilievo
brought from Athens, representing his labours, ii. 206,
207
Hercules Musarum, ii. 189
Hercules, Tyrian, i. 274; account of an altar to, found at
Corbridge, in Northumberland, ii. 281
Herma, Marcus Clodius, Inscription on a sepulchral cippus
to, ii. 267; mentioned in an inscription in the Mus.
Capit, published by Muratori, ibid., note *
IHermae of Pentelic marble, purchased by Cicero, i. 35 ; the
term Hermae explained, i. 202 -
Hermaphrodite, statue of an, i. 32 ; Mr. Blundell’s account
of his transmutation of an hermaphroditic group, i. 69;
terminal figure of an hermaphrodite in the Townley
Collection, i. 232; composition of the term hermaphro-
dite, ibid.
Hermes, or Mercury, custom of representing on quadrangular
pillars, i. 202
Hermes, the name of one of the emperor's freedmen, ii. 259
Herodes Atticus, a patron and promoter of the arts, i. 45,46
Herodicus, the establisher of the gymnastic medicine, ii. 9
Herodotus, order of the Muses in the nine books of, ii. 189,
348 INDEX,
note *; the story of his reading his work at the Olympic
games refuted, ibid.
Hesper, C. Tullius, ii. 275
Hesperides, history of the, i. 274, 275
Hipparchus, remarkable for erecting Hermae with inscriptions
upon them, i. 202
Hippocrates, Bust of, ii. 6; reasons for its appropriation, ii. 7;
other representations of, ii. 8; notices of his life, ii. 9;
his genuine works, ibid.; some pieces ascribed to him,
written after the Christian era, ii. 10; his age at the
time of his death variously stated, ibid.; a masterly ana-
lysis of his doctrines to be found in Rees's Cyclopædia,
ibid.
Hippocrates, the first of the name, grandfather of the great
Hippocrates, ii. 10
Hippopades, bands of the, represented in a terracotta Bas-
relief, i. 142
IHolkham, Earl of Leicester's gallery of statues at, i. 68
JHollis, Thomas, Esq., marbles formerly presented by him to
the British Museum, i. 315, 332; ii. 31,229,243, 244, 259
Hollis, Thomas Brand, Esq., presents a stone urn found at
Chesterford, in Essex, ii. 260
Homer, Mr. Townley in possession of one of the oldest Greek
MSS. of the Iliad of, known, i. 8; that MS. now in the
British Museum, ibid.; Bas-relief of the Apotheosis of,
i. 41 ; ii. 95; terminal Head of, found at Baiae, i. 343;
its likeness to the Head in the Farnese palace, and to the
terminus at Naples, i. 344; other portraits of Homer,
i. 347; no actual portrait of him known, i. 345; age and
country of, i. 346; Greek and Latin epigrams comprising
the names of the towns which contended for Homer's
birth, ibid.; Smyrna has the fairest claim to his birth,
i. 347; his tomb formerly at Ios, ibid.; organ of poetry
developed in an extraordinary manner upon the Townley
Head of, ibid.; Head now called Pindar, which was Lord
Arundel's and Dr. Mead's, formerly ascribed to Homer,
and engraved as such, i. 68, 347, 348; statue of, placed
by Ptolemy Philopator, in the temple which he dedicated
to Homer, i. 348; bronze statue of, in the Zeuxippus at
Constantinople, i. 348, 349; description of the marble of
the Apotheosis of, ii. 119 ; explanation of its allegory,
ii. 120; enumeration of authors who have commented
upon it, ibid, note *; ceremony of the deification of, ii.
126, 127 -
Homeric hero, Head of, ii. 17
INDEX, 349
Hood, or veil, upon mystic figures of the ancients, explained,
i. 342
Horn, votive, ii. 310
Horse held by a slave, Bas-relief of a, supposed to have been
taken from a monument of one of the Equites Singulares,
ii. 168
Horses, mutilated Bas-relief representing the heads of four,
ii. 170
Howard, Lady Philippa, i. 1
Howard, Thomas, Earl of Arundel. See “Arundel.”
Hunters, Bas-relief of a company of, carrying a wild boar
fastened to a hunting-pole, ii. 146
Hygeia, or Salus, terracotta Bas-relief, representing her feeding
a crested serpent, i. 133; altar dedicated to, jointly with
Fortuna Redux and AEsculapius, ii. 283
Hyginus, story of Actaeon, how told by, i. 294, and note *
Hymen, supposed statue of, found in the Via Appia, i.265, 267
Hypatodorus, i. 15
I.
Iades, Silanion's disciple, i. 15
Iasius, Sallustius, inscription in memory of, ii. 201, 202
Icarius, or Icarus, Bas-relief of his reception of Bacchus, ii.
140, 141 ; details of the story on which it is founded,
ii. 144
Jenkins, Thomas, the English banker at Rome, embarks with
Messrs. Byres and G. Hamilton, in the speculation of
excavating at Hadrian's villa, i. 3; Mr. C. Townley's
dealings with him, i. 4, 240; short notice of his life, i. 5,
note
Iliad and Odyssey of Homer, how personified in the repre-
sentations of his Apotheosis, ii. 129, 133, note *
“Il toro,” discovery of the group so called, now at Naples, i. 55
Impey, A. E., Esq., i. 269; ii. 204
Ince-Blundell, marbles at. See “Blundell Museum.”
INGENvi, inscribed upon the plinth of a statue in the Museo
Pio-Clementino, i. 162, note *
Ingilby, Sir William, Bart., ii. 287
Inscriptions, ii.299-305; to the memory of Olympia, ii. 59;
on a shield containing the names of the Ephebiof Athens,
under Alcamenes, ii. 299, 314; a decree of the people of
Athens and of the Piraeus, in honour of Callidamas, ii.
301 ; on a sepulchral monument to Cassiodorus, ibid.;
blunders and omissions in ancient inscriptions, ii. 227,
note *; one in uncial characters, which originally formed
Wol, II*. X
350 INDEx.
part of the pedestal of a statue of Jupiter Urius, within a
temple to that deity at the mouth of the Black Sea, ii.
302; inscription known by the name of the “Marmor
Atheniense,” ii. 303; epitaph upon a dog named Mar-
garet, modern, ii. 304, 305
Ion, i. 15
Ionic order, capital of a small column of the, ii. 295, . -
Ios, portrait of Homer upon the coins of, i. 344; his tomb
there, i. 347 -
Irene, ii. 232
Isaeus, the master of Demosthenes as an orator, ii. 13
Isias, the daughter of Metrodorus, sepulchral monument for,
ii. 160
Isidorus, sarcophagus for a child of the name of, ii. 259
Isis, a Head of, in baked clay, engraved by Count Caylus,
i. 73; resting on the flower of the Nymphaea lotus, account
of the Bust in the Townley Collection so called, ii. 20;
figures of priestesses of, in bas-relief, upon the fronts of
altars, ii. 274; Greek or Alexandrian figures of, in the
British Museum, referred to the time of Trajan, i. 44
Isochryses, sepulchral urn to the memory of, ii. 256
Italy subjected to the inroads of the northern hordes in the
5th and 6th centuries, i. 49
Jucundus, ii. 242 -
Julius II., the builder of the Belvedere in the palace of the
Vatican, i. 56
Junius, Franciscus, his explanation of the lizard as an accom-
paniment to the statues of Somnus, i. 254
Juno, a female statue in terracotta, conjectured by Mr. Combe
to be a, i. 82; Female Head, formerly supposed to re-
F. Juno, i. 313, 314; a Head of, in the Townley Col-
ection, brought from Rome in 1774, i. 315; small Head
of, formerly Mr. Thomas Hollis's, i. 315
Jupiter, a bronze of, found at Pyramythia in Epirus, ascribed
by Mr. R. P. Knight to Polycletus's school, i. 18; small
bronze of, in the British Museum, attributed by Mr. R. P.
Knight, who formerly possessed it, to Lysippus, i. 25;
small draped statue of, in the Townley Collection, i. 222;
sceptre of, a sort of pike, ibid.; Head of the Mild, in the
Townley Collection, thought by Mr. R. P. Knight to have
been a fragment of a statue mentioned by Pausanias, i.
17, 18; account of the, i. 309; supposed to be a frag-
ment of a statue of Polycletus, mentioned by Pausanias,
or at least an ancient copy of it, i. 310; another Head
of, of the heroic size, presented to the Museum in 1836,
by Barber Beaumont, Esq., i. 310 *
INDEX. 351
Jupiter Ammon, terracotta Bas-relief representing a Head of,
i. 145
Jupiter Catachthonius, the foot a symbol of, ii. 64
Jupiter, the Olympian, by Phidias, ordered in Caligula's time
to be removed from Elis to Rome, i. 40
Jupiter Serapis, account of the Heads of, now in the Townley
Gallery, i. 311-313; notice of a third Head in the same
collection, of higher character, i. 311 ; Mr. R. P. Knight's
explanation of the modius on the heads of, i. 312; the
foot a symbol of, ii. 64
Jupiter Urius, inscription formerly part of the pedestal of a
statue of, within a temple erected to that deity, at the
mouth of the Black Sea, ii. 302, 303; the statue to which
it belonged seized by Verres, ii. 303; Cicero's mention of
it, in his accusation of Verres, ii. 304, note *; Pomponius
Mela's notice of the Temple and Statue, ibid., and note”
Jupiter and Ceres, Bas-relief of, ii. 147, 148 -
Justinian, the emperor, orders that no higher sum than an
aureus shall be played for at the game of tali, i. 306
Justinianus, Pompeius, circular sepulchral urn for, ii. 232
Justus, Titius, ii. 254
Juvenal, his opinion of the works of Myron, i. 19
Ivy, chaplet of, upon the head of a statue of Thalia, i. 197;
crown of, the earliest which was adopted by Bacchus, i.
30J, note *; Hercules crowned with ivy, i. 327, note '7
Ivy-leaves, garland of, encircling the body of a centaur in a
terracotta, i. 137, 138
K.
Kevenpwll-du, old lead-mines at, in Monmouthshire, ii. 292
King's Stanley, co. Gloucester, account of several Roman altars
found at, ii. 282
Knight, R. P. Esq., an advocate for D'Hancarville’s mytho-
. logical system of emanations, i. 7, note *; appointed a
Trustee of the British Museum on the part of the Townley
family, i. 12; marbles now in the Townley Gallery, which
formerly belonged to, i. 332; ii. 11, 56, 58, 63; his dif-
ferent opinions upon marbles stated, i. 333, 336, 337
L.
Labours of Hercules, order of the, ii. 100; the carrying away the
fruit of the garden of the Hesperides his last labour, i. 275;
alto-rilievo representing five of the, ii. 206
Labra, used in the baths of the ancients in great numbers, ii. 312
Labrum, or cistern, of dark green basalt, formerly belonging to
Christina, Queen of Sweden, ii. 311. -
352 INDEX.
Lacon, i. 14
Laconia, the country where Castor and Pollux were born, famous
for its breed of dogs, ii. 100, 101
Lafreri, Ant. first publishes the Bas-relief of Bacchus's reception
by Icarius, at Rome, in 1549, ii. 142
Lahippus, or Dahippus, the sculptor, i. 27
Lais, Junia, a slave, sepulchral Urn consecrated by, to Isochryses,
her master, ii. 256
Lampsacus, figure of the god of, represented in a Bas-relief, ii.
159; terminal figure of the god of, ii. 263; ancient and
modern state of the town, ii. 264, 265
Land-marks, cippi used for, ii. 263
Lansdowne House, collection of marbles preserved at, i. 68
Lanuvium, now Civita Lavinia, statues and other remains of
sculpture found in the ruins of the villa of Antoninus at, i.
#". 189, 190, 253, 289, 299, 302, 303; ii. 78,79, 84,
21
Laocoon, group of, i. 27; question as to the age of, i. 28; of
Nero's time, i. 41; where discovered, i. 54; Barry's obser-
vations on the sculptors of, i. 245
Larymna in Boeotia, ii. 158
La Storta, marbles found near, in 1772, i. 201, 302
“La Tenuta della Tedesca,” colossal Bust of Antinous found in
the grounds so called, near the Villa Pamfili, ii. 41
Latona, Diana, and Apollo, joint sacrifices offered to, ii. 138
Laurel, one of the chaplets of Hercules, i. 327, note "
Laurenzano family, Bust of Clytie purchased from the, ii. 20
Lead, pigs of, ii. 285–292; Pliny’s account of the lead-mines in
Britain and Spain, ii. 285
Lebadaea in Boeotia, ii. 158
Leda and her swan, Bas-relief of, ii. 112
“Leg. II. Aug.” stone so inscribed taken from the face of Seve-
rus's Wall, ii. 284
Leicester, Earl of, furnishes his palace at Holkham with a gallery
of statues, i. 68
Lemnisci, or Pittae, the sacred ribands, ii. 293
Leochares, i. 15
Leontium in Sicily, silver tetradrachms of, bearing heads of
Apollo, i. 321
Leontius, the first sculptor who expressed the nerves and veins,
i. 19 ; Pliny's notice of a statue by him, of a person lame
from an ulcer, ibid.
Leptis, º Dr. Henderson's account of an amphora found
at, i. 153
Liber Pater, the Indian or bearded Bacchus, i. 94, 129; terminal
Heads of the, in the Townley Collection, i. 82, 85,333
INDEX. 353
Libera, or Female Bacchus, statue of, in the Townley Collection,
i. 214–216; terminal Busts of, joined with Bacchus, i.
338, 339; terminal Heads of, alone, i. 339, 340
Licinus, Albiccus, sepulchral urn for, ii. 254
Ligorio, Pirro, description of Hadrian's villa by, ii. 40, note 7°
Aſzyov (liknom), uses of the basket so called among the Greeks,
i. 125, 126
Lions, heads of, parts of a large sarcophagus, ii. 172
Livia, wife of Augustus, supposed to have had a hand in the death
of Marcellus, ii. 24; sepulchre for the liberti, servi, &c. of,
ii. 225, 226
Lizard, an accompaniment of the statues of Cupid in his character
of Somnus, i. 254; this symbol variously explained, ibid.;
used as the device, or rebus, to convey the name of the
sculptor Saurus to posterity, ibid.; the lizard made an ingre-
dient by Theocritus in his magic philter, ibid, note **
Lloyd, John, Esq., ii. 297
Lock, Mr. W. formerly the owner of a statue of Venus, the torso
of which is now in the British Museum, i. 266
Locusto, Pompeius, sepulchral urn for, with his wife and son, all
poisoned on one day, ii. 251
Lolli, Cavaliero, Bust of Hadrian found in the grounds of the,
near Tivoli, ii. 38
Lorenzo, S. near Rome, sarcophagus in the church of, ii. 181
Lorica, distinctive use of the term, i. 257, note 7”; Martial’s
epigram on the Lorica of Domitian, ibid.
Lothbury, Roman tessellated pavement from, ii. 260
Louvre Gallery of sculpture, founded by Francis I, i. 56; notices
of the collection of, by Doctors Heylyn and Lister, i. 57;
statues of, referred to, i. 159, 160, 162, 167; Mithraic Bas-
relief in, i. 289 .
Lucian, his description of Myron's statue of the Discobolus, i.
246, note 70 *
Lucius, called Alexa, allowed six places in a Roman sepulchre,
ii. 226
Lucius Verus. “See Verus”
Lucretia, cinerary urn for, ii. 242, 243
Lucretianus, Lucretius, ii. 232
Lucretius, the poem of, the best exposition extant of the doctrines
of Epicurus, ii. 14
Luctus Domesticus, sarcophagus representing the, ii. 236
Ludovisi Villa, at Rome, beautiful group in the, referred to the
era of Claudius, i. 41; marbles of the, referred to, i. 158, 159
Luna, Bas-relief of, surrounded by the signs of the zodiac, ii. 156
Lupercus, Tiberius Claudius, sepulchral urn for, ii. 240 *
• X 3
354 INDEX,
“Lustrazione rustica,” marble so called, engraved in the Museo
Pio-Clementino, ii. 119
Lutud, explanation of, upon Roman pigs of lead, ii. 289
Lutudarum, ii. 289, 290, 291
Lysanias, the son of Antiochus, i. 161
Lysimachus, heads on the large silver and gold coins of, probably
portraits of Alexander the Great, i. 26
Lysippus, the favourite sculptor of Alexander the Great, i. 15;
worked in bronze only, i. 24; the great number of his pro-
ductions, i. 24, 25; characteristics of the style in which he
worked, i. 25 ; the horses of the Church of St. Mark at
Venice wrongly ascribed to, i. 26; Hercules of marble
formerly in the Pitti palace at Florence wrongly ascribed to
him, ibid.; Pausanias's enumeration of some of the more
celebrated of his works, i. 27; Martial’s compliment to
him in one of his epigrams, ibid.; leaves three sons, sculp-
tors, ibid.; Tiberius’s admiration of the statue of an athleta
by, i. 40
Lysippus, another, i. 161
Lysistratus, i. 15
Mſ.
Macarani Palace at Rome, statues, &c., formerly in the, i. 179,
214, 216
Macareus and Canace supposed to be represented by a group in
the Villa Ludovisi at Rome, i. 41
Macedonian conquest, style of sculpture which succeeded the, i.
265
Macedonian period, specimens of sculpture in the Townley Col-
lection ascribed to the, i. 28, 29
Machaon represented seated in the tent of Nestor after he had
been wounded, in a terracotta Bas-relief, i. 99; story of,
from the llth book of the Iliad, i. 100 -
Mackinnon, W. A., Esq., sepulchral urns presented to the British
Museum by, ii. 228, 229, 231, 240
Macrobius, his description of the Venus Architis, i. 265; his ex-
pression, “In Scorpione Solis natura torpescit,” i. 283; his
comment on the worship of the Bona Dea, ii. 275
Maffei, his explanation of the lizard as an accompaniment of the
statues of Somnus, i. 254
Magnani Villa, ii. 49
Magnia Urbica, wife of Carinus, medal of, with the reverse of
“Pudicitia,” i. 110 - -
Maison of Megara, the inventor of the comic masks for a valet and
a cook, ii. 70
Male Head, a small, unknown, from the collection of Sir William
Hamilton, ii. 62 -
#
INDEX, 355
Man, Bust of a middle-aged, with an Inscription signifying that
L. AEmilius Fortunatus dedicated this bust to his friend, ii.
59; Bas-relief of a man conducting a bull, ii. 202
Mantua, the Great Duke of, ancient marbles purchased from, by
King Charles I., i. 58
Marathon, trophy found upon the plains of, ii. 307
MARBLE PATERAE, ii. 297, 298
Marbles, coloured, works of sculpture in, attributed to the time of
Otho, Galba, and Vitellius, i. 42
Marcellus, Bust of, ii. 23, 24; short notice of the life of, ii. 24;
his funeral oration pronounced by Augustus, ii. 25
Marcellus, Caius, statue of, mentioned by Cicero, i. 34; sends
works of art from Sicily, i. 36
Marcus Aurelius, the emperor, himself a practitioner in art, i.
44; equestrian statue of, in bronze, i. 46, 50; date of its
discovery, and removal of by Pope Paul III., i. 54; Bust of,
as one of the Fratres Arvales, ii. 44; his great character, ii.
45; his statues and busts numerous in ancient times, ii. 46,
note * X-
“ Marmor Atheniense,” ii. 305
“Marmor Bosporanum,” ii. 302
Maroni Villa, near Rome, sepulchral urn from the, ii. 240
Marriage, Bas-relief of a, ii. 180, 181
Marriages, different kinds of, in use among the Romans, ii.
Mars, statue of, in the Louvre Gallery, i. 160; figures on the
base of a candelabrum represented carrying the armour of,
ii. 81
Masks, ANCIENT, ii. 67–73; classes of, in use among the Greeks,
ii. 68 ; tragic, comic, and bacchic masks, ibid.; theatrical,
supposed to have come into use about the 70th Olympiad,
ii. 69; different opinions as to the inventor of the theatrical
mask, ibid.; names of persons who introduced particular
kinds of masks upon the stage, ii. 69, 70; Lumisden’s ob-
servations on the ancient masks, ii. 69, note *; Virgil's au-
thority that some of the early masks were made of the bark
of trees, ii. 70; leather lined with linen afterwards used, and
finally wood, ibid.; marble mask cut from a sarcophagus, ii.
71; a funeral mask, ibid.; votive, of a bearded ſaun, ibid.;
masks or faces of Bacchus described by Virgil as hung on
trees to procure fertility to vineyards, ii. 72, 73; tragic
masks of enormous size preserved in the Museum at Ince-
Blundell, ii. 73
Martial, emendation of the text of, ii. 249
“Mater Castrorum,” Faustina the younger the first empress who
assumed that title, ii, 47 .
& 356 INDEX,
Matlock Moor, in Derbyshire, account of Roman pigs of lead
found at, in 1797, ii. 288, 290
Mattei Collection, i. 56; ii. 153; sale of the, i. 69; marbles from
the, i. 342; ii. 43,46, 47, 233,294
Matthews, James, librarian to the first Marquess of Lansdowne,
once the possessor of Mr. Townley's bronze Hercules, i. 274
"Mauldon Moor, in Bedfordshire, Roman amphora found at, i. 154
Mausolus, Prince of Caria, tomb of, i. 20, note *; modern state
of the Mausoleum, ibid.
Maximus, L. Lepidius, monument erected by, to the memory of
his father, L. Lepidius Epaphras, ii. 231
Micianus, C. Tetius Victorius, altar found near Stanhope, co.
Durham, dedicated by, to Silvanus, ii. 278
Mead, Dr., had a small collection of ancient marbles, i. 68 ;
bronze head in his collection formerly ascribed to Homer, i.
350 º
Medici, Cosmo de’, the founder of the Museum Florentinum, i. 52
Medici, Lorenzo de’, establishes a school or academy for the
study of the antique, i. 53
Medusa, terracotta Bas-relief of the Head of, i. 90; another
Bas-relief representing Medusa's Head, with Minerva holding
up her shield in which Medusa's Head is reflected, i. 92
Megaric Statues, Cicero’s purchase of, i. 35
Melampus and Ichnobates, the names of the dogs, represented in
the Museum group of Actaeon, i. 299
Meleager of the Vatican, discovery of the, i. 55
Melos, Venus of, i. 21
Men always acted the parts of women in the Greek and Roman
theatres, ii. 70; Bas-relief of, pouring wine into a vessel, ii,
150
Menelaus, the sculptor of the group called Papirius and his Mother
158 ;
Menestheus, a sculptor, i. 161
Menodorus, i. 41
Menophilus and Derettina, supposed to be represented in a group
in the Villa Ludovisi at Rome, i. 41
Mercury, bronze of, found at Paramythia in Epirus, ascribed by
Mr. R. P. Knight to Polycletus’s school, i. 18; statue of,
presented by Scipio to the Tyndaritani, i. 34; represented
by Homer as cradled in a xízvoy, i. 126; terminal figure of
a youth, in the Townley Gallery, bearing the attributes of,
i. 202; Head of, formerly Mr. Chinnery’s, i. 324, 325; or
Adonis, statue of, in the Townley Collection, i. 246, 247;
Bas-relief of, sitting on a heap of stones, ii. 147; Bas-relief
of a boy sacrificing to, ii. 156; represented with his wand,
in the Bas-relief of a funeral charioi, ii. 190 -
INDEX, , 357
Messalina, wife of the Emperor Claudius, Bust of, ii. 27; a
similar Bust in the Museum Capitolinum, ii. 28; where
found, ibid.; short notice of her life, ibid.; representations
of her, ordered by the Senate to be destroyed, ibid.; medal
in bronze struck in her honour at Nicaea in Bithynia, ibid.;
sardonyx, on which she is represented, in the French collec-
tion, ibid.; statue of, in the gallery of the Louvre, ii. 29;
Tacitus's description of the interlude ordered to be exhibited
by, in which she and Silius performed parts, ii. 108, 110
Metreis, sepulchral monument for, ii. 165
Metropolis in Thessaly, ii. 158 *.
Micklegate in York, a Mithraic Bas-relief found at, in 1747, in
digging the foundation for a house, i. 289
Minerva, terracotta Bas-relief, in which she is represented super-
intending the construction of the ship Argo, i. 95; terra-
cotta Bas-relief representing her holding up her shield as a
mirror to Perseus, i. 109; statue of, by Antiochus of Athens,
i. 159; colossal Head of, in the Townley Gallery, of great
antiquity, i. 315, 316; restoration of, imitated from a coin
of Nola, i. 317; a later colossal Head of, ibid.; a Bust of,
with the helmet and breast of bronze, found in 1784, in the
Villa Casali, i. 318,319; Head of, the size of small life, found
near Rome, i. 319, 320; statue of, represented in a Bas-
relief described by D'Hancarville, ii. 159
Minerva and Jupiter, terracotta Bas-relief in which the heads of,
are represented, i. 94
Mirmillo Expirans, or Dying Gladiator of the Capitol, dug up in
the garden of Sallust, i. 55 -
MiscellANEous ANTIQUITIEs, ii. 306–312
Mithraic grotto, a symbol of the world, i. 285
Mithraic sculptures, reference to different works upon the, i. 286;
in two instances found in England, i. 289 r
Mithras, account of the groups of, in the Townley Collection, i.
282, 284; worship of, introduced at Rome from Persia, i.
282; explanation of the allegory veiled under the figures of,
i. 283; priests of, denominated ravens, i. 284, note *; in-
scription on the smaller group of, i. 285; rites of, celebrated
in caverns and grottoes, natural as well as artificial, ibid.;
part of the creed of the initiated that Mithras was born out
of a rock, ibid.; slaying of the bull constituted part of the
mysteries of, i. 286 ; dedicatory formula used in most of
the inscriptions on Mithraic sculptures, ibid.; worship of,
introduced into Britain, i. 289 -
Modius on the head of Jupiter Serapis, explanation of the, given
by Mr. R. P. Knight, i. 312, 313
358, inDEX.
Modius, the measure so called, the third of an amphora, i. 153
Monkey, statue of a, in basalt, in the Capitol, i. 161
Monmouthshire, old lead-mines in, worked by the Romans, ii. 292
Montalto, Villa, marbles formerly in the, i. 164, 341, 352; ii. 37,
143, 147, 148, 189, 201
Monte Cagnuolo, near the ancient Lanuvium, notices of marbles
found at, i. 289, 299, 302, 303; ii. 214
Monte Cavallo, colossal statues of, i. 50, 161
Monte Pincio at Rome, obelisk on, dedicated to the memory of
Antinous, in the joint names of Hadrian and Sabina, ii. 42
Mosynaeci, shields of the, ii. 192
Moulds for casting bas-reliefs, engraved in Seroux d'Agincourt's
“Recueil de Fragmens de Sculpture antique en Terre Cuite,”
i. 71, mote *
Mouse and Frog represented in the Bas-relief of the Apotheosis
of Homer, ii. 129 .
Mousis, a native of Miletus, sepulchral monument for, ii. 170, 171
Mummius, Lucius, gives the last blow to the power of the Greeks,
i. 32; his want of taste in the arts, i. 33, note 7"
Murena, Head of Aratus found at, ii. 15
Muse, statue of one, of terracotta, i. 81 ; of another, conjectured
to be Urania, ibid.; of Calliope, ibid.; terracotta statue of
a, conjectured to be Thalia, i. 82; small statue of a, in the
Townley Collection, i. 231; Head of a, crowned with a
wreath of laurel, ii. 54; another Head resembling a Muse,
which Mr. Townley considered as a Head of Apollo Musa-
getes, ibid.
Musée Napoleon, heads of Hippocrates engraved in the, ii. 8
Museo Pio-Clementino, origin of the, i. 56; Ganymede in the,
i. 161
Muses, enumeration of the, as represented on the Bas-relief of the
Apotheosis of Homer, ii. 125; Bas-relief of the, represented
on the front of a sarcophagus, ii. 184; their characteristic
attributes, ibid.; their order arbitrary, ii. 189, and notes”, ”
“Museum Florentinum,” founded by Cosmo de' Medici, i. 52
Museum Odeschalchum, ii. 275, 311
Myron, or Myro, the sculptor, i. 14; works both in brass and
marble, i. 18; enumeration of his most admired works, ibid.;
Juvenal places Myron's statues in competition with those of
Phidias, i. 19 ; uses the bronze of Delos for his works, ibid.;
Hercules in bronze by, i. 34; notices of various ancient
copies of his Discobolus, i. 243–246; celebrated cow of,
ii. 116
Myron, another, a later artist than the ancient sculptor of that
name, i. 14, 161 - , - .
INDEx. 359
N.
“ Nama Sebesio,” cabalistic words inscribed on a Mithraic Bas-
relief, i. 286
Naucydes, i. 14
Nebris, or hind's skin, explanation of the, i. 180
Neicocrates, M. Sempronius, sarcophagus with a Greek inscrip-
tion for, ii. 203
Nemi, Lake of, marble found near the, i. 232
Neophron of Sicyon, the introducer of a particular kind of mask
used by the domestic among the ancients who was charged
with the care of their children, ii. 70
Nero, said to have obtained five hundred bronze statues from the
Temple of Apollo at Delphi for the decoration of his golden
palace, i. 41 ; the Apollo Belvedere and the Fighting Gla-
diator found in the ruins of his villa at Antium, ibid.;
colossal statue of, by Zenodorus, i. 42; his taste, in gilding
statues, called in question, ibid.; a statue of a Roman
soldier in bronze, found at Barking-hall, in Suffolk, sup-
posed to bear a resemblance to some of his medals when
young, i. 277; Head of, ii. 29; notices of his life, ii. 30;
Suetonius says that persons were not wanting for several
years, who dressed his tomb with spring and summer flowers,
ii. 30
Nerva, statue of, engraved in the Museo Pio-Clementino, i. 43;
Heads of, in the Museum Capitolinum, and in the Villa
Albani, ibid.; coin of, with the reverse of “Fortuna,” i.
174
Nessus and Deianira, Bas-relief of, ii. 113; the story told in it,
ii. 114; ancient painting of this subject, ii. 115
Nestocles, i. 14
Nestor, instructions of, for managing the reins in a chariot-race,
as detailed by Homer, i. 141, note *
Nevius, Po. T. A. Cap., inscribed on a marble patera, ii. 298
Nicaea, in Bithynia, coin struck at, bearing the portrait of Messa-
lina, ii. 28
Nicolaos, a sculptor, i. 167
Nicolaus of Athens, i. 160
Nightingale, Peter, Esq., of Lea in Derbyshire, ii. 288
Niobe, group of, i. 20
Northumberland, Hugh, Duke of, gives one of the Corbridge altars
to the British Museum in, 1774, ii. 281
Numa, buried in a stone coffin, ii. 174
Nymph, statue of a, in the train of Diana, i. 180, 181
Nymphs, Bas-relief representing them, with Jupiter and Pan, ii.153
360 INDEX.
O.
Octavia, statue of the Venus de’ Medici found in the portico of,
i. 54
Octavius, the family name of Augustus Caesar, ii. 22
Odeschalchi Collection of Statues, i. 57, note *; ii. 311
Odyssey and Iliad of Homer, how personified in the representa-
tions of his Apotheosis, ii. 129, 133, note *
Ollae, in the room called the Columbarium, in the Townley Gallery,
ii. 232, 240, 245, 257
Ollulae, another name for pots in which the ashes of the dead
were preserved, ii. 226
Olympia, a female bust in a rich head-dress, dedicated to the
memory of, by Epithymetus her freedman, ii. 59
Olympiodorus, baths of, ii. 319
Onatas, i. 14; enumeration of some of his works as a sculptor,
ibid. note *; Pausanias goes to Phigaleia to see the Ceres
of Onatas, ibid.
Onyx, one of the names by which the ancients understood ala-
baster, ii. 248
Opus in Locris, ii. 158
Oracles of the gods consulted by the ancients upon the under-
taking of any important enterprise, i. 135
Oscillum, or countenance of Bacchus, a mask in the Townley
Collection, ii. 71, 72
Osiris, celebrations at Byblus relating to Adonis, referred to, i.
341
Ossuaria, ii. 225 -
Ostia, notices of marbles found in the emperor Claudius's mari-
time baths at, i. 168; Claudius's baths at, repaired by dif-
ferent emperors down to the time of Constantine, i. 173
Otho, Galba, and Vitellius, works of sculpture in different coloured
marbles attributed to their time, i. 42
Otricoli, Bust of the Emperor Severus found at, ii. 50; Bas-relief
found at, ii. 119
Ottley, W.Y., his edition of Cicero's translation of the Pheno-
mena of Aratus, ii. 16
Ovid, story of Actaeon, how told by, i. 294; his advice to ladies
who have no hair, ii. 276, note " -
P.
Paetus and Arria, group in the Villa Ludovisi, supposed by some
to allude to the story of, i. 41
Painting and Sculpture, an academy of, when established at Paris,
i. 57 § -
INDEX. 361
Palatine Hill, Bust of Lucius Septimius Severus found at the, ii.
49; porphyry bracket found at, ii. 92
Palestrina, a statue of Lucius Verus found at, in the ruins of the
ancient forum, ii. 49 -
Pallas, bassi-rilievi of the Temple of, i. 43
Palombara, Villa, statue of a Discobolus found at, i. 244, note *,
ii. 19
Pan, terracotta Head of, between two Heads of Satyrs, i. 128,
129; terminal figure of, i. 189; worship of, whence derived,
i. 21 l ; artists of modern times evidently took their idea of
the graphic representation of the Devil from him, ibid.; Pan
and the Nymphs jointly commemorated on various occasions,
ii. 153; Bas-relief representing Pan playing upon a lyre
with a faun playing upon a reed, ii. 156; face of, repre-
sented on a marble patera, ii.297
Panathenaic Amphorae, i. 155
Pancratiastae, fragment of a Bas-relief of two figures of, ii. 155
Pancratium, game of the, ibid.
Panther, said by Appian to delight in wine, i. 115; represented
in terracotta bas-reliefs, i. 114, 121, 130, 131
Pantinella of Hadrian's villa, ancient marbles found at the, ii. 19,
99
Papias the Aphrodisian, one of the sculptors of the Centaurs, in
black marble, found at Hadrian’s villa, i. 159
Papinius, Statius, his saying respecting the works of the sculptor
Myron, i. 18
Papirius and his Mother, group so called, i. 158
IIzazºrszasyºzávn, a title of Minerva, acquired from the spiral twist-
ing of her hair, i. 318 t
Parian Chronicle, testimony of, as to the age of Homer, i. 346
Paris, terracotta representing him carrying off Helen, i. 119 ;
Heads of Paris and Helen, one in alto, the other in basso-
rilievo, ii. 152, 154
Paris, Academy of Painting and Sculpture, when established at,
i. 57, note *
Parnassus, not the mount represented in the Bas-relief of the
Apotheosis of Homer, ii. 125
Pasiteles, a native of Calabria, who cast the infant Roscius in
silver, i. 37; his saying that the plastic art was the parent of
sculpture, i. 73 ..
Passiones, Cardinal, marbles purchased from the collection of, ii.
192, 201
PATERE, MARBLE, ii. 297, 298
Patrician matrons, temple of Pudicitia belonging to the, i. 110
Patroclus, i. 14 -
vol. II*. Y
362 INDFX.
Pavement, Roman, found at the Bank of England, in 1805, ii. 260
Pavonazzo marble, explanation of the name of, ii. 307
Paul, St., his reference in the Acts of the Apostles to the Pheno-
mena of Aratus, ii. 15
Paul V. began the Borghese collection, i. 56
Pausanias, his account of the combat at Marathon, in which
Echetlus fought with the ploughshare, ii. 241, and note '7
Pedum, the, i. 198
Peleus and Thetis, sarcophagus, on the front of which the nup-
tials of, are represented, i. 104
Pelluchi, Villa, marbles brought from the, ii. 250, 256
Peltae, shields of the Amazons so called, ii. 191
Pembroke and Pomfret collections formed out of the dispersion
of the Arundel collection, i. 68
Penelope, Bas-relief in terracotta, supposed to represent her, griev-
ing for the departure of Ulysses, i. 91.
Pentathlon, game of the, ii. 155
Pentheus, King of Thebes, story of, ii. 80, 81
Perelius, i. 14
Periander, tyrant of Corinth, terminal Head of, i. 351; account
of, ibid.; generally reckoned one of the Seven Sages of
Greece, but not accounted so by Plato, i. 352; apothegm
of, that “Industry is everything,” ibid.
IIselgänzoy, statue in bronze, by Praxiteles, so called, i. 189
Pericles, terminal Head of, in the Townley Collection, ii. 3;
sculptors helped the want of proportion in his head by
covering it with a helmet, ii. 4; Athenian satirists called him
azuvox;42xos, the onion-head, ibid.; Heads of, found near
Tivoli, ibid.; his life and character, ii. 4, 5; reputed like-
mess of, to Pisistratus, ii. 4; his most durable reputation
founded upon his love and encouragement of the arts, ii. 5;
death of, ibid.; statue and different portraits of, ibid.; Bas-
relief from a sarcophagus wrongly supposed to have been
part of the tomb of, ii. 206
Perinthus, repulse of Philip of Macedon by the citizens of, gives
rise to Glycon's celebrated statue of Hercules, i. 331, note *
Periphoretos, statue of an effeminate voluptuary, so called, i. 17
Perseus, terracotta Bas-relief representing him cutting off the head
of Medusa, i. 108
Persona, the Latin term for the theatrical mask, ii. 69, note *
Perspective, effects of, attempted in some of the Roman bas-
reliefs, ii. 95; instances of, ii. 96
Petty, Mr., afterwards Sir William, employed by Lord Arundel
to collect marbles for him in the Levant, i. 60, 61, 64, 65,
66; shipwreck of, and his loss of ancient marbles by, in re-
turning from Samos, i. 67
INDEX. 363
Petworth, the Earl of Egremont’s collection of marbles at, i. 68,
and note *, 159
Phaedimus, the sculptor, i. 161
Phaedrus, his mention of sculptors in his time placing the names
of more ancient artists on their works, i. 162
Phalanna, in Thessaly, ii. 158
Pharsalus, in Thessaly, ii. 158
Phenariste, wiſe of Philophanus, inscribed cippus for, ii. 268
Phenomena of Aratus, ii. 15
Phidias, his portrait of Pericles, placed in the shield of Minerva
in the Parthenon, ii. 5; the name of one of the sculptors of
a monkey of basalt in the Capitol, i. 161
Philip, father of Alexander, gold coins of representing Hercules
with a laurel crown, i. 327, note '7; portrait of Philip
upon, supposed to be mixed with the ideal image of the
deity, i. 328; his repulses by the citizens of Perinthus,
i. 331
Philip IV. of Spain purchases marbles from Rome, i. 57
Philosopher, Greek, unknown, profile bust of, ii. 152, 154;
another, of the Roman time, ibid.
Philtata, Pilia, bust of, and sepulchral urn to, ii. 258
£vegui, the name of the bandage worn by the performers on the
double pipe, ii. 108
Phragmon, i. 14
Phrygian Youths with Chimaeras, terracotta Bas-relief of, i. 90,91
Phrynichus the Poet, said by Suidas to have first brought the
female mask upon the stage, ii. 70
Phrynon, i. 14 * :
Pianella del Cassio, terminal Head of Pericles found in the, ii. 3
Picola, Nicolo la, i. 265; ii. 74
Pieris, Junia, inscription for, ii. 245
Pietaticultria, the term given by Petronius Arbiter to the stork,
ii. 159
Pig, sepulchral monument representing the sacrifice of a, to two
deities, ii. 167
Pigs of LEAD, ii. 285–292
Pindar, bronze head, formerly called Homer's, ascribed by Mr.
Combe to, i. 347
Pine, used in the chaplets of Hercules, i. 328
Pisistratus, Pericles's personal resemblance to him, ii. 4 -
Pistoia, Francesco de, employed by Poggio Bracciolini to collect
ancient marbles, i. 51, note *; his ill-usage of Poggio, i. 52,
note *
Pitharatus and Herophilus, funeral urn of, ii. 221
Y
364 INDEX.
Pittacus, fragment of a terminal Head of, found in the Villa di
Cassio at Tivoli, i. 352
Pitti palace at Florence, Hercules of the, i. 161
Plato, Heads of the bearded Bacchus, sometimes taken for por-
traits of, i. 337
Plautilla, wife of the Emperor Caracalla, Head of, ii. 52; notices
of her life, ii. 53; the union of the eyebrows a peculiar ſea-
ture in her busts, ibid.
Plebeian temple, at Rome, to Pudicitia, i. 110
Pliny, his assertion that the ancients were not in possession of
any actual portrait of Homer, i. 345
Plosurnia, ii. 240
Pluto, the foot a symbol of, ii. 64
Poet and his Muse, Bas-relief of a, ii. 194
Polus, a tragic actor, who, in performing the part of Electra, bore
the ashes of his own sons, lately dead, in the urn supposed to
contain those of Orestes, ii. 70
Polybus, the son-in-law of Hippocrates, believed to have written
some of the treatises ascribed to his father-in-law, ii. 10
Polycles, a sculptor, i. 15 ; another sculptor of the same name, ibid.
Polycletus of Sicyon, i. 14; description of his style as a sculptor,
i. 16; his statue called the Canon, ibid.; his bronze group
of the Astragalizontes in the court of Titus’s palace, ibid.;
enumeration of other works by him, i. 17; merit of, noticed
by different classic writers, and in the Anthologia, ibid.;
Canephorae of, i. 34; Mr. Knight’s supposition that the
head of the Mild Jupiter in the Townley Collection is a
fragment of a statue by him, i. 310
Polydorus, i. 27
Pomfret marbles at Oxford, Sleeping Cupid of the, i. 257, note 77
Pompey, account of the statue of, in the hall of the Spada
Palace, i. 38; discovered in the pontificate of Julius III.,
near the church of St. Lorenzo, in Damaso, i. 54
Pontifex Maximus, ii. 182
Poplar sacred to Hercules, i. 326, 327
Poppaea's funeral described by Tacitus in his Annals, ii. 175, note"
Poppy, seen occasionally in the left hand of statues of Somnus,
i. 254; called by Virgil “Soporiferum Papaver,” ibid.;
sacred to Ceres, ii. 293
Porphyry, support of a tripod table of, found in an excavation
made in the forum under the Palatine Hill, ii. 92
Porson, Professor, his discovery of a minute correction of an
error in the Greek part of the Rosetta Stone, ii. 228, note
Porta Aurea at Constantinople, Sir Thomas Roe endeavours to
procure certain sculptures from, for Lord Arundel, i. 65, 66
INDEX. 365
Porta Latina at Rome, terracottas in the Townley Gallery found at
the, i. 81, 82
Pozzolana, with which the Italians harden their mortar, i. 71
Pozzuolo, Bust of the younger Faustina bought at, ii. 47
Praxiteles, i. 15; carries the graceful and flowing style of sculp-
ture to its full perfection, i. 22; worked both in metal and
marble, ibid.; believed to have been the first sculptor who
ventured to make a statue of Venus entirely naked, i. 22,23;
Cnidian Venus of, i. 23, 27; originals, or copies from
originals, of the Praxitelean period, in England, enumerated,
i. 23; celebrated Cupid of, i. 34, 206; the name of, upon a
draped figure of Venus in the Louvre Gallery, i. 162; sup-
posed copies of his Cupid, which Phryne acquired by a
stratagem, i. 253 -
Priam asking for the body of Hector, Bas-relief of, ii. 134
Priene in Ionia, Strabo's account of, ii. 126, mote *
Priestesses, terracotta of two, before a lighted candelabrum, i, 135,
136; those of Bacchus, during the celebration of the Dio-
nysia, ate the raw flesh of animals, ii. 102
Prima, Cossutia, sepulchral urn for, ii. 239
Primaticcio, Francesco, a painter, sent to Rome by Francis I. to
collect ancient sculpture, i. 56
Primitiva, Viria, sepulchral cippus for, ii. 265
Proculus, Naevius, monumental inscription for, ii.229
Prosdecius, Inscription dedicated by, to his mother Serullia
Zosimenes, ii. 237
Proserpine, Medallions of Syracuse, bearing the head of, i. 32;
Rape of, by Pluto, frequently represented on sarcophagi,
ii. 267, 268; Addison's account of one, in his “Remarks
on several parts of Italy,” ii. 268
IIgorariz, the name for the masks used in the old Greek Comedy,
ii. 68
Provincia, Flavia, funeral urn to the memory of, ii. 257
Psyche, allegorical fable of, i. 147, 148; word puzà in Greek
means both the soul and a butterfly, i. 148; supposed frag-
ment of a figure of, ii. 65
Ptolemies, first, of Egypt, refuge of Greek artists in the court of
the, i. 31
Pudicitia, Bas-relief of a Bacchante offering a basket of figs to,
i. 109; Juvenal's allusion to her stay on earth, ibid.; dis-
tinction, at Rome, in the temples to, ibid.
Puteal from one of Tiberius's villas in the Isle of Capri, ii. 27
Puteoli, now Pozzuolo near Baiae, the Emperor Hadrian buried
at, in the first instance, i. 259
Pyromachus, i. 15
366 INDEX.
Pyrrhus, the bronzes of Siris supposed to have formed a part of
the armour of, i. 30 ; his consultation of the Pythian oracle
before he assisted the people of Tarentum, i. 135
Pythagoras of Rhegium, i. 14; his figure of a pancratiast, made
for the temple of Apollo at Delphi, i. 19
Pythagoras of Samos, works in sculpture by, ibid.
Pythias, i. 15 *
Pythian games, under the protection of Latona and Diana, as
well as Apollo, ii. 138
Pythocles, i. 15
Q.
Quadrigarian dress, used in the contests of the Circus, i. 141
Quartarius, the fourth of an amphora, i. 153
Quattro Fontane, on the Esquiline Hill, Bust of Caracalla found
at the, ii, 51
Quietorium, the name of a receptacle for ashes mentioned by
Montfaucon, ii. 261
R.
Rashleigh, George, Esq., presents various Roman antiquities,
found at Southfleet, in Kent, to the British Museum, ii. 262
Raven introduced in the sculptures of Mithras, i. 284, note *
Ravens, priests of Mithras so denominated, ibid.
Regulus, Memmius, sent by Caligula to collect from every city
in the empire the statues which were its peculiar boast, i. 40
Restituta, Tullia, ii. 275
Rhodes, Colossus of, the work of Chares of Lindus, i. 29
Rhoecus and Theodorus mentioned in one part of Pliny’s Natural
History as originating the plastic art, i. 73
Richmond House, Whitehall, fire at, in 1791, in which a statue
of Venus was broken to pieces, i. 266 <
Roe, Sir Thomas, extracts from his correspondence with Lord
Arundel, the Duke of Buckingham, &c., concerning the
procuring of ancient marbles, i. 61–67; he acts as agent for
both, 68
Roma Vecchia, notices of statues, &c. found at, i. 246, 276;
ii. 51
Roman Amphora, capacity of the, i. 152
Roman names, about Trajan’s time, frequently placed on Greek
statues, i. 44
Roman Pavement found at the Bank of England in 1805, ii. 260
Roman people, their jealousy of works of art which individuals
had dedicated to the decoration of their city, i. 40
Roman Sepulchral URNS IN THE Columbarium, ii. 225-259
INDEX, 367
Roman Soldier in bronze, given to the Museum by George, third
Earl of Ashburnham, account of the, i. 276, 280, 281
Roman style of art, manifestly distinct from that of Greece, i. 37
Romans, attachment of the, to the games of the Circus, i. 142;
in the middle age, like the Turks of a later period at
Athens, convert the fragments of some of their more splendid
buildings into lime, i. 50; followed two methods in the dis-
posal of their dead, burial, and burning, ii. 174; both prac-
tices mentioned in the Law of the Twelve Tables, ibid.
Rome, monuments of good art at, either brought from Greece or
executed by Greek artists, i. 35, 36 ; households of the
wealthier families of, contained practitioners in every art and
science, i. 46; only six ancient statues remaining in, when
Poggio Bracciolini wrote his treatise on the Vicissitudes of
Fortune, i. 49
Romans, costume of the, on the Trajan and Antonine columns,
ii. 223
Rondinini Faun, account of the, i. 239
Rooke, Col. Hayman, ii. 204
Roscius Gallus, the person who first appeared with a mask upon
the theatre at Rome, according to Diomedes, to hide an ugly
cast with his eyes, ii. 70
Roses ornament the couch upon which the statues of Somnus are
seen extended, i. 254
Rubens, Sir Peter Paul, a collector of ancient sculpture, i. 59
Ruſus, ii. 240
S.
Sabbatini, Signor Marc Antonio, Bacchic gem formerly in the
collection of, described, ii. 72 *
Sabina, wife of the Emperor Hadrian, Bust of, ii. 39; her death
ascribed to poison given to her by her husband, ii. 40; ac-
companied Hadrian in many of his progresses through the
empire, ibid.; her name still legible on one of the Colossi
in the plain of Thebes, ibid.; elaborate style of dressing the
hair in her bust, ibid.; another Head of, found near Civita
Lavinia, engraved in the Museo Pio-Clementino, ibid.
St. Albans, marbles formerly belonging to the Duke of, i. 309;
ii. 64, 234,254
St. Angelo, Castle of, formerly the mausoleum of the Emperor
Hadrian, i. 259 :
Sallust, gardens of, at Rome, i. 42; great quantities of busts and
statues found there, i. 43; the Mirmillo Expirans found at
the, i. 55
Salvilia, T. L. ii. 240
368 INDEX.
Salus, figures of, feeding a serpent, common upon Roman coins,
i. 134; altar to, jointly with AEsculapius, ii. 283; fre-
quently put for Hygeia, ibid, note”
Sandals, taken off by the ancients before they reclined to their
meals, ii. 142
Sannazarius, his Latin version of two Greek hexameters upon the
places which contended for the birth of Homer, i. 346
SARcoPHAGI BEARING BAs-RELIEFs, ii. 174—208; era of, at Rome,
ii. 96; workmanship of the Roman sarcophagi seldom ex-
cellent, ii. 175; instances of the anxiety shown by the
Romans to be buried in, ii. 175
Sarcophagi, stone, Anglo-Roman, ii. 260
Sarmatians, Bas-relief of the arms of the, similar to those on
Trajan's column, ii. 151, 153; Pausanias’s description of a
Sarmatian coat of mail suspended in the temple of Æsculapius
at Athens, ii. 153
Sarmizagethusa, the ancient Ulpia -Trajana, in Transylvania,
Mithraic Bas-relief found at, i. 286
Satyr, figure of a, in the Townley Collection, brought from
Rome by Earl Cawdor, i. 211; recumbent figure of a, in
the Townley Collection, i. 212
Satyrs, strong resemblances of, to different quadrupeds, i. 212;
forms of the Satyrs and Panisci adopted about the time of
Praxiteles, i. 24 §
Saurus, the sculptor, the lizard a device for his name, i, 254,
257; a marble vase at Rome, mentioned by Pliny, ascribed
to, i. 257
Scarphia in Locris, ii. 158
Scenic figure, small, sitting on a square plinth, in the Townley
Collection, i. 221
Scopas, i. 14; enumeration of his more eminent works as a
sculptor, i. 20; Mr. R. P. Knight's supposition that there
must have been either two distinguished artists of the
name, or that Scopas must have lived long enough to execute
works in the style of two periods, ibid. note *; enumera-
tion of various marbles and bronzes in different English col-
lections ascribed to the age of, i. 21; supposed by Sillig to
have flourished between the 97th and 107th Olympiad, ibid.
note
Scordisci, statues of the two Thracian Kings of the, i. 39
Scorpion used as an emblem of the decline of Nature’s produc-
tive power, i. 283
Scotussa in Thessaly, ii. 158
Scriba cubicularis, title of, ii. 231
Sculpture, HISTORY OF, FROM THE TIME of PHIDIAs To The Ex-
INDEX. 369
TINCTIon of THE ART At Rome, i. 14–48; state of, under
the Roman emperors. i. 41; reigns of Trajan, Hadrian, and the
Antonines, considered as the golden age of, in Rome, i.43; its
low state in the reign of Constantine, i. 47; last state of its
debasement and corruption, i. 47, 48; revival of the taste for
ancient sculpture, with its progress in Europe, i. 49; gradual
extension of the taste for ancient sculpture in Europe, i. 56,
57; when the taste for it arose in England, i. 57
Secundus, Gallus Favonius, his desire that his remains should be
brought from Lusitania to the Via Latina, and placed in a
sarcophagus, ii. 176
Secundus, P. Octanus, marble urn for, ii. 246
Segestians, Diana of the, i. 34
Seleucidae, Greek artists find a refuge in the court of the, i. 31
SEPULCHRAL Bas-REliefs, ii. 157–207
SEPULCHRAL Cippi, ii. 263—270
Sepulchres of the dead occasionally decked with ribands, ii.293
Serapis, M. Rapilius, a maker of eyes to put into statues, of the
Roman time, i. 317
Serapis, worship of, when brought to Rome, i. 311, 312; dis-
seminated through the provinces in the reign of Hadrian,
i. 312; introduced into Britain, ibid.; inscriptions to, found
in England, ibid.; temples of, numerous in Greece, thid.;
the Athenians imported this deity in the time of the
Ptolemies, ibid.; sepulchral monument representing a sacri-
fice to, ii. 167
Serpent of the garden of the Hesperides, i. 274, 275; fragment
of a, in marble, ii. 310
Servanda, Cornelia, urn dedicated to the memory of, ii. 236
Servilia, ii. 232
Severus, Lucius Septimius, debasement of sculpture apparent
in the bas-reliefs of the triumphal arches erected in his
reign, i. 47; Bust of, in the Townley Collection, found on
the Palatine Hill, ii. 49; account of, ii. 49, 50; portraits of,
how known, ii. 50 ; other Busts of, found at Otricoli and
Roma Vecchia, ii. 50, 51 ; inscription from a votive altar,
for the safe return of, with his family, from some expedition,
ii. 279; an inscription of the legionary kind, taken from the
face of Severus's Wall, ii. 284
Sevir Augustalis, ii. 270
Shield, circular, containing the names of the Ephebi of Athens
under Alcamenes, when he was Cosmetes, ii. 299
Sicily, medals of, of the Macedonian period, particularly fine,
i. 29; exact period to which they are to be assigned, ibid.
note 66
Sicyon, ravaged by M. Scaurus, i. 33
370 INDEX,
Silanion, i. 15; statue of Sappho by, i. 34
Silenus, marble figure of, in the Earl of Egremont's collection,
referred to the period of Trajan, i. 44; statue of, or of an
old faun intoxicated, in the Townley Collection, i. 232,
235; a small mask of, from Sir William Hamilton's collection,
ii. 71; full-length figure of, represented on a patera, ii. 298
Silius and Messalina, Tacitus’s description of an interlude per-
formed by, ii. 108, 110
Silvanus, votive altar to, ii. 276; figures and attributes of, ii.
277; libations of milk made to, ibid.; form of invocation to,
ibid.; sometimes confounded with Pan, ii. 278; votive altars
to, found in England, ibid.
Simus, the son of Themistocrates of Salamis, a sculptor, i. 162
Sinoe and other Nymphs, the nurses of Pan, ii. 153
Siris, bronzes of, account of the, i. 30
Sixtus V., Pope, marbles formerly possessed by, in the Villa
Montalto, i. 352; ii. 38
Skeleton, sepulchral inscribed tablet, with the Bas-relief of a,
below, ii. 169
Sleeping Faun of the Barberini Palace, discovery of the, i.
55
Sloane, Sir Hans, terracottas and marbles of the Townley Gal-
lery formerly belonging to, i. 107, 109, 110, 151, 337;
ii. 221, 243,306
Smyrna, portrait of Homer upon the coins of, i. 344, and note “;
generally considered to have the fairest claim to have been
the birth-place of Homer, i. 346; had a temple consecrated
to him, i. 347; marbles in the Townley Gallery brought
from, ii. 160, 162, 164; Amazons represented on the coins
of, ii. 192 * -
Snailbeach, in Shropshire, pig of lead found at, ii. 291
“Soli Mithrae" or “Soli invicto Mithrae,” the dedicatory for-
mula used in most of the inscriptions on Mithraic groups and
bas-reliefs, i. 286
Solon, fragment of a terminal Head of, found in the Villa di
Cassio at Tivoli, i. 352
Somerset House, old, statues belonging to King Charles I., in the
gallery and gardens of, i. 59, note *
Somnus, statue of Cupid in his character of, i. 253; such statues
not uncommon in the greater collections of Europe, i. 254
Sophocles, Bust of, ii. 1; account of, ii. 2; his tragedies, a
hundred and twenty in number, of which only seven have
come down to us, ibid.; various accounts of his death,
ibid.; Bust of, in the Vatican Museum, ibid.; medallion of,
in marble, in the Farnese Palace, ibid.
Sostratus, i. 15
INDEX. 371
Soteris, Dasumia, monumental cippus for, ii. 256
Sotnikus, sepulchral monument for, ii. 171–172
Southfleet, near Gravesend, Kent, account of a sarcophagus and
other Roman antiquities found at, ii. 261
S. P. F. for “sua pecunia fecit,” ii. 59
Sparta ravaged by Muraena and Varro, i. 33
Sphinxes, representations of, i. 122, 135, 136
Spirit, universal, or active principle, great local personifications
of the, i. 6, note *
Spring and Summer, terracotta Bas-relief representing, i. 104
Standish, Charles, Esq., brings a group of Mithras from Rome,
now in the Museum, i. 283
Standish, Edward Townley, Esq., i. 11, note *; appointed the
first Townley trustee of the British Museum, i. 12, note *
Standish, Ralph, Esq., i. 1 -
Statuary, the most valuable, removed from Rome to Byzantium
by Constantine's order, i. 49 -
STATues, i. 158–281; chronological notices of the discovery of,
chiefly in the sixteenth century, i. 54; earthen, mentioned
by Pausanias, as adorning the roof of the royal stoa in the
Ceramicus, i. 73; very few known which are inscribed
with the artists’ names, i. 158
Statues IN BRONze, of the Townley Collection, i. 273–281
Stenius, P., ii. 240
Sthenis, i. 15
StLITIBUs, a well-known archaism for litibus, ii. 24
Stork, termed Pietaticultria in the Satyricon of Petronius Arbiter,
ii. 159
Storta, or La Storta, i. 201, note *
Stosch, Baron De, his enumeration of the few ancient statues he
had met with which bore the artists' names, i. 158
Strongylion, celebrated for his Amazon, called Euknemis, i.
Strozzo Villa, ancient marble found at, i. 169
Successus, Publius Licinius, sarcophagus for, ii. 238
Suffretus, a löhodian, a celebrated collector of antique marbles,
i. 51, note *
Summer, how characterized in a terracotta Bas-relief of the
Townley Collection, i. 104
Sun, worship of the, introduced among the Romans from Persia,
i. 282; represented by Mithras, i. 283
Sun-dial, semicircular, in the Townley Collection, ii. 309;
Lumisden’s observations on the Roman sun-dials, ii. 310
Superstes, M. Coelius, sepulchral cippus for, ii. 262
Swan bearing Venus on its back, represented in a terracotta, i. 147;
372 INDEX.
in Egyptian red marble, found in a vineyard adjoining the
Villa Pinciana, i. 269
Swinney, Dr., chaplain to the factory at Constantinople, once the
possessor of Mr. Townley's bronze Hercules, i. 274 .
Sylla introduces the practice of burning the dead among the
Romans, ii. 174
Syracuse, medallions of, bearing the head of Proserpine, i. 32;
coin of, on which Victory is represented sacrificing a bull,
i. 290
Syria, fable relating to Adonis originated in, i. 340
Syria and Pontus, coins of the last monarchs of, the latest speci-
mens of genuine Greek art known, i. 32
T.
Taenia, i. 197, note *
Tali, account of the game of, i. 305, and note *; still played in
Russia, ibid.; its great antiquity, ibid.; represented on a
vase in the collection of the late Sir William Hamilton,
i. 305; the Emperor Justinian limits the sum to be played
for at this game to an aureus, i. 306; Augustus, writing to
his daughter, gives her a hundred and fifty denarii, which he
says he had given to every one of his guests, if they had a
mind at supper to divert themselves with tali, or odd and
even, ibid, note *
Tarentum and AEgina, considered by the Romans as the best
manufactories of candelabra, ii. 77
Tauriscus, one of the sculptors of the toro Farnese, i. 159
Tegea, in Arcadia, ii. 158
“Tenuta di Tor de Sapienza,” Head of a laughing faun found in
the, in 1772, ii. 57 …
Termini or Hermae, explained, i. 202, note *; of the bearded
Bacchus, i. 82, 85,333, 334, 335, 336
Terms, Heads of Bacchus mounted on, employed by the ancients
to decorate their eating-rooms, i. 333 -
TERRAcottas of the Townley Gallery, account of, i. 71–157;
typus the ancient name for terracotta, i. 74; fragments of,
preserved in the Hamilton Room, i. 151
Testamentary Inscription, fragment of a, formerly in the Villa
Pelluchi, ii. 250
Thailus, ii. 270
Thalassa, L. ii. 269
Thales, fragment of a terminal Head of, found at Tivoli, i. 352
Thalia, statue of, in the Townley Gallery, i. 197
Thargelia, ceremony at the celebration of the, at Athens, sup-
posed to be referred to in a terracotta Bas-relief, i. 98
INDEX. 373
Thebes, Bºcchus how represented on the coins of, i. 129,
note *
Theocritus, his description of the festival of Adonis, i. 340
Theodoric, King, part of a letter of, relating to the baths of
Aponus, ii. 308, note *
Therimachus, i. 15
Theseus, terracotta Bas-relief, representing him slaying one of
the Centaurs, i. 137, 138; terracotta, representing him
cutting off the head of an Amazon, i. 146 -
Thessalus and Draco, sons of Hippocrates, supposed to have
written some of the treatises ascribed to their father, ii. 10
Thimoteus, Aur., altar dedicated by, to Diana, ii. 278
Thryphosa, Agria, ii. 170
Thyatira, coins of, ii. 192
Tiberius, his removal of a statue by Lysippus from the baths of
Agrippa, presented by the Roman people, i. 40; Head of,
formerly belonging to the Right Hon. Edmund Burke, ii.25;
portrait of, how identified, ii. 26; his life and character,
ibid.; his villas in the isle of Capri, ii. 27; puteal from the
ruins of one of his villas, ibid.
Tibullus, his allusion to the catastrophe of the story of Bacchus’s
visit to Icarius, ii. 144
Tiles, ancient, in terracotta, brought from Athens, i. 156, 157
Timarchus, i. 15
Timocles, i. 15.
Tisicrates, a sculptor of Sicyon, i. 29
Titulenus, T. Isauricus, monumental urn for, ii. 233
Titus, arch of, i. 43; baths of, at Rome, amphora found in the,
i. 156; statue found in the, belonging to a group, originally
composed of two boys who quarrelled at the game of tali, i.
303, 304 - *
Tivoli, small Harpocrates, and Venus of the Capitol, found at,
i. 55; marbles found in the Villa di Cassio at, i. 351, 352
Toe, colossal fragment of a, ii. 65
Topham, Mr., marbles formerly belonging to, ii. 158, 280
Torso, votive, of an athleta, in terracotta, the size of life, i. 82
Townley family, pedigree and history of the, i. 1; its attachment
to the cause of the Pretender, i. 2
Townley, Charles, Esq., descent and birth of, i. 1; education of,
at Douay, i. 2; introduced into society at Paris, ibid.; takes
possession of the family residence at Townley, ibid.; visits
Rome and Florence, ibid.; his excursions to Magna Graecia
and Sicily, ibid.; his unrestrained access to the cabinets and
galleries of the Roman nobility, i. 3; an advocate for the
mythological system of D'Haucarville, ibid, note", i. 6, note";
his dealings for ancient marbles with Mr. Thomas Jenkins,
374 INDEX,
at Rome, i. 4; brings his acquisitions to London about 1772,
i. 6; fits his house up in the manner of a Roman villa to
receive them, i. 7 ; lays out large sums in bronzes, coins,
gems, &c., to illustrate his sculptures, ibid.; his Roman
coins in large and middle brass only exceeded by those of
the King of France, i.8; possessed one of the oldest Greek
MSS. of the Iliad known, ibid.; chronological progress of
the formation of the Townley Gallery, i. 9, 10; the
Astragalizontes his first purchase, i. 8, 303; purchases the
female bust denominated Clytie, i. 9; his house in Park Street,
Westminster, threatened by the rioters in 1780, ibid.; se-
cures the bust of Clytie as his favourite, ibid.; his only
printed literary production, a Dissertation on an ancient
Helmet found at Rihchester, in the Vetusta Monumenta of
the Society of Antiquaries, i. 10; elected a Trustee of the
British Museum, in 1791, ibid.; his death and the directions
of his will, i. 11; inscription for, in the family chapel at
Barnley in Lancashire, ibid.; his collection purchased by
Parliament for the British Museum, i. 12; Mr. Townley’s
remaining collection of antiquities purchased for the British
Museum in 1814, ibid.; busts and engraved portraits of,
ibid.; directions of the Act, by which the Townley Collection
was acquired, for vesting the appointment of a trusteeship of
the British Museum in Mr. Townley's family, i. 12, note *;
maternally descended from Lord Arundel, i. 70
Townley, Chevalier, the translator of Hudibras into French, i. 2
Townley, Col. Francis, execution of, for serving the Pretender,
i. 3, note”
Townley, John, Esq., of Chiswick, succeeds to the Townley
estate, i. 11, note *; succeeds Mr. Standish as Townley
Trustee of the British Museum, i. 12, note *
Townley, Peregrine Edward, Esq., i. 11, note *; succeeds to
the Townley trusteeship of the British Museum, i. 12
Townley, William, i. 1
Trajan, all the cities of Greece erected statues to, i. 43, note”;
arch at Ancona, and the column existing in the forum of
Trajan, monuments of his taste, i. 44; Bas-relief of a trophy
erected by him to commemorate his 'conquest of Decebalus,
the leader of the Dacians, i. 119; terracotta Bas-relief re-
presenting two captive Dacians gracing his triumph, i. 143,
144; Bust of, ii. 32; his life and character, ii. 33; the
title of optiMVs given to him by the senate, ibid.; popu-
larity of the victories achieved by, ii. 223
Trajan’s Forum, Head of a barbarian chief found at, ii. 34; Mr.
Combe's description of, ii. 35
Trapezophora, the term used for the supports of ancient tables, ii. 87
INDEX, 375
Trapezophoron, the, mentioned by Cicero in his Familiar Letters,
probably a statue or figure made in a form to support singly
a table, ii. 87, note *
Trastevere, near the Flaminian road, marble from the garden of
the Augustine Friars at, ii. 204
Triade, Supreme, personifications of the, i. 6, note"
Tricca in Thessaly, ii. 158
Trimalcion, the Bas-relief of Bacchus's reception by Icarius, for-
merly taken for the supper of, as described in Petronius
Arbiter, ii. 143
Tripod Tables; fragment of a pedestal or support of a tripod
basin or table, the central part composed of the head and
neck of a lion, ii. 89, 91 ; account of two supports of
tripod tables, one in porphyry, the other in pavonazzo
marble, ii. 92,93; lion's feet, probably portions of a tripod
table, ii. 93
Tritia, statues of clay in the temple of, mentioned by Pausanias,
i. 74
Triton’s Head, terracotta Bas-relief of a, i. 86
Trivia, one of the distinguishing names of Diana Triformis,
i. 290; meaning of the appellation, i. 293
Troezen in Argolis, ii. 158
Trophy found upon the plains of Marathon, ii. 307
Trumpeter, Head apparently of a, ii. 63, 64
Trypho, gem of Cupid and Psyche by, in the Marlborough col-
lection, i. 148
Tyche, Julia, ii. 233
Tychen, Apuleia, sepulchral inscription for, ii. 257
Tychen, Claudia, inscription from a cippus for, ii. 269
Tyndaritani, statue of Mercury presented by Scipio to the, i. 34
Typus, the Roman name for terracotta, i. 74
Tyrannus, inscription on a sepulchral cippus to, ii. 267
Tyre, Hercules represented upon the coins of, i. 273
Tyrian Hercules, altar to, ii. 281; Tyrians, one of the earliest
people who paid divine honours to Hercules, i. 274
Tyrwhitt, Thomas, Esq., ii. 160
W.
Vacca, Flaminius, tract of, containing many curious particulars
relative to the first discoveries of ancient sculpture at Rome,
i. 53, 54
Valentina, Flavia, marble urn for, ii. 244
Varro, Marcus, antiquities found in the ruins of the villa of, near
Albano, i. 6, 253, 351; ii. 15
Vases, history and purposes of, ii. 209
376 INDEX,
Vases filled with oil, given as prizes at the Panathenaea, i. 155,
note *; of alabaster, in the Townley Collection, ii. 247, 248,
249
. VASEs, BAccHANALIAN, ii. 209–215
Veii, ancient, i. 202
Velasquez, the painter, induces Philip IV. of Spain to purchase
ancient marbles, i. 57
Venere della Conchiglia, i. 183
venºne of St. Mark at, wrongly ascribed to Lysippus,
1. 26
Venus, statues of, found at Capua and Melos, referred to the
age of Scopas, i. 2 l ; statue of, belonging to the Duke of
Bedford, at Woburn, i. 23; in the gallery of the Earl De
Grey at Newby, i. 23; terracotta Bas-relief of, riding on a
sea-horse, i. 95, 96; Claudian’s description of Venus borne
on the back of a triton, i. 97; terracotta Bas-relief represent-
ing her seated on a Swan, i. 146, 147; statue of, bearing
the name of Bupalus as the sculptor, i. 160; small statue of,
in the Townley Collection, called Angerona by Mr. Townley,
174, 175;Venus or Dione, statue of, in the Townley Collection,
i. 167, 169; ascribed by Mr. R. P. Knight as the work of
Scopas, i. 21, 168; figure of Venus in a medallion of Lucilla
described, ibid.; torso of a small but beautiful statue of, in
the Townley Gallery, i, 205; torso of, formerly in Richmond
House, Whitehall, i. 265; the Empress of Russia in treaty
for it, i. 266; by whom restored, ibid.; represented upon a
Bas-relief seated on a rock and receiving Cupid, ii. 146;
small group of Venus and two Cupids, i. 306; altar of, at
Paphos, ii. 271
Venus Architis, terminal statue of, i. 260, 264; where and by
whom found, i. 265; supposed date of this marble, ibid.
Venus of the Capitol, found at Tivoli, i. 55; statue of a, presented
to the British Museum by King William IV., i. 259, 261
Venus, Crouching, of the Vatican, i. 265
Venus Genitrix, temple erected to, by Caesar, i. 39
Venus de’ Medici, discovery of the statue of the, in the time of
Leo X., i. 54; name of Cleomenes inscribed upon the modern
base of the, i. 160; attitude of, noticed by Ovid, i. 260
Verecundus, Lucius Aruconius, ii. 289
Verospi Palace, Bas-relief from the, ii. 115
Verres, ardour of, in furnishing his gallery of sculpture, i. 34;
“Gallery of,” Dissertation so named by the Abbé Fraquier,
ibid.; account of the Statue of Jupiter Urius seized by him
from the straits of the Bosphorus, ii. 303, 304
Verus, Lucius, colossal Bust of, i. 47; Capitolinus's description
INDEx. 377
of his person, i. 48, note *; his life and death, ii. 48, 49;
other busts and statues of, enumerated, ii. 45, 49
Vespasian spends much of his time in the gardens of Sallust, i.
42; Bust of, at Strawberry Hill, i. 43
Via Appia, marble found in the, i. 267; ii. 226
Via Latina, ii. 176, 245
Victor, Flavius AElius, monumental urn for, ii. 233, 234
Victor Amedei, marbles formerly in the collection of, at Rome,
ii. 224
Victory, part of a group of, pouring out a libation to Apollo Musa-
getes, ii. 78; Bas-relief of, in marble, ii. 1 12, 113; terracotta
representations of, sacrificing a bull, in the Townley Collec-
tion, i. 107, 145, 189; marble groups of, in the Townley
Collection, i. 288, 289; the same subject seen on a gem in
the Museum Florentinum and on several Roman coins, i. 290
Villa Burioni, marbles from the, ii. 169, 262
Villa Carpenica, ii. 238
Villa Casali, upon the Esquiline Hill, ancient Head of Minerva
found at, i. 319; Head of Hippocrates found at, ii. 15; bust
of Messalina found at, in 1775, ii. 28
Villa di Cassio, terminal head bearing the name of Periander
found in the, i. 352
Villa Fonsega, marbles found at the, i. 221, 347
Villa Magnani, ii. 49 -
Villa Montalto, statues, busts, &c., formerly in the, i. 164, 341,
352; ii. 38, 147, 148
Villa Negroni, terminal figure in the, bearing the sculptor's name,
Zenas the son of Staphis, i. 162; marble masks from, ii. 73
Villa Palombara, statue of a Discobolus found at the, i. 244;
Head of Atys found there, ii. 19
Villa Pelluchi, marbles found at the, ii. 250, 256 -
Villa Pinciana, a swan in Egyptian red marble found at, i. 269
Villa Praenestina, marbles found at, i. 160
Villa Strozzi, statues found at, i. 164
Villa Verospi, statue of a nymph found at, i. 183
Villas of the old Romans, Lumisden’s description of the, ii. 38,
note 7°; description of Hadrian's villa, ibid. -
Wine from a single stem, the approved form of growth among the
Romans, i. 110, note *
Vineyard, produce of a, sometimes estimated by the number of
amphorae it would supply, i. 153; sometimes by Culei, ibid.
Vipsania, M. Vipsani Musa, ii. 269
Virgil, passage in the Georgics of, illustrated, ii. 73 .
Virginia excluded from the temple of Pudicitia belonging to the
Patrician matrons, i. 110
vol. II*. Z
378 INDEX.
Vitalis, secretary to the emperor, sepulchral monument of the
wife of, ii. 229, 231
Vitellius, small Bust in marble of, in the British Museum, i. 42;
ii. 31 ; notice of his life and gluttony, ii. 32
Votive AND BAccHANALIAN BAS-RELIEFs, ii. 94-156
• U.
Urania, terracotta statue of, in the Townley Gallery, i. 81
Urna, the half of the Roman amphora, i. 153
Urns. Etruscan cinerary urns, ii. 241 ; funereal, ii. 221; why
rectangular cinerary urns are more numerous than round
ones in our galleries of sculpture, ii. 227 c
Urns, Roman sepulchral, in the Columbarium, ii. 225-259
Usus, marriage by, among the Romans, ii. 183
Vulcan, a small Head, formerly Sir William Hamilton's, i. 323
W.
Walker, John, Esq., marble trophy from the plains of Marathon,
presented by, ii. 307
“Wall-flower, the,” the designation jocosely given to Trajan by
Constantine the Great, ii. 33
Walpole, Sir Robert, his collection of Busts and Heads at Hough-
ton, i. 68
Warrior, terracotta Bas-relief of a, consulting the oracle of
Apollo, i. 134; Bas-relief of a, approaching a trophy,
ii. 158; statue of the Warrior of Agasias, found amongst
the ruins of Nero's villa at Antium, i. 4
Wavendon Heath, in Buckinghamshire, a Roman amphora found
there, i. 154
Weddell, Mr., his collection of marbles, now belonging to Earl
De Grey, i. 69
Westbury, in Shropshire, account of a pig of lead found at,
inscribed with the name of the Emperor Hadrian, ii. 291
William IV., King, presents a statue of Venus of the Capitol to
the British Museum, i. 259
William, Cardinal, nephew of Pope Innocent IV., ii. 181
Wilton, the sculptor, restores a statue of Venus, formerly belong-
ing to Mr. W. Lock, i. 266
Winter, figure of, represented in a terracotta Bas-relief, i. 133
Woburn Abbey, Roman amphorae found at different times in the
Park at, i. 154
Wollay, Adam, Esq., ii. 288,290 -
Women, except the vestal virgins, by the Roman law, always
considered as minors, ii. 183
Woodchester in Gloucestershire, statue of Diana Lucifera found
at, in 1795, i. 212 -
INDEX, 379
Worsley, Sir Richard, his collection of ancient marbles at Appul-
dercombe, i. 69; his statue of Cupid, i. 206
Wreath upon the Heads of Hercules, sometimes composed of
flowers and ribands, i. 328
X.
Xanthippus, the father of Pericles, Bas-relief of, i. 107
Y.
Young Man, small Head of a, from the collection of Sir William
Hamilton, ii. 57
Youth, portrait of a, to the shoulders, bearing the attributes of
Mercury, i. 202, 203; fishing with an angle, on a sepulchral
Bas-relief, ii. 166
Youthful Statue, fragment of a, presented to the Museum by A.
E. Impey, Esq., i. 269
Z.
Zenas, of Staphis, i. 162
Zenodorus, i. 41 ; encouraged as a sculptor by Nero, i. 42
Zenon, the son of Attis, of Aphrodisias, i. 162
Zeuxippus at Constantinople, destruction of the, i. 348, 349;
statue of Pericles in the Gymnasium at, ii. 5, 6
Zeuxis, the disciple of Silanion, i. 15
Zona, i. 197, note *
Zosimenes, Serullia, monumental inscription to, ii. 237
References to the Pages in which the Accounts will
be found of the respective Marbles.
:N
..
TCWNLEY MARBLES.
Room I.
Page
. . . . i. 75, 81
. . . . i. 155
. . . . i. 75
tº e i. 86, 15l
. . . . i. 86
tº e i. 86, 87
e ‘e i. 86, 88
. i. 82, 85, 86, 88
tº ſº . i. 90
. . . . i. 90
. . . i. 90,91
. . . . i. 91
. . . i. 92, 93
gº tº & i. 93
. . . . i. 94
. . i. 94, 95, 96
e&©ºo*&ſº
i. 96, 97
... i. 98
... i. 99
i. 99, 100, ioi
. i. 103
i. 104, 105
. i. 104
i.107, i. iși
. i. 108
i. 107, 108, isi
.
ºsºoeesººeoº&oe
Page
. i. 121
i. 78, 81
i. i21, 153
i. 40,81, 122
i. 122, 155
. i. 122
i. 122, 123, 151
i. 125, 126
i. 128, 129
i. 128, 129
... i. 129
i. 130, 131, 151
i. 130, 131
... i. 130
. i. 130
i. 133, 151
. i. 134
i. 135, 136
i. 137, 138
... i. 138
i. 138, 154
. i. 138
i. 139, 140
i. 139, 141, 142
. i. 143
. i. 143
. i. 143
. i. 143
* gº e
... i. 109
... i. 110
. i. 115
i. l 14, 115, 154
. i. 108, l l 5, 116
. i. 116, 117
. . i. 1 10, 117
. . i. 118, 119
$ g & º i. 118
. . i. 121, 151
i. 143, 144
. i. 145
i. iſo, ilâ, i45
. i. 145
, i. 110, 145
i. 107, 108, 146
. i. 146
i. 146, 147
i. i47, 148
Z 3
TOWNLEY MARBLES.
Page
. . . . . . i. 151
. . . . . i. 83, 85
. . . . . i. 75, 82
. . . . . . i. 155
. . . . . i. 82, 83
. . . . . i. 82, 83
. . . . . . i. 155
º o * º g © i. 155
. . . . . . i. 155
& ſº tº º . i. 155
Room II.
. . . . . . i. 318
e is tº º ... ii. 221
. . . . . . ii. 85
. . . . i. 163, 165
. . . . . . ii. 78
º . . . . ii. 81
. . . . ii. 212, 213
i. 167, 169. See also i. 21
23
tº º ſº ii. 214, 217
. . . . . . ii. 74
... ii. 109. See also i. 230
. . . . . . i. 329
. . . . . . ii. 85
tº º ii. 263, 264
tº e . . ii. 85
g is tº . . i. 315
Room III.
. . . . . . ii. 93
. . . . . . ii. 293
. . . . . . ii. 159
gº tº dº º ... ii. 141
. . . . . .ii. 134
. . . . . . ii. 98
. . . . . . ii. 96
. . . . . (Blank)
. . . . . . ii. 145
. . . . . . ii. 294
. . . . . . ii. 111
. . . . . . ii. 109
tº tº i. G & & ii. 112
No. Page
14 . . . . . . ii. 294
15 . . . . . . ii. 113
16 . . . . . . ii. 115
17 . . . . i. 337, 338
18 . . . . ... i. 173
19 . . . . . i. 333
20 . . . . . ii. 6
21 . . . . . . i. 324
22 . . i. 174. See also i. 8
23 . . . . . . ii. 119
23*. . . . . ii. 67, 68
24 . i. 179. See also i. 24
24*. . . . . ii. 67, 68
25 . . . . . . i. 343
25*. © g g º ii. 67, 68
26 . . . . . . ii. 1
27 . . . . ... i. 334
28 . . . . ... i. 180
29 . . . . ... i. 335
30 . . . . . . i. 336
31 i. 303, 304. See also i. 8
32 . . . . . . ii. 3
33 i. 184; ii. 88. See also
i. 8, 46
34 . . . . . . ii. 13
35 . . . . . . i. 189
36 . . . . ii. 299, 301
37 . i. 263. See also i, 8, 29
38 . . . . . ii. 83, 297
39 . . . . . i. 347
40 . . . ... ii. 297
40*. . . . . . i. 190
41 . . . . . . ii. 157
42 . . . . . . i. 351
43 i, 184, 189. See also i. 46
44 . . . . . . i. 350
45 . . . . . . i. 294
46 . i. 326. See also i. 29
Room IV.
1 . . . . . . ii. 32
2 . . . . i. 190, 195
3 . . . . . . i. 321
4 * . . . . . ii. 34
TOWNLEY MARBL ES.
383
No. Page
5 i. 195,197. See also i. 8
6 . . . . . . ii. 44
7 . . . . . . ii. 47
8 . . i. 299. See also i. 8
9 . i. 327. See also i. 29
10 i. 313, 314. See also i. 21
11 . . . . i. 196, 201
12 . . . . . . ii. 37
Room V.
1 . . . . . . ii. 227
2 . . . . . . ii. 228
3 . . . . . . ii. 229
4 . . . . . ii. 229
5 . . . . . . ii. 230
6 . . . . . . ii. 232
7 . . . . . . ii. 232
8 . . . . . ii. 233
9 . tº º (Blank)
10 i.333, see also ºff
. . . . . . . . . ii. 234
12 e e º - tº & . ii. 234
e
13 . . . . ii. 235, 236
14 ii. 237. See also ii. 227
15 . . . . . . ii. 238
16 . . . . . . (Blank)
17 . . . . . . ii. 239
18 . . . . . . ii. 240
19 . . . . . . ii. 240
20 . . . . . . ii. 240
21 . . . . . . ii. 241
22 ii. 242. See also ii. 227
23 . . . . . . ii. 242
24 . . . . . . ii. 243
25 . . . . . . ii. 244
26 . . . . . . ii. 244
27 . . . . . . ii. 245
28 . . . . . . ii. 245
29 . . . . . ii. 246
30 . . . . . . ii. 246
30*. . . . . . ii. 247
31 . . . . . . ii. 250
32 . . . . . . ii. 251
33 . . . . . . . ii. 251
i
i
No.
34
35
36 .
37
37+.
38
39 .
40
41 .
42
43
44 .
45
:
ººtºotyis*
Page
. . . . . ii. 253
. . . . . ii. 253
. . . . . ii. 254
. . . . . ii. 254
. . . ii. 247, 248
. . . . . ii. 256
. . . . . ii. 248
• . . . . ii. 256
• . . . . ii. 257
. . . . . ii. 257
. . . . . ii. 258
. . . . . ii. 259
. . . . . ii. 260
Room VI.
. . . . . ii. 152
. . . . . ii. 176
. . . ii. 132, 133
. . . . . ii. 181
. . . . . ii. 184
. . . . . ii. 133
. . . . . ii. 190
. . . . . ii. 152
• . . . . ii. 191
. . . ii. 192, 193
. . . . . ii. 193
. . . ii. 195, 201
. . . . . ii. 152
. . . . . ii. 201
• * ... i. 309
e - & * © * i. 202.
. . . . . ii. 274
tº . . . ii. 64
e i. 290; ii. 274
* tº ... i. 205
. . . . . i. 269
i. 205. See also i. 8.
. . . ii. 104, 105
. . . . . ii. 274
. . . . . i. 342
e gº * © ; : i. 289
. . . . . ii. 38
& • e g ii. 62, 100
£º © © © © ii. 49
384 TOWNLEY MARBLES.
No. Page No. Page
30 . . . . . ii. 64, 202 || 2 . . . . i. 252, 253
31 . . . . . . i. 289 || 3 . . ii. 150, 165, 202, 295
32 tº Q • gº g * ii. 46 4 # wº * ii. 147, 148
33 . . . . ii. 83, 265 || 5 . . . ii. 203, 204, 301
34 . . . . . . i. 276 6 . . . . . (Blank)
35 . . . . . . i. 269 7 . . . . ii. 150, 166
36 . . . . . . i. 212 8 . . . . . . ii. 167
37 . . . . ii. 160, 161 9 . . . . . . ii. 150
38 . . . . . . ii. 83 || 10 . . . ii. 148, 149, 168
39 . . . . . . ii. 52 | 11 . i. 211; ii. 62, 152, 155
40 . i. 213. See also i. 8 || 12 . . . . . . ii. 155
41 . ii. 29. See also i. 41 || 13 . . . ii. 65, 156, 295
42 . . . . . . ii. 54 14 . i. 14; ii. 147, 169
43 . . . . i. 214, 217 | 15 . . . . . . ii. 221
44 . . . . . . ii. 28 16 . . . . i. 232,235
45 . . i. 221, 223; ii. 265 || 17 . . . ii. 204, 276, 306
46 . . . . i. 220, 221 | 18 . . . . ... i. 239
47 . . . . . ii. 17 | 19 i. 239, 24]. See also i. 18,
48 sº gº tº tº o dº i. 222 21; ii. 308
49 . . . . . . ii, 162 20 . . . i. 269; ii. 266
50 . . i. 222, 225; ii. 275 21 i. 246, 247. See also i. 8
51 wº * o e e © ii. 50 22 e o tº i. 253; ii. 280
52 . i. 302. See also i. 8 || 23 i. 250, 253. See also i. 24
53 g Ǻ º © • ii. 23 24 e tº i. 211, 273; ii. 89
54 . . . . . . ii. 134 25 . . . . . . ii. 267
55 . . . . . . ii. 53 26 . . . . . . ii. 301
56 Qe tº tº º tº tº ii. 84 27 {º} º tº * º (Blank)
57 . . ii. 64, 65, 72, 203 28 . . . . . ii. 57, 170
58 . . . . . . ii. 39 29 . . . . . ii. 307
59 . . . i. 306; ii. 266 30 . . . . . . ii. 224
60 . . . . i. 222, 227 | 31 . . . . . . ii. 206
61 . . . . . . ii. 59 || 32 . . . . . . ii. 224
62 . . . . i. 222,230 || 33 . . . . . . ii. 268
63 . . . . . . ii. 165 34 i. 276, 332; ii. 55, 56.
64 . . . . i. 231 ; ii. 279 *. See also i. 24
65 . . . . . . ii. 26 || 35 . . . ii. 170, 171, 172
66 o g tº e tº º i. 232 36 G º & o (Blank)
67 Hº • * & © . ii. 275 37 *C. tº gº e º º i. 306
68 . . . . . . i. 311 ; . . . . . . ii. 12
Room VII. te © tº sº .. {} ii. 57
ii. 260, 280, 285 : ; ; ; ; ;
Room XI. 42 . . . . . . ii. 54
1 . . . ii. 73, 165, 202 || 43 . . . . ii. 42,62, 309
TOWNLEY MARBLES. 385
No. Page | No. Page
44 . . . . . (Blank) || 10 . . . . . . i. 311
45 . . . . . . i. 284 || 11 ii. 43, 62. See also i. 46
46 . . . . . . ii. 172 | 12 . . . . . . ii. 20
47 . . . . . ii. 204 || 13 i. 270, 273, 306, 315, 323;
48 . . . . . . ii. 172 ii. 18, 30, 31, 54,62, 65,
49 . . . . . . i. 268 66, 71, 91, 156,298,310
50 . . . . . . ii. 74 14 . . . . . . i. 322
51 . ii. 21, 24, 58, 156,302 || 15 . . . . . . i. 342
52 . . . . . . ii. 303 | 16 . . . . ii. 173, 31 l
53 . . . . . (Blank) || 17 . . . . . . i. 320
54 . . . . . . ii. 270 | 18 . . . . . . ii. 40
55 . . . . i. 276; ii. 89 19 . i. 323, 324; ii. 63, 74
20 . . i. 319; ii. 295, 296
Room XII.
1 . . . i. 315; ii.295, 296 GRAND CENTRAL SALooN.
2 . i. 323, 324; ii. 60, 304 * º
3 . . . . . . . ii. 15 Statue of Hadrian . i. 257
4 . . . . . i. 322 || Statue of Venus ... i. 261
5 . . . ii. 173, 311 Head of Jupiter . i. 310
6 . . . . . . ii. 71
7 . . . . . . i. 339 PHIGALEIAN Room.
* () . . .
8 "º, º § Statue of Hymen g i. 267
, , , , --, - ºv, “ . .” Torso of Venus . . i. 268
9 . . . . ... i. 340
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