4 a ^
/W^
A COMPLETE HANDBOOK
^ I
NAPffES MUSEUM.
THE GETTY RESEARCH INSTITUTE LIBRARY
Halsted VanderPoel Campanian Collection
OPINIONS OF THE PRESS.
TEE ATEENMUM, Aug. 25, 1883.
" I beg, however, at this season of the year, when people are beginning to spread over the Continent, to recommend ' A Complete Handbook' (and the best handbook we have ever had) 'of the National Museum of Naples.' The originai work is by the Curator of the Museum ; but an English edition, which has rapidly run through three editions, has been prepared by Mr. E. Neville Rolfe, B.A. With Mr. Rolfe it has been purely a labour of love. He spent the whole of last summer in Naples in order to complete it, and the additions and explanations he has given are so clear and useful, that with this book in his hand, the English reader may wander over the Museum alone, without the necessity of Consulting any one on the spot. The publishers are Messrs. Clowes & Sons, Stamford Street and Charing Cross." — H. W.
" This new Guide is the best ever published on the subject." — American Rigister.
" Mr. Rolfe's excellent handbook." — Daily Telegraph.
{
.4
A COMPLETE HANDBOOK
NAPLES MUSEUM,
ACCORDING TO
THE NEW AEKANGEMENT.
VVITH PLANS AND HISTORICAL SKETCH OF THE BUILDING, AND
AN APPENDIX RELATIVE TO POMPEII AND
HERCULANEUM.
BY
DOMENICO MONACO,
CUBATÓR OF THE MUSECM;
ENGLISH EDITOR
E. NEVILLE KOLFE, ESQ., B.A.,
HEACHAM HALL, ENGLAND.
FOUBTH EDITION.
I
.LONDON: ED BY WILLIAM CLOWES AND SONS, Limited,
STAMFORD itSTREET AND CHAEING CROSS.
%, ^ 1886.
[Ali rights of Reproduction and Trandation reserved.]
CONTENTS.
PAGE
Preface . . . . . . , , v
Historical Sketch vii
Hegulations . . . , . . . jx
NOTICE ••...... X
Index ........ xi
Description of Collections ..... 1
Appendix ........ 209
DIAGKAMS.
Great Hall of the .Library j
The Museum— Ground Floor | ' ' To face page xii
THE GETTY CENTER LIBRARY
PREFACE.
Mr. Monaco has requested me to write a few words of introduction to this the fourth edition of his English Handbook, in the preparation of which I have again had the pleasure of assisting him. The rapid sale of the last edition is perhaps the best criterion of the kind appreciation extended to the work by the large English- speaking public which annually visita these splendid collections.
This edition is very much more ampie than the former one, and will, we hope, approve itself to archaeologists more even than its predecessor has done ; at the same time we have felt that the work is toc complete for the ordinary tr aveller, and accordingly we have marked the principal specimens with a dagger to enable him to identify them in a visit of a few hours.
For my own part I desire to thank numerous kind correspondents, many of them much better versed in these matters than myself, who have pointed out errors in the former work, and have suggested improvements for the present edition. Especially am I indebted to Mr. Charles T. Gatty, F.S.A., whose suggestions have been extremely valuable.
VI PREFACE.
I have acknowledged as far as possible the quotations taken from other writers, and for the assistance of students I have added a list of the principal books consulted in the course of the compilation of the work.
E. Neville Kolfe, B.A.,
Heacham Hall, King's Lynn.
LIST OF AUTHOES QUOTED.
Lenormant. — La Grande Grece.
Ruggiero. — Pompei e la Regione Sotterrata del Vesuvio
nell' Anno LXXIX. *Poynter and Head. — Classic and Italian Painting. *Poynter (and others). — Lectures on Art. *T. H. Dyer, LL.D.— On Imitative Art. *H. M. WESTRorp. — Handbook of Archseology. *Kugler. — Schools of Painting in Italy. *Nichols. — Handbook of the British Museum. C. W. King. — Antique Gems and Rings. Dennis. — Etruria. Smith's Dictionary of Antiquities. Smith's Classical Dictionary.
* These works will be found in the English Church Library.
The Library at the Museum contains a good collection of the special literature of the Naples Antiquities, and no difhculties are put in the way of foreign students desiring to read there.
HISTORICAL SKETCH.
The building which is now known as the Naples Museum was erected, to order of the Viceroy Duke d'Ossuna, by Chevalier Fontana. It was originally intended for a stable, and was begun in 1586. The water supply proving insufficient, the building was left unfinished until 1610.
The Viceroy Pietro de Castro, Count of Lemos, then assigned it to the University, adapted it to this purpose, and formally inaugurated it on the 14th of June, 1616, after which time it was known as the Begi Studii.
After the earthquake of 1688, it was used by the Law Courts, and during the revolution of 1701 it was turned into a barrack.
In 1767 it was again used for educational purposes.
In 1790 Ferdinand IV., desiring to transform it into an Archeeological Museum, commissioned the architects Fuga and Schiantarelli to build the upper story and the principal staircase, a work which was completed by Maresca and Bonucci. It was then he transported to it ali the specimens found in the excavations at Pompeii, Herculaneum, and Stabiae, as well as antiquities from the Museum at Capodimonte, which had been collected in the main by the Farnese Pope Paul III. and inherited by Elizabeth, second wife of Philip V. of Spain, the last representative of the Farnese family and mother of Charles III. de Bourbon.
Vili HISTORICAL SKETCH.
The Bourbons of Naples enriched this niagnificent store of antiquities by purchases, and by the addition of such collections as those of Noia, Albani, Vivenzio, Arditi, Poli, &c. They also declared the Museum to be their private property, independent of the Crown, and gave it the name of the Beai Museo Borbonico.
General Garibaldi, when Dictator in 1860, proclaimed the Museum and the territory devoted to excavation to be the property of the nation, and increased the annual subvention in order that the works at Pompeii might be more actively prosecuted.
Lastly, Victor Emmanuel IL reorganised the National Museum, and included in it the Cumgean Collection of the Count of Syracuse, presented by Prince Carignano of Savoy, the Santangelo Collection, the Palatina engravings, the tapestries bequeathed by the Marquis del Vasto, together with the medals and dies of the Neapolitan Royal Mint.
These iucomparable collections of marbles, bronzes, antique paintings, and articles of gold and silver, are now ali exhibited as classifìed by the learned Senator, Giuseppe Fiorelli, head of the Eoyal Commission for arranging and superi ntending ali the excavations of antiquities in Italy. This gentleman, whose reputation as an antiquary is European, has by bis good taste, his great learning, and his devotion to the fine arts, raised this Museum to the highest place among archasological collections.
The Museum contains more than one hundred and thirteen thousand speci mens, from an inspection of which the most casual visitor may derive a clear idea of the manners and customs of the ancients, as well as of the high civilisation and luxury to which they had attained.
REGULATIONS.
The Museum is open to the public from 10 a.m. to 4 p.m. daily, from November lst to Aprii 30th, and from 9 a.m. to 3 p.m. the rest of the year.
Entrance, 1 frane ; children half-price. Free on Sundays from 10 to 1.
THE MUSEUM IS CLOSED ON THE FOLLOWING DAYS :—
January lst, New Year's Day.
January 6th, the Epiphany.
March 14, King's birthday.
Easter Day.
Ascension Day.
The Festival of Corpus Christi.
The first Sunday in June (national statute holiday).
June 29th, Feast of SS. Peter and Paul.
August 15th, the Assumption.
September 8th, the Nativity of the Virgin.
September 19, Feast of St. Januarius, patron of Naples.
November lst, Ali Saints' Day.
November llth, Birthday of H.E.H. the Heir Apparent.
November 20th, Queen's birthday.
December 8th, Immaculate Conception.
December 25th, Christmas Day.
N 0 T I C E.
The following abbroviations are occasionally adopied : —
F. Farnese Collection. H. Herculaneum. P. Pompeii.
And in the account of the picture galleries —
C. for canvas. P. for panel.
Where a Latin word is given in italics, the reader is referred to Dr. Smith's ' Dictionary of Antiquities.'
Specimens marked with an asterisk (*) are illustrated in Mr. Monaco's large work, entitled ' Specimens froui the Naples Museum,' price 35 francs. See advertisement on back of cover.
Other specially remarkable specimens are marked with a dagger (f).
Specimens next in importance are in small capitals.
The numbers referred to are the white ones with blue edges. They are not always in arithmetical sequence, because new specimens are constantly being found and put with others of the same class, with a higher number ; but, by attention to the book, visitors will experience little difficulty in identifying the specimens.
The following mie is adhered to as far as possible —
The specimens in the centro of each rooni are first» described, and then those against the walls, beginning on the left of the entrance door.
INDEX.
The building consists of Ground-floor with Basement, Entresol, and Upper Story, and is divided into two wings by the Great Hall below, and the Library above.
The Grò un d-floor coktains —
|
1. |
PAGE The Great Hall in the centre ..... 1 |
||||
|
Ground-floor, Kight Wing. |
|||||
|
2. |
Murai Frescoes from Pompeii and Herculaneum . |
||||
|
3. |
Mosaics ......... |
19 |
|||
|
4. |
Hall of Inscriptions, with Farnese Bull and Hercules |
23 |
|||
|
5. |
Hall of Canova . . . . , . |
28 |
|||
|
6. |
Corridor of the Fullers' Pillar ..... |
34 |
|||
|
Basement. |
|||||
|
7. |
Miscellaneous Antiquities and Models .... 28 |
||||
|
8. |
Christian Inscriptions . ... 29 |
||||
|
9. |
Egyptian Collection ....... 29 |
||||
|
Ground-floor, Left Wing. |
|||||
|
10. |
Marbìe Masterpieces ...... 36 |
||||
|
11. |
Portico of the Emperors . . , |
41 |
|||
|
12. |
Portico of the Balbi .... |
47 |
|||
|
13. |
Hall of Apollo .... |
54 |
|||
|
14. |
„ Mars .... |
55 |
|||
|
15. |
„ Atlas .... |
57 |
|||
|
16. |
„ the Muses |
.59 |
|||
|
17. |
„ Flora and the Great Mosaic |
60 |
|||
|
18. |
„ Gaeta Vase . |
61 |
|||
|
19. |
„ Bas-reliefs |
62 |
|||
|
20. |
„ Fragments . |
. 68 |
|||
|
21. |
The large Bronzes (Four Halls) . |
69 |
Xll
INDEX.
Entresol, Right Wing.
22. Frescoes from Pompeii
23. Terra-cotta .....
Entresol, Left Wing.
24. Cumfean Gcllection ....
81 85
90
[N 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41.
The Upper-floor contains — Left Wing. B. The door to this wing is on the right at the top of the Coins and Medals Ancient Glass . Reserved Cabinet Oil Paintings, Bolognese School Tuscan School . Neapolitan School Byzantine and Old Tuscan School Neapolitan School, XIII. and XIV. Centuries Large Cabinet, Medieval Collection Neapolitan School, XVI. XVII. and XVIII. Centuries German, Dutch, and Flemish Schools . Flemish and Dutch Schools The Small Bronzes. First Room The Small Bronzes. Second Boom
TheGems
Italo-Greek Vases .... Santangelo Collection
In the Centre of the Staircase.
42. The Library
Upper-floor, Right Wing.
43. Articles of Food, etc, from Pompeii
44. The Papyri ....
45. Oil paintings, Roman School
46. Schools of Parma and Genoa
47. Schools of Lombardy and Parma
48. Venetian School
49. Masterpieces (Sala di Correggio)
50. Engravings and Cartoons .
51. Great Saloon ( Various Schools) .
52. Mythological Paintings
Appendix. 35. Historical Sketch of Pompeii and Herculaneum
stairs.]
91
93
97
99
103
106
108
111
112
116
120
123
127
142
158
177
199
204
205 208 212 214 216 217 220 222 223 226
229
..
P R E F A C E.
Mr. D. Monaco has requested me to Avrite a few Avords of , introduction to this the 1&frt4 edition of his English Handbook, Utitfi in the preparation of Avhich ] have again had the pleasure of assisting him. The rapid sale of the last edition is perhaps the best criterion of the kind appreciation extended to the Avork by the large English-speaking public which annuali) visits these splendid collections.
This edition will, we hope , approve itself to archa3ologisls more even than its predecessor; at the same time we bave felt that the work is too complete for the ordinary traveller, and accordingly Ave have brougbt out an abbreviated edition at half price Avhich describes the principal specimens.
I haA'e acknoAvledged as far as possible the quotations taken from other Avriters, and for the assistance of students I have added a list of the principal books consulted in the course of the compilation of the Avork.
K. Nevillk Kolfe, B.A.,
Naples 1888.
LIST OF AUTHORS QUOTED.
Lenormant. — La Grande Grece.
Ruggiero.— Pompei e la Regione Sotterrata del Vesuvio nel-
F Anno LXXIX. *Poynter and Head.— Classic and Italian Painting. *Poyxter (and others).— Leetures on Art. *T. H. Dyer, LL.D.— On Imitative Art. *H. M. Westropp. — Handbook of Archaìology. *Kit.ler.— Schools of Painting in Italy. *Nichols.— Handbook of the British Museum. C. W. King.— Antique Gems and Rings. Dennis.— Etruria. Smith. — Dictionary of Antiqui ties. Smith.— Classical Dictionary.
* Thcse works will be found in the English Church Library.
The Library at the Museum contains a good collection of the special literature of the Naples Antiquities, and no difficulties are put in the way of foreign students desiring to read there,
INDEX.
TttE building consists of Ground-floor with Basement, Entresol, and Upper Story, and is divided into two wings by the Great Hall below, and the Library above.
The Ground-kloor contains- 1. The Great Hall in the centre
Ground-kloor, Ribmt Wing.
2. Murai Frescoes from Pompeii and Herculaneum
3. -Mosaics ...........
4. Hjdlof Inscriptions, with Farnese Bull and Hercules.
/•» /i~* ' ^L&~* ' basement.
B«iff.if .e r<„ -gf rrii • 'riìlrinViiiii i ini ji'|iiil il i, tiiiIl niULlLL ,
Christian inscriptions and Egyptian Collection
6. Corridor of the Fullers1 Pillar ..
Ground-floor, Jjfoi' t Wing.
7. Marble Masterpieces .
8. Portico of the Emperors
9. Portico of the Balbi and the busts 10. Ha 11. 12. 13.
14. ,, Flora and the Great Mosaic 15. 16. 17.
PAGE 1
1 of Apollo Mars . Atlas . , the Muses . Flora and the Great Gaeta Vase Bas-reliefs Fragments .
18. The large Bronzes (Four Halls
'SU-
ENTRESOL, RitriNT WlNO.
19. Frescoes from Pompeii ....
20. Terra-cotta
2
20
31 36
38 44 51
58 60 62 64 65 66 61 74 74
92
XII
INDEX.
Entresol, Left Wing.
PAGE
97
21. Cumaean Collection *— ■ Òh4£*'yf\**+f cf£ p%i*.Jf'M *-ii*£
The Upper-floor contains— ^ J
Left Wing. (N.B. The door to this wing is on the rightat the top of the sta.irs.)
22. Coins and Medals 99
23. Ancient Glass . ... . . , . .100
24. Reserved Cabinet -i#& fy
25. Oil Paintings, Bolognese School . . . . . 107
26. Tuscan School Ili
27. Neapolitan School. XIV, XV, and XVI Ccnturies . . 115
28. Byzantine and Old Tuscan School 117
29. Neapolitan School. XIII. and XIV. Centuries . . .121
30. Large Cabinet, Mediaeval Collection 121
31. Neapolitan School, XVI. XVII. and XVIÌI. Centuries. . 126
32. German, Dutch, and Flemish Schools 131
33. Flemish and Dutch Schools . . /jja ■ ,y,f •—/"/? ^4
34. The Small Bronzcs. First Room ./#7£*y>^ '<**my"y. 133
35. The Small Bronzes. Second Room . . . . ' . 154
36. The Gems 172
37. Italo-Greek Vases 193
38. Santangelo Collection
In the Centre of the Staircase
39. The Library
T'PPER-FLOOR, RlGHT WlNG.
40. Aiticles of Food, etc, from Pompe ii
41. The Papyri . . _*—
42. .Oil Daiatings, l£4Ut6r£i<&Mf . '*M*Ì3. ' Schools of Parma and Genoa
44. Schools of Lombardy and Parma
45. Venetian School ....
43. Masterpieces (Sala di Correggio) 47. ii ii M|i w i iu^j alili CJILHi.uu
49^.Mythn lucimi Paintings .
APPENDI*. 50. Historical Sketch of Pompcii and Hcrculancum
215
220
221 224 228
230 232 234 236 238 239 243
245
REGULATIONS.
The Museum is open to the public from 1 0 a.m. to i p.m. daily, from November lst to Aprii 30th, and from 9 a.m. to 3 p.m. the rest of the year.
Entrance, 1 frane; children half-price.
Free on Sundays from 10 to 1.
THE MUSEUM IS CLOSED ON THE FOLLOWING DAYS :—
January lst, New Year's Day.
January 6th, the Epiphany.
March 14, King's Birthday.
Easter Day.
Ascension Day.
The Festival of Corpus Christi.
The first Sunday in June (National statute holiday).
June 29th, Feast of SS. Peter and Paul.
August 15th, The Assumption.
September 8th, the Nativity of the Virgin.
September 19, Feast of St. Januarius, Patron of Naples.
November lst, Ali Saints' Day.
November llth, Birthday of H.R.H. the Heir Apparent.
November 20th, Queen's Birthday.
December 8th, Immaculate Conception.
December 25th, Christmas Day.
NOTICE.
The following abbreviations are occasionala adopted:—
F. Farnese Collection. H. Herculaneum. P. Pompeii. And in the account of the picture galleries— C. for canvas. P. for panel. Where a Latin word is given in italica, the reader is referrod to ì)r. Smith's 'Dictionary of Antiquities '
Specimens marked with an asterisk (*) are illustrated in Mr. Monaco's large work, entitled ' Specimens from the Naples Museum, ' price 35 francs. See advertisement on back of cover. Other specially retnarkable specimens are marked with a dagger (t). Specimens next in importance are in small capitals. The numbers referred to are the white ones with blue edges. They are not always in arithmetical sequenee, because new specimens are constantly being found and put with others of the same class, with a higher number; but, by attention to the hook, visitors will experience little difJìculty in identifying the specimens. The following rule is adhered to as far as possible— The specimens in the centre of each room are first described, and tlien those against the walls, beginning on the left of the cu trance door.
HISTORICAL SKETCH.
The building which is now known as the Naples Museuni was erected to order of the Viceroy Duke d'Ossuna, by Cavaliere Fontana. It was originali y intended for a stable, and was begun in 1586. The water supply proving insufflcient , the building was left unfinished until 1610.
The Viceroy Pietro de Castro, Count of Lemos, then assigned it to the University, adapted it to this purpose, and formally inaugurated it on the Hth of June, 1616, after which time it was known as the Regi Studii.
After the earthquake of 1688, it was used by the Law Courts. and during the revolution of 1701 it was turned luto a barrack.
In 1767 it was again used for educational purposes.
In 1790 Ferdinand IV., desiring to transform it into an Archa3ological Museum, commissioned the architects Fuga and Schiantargli to build the upper story and the principal staircase. a work which was completed by Maresca and Bonucci. It was then he transported to it ali the specimens found in the excavations at Pompeii, Herculaneum , and Stabiae, as well as antiquities from the Museum at Capodimonte, which had been collected in the main by the Farnese Pope Paul III. and inherited by Elizabeth, second Mirile of Philip V. of Spain, the last representative of the Farnese family and mother of Charles. III. de Bourbon.
The Bourbons of Naples enriched this magniflcent store of antiquities by purchases, and by the addition of such collections as those of Noja, Albani, Vivenzio, Arditi, Poli. &c. They also
Vili HISTORICAL SKETCH.
declared the Museum to be their private property, independent of the Crown^ and gave it the name of the fìeal Museo Bor- bonico.
General Garibaldi, when Dictator in 1860, proclaimed the Museum and the territory devoted to excavation to be the property of the Nation, and increased the annual subvention in order that the works at Pompeii might be more actively prosecuted.
Lastly, Victor Emmanuel II. reorganised the National Museum, and included in it the Cuma?an Collection of the Count of Syracuse, presented by Prince Carignano of Savoy, the Palatina engravings, the tapestries bequeathed by the Marquis del Vasto, together with the medals and dies of the Neapolitan Royal Mint.
These incomparable colleetions of marbles, bronzes, anti([ue paintings, and articles of gold and Silver, are now ali exhiliited as classified by the learned Senator, Giuseppe Fiorelli, head of the Royal Commission for arranging and superili tending ali the excavations of antiquities in Italy. This gentleman, whose reputation as an antiquary is European, has by bis good taste, bis great learning, and his devotion to the fine arts, raised this Museum to the highest place among archaxdogical colleetions. y%Jh4 The Museum contains more than one hundred and ihirteen- ^Y thousand specimens , from an inspection of which the most casual visitor may derive a clear idea of the manners and cust >ins of the ancients, as well as of the high civilisation and luxui y to which they had attained.
HANDBOOK
NAPLES MUSEUM
THE GREAT HALL.
Twelve niarble slabs recording the history of the building.
Sixteen ancient cipollino colunms. (San? Agata dei Goti.)
On the kight,
Alexander Severus. Colossal statue in marble. (F.) Four statues of Eoman Consuls. (Herculaneum.) *Flora. A colossal statue gracefuliy draped. (Farnese.)
On the staircase,
Marble statues representing (5976) the Ocean (5977) the Nile, a lion, and two Venuses. (Farnese.)
On the left,
♦Genius of the Eoman people. Colossal statue. (F.) Four Statues of Eoman Consuls. (Herculaneum.) Urania. Colossal statue. (Pomjpey's theatre, Bornie).
GROUND FLOOR— RIGHT.
ANCIENT FRESCOES.
This fine collection of upwards of one thousand paint- ings, taken from the walls of Pompeii and Herculaneum
B
^ GKOUND-FLOOE — EIGHT.
and Stabise forms one of the chief attractions of the Museum.
The pictures represent various historical and mytho- logical scenes from the ancient poems and legends, as well as many domestic incidents, which have served to throw a flood of light upon the manners and customs of the Romans ; and though they are frequently incorrect in drawing, the freedom of their execution, the harmony of the grouping, the ease of pose, and the power of ex- pression, are scarcely surpassed by the best painters of our own day.
It is probable that most of these paintings were taken from traditions of famous pictures of the old Greek times, and served to a great extent the purpose of books in recording the ancient myths with which every educated Eoman was expected to be familiar.
When first discovered, the pictures are as bright as though they had been painted yesterday, but they fade more or less with exposure, perhaps according to the colours employed in their execution, or perhaps according to the special nature of the volcanic ash in which they have been buried. They were painted upon the plaster of the walls, the last coat of which we learn from Vitru- vius was composed of a cement made of powdered marble, upon which the pictures were painted while it was stili wet, so that they became actually incorporated into the wall itself.
We describe the most important of them. The com- partments are numbered in Roman numerals on the comices of the respective halls.
FIRST HALL (Corridor).
COMl'ARTMENT IX.
On the rioht.
8598. The centro represents a Faun kissing the hand of a Baoohante. Abovc: stili life, fish, game, a purse, a I m ly nis with seal, an inkstand and a pen. (H. of Diomede, Pompeii.)
ANCIENT FRESCOES. ó
COMPARTMENT Vili.
8594. A large painting from the house of Pansa the iEdile, Pompeii, representing fish and game.
COMPARTMENT IV.
Other murai paintings of arabesques, galleys, and ornaments, chiefly from the Tempie of Isis, Pompeii.
Continuing straight on, we come to the
SECOND HALL.
A large number of small pictures representing game, fish, and stili life, for the decoration of dining-rooms. (P. and jff.)
COMPARTMENT XI.
8645. A glass water bottle, admirably executed, and a dish of figs, among which are a gold and a sii ver coin. (P.)
COMPARTMENT XIII.
8750. Quails pecking ears of corn and millet. (P.)
8759. Gazelles and ducks, admirably executed. (P.)
8760. Peacock perched on a trellis work. (P.)
COMPARTMENT XIV.
*8791. Caricature. A parrot drawing a go-cart driven by a grasshopper. A satire on the stronger being driven by the weaker. 1 ft. 5 X 8 in. (Herculaneum.)
Some have referred this to the influence of Seneca over Nero ; others, with more reason, have seen in the grasshopper the famous witch " Locusta," who provided Nero with the poison to murder Britannicus, and supplied the Roman ladies with the means of getting rid of their husbands.
8795. Panther fighting a snake at the foot of some steps upon which lie sundry symbols of Bacchus. (P.)
B 2
4 GKOUND-FLOOR — EIGHT.
Retiiming to the first corridor, we enter the
SOUTH HALLS.
THIKD HALL.
COMPARTMENT XV. On THE LEFT,
8834. Flora. A small painting of a girl picking flowers. Much adrnired.
Several pictures exhibiting legends of Apollo.
8846. Apollo, Chiron, and ÌEsculapius. The artist has brought together in this picture the three inventors of medicine. The Centaur Chiron is in the middle, holding a sprig of rue in his hand. He was the legendary doctor of men and horses. Apollo his pupil is on the left, and on the ri«ht iEsculapius seated by the tripod reflecting upon the science of his predecessors. (1857. Pompeii.)
8847. Melpomene, a flying figure, hearing a club and holding a mask. (Pompeii.)
COMPARTMENT XVI.
From 8850 to 8855. Tritons and sea-monsters. (Stabise.)
COMPARTMENT XVII.
8859. Nereid. A nymph home by a sea-horse. She lies on the back of the animai, holding on by its neck. The attitude is graceful, and the nude figure well drawn. (Stabise.)
8864. Hylas, carried off by the nymphs while he was taking water from the river Ascanius. Beyond : Hercules seeking his friend in the wood. (Pompeii.)
8870. Nereid. A nymph lying on a sea-panther with a fish's tail : her figure is symmetrical, and the whole com- position is skilful. (Aprii 1760. Stabise.)
Here are two table cases containing pigments in pots as found in a colourman's at Pompeii. tSpecimens of these colours were analysed by Sir Humphry Davy, who pro- nounced them in ali respects similar to modem pig- ments.
ANCIENT FEESCOES. 5
COMPARTMENTS XVIII. AND XIX. Below THE WINDOW,
8889 and 8896. Phryxus and Helle. The latter falling into the waves, from the ram which carried her, is raising her arms imploring assistance from her brother Phryxus, who is exerting himself to save her. (Pompeii.)
*8898. The three parts of the ancient world, Europe, Asia, and Africa. Europe, without attributes, is seated on a throne, covered with a conical canopy, held by a woman in the background who is thought to represent a fourth continent of which the Greeks may ha ve suspected the existence. On her right, Africa as a negress holding a tusk. On the other side, Asia, having a head-dress of elephant scalp. In the distance, behind these three figures, is a ship under full sail, typical of the means whereby these continents were united. 3 ft. 7 x4 ft. 2. (Pompeii.)
COMPARTMENT XX.
8905. Eites of Ceres. An acolyte leads a wild boar towards the lighted aitar. On each side stands the Gamillus (or assistant to the sacrificers), with a rhyton (or libation cup) and a small pail in his hand, celebrating the deity, while the officiating priest plays on the tibia and strikes a cymbal with his foot. In the centro a priestess. Below the sacred serpents. (Pompeii.)
Pictures of this kind usually formed the reredos of household altars. They are interesting as showing the use of the rhyton in pouring libations.
COMPARTMEMTS XXI. AND XXII.
8919 et seq. Eites of Isis and Osiris and other paintings relating to the Egyptian Cult as introduced into Italy. These pictures are extremely interesting, and are believed to be unique. [Pompeii.)
COMPARTMENT XXIV.
8968. Sophonisba supported by Masinissa holding the poison cup in her hand. At her feet Scipio admiring her heroism. {Pompeii.)
109751. Theft of the Palladium. The scene is laid in front of the Doric tempie of Pallas at Troy. The sacred
6 GEOUND-FLOOE — RIGHT.
fire is burning on a large aitar in the foreground. The column with a funereal urn on the right is thought to indicate the sepulchre of Hector. The painting represents two groups of figures, each of which bore its name, though the inscriptions have now almost disappeared. The left group shows Odysseus (OAYCC€YC) bearded, wearing the pileus, a red chlamys and sandals. He bears off the Palladium in his left, and with his right makes a gesture of silence. Diomede (AIOMHAHC) with a lion's skin on his head is behind him. Helen (EAENH) veiled and wearing a violet chiton points towards the group on the right. Behind her iEthra (AI0PA) her confidante, also veiled and represented as youthful, contrary to classic tradition. The group on the right represents a Priestess (IC) (Upts) with a torch and dishe veiled hair raising the alarm. A youth in Trojan costume (YnHPETYC) seizes her by the waist. The painter clearly intended to convey the idea, that Odysseus was enabled to carry out the theft through the treachery of one of the employés of the tempie. (1870. Pompeii.)
iEneas brought this sacred relic from Troy to Eome, instituted the Vestal Virgins to take care of it, and for centuries the sacred fire was always kept buming before it.
COMPARTMENT XXVI.
8976. Medea with a sheathed sword. A picture remarkable for the expression of the face and its admirable preservation. (Pompeii.)
Herr Donner tbinks that this figure orioinally formed part of a large painting, comprehending no doubt the children and the pedagogue, and Dr. Dyer comments that the attitude betrays indecision better than the picture beneath.
*8977. Medea meditating the murder of her two children, and drawing a sword. The children, unconscious of their impending fate, are playing at knuckle-bones. An old man in a doorway looking on. A very famous picture. (4 ft. X 3 ft. 3.) (Pompeii.)
Medea was a celebrated magician, who married Jason, after assisting him to obtain the golden fleece. She subsequently became jealous of the love of Jason for Glauco, and to reven^e herself slevv his two sons before his eyes, and escaped from him through the air on a chariot drawn by winged dragona.
ANCIENT FEESCOES. 7
COMPARTMENT XXVII.
8980. Meleager and Atalanta, the former seated with two hounds and two spears, and his foot upon a stone, near which lies the Calydonian boar. Atalanta charmingly painted, and two youths are hard by. Behind Meleager a statue of Diana. (Pompeii.)
FOUKTH HALL.
COMPARTMENT XXVIII.
8984. The Cyclops Polyphemus with his three eyes,
sitting by the sea-shore upon a rock, receiving a tablet
from Gala,tea brought by a Cupid on a dolphin. (H. )
Galatea was a sea-nymph wbo was passionately loved by the
Cyclops Polyphemus, whose addresses she rejected in favour
of those of Acis, a Sicilian shepherd, whom she loved
devotedly.
8991. Death of Perdix, a carpenter who invented the geometrical compass, and was murdered by his uncle Daedalus. The picture represents the murder in the work- shop, with apprentices sawing and planing. It is painted on the piane of a catafalque carried by four bearers. (Pompeii.)
8992. Hercules and Omphale. A fine picture. The hero leans playfully on the neck of a bearded man, while a Cupid blows a flageolet in his face. On the left, among other figures, Omphale, looking on severely, with a club in her hand. (H. of Lucretius, Pompeii,)
COMPARTMENT XXIX.
8997-8. Perseus and Andromeda. This fine painting shows Perseus refusing to show Andromeda the head of the Gorgon. He subsequently held it over a running stream that she might see its reflection, and thus gratified her curiosity and saved her from the malevolence of the Medusa. On the left, the sea monster from which Perseus delivered Andromeda. (June 1760. Pompeii)
COMPARTMENT XXX.
9000. Hercules sprawling on the ground and teased by Cupids. Two of them are sawing up his club. Three very elegant girls in the background. (Pompeii.)
8 GKOUND-FLOOE — RIGHT.
9001. Hercules delivering Dejanira from tlie Centaur Nessus. Observe the method of harnessing the horses. (Pompeii.)
COMPARTMENT XXXI.
9006. Hercules bringing Eurystheus the live wild boar of Erymanthus. Below, Eurystheus hiding himself in a brazen vessel. (PompeìiJ)
*9008. Telephus fed by the hind. He is sucking the hind, who turns her head to caress him. Hercules, with his attributes and crowned with ivy, looks at him frown- ingly. A winged genius alights beside him, her head crowned with olive, and points out Telephus to his father. On a rock Ceres crowned with flowers, the protecting goddess of the forsaken boy. Near her a basket of grapes and pomegranates ; a merry Faun is behind her, holding a panpipe in his hand. Hercules has at his side an eagle and a lion. 7 ft. X 6 ft. (Herculaneum.}
I know nothing that gives the impression of mastery over material so completely as this painting, and yet this is not the work of a celebrateci artist, and it is three hundred years or more later than Apelles. We remain lost in wonder as to what the works of the great period of Greek Art must have been. (Poynter.)
Telephus was the legendary King of Mysia and a son of Hercules. He was exposed in his infancy on Mount Par- nassus, but his life was preserved by a doe which suckled him. He married Laodice, a daughter of Priam ; fought agaicst the Greeks, and was mortally wounded by Achilles, who cured him with the rust of his spear at the request of Ulysses, who knew that Troy could not be taken without the assistance of one of the sons of Hercules. From motives of gratitude Telephus joined the Greeks, and fought against his own father-in-law.
9009. ÌEneas leaning on his spear with an cxprrssion of suffering, has his arm round Iulus who is w'eeping. A surgeon kneels before him and is picking up a lacerated artery in his thigh with a forceps. Other warriors stand by and Venus appears with a sprig of rue. (PowipeM.)
9010. The Trojan horse gaily caparisoned is being dragged through the city walls. Laocoon and Cassandra on the left, and in the background the Trojans with lighted torches. (1761. Pompeil)
ANCIENT FRESCOES. 9
COMPARTMENT XXXII.
9012. Hercules strangling the serpents. Alcmene having given birth to twins (Hercules and Iphicles, the former Jupiter's son and the second her husband Amphi- tryon's), Juno became jealous of her; and to revenge herself upon her rivai, sent two serpents to the boys' cradle. Iphicles was afraid of them, but Hercules went to meet and kill them.
In the centro Hercules strangling the serpents. Behind him Alcmene, raising her right arm. On one side Jupiter seated and drawing his sword; on the other Amphitryon clasping Iphicles in his arms. (Herc.)
See Theocritus, idyll 24, 'HpaK\l<TKos. The whole idyll refers to this incident. See also Pindar, Nem. 433. These describe Alcmene as clasping Iphicles to her breast while Amphitryon wraps up Hercules in his blanket.
Opposite.
DOMESTIC SCENES AND PORTRAITS.
COMPARTMENT XXXIII.
Sundry small paintings, representing domestic.scenes.
9018. A lady sketching a Bacchus, with a boy and two women in the room ; a very graceful picture. (H. of the Surgeon, P.)
This painting is remarkable for the picture in an "Oxford frame" which leans against the statue — showing that the ancients had easel pictures as well as murai paintings. Above the statue is a picture (also in an Oxford frame) hanging on the wall. There are two other examples in this collection. See Comp. xxx. No. 9000.
9022. The tiring of the bride. A maid dressing the hair of a fashionable lady. Two young ladies looking on. (Herculaneum.^
Juvenal, Sat. vi. 488,, describes pathetically how poor Psecas was fiogged with ox-hide thongs for putting one of her mistress's curls out of place.
9023. A lady tuning a lyre to the same pitch as another that lies beside her. Other ladies listening. (Pompeii.)
This picture is often described as a lady playing two instru- ments at once, but we are inclined to think our description more probable.
10 GROUND-FLOOR — RIGHT.
9024. Man and woman seated on a couch. Before them, an elegant tripod with drinking vessels. The man is drinking wine from a rhyton. The woman wears her hair in a net. (Herculaneum!)
■ The description of the Mosaics is on p. 19. We leave them f or a moment to complete our notice of the frescoes.
COMPARTMENT XXXIV.
9026-7. Orestes recognised by Iphigenia. When Orestes and Pylades were seized by King Thoas, Iphigenia was ordered to sacrifice them to Diana. She promised one of them his life if he would take a letter for her to Greece. Pylades nndertook the mission, and discovered that the letter was addressed to Orestes who was her brother. An explanation took place, which is represented in these pictures. (Herculaneum.^)
COMPARTMENT XXXV.
Pictures representing the ancient drama.
9034. Eeplica of comic Mosaic by Dioscorides. (P.)
COMPARTMENT XXXVI.
*9040. Carità Komana. Cimon in prison saved from starvation by his daughter Perone. 3 ft. x 2 ft. (Pompeii.)
9041. Hippolytus scorning Phaedra. (P.)
9042. Punishment of Dirce (see page 28). (P.)
COMPARTMENT XXXVII.
9046-7. Ariadne deserted by Theseus. {Pompeii.) *9043 and 9049. Theseus in Crete. Very fine pictures. In the centre, Theseus with his knotted stick; around him, the young Athenians who had been sent to be devoured by the Miuotaur, expressing gratitude for their rescue. One kisses his hands, another his feet ; while the bull-headed monster lies dead at the entrance of the labyrinth. (1739. E.)
Theseus, King of Athens and son of ^Egeus, was one of the
most celebrateti heroes of antiquity, and the legends of his
prowess are very numerous. He was sent to Crete among the seven yonths whom the
Athenians contributed annually to be devoured by the
Minotaur. By the assistance of Ariadne (who gave him a clue to the
labyrinth) he slew the monster and sailed from Crete with
ANCIENT FRESCOES. 11
Ariadne and the youths he had rescued. He was driven hy the winds to Naxos, where he basely abandoned Ariadne, and returned to Athens, which he entered with black sails, thus causing the suicide of JEgeus, who thought the expe- dition had been unsuccessful.
9044. Eurytion the Centaur kissing the hand of Pirithous, who holds a sceptre in bis left. In anticipation of the marriage of Hippodamia, the Centaur and his followers bring wedding presents to the bride and bride- groom. Eurytion tried subsequently to carry off Hippodamia from the wedding feast, and was slain by Pirithous. (H.)
COMPARTMENT XXXVIII.
Contains sketches of Pompeian Street life, roughly drawn, but extremely interesting.
9058. Paquius Proculus and his wife, in thesame frame. She holds stylus and tablets, and he a roll of papyrus. Above this picture, and as a type of their conjugal love, •was a small painting of Cupid and Psyche (see Comp. xlvi. No. 9195) kissing each other. An inscription in the house of Proculus tells us that he was a baker, and that thanks to his popularity with the Pompeians, he was raised to the dignity of Magistrate (Duumvir juri dicundo). (Pompeii.)
9066. A Schoolmaster flogging his pupil, who is " horsed " on the back of another boy, while a third holds his feet. Three others are studying tablets placed on their knees, and others lean against the columns. (P.)
9069. The Forum. A woman buying cloth. On the left, a seller of tools and bronze vases. (Pompeii.}
9071. A Baker's shop. (Pompeii.)
9084. Sappho (?). This pretty portrait has been named without authority after the Lesbian poetess. She is in an attitude of meditation, with stylus and tablets. (H.)
9088. Venus at her toilet. (Stabise.)
9089. ìEneas, Anchises, and Ascanius flying from Troy. Ali have dogs' heads — a caricature. (Stabise.)
9097. Silence. A girl with her finger to her lips. (S.) 9098 et seq. Grotesque dwarfs. (Stabise.)
Dwarfs were employed by the Komans as jesters, to give amusement at banquets and processions (Propert. iv. 8, 41 ;
12 GKOUND-FLOOR — RIGHT.
Lamprid. Alex. Severus, 34 : " Nanos et nanas et monones populo donavit.") Artists often used dwarf figures of men and animai s to set off the principal figures by contrast.
compartment xxxix. Legends of Achilles,
19104. Achilles drawing his s word. Afragment. (P.) f9105, Briseis. Achilles on a luxurious chair before his tent, with sword and sceptre addresses the two heralds of Agamemnon (Talthybius and Eurybates) who ha ve come to demand Briseis, one of whom wears a helmet and bears a spear ; the other a steel cap, and the caduceus of peace. Achilles looks proud and passionate. His friend Patroclus leads out the girl, who is weeping bitterly and drying her tears with her veil. See Homer, II. 1, 318, where the incident is beautifully described. {House of the Tragic Poet, Pompeii.)
9106. A blind beggar, led by a dog, asking alms of a lady. Thought to represent Ulysses and Penelope. (Pompeii.)
9108. Briseis embarking for Greece. (P.) *9109. Chiron and Achilles. The Centaur Chiron seated on his hind legs. He wears a beard, his shoulders are covered with a skin, and his left hand is stretched out to touch the lyre of Achilles, who is looking affectionately at his master. (1739. Herculaneum.)
A more glowing expression of absorbed interest in a face radiant with youth and life it would be impossible to imagine. (Poynter.)
9110. Achilles in the palace of Lycomedes detected by Ulysses, who, disguised as a pedlar, offers arms for sale. Achilles, though dressed as a girl, seizes the arms and thus discloses his identity to Ulysses. This picture is thought to be a tradition of that by Polygnotus in the Stoa of the Acropolis; Lycomedes, the lovely Deidamia, Ajax, and two warriors, a helmet, mirror, and vaso make up the picture. 4 ft. 7x3 ft. (Pompeii.)
COMPARTMENT XL.
9111. Orestes and Pylades. Their hands are tied behind them. A female figure in the background. In the con tre a lighted aitar and a large vase, and on the right, King Thoas interrogating his prisoners. (1740. H.)
r
ANCIENT FKESCOES. 13
*9112. Iphigenia. The Greek fleet having been detained by a storm, Chalcas ordered Agamemnon to sacrifice his daughter. She was accordingly taken to Aulis (Negropont), on pretence of marrying her to Achillea, and at the moment of sacrifice was saved by Diana, who substituted a stag in her place and took her to Tauris, where she became a priestess. 4 ft. 8x4 ft. 6. (1825. House of the Tragic Poet, Pompeii.)
This painting is so imperfect that the painter has forgotten to finish the legs of Iphigenia, where they should appear on the further side of the personage who is carrying her to sacrifice (Poynter).
This picture has a special historical interest. Parrhasius and Timanthes, two Greek painters (b.c. 400), had a competition at Athens, which was decided in favour of Timanthes, who chose for his subject the sacrifice of Iphigenia, and expressed the agony of Agamemnon by concealing it, just as the Pompeian painter has done. The judges awarded him the prize because he had followed the trae principle of Greek art, that nothing but the beautiful should be painted, and the agony of a father was beyond dignity of expression.
The legend of Iphigenia may have been a corruption of the sacrifice of Isaac and of the story of Jephthah's daughter. Crossing the room we first entered, wefind, ori the righi :
COMPARTMENT XLI.
*9118 to 21. Kope dancers (funambuli). These cele- brated pictures exhibit a great variety of feats on the tight rope, performed by Satyrs. (1749. H. of Frugi, P.)
See also Compartment xliv. No. 9163.
Opposite,
COMPARTMENT XLII.
9130 et seq. Centaurs of both sexes. 12 x 9 in.
*9133. A female Centaur embracing the young man whom she carries, giving him a thyrsus with garlands.
*A Centaur hearing a thyrsus with a tambourine, teaching a yonth to play the lyre.
* A female Centaur playingthe lyre and striking a cymbal against another held by a young man who clings to her.
*A Centaur, with his hands tied, hearing a beautiful nude Bacchante, who urges him with the thyrsus.
Nothing can exceed the vigour with which these groups are painted. (H. of Frugi, Pompeii.)
14 GROUND-FLOOR — EIGHT.
FIFTH HALL.
COMPARTMENT XLV. On THE LEFT,
*9180. The sale of loves. A celebrateti little painting representing Penìa the nurse of love, who has just taken a Cupid from the cage and holds him by the wings. He stretches out his arins to Venus who sits opposite to him, and who already has a liberated Cupid between her knees. A third Cupid frets in the cage. Behind Venus is Peitho (Persuasion) touching the shoulder of the goddess to influence her choice. 8x11 in. (1758. Stabise.)
9176 et seq. Sporting Genii, gracefully painted, hunting, fishing, playing and working. Perhaps allegorical of Love, which finds its way into ali the pursuits of life. (E.)
9181. Exquisite head of Venus. {Pompeii.)
COMPARTMENT XLVI.
9195. Cupid and Psyche kissing. See No. 9058. (P.) 9202. Wedding of Zephyrus. A nude goddess on a rock holds the end of a veil which floats in the air. Zephyrus descends front the sky, with large wings and wreathed with flowers, led by two Cupids. In the fore- ground Flora asleep, with her head in the lap of a winged Genius. A Cupid is uncovering her. (1827. Pompeii.)
9210. Thrones of Mars and Venus. The helmet and shield indicate Mars. Venus is suggested by a dove on a cushion, which a Genius is about to crown with myrtle while another Genius holds a sceptre in his hand. (Pompeii.)
COMPARTMENT XLVII.
9231 and 9236. The Threb Graces. Two small but tasteful pictures. (1814. Pompeii.)
COMPARTMENT XLVIII.
9241. Diana and Action. (Pompeii.)
9246-7. Diana and Endymion. A Cupid conducts Diana, who walks on tiptoe not to awake her lover, her floating veil revealing the beauty of her person. The young hunter asleep against a stono, holding his hunting spears. (Herculaneum.)
ANCIENT FRESCOES. 15
COMPARTMENT XLIX.
9248. Mars and Venus. Mars about to embrace Venus, who wears a gold chain and bangles on ber wrists and ankles. Two Cupids at play, witb tbe sword and behnet of tbe god, occupy the foreground. (Pompeii.)
9257. Venus and Urania. Venus on the left bas just punished the Cupid at her side and loaded him witb fetters. Another Cupid behind Urania's chair, in a derisive atti- tude : " Il lui fait les cornes." Very charming. (Pompeii.)
This testure is in daily use among the Neapolitans to ward off ili luck and the evil eye.
COMPARTMENTS L. AND LI. By THE WINDOW,
9262. Pan and Cdpid fìghting. Pan as a small Satyr seizes Cupid by bis left wing, while the former grasps the right shoulder of Pan with his tiny hand. Silenus stands over them holding a paini brancb for the victor. Bacchus seated on a rock witb his thyrsus is looking on. Behind him Venus much obliterated. (1747. -ff.)
A similar picture found at Pornpeii in 1876 has beneath it a Greek epigram, the style and diction of which perhaps indicate that these pictures are tradii ions of a Pergamese originai. We have been favoured with the following happy version of the epigram by the Eev. F. D. Morice, of Rugby, the talented author of " Pindar in English Verse." Fearless with Pan here wrestles Love ! His mother,
With labourina; breast misdoubts her, " which shall win ? " Sturdy is Pan and strong : but then that olher,
That winged rogue, Love — so cunning ! Strength gives in !
9266. Fragments of beautiful execution.
9270. Bacchus in tbe arms of Silenus, who is seated and bolds up the infant towards a buncb of grapes held out to bini by a nymph. Two girls by a tree in the background. Mercury seated playing a lyre on the right, a leopard tearing a tambourine and a croucbed ass in the foreground. (1747. H.)
9278. Akiadne and Bacchds. Ariadne asleep, ber head on the knee of a winged Genius. Cupid seizing the oppor- tunity of tbe flight of Theseus leads Bacchus to the sleeper. On tbe left a Faun pulling Silenus up the hill. The Betinue of Bacchus in the background. (1748. 27".)
16 GROUND-FLOOR — RIGHT.
COMPARTMENT LUI.
*9295 et seq. Dancing Girls. (H. of Frugì. Pompeii.)
These thirteen fìgures are really Bacchantes. Their execution is admirable.
Two are dancing and joining hands, one plays the tambourine, another the cymbals, another bears a vase of fruits ; two are crowned with ears of corn, another holds a sceptre and a flowering branch.
9298. A flying figure of the sanie style but in a larger size, completely draped, hearing a tambourine and cymbals, and crowned with ivy.
SIXTH HALL.
COMPARTMENT LVIII. On THE I.EFT,
9350. Mercury receiving money to convey a soul across the Styx.
9352 et seq. Etruscan paintings of very great antiquity, taken from a tomb. (Buvo.)
COMPARTMENT LIX.
9359 to 64. Etruscan Paintings. These ancient paintings are very remarkable indeed for their spirited drawing and excellent colouring. They represent warriors return- ing from an expedition, and were probably painted not later than 500 b.c. Murai paintings of this date are mentioned by the prophet Ezekiel, viii. 10. (Psestum.)
COMPARTMENT LX.
9382 et seq. Several pictures of Narcissus admiring his reflection in the water. (Pompeii.)
COMPARTMENTS LXI. TO LXVII.
Several pretty landscapes of pagodas, lakes, temples, villas, etc (P. and H.)
The ancients did not excel in landscape painting on account of their ignorance of perspective, and used it merely for decorative purposes. Compartment lxiv. contains some single figure paintings of Mercury, Bacchus, and Ceres.
ANCIENT FRESCOES. 17
COMPARTMENT LXVIII.
9519 to 9521. The seven days of the week. These medallions represent the planets which rule the days of the week. Apollo (Sunday) with mantle and whip. Diana (Monday) with sceptre. Mars (Tuesday) in armour. Mercury (Wednesday) with winged cap. Jupiter (Thurs- day). Venus (Friday), and Saturn (Saturday) with a cap on Iris head and a scythe in his hand. (Pompeii.)
4529. Thetis preparing arms for Achilles. Thetis is seated, and her likeness reflected in the shield which is held up by two men. On the left Vulcan embossing a helmet. (Pompeii.)
compartment lxix. By the window,
9539. Apollo and Marsyas. Apollo wearing the crown of a conqueror, is seated with a Muse at his side. Marsyas, condemned to be flayed alive, is bound to a tree ; his flutes have been thrown at his feet. A minion of Apollo is approaching, holding in his hand a knife to exeeute the sentence. (Herculaneum.)
*9546. Leda and the Swan. (Pompeii.}
Jupiter assumed the form of a swan, and persuaded Venus to assume that of an eagle, and to pursue him. He took refuge in the arms of Leda, who was bathing in the Eurotas, and who subsequently became the mother of the twins Castor and Poi lux.
COMPARTMENT LXXI.
9553. Jupiter seated on the clouds crowned with oak- leaves and surrounded by his attributes ; thunderbolts, a sceptre, an eagle and the rainbow. Cupid at his side with his arm round his neck. (Herculaneum!)
9558. Io taken to Egypt. She has horns on her fore- head and is borne by the Nile personified. She is welcorhed by Isis, who has a serpent round her arm. Mercury and another figure in the background. On the left Har- pocrates with a snake (Naia coluber), and in the foreground a crocodile. A sphinx is seen on a pedestal. (Pompeii.)
9559. The wedding of Jupiter and Jnno. A fine picture boldly executed. (House of the Tragic Poet, Pompeii.)
e
18 GROUND-FLOOR — RIGHT.
PAINTINGS ON MARBLE.
COMPARTMENT LXXII.
Pliny states that Zeuxis painted in white lines upon a black ground, and that the ancients painted in monochrome with vermilion, but that in his day this method had fallen into disuse. These paintings are of the character described, and are believed to be unique. Nos. 9n60 to 9564 were found in the House of the Papyri at Hercu- laneum, in 1749.
*9560. Theseus slaying the Centaur Eurytion, who is endeavouring to carry off Hippodamia frorn the Nuptial banquet. 1 ft. 8 x 1 ft. 1. (H.)
9561. Very much obliterated. In the centre a small figure of a goddess on a column. On the right a seated male figure scarcely distinguishable ; behind him a graceful female figure with her left hand on his shoulder, and pointing with her right to a young Bacchus who leans against an ass on the left. A tree in the back- ground. (H.)
9562. This is the only signed painting of antiquity, and bears in its left corner, AAEXANAPOZ AOHNAIOZ ETPA- YEN "Painted by Alexander of Athens," an artist of whom nothing is known. It is a beautiful little painting, representing the five daughters of Niobe playing at knuckle bones, each girl having her name painted beside her: AHTfl Latona, NIOBH Niobe, 4>OIBH Phcebe, ATAAIIH Aglaia,and lAIAIPA Hilearia. lft.5xlft.3. (H.)
9563. Three actors with masks. 1 ft. 6x1 ft. 1. (H.)
9564. A QUADRIGA AT FULL GALLOP. (H.)
109370. Niobe (her face of charming expression) clasp- ing her youngest child to her bosoin, the child having been al ready wounded in the left thigh. On the right the old nurse raising the lifeless body of another child. A hand- somo Doric tempie in the background. This picture has been painted with green, red, violet, and several shades of yellow. The lower part of it is seriously damaged. (1872. Pomjjeii.)
( 19 )
MOSAICS.
Mosaic pavement was first introduced into Italy by Sulla, about b.c. 80, and he ordered the fioor of the Tempie of Fortune at Prameste to be rnade of mosaic.
In the centre, on the flooe,
Strength conquered by love. A magnificent mosaic of a lion chaìned to a rock, with two Cupids deriding him. On each side, a woman seated. In the background a female figure with vase and thyrsus. The border is an elaborate cable pattern in several colours. (H. of the Centaur, Pompeii.)
A fine key pattern polychrome mosaic from Pompeii.
To the^eft of the wtndow,
9978. Skeleton, with a vase in each hand. (IT.)
The Eomans brought a skeleton to table after meals, to incite to gluttony, on the principi e of " Bum vivimus viva- mus : " " Let us eat and drink, for to-morrow we die."
109679. A Comic Mask. {Pompeii.')
9977-9. Spirited Bacchio sacrifices, inlaid in marble.
*9980. A Francolin partridge stealing a jewel from an open basket. 10 in. X 1 in. (Pompeii.)
9981. Harpy. Eepresented from the waist upwards as a woman with wings ; her legs are those of a bird. She carries a v;tse in her right hand, and with her left steadies a basket which she carries on her head. A Cupid carrying a cup flies after her, and she is preceded by a bird flying towards a tree. (Herculaneum.)
109982. Allegory of Human Life, found in the tablinum of the House of the Tanners at Pompeii. The square placed in the form of the letter A indicates the Greek " Alpha," the beginning of ali things, as in Eev. i. 11. This is sup- ported by a spear and purple drapery to signify youth on the one side, and a staff and wallet to indicate age on the other ; while the skull represents death, the butterfly the soul, and the wheel the changes and chances of human life. (Pompeii.)
*9982. After the Cock-fight. In the centro of this picture are two game-cocks, one bleeding and vanquished, the other victorious. The owner of the vanquished bird
c 2
20 GROUND-FLOOR— EIGHT.
and his attendant are weeping, while the owner of the winner and his servant bear a garland and palm-braneh for the victorious bird. 1 ft. 6 X 1 ft. 5. (Pompeii.) 109687. Mask of Silentjs. (1873. Pompeii.)
9983. Ducks plucking lotus flowers. (Pompeii.)
9984. A Mountain Deity. A youthful god seated on a rock, holding a sceptre in his left hand, pours water from a vase in the centre of the picture, with his right. Two companions are with him. (Herculaneum.)
*9985. A Comic Scene. Representing three actors playing on the tambourine, cymbals and doublé tibia, a dwarf behind holds a horn in his hand. The two figures on the right are dancing. This is one of the finest pieces in the collection, being full of action and life. (We ha ve drawn atteiition to a copy of it in fresco. Comp. xxxv.) (P.)
It is thought probable that ali these rnosaics are repro- ductions of paintings. In the left corner is the inscription AIOZKOUPIAHZ ZAMIOZ EI~IOIHZE " Made by Dioscorides ofSamos." (1762. Pompeii.)
9986.Choragium, the "green room" of the ancient stage. An elderly Choragus is seated and posing two actors who are intended to represent Satyrs. One of the masks not yet in use is intended for Silenus, the other (a beard- less one) for Bacchus. An attendant is putting a loose robe upon an actor in the background, whose mask lies on the table. An ivy-crowned female is playing the doublé tibia, and an attendant stands behind. (1826. H. of the Tragic Poet, Pompeii.)
9987. A Comic Scene by Dioscorides. Signed in the left top, corner. Masked actors at table. (1747. Pompeii.)
9988. Lycurgus flying from a panther, who defends a Bacchante. An attendant of Bacchus in the background is threatening him. (JT.)
9989. Bacchus. A mosaic on a blue background. The god is leaning against a rock, with his thyrsus and eantharus. (S.)
l'.INKATH THE WINDOW,
9990. The Nile. A magnificent mosaic, representing the sacred Ibis, a hippopotamus, a crocodile, ducks, lotus flowers, and (in the left corner) a mongoose fighting a cobra. (Tempie of Isis, Pompeii.)
MOSAICS. 21
On the sext wali,
9992. Three Parrots perched on the edge of a bowl with water in it, watched by a cat. (Pompeii.)
109371. Three Ducks and four Fishes. (Pompeii.)
9991. Acratus on A Panther. Group representing a panther in a graceful attitude, covered with a small chlamys, wearing a garland of vine leaves and grapes, treading a thyrsus under his feet, and ridden by a charm- ing winged Genius crowned with ivy, holding a red cord as a bridle-rein in his left hand, and a cup to his lips with his right. Around is a mosaic border of fruits and flowers intertwined with eight tragic masks. This again is surrounded by another border. One can hardly believe that this beautiful work of art was made to be walked upon, and formed part of a pavement. (H. of the Fann, Pompeii.}
109678. Temale figure in giallo antico, with bangles on her arms, leaning against a pillar. (1873. Pompeii.}
*9993. A Kitten killing a Chicken. Below, a streani upon which are two ducks eating lotus flowers, and upon the near bank a group of water- wagtails and shell-fish, and some small fish hung by the gills upon a reed. This mosaic is much admired for the style of its work and its bright colouring. Square 1 ft. 10. (House of the Faun, Pompeii.)
This mosaic shows that the Romans had domesticated both the cat and the fowl. The cat was a sacred animai in Egypt, is often found mummified, and frequently represented on the monumenta.
It is nowhere mentioned in the Bible, and only once in the Apocrypha (Baruch vi. 22), where it is spoken of as an inhabitant of heathen temples. Interesting details on the archaeology of the cat will be found in Lenormant, ' La Grande Grece,' voi. i. p. 97. The fowl is never mentioned in the Old Testament, nor do we find any representation of it on the Egyptian monuments. It seems possible therefore that it was introduced into Palestine by the Romans.
*9994. A festoon of flowers, fruits, and leaves, wreathed upon two comic masks. This superb mosaic formed the threshold of the House of the Faun, Pompeii. 9 ft. 6 X 1 ft. 9.
9995-6. Columns made of concrete, and covered with designs and figures in glass mosaic. The bases and
22 GROUND-FLOOR — RIGHT.
capitals are adorned with shells, and the execution of the mosaic is much admired. (House in the Street of the Tombs, P.)
*9997. Fishes. A large panel representing various kinds of fish, ali caught to this day in the bay of Naples. The centrai group shows an octopus fighting a craw- fìsh. The large fish in the foreground is known by the name of " Spinola," and is one of the best of the locai fish. The red mullet, lamprey, prawn, shrimp, and the delicious bivalve known by the naine " Yongola " are represented among many others, while a kingfisher on the left is darting from a rock upon his prey. The border of this mosaic is of surpassing beauty. It consists of flowers and leaves, among which hide birds, snails, and graceful Cupids. Square 3 ft. 10. (House of the Fauni, Pompeii.) 9998-9. Water-Birds. (Pompeii.) 10000-1. Two mosaic columns. (Pompeii.) * 10002. A dog chained, with the motto " Cave canem " (Beware of the dog). This spirited mosaic was found at the entrance of the house of the Tragic Poet, Pompeii. 5 ft. 4x4 ft. 5.
Petronius (Sat. xviii.) describes a painting of this subject in the house of a friend at Rome, whose walls were decorated with scenes from Homer, just as those of the house of the Tragic Poet were. The Odyssey mentions the dogs in Silver and gold found by Ulysses at the gates of the palace of Alcinous.
10003. Dwarf feeding two game-cocks, and holding a palm branch out to one of them. (Pompeii.)
THE WALL OPPOSITE THE WINDOW,
9037. Black dog on a chain. (H. of Orpheus, P.)
10004. The Three Graces. (Baise.)
The three Graces, Aglaia, Thalia, and Euphrosyne, were daughters of Venus and Jupiter. They were looked upon as emblems of kindness and innocence, and were wor- shipped in common with the Muses.
10007. Wedding of Neptune and Amphitrite. They are seated in a car drawn by Tritons playing the tibia and the lyre, and surrounded by the mythical courtiers of
INSCKIPTIONS. 23
Neptune, who is wrapped in a mantle and beata his ttident. His bride weats a ,tiara and has a Cupid beside ber. A design of leaves surrounds the picture. (1870. P.)
10008. Large niche for a fountain. (Herculaneum.} Above,
10005. Phryxus and Helle, the lattei- falling from the ram into the water. The colouring is splendid. (-H"-)
10006. Spirited fragment representing a young man drawing bis sword to attack an older man, wbo is seated before him, and wbo prepares to defend bimself. A female figure in the background.
Large Black and White Mosaic, with head of Medusa in the centre. The upper panel represents a vessel moored by ber stern to a quay ; a boat is rowing away from ber. The lower panel represents a city gate and a palm-tree. (1879. P.)
LAST WALL,
10012-13. Two Candelabra on blue ground, with panel in red representing Cupid wounding a deer. (P.)
10008 and 11. Sirens with green fìsh-tails.
10010. A Boxer armed with the " cestus," a loaded boxing giove or " knuckle-duster," used in Eoman prize- fights (Virg. 2En. v. 379). Beneath, a game-cock witb a pine cone and a head of garlic, of wonderful execution. (Herculaneum. )
10014. Niche for a fountain ; beneath, a cock and pomegranates. (Herculaneum.^
10018 et seq. Theseus and the Minotaur. Beautiful renderings of this favourite subject. (Pompeii.)
Beturning to the corridor, the passale on the right Itads to the Halls of Inscriptions, and of the Farnese Bull.
MURAL INSCRIPTIONS.
Before the days of printing, ali important public acts and documents were recorded by inscriptions. If a new law was promùlgated, it was inscribed on stone or metal, and erected in a public place that ali might read it, and that anyone who wished might copy it. Hence the priceless value of the collection before us, for its records instruct us in the laws and religion of the ancients, their
'24: GKOUND-FLOOE — EIGHT.
gods, heroes, politicians, governors, and their dead. Froni them also we get an idea of £he habits of private life, and trace the civilization of Etrascans, Greeks, and Eomans ; nor is the persecution of the primitive Christians un- recorded by them.
The inscriptions are written with those abbreviati ons which make it difficult for any but an expert to read them, but the student will find mnst of them set out in the well-known work of Professor Fiorelli.
Inscriptions in red on white, and graffiti. (Pompew.)
Two lofty columns of cipollino with pseudo-archaic inscriptions, found near the tomb of Csecilia Metello,, and carried to the Farnese gardens in the sixteenth century.
Neoptolemus hearing Astyanax. Colossal statue.
Tiberius. A colossal marble statue. (Farnese.}
HALL OF THE FAENESE BULL.
FlXED TO THE WALL.
The Heraclean Tables. Of these two celebra ted oblong bronze tables, the larger (2481) is written on both sides, hearing on the obverse an inscription in Greek, and on the reverse, another in Latin. The former dating about 300 b.c., consists of some decrees of the municipality of Heraclea, near Tarentura, defining the grounds consecrated to Dionysius and Athene, a part of which had in course of time been annexed by private individuala; it sets out minutely the revenues of the tempie, and what was to be paid by the tenants of the land ; the latter contains the Lex Julia Municipalis, published in 46 B.c. by Julius Caesar to regulate the Italian Municipalities, and is therefore the fundamental document of this part of Koman Law.
This table is composed of two pieces joined together in the same frame. They were found at different times in 1735, near the river Acalandro in Calabria.
2480. This table was found with the preceding one, and is written in Greek on one side only.
Oh the RKiHT in the first eecess,
♦2541. A sun-dial in the form of a concave hemisphere. The hour» are marked on it by radiating lines. The prcsent gnomon is a restoration. The Oscan inscription
FARNESE HERCULES. 25
informs us that Mara Atinius, Mara's son, Quaestor by decree of the Senate, had this sun-dial erected with money arising from fines, probably levied for infractions of the rules of the palaestrum or court in which gymnastics were performed at the baths. (Stabian Baths, P.)
The first recorded sun-dial at Eome was saia to have been brought from Southern Italy by Papirius Cursor, about b.c. 293, but as it was not set for the latitude of Rome it gave the ti me incorrectly. The use of the sun-dial must have spread very rapidly, as many have been found in various parts of Italy.
2542. Oscan Inscription. " Vibius Vinixius, the son of Mara, Quaestor of Pompeii, built this Palaestrum with money which Vibius Adiranus, the son of Vibius, left by his will to the youth of Pompeii." (Pompeii.)
On the walls nkak the Hercules,
Two square bronze plates, found at the foot of the Tarpeian rock, amori g the ruins of the Tempie of Satura.
2638. This piate, beginning "C. Antonius M. F. Gn. Cornelius," &c, is the Lex Antonia, or the decree con- firming the independence of a city called Termessus Major.
2637. This piate begins with the words " Principium fuit prò tribù," and is a fragment of the Lex Cornelia de viginti qusestoribus, or magistrates of finances.
The Eoman number vili, engraved in the upper part shows it to be the eighth table of this law.
These two tablets are pierced with holes by which they were fastened to the wall.
4064-7-8. Koman milestones.
4680. A touching epitaph by a Pompeian to his wife, " who had never grieved him except by her death."
8659. Shaft of a remarkable column in greenish cipollino marble, hearing three Latin decrees in bronze. (Rome.)
* THE FARNESE HERCULES.
This colossal statue is one of the most celebrated of antiquity. It was made by Glycon of Athens according to the inscription under the club, " TAYKCON AeHNAlOC EnOIEI," though many have thought the inscription to be a forgery, because Glycon is unknown asa sculptor, and was
26 GROUND-FLOOR — RIGHT.
not therefore likely to have produced a statue which the Athenians prized so much as to reproduce it upon their coins. The god is resting on his club, after taking the apples of the Hesperides which he holds behind him in his right hand. The smalluess of the head indicates the school of Lysippus.
The statue was brought by Caracalla from Athens to Eome, was found in his baths in 1540, and brought to Naples in 1786. When found it was without legs, and Cardinal Farnese had them restored by Della Porta, Michael Angelo having declined tlie commission, saying he was not worthy to make so much as a finger for so noble a statue. In 1560 the ancient legs were found in a well of the Villa Borghese, and were restored to the statue, while the legs made by Della Porta were placed in the museum of the Villa. One half of the fore-arm, the left hand, and eyes are in plaster. (Height, 9 ft. 9 in.) (Farnese?)
Near the last window,
2636. A bronzo Plate (opisthografon). It is in Latin and is a part of the law of the Tribune Servilìus, called lex repetundarum, referring to the illicit fees of lawyers ; on the reverse is the Agrarian law for the division of lands subsequent to the time of the Gracchi.
*2132. A rustic calendar. lts forni is cubical. It is divided vertically into columns, three upon each face of the cube. Keading these columns downwards, we find on the top the sign of the zodiac, below this the name of the month and the number of days in it, the day upon which the Nones fell, the number of hours of day and night, the constellation in which the sun appears, the god of the month, the agricultural opera tions for the month, and the religious ceremonies to be observed throughout it. (2 ft. X 1 ft.)
In the centre window,
3615. Public measures in marble, for wheat, corn, &c, withan inscription ishowing that theyhad been verified at the Capitol. (Pompeii.)
ON THE WALL ON THE I.EFT OF THE ENTBANCE,
2487. Five inscriptions — two Latin, two Greek, and a part of an inscription (2402) in Greek and Latin, containing
THE FARNESE BULL. 27
a declaration of the Eoman Semate highly honourable to three Greeks, Asclepiades, Polystratus, and Meniscus.
Table case on the right,
2554. The Bantine table, fonnd in 1793 in Bantìa Oppido in Basilicata. It contains a municipal decree of this town for a treaty of alliance with the Eoman people. On one side the decree is set forth in Oscan, and on the other in Latin.
3706 et seq. Honest^e Missiones, or honourable discharges given to Eoman soldiers. (Pompeii and Stabise.)
One of these is of the reign of Vespasian, the other of Claudius. They bear the names of the soldiers and of seven witnesses, and gave to the veterans who had served twenty years and more in one of the legions called Adjutrix, the rights of Roman citizenship, and permission to marry.
111623 et seq. Tour Gold platea hearing inscriptions in Greek. They were found in a tomb at Sibaris in Lucania in 1879. (Gift o/Baron Compagna.)
One of them is dedicated to Gè, and is full of the barbarous words used in the rites and habitually reproduced on talismans. Another is a farewell to the rleceased, reciting a belief in Judgment to come and Immortality. The others refer to the mysteries of Bacchus, Ceres and the Internai gods.
2670. Leaden water-pipe with inscription " EX OFFI- CINA CLAUDII," from the workshop of Claudius. (Pompeii.)
Table case on the left,
Bronze seals used as trade-marks. (Pompeii.)
11974. A mystic nail with inscription to keep off evil
spirits.
Neab the bull,
3828. Public measures for grain, in marble, " verifìed at the Capitol." (Pompeii.)
Stone weight, 100 lbs., with inscription.
*THE FARNESE BULL.
This celebrated group represents Dirce's punishment. It is the work of two famous sculptors of Ionia, Apollonius
28 GKOUND-FLOOR — EIGHT.
and Tauriscus, who flourished before the reign of Augustus. The sons of Antiope are struggling to cast the bull and tie the ill-fated Dirce to his horns. Antiope stands by, encouraging them. On the base, in fine bas- relief, a shepherd's scrip against a tree, a syrinx, a basket, and several wild animals. This group was found with the Hercules by Paul III. in the baths of Caracalla, having been brought by Asinius Pollio, who died a.d. 4, according to Pliny (xxxvi. iv. 10) from Bhodes to Kome. It has been much restored, but was originally cut out of a single block. (Base, 10 ft. X 10 ft.)
Antiope, the wife of Lycus, king of Thebes, was of snch sur- passing beauty that Jupiter became her lover. She was repudiateci by her husband, who took Dirce as his second wife. She from motives of jealousy sbut Antiope up in a tower, and exposed her new-born offspring (twins) in the forest of Citberon. They were found by a shepherd, who named them Zethus and Amphion. After several years Antiope escaped, and accident led her to the cottage of the shepherd who had cherished her children. She recognised them, and remained with them, panting for revenge. One day Dirce went to the furest with her retinue, to celebrate the orgies of Bacchus. She met Antiope, and with the assistance of her womeu, dragged her into the jungle ; but Amphion and Zethus rescued her, made Dirce prisoner, and bound her to a wild bull that dragged her over rocks and precipices, until the gods cbanged her into a fountain, and the twins killed Lycus and took his kingdom.
BASEMENT.
The stairs to the basement will be found at the North end of the Hall of Murai Inscriptions. The upper landing is decorated with plaster casta of celebrated monuments from the British and other museums. On the left is the hall of Canova which contains his statue of Ferdinand IV. made originally for the grand staircase of the museum ; plaster casts of the equestrian statues of Charles III., Ferdinand IV., and Napoleon I. ; and the marble statues of St. Francis and Modesty by Sammartino. The first two rooms at the bottoni of the staircase contain a miscellaneous collection of plaster casts, Arabian and Eastern curiosities, and Indian paintings. The third room contains cork models of the temples of Paestum, the
EGYPTIAN COLLECTION. 29
Forum, and Colosseum at Eome, the amphitheatre of Pompeii and the beautiful model of the House of the Tragic Poet at Pompeii on the scale of 1 to 50. Beyond these rooms will be found the
CHRISTIAN INSCRIPTIONS AND EGYPTIAN COLLECTION.
FIEST BOOM.
Latin and Greek sepulchral inscriptions of the Christian period found in the catacombs of Naples, Capua, Eome, and Pozzuoli.
SECOND EOOM.
This collection carne in the main from the Borgia Museum, but some of the specimens carne from Pompeii and Pozzuoli.
Though by no means an important collection, it contains many specimens of interest, and is especially valuable for the sake of comparison with the Greek and Eoman antiquities in the other departments of the museum.
In the centre (near the window),
999. Altar dedicated to "Isis, the patroness of the two mountains by the king Eanouterka (of the 27th dynasty, about 750 b.c.) that she might ward off evil from the city Makeran." (Pompeii?)
*970. Isis. A charming small marble statue of Egyptian style and Eoman workmanship holding a key and Sistrum or bronze rattle which was used in her rites. Her girdle is clasped by the heads of two crocodiles, a doublé bracelet was on her right wrist, her hair and tunic show traces of gilding and her eyes of red paint. (Pompeii?)
This statue bore an inscription stating that it was placed in the Tempie of Isis at Pompeii by Lucius Caecilius Phcebus in fulfilment of a decree of the Decurions.
975. Serapis. Marble statue seated and clad in a tunic with his hand on the head of Cerberus, and holding a lance. (Pozzuoli?)
30 GROTJND-FLOOR — RIGHT.
On the left of the door,
176. To ad in nero antico. Found in Egypt, but probably of Greek manufacture. Emblem of the goddess Heka. (Borgia.)
First cabinet (bronzes),
205. Osiris, Isis, and a bawk-headed deity. 244. Isis nursing Horus.
Between the cabinets,
315-6. Two wooden images of the god Pthah.
Second cabinet,
384. A votive hand in bronze. Near the window,
978. Two columns Egyptian breccia. (Pompeii.)
Third cabinet,
Divinities in painted clay. Fourth cabinet,
Images in wood and clay.
726. Head of a panther in giallo antico.
754. Cup made of bark.
756. Frog with eyes of mbies. '757, 907. Diminutive images in.lapis-lazuli. Os the top of the cabinet,
635. Small bust of Isis (very fine) in green basalt.
OlJTSIDE THE CABINETS,
765-6. Two Ibises. Sacred to Thoth, and thought to purify Egypt. Their necks and feet are in bronze, the body in marble. Found in the Tempie of Isis, Pompeii, on the two columns near the window.
982. Head of a Sphinx in black basak. Bust modem.
FlFTH CABINET,
Sacred animals, and alabaster vases for ointments.
ON THE TOP OF THE FIFTH CABINET,
881. Har-pa Khrat, or "the child of Horus" (the fore- fìnger broken off).
Thi8 divinity was the type of the risÌDg sun, and was repre- sented as a child, to show eterual youtli the finger being
EGYPTIAN COLLECTION. 31
piaceri on the lips to typify iniancy. The Greeks mistaking the meaning of the gesture, namM the gorì " Harpocrates," and called him the " god of Silence." His festival was celebrated on the 25th of December, and is thought hy some to have influenced the selection of our Christmas Day.
AGAINST THE RIGHT WALL,
5508- Well-preserved mummy case of the 26th dynasty, found in Upper Egypt. Next to the case is the mummy itself, covered with brightly coloured paintings. (Pre- sented by E. Stevens, Esq., 1885.)
981. Anubis with the head of a jackal. Marble statue, mutilated. (Farnese.)
2347-8. Lids of two sycamore mummy cases. Last cabinet,
Marble model of an obelisk : and bronzo fragments.
THIRD ROOM.
In the centre,
1069. Sepulchral monument in granite. The twenty- two figures upon it represe nt priests and Scribes of
, Ammon. Champollion re^ds their names in the hiero- glyphics, and that they lived in the time of Rameses II.
1070. Sarcophagus of granite in which " Pa-ar, born of Her Neith " was buried. He was head of the Scribes. On the outside, the boat of the sun symbolised by a scarabaeus, surrounded by a serpent. Inside a winged Isis with a throne on her head, and the hawk and jackal-headed gods of Amenti, the abode of the dead. (Memphis.)
1068. Kneeling statue of Ra-ab-nah, a nobleman en- trusted with the seals.
An amulet on the neck, and a small shrine between the knees exhibiting bas-relief of Osiris with his attributes of a whip and a crook.
2137. Fragments of a granite obelisk with hieroglyphics recording its erection by Alphakanes. (Palestrina.)
On the wall (to the left of the door),
1016. Sii Sepulchral tablets of calcareous stone with vignettes and hieroglyphics. They were tombt-tones, but plàced inside the tomb. No. 1016 is a tablet of the scribe Hori about 1500 B.c., and is divided into three subjects,
32 GROUND-FLOOE — EIGHT.
the upper lice representing Isis, Horus, and Osiris, with tlieir attributes. The second and third rows represent offerings of frnits to the deceased by his relati ves. (Abydos, now Madfune.~)
Second glass case,
Amulets representing the eye of a cow, especially the eow-form of the goddess Atbor ; also the eye of Horus. It is supposed that the right eye symbolised the sun, and the left the moon.
1350. Large scarabaeus (an emblem sacred to the sun).
The Scaraba?us rolling his ball of dung was looked upon as emVilematic of the sun who makes ali things out of nothing, and so carne to be the symbol of transformation.
1336. Clay joints painted blue to imitate lapis-lazuli. These were probably used as hinges for coffins.
Thikd glass case,
Sandals of papyrus or palm-leaf, and straw. 2376. Necklace of precious stones and glass.
2321. Linen covered with hieroglyphics, and gilding.
ON THE WALL BY THE WINDOW, ON THE LEFT,
2318. Papyrus in Greek, very illegible, about 250 a.d., found in a subterranean passage, with more than forty others in a sycamore case. The others were taken by the Turks, who, finding them perfumed, smoked them in their pipes. This one was bought by a merchant, and passed to the Borgia collection. It treats of aqueducts frorn the Nile and dykes to prevent floods, for the fertilisation pro- duced by the Nile is dependent on a proper distribution of the water. Professor Quaranta has published a translation of it, which gives the name and parentage of the people empi oy ed on the works. (Memphis.)
BEYOND THE WINDOW ON THE KIGHT,
2322. Fragment of the Book of the Dead in good preser- vation, dating about 1500 b.c. It was found at Donkol in Nubia, in the coffin which contained the centro mummy, who was priest of Jupiter Ammon, and a giant.
EGYPTIAN COLLECTION. 33
FOURTH GLASS CASE,
Priestly decorations on papyrus, showing traces of gild- ing and painted with. figures.
FlFTH GLASS CASE,
Scarabaei and small idols used as amulets.
SlXTH GLASS CASE,
Sundry amulets and [1441-2] Nilometers.
The " Tat " or Nilometer (representing a gauge for marking the rise and fall of the Nile) was the emblem of stability and of Osiris ; directed by the Ritual of the Dead to be placed on the neck of the mummy.
In the glazed niche,
Five Mummies in sycamore cases. The most perfect one has her hands crossed upon her breast. She wore a collar of amulets, among tliem a mystic eye, a small vase shaped like a pear, some beetles, a Nilometer in cornelian, and a fragment of papyrus. The hair, teeth, and nails are. perfect. (Thebes.)
Herodotus, writing in B.c. 460, gives an accurate account of the Egyptian method of preparing mummies. A hole was cut in the side, and the viscera were removed and put into vases. The brain was drawn out through the nose, and the body filled with spices and bathed in natron, and then coated with bitumen and swathed in bandages.
1037. Ptolemaeus v. A marble head. (Borgia.) 1072. Lady's head in black basalt with handsome neck- lace.
Opposite the window,
1045 et 8eq. Fourteen Sepulchral vases in serpentine marble and Orientai alabaster. They were used to preserve the entrails of the dead, and the name of the deceased is found upon them.
Next WALL,
1061. Statuette in calcareous marble, perhaps Isis, having on its head an Ibis and a lyre.
1065. Torso in black basalt, inscribed ali round with small hieroglypbics of admirable execution.
1035. Isiac table in alabastrine stone. The upper row
D
34 GROUND FLOOR — RIGHT.
is of thirteen figures worshipping Osiris, who is repre- sented with his attributes. Under them are hieroglyphics which Champollion reads thus : This is a public commemora- tion of the priest of Horus and oiher divinities of the upper and lower regions, regulator of the Ughi, that torch that illumines the world, august, gracious, eie. {Tempie of Isis, Pompeii.)
1036. Sepulchral tablet with hieroglyphics in three subjects, in painted calcareous sterne, representing deities receiving ofìerings.
Ascending the staircase, we reach the
CORRIDOI*, OF THE FULLER'S PILLAR.
This corridor contains fragments of ancient frescoes and medallions in stucco, which are unique.
" These fragments display ari art of design, and a skill of execu- tion which fully justifies the most extravagant estimate which is recorded of Greek artists. From these fragments, I have gained a more certain belief in the surpassing excellence of Greek painting, than reading, or imagination, or analogy could e ver have supplied." (Poynter.)
We thiak Mr. Poynter refers especially to Nos. 9923-4-5-6, on the right wall at the east end of the corridor, but the gallery is replete with beautiful specimens which, from their fragrnentary nature, do not require minute description.
On the right in a niche,
9774. *A Pillar, from the shop of the Fuller. (Pompeii.*)
On the right, a young man hearing a large cage for drying cloth, upon which an owl is perohed, and a brazier. An apparatila of this kind is used to this day in Italy. The brazier (scaldino) is hung from a hook at tho top of the cage, over which the dump cloth is spread.
The picture to the left represents a young man scrub- bing a piece of cloth which is hung on a pole ; and the mistress of the establishment, wearing fino bracelets and necklace, and her hair in a golden net, is receiving a picco ut' (lutti from a girl : while in a row belmv are tour lads fulling cloth with their feet, in metal vats.
On the other side is a press with a doublé scivw ; beneath it some cloths hung up to dry ; and three figures, one
MAEBLE MASTERPIECES. 35
seated, the others standing, engaged in an animated con- versation about a piece of cloth they hold between them. (1826. Pompeii.)
The vats and the soap may be seen in the Fuller's shop where this pillar was foimd. It is thought that ali the washing at Pompeii was done by the Fullers. There can be no doubt that they were a wealthy and iinportant community. The clothes worn by the Romans were almost ali made of wool and white, so that well-dressed Eomans must have resorted very much to the Fullers.
1NTEODUCTION TO THE STATUAEY.
To attempt to compress a history of the art of sculpture which covers many centuries into a few lines, is to take in hand an inipossible task. Its rise was very graduai, and its origin probably religious. In the earliest times a block of wood or stone was worshipped as the symbol of the divinity. Later an attempt was made to carve the human head upon the block, and the limbs followed in course of time. But it was probably many centuries before there was anything like precision of execution, or correct anatomy such as we see in the golden age of G-reek statuary, of which Phidias and Praxiteles were the exponents. These artists conceived ideal types for the representation of the special characteristics of gods and heroes, and spoke as much to the mind of the beholder as to his eye. To understand their statues we must follow the mind of the artist and trace the idea he meant to convey. We must contrast the dignity of Hera with the gravity of Pallas, the chaste sprightliness of the maiden Artemis with the insinuating attractiveness of Aphrodite, the beauty of the young Apollo with the effeminacy of the young Dionysius, the manliness of Ares with the power of Zeus, the joviality of Silenus with the mischief of Eros.
It is just in their misconceptions of these ideals that restorers of statues have failed so lamentably ; it is the want of this conception that makes us unable to distin- guisi! a good statue front a bad one, and that leads an nneducated eye to despise a beautiful torso as a mere stone fragment, the useless encumbrance of a gallery.
D 2
36 GROUND FLOOE — LEFT.
Directly opposite the corridor of the Fuller's Pillar is the
PORTICO OP THE MASTERPIECES
{Capo lavori).
Sirice the word " Hermes" is frequently used in the following pages, it may be well to explain that a hermes is a four- corrtered post or pillar enrìing in a bust or head, and so called frora the statues of Mercury at Athens.
Where a date is given in the description of a portrait, it may he taken for the date of death, unless othervvise stated.
6006. Orestes and Electra. A gronp remarkable for its style, the simplicity of its attitude, and the likeness between "brother and sister. Electra is instigating Orestes to murder Clytemnestra. (Herculaneum.)
f6007. Pallas. An Archaic statue, considered one of ■ the flnest extant. It is full of spirit, though the attitude is stiff and awkward, and the drapery formai ; the hair and ornaments were gilt when it was found, but no traces remain. She wears a helmet adorned with a fieroe gryphon, like that of her statue in the Parthenon. Her hair is elegant, and her neck adorned with a doublé row of pearls ; her right hand is raised, and may at one time have held a spear. The aegis is attributed to her instead of the shield, in conformity with Hom. II. v. 733, and is fastened round her neck by a broad belt, and, wrapped over the left hand and arm, serves as well for defence as defiance (Hor. Od. iii. 4, 57 ; Herod. iv. 189.) (Herculaneum.)
6008. Artemis. A small statue, showing traces of gilding. The style is of the second epoch of Italiau art, but the fcet are unusually good, and there is wonderful freedom of movement. The insipid smile is characteristic of that style of art. It was found in a vineyard at Torre dell' Annunziata. Height, 3 ft. 6 in.
6009-10. Harmodius and Arirtogiton. Two celebrated friends who delivered Athens from the tyranny of the Pisistratidse, b.c. 510. They are represented in the act of killing the tyrant Hipparchus. The Athenians held them in great honour, and raised statues in their rnemory, which were carried off by Xerxes when he took Athens. The statues before us are in Archaic style, but the anatomy is excellent. The head of Aristogiton has been added at
MARBLE MASTERPIECES. 37
some remote period ; it is in the style of Lysippus, and the face bears a resemblance to Alexander the Great. The statue of Harmodius bears marks of a bronze cross-belt, and both figures hold a sword in each hand. (Farnese.)
6012 to 6015. Four small recumbent statnes on the same pedestal, which formed part of the gifts sent by Attalus, king of Pergamos, to the Athenians. He died b.c. 197.
Five more of these statues are known to be extant. One in the Vatican, one in the Louvre, and three at Venice. Of the four hefore us, three represent the great legends of Athenian valour, and the fourth the triumph of Attalus. (See Dyer, p. 128.)
6012. An Amazon conquered at the river Thermodon in Cappadocia by the Greeks. Diodorus gives an account of their customs. They are said to have spread over a great part of Asia Minor and as far as the Caspian Sea, and to have founded Smyrna, Ephesus, and other to wns. She lies dead upon her spear, with the fresh blood stili flowing from her wounded breast. (Farnese.)
It would almost appear as if Virgil had this statue in his mind when he wrote the lines on the death of Camilla —
Hasta sub exertam donec periata pupillam, Hgesit virgineumque alte bibit acta cruorem.
Virg. Mn. xi. 803, 4.
6013. Typh^eus conquered by Jove and Hercules, when he piled Pelion on Ossa, and aLtempted to scale heaven. He lies on his back with a sword in his right hand. A deep gash is over his heart, and his left arni is wrapped in a lion's skin. (Farnese.)
The legend ran that Jove buried him beneath Sicily, with his head under iEtna, from whence he continued to belch out sand and fire. (Ovid. Metam. v. 350.)
6014. A Persian conquered at the battio of Marathon, b.c. 490, when Miltiades drove back the invading host from Greece. He is completely dressed, and lies upon his shield, with his falchion at his side. (Farnese.)
6015. A Gaul conquered by Attalus. The pose is the same as that of the Dying Gladiator at Rome, but the
38 GEOUND FLOOE — LEFT.
attitude is reversed. The deep wounds, and half-closed eyes, show hiru at the last gasp. (Farnese.)
*6017. Venus Victrix. An admirable work, much praised by Winckelmann. The limbs are supple, the attitude elegant, and the whole composition lifelike. She treads under foot Minerva's helmet, and bears on her brow Juno's diadem. The arms are a restoration by Brunelli, and probably not like the originai, for the inclination of the body and the fragments of the ancient arms make it probable that the figure originally held up a shield, and this is the more likely because when Capua (which was destroyed in the Second Punic War) was rebuilt by Julius Cassar, Venus Victrix became her tutelary deity, and was no doubt represented by this exquisite statue, which was found in the Amphitheatre of Capua in the seventeenth century. It is in the style of the " Venus de Milo " in the Louvre. Height, 6 ft. 7 in.
Julius Cassar wore on Iris ring the representation of an armed Venus, as he claimed to be a descendant of the goddess.
6016. Adonis. A fine statue much restored. (Capua.) 6011. Doryphorus or picked lancer from the bodyguard of the king of Persia. Thought to be a replica of the statue by Polycletus, a celebrated sculptor of Sicyon (b.c. 232), who was considered by the ancien ts superior to Phidias, and whose chef -a" oeuvre the Doryphorus, was so happily executed that it was looked upon as the model, and called "The Buie." (H.)
*6020. Venus Callypigus. A partly draped statue repròsenting a lcgendary Sicilian love story. It has many admirers, but the severer school of academical criticism handles it rather roughly. It has been much restored by Albaccini. Height, 4 ft. 10 in. (Golden House of Nero, Home.)
On the left. (Four busts.)
6005. Juno. A splendid bust expressing great dignity. (F.)
6031. Antoninus Pius. A perfect bust with the fino open countenance suited to his exemplary character, and wearing a cloak knotted on the right shoulder. The curly hair and beard aro very well executed. (Baise.)
MARBLE MASTERPIECES. 39
6032. Faustina. Wife of Antoninus. An equally excellent bust. (Baiee.)
*6033. Caracalla. A bust full of expression with its frowning brows, tbin lips, and wrinkled forebead, ali dis- playing bis cruel disposition. (Farnese.)
*6022. Faun carrying tbe infant Baccbus. Tbis fine group was found in tbe Agro Bomano with the faun's bead and nearly ali tbe infant wanting. Heigbt, 6 ft. In spite of tbe restorations tbis group is mucb adniired. lt is attributed to Hadrian's time. (Farnese.)
On the right of the niche,
6023. Homer. Tbe fìnest bust of tbe great blind poet.
(X)
He probably lived about 1000 b.c. The uncertainty of bis birtbplace is recorded in tbe following elegiac : —
Smyrna, Chios, Colophon, Salamis, Ehodos, Argos, Athense, Orbis de patria certat Homere tua.
6028. Pompey tbe Great. A fine bead. (Pompeii.)
6021. A porphyry basin witb serpentine bandles. (Baths of Caracalla, Bome.)
Bebind tbe basin are eleven marble fragments, amongst theni one representing tbe bead and part of tbe rigbt arni of a Roman copy of tbe celebrated Laocoon. If tbis was a copy taken from tbe Greek originai wben it was stili uninjured, it sbows tbat Michael Angelo restored the originai wrongly in stretching out tbe right arni, instead of placing it bebind the head as it is here. (Bome.)
6025. Brutus. This bust is admirably executed, and quite perfect, but tbe expression is that of an assassin. (Pompeii.)
10y621. Unknown female bust witb remarkable bead- dress. (P.)
In the centre,
*6026. Nereid. Tbe nymph, seated on a sea-monster, is gracefully holding up her band. A masterpiece of Grecian sculpture, but mucb restored. (Posilipo.)
6029. Agrippina, wife of Germanicus, motber of Caligula, and of Agrippina, the mother of Nero.
Tiberius exiled her to the island of Pandataria, wbere
40 GROUND FLOOR — LEFT.
she dieci of voluntary starvation, a.d. 33. She had nine children, and was universally regretted. (Tac. Ann. iii. 1.) She is seated on a chair, with her head gently inclined, and her clasped hands slightly raised from her knees, as if wringing them in despair at the slow approach of death. Her feet are crossed, and the whole work is full of pathos. Great authorities give unqualified praise to this statue. (Farnese.)
*6030. Antinous. A favourite of Hadrian, whose statue in various characters is familiar to every student of Grecian art in Italy. When Antinous was drowned in the Nile, Hadrian caused temples to he erected to him in Bithynia (where he was borri), as well as in Italy and Greece, and wished it to be believed that he had taken a place among the constellations. This statue, though inferior to many in the Vatican, is in good style. Height, 6 ft. 4. (F.)
On the eight (next to the niché),
*6018. iEschines (b.c. 342) an Athenian orator. The older writers cali this statue Aristides. It is considered a companion statue to that of Sophocles in the Lateran Museum. He is clad in a manti e, and with his right arm on his breast seems in the act of pronouncing an oration. His appearance is cairn, his pose dignified, and his expression naturai. Canova is said to have esteemed this statue as one of the finest of antiquity. Height, 5 ft. 4 in. (Theatre of Herculaneum.)
6024. P alias. A fine statue wearing a doublé mantle and eegis bordered with serpents. The helruet adorned with two Pegasi and a sphinx. (Farnese.)
6027. Juno. One of the finest statues of this goddess. She is robed in a flowing mantle. (F.)
6034. Torso of Bacchus. A celobrated fragment identified by his curly locks. (Farnese.)
*6019. Psyche. A fragment attributod to Praxiteles. The idea conveyed by her name, which signifies " the soul," has boen embodied in this charming work, which combines grace of form and beauty of feature, with pensive melan- choly and sweetness of expression.
She was always represented with the wings of a butter-
POETICO OF THE EMPEKOKS. 41
fly, of which the traces remain, but the statue has been much mutilated, and has evidently been restored, and the restoration subsequently rernoved. (Capua.)
Bulwer Lytton, who took this as the model for his Ione, thus describes it : —
"... the mutilated, but all-wondrous statue, that Parian face, before which ali the beauty of the Fiorentine Venus is poor and earthly, that aspect so full of harmony — of youth — of genius — of the soul — wbich modem speculators have supposed the representation of Psyche." (Last Days of Pompeii.)
*6035. Torso of Venus. An originai Greek work, exe- cuted about the time of the Cnidian Venus of Praxiteles, who died 324 b.c. (Home.)
Tìie Portico of the Emperors will he tdken next, and the reader is recommended to return to the Oreat Hall, and enter this Portico oy the door next to the turnstile, as the numbers beginfrom that end.
THE PORTICO OF THE EMPERORS.
The Portico of the Emperors contains portraits of ali the Roman emperors, including Commodus and Caligula, whose busts are very rare, as on account of their odious lives the Eomans made a point of destroying every trace of them after their death.
On the left,
*6038. Julius Cesar (b.c. 44). A celebrated bust, selected by Napoleon III. for the frontispiece of his " Life of Cassar." Portraits of Julius Cassar are very rare. (Farnese.)
On the bight,
6039. The same, in a mantle with a sword. On the breastplate, an eagle. Head by Albaccini, copied from the bust opposite. (Farnese.)
His distinguished name was borne by bis eleven successors, who reigned in the following order and died in the years indicated : — Julius, B.c. 44 ; Augustus, a.d. 14 ; Tiberius, a.d. 37 ; Caligula, a.d. 41 ; Claudius, a.d. 54 ; Nero, a.d. 68 ; Galba, a.d. 69 ; Otho, a.d. 69 ; Vitellius, a.d. 69 ;
42 GROUND FLOOE — LEFT.
Vespasian, a.d. 79 ; Titus, a.d. 81 ; and Doniitian, a.d. 96. Julius Cassar was a man of great eloquence, distinguished himself in Spain, and was made Consul. He governed Gaul and invaded Britain, till then unknown. Owing to bis jealousy of Pompey, he crossed the Rubicon and conquered Italy in sixty days. He finally deteated Pompey at Pharsalia, joined Cleopatra, conquered Egypt, and returning to Pome was made perpetuai Dictator. He was stabbed by Brutus, March 15, b.c. 44.
On the left,
6040. Augustus (a.d. 14). Colossal. Head modem. (H.)
A prudent and brave man. Defeated the Republicans at Philippi. Conquered Antony at Actium, and closed the gates of the Tempie of Janus, in token of universal peace, the year our Saviour was born (Hor. Od. iv. 15). He died at Nola after a reign of forty-four years. Virgil, Horace, and Ovid praise him. The character of iEneas personated him. He was a polished scholar.
6041. Livia as a priestess. She was wife of Augustus and mother òf Tiberius. (Pantheon, Pompeii.)
6042. Marcellus. A bust in a cloak. (Farnese.)
He was son of Marcellus the celebrated Roman general, by Octavia the sister of Augustus. He died suddeniy at Rome at the age of eighteen. His sudden dcath produced great grief, as he was publicly intended as successor to Augustus. Virgil wrote a celebrated encomium upon him (Mn. vi. 855), which was liberally rewarded by Octavia.
6043. Tiberius. A bust. (Farnese.)
As a privato citizen he was much esteemed, but he was an extremely vicious and cruel Emperor.
6044. Drusus, brother to Tiberius, with a sword and a mantle in bis left band. (Pantheon, Pompeii.)
6045. Agrippina. Motber of Nero. A bust. (Farnese.)
6046. Caligula (a.d. 41). Tbis statue witb its sunken eyes is tbe most authentic of tbis infamous man ; a cloak covers part of bis armour, wbicb is adorned with bas- reliefs. (Minturno.)
The head was used by some boatmen on the Garigliano to fasten their boats to, and the trunk was found in the refuse of an inn near the river. The Marquis of Venuti bought the fragments in 1787, and had them repaired.
POETICO OF THE EMPERORS. 43
On the right,
6047. Livia. A well-draped statue. (Pompeii.)
6048. Augustcjs as a youth. A head. (Farnese.')
6049. Tiberius. A small statue in a cloak. (Farnese.) 109516. Unknown ; perhaps Augustus. A head. (P.)
6050. Tiberius as a youth. A head. (Herculaneum/)
6051. Tiberius crowned. A colossal bust, the armour adorned with trophies. {Farnese.)
6052. Tiberius. A head. (Farnese.)
6053. Tiberius as a youth, holding a cornucopia. (F.~)
6054. Agrippina Junior, Bust with cloak. (Farnese.)
6055. Drusus, son of Tiberius. A statue. On the left,
6056. Claudius. A seated statue, and one of the first found in Herculaneura.
6057. Antonia, wife of the younger Drusus. A draped statue. (Farnese.)
6058. Nero (on a column). A crowned bust. (F.)
He began his reign well, but after he had murdered his mother, he pluaged into vice and cruelty — executed his blameless tutor, Seneca ; set fire to Rome, niassacred the Christians, and eventually committed suicide.
6059. Vitellius (some say Titus). He wears a tunic and cloak; on his armour are two dragons and some beautiful bas-reliefs. (Herculaneum.)
Vitellius was brought up at the Court of Tiberius, where he early acquired vicious habits. Caligula, Claudius, and Nero ali patronised him, and promoted him to the highest offices. He conquered Otho at Cremona and thus became Emperor. His gluttony and extravagance were such that he was publicly murdered by the populace, a.d. 69.
6060. Galba, or perhaps Claudius (on a column). A crowned bust with a cloak. (Farnese.)
6061. Otho. A bust with a cloak. (Farnese.') ♦110892. Trrus. A colossal head. (Home.)
Titus became known for his valour, especially in the siege of Jerusalem. He was dissolute in his youth, but after he became Emperor he was a pattern of virtue. He was in power at the time of the destruction of Pompeii, and brought valuable assistance to the inhabitants. He was deeply lamented at Rome.
44 GROUND FLOOE — LEFT.
6062. Julia, wife of Titus. An excellent bust. The high head-dress is curious. (Farnese.')
6063. Nerva (on a column). A head ori a modem bust. {Farnese.) He succeeded Domitian, and was a most exemplary Emperor. He died a.d. 98. (Home.)
On the right,
6064. Britannicus (?). The hand held out as if de- claiming. He was poisoned by the witch Locusta at the instigation of Nero. (Farnese.)
6065. Britannicus (on a column). A bust. (Farnese.)
6066. Vespasian. A fine bust. (Farnese.)
He began the siege of Jerusalem, which was achieved by his son Titus, and was proclaimed Emperor at Alexandria. He effected great reforms, and was very popular. He was the first Roman Emperor who both died a naturai death (a.d. 79) and was succeeded by his own son.
6067. Hadrian. A bust with armour, adorned with a Medusa's head. He was the first Eoman Emperor who wore a beard. (Farnese.)
He was a warlike man, and built a wall eighty miles long between Carlisle and Newcastle to keepout the Caledonians. He succeeded Trajan, rebuilt Jerusalem, and called it -lEtia. He erected a statue of Jupiter on the site of our Lord's tomb, and one of Venus on Calvary. He wished to enrol Christ among the gods of Eome. His reign was good, but his private life infamous. He died at Baia?, a.d. 138.
6068. Vespasian. A colossal head. (Farnese.)
6069. Hadrian. A bust. (Farnese.)
6070. Marcus Aurelius. A bust. (Capua.)
6071. Antoninus Pius (ona column). A bust. (Farnese.)
He succeeded Hadrian, and was an exemplary monarci). He raised a rampart between the Firths of Clyde and Forth in Britain, but waged no war during his reign except in defence of the empire. He died a.d. 161.
On the left,
6072. Trajan. A statue in a short tunic and holding a papyrus. The armour has some bas-relief upon it, and the statue is a fine specimen of art. (1787. Minturno.)
Trajan succeeded Nerva, was a bencvolent prince, bridgcd over the Danube, and made Dacia a Roman province. He extended his conquests to India, and died a.d. 117. The
POETICO OP THE EMPEEOES. 45
celebrateti column at Rome records his victories. He was very cruel to the Jews. His reign was one of great splendour, but bis private life was vicious.
On the right,
6073. Trajan. A statue witli a mantle. {Farnese.)
On the left,
6074. Plotina (on a column), the wife of Trajan, with singular head-dress. A bust. (Farnese.)
6075. Hadrian. A bust with a cloak. (Farnese.)
6076. Sabina. A bust. Fine head-dress. (Farnese.)
On the right,
6077. Domitian (a.d. 96) the last of the Csesars.
He succeeded his brother Titus, whora he is thought to have poisoned. His reign began well, but he proved immoral and superstitious, and very foolish. He was assassinated a.d. 96, and the Senate refused him a fonerai.
On the left,
6078. Antoninus Pius. A fine colossal bust. (Farnese.) *6079. Marcus Aurelius. A fine bust with a cloak. (F.)
The noblest of the Emperors, and deservedly beloved. A celebrated equestrian statue of him, eulo»ised by Michael Angelo, and considered the most perfect in the world, stands on the Capitol at Rome.
6080. Faustina, wife of M. Aurelius. A fine head on a bust of Orientai alabaster. (Farnese.)
6081. Lucius Yerus. A fine statue in a tunic. (Farnese.)
A successful general, aDd eight years Emperor. He died of apoplexy in Germany. He was an inveterate glutton, fond of the lowest company, and spent on one banquet to twelve guests, £32,000.
6082. Annius Verus. A very fine boy's head on a yellow marble bust. (Farnese.)
6083. Lucilla, wife of Verus. Well preserved. (F.)
6084. Commodus. A very interesting head, the likenesses of this Emperor being rare. He was murdered a.d. 192, after a reign of twelve years. (Farnese.)
6085. Manlia Scantilla. A head on an alabaster bust, in perfect condition. (Farnese.)
6086. Septimius Severus, father of Caracalla. A bust with a peculiarly striking countenance. (Farnese.)
The most warlike of the Emperors, and rebuilt the Caledonian
46 GEOUND FLOOE — LEFT.
wall in Britain. As a monarch he was cruel, and never forgave a fault. He died at York, a.d. 211.
6087. Julia. Domna. A fine head on ari alabaster bust. (Farnese.)
6088. Caracalla. Assassinated a.d. 217, after an in- famous life. He was son of Severus. (Farnese.)
6089. Plautilla, wife of Caracalla and nrardered by him. This bnst is of great artistic merit, and the head- dress is curious. (Farnese.)
CbT THE RIGHT,
6090. Marcus Aurelius in his youth, wearing a cloak. A head on an Orientai alabaster bust. (Farnese.)
6091. The same. A fine bust. (Farnese.)
6092. The same. A statue with tunic, cloak, and fine bas-relief on the corselet. (Farnese.)
6093-4. The same. A bust. (Farnese.) *609o-6-7. Lucius Verus. (Farnese.) On the left,
6098. Heliogabalus. A fine bust. (Farnese.)
He chose a senate of women, made his borse a consul, was cruel, foolish, and licentious, and was murdered a.d. 222.
6099. Pupienus. A fine bust. (Farnese.)
He was of low extraction, hut a dignified and serious Emperor, and was massacred by the Prsetorian guards, a.d. 236.
6100. Probus. A bust with a cloak. (Farnese.)
He was a warlike man and an excellent Emperor. He intro- duced the culture of the vine into Gaul, but his army mutinied because he employed them on drainage Works at Sirmium, and murdered him to the great sorrow of the Eoman people.
On the right,
6101. Unknown. A bust in porphyry, with a Medusa's head in white marble. (Farnese.)
6102. Maximinus. A statuo with the paludamentum. The legs and arms are modem. (Farnese.)
6103. Julia Domna. A bust. (Farnese.)
She was a Pbonnician, and very celebratcd for ber knowledgeof geometry and philosophy, but ber private li le was infamous. 8he was wife of Septimius Severus and mother of Caracalla.
PORTICO OP THE BALBI. 47
PORTICO OP THE BALBI.
In the centre (at the end of the Portico of the Emperors),
*6104. Marcus Nonius Balbus, junior. He rides after the Greek fashion, without saddle or stirrups. He holds the reins in his left hand, which has a ring on one of ita fingers, and raises up the right as if to thank the inhabi- tants of Herculaneum for cheering their patron. He wears sandals, a short tunic, and a breastplate that leaves his belt visible. This statue was in the Museuni of Portici ; and in 1799, during the riots, a cannon hall carried oif the head. The fraginents were collected, a cast taken, and the head as now seen was modelled by Brunelli. Ancient eqnestrian statues are very rare, and competent judges declare the modelling of this horse to be superb. It is probably the finest horse of antiquity. (1739. J3".)
In order to facilitate reference to the large number of portrait busts in this portico, we have placed them in a list by them- selves on pages 51, 52, 53.
We commence the statues from the left of the Hall of the Emperors.
THE STATUES.
6105. A young man gesticulating. (Herculaneum.)
6235. Suedius Clemens. A sinall statue. (Hercula- neum?)
6111. Boy clasping a goose. (Pompeii.)
6108 et seq. Small statuettes for fountains, found in the coiirts and gardens of various houses at Pompeii.
6233. Marcus Holconius Eufus. An important statue. He is clad in armour adorned with fine bas-relief of good Roman work. On the plinth was this inscription in Latin : " To Marcus Holconius Rufus, son of Marcus, a Duumvir and Magistrate for the fifth Urne ; for the second time Quinquennalis, a militari/ tribune electedby the people, a priest of Augustus Csesar, a chief of the colony" (Pompeii.')
6126. Homer. An interesting statue representing the great poet as a blind beggar, bowed down by age, clad in
48 GKOUND FLOOR — LEFT.
a cloak and leaning on a staff. The face has a noble expression, and the attitude gives the appearance of earnest reflection. (Theatre of Herculaneum.)
6119. A Hunter. A finely executed statue, though probably of a late period. Great attention has been paid by the sculptor to ali the details. The face is finely cut, the pose easy and naturai, and the composition shows careful work in ali its parts. He wears a large hat and a sheepskin mantle, and holds a cord by which a living hare is tied. Two doves hang from his belt. The legs have been repaired, but in other respects the statue is in excellent preservation, (Farnese.)
6125. Sibyl. A well-draped statue holding a papyrus. (Farnese.)
6210. Valerius Publicola. Found with Aristides and Homer, opposite the stage of the Theatre of Herculaneuni.
Valerius Publius, surnamed Publicola from his popularity, was a celebrateci Koman who assisted Brutus to expel the Tarquins, and was the first to take an oath to support the liberty and independence of his country. He was four times Consul, but died so poor that he was buried at the public expense.
West wall,
6118. A young Phrygian on one knee. A small statue in coloured marble supporting a bracket. (Farnese.)
6107. A priestess. A small statue. (Pompeii.)
6121. A priestess. A statue. Her leftarm rests on the head of a small image and holds a patera. The right hand is uplifted, and the expression of the face is placid and dignified. (Farnese.)
6115. A Phrygian in paonazzetto marble, with the extremities in a black stone called paragone. This statue and its companion are extremely handsome, the contrast of the black faces with the mottled marble being particu- larly striking. The figures are colossal and in a kneeling position, and were intended to support a pediment. (Farnese.)
(Here is the Hall of the Great Mosaic.) (See p. 60.)
6117. Colossal kneeling figure. (Farnese.) 6229. Britannicus as a youth wearing the bulla patricia, and holding a papyrus. A small statue. (Telese.)
PORTICO OF THE BALBI. 49
NORTH WALL,
6124. Pyrrhus. A fine statue with armour carved in bas-relief, representing two Corybantes striking their shields with their swords. His left hand rests on his shield, which bears a mask in bas-relief. (Herculaneum.)
6122. A Dacian King, downcast at being compelled to grace a Eoman triumph. He is clad in a mantle and tunic, and wears trousers drawn in at the foot. The Greeks and Eomans despised those nations which wore trousers, garments they considered suited only to bar- barians. (Farnese.*)
6116. A Dacian King, a prisoner with his hands bound. (Farnese.)
The Daci were a warlike nation of Germany, beyond the Danube, whose country corresponds to the modem provinces of Wallachia, Moldavia, and Transylvania. The Eomans under Trajan conquered them in a.d. 103, and joined the country to Moesia by erecting a splendid bridge over the Danube.
West wall,
6106. A Dacian King. A colossal bust. (Farnese.) Here are two panthers in coloured marble. 6252. Sulla. A finely draped statue holding a papyrus. (Pompeii.)
6216-9. Two dogs of good execution. (Farnese.) 6234. Unknown. A statue. (Pompeii.) 6240. Chastity. A statue finely veiled. (Pompeii.) 6232. Eumachia. This pleasing statue stood at the upper end of the Exchange at Pompeii, and was erected, as stated by the inscription which was beneath it, by the Fullers of Pompeii to "Eumachia, daughter of Lucius, public priestess." When it was removed to the museum a cast of it was put up at Pompeii, on the site of the originai statue. (1818. Pompeii.)
6212. A priestess holding a small perfume vase in her right hand. The drapery of this statue is excellent. (Pompeii.)
(Here is the Gallery of the Masterpieces in Marble.)
6211. Marcus Nonius Balbus the elder. A splendid life-size equestrian statue which stood opposite to that of his son in the Basilica (not the Theatre) of Herculaneum.
50 GROUND FLOOR — LEFT.
It was found without the head and one hand, but it was identified by the inscription on the pedestal, and a new head was modelled for it by Canardi from the statue of Balbus as Proconsul (6167) in this corridor. (Hercula- neum.)
The Basilica was excavated by Charles III., but, after removing from it ali the valuables he could find, the excavation was filled up again. This excavation included not only the Basilica, but also the so-called Villa of Piso, and disclosed many of the most valuable works of art yet found in Herculaneum. A very interesting account and sketch pian of a part of this excavation was recently found araong some old manuscripts, and was published in 1879 by Professor Ruggiero in " Pompei e la Regione sotterrata del Vesuvio," a work which ali interested in the subject . should study.
6231. Cicero. A very interesting and expressive statue, representing the orator in middle life, holding a papyrus in his left hand, and gesticulating with his right. There is great individuality in this work, and it deserves careful study. (Pompeii.)
6167. Marcus Nonius Balbus the elder, identified by the inscription found upon the plinth. This is the statue that stood at the corner of the stage of the Theatre of Herculaneum. It represents a middle-aged man of com- manding appearance, holding a papyrus in his left hand, and placing his right hand upon his breast as though he were speaking in public. (Herculaneum.)
6168. Viciria Archas, the mother of Balbus, identified by the inscription found upon the plinth. This statue represents a masculine woman with a very firm expression of countenance. She is closely draped in a veil and mantle. (Theatre of Herculaneum.')
6250. A Roman lady beautifully draped. The face is pleasing, and we may fairly assume the statue to be a portrait. (Herculaneum.)
In the centre,
6236. Terentius (Latin), and Menander (Greek). Latter with a beard. Two comic poets. Doublé hermes. (Farnese.)
6237. Unknown. A seated statuo. (Farnese.)
PORTICO OF THE BALBI. 51
6238. Moschion. A small seated statue of this well- known tragic poet with a papyrus in his hand. (Named in Greek.) (Farnese.)
6239. Herodotus and Thucydides. Doublé herrnes. (Named in Greek.) (Farnese.)
When the Farnese lamily acquired these doublé bermai from the Fulvio Ursino collection, they sawed tbem in two, and put them up in the library of their palace, but the heads were joined together again when they were brought from Rome to Naples.
By the window,
6218. Admirable group representing two men girtwith a sheepskin scalding a bog over a tub. Tbe attitude of tbe man blowing tbe tire is especially realistic. (Farnese.)
6242-4. Daugbters of Marcus Nonius Balbus. Statues. Tbeir dress is a tunic and mantle, and their bair shows traces of gilding. (H.)
6246. Marcus Nonius Balbus junior. Tbe son of tbe elder Balbus. Tbis statue occupied tbe pedestal at the end of tbe stage at Herculaneum opposite to tbe statue of his fatber.
6248-9. Daughters of Balbus. Statues. (H.)
These eight statues of the Balbus family were ali found in the Theatre of Herculaneum, the father and son at the two extremities of the stage, the others in niches outside the building, showing that this family were people of great importance in that city. The equestrian statues of the father and son stood in the Basilica, which was the Court of Justice and the most important public building in the town. We draw particular attention to this because careful writers have been misinformed on the subject.
6123. A priestess. A statue. (Pompeii.)
THE BUSTS.
6127. Unknown. (Farnese.)
6128. Zeno. (Named in Greek.) (Farnese.)
This bust is identical with the small bronze head, No. 5468, p. 75, and represents the Epicurean philosopher of Sidon who was tutor to Cicero ; and not Zeno of Citium, who was the founder of the Stoics.
E 2
52 GEOUND FLOOE — LEFT.
6129. Socrates. (Farnese.')
6130. Lysias. (Named in Greek.) (Farnese.)
6131. Carneades (?). (Farnese.)
6132. Lycurgus. (Vivenzio Collection.)
6133. Unknown; with a beard. (Farnese.)
6134. Sophocles. (Farnese.)
6135. Euripides. (Farnese.)
6136. Lycurgus. (Farnese.)
6137. Hannibal? (Capua.)
6138. Unknown ; possibly Virgil. (Farnese.)
6139. Sophocles. (Farnese.)
6140. Apollonius of Tyane. (Farnese.)
6141. Aratus the astronomer contemplating the heavens. He was the author of an astronomical poem called " The Phenomena," and was born in Cilicia b.c. 300. There is a bust of him in the British Museum. (Farnese.)
6142. Posidonius. (Named in Greek). (Farnese.)
6143. Solon. (Farnese.)
6144. Periander. A Corinthian tyrant. (Pompeii.)
6145. Unknown. (Farnese.)
6146. Herodotus. (Named in Greek.) (Farnese.)
6147. Lysias. (Farnese.)
6148. Attilius Eegulus. (Farnese.)
6149. Alexander the Great. (Herculaneum.) 6150-1. Unknown. (Farnese/)
6152. Zeno Citiacus. The founder of the Stoics. (Farnese.)
*6153. Demosthenes. A bust remarkable for the ex- pression of the lips, indicating the defect in speech from which he sufFered.
6154. Juba in second childhood. (Herculaneum.)
6155. Unknown. (Farnese.)
6156. Archimedes. (Herculaneum.)
6157. Themistocles. (Herculaneum.)
6158. Ptolemy Soter. (Herculaneum.)
6159. Antisthenes. Founder of tho Cynics. (F.) 6160-1. Euripides. (Farnese.)
6162. Anacreon. (Pompeii.) 6163 to 6175 are ali unknown. 6176. Gallienus. (Herculaneum.)
*6177. Cicero. The molo on the loft check is remark- able. (Farnese.)
PORTICO OF THE BALBI. 53
6178. Lucius Junius Brutus. A very fine head on an alabaster bust. (Farnese.)
6179-80. Unknown. (Farnese.)
6181. Caius Marius. (Farnese.)
6182. Unknown. (Farnese.)
6183. Marcus Arius Secundus. (Farnese.)
6184. Claudius Marcellus. (Farnese.) 6185-6-7. Seneca.
These are thought to be inferior copies of the bronze head No. 5616 in the adjoining gallery, and ha ve long been called Seneca, though Signor Comparetti, in an exhaustive article published by Professor Euggiero, endeavours to show that the bronze head represents Calpurnius Piso, who was a Tribune of the people about b.c. 149, and afterwards Consul. There is no trustworthy evidence that they represent Seneca, and certainly Cicero's descriptions of Piso answer admirably to the heads before us.
The provenance of the marble heads is uncertain ; the bronze head was found in Herculaneum in 1724, and a copy of it, No. 111389, p. 63, was certainly found at Pompeii. It is singular that we should bave no less than five portraits of the same person and be unable to identify them.
6188. A vestal virghi. (Herculaneum.)
6189. Cleopatra. (Herculaneum.)
6190-1-2-3. Unknown. (Pompeii, Farnese, Hercula- neum.)
6194. Vestal virgin known as the Zingarella. A very sweet and refìned face. (Farnese.)
6195 to 6201. Unknown.
6202. Sulla (?). (Herculaneum.)
6203. Unknown. (Pompeii.)
6204. Lucius Cornelius Lentulus (?). (Farnese.) 6205-6. Unknown. (Farnese.)
6207. Postumius Albinius (?). (Farnese.) 6208-9. Unknown. (Farnese.
54 GROUND FLOOR — LEFT.
INNER HALLS
(Behind the Portico of the Balbi).
FIKST HALL {of Apollo). In the centre,
6281. Apollo. A colossal Beateci statue in porphyry. The extremities are in white marble by Albaccini, only the porphyry part of the statue heing ancient. {Farnese.)
On the left,
6253. Apollo. A statue with lyre and a swan. (F.)
6254. Apollo. Seated with lyre. A statue. (F.)
242 (red no.). Apollo with lyre and plectrum. An effeminate statue. (F.)
6256-7-8. Apollo. Busts. (Pompeii.)
6259. Ceres. A small statue. {Pompeii.)
6260. Jupiter. A fragment. (Farnese.)
6261. Apollo, seated. ( Herculaneum.)
f6262. Apollo Musagetes, in green hasalt ; a stone very difficult to carve. The left band holds a lyre, the other is raised to the head. (Farnese.)
6263. Ceres. A seated statue. (Farnese.)
6264. Venus. A mask. (Farnese.)
6265. Jupiter Tonans. A small statue. (Farnese.) f62 6 6. Jupiter. Abustof rare per fection, found in 1818
in his tempie at Pompeii.
6267. Jupiter. A colossal demi-figure. A cast from the fìnest monument found in the Tempie at Cumce.
6268. Juno (on an ancient column). A head. (F.)
6269. Ceres. A richly-draped statue. (Farnese.)
6270. Bacchus. A fino head with a fillet. (Farnese.)
6271. Neptune with a dolphin. A statue. (Pcestum.)
6272. Bacchus. A fine bearded head with a fillet. Some think it a Plato. (Farnese.)
6273. Ceres holding a torch and an ear of corn. A statue. (Farnese.)
f6274. Jupiter Ammon (on an ancient column). A bust. His hair waves round the horns that sprout from his head. (Herculaneum.)
6275. Neptune. A bust. (Farnese.)
MAEBLE STATUES. 55
6276. Diana the huntress. A statue. A hind pursued by a greyhound is beside her. The hind was sacred to Diana on account of its speed. (Farnese!)
6277. Apollo Hermaphroditus. A amali statue. (P.)
6278. Diana of Ephesus. A statue of Orientai alabaster with bronze extremities. The goddess wears a tower on her head and an aureole decorated with eight griffins. Eound her neck a collar of cereals fringed with acorns, and female figures in bas-relief. Three lions are upon each arm, and between the arma the numerous breasts symbolical of her nourishing the world. Her skirt is covered with mythical animals. (Farnese!)
This is one of the best representations extant of the celebrateci statue of Diana of Ephesus. " The image that fell down from Jupiter " (Acts xix. 35) was originally merely a rude block of beech ; but the Ephesian Artemis whose silver shrines brought " no small gain unto the craftsnien," was such a statue as this one. The priests are said to have killed the sculptors of it, lest they should expose the fraud. The Ephesian Artemis must not be confounded with the Greek goddess of the same name. The Greeks found the worship of the ancient Asiatic goddess when they settled in Ionia ; and as she had the attributes of their maiden goddess, they grafted her into their system, and gave her the name of the Ephesian Artemis.
6279. Diana drawing the bow. A statue. (Farnese?)
6280. Diana Lucifera. A statue. She wears a long tunic, and holds a torch. Her mantle waves in the wind. (Capua.)
SECOND HALL (o/Mars). In the centre,
6323. Mars seated with a shield. A statue. (Farnese.)
On the left,
6282. Minerva (on a column). A bust. (Farnese.)
6283. Venus leaving the bath. A statue. (Farnese.) 6284-5. Venus. Heads. (Pompeii.)
*6286. Venus Anadyomene. A statue. In the attitude of the Venus de' Medici. Her attire lies on an amphora. The head and legs have been repaired. (Farnese.)
6287. Venus genitrix. A small draped statue. (P.)
6288. Venus in the attitude of the Venus de' Medici. (F.)
56 GROUND FLOOR — LEFT.
6288-90. Venus. Heads. (Pompeii.)
6291. Venus and the dolphin. A statue of Faustina in the attitude of the Venus de' Medici, with an elegant bracelet on her left arni. The old head has a grotesque appearance on the youthful body. (Farnese.)
6292. Venus (on a columrì) adorning herself. Her hair and dress are painted red. A sinall statue. (Pompeii.)
*6293. Venus crouching, with Cupid behind her holding an arrow. A very fine group. (Farnese?)
6294. Venus. A small statue. (Farnese.)
6295. Venus partly draped. Beside her, Cupid on a sea-dragon holds a bird in Iris hands. (Pozzuoli.)
6296. Venus. A small statue. At her side, Cupid on a dolphin seizing a polypus. (Farnese.)
6297. Venus crouching. She holds a scent-bottle ; on the right wrist is a bracelet. (Farnese.)
6298. Venus adorning herself (on a column). (P.)
6299. Marciana, sister of Trajan, as Venus. She looks elderly. On her head-dress is an ornament originally set with precious stones. The arms are modem. (Farnese.)
6300. Venus and Cupid. Group. Venus holds up her tunic. Cupid bears a sea-shell. Eepaired. (Farnese.)
6301. Venus with dolphin. A statue. The lower part of the body and the shoulder are draped. Eepaired by Albaccini. (Farnese.)
109608. Venus holding the appiè in her hand, leaning her left arra on the head of a sinaller figuro of Archaic style. She is dressed in a long tunic. Interesting for the painting of the dress. (1873. Pompeii.)
111387. Venus. A statue in a red tunic. (1879. P.)
Many Venuses are portraits of ladies of the latter period of the Koman Empire. More portraits under the forra of Venus have been found than actual statues of this goddess.
6302. Merctjry holding a purse in his right hand. (F.) 6303-4. Pallas (on a column). Busts. (Pompeii.) 6305. Bacchus with attributes. A small statue. (F.) 16306. Indian Bacchus. A bust. (F.)
6307. Bacchus and Cupid. A fine group. (Farnese.)
6308. Bacchus. A bust. (Farnese.)
6309. Bacchus. A small statue. (Farnese.)
631 0. Indian Bacchus. A bust. (Pozzuoli.)
MAEBLE STATUES. 57
6311. Bacchus with a panther. A statue. (Farnese.)
6312. Bacchus. A small statue. The inscription states that it was presented by Popidius. (Tempie of Isis, Pompeii.)
6313. Ariadne. A head. (Farnese.)
6314. Antinous as Bacchus. A colossal statue, with a bunch of grapes, a cup, and crowned with a vine-garland. The sandals are very fine. (Farnese.)
6315. Ariadne. A head. (Farnese.)
6316. Bacchus with a panther. A statue. (Farnese.)
6317. Indian Bacchus (on a column). A head. (-ET.)
6318. Bacchus. This statue, of the time of Hadrian, is known as The Farnese Bacchus. The god is naked, and holds a cup ; he rests his arm against a tree. On his head is a garland ; he holds a bunch of grapes with his right hand.
6319. Pallas with her helmet. A snake at her feet. Colossal. (Farnese.)
6320-1-2. Pallas. (Farnese.)
THIED HALL (of Atlas). In the centbe,
6374. Atlas. He kneels under the globe, upon which forty-two out of the forty-seven constellations known to the Eomans are symbolised. A particularly fine Eoman work. (Farnese.)
*6375. Cupid and the Dolphin. A beautiful group in Greek style. The head and feet of the Cupid and the tail of the dolphin are modera. (Capua.)
On the left,
6324. Bacchus. A hermes. (Stabise.)
6325. Satyr as Bacchus with a panther. A statue. (P.)
6326. A smiling Faun, full of expression. (Pompeii.)
6327. Bacchus holding grapes. A statue. (Pompeii.)
6328. A laughing Faun, full of expression. A bust.
(PO
6329. Pan and Olympus. A group. The god is seated on a rock, near Olympus, teaching him to play pan-pipes. A highly esteemed sculpture. (Farnese.)
58 GEOUND FLOOK — LEFT.
6330. A smiling Faun. A bust. (Pompeii.)
6331-2. Satyr holding grapes. A small statue. (F.)
6333. A satyr crowned with ivy. A bust. (Pompeii.)
In front of the window,
6334-6349. Sixteen statuettes, most of which adorned fountains in Pompeii.
6350. A Satyr crowned with ivy. (Farnese.)
6351. Ganymede and the eagle. A group. (Farnese.)
6352. Bacchus Hermaphroditus. (Pompeii.)
6353. Cupid. Like the Cupid of the Vatican. (Farnese.)
6354. Bacchus hermaphroditus. A statue wearing a transparent doublé tunic. (Farnese.)
' 6355. Ganymede and the eagle. A group. The boy is embracing an eagle that touches his shoulders with its wing. Both have an animated expression. A fine sculpture, much repaired. (Farnese.) 6356-7. Ariadne. Hermes. (Stabise.)
6358. Paris with a dog. (Farnese.)
6359. iEsculapius ? A bust. (Farnese.)
f6360. iEscuLArius. A colossal statue, wrapped in a mantle, leaning on a long stick with a large serpent twisted about it. Parts of the right arm and stick, with the serpent, have been repaired. Found in the island Tiberina, in a tempie dedicated to this divinity. (Farnese.)
The insula Tiberina was said to have been formed of corn grown on the Campus Martius, and thrown in baskets into the river. The accretions soon formed an island, which was dedicated (b.c. 291) to iEsculapius, the legend being that he landed there in the form of a serpent.
6361. Venus. A head. (Farnese.)
6362. Fortune, a colossal statue. Attired in a long tunic, with a cornucopia. (1816. Pompeii.)
6363-4. Colossal bnsts, open-mouthed. (Farnese.) 6365. A Naiad seated. From a fountain. (P.) 6366-7. Colossal busts, open-mouthed. (Farnese.)
6368. Ceres, in variegated marble. A statue. (Naples.)
6369. Cybele with castellated crown. A bust. (H.)
6370. Isis. A statue in grey marble. She holds the sistrum and a vase. (Farnese.)
6371. Cybele on her throne. A small statue. At tho sides two lions, with their paws on the plinth. The head
MARBLE STATUES. 59
and left hand have been repaired. (Latin inscription.) (Farnese.)
6372. Isis in grey, with extremities of white marble. Holding a bronze sistrum. (Farnese.)
6373. Indian Bacchus. A hermes. (Farnese.)
FOUKTH HALL (of the Muses).
In thr centre;
6405. Mounted Amazon. Sbe bas received ber deatb- wound and falls to tbe rigbt. An expressive statue, witb modem arms and legs. (F.)
6406. Hercules and Òmphale. Tbe bero in a long tunic and sloucbed cap, bolding tbe distaff and spindle. Omphale, covered witb tbe lion's skin, bolds tbe club. An allegory of strengtb conquered by love. (F.)
6407. Mounted Warrior parrying tbe blows of bis enemy. Tbe bead and legs botb of rider and borse are modem. (F.)
On the left,
*6376. Urania (Astronomy) bolding tbe globe. Tbe bead is modem. (Herculaneum.)
6377. Calliope. A statue bolding a papyrus. (Farnese.}
6378. Mnemosyne. Tbe motber of tbe Muses, in a long and finely folded tunic. (Herculaneum.')
6379. A young Hercules. A colossal bead. (Farnese.) 6380-1. Unknown. (Pompeii.)
6382-3-4. Hercules. (Farnese.)
6385. Meleager, in rosso antico. A small statue, resting its left band on tbe bead of a wild boar in black marble^ Tbe legs are modem. (Farnese.)
6386-90. Unknown. (F. H. P.)
6391. Niobe's daughter. A draped statue. (-ET.)
6392. Hermes of Hercules. (Farnese.)
6393. Hermes of a woman. A fine sculpture. (F.)
6394. Clio. A statue. The bead is modera. (H.) 6395-6-7-8. Euterpe. A statue witb a flute, to show
sbe was the invefitor of musical instruments. (Hercu- laneum.)
60 GROUND FLOOR — LEFT.
6399. Thalia. A statue. The Muse of comedy and husbandry, in a doublé tunic with wide sleeves. A mask in her left hand. The head is modem. (Farnese.)
6400. Melpomene (Tragedy), with a mask in her left hand. The head and right arm are modem, (fl.)
6401. Clio, the Muse of History. (Herculaneum.)
6402. Erato. A statue. The Muse of amorous poetry wears a doublé tunic ; she has a lyre in her left hand. The upper part and both arms are modem. (Herculaneum.)
6403. Calliope. The Muse of heroic poetry seated, with a payprus in her left hand. Very spirited. (Farnese.')
6404. Polyhymnia. A statue. The Muse of rhetoric in a long tunic, her right hand raised to the left shoulder. Much restored. (Herculaneum.)
FIFTH HALL (of the Flora). In the centre,
* 10020. A large mosaic, from the House of the Faun at Pompeii, 1831. 18 ft. 6 x 10 ft. 6.
This fine work is composed of small piecea of marble of different colours. Its composition is admirable, and there is little doubt that it was copied from an ancient painting representing the battio of lssus (b.c. 333), between the Greeks and Persians. There are 26 combatants and 16 horses. One of the chief figures is Alexander, on horseback, bareheaded, transfixing an enemy with his lance. On the right Darius, king of Persia, flying in his chariot. The ground is strewn with lances, wounded men and horses, pikes, helmets, dagger, &c. There is no glass in this mosaic.
The plaster on the left is an ancient restoration. Upon it were the marks showing the design proposed to be carried out, but these can hanlly now be traced. By a calculation recently made it has been found that this mosaic consists of 1,308.000 pieces.
On the left,
6408. A gladiator. A statue. (Farnese.)
*6409. Flora Farnese. Colossal, attributed to Praxi-
teles, and one of the most interesting of ancient statues.
The attitude is so naturai that she seoms to move ; a
transparent robe coverà her. She has a bunch of flowers
MAEBLE STATUES. 61
in her left hand, and holds up her dress with the right. The head, the left arm, and the feet are modem. Height, 13 ft. (Baths of Car acalla, JRowie.)
6410. A gladiator. A statue. {Farnese.')
6411. Protesilaus. Wounded in the thigh. (Hercu- laneum.)
He was the first of the Greek s to land at Troy, and as such he was doomed by the oraci e to perish ; he was killed as soon as he landed either by iEneas or Hector.
6412. Doryphorus of Polycletus. Hermes. (Pompeii.)
6413. Homer. Hermes. (Farnese.)
6414. Euripides. Hermes. (Farnese.)
f6415. Socrates. Hermes, full of expression. The Greek motto beneath adds much to its interest ; " Not only now, but always, it has been my habit to follow only the dictates of my judgment. Mature reflection, 1 find, after strict exami- nation, to be the best of ali things." (Farnese.)
f6416. The Farnese Gladiator. A Greek statue. He has received his death-wound in the heart, and staggers under it. The head, arms, and hands are an undesirable restoration of a statue that must have been of the first rank. (Farnese.^)
SIXTH HALL (of the Gaeta Vase). In the centre,
*6673. The " Gaeta Vase" a fìrst-rate work, executed according to its inscription by Salpion of Athens, an artist of whom nothing is known. The bas-relief on it represents Mercury giving the infant Bacchus to the nymph Nysa, who stretches out her arms to receive him. These figures are followed by Fauns and Bacchantes playing on the flageolet and cymbals. (Gaeta.)
This vase was found on the beach at Gaeta, where it was used to moor boats, as may be seen by the marks of the ropes upon it. It was subsequently used as a font in Gaeta Cathedra! !
Nearest the great mosaic,
6670. A large vat with reliefs of Jupiter, Mars, Apollo, iEsculapius, Bacchus, Hercules and Mercury, each with his attributes. (Farnese.)
62 GKOUND FLOOE — LEFT.
6672. Teapezophora representing a centaur carrying Cupid and playing pan-pipes, and Scylla with the rernains of a human victim entwined in her tail. ( Villa Madama, Rome.)
6675. A large vat representing a bearded Silenus presiding over the vintage performed by satyrs, one of whom is putting grapes into the winepress, others are working the lever and carrying grapes in baskets. The winepress is unusual in form, but there is one like it on a bas-relief in the British Museum. Welcker considers it to be an aitar and not a vat, and dates it to the time of Lysippus. Exposure to the weather for many centuries has damaged it. (Francavillà 's garden?)
6676. A vat with garlands and bucrania. (Farnese.) 6674. Sarcophagus of Amazons. It was found at
Mileto in Calabria, Eoger, king of Sicily, who died there in 1101 having been buried in it.
6671. A large vat with vine garland. (Pompeii.)
BAS-RELIEFS. ON THE LEFT, UPON THE WALLS,
From 6550 to 6553, Eeversible medallions, with figures carved in relief. (Pompeii and Herculaneum.)
6556. A man, with his dog. An Archaic sculpture from Asia Minor. (Farnese.)
By the window,
6570. A sepulchral bas-relief. A woman on a bed. A Cupid is descending towards her. Inscribed " D. flaviae m. saturninae." Interesting for its accessories — the lamp burning on the candelabrum, the little dog, the bedstead, mattress and pillow, and other items. (Farnese.)
6573. A man and woman shaking hands. (Farnese.) |6575. Small bas-relief representing the shop of a maker of metal vases. On the left, a man and boy stand- ing by a pair of scales. In the centro, two men working at an anvil. On the right, a man finishing a vaso. In the background, sundry vases and a dog. (Pompeii.)
MARBLE STATUES. 63
In the far cokner,
6595. A small bas-relief in Archaic style, representing a feast. Beneath a couch, upon which are three men drinking, a boar's head and two loaves. A curly boy hands the wine from a large vase on the left.
" What youth from out their halls with. fragrant hair Shall at the cup preside." — Hor. Od. I. xxix. 7.
Two sareophagi, and sundry bas-reliefs. (Farnese.)
Ancient galleys. (Pozzuoli and Pompeii.)
6603. Alto-rilievo representing a marriage, with fourteen
standing figures. (Pozzuoli.)
6605. A sarcophagus. On the chief surface are the
portraits of a man and his wife. (Farnese). 110565. Ancient galley from Cunise. (1858.)
Beyond the doorway,
111070. Sarcophagus representing Diana and Endy- mion. round in a house at SanV Antimo, near Naples, where it was used as a water-trough. Koman sculpture.
Upon the walls,
From 6608 to 6660. Masks used as water-spouts.
Beversible discs or medallions which were suspended by chains between the columns of the Pompeian houses.
GLASS WALL-CASE,
Various effigies of Indian Bacchus and Fauns, of lively expression. These heads were commonly placed on marble pedestals to point out land-marks. (P. and H.)
Busts and small statues in fancy attitudes used as fountains. The inscription " Diogenes " on a very small head is thought to be a forgery. (Pompeii and Hercu- laneum.)
6542. A very pretty girl's head, known as the Incognita. (Pompeii.)
111389. Seneca or Piso. A copy of the bronzo head. (Pompeii.)
111390. Demosthenes. (Pompeii.) 111392. Zeno of Sidon. (Pompeii.)
Among the reversible medallions on the last wall No. 6667 is painted in red outline on its reverse side. Very rare. (P.)
64 GROUND FLOOE — LEFT.
SEVENTH HALL (of Bas-reliefs).
In the centre,
A pedestal in honour of Tiberius erected by the fourteen towns of Asia Minor which he had rebuilt after an earthquake, a.d. 17. The towns are personified with their names written below the figures. Philadelphia, Imolus, Cibyra, Myrina, Ephesos, Apollonidea, &c. On the principal side is a dedicatory inscriptión, Plin. vii. 4 ; Tac. Ann. ii. 13. (1693. Pozzuoli.)
*6781-2. Large marble candelabra with triangular bases supported on chimaaras. (Farnese.)
6778. Marble vase with spirai handles representing the return of Proserpine from Hades, with Bacchus, Mercury, and Ceres. (Stabice.)
6779. A fine vase representing a Bacchanal. (F.)
ON THE LEFT, AGAINST THE FIRST WALL,
6677. Sarcophagus of a Child. Two Cupids holding a garland. (Farnese.)
6678. A sacrifice before the image of a headless god. According to the inscriptión, it was a votive offering for Marcus Aurelius's safety and victory. (Borgia Collection.)
*6679. (Edipus and Antigone offering a sacrifice at the groves of the Eumenides. On the right a bearded priest pouring a libation upon the sacred fire. (Edipus with his head covered on account of the sacrilege he had committed is seated behind. (Farnese?)
6680. Young Hercules. (Herculaneum.) •
6681. Diana, with a dog. (Pompeii.)
*6682. The Persuasion of Helen. Paris, aided by Cupid, tries to persuade Helen to leave Menelaus. Helen is seated, with Venus beside her, and Peitho (the goddess of persuasion) above. The figures are ali named, and the work is considered of great merit. (Noja Collection.)
6683. Hercules and Om vi i a Ut. The labours of Hercules in the margin. The inscriptión states tliat it was a vow to Hercules by Cassia Priscilla. (Borgia Collection.)
6684. Bacchus drunk, supported by a Faun. Bacchantes and other figures. (Farnese.)
MAEBLE STATUES. 65
f6685. Silenus drunk on an ass, which is about to He down with him. He is resting his arms on the necks of two Fauns : Pan leads the animai. A grotesque bas- relief, but very well executed. (Pompeii.)
6686. Perseus and Andromeda. (Farnese.')
f6687. Comic scene. From an ancient play. The stage and scenery are interesting. (P.)
|6688. Apollo and the Three Graces. {Alto rilievo.) This sculpture is a gem. On the left, Apollo with his lyre disposes his arm affectionately round the neck of an elegant female figure, who is playing the cymbals. On a bed behind him, the other two Graces, one seizing the lyre, the other kneeling. (Found at Ischia.) (Farnese.)
6689. Orestes seeking refuge in Apollo's tempie after having murdered his mother. Apollo's statue, the tripod, the corpse of Clytemnestra, and the serpent Python are visible. (Herculaneum.)
6690. A woman feeding a parrot. (Pompeii.)
6691. Tiberius and his mistress on horseback. A slave leads them towards a statue. (Capri.)
6692. A negro driving a chariot. A warrior is stoppili g the horses. (Herculaneum.)
f6693. Sarcophagus. The finding of Ariadne. The youthful Bacchus standing on a chariot drawn by a centaur, and Silenus lying drunk on a four-wheeled car drawn by asses, which have fallen. The usuai Bacchio retinue make up the group. At the end of the Sarco- phagus Ariadne asleep. Very highly esteemed. (Farnese.)
SECOND WALL, UNDER THE FIRST WINDOW,
6694. Jupiter seated. A small bas-relief. (Pompeii.)
6695. Vintage scene. (Pompeii.)
6696. Cupid (drawing the bow) and Venus. (Pompeii.)
6697. Socrates (?) seated and wrapped in a mantle. (P.) 6701. A sarcophagus representing Bacchus seated on a
centaur. In the middle a medallion with inscription. (F.)
6704. A large pediment of a sarcophagus, representing in bas-relief and in three series, the life and exploits of a gladiator. Very interesting as a study of the games of the arena. (Pompeii.)
6705. A sarcophagus representing Proinetheus, having
F
66 GROUND-FLOOR — LEFT.
created a man, in the presence of Jupiter, Juno, Mercury, and Neptune, with their attributes. (Pozzuoli.*)
Under the second window,
"f"6711. A very interesting sarcophagus, showing the race of Pelops and (Enomaus. On the left, CEnomaus niaking terms with Pelops. In the centre, the king, prostrate beneath his chariot, with his off-horse kicking violently; beyond him, Pelops in his chariot at full gallop ; and on the extreme right Pelops kissing Hip- podamia. The race is said to have taken place at Pisa, in Elis, Greece. (1857. Pozzuoli.)
Third WALL,
f6712. Sarcophagus of a child, representing four chariots racing, driven by children. The boy weeping is remarkably fine, and the whole work admirable. (Farnese.)
The seven eggs upon the meta are interesting, as showing the wav in which the ancients connted the seven laps of the chariot races.
6713. Icarius's feast. Before a house with tiled roof lounges the Indian Bacchus, rather the worse for drink, wearing a long robe, and follo wed by Fauns and Bac- chantes. A Faun is taking off his sandals. Icarius and his daughter Erigone recline on a couch, inviting the god to the feast. Before the bed is a table with eatables. A very fine sculpture. (Capri.)
Dr. Dver (Imitative Art, p. 276), gives a rnost accurate criticism of tliis has-relief, which he considers superior to the siniilar ones in the Louvre, Vatican, and British Museum.
f6715. Pedestal representing three Caryatids. At the foot of a tree is seated a woman clad in the Dorian fashion, leaning on her right arm and in evident grief. On each side is a Caryatid wearing a doublé tunic. They bear a pediment, on the front of which, " Greece ereeted this trophy after the victory gained over the Cariam" who had abandoned the Greeks to follow the Persians. (Avellino.)
MARBLE STATUES. 67
CaryaB was a city of Arcadia, the inhabitants of which juined the Persians after Thermopylse. On the defeat of the Persiana the allied (ireeks destroyed the town, slew the men, and took the women capti ve ; and Praxiteles employed female flgures representing the women of Caryae instead of columns. Male figures so employed are called Atlantes.
6717. Medallion representing a consul. Half-figure, life-size. (Farnese.)
6724. A Bacchante struggling with a Faun. (H.)
6725. Seven girls hand in hand in bas-relief. Names in Greek : Euphrosyne, Aglaia, Thalia (the Three Graces), Ismene, Kikais, Eranno, and Telonnesos, this last being probably the place where this elegant relief was executed. ( Herculaneum. )
6726. Bacchus with a Faun going before him, and playing on the doublé flute, while a Bacchante dances to the music of a tambourine which she holds aloft. Similar to a group on the Gaeta vase in the preceding hall. {Farnese.)
6727. Orpheus, Eurydice, and Merctjry (names in Greek). Orpheus turning his head to bid farewell to Eurydice, whilst Mercury, conductor of souls, commands them to separate. The expression of Eurydice is charming. (Noja Gollection.)
*6728. Bacchus presenting the cantharus to a figure almost effaced, near an aitar loaded with oblations. The panther at his feet. Very fine. (Herculaneum.)
6723. Vow to Mithras. Sacrifice of a bull. (Capri.)
Mithras was the Persian suu-god, and is represented allegorica 11 v as a young man stabbine a bull, just as the sun penetrati s the earth. The tail of the bull ends in ears of coni, tu denote plenty. The blood troni the bull nourishes ali the lower creation, froni the sacred serpeut tu the unclean dog.
The worship of Mithras spread Ulto ltaly, and a cave dedicateti to him may be visited at Capri. It was in it that this bas- relief was found.
6729. A consul. Half-fìgure, life-size. (Farnese.)
FOUBTH WALL,
6738-9. Two trophies, one of armour, lance and flag, the other of a tunic with a dragon. (Farnese.)
f 2
68 GROUND-FLOOK — LEFT.
Araonji sundry bas-reliefs, most of them from Capua, is —
6747. Punishment of Marsyas. The unfortunate Satyr tied to a tree, and beside hiia the executioner.
The peculiarity of tliis fragment is the grinder sharpening the knife to skin Marsyas. It reminds us of the Greek statue by an unknown sculptor of the grinder in the Tribune at Florence.
Three pedestals representing conquered Provinces, in Phrygian costume. (Farnese.)
6756. A sarcophagus. Jupiter, Juno, Apollo, and the Muses Euterpe, Polyhyninia, Melpomene, and Thalia, are carved around it. (Capua.)
FlFTH WALL,
6776. Sarcophagus, adorned with bas-relief of Bacchus in a chariot drawn by a male and female Centaur, and Hercules leaning on Omphale. (Farnese.)
EIGHTH HALL (of the Fragments).
In THE CENTKE,
6862. Basin in rosso antico with decorations. (Pompeii.) Marble lustrai basins, acquaminaria. (Pompeii.)
6863. An aitar adorned with Bacchio symbols. (P.) 6866. Three Sphinxes supporting a basin ; admirably
done. (Pompeii.) On the left,
From 6788 to 6791. Ornament of the door of the Exchange at Pompeii, — arabesques, birds, insects, and different reptiles, admirably designed. (Pompeii.)
^Akound thk hall,
Some columns in verde antico. (S. Ag. dei Goti.) Sundry Orientai alabaster columns. (Pompeii.) Several small columns adorned with leaves. Many legs for tables, representing panthers, lions,
griffins, and sphinxes. (Pompeii.)
6857. Candelabrum. The base is adorned with two fine he-goats, a small hind sucking its dam, and two birds, and is supported on four couchant rams.
6858. Standard of a triangular candelabrum adorned with figures. (Pompeii.)
( 69 )
LARGE BRONZES.
Vesuvitis has preserved for us almost ali tlie ancient bronzes that we have, for the eruption of 79 a.d., though it destroyed the cities, preserved as by a miracle ali that was imperishable in them from the Yandalism of succeed- ing ages. The bronzes of Athens and Rome are lost for ever, and but for those of Pompeii and Herculaneum we should not have known that the Greeks far excelled us in this branch of art.
Pliny tells us that the ancients put gold and silver into their bronze, the base of it being copper and tin ; but no analysis has yet been made which can give us any idea of the proportions in which the metals were mixed.
The metal when cast and tempered was put to a great variety of uses. We see in this wonderful Museum specimens of it for household and urban ornament of every kind. It was also used for bracelets, rings, seals, and tools. Every description of cooking utensil was made of it, and to prevent corrosion these were, when necessary, lined with silver, just as we now line such iftensils with tin.
There is no such other collection in the world as that now before us, and by connecting it with the collection of small bronzes upstairs we shall be able to realise to a small extent what the glories of the great period of art must have been, if second-rate provincial cities could contain such marvels of artistic excellence in an age of decadence.
It will be noticed that the bronzes from Pompeii are very much discoloured, while those from Herculaneum are uninjured.
FIRST HALL.
In the centre,
f4904. One of the four horses of Nero's quadriga found in 1739 near the Theatre of Herculaneum. Height 15 hands. Fragments of the other horses and of the chariot
70 GEOUND-FLOOR — LEFT.
were found, and we shall notice some of the bas-reliefs that adorned the latter.
The Latin inscription by Abbot Mazzochi reads — Of this splendici bronze quadriga, wiih its horses reduced to fragments and dispersed, I alone remained uninjured, ihanks to the diligerli care of a rnonarch (Charles III.), who collected the 600 pieces into which Vesuvius separated me lihe the limbs of Absyrtus.
Ox THE LEFT,
*4886 and 4888. Two elegant gazelles. (1751. ff.) 4887. Colossal Head of a Horse. A most beautiful Greek casting, presented to the Museum in 1809 by the Santangelo family. It is probable that it was cast as it is, and never formed part of a complete horse.
An attempt has been niade to show that this specimen is a fragment of the colossal horse, emblem of Naples, which formerly stood before the Tempie oi' Neptune (now Piazza Duomo) in Naples. Popular superstition attributed curative veterinary powers to that statue, and Cardinal Filamarino broke it up in 1322 on this account, and cast a new beli for the Cathedral out of the metal. The horse's head on the right is irom Herculaneum ; that on the left is of fifteenth century work.
4989. Unknown. A bust. (Pompeii.)
On a marble pedestal,
4890 to 4893. A bull — A crow — A seated Mercury— A pig. For fountains. (Pompeii and Herculaneum.)
4894. A horse. The bridle inlaid with silver. Found with the statue of Alexander mentioned further on. (1761. H.)
On a pedkstal, as found,
110663. Lucius Cìeciijus Jucundus. A bronze head with a Latin inscription : Felix Libertus to the genius of our Lucius. This splendid casting exhibits the portrait of a man of remarkable expression. His face reveals malice, especially in the motion of the lips. Observe the wart on his left cheek.
Many deal tablets found in his house show that he was a usurer who lent money at 2 per cent, per month, which fell due a month after the date of the transaction. (1875. P.)
LARGE BRONZES. 71
f4895. Diana. A half-figure with glass eyes, discovered in 1818, near the Forum of Pompeii.
It is conjectured that the ancients used it for orncles, speaking through the hole in the back of the head. Two olher small holes behind the right shoulder were used to move the eyes.
In a glass case,
Sundry animals. Two wings of a statue. (P. and H.) 112841. Two triangular penthouses with mythical birds, and a silver-gilt mask. Supposed to have been mounted on staves as military standards. (Home.)
Tlie earliest military standards were mere wisps of hay or straw on a pole. In later times, down to b.c. 104, the eagle and four other ereatures formed the standards, after wliich the eagle alone was retained.
Last WALL.
4896. Sappho. A bust of rare perfection. (1758. H.)
4897 to 4902. A boar attacked by dogs — A serpent — A lion and stag. A group for a fountain. {Home of the CitharÌ8ta, Pompeii.}
4903. A he-goat. (1841. Nocera.)
4990. Agrippina. A bust. (Pompeii.}
SECOND HALL.
In the centre, ont a column from Pompeii,
111701. A Cupid carrying a dolphin. A charming small statue for a fountain. (1880. Pompeii.}
On a marble table,
4993. A Cupid holding a lamp like a comic mask, and a lamp-hook. Beside, on a bronzo column, another lamp in the shape of a human head ; the flame issued from the mouth. (Pompeii?)
*4994. An Angler. Small statue for a fountain, holding a basket and fishing rod. (Pompeii.}
*4995. Bacchus and Ampelus. Their eyes and the garland on the base are in sii ver. (1812. House of Pansa, Pompeii.}
*4996. Alexander. An equestrian statuette inlaid with silver. Alexander is represented mounted on Bucephalus,
72 GKOUND-FLOOK — LEFT.
without helmet, in rich armour, raising his sword. (1761. Herculaneum.)
*4997. Victory. Poised on a globe, with two large wings ; remarkable for its light waving garment. On the left arra is a gold bracelet adorned with. a ruby. (Pompeii.)
Nothing is more difficult to execnte satisfactorily in metal tlian what is called the " throw " of drapery. Jt is in this point tliat the Greeks excelled us morlerns so notably.
4998. Venus at her toilet. A statuette. (Nocera.') *4999. Amazon. Mounted and hurling a lance. (1745. Merculaneum.)
5000. Cupid clasping a goose. (Pompeii.)
FOUK MASTERPIECES. OS COLUMNS IN GIALLO ANTICO,
*5001. Silenus. Crowned with ivy, and girt with a cloth. Originally no doubt he bore a basket on his left hand. The base is adorned with vines and inlaid with silver. Height, 21 inches. ( May 1864. Pompeii.)
*5002. A dancing Faun. In the full vigour of adult manhood, with a strong tail, and horns sprouting from a garland of oak leaves, this muscular figure is a very beau-ideal of athletic grace, though the general expression is of inebriety. Height, 32 inches. This statuette gave the name to the Mouse of the Faun, Pompeii.
fi 11495. A drunken Faun, for a fountain. He is staggering. In his left ann he holds a wine-skin, from which the water flowed. (1880. Pompeii.}
*5003. Narcissus. Wears sandals and a roe-skin, and, with his right hand raised and head gently inclined, seems absorbed in the subdued whisperings of the nyniph Echo, who for love of him wasted away and filled hill and dale with her amorous lamentations. The eyes of silver. Height, 25 inches. (1862. Pompeii.)
■j^SSó. Doryphorus of Polycletus. This bust is some- times known as Augustus. It is remarkable as being the only Greek bronzo with the maker's name upon it: AnOAAnNIOZ APXIOY A9HNAI0I EnOHIE (sic), " Apollo- nius, son of Archios the Athenian." (1753. Herculaneum.)
LARGE BRONZES. 73
Under the window, glass case, lower row,
5004. Mars with cuirass and cloak. (Pompeii.) 109326. Fragment of a small draped statue. (Pompeii.*)
5005. Mars wearing armour and mantle. This small statue belonged to the chariot of Nero. (1739. Hercu- laneum.)
5006-7. Silenus seated with a wine-skin. (Pompeii.]) *5009. Apollo. A small statue, with. a wand. (S.) 110127. G-ALBA. A silver bust muck injured. Hewears
the paludamentum, and Medusa's head on the armour.
(1874. H.)
*5010. Fortune on a globe. Her attitude and dress
are admirable. The necklace is inlaid with silver. (S-) 5011-2. Silenus caressing a panther. (Pompeii.)
5013. Juno in a mantle which covers her head. This belonged to the chariot of Nero. (Herculaneum.)
5014. Caligula ? A small statue. Fine armour inlaid with silver, and a sword. (Pompeii.)
5015. Silenus on a wine-skin : a fountain. (Pompeii.)
5016. Apollo in a mantle. Chariot of Nero. (H.)
Upper row,
5017 to 5022. Statues for fountains. (Pompeii.)
5024. Diana drawing her bow.
f5025. A man lying on his back. (Pompeii.)
Thesetwo stntuettes are thought to bave formed part of a Niobe group.
5026. A man setting his foot on a rock. (Pompeii.)
On pedestals,
4889. Livia. A bust, notable for its wig. (1753. E.)
Side class case,
The contents of this case are very interesting. They show some of the very earliest attempts of the ancient Etruscans at casting the human figure in bronze.
5510 et seq. Etruscan figures. Very ancient.
5534. An idol in bronze, of primitive style. (Elba.)
5562 to 5571. Etruscan paterne and mirrors, with mythological figures, of primitive style. Inscriptions.
On a pedestal,
4991. C. Norbanus Sorex. A head with hollow eyes.
74 GROUND-FLOOR — LEFT.
On the plinth was the following inscription, in Latin : — Cairn Norbanus Sorex, second magistrate ofthe suburb Augusta Felix, to whom the place has been assigned by decree of the Decurions. (P.)
In a large glass case (facing the window),
Household gods, some of which are beautifully modelled. The most remarkable are —
Top shelf (centre),
5075 et seq. Fauns' heads of charming expression. (P.)
kSECOND SHELF,
5133. Venus Anadyomene, with gold bracelets and anklets. The base inlaid with sii ver. Much admired. (Pompeii.^)
5185. Copy of the Farnese Hercules. (P.)
Third shelf,
5199. Neptune — quite perfect. (-H".)
113259. Mercury with a purse in his hand. (1882. P.)
5262. Victory on the globe. (P.)
BOTTOM SHELF,
109360. Fine repoussé medallion inlaid with silver.
5292. A dancing Faun with thyrsus. (P.)
113257. Apollo with silver fillet, and silver strings to his lyre. Very fine. (1883. P.)
5313. Abundance with rudder and cornucopia. The base is inlaid with silver. (Herculaneum.)
111697. Abundance seated on a throne. She holds a silver piate and a cornucopia. (1880. P.)
The small Camilli pourins; a libation were fuund beside her, and the little lamp in the fòrm of a fout now placed above her was in front ol her. The wick may stili be seen in ir, and it was probably alight when the city was destroyed.
5371. (Eneas and Creusa with Ascanius. (P.)
ON A PKDE8TAL,
4992. Brutus. A bust much oxidised. (Pompeii.)
Side olass case (bottom shelf),
5503. A sitting dwarf, very well executed.
LARGE BRONZES. 75
5508. A votive hand. Inscribed.
5465-6-7-8. Epicurus, Hermarcus, Demosthenes, Zeno. (Herculaneum.^
These busts were found in the library wbere the papyri were discovered.
5469-70-71. Demosthenes, Epicurus, Metrodorus. (1753. Herculaneum.)
5472-3-4. Tiberius, Augustus, Agrippina. (P.)
THIRD HALL.
The centre of this hall is occupied by the finest bronze works of antiquity.
*5624. The sleeping Faun. The figure is seated and appears as if leaning against a tree, the absence of which conveys an impression of unrest and discomfort. The figure itself has the right hand under the head, which is thrown back, the lips open, and the general expression is of a deep and peaceful sleep. Height, 5 ft. (Hercu- laneum.)
*5625. Mercury in repose. The most celebrated bronze of ali antiquity. The messenger of the gods is seated, and clearly reposing after a rapid flight. The left foot and the right hand both contribute towards hearing the weight of the body. The right holds a small piece of bronze rod which no doubt originally formed part of the caduceus, the only part of this beautiful figure which has been lost to us. The detail of the muscles and of the winged sandals is admirable, and every line of the composition is exquisite. Height, 8 ft. (1758. Herculaneum.)
*5626-7. The Discoboli. Two nude youths with hands and arms extended. Height, 5 ft. (1754. Hercu- laneum.)
Eminent authorities consider " The Divers " to be a more correct name for these statues, as they were found on a small island in the piscina of a villa, and this is the more likely because discoboli would naturally be representetì with the d'scus, like the celebrated quoit-player of Myron now in the Vaticau. The statues are imdoubttdly of great excellence, and it is worthy of remark that they are a pair — that is that they look right and left, and were clearly cast to stand opposite to one another.
76 GEOUND-FLOOK — LEFT.
In the centre of the hall,
*5628. The drunken Faun. Life size. He is extended on a half empty wine-skin, which yields to his weight ; he snaps the fingers of his right hand, and has a merry look which shows his state of inebriety. On his neck are the two glands usuai to goats, and horns appear on his forehead. Every detail of this statue will bear the closest inspection. Critics assert that the body has been slightly flattened, but this injury is scarcely perceptible. Height 5ft. 9in. (1745. H.)
5629. Apollo with the plectrum. A very interesting statue because of its strong Etruscan type. It seems certain that the artist who designed it had in his mind some Etruscan work of art, though in ali probability the statue was cast in Eoman times. (Pompen.)
On a pillar near the left doob,
5588. Unknown. Bust. (P.)
5589. Viciria Archas, mother of Balbus. Statue. (-H.)
5590. Ptolemy Philometor. Bust. The head has the royal fillet, and glass eyes. (1755. Herculaneum.}
*5591. Mammius Maximus. A statue found with that of Marcus Calatorius, wearing the magistrate's robe. On the plinth was the inscription in Latin, To Lucius Mammius Maximus, Augustal, the inhabitants contributing the money.
Lucius Mammius Maximus erected at his own cost statues to Livia, Germanicus, Antonia, Claudius' mother, and to Agrippina, wife of Claudius, which shows that he lived after her decease : he also built the market. His father was a Decurion at Nuceria. (1743. J/erculaneum.)
f5592. Berenice. An admirable bust with a plait on the top of the head. It has been much disputed whether or not this is a female head, but it is now generally agreed that it is so. The name given to it rests on slender authority (Herculaneum.}
5593. Tiberius Claudius Drusus. A colossal statue leaning on a lance. Beneath it was an inscription in Latin : To Tiberius Claudius, Sovereign and Pontiff for the eighth time, Tribune sixleen times, Emperor, Father of his country, Censor. By the will .... Messius son of Lucius . . . Seneca, a soldier of the thirteenth city cohort ; and to
LAKGE BKONZES. 77
erect it four sesterces were bequeathed to every Municipality. (1741. Herculaneum.')
On a coi-u.mx,
5594. Ptolemy Philadelphus. A bust crowned with olive. (1759. Herculaneum?)
*5595. Augustus deified. Acolossal statue. In his right hand a lance. In the left, Jupiter's thunderbolt. (1741. H.)
On a column,
5596. Ptolemy Alexander. Bust. (1755. H.)
*5597. Marcus Calatorius. A Eoman magistrate. On
the plinth was a Latin inscription : To Marcus Calatorius,
son of M. Quartion, the citizens and inhabitants offer ihis.
(1743. Herculaneum.}
5598. Ptolemy Apion. Bust. His curly hair makes him look effeminate. He reigned at Cyrene, and left his kingdom by will to the Eomans. (For an exhaustive article on this bust see Euggiero, p. 171.) (1759. H. of the Papyri, Herculaneum?)
5599. Unknown. A colossal statue. (jET.) On a column,
5600. Ptolemy Soter IL Bust. (1754. Herculaneum.}
On a bracket,
5601. Unknown. An admirable head.
On a column,
5602. Heraclitus. Bust. His aspect is gloomy. (fi".)
He was conceited, pretended to universal knowledge, and declared that ali men were un] ust and liars.
*5603 to 5605. Actresses. These three statues, and those opposite, decorated the peristyle of a villa near the theatre of Herculaneum. They are dressed in the tunico- pallium, which is thought to indicate that they were dancing girls. Their eyes are enamelled.
On a bracket,
5606. Unknown. A head. {Farnese.)
On a column,
*5607. Archytas. Bust. The head adorned with the turban, peculiar to great philosophers. He was the
78 GROUND-FLOOE — LEFT.
successor of Pythagoras and friend of Plato. He lived at Tarentum and was a great mathematician — Horace calls him the " measurer of sea and land and of the countless sand." (1753. jET.)
On a column,
5608. Speusippe? Bust. (Herculaneum.)
5609. Antonia, wife of Drusus. (1741. H.)
ON A PILLAR,
5610. Antinous? Bust. (Pompeii.)
5611. A Camillus, or acolyte. (NaplesJ)
5612. Faustina. Covered by a mantle and wearing a ring. Colossal statue. (1741. JET.)
On a column,
*5613. Apollo, holding the plectrum and a lyre, the strings of which were of silver. Height, 33 inches. (P.)
On a column,
*5614. Marcus Claudius Marcellus, nephew of Augus-
tus, who died in his twentieth year. (1754. Herculaneum.) 5615. Nero Drusus. As a priest. A statue. (1741. H.) 15616. Seneca. A head of great artistic merit and won-
derful realism. Thought by Coinparetti to represent
Calpurnius Piso. (See Ruggiero, p. 171.) (1724. H.)
On a bracket,
5617. Tiberius. A bust. (F.)
On a column,
*5618. Plato (b.c. 347). Reputed the fìnest bronze head extant. He looks down as if in meditation, and every detail has been most elaborately worked out. The likeness to the head of our Saviour is often noticed. The modem school of Archseologists has named the head " The Indian Bacchus," and Lenormant assorta that it is a Neptune, and once formed part of the statue which is reproduced on the gold coins of Tarentum. (1759. if.)
5619. Three Actresses. (Theatre, H.)
On a bracket,
5622. ¥nknown. A bust. (Farnese.)
5623. Demooritus. A bust. (H.)
LARGE BRONZES. 79
LAST HALL.
In the centbe,
5635. Nero (or Caligula), on horseback. (Pompeii.)
This statue stood on the top of the triumphal arch at Pompeii, and was found. in fragments, which have been put together with a result not altogether satisfactory.
Osa column,
5631-2. Unknown. Busts. (Herculaneum and Farnese.)
5633. Apollo. Bust. (Farnese.')
5634. Publius Cornelius Scipio (Africanus). A perfect bust, with two scars on the head. (Herculaneum).
Under the window in three glass cases,
5776. Fragmentary armour, of ivory.
5777 to 5801. Fragments of bronzo armour. (P.)
Leaden sling-bolts (glandei) with inscriptions ; from the battle-field of Cannse.
5844 et seq. Axes. Bronze clasps for sword-belts, lances, and daggers. (Pietràbbondante.)
GRECIAN ARMOUR. LAROE WALL CASE,
Cuirasses — helmets — greaves — frontlets — spear-heads ; of the Greek period. (1805. Pcestum and Buvo.)
ARMOUR FOR GLADIATORS.
Thfse arms were not intendcd for use, hut were worn for display in gladiatorial processions, and were probably given as prizes. An interesting illustration of the use of these helmets may be seen in the Hall of Bas-reliefs, No. 6704, p. 65. Wall-case opposite window,
5669. Circular shield, with head of Medusa and olive garland inlaid with sii ver. (Pompeii.)
5674. Helmet with bas-relief representing the last night of Troy. (Herculaneum.)
5865 to 5868. Greaves, with ornaments. (Pompeii.) Helmet, with traces of gilding. (Pompeii.) Trumpets, lances, and daggers, with ivory handles. (Povipeii.)
80 GKOUND-FLOOR — LEFT.
5636. A bronzo helmet very much oxydised. (Pompeii.)
This helmet was long shown as the one found upon the sentry who died at his post at Pompeii. It is certain however that the story is not worthy of credit, and that the so-called sentry- hox was merely a tomb with a seat for the public.
ITALIAN AND ROMAN ARMOUR. LAST WALL-CASE,
Lances, daggers, and helmets.
5746. A flag-staff with a cock on the top, used as a military standard.
This, with the other arms in this case, was found at Pietrab- bondante, the ancient Bovianum Vetus. It was a symbol of Mars, who was the patron of that city.
In the centre of this case are three trumpets found in a wine-shop in Pompeii in 1884. The wood is a restoration carefully made after the originai, which crumbled away on exposure to the air. These trumpets were for use in the gladiatorial processions, and are often represented on frescoes, but the specimens before us are the first trumpets of this pattern that have ever been found.
( 81 ) THE ENTRESOL— RIGHT.
FIEST BOOM.
In the centre of this room is a large cabinet not yet filled, but destined to contain terra-cotta from Pompeii.
The fbescoes : on the left,
113197. The Judgment of Solomon(?)
The subject of this picture is disputed. If its origin is Biblical, it is the only trace of Holy Writ as yet dis- covered in Pompeii. It is said by some to be a human sacrifico, but it represents neither priest, aitar, nor sacred fire, nor as far as we are aware will the details fit any heathen legend.
The picture represents a woman imploring three judges (one of whom holds a sceptre) to sa ve the life of her child, which a soldier is about to cleave in two with a chopper. A second woman is holding down the infant. A guarà of soldiers and a few spectators make up the picture. (June 1882. Pompeii.)
" Then spake the woman whose the living child was unto the king, ior her bowels yearned upon her son, and she said, O my lord, °ive her the living child, and in no wise slay it. But the other said, Let it be neither mine nor thine, but divide it." (1 Kings iii. 26.)
Josephus (viii. 2) also gives an account of the incident, but his account does not agree with the picture.
111482. A fresco in four divisions, representing scenes in tavern life. The third division shows a dispute over a game at dice. One player is made to exclaim, " Six ! " the other, " No ; it is three and two ! " (Pompeii.)
111475. Europa and the bull. (1878. Pompeii.)
111476. Cassandra predicting the fall of Troy to Priam and Hector. (1873. Pompeii.)
111210. The death of Laocoòn. (1875. Pompeii.)
SECONn WALL,
111483. Thisbe killing herself on fi n din g the body of Pyramus beneath the mulberry-tree. (1881. Pompeii.)
82 ENTRESOL — RIGHT.
J111437. Venus, adorned with bracelets, seated near Adonis, holding a nest, which contains Castor and Pollux, just hatched from the egg of Leda. Two lovers ogling one another, and other fìgures. (1863. Pompeii.)
111441. Orion, with the help of Cupid, wooing Diana. The inaiden goddess warns him oiF. Three damsels in the background, one of whom looks at Orion and makes the gesture of personal admiration stili usedin Naples. (1863. Pompeii.)
fi 11439. Iphigenia as priestess of Diana at Tauris, after her rescue from sacrifico at Aulis. (1875. Pompeii.) See No. 9112, p. 13.
Above the line,
114320. Helen and Paris with Cupid. (Pompeii.) 114322. Phsedra persuaded by her nurse. (Pompeii.)
114321. Medea meditating the murder of her children. {Pompeii ,)
111436. Jason and Pelias. Jason as a handsome youth appearing before the tempie at Iolchos, to the consterna- tion of Pelias and his daughters. (1878. Pompeii.)
Pelias had usurped the kingdom of Cretheus, and the oracle bade him beware of one of the sons of zEolus, who would come to his court with only one shoe — Jason is thus represented here, and it is the only painting found of this subject. (But see below No. 111477.)
111211. Polyphemus and Ulysses. (Pompeii.)
> 111481. Bacchus and Ariadne. (1878. Pompeii.) fi 11480. The remains of a very beautiful picture, the
subject of which is uncertain. (1878. Pompeii.)
111484. Bacchus finding Ariadne. (1863. Pompeii.)
Wall next the window,
111212. Danae with her infant Perseus driven out to soa by her father Acrisius. (1879. Pompeii.)
111442. Neptune and a Nereid. (1878. Pompeii.) 112285. A grotesque picture, intended as awarning to
passers-by. The classical reader will understand the inscription, " Cacator, cave malvm." (1880. Pompeii.)
111472. Scene in a camp. Much defaced. (January 1863. Pompeii.)
111213. Bacchus and Silenus. (1879. Pompeii.) 111209. Wine-party, prettily painted. (1879. Pompeii.)
ANCIENT FEESCOES. 83
111214. Vemis and Mars. (1879. Pompeii.) 111479. Spirited hunting picture, representing perhaps the destruction of the Mobides by Apollo and Diana. (1872. P.)
111477. Medea boiling a ram in a caldron, from which a lamb jumps out, to persuade the daughters of Pelias that that she would rejuvenate their father. They slew their father accordingly, but she (out of revenge) declined to restore him to life. (1874. Pompeii.)
Thibd WALL,
fi 12222. Amphitheatre of Pompeii on the occasion of the fight between the Nucerines and Pompeians, which caused Nero to stop ali theatrical performances at Pompeii for ten years. (Tac. Ann. xiv. 17.) This interdict expired only eight years before the destruc- tion of the cities. This historical painting presents several features of the greatest interest. First, the awnings are represented as spread. We knew they used awnings, because the words " vela erunt " at the bottom of the theatrical advertisements (libelli) could mean nothing else ; but it was by means of this picture that we learnt the use of the mast-holes in the wall of the great theatre at Pompeii. fcjecondly, we see that there is an important building to the right of the amphitheatre which has not yet been discovered. And, lastly, that it was situated in a boulevard upon which itinerant sellers of refreshments erected their stalls, after the modem Neapolitan fashion. Two men hearing a litter can also be distinguished. (1869. Pompeii.)
The following is the advertisement to which we have referred. It is on a wall near the Casa del Centenario at Pompeii, and the mutilated inscription on the picture before us, painted on the building on the right, seems to have been a duplicate of it :—
' Twenty pairs^of Gladiators, paid by Decimus Lucretius Satrius Valens, priest (fiamen) in the Urne of Nero the san of Ccesar Augustus, and ten pairs of gladiators, paid by Decimus Lucretius the son of Decimus Valens, will Jìght at Pompeii on the lOth, llth, 12th, 13th, and 14th of Aprii. There will be a regulur hunting scene (legitimavenatio), and the awnings will be spread. Written by Celer. — Emilius Celer, writer of Inscriptions, wrote this by moonlight."
G 2
84 ENTRESOL— RIGHT.
1112282. Mars and Venus. A large picture. Ti 863. P.) 112286. An allegory of Bacchus. (1879. Pompeii.) 113195. Grotesque Egyptian landscape. (P.) 112283. Bacchante asleep. On the right her companion with her shoes on the rock heside her. On the left the lower portion of a male figure, and at the top of the picture Silenus looking on. (1863. P.)
111474. Hercules delivering Dejanira. (1878. P.) flll473. Pan and the Nymphs. The god is in human form excepting his goat's ears, and two small horns on his forehead. He is about to play upon the syrinx, which he holds in his hand. One of the nymphs holds a lyre, the other a tibia. A goat in the foreground and a landscape with buildings behind. Admirably executed. (1878. P.)
SECOND BOOM.
SPECIMENS OF MEDIEVAL ART.
IX THE CENTRE,
10915. Chinese ivory basket, finely carved.
On the left, »*.
10522. Cain and Abel.
10523. Bronzo model of the Farnese bull.
10524. Figures from "The Bape of the Sabines." (Florence.)
10793-4-5. Bronze medallions and plaques representing Christianity, the Holy Family, and Cupids.
Hanging lamp shaped like an eagle, and three others.
10525-6. Alabaster basine with Medusa's head in the centre, and Sileni for handles.
10810. Beautiful basin in rosso antico.
10527. Ferdinand I. of Aragon, wearing the ormine order which he instituted after the rebellion of the barons. A bronze bust.
10528. Bronze Cupid.
10529. Bronze heads.
10815. "Night," by Thorwalsden. A marble plaque.
10816. Alabaster triptych from the church of S. Giovanni a Carbonara, Naples.
*oo01. Stalactite in the form of a large cup. (Calabria.)
TERRA-COTTA. 85
The wall-cases,
A large number of bronze statuettes of unequal merit : idols from Mexico, China, and Japan, and a good many specimens of secondary interest.
The description of the collection of Ancient Glass will be found oa page 93, it being intended to move the specimens to the upper story, to make room for more terra-cotta.
THE COLLECTION OF TERRA-COTTA.
Terra-cotta, though an extremely brittle material, is practically indestructible, and hence has been of great value in determining the state of the culture of every branch of the human family throughout every period of its existence. The art of making pottery is probably the most ancient, as well as the most universal in the world, and the potter's wheel is one of the earliest of the rae- chanical inventions. The earliest pottery was no doubt made of sun-dried clay unglazed ; but even savages rapidly improve upon this primitive method, and turn out pots and cups which show that they have left the rudimentary stage of the art far behind them. In Greek and Roman times terra-cotta was very extensively used for various purposes of architectural ornamentation, for votive statues and offerings, children's toys, money-boxes, lamps, and every kind of domestic use. Very large amphorae were made to contain wine and oil ; larger vessels stili, called pithoi, may be seen standing where they stood 1800 years ago, in the shops at Pompeii, as receptacles for corn, fruits, salt and similar wares ; and we learn from an ancient lamp in the British Museum that the article we speak of as the " Tub of Diogenes " was none other than one of these colossal pithoi. Most of the specimens in this collec- tion are of Roman manufacture, and probably not earlier than the time of our Lord. Many of them bear traces of colour and gilding, and were perhaps used for sacrificial purposes.
There are also in this collection some remarkable lamps and other specimens, which appear to have been dipped into molten glass, thus acquiring a rich appearance, and re- flecting the light cast by them very brightly.
«(> ENTKESOL — RIGHT.
We believe that ali the toys in this collection were found at Pompeii, but we might ha ve been at a loss to know what they were intended for, were it Bot that they were so frequently found in the tombs of children — a touching illustration of the sentiment of the ancients, who buried with their dead those cbattels which had been dearest to them in life. It will be observed that models of animals were as fa vomite toys in ancient times as Noah's ark is in our own day, while some of the dolls in this collection are very curious, especially one which hangs from a wire in the last rooni, and is singularly like those so frequently seen in the nurseries of modem Europe.
FOUKTH EOOM. In the doorway,
Fragments of pottery showing the names and trade- marks of the potters.
In the centre,
A seated statuette of an old man with a beard, holding a papyrus. Terra-cotta. (Pompeii.}
On the walls,
Nine stone mortars and two pestles.
Two large terra-cotta vases with figures in bas-relief.
In the wall-cases,
The first wall-case contains a large number of apparently new terra-cotta bowls and dishes, most of them of a rich red colour. These were found at Pompeii in 1882, and were, in fact, the table pottery of the Komans. Just at the same time some very similar ware was discovered in England, and may be seen at the British Museum.
At the bottom of this wall-case are some pretty specimens of terra-cotta covered with glass.
SKCOND WALL-CASE,
Sundry common earthenware pipkins and paint-pots of curious shapes and grotesque designs ; two terra-cotta stoves, some colanders and water jars.
TlIIRD WALL-CASE,
Terra-cotta dinner servico of a rich red colour. In the
TERRA-COTTA. 87
centre is an interesting loving-cup, richly adorned with bas-reliefs of a lion-hunt, and hearing the inscription, " Bibe, amice, de meo " — " Drink, friend, of my wine."
In the corner,
Large amphorae with pointed ends. These were stuck into the ground and filled with wine. Several may be seen in their originai places in the celiar of the House of Diomede at Pompeii.
The last wall-case,
Pipkins and pots containing carhonised barley, beans, and two hen's eggs.
Troughs for bird-cages.
Sundry vessels with single handles and narrow necks.
Sundry vases of a better style, some ornamentèd with bas-reliefs, and showing traces of gilding, others ending in a human head. It is probable that these were used for religious purposes.
FIFTH EOOM.
In the doobway,
Potters' trade-marks. Two quaint bas-reliefs.
In the centre,
Large table-case containing terra-cotta fragments not exhibited to the public.
First wall-case,
Potters' marks.
Money-boxes in terra-cotta. The bronze money found in them lies beside them. Such money boxes are in use now in this country.
Near the money-boxes are some terra-cotta inkstands, and below them some small stone cones, which used to be fixed on the necks of cattle in these parts before cattle bells carne into general use.
Near the window,
A dovecot in terra-cotta.
Two statues of masked actors in terra-cotta.
Three earthenware tubs used by the Romans for fat- tening dormice, which they esteemed a great delicacy.
88 ENTRESOL — EIGHT.
The Jews are expressly forbidden (Lev. xi. 29) to eat mice, and a passage in Isaiah, lxvi. 17, speaks of the eaters of this quadruped in terms of the greatest contempt.
Four recumbent female statues from the lids of ancient sarcophagi. (Etruria.)
Six large statues, some of them life size. These are important specimens, and are, we believe, the largest terra-cotta statues extant. Between them is a wall-case eontaining votive offerings such as were in Eoman times hung up on the " votiva paries " of the temples, and pre- cisely similar to the wax votive offerings constantly to be seen on the walls of the Naples churches.
A remarkable specimen on the second shelf shows the face of a man suffering from confluent small-pox. M asks of faces and models of hands, feet, ears, and other parts of the human body, complete this strange collection. (Pompeii.')
On the WALL,
Sixteen small frames eontaining the fragments of the celebrated Volscian bas-reliefs. These were found on the site of the ancient Etruscan town of Volsci, now called Velletri, in 1784. They represent mounted warriors in full pursuit, seated figures, and chariots.
Ik the cobner.
An infant in swaddling clothes.
Four fragments of life-size statues.
A tile with the impression of the maker's left hand. The extreme accuracy with which the grain of the flesh is reproduced is very remarkable.
Next WALL,
A large number of common lamps.
Fine statues of Jove and Juno, and many architectural ornaments.
THE LAST WALL-CASE,
Terra-cotta models of animals, representing horses, asses, oxen, fowls, birds, a very clever model of a greyhound, and several Pomeranian lapdogs ; a tortoise, an eagle, and two frogs ; a cat (without ears), two dolphins, a bear, and sixty-six pigs. Most of these creatures were toys, and prove how similar the tastes of our children are to those of the ancien ts.
TERKA-COTTA. 89
LAST EOOM.
In the centre, ]
Three large vases (a Mascheroni). In the window (under glass),
An interesting statuette of a woman standing on a pedestal, from which two horses issue. Her tunic has been painted a rose-pink. The wall-cases (next the door),
Moulds for terra-cotta statuettes, and many excellent bas-reliefs. Note especially the small relief representing the battle of the Centaurs and Lapithae in a mahogany frame on the third shelf.
The remaining specimens in this large case, though affording ampie scope for study, do not require minute description.
Next to the window is a collection of rhytons, of which No. 5604 is remarkable for its shape, which resembles the horn of an ox. It is thought that the earliest rhyton was made from the horn of the animai sacrificed. Next wall-case,
Interesting cinerary amphorse of a remote period, decorated with portraits of the deceased. One of these represents very cleverly a charioteer driving four horses. Next wall-case,
This case, which runs the whole length of the wall, contains a large number of small statuettes in terra-cotta, two remarkable dolls hanging from one of the shelves, a great variety of children's toys, and some interesting large heads on the upper shelf.
In the middle of the case, on the second shelf, is a comical little bas-relief of iEneas Anchises and Ascanius flying from Troy. Next wall-case,
A group of the Carità Eomana in terra-cotta vitrifled.
Many beautiful cups and lamps in the same ware, and several ordinary lamps of grotesque shapes.
THE LAST WALL-CASE,
Grotesque cups, statuettes and drinking bottles, some fine heads and models of animals, and a large number of fruits copied in earthenware.
( 90 )
THE ENTRESOL — LEFT.
THE CUM^AN COLLECTION.
(Presented to the Museum by Prince Carignano in 1861.)
FIBST BOOM.
Marble bust of Prince Carignano by Angelini.
ON THE LEFT, FIRST WALL-CASE,
Bound mirrors of silver-plated bronze. Strigils for scraping after the hot-air baths. Bronze coins, terra-cotta vases, grotesque water-bottles.
In the window,
Dressing-case with cover, ornamented with bas-reliefs in ivory, with lock and small key. It contains a round metal mirror, an ivory pomatum pot, a bone comb, a ring, a pair of gold ear-rings, and some bobbins. The wood- work has been restored after the remains of the old wood.
SECOND WALL-CASE,
Italo-Greek vases of the Decadence period.
THIRD WALL-CASE,
Glass and terra-cotta vases. Lamps. Italo-Greek vases. Dice, &c.
86489. Bronze drum, containing human ashes.
Justin Martyr, in his description of his visit to Cumas, mentions a similar drum, in which he says they stated that the ashes of the Sibyl were preserved.
FOURTH WALL-CASE,
Sundry paterae. Perfume vases, and small Italo-Greek vases without figures, in excellent preservation.
COLLECTION OF COINS. 91
SECOND ROOM.
In the centre,
Wax mask with crystal eyes, found with four headless skeletons in a tomb at Cumse. Supposed to be bodies of Christians decapitated in the persecutions.
The face is that of a man, and a slight distortion of the nose and lips proves that the mould was taken from the face during life. (King.)
The wall-cases contain Italo-Greek vases of an early period found in the tombs of Cumee.
In the window,
Two fiat glass cases, containing trinkets and beautiful specimens in coloured glass.
| , A superb Italo-Greek balsamarium of the Grand epoch, representing a battle between Greeks and Trojans, with names in Greek.
UPPER FLOOR— LEFT.
COLLECTION OF COINS (Medagliere).
Long before anything like a coinage was attempted, the precious metals were used as a circulating medium, and we learn from the Egyptian monuments that gold and silver money in an annular forra was used for pur- poses of commerce. It seems probable that it is some such currency as this which is alluded to in Genesis xxiii. 16, where we read that Abraham " weighed to Ephron four hundred shekels of silver, current money with the merchant."
Heredotus ascribes the first coining of money to the Lydians, but they divide the honour with Pheidon, king of Argos, who coined drachmae with a tortoise upon them. Homer speaks of the " talent," but does not state whether it bore a stamp, and it is probable that it was long after his day that the Greeks accepted the talent as their unit, and originated their monetary system, which was partly decimai and partly duodecima!.
92 UPPER FLOOR — LEFT.
The Greek system, which commenced about 770 B.c., spread to Sicily and Southern Italy, and there probably became blended with the purely duodecimal system of the Etruscans. »
The important evidence that coins have given us as to the dates of the different eras of art in ali periods of history need hardly be mentioned ; and, besides this, we have learnt from them the identity of many statues and the use of many relics of antiquity which without their assistance would have been a puzzle to us.
This collection comprises the Farnese, Poli, Arditi, Genova, and De Tuzii collections, as well as coins found in the excavations. It includes also some rare Arabie, Cune, Indian, and Persian coins, and numbers some 80,000 specimens, arranged in glazed cabinets, each cabinet having Professor Fiorelli's admirable catalogue above it.
The first room is devoted to Greek, the second and third to Eoman, the fourth and fifth to Mediseval and Modera coins, while the last room contains the dies of the Old Mint of Naples and a numismatic library.
Second boom, sixth division on the left,
3692. Gold coin of Augustus, about the size of a florin, the most perfect coin yet found at Pompeii.
IN THE THIRl) BOOM, ON THE EIOHT WALL,
Coloured copy of Peutinger's celebrated map of the world, the manuscript of which is in the Hofbibliothck at Vienna. It was executed by an unknown author in the 13th century, and is known to have been in Peutinger's possession in the 16th. Eleven segments of the twelve which composed it remain to us, and the character of the writing gives us a tolerable certainty as to its date. Much valuable ethnological information may be gleaned from it. The ocean is represented as running completely round the world, which comprises Western Asia, North Africa, and the eastern part of the British Isles, the remainder of which, with Spain, were probably represented on the missing sheet.
The pavement of these rooms is of mosaic from Pompeii and Stabiae. That of the last room is of marble from Tiberius* villa at Caj>ri, and the design of it is unique.
( 93 )
ANCIENT GLASS.
An ancient classical tradition is recorded by Pliny (jBT. N. xxxvi. 65) that glass was first discovered by some Phoenician merchants, wbo were wrecked on the Syrian coast at the mouth of the ri ver Belus, and, being unable to find stones upon which to boil their cooking-pot, used for the purpose some of the lumps of nitro with which their ship was laden. This, being fused by the heat of the fire, became niixed with the sand upon which it rested, and formed a stream of vitreous matter, which led to the discovery of glass.
Be this as it may, it is certain that in classic times the sand of the river Belus was noted for its excellence in glass-making, and it is probable that the Phoenicians were the earliest glass-makers, and instructed the Egyptians in the art at a very early period.
The murai paintings on the tombs of Beni Hassan show the use of the blowpipe, and in fact every detail of the manufacture, at a period which is estimated at more than two thousand years b.c. From Egypt the art spread to Greece and to Pome. We have beautiful specimens of Greek coloured glass found in tombs in various parts of south Italy, and belonging to the period when that coun- try was a Greek colony. These specimens show that the Greeks understood glass-work at least as well as we do, although of course their appliances were infinitely inferior to those of our day. Some specimens of marbled glass were found at Ruvo which it would be impossible to surpass for beauty of colour, and we have drawn attention to some lachrymatories in the Cumsean collection which are also Greek and of incomparable excellence.
In the main, however, the glass before us is of the Roman period, and the purposes for which it was used are sufficiently evident from the forms of the various speci- mens. These differ but little from our own, less stili from those now made in south Italy and in daily use among the Neapolitan population. The prismatic colours and bright iridescence of the specimens are due to centuries of burial and not to the action of fire, for Pompeii was in no
94 UPPER FLOOR — LEFT.
sense whatever destroyed by fire, though the falling-in of the houses may have caused locai fires in some few parts of the town. Apart from the use of glass for usuai domestic purposes it was largely used by the Eomans in the manufacture of mosaics ; many of the Windows of Pompeii were glazed, and in one instance a sheet of purple glass has heen found let into the plaster of the wall, where it undoubtedly served the purpose of a mirror.
Cicero mentions the importation of glass from Egypt, but Pliny tells us that in his time manufactories existed in Italy, Spain, and Gaul ; and he adds the information that quite clear glass was the most difficult to obtain and was the most highly valued.
It must be remembered that the specimens before us have been taken here and there from sundry parts of the excavations, wherever by a fortunate chance a glass vessel was found. In the nature of things the coarser vessels would be preserved where the finer ones would perish, so we must not look at this collection as being above the average of Roman glass-work, but rather as being below it. Some of the specimens are undoubtedly of very good clear glass, and no doubt belonged to wealthy people. Others, such l'or example as the druggists' bottles and the cinerary urns, are much coarser, as might be expected from the nature of the use for which they were intended.
In the window,
* 13521. Cinerary amphora of blue glass covered with a bas-relief of opaque white glass figures and foliage.
The design represents vines loaded with grapes, twining gracefully round the body of the vase. Ainong them are several Cupids, three of whom are playing upon musical instruments, while the others are engaged in the various operations of the vintage ; besides a great variety of scroll-work, birds, flowers, fruits, acorns and other beauti- ful decoration. At the base are two fauns' heads, and in the lower band animals of various kinds pasturing beneath some trees. Nothing can exceed the grace and beauty of the composition and execution of this design. The silver stand upon which the vase is now exhibited is modem, but it will be seen that, unless it was suspendod by its
ANCIENT GLASS. 95
handles, it must originally have had a stand of a some- what similar kind, as the base ends in a point like art ordinary amphora, and it certainly could never Lave been in contemplation to bury the base of this splendid work of art in the soil like a common wine-jar. (1833. Pompeii.)
The exact place where this vase was found is uncertain, but it was in one of the buildings in the Street of the Tombs at Pompeii, and when found it was full of human ashes.
It is of the same material as the Portland Vase, which may be seen in the Gem Eoom of the British Museum, and it seems probable that in the case of the Naples amphora the blue glass was first blown and was then completely covered with white opaque glass formed with oxide of tin to the thickness of a quarter of an inch, after* which the design was cmt out like a carneo. Dr. Smith (Dict. Ant., Vitrum) states that the figures on the Portland Vase were cut first and applied afterwards, but we think this would not be possible in the case of the delicate tracery of the Naples amphora.
In the centre,
13522. Glass plate. This very rare specimen displays some beautiful colouring and is composed of two thick- nesses of glass with bits of gold (?) and lapis lazuli let in between them. To understand this specimen the spectator should stand with his back to the light. This is Greek work dating probably 300 b.c. (Jìuvo.)
Rectangular gi.ass case,
The two upper shelves contain specimens of Greek glass of beautiful colours and exquisite forms. The blue glass in the upper shelf and the variegated marbled glass vessels in the second shelf cannot fail to attract attention. (Ruvo.)
The two lower shelves contain specimens found in Pompeii and Herculaneum, of which the following are the most notable :• —
13591. A glass bowl with vine-leaf pattern in white. Both the handles are broken. {Pompeii.)
13593. A small cup containing the skeleton of the head
96 UPPER FLOOR — LEFT.
of a parrot. The entire skeleton of a parrot may be seen in the museum of Pompeii. 13592. Small model of a bear.
IJOTTOM SHELF,
13634 and 9. Two small pictures of Cupids painted in gold on glass. The frames are modera. (Herculaneum.)
This shelf contains some curious little specimens, as a sphere of blue glass, a mortar-shaped cup, a bird in blue glass, and small fancy bottles. In a glazed case,
13688. Blue patera with handle ending in a ram's head, which denotes that the vessel was used for sacrificial purposes. The bowl is decorated with a mask of Silenus encircled by a garland of vines in bas-relief made of white opaque glass. (H. of the Tragic Peet, Pompeii.) In the wall-cases,
11575. A glass hand-bowl, believed to be unique.
11580 et seq. A number of fiat glass dishes with rims.
11666. Elegant cups on stands.
11675 et seq. Pretty bowls like modem finger-glasses.
11722. Glass panes from windows. (Pompeii.')
11793 et seq. Sheets of tale from windows.
11820 et seq. Many bottles of curious shapes.
11961 et seq. An interesting collection of mortar-shaped cups.
11984. Handsome bowl with two handles.
12010. Small jug " a petto d'oca," that is, shaped like the breast of a goose. (Pompeii.)
12123-4. Glass funnels.
12087. Specimen shaped like a hammer. No certain conclusion can be arrived at as to its use, but it may have been a liquid measure. (Pompeii.)
12131 et seq. A large number of glass lachrymatories or tear-bottles, which were carried by the moumers at funerals, who were supposed to collect their tears in them, and lay them on the breast of the corpse at the conclusion of the ceremonies.
12213-5. Two specimens supposed to be glass lamps. Such lamps are very rare, and, after comparing these with an undoubted glass lamp in the British Museum, we question whether these were intended for this uso.
RESERVED CABINET. 97
1227 et seq. A large number of tumblers of various shapes and sizes. Some of them are fluted and others bear designa. They are ali more or less of beautiful prismatic colours.
. 12332 et seq. A great number of common bottles of the shape stili used nere in the lower class of wineshop. (Pompeii.)
12836 et seq. Several druggists' bottles, some of which stili contain traces of medicamàts. (Pompeii?)
12932 et seq. Cinerary amphanB stili containing ashes of the dead. These are of the Eoman period. Two of them were found in the leaden jars at the top of this wall-case.
12239 et seq. Small spherical bottles with bronze chains, used to contain incense.
13008 et seq. Druggists' bottles and jars.
13208 et seq. Several glass bowls and cups.
13365. Glass bowl containing human ashes.
13489 et seq. Amphorae suspended from the shelf. These are thought to be cinerary amphorae, and the larger ones m'ay probably be correctly so described.
1 1189$. I'retty jar in marbled glass.
111396. Handsome blue saucer. \
RESERVED CABINET (Oggetti osceni).
(Genilemen only are admitted.) In the centre,
27874. Tripod, supported by young Satyrs of sur- prising expression, warniug off the uninitiated from thè mysteries. (House of Julia Felix, Pompeii.^)
27710. Sarcophagus with Bacchanalian bas-relief. (F.~)
Marble satyr and goat of fine execution. (Sculptor's Studio, IT.)
Bronze statuette of an emaciated man upon a hermes.
In the glass case,
Grotesque figures of dancing dwarfs, sundry bells, hermes, lamps and amulets,^terra-cotta vessels with figures/ bronze mirrar and conch, &c (P. and IT.) I h
98 UPPER FLOOR^LEFT.
27733. In the centre of the top shelf is a very small statuette of reniarkably fine execution. (Pompeii.)
Oh t^e wat.ls, from the left of the door (Frescoes), < 27683. Victory crowning an ass, who has conquered a lion. (Pompeii.) , <
^ 27692. Bacchus and Ariadne. \Pompeii.)
27796. Three fìgures in a punt, with a monster before and behind them, illustrating the ultimate destruction of the human race for vice. (Pompeii.) jk.
- 27687. Galatea and Polyphemus with a ram, (P.)
27629. Bacchante with tambourine and thyrsus, beauti- fully painted.
S 27700. Satyr flying from an hermaphródite. (IT.) y 27701. Pan and Olympus. (Herculaneum.) — 27695. Leda and the swan. (Herculanéum.)
27690. Painting with inscription. (P.) «* 27740. Sign of a house in stone, found on the door of a baker's shop, which formed part of the house of Pausa the iEdile, hearing the inscription, " Hic habitat felicitasi (P.)
OH THE RIGHT WALL,
«. 27707. Mosaic; two seated fìgures. ♦ 27708. Satyr advancing towards a Nymph, who is changed into a tree. Mosaic. (Noja Collection.) ~ 27711. Comic marble bas-relief. (Rome.) r 27712. Pan on a mule. Marble bas-relief. (Pompeii.) r 27713. Bas-relief representing birds.
— ■*" 27714. Two fìgures with traces of^ilding. Marble. (P.) '*> 27875. Satyr discovering an hermaphródite. Of wonderful execution. (Pompeii.)
27705. Two fìgures in capital preservation. (Pompeii.)
„/ Symposium on the banks of the Nile. (1882. Pompeii.)
Professor Fiorelli Tias publishéVl a detailed work on this dopartment, which may be consulted in the Museum Library.
( 99 )
PICTURE GALLEKY.
N.B. — Owing to the position of the staircase, the door ori the right of the visitor who ascends the stairs leads to the left wing.
LEFT WING. NEAPOLITAN AND POREIGN SCHOOLS.
FIEST HALL. BOLOGNESE SCHOOL.
|1. Lavinia Fontana. The woman of Samaria. Canvas.
Lavinia was the daughter of Prospero Fontana, and was one of the best painters of the period of decline (16th century). Her painting is clever and boki; in portraits especially she has left some excellent works. (Kugler.)
2. Guercino. The Yirgin in glory. Sketch on canvas.
■j"3. Annibale Carracci. The Virgin ancl Child; St. Francis in adoration. On the reverse, the Annunciation. Orientai agate.
Annibale Carracci is by far the most distinguished of this family of painters. A powerful lite pervades his works, and his feeling for nature gives him freshness and vigour. (Kugler.)
4. Eomanelli. Battle-piece. Canvas.
5. Kiminallt. St. John Baptist. Canvas.
6. Carracci (School of). Sophonisba Anguisciola playing the organ. Canvas.
h 2
100 UPPER FLOOR — LEFT.
7. Guido Beni. The Infant Jesus asleep. Canvas.
Guido's best picture, though unfinished, is in the choir of San Martino at Naples, and another excellent work is the Aurora on the ceiling of the Rospigliosi palace at Rome. He was guilty of many careless paintings. (Kugler.)
8. The same. St. John the Evangelist. Canvas.
9. The same. Ulysses wel cornea by Nausicaa. C.
10. Guercino (School of). Erminia and the shepherds. Canvas.
11. Domenichino {School of). St. John Evangelist. C.
12. Giovanni Lanfranco. Satan bound. Canvas.
13. Romanelli. Battle-piece. Canvas.
14. Bolognese School. St. Anthony of Badua adoring the Virgin and Child. Canvas.
15. Lionella Spada. Cain killing Abel. Canvas.
A scholar of Caracci who nappi ly combined dignified con- ception with vigour and truth. (Kugler.)
1 6. Carracci (School of). A cherub with book. C.
17. Domenichino (School of). The flight into Egypt. C.
18. Guercino (School of). St. Baul. Canvas.
19. Ercole Gennari. Rinaldo and Armida. Canvas.
20. Sisto Badalocchi. The Resurrection. Canvas.
21. Elisabetta Sirani. Timodea thrusting into a well the Thracian captain, who desired to descend into it in the hopo of finding booty. Signed and dated 1659. Canvas.
22. The same. The Virgin and Child adored by SS. Barbara and Clara. Signed and dated 1661. Canvas.
Eli sabetta Sirani, daoghter and scholar of Andrea Sirani, (ìistinguished herself as an imitator of Guido's later style. (Kugler.)
23. Annibale Carracci (School of). The Virgin weeping over the body of Jesus. Canvas.
24. Guercino. St. Jerome. Canvas.
25. Annibale Carracci. Apollo in the sky. Canvas.
26. Annibale Carracci (School of). The Virgin and Child. Canvas.
27. Annibale Carracci. Sketch from life. Canvas.
28. Giovanni Lanfranco. Holy Family. Canvas.
" (liovanni Lanfranco (1581-1647). A painter wliose art was mere mechanism, but very successful in the nainting of Cupolas." (Kugler.)
BOLOGNESE SCHOOL. 101
29. The same. St. Maria Egiziaca. Canvas.
30. Carracci (School of). St. Eocco. Canvas.
31. Agostino Carracci. Head of St. Jerome. Canvas.
32. Carlo Dolci (Copy). " Madonna del Dito." Copper. 33-4. Annibale Carracci. Holy Family. Canvas.
35. Carracci (School of). Holy Family " della Scodella." Copper.
36. A. Carracci. Hercules between Virtue and Vice. Canvas.
37. Spada. " Madonna del Silenzio." Canvas. |38. Eomanelli. Half-length Sibyl. Canvas.
39. Ludovico Carracci. The Entombment. Canvas.
40. Annibale Carracci (School of). Sleeping Cupid. C.
41. Simone da Pesaro. St. Carlo Borromeo adoring the Virgin