BRITISH MUSEUM. *ARTMENT OF GREEK AND ROMAN ANTIQUITIES. TER GRZEK AND GRAECOROMAN BELIEFS; .ATIVE AND ARCHITECTURAL SCULPTURE, lifornia onal ity LONDON: PRINTED BY ORDER OF THE TRUSTEES. 1 9 4 . Price Three Shillings. \ LATER GREEK AXD GRAEBO-R03! AN BELIEFS, ^ DECORATIVE AXD ARCHITECTURAL SCULPTURE. IN THE BRITISH MUSEUM. [Part VIII., Volume III., of a Catalogue of Sculpture in the Department of Greek and Roman Antiquities, by A. H. SMITH, M.A., Assistant in the Department.] LONDON: PRINTED BY ORDER OF THE TRUSTEES- 1904. LONDON : PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, DtTKE STREET, STAMFORD STREET, S.E., AND GREAT WINDMILL STREET, W. NOTE. IN this separate issue of the various parts of the Catalogue of Sculpture, the pagination of that Catalogue as a whole has been retained. The substance of the former Guides to the Graeeo- Ronian Sculptures, by SIK CHARLES NKWTON (Part I., 2nd ed., 1*79, and Part, IT., 1876), has been utilised to a considerable extent. A General Index to the whole work, and Comparative Tables, to show the present numbers of objects described in previous publications, are annexed to this part. A. S. MURRAY. Febi-uary, 1904. CONTENTS OF PART VIII. LATER GREEK AND GRAECO-ROMAN RELIEFS; DECORATIVE AND ARCHITECTURAL SCULPTURE. PAGE Votive Reliefs 223 Decorative and Mural Reliefs ...... 240 SEPULCHRAL MONUMENTS. Greek Sepulchral Reliefs 274 Roman Sepulchral Reliefs 288 Architectural Fragments of Sepulchral Reliefs . . 291 Sepulchral Altars 292- Sarcophagi and Cippi (Introduction) .... 293 Sarcophagi ......... 296 Chests and Cippi ........ 340 Urns and Vases ........ 365 Masks 372 Panels and Disks 375 Fragments of Relief 378 Altars .380 Decorative Vases ......... 393 Candelabra 399 Chairs 403 Parts of Tables . . . _. . _^_ . . .404 Fountains 408 Sundials 412 Architectural Fragments . ...... 414 VI CONTENTS OF PART VIII. PAGE Sculptures of modern or doubtful origin, in the ancient manner .......... 430 Casts of antique Sculpture 439 ADDENDA to Vol. 1 452 ADDENDA to Vol. II. ........ 458 TABLES AND INDEX. I. The Museum Marbles and the Catalogue of Sculpture compared ........ 459 II. The Elgin Boom Guide, II., and the Catalogue of Sculp- ture compared . . . . . . . 462 III. The Grceco-Roman Guide, I., and the Catalogue of Sculp- ture compared ........ 463 IV. TJie GrcBco-Roman Guide, II., and the Catalogue of Sculp- ture compared ........ 465 GENBBAL INDEX TO VOLS. I.-III. . 467 LIST OF PLATES. Plate XXIV. Votive Relief to Artemis Bendis (no. 2155). XXV. Belief: Recumbent Satyrs (no. 2195). XXVI. Relief: Slaughter of the Children of Niob (no. 2200). XXVII. Sepulchral Relief (no. 2274). XXVIH. Relief : Fishermen finding a Dead Body (no. 2308). XXIX. Vase with Vintage Scene (no. 2502). TABLE OF ABBREVIATIONS. The following is a list of the works which are most frequently referred to in this volume of the Catalogue under abbreviated forms : Arch. Zeit. Archaeologische Zeitung. Berlin : 1843-1885. [Super- seded by the Jahrbuch des Archaeologischen Instituts.] Athenische Mittlieilungen. Mittheilungen des k. deutschen Archaeo- logischen Instituts, Athenische Abtheilung. Athens : from 1876. In progress. Brunn, Denkmaeler. H. v. Brunn, Denkmaeler griechischer und roemischer Sculptur. Munich : 1888-1899. C.I.G. Corpus Inscriptionum Graecarum. Berlin : 1828-1877. C.I.L. Corpus Inscriptionum Latinarum. Berlin : from 1863. In progress. Clarac. F. de Clarac. Musee de Sculpture. Paris : 1841-1850. Dallaway. J. Dallaway, Anecdotes of the Arts in England. London: 1800. Elgin Room Guide, II. Synopsis of the Contents of the British Museum. Department of Greek and Roman Antiquities. The Sculptures in the Elgin Room. Part II. 1881. Ellis, Town. Gall. H. Ellis, The Townley Gallery of Classic Sculpture in rhe British Museum. 2 vols. London : 1846. Furtwaengler, Meisterwerke. A. Furtwaengler, Meisterwerke der griechischen Plastik. Leipsic-Berlin : 1892. [Eng. edition by E. Sellers.] Graco-Roman Guide, I. Synopsis, etc. . . . Graeco-Roman Sculp- tures. [Second ed., 1879.] Grceco-Roman Guide, II. Synopsis, etc. . . . Grseco-Roman Sculp- tures. Part II. 1876. Greek Inscriptions in Brit. Mus. The Collection of Ancient Greek Inscriptions in the British Museum, by C. T. Newton, E. L. Hicks, and others. 1874-1893. Vlll TABLE OF ABBREVIATIONS. Inscriptiones Graecae [a new edition of C.I.C?.]. Vols. I.-III. Inscriptiones Atticae [formerly C.I. A.}. ,, IV. Argolidis. VII. Megaridis et Boeotiae. XII. ,, Insularum Maris Aegaei. XIV. Italiae et Siciliae. Berlin : from 1873. In progress. Jahrbuch dcs Arch. Inst. Jahrbuch des k. deutschen Archaeo- logischen Instituts. Berlin : from 1886. In progress. Journ. of Hellen. Studies. The Journal of Hellenic Studies. London : from 1879. In progress. Mansell. Photographs of Objects in the British Museum, published by W. A. Mansell, 405 Oxford Street, W. Mus. Marbles. A Description of the Ancient Marbles in the British Museum. Parts I.-XI. London : 1812-61. Roemische Mittheilungen. Mittheilungen des k. deutschen Archaeo- logischen Instituts, Eoemische Abtheilung. Rome : from 1886. In progress. Specimens. Specimens of Antient Sculpture .... selected from different Collections in Great Britain, by the Society of Dilettanti. London: 1809-35. Synopsis. Synopsis of the Contents of the British Museum. (Numerous editions.) 1808-1857. Vaux, Handbook. W. S. W. Vaux. Handbook to the Antiquities in the British Museum. London : 1851. Walters. Die Gipsabgiisse antiker Bildwerke in historischer Folge erklart. Bausteine . . . von Carl Friederichs, neu bearbeitet von Paul Wolters. Berlin : 1885. BRITISH AND METRIC SYSTEMS COMPARED. 1 inch = -025 metre. 1 foot = -304 metre. 3 feet = -914 metre. 1 metre = 39-371 inches. PART VIII. LATER GREEK AND GR^ECO-ROMAN RELIEFS; DECORATIVE AND ARCHI- TECTURAL SCULPTURE. VOTIVE RELIEFS. THE Votive Reliefs catalogued in the following section are, with a few exceptions (such as the recently acquired relief, No. 2155), of the later Greek or Graeco-Roman period, and are supplementary to those described in Vol. I., Nos. 770-817. For a general account of the character and intention of votive reliefs, see ibid., p. 302. 2150. Part of a votive relief. A bearded deity, Zeus, or perhaps better, Sarapis (with doubtful traces of a modius), is enthroned to the left, half draped, and wearing sandals ; his throne is supported by a winged and lion-headed Gryphon. Before it is a footstool with lions' feet. He has a sceptre in his right hand. On the left is a female figure, probably Isis, who stands to the front holding a long sceptre in her left hand. The head is wanting. She wears a long chiton and mantle, which is knotted on her breast with an Isiac knot. Behind the figure is her cow standing to the right, with the head turned to the front, and a pedestal, on which are the feet of a small statue ; the upper part is lost. On the right of Sarapis was a standing figure on a smaller scale (perhaps a Victory), of which only the right arm holding a palm-branch now VOL. in. 224 CATALOGUE OF SCULPTUBE. remains. The original width of the relief is uncertain, but it was probably completed with a group of wor- shippers, and must be assigned to the Hellenistic period. Bhodes. Presented by F. T. Palgrave, Esq., 1891. Parian marble. Height, 11 inches; width, 1 foot 2J inches. Taken from a wall, into which it had been built, in Rhodes. Perdrizet, Suit, de Corr. Helltnique, XXIII., p. 559; pi. 3, fig. 1 ; Amelung, Roemische Mitt., XVI., p. 258. Compare the relief at Munich, ibid., p. 260. 2151. Cippus, containing a votive relief within a panel. A figure of Zeus, bearded, and with long hair failing on his shoulders, pours a libation from a bowl on an altar. He wears a long chiton, mantle and shoes, and carries a sceptre. Before the altar is a bull, fallen on its knees, and behind is a gnarled trunk of a tree. A moulding passes round the top of the cippus. Inscribed with a subscription list : Hora^avrov orjvdpia Svo' | Hora.fjia.VTOv ^/iepojrdo-iov \ 'Ep/xoKpaT7j(s) MiSiou Spa( <>' | Nei/cavSpos MCVIOXOKOD f)/j.cpoir6criov \ LOLKOS Ai | lpov. The word i^nepoTrocnoi/ = drink for one day. This is one of a group of reliefs of which certain members are dated about the year 176, of an era which is doubtful. If the era is that of Bithynia, they would be about 121 B.C. If it is that of Sulla, about 91 A.D. According to the style, the earlier date is preferable. Cyzicus. Presented by A. van Branteghem, Esq., 1890. Marble. Height, 3 feet 5J inches ; width, 1 foot 3} inches. Murray, Rev. Arch., 3rd S., XVII. (1891), p. 11 ; Perdrizet, Bull, de Corr. Helle'nique, XXIII., p. 594; pi. 5, fig. 2; Amelung, Roemische Mittheilungen, XVI., p. 262. 2152. Votive relief. Zeus and a goddess (?). A headless male figure is seated to the front on a stool with cushion and ornate legs. His left arm rests on his thigh, and his right forearm is wanting. He is draped in a close-fitting VOTIVE RELIEFS. 225 tunic, and a mantle round the legs and over the left shoulder. A female figure stands beside him, draped in a long tunic and mantle. The right leg is crossed over the left ; the left hand rests on the left thigh, and the right arm, now wanting, is bent up from the elbow. The head, attached by a dowel, is now wanting. Late Greek work. Mytilene. Parian marble. Height, 11 inches; width, 1 foot inch. Obtained by C. T. Newton, 1855. 2153. Part of a votive relief, with three divine figures. In the middle is a figure, probably Zeus, seated to the left, with a sceptre in the right hand, and a mantle over his knees. On the right is a figure, probably female, who stands behind the chair, half turned to the front, and having the right hand raised ; on the left is a figure of Athene (?) standing to the front. Each wears a long chiton and himation. The surface is much worn. A pilaster remains on the right, and above is an architrave. 5th tth cent. B.C. Athens (?). Elgin Coll Pentelic marble. Height, 1 foot 4 inches ; width, 1 foot 4 inches ; Synopsis, No. 383 (108); Ellis, Elgin Marbles, II., p. 128; Mus. Marbles, IX., pi. 37, fig. 3. 2154. Relief, perhaps votive, with Dionysos receiving a libation. -The central group consists of Dionysos and a Maenad. The god is bearded, and wears a long sleeved tunic and a mantle, which is wrapped about him. He carries a thyrsus in the left hand, and holds out a two- handled cup to the Maenad, who pours into it from a jug. She wears a long tunic, with a diploi'dion girt at the waist, and a small scarf over her shoulders. She carries a thyrsus on her left shoulder. Immediately behind the Maenad, a large crater stands on the ground. At the two extremities are nude Satyrs, standing out- wards, but each turning inwards, with one hand extended, and with the other hand carrying a thyrsus. VOL. m. R 22H CATALOGUE OF SCULPTURE. The ground below is nearly destroyed, and a moulding appears to have been tooled away above. A strong sense of decorative convention is shown in the symmetrical composition of the figures (note especially the alternate arrangement of the thyrsi), and in the rigid treatment of the drapery. This relief is an example of a tendency, which can be detected at Athens, to use the conventional form of archaic art, with a decorative inten- tion, at a period earlier than that at which archaistic imita- tions became generally fashionable. The present relief may be compared with the chair of the priest of Dionysos (No 2709), but may be as early as the end of the 4th century. Athens. Elgin Coll. Pentelic marble. Height, 2 feet 7 inches ; length, 5 feet 8 inches. Found among the ruins of the theatre of Herodes Atticus. For- merly in the possession of N. Logotheti. Mus. Marbles, IX., pi. 28 ; Stuart, II., pp. 23, 45 ; Ellis, Elgin Marbles, II., p. 74 ; ( = Vaux, Handbook, p. 122) ; Elgin Eoom Guide, II., No. F. 1 ; Hauser, Die Neu-Attischen Beliefs, p. 176. 2155. (Plate XXIV.) Votive relief, dedicated to Artemis Bendis. On the right is a figure of a female deity. She wears a sleeved tunic with a short skirt, and the skin of a wild animal falling from the left shoulder and girt round the waist, the mask being under the girdle on the left side; also a long mantle, fastened with a circular brooch, high boots, and a peaked Phrygian or barbarian cap. The left hand is raised and supported apparently by one end of a spear. In the right hand she holds out a bowl, in the attitude of a person making a libation, but here probably as pouring out blessings. She is approached by a train of figures of a relatively diminutive scale. They are led by two elderly bearded men, draped in mantles which leave the right arms and shoulders bare, and the foremost carries a torch with VOTIVE RELIEFS. 227 a spreading socket. They are followed by a company of eight nude youths, grouped in couples, and wearing- fillets. These ai~e treated with much grace and variety of pose. The first youth carries some object, perhaps a torch-handle. The relief is bounded by pilasters, and surmounted by an architrave with acroterial ornaments. The worship of the Thracian goddess Arteinis Bendis was introduced into Attica and located at the Peiraeus towards the close of the 5th century B.C. The ceremonies included a torch-race (see Plato, Republic, p. 328), in which racing horsemen, squad contending against squad, passed the torch from one to another. There is, however, no suggestion of horses on the relief. A relief of the years 329-328 B.C. (at Ny-Carlsbergj shows the goddess in the same form. The inscription records the award of wreaths to the two managers (tTrt/xeX^Tai), who probably correspond to the two elderly figures shown in the present relief. The date is probably about the middle of the 4th cent. B.C. Found at the Peiraeus. Pentelic marble. Height, 1 foot 8 inches ; width, 2 feet 9 inches. Bought, 1895. Mansell, No. 1473 ; Arch. Anzeiycr, 1896, p. 143 ; Hartwig, Bendis, pi. 2, p. 13 ; C. Smith, Class. Rev., XIII., p. 230; Trendelenburg, Bendis (1898); Berlin. Phil. Wochenschrift, 1898, p. 1227 ; 1899, pp. 90, 155. The form of the spear has been disputed. There is no indication of more than one, though the epithet 8i\oyxs (probably " with two spears ") is said to have been applied to the goddess (Cratinos in Hesychius, s. c.). There is no indication of a continuation in sculpture or painting above the hand, and there is no indication of point or butt on the ground. There is, however, a suggestion of a swelling, as for the point, under and within the hand. For the honorary inscriptions cf. Bull, de Corr. HelUnique, XXIII., p. 370. 2156. Fragment of a votive relief. Within a sunk panel are the feet of a male figure, standing to the front, resting on the right foot, with the left foot drawn back. Inscribed R 2 228 CATALOGUE OF SCULPTURE. with a dedication to Hermes and Heracles, by Horarios, the winner of a torch race : *A]0A.a TO. T^S viKr)<; 'Qpaptos 'Hpa[KXeiSou] Aa]/u,7ra'8as 'Ep/m'a 6f)Kt /cat 'HpaK[A.i. Athens. Elgin Coll. Marble. Height, 5J inches. Synopsis, 298 (219); C.I.G., No. 250; Greek Inscriptions in Brit. Mus., No. XLII. ; Neubauer, Hermes, XI., p. 146 ; Kaibel, 943, who assigns the relief to the 2nd cent. A.D. For such votive reliefs, compare above, No. 2155, also No. 813. For the dedication of a torch to Hermes, cf. Ant/i. Pal., VI., 100. 2157. The heads and forehands of four horses, moving to the left, evidently a fragment of a relief on which a four- horse chariot was represented, driven at full speed. In front of the horses is the edge of a mantle. The jaws are drilled for metal bits. On comparing this relief with one belonging to the Duke de Louie in Portugal, it is evident that this fragment has been broken off from a composition in which a figure, whose mantle is flying behind him, is represented running in front of a chariot, as Hermes runs before the chariot of Hades, or in analogous subjects. The present fragment may be part of a votive relief commemorating a victory in a chariot race. Probably a work of the 2nd cent. B.C. Pourtales Coll. Parian marble. Height, 1 foot 4 inches ; length, 1 foot 6J inches. Cat. Pourtales, No. 38; Bull, de Corr. Hell., XVI., p. 337 (Homolle); Grasco-Roman Guide, I., No. 179A; Mansell, No. 1218. For the De Loul6 relief, see Bull, de Corr. Hell., XVI., pis. 8, 9. For an example of Hermes before a chariot, see Ephemeris Arch., 1893, pi. IX. ( = American Journ. of Arch., IX., pi. 12); cf. also vol. I., No. 815. 2158. Votive relief to Pan and the Nymphs. Three Nymphs move in a sort of dance to the left. They are fully draped in a long tunic, and a mantle wrapped round the body and arms. The figure on the right, who also wears VOTIVE RELIEFS. 229 her mantle over her head as a veil, holds her right hand, wrapped in her mantle, near her chin. With the left hand she holds the flying end of the mantle of the middle figure, who advances in the same way to left. Her hair is tied in a large knot above her head. The third figure is partly broken away on the left. She was probably the last, since her left hand is 011 her hip. At her feet is a rough altar of rock. The scene is represented as an irregular rock cavern. In the rocks, on the right side, is a colossal head of the river-god Acheloos, though no dis- tinctive attributes are indicated. The figures of Pan and Hermes were probably on the left side. Inscribed : . . . a.viOr)K\fv nan, Nv/x0ais. Work of the 4th-3rd cent. B.C. Votive reliefs to Pan and the Nymphs, such as the present example, have been found in considerable numbers in the neighbourhood of Athens. The most complete ex- amples show Pan, seated or standing in his cave, Hermes leading three Nymphs, the mask of Acheloos, and figures of worshippers. In abbreviated renderings Hermes and the worshippers are omitted. Acheloos, who was regarded as the father of the Nymphs, was associated with their worship, as the source of water-springs (cf. Plato, Phaedr., p. 230). In one example he appears as a person instead of a mask ('E(. 'Apx-, 1893, pi. 10). Koughly sketched work, with types used in the later Attic reliefs. Athens. Pentelic marble. Height, 1 foot 1 J inches ; width, 1 foot 8 inches. Bought, 1895. Arch. Anzeiger, 1896, p. 143; W. C. Perry, Women of Homer, p. 57. For this group of reliefs see Pottier, Bull, de Corr. Hett&nique, V., p. 349 ; Furtwaengler, Sabouroff Coll., I., pi. 28 ; Harrison, Myth, and Monuments, pp. 546, 547 ; "E. 'ApX' 1893, p. 135 ; Amer. Journ. of Arch., 2nd ser., VII., p. 301. 2159. Fragment of a votive relief, dedicated to Asclepios and Hygieia. The hoofs and lower parts of six legs of horses, and a part of a seventh, are preserved, probably part of a 230 CATALOGUE OP SCULPTURE. chariot group. Inscribed: . . . v 'Ao-KX^Trtw KCU 'Y-y[ma. Trapezus. Stranyford Coll. Marble. Height, 6 inches; width, 1 foot 2 inches. 2160. Vase with votive reliefs to Asclepios and for a prosperous voyage. The vase originally had two handles, but a part of the body is lost, with one of the handles. The subjects in order from one of the handles are as follows : 1. In sunk relief, Poseidon standing on a ship, with his right hand supported by an oar, and with a dolphin on his outstretched left hand. The ship has a curved prow with a ram and terminates in a goose's head at the stern. A suppliant, draped, half kneels before Poseidon. 2. A panel in salient relief, with draped figures of Hygieia with a snake and Asclepios with a serpent- entwined staff, both standing to the front, and between them the boy Telesphoros, in cape and hood. 3. The inscription EvrrAoia croi evrvxfj, edSoiAt, and a sunk relief, with a ship running before the wind, over waves. A man in the stern holds the tiller of a steering oar with his right hand and a brace with his left. In the bows a smaller figure is engaged near the artemon, below which a gangway is suspended. The tipper part of the rigging is lost. EvTvxfi apparently stands for tvrvxot 4 (on the opposite side of the vase). A part of a sunk panel, with a nude figure (perhaps Apollo), with long- hair and a belt, running to the left. Inscribed : II^Siov ^fv^apiov TO) OToAw avedr/Ka. The salient relief, No. 2, appears to have been the original decoration of the vase, and the sunk reliefs must be subsequent additions. The name Theodoulos occurs seldom, if ever, before Christian times (2nd-3rd cent. A.D.). From Halicarnassos. Presented by W. It. Paion, Esq., 1901. Blue-veined marble. Height, 12^ inches ; diameter, 2 feet 2 inches. VOTIVE RELIEFS. 231 2161. Votive relief, with figure of Hecate, standing. The goddess is in triple form. Each body has a long chiton, upper chiton and shoes, and wears a polos. The figure on tlje left has a nail (?) and key (?), that in the middle has two torches, and that on the right has a dagger and serpent. On each side is an altar. Slight Graeco-Roman work. Parian marble. Height, lOf inches. Bought at Constantinople, 1877. Arch.- Epigr. Mitthcil. aus Oesterreich, V., p. 70 a. 2162. (Fig. 26.) Votive relief of Selene. A female bust, to the front, is draped in a sleeved chiton. Her hair is parted in the middle, and is brought down over her ears, Fig. 26. No. 2162. and falls in tresses. There are a crescent on her head, and seven stars in the field round. The bust is in an arched niche, which is surrotmded by the signs of the zodiac in low relief. The pupils of the eyes are strongly 232 CATALOGUE OP SCULPTURE. marked. The nose, which was a separate piece, is wanting. Inscribed below with the unintelligible Gnostic formula : Icua ' paivipi ' KavwBpa. ' XVKVCTVVTO. ' SwSeKctKtcrr^ ' 2a^8au>0 afiwOepo-as. The relief is late Graeco-Roman work. From its position the Gnostic formula (2nd-3rd cent. A.D.) seems to have been added as an afterthought. From Argos. Presented by Col. de Bosset, 1818. Reddish marble. Height, 2 feet 1 inches; width, 1 foot 10 inches. Ellis, Torm. Gall., II., p. 156 ; Arch. Anzeiger, 1855, p. 72*. The provenance is supplied by a notebook of C. R. Cockerel!, who sketched the relief at Argos. 2163. Relief with Sarapis and Isis (?). Both figures stand to the front. Sarapis wears a long tunic, mantle, and shoes, and has a cornucopia. He has long hair, fastened with a taenia, and beard. Isis stands to the front, holding a cornucopia in both hands. She has a long tunic girt under the waist, mantle, and shoes. Neither figure has distinctive attributes, and they have also been called Ploutos (Wealth) and Fortune. Ploutos, however, is represented in art as a youth. Graeco-Roman work. Presented by the Et. Hon. Sir Joseph Banks, P.E.S., 1809. Marble. Height, 2 feet 9 inches; width, 1 foot 11 inches. Mus. Marbles, XL, pi. 47 (" said to be from Athens "). 2164. Votive relief (?). In the centre is a bearded head of Heracles to the left, crowned with a spray of ivy leaves and berries. The lion-skin is knotted round his neck. On the left is a term of Pan, to the right, holding a pipe in his hands ; a quiver leans against the term. On the right is a term of Priapus to the front, ithyphallic, holding up a fold of drapery, full of fruits. Beside him is an altar, laden with fruit (?). The whole is within a moulded frame. Towneley Coll. Pentelic marble. Height, 5J inches; width, 11 inches. Mus. Marbles, I., vignette; Baumeister, Denkmaeler, II., p. 1004. VOTIVE RELIEFS. 233 2165. Votive relief, to Priapus (?). It represents a square cippus erected in a spot consecrated to Priapus, whose terminal statue is seen on a rock on the left. Behind this term are a Pan's pipe and a shepherd's crook, peduin. The cippus stands in the middle of the scene. On its face is sculptured a myrtle wreath ; it is surmounted by a vase with heads of Gryphons projecting on each side. Behind the cippus is a tree, and on the right another tree, near which are a stork and a goose feeding. Two other geese are turned towards the term, one of which is feeding on a branch from the rock at its base. Geese were sacred to Priapus. The relief is surrounded by a moulded frame. It appears to be a Graeco-Roman work, based on the landscape reliefs usually assigned to the Hellenistic period, and may be simply a decorative panel. Towneley Coll. Italian marble. Height, 1 foot 8J inches ; width, 3 feet. Restored : left side, most of lower border, and right hand lower corner, with part of the goose, rocks, and tree. From the collection of Mr. Jennings. Mus. Marbles, II., pi. 3 ; Grasco-Roman Guide, II., No. 139; Ellis, Town. Gall, II., p. 159. 2166. (Fig. 27.) Votive relief representing Zeus, three Naiads, and the goat-legged Pan, standing in a row. Zeus, half draped, stands on the left, holding a thunder- bolt and a sceptre ; below is his eagle. The three Naiads each hold out a shell, the symbol of water-nymphs. Their hair falls in long tresses on each side of the neck, and is surmounted by a circlet ; they wear long chitons, girt below the breasts, and shoes. Pan stands on the right, holding syrinx and pedum. He wears a goatskin. Behind him a goat couches. Sculpture very rude and late. 3rd cent. A.D. (?). Towneley Coll. Limestone. Length, 2 feet 2J inches ; height, 1 foot 6J inches. Ellis, Town. Gall., II., p. 151 ; Groeco-Roman Guide, II., No. 95. Votive dedications to Pan and the Nymphs in concert are frequently found in Greece (cf. No. 2158). The same combina- CATALOGUE OF SCULPTURE. tinii, with a change of type, occurs, as in the present instance, ou reliei's of the Roman period. Of. Spon, Eechcrches, p. 481 ; Millin, Gal. Mi/tkoloijiqua, I., pi. 5(3, No. 328 ; Baumeister, Denkmaeler, p. 1033. Fig. 27. No. 2166. 2167. Eelief representing a bull-fight. Two men are attacking a bull which advances from the right, rushing on the spears with which his assailants pierce his breast and neck. Both the men wear short tunics, girt at the waist and reaching nearly to the knees. The more advanced figure wears a skin hanging over his left arm. The relief, which is set in a plain frame, may have been a votive tablet. Naxos. Greek marble. Height, 1 foot 6 inches ; width, 2 feet 5 inches. Restored : the left end of the relief, with right arm and leg of hindermost figure ; right forearm to wrist, part of spear, right leg from knee to ankle of leading figure ; left horn, ear, forefoot of bull ; also tail, and right edge of frame. Formerly in the Choiseul-Gouffier and Pourtales Collections. Bought, 1865. Choiseul-Gouffier Sale Cat. (1818), No. 110; Pourtales Cat.,' No. 36 ; Mansell, No. 864 ; Grwco-Boman Guide, II., No. 23 ; Wolters, No. 1914. 2168. Lower part of a votive relief, with Cybele seated to the front on a throne with a footstool, and flanked by two VOTIVE RELIEFS. 235 lions. She wears shoes, a long chiton, and a mantle with a fringe. 2ud-ord cent. A.D. Palmyra. Marble. Height, 9 inches ; width, 1 foot o inches. Purchased, 1882. 2169. Fragment of a votive relief to Cybele. In the middle, the lower part of the drapery, and the feet of the goddess standing to the front. A lion is seated at the right, and there are traces of a corresponding lion at the left. The lower part of a draped male figure remains at the right, and there are traces of another figure on the left. Inscribed : . . . /?puytr/. Probably of the 3rd cent. B.C. Ephesus. Marble. Height, 9 inches ; width, 1 foot 1 inch. For the date see Greek Inscriptions in Brit. Mm., DLXXVI. From J. T. Wood's Excavations. 2170. Votive relief to Cybele. The goddess is enthroned to the front, between two seated lions. She holds up a tympanum in the left hand, and places the right hand on a lion's head. She wears a sleeved tunic, with diploidion, and a mantle which passed over the head and about the legs. The upper part of the relief is broken away, and the surface is much worn. Mytilene. Marble of Asia Minor. Height, 9J inches. Obtained by C. T. Newton, 1855. 2171. Votive relief, dedicated to Pluto and Persephone (?) by Flavius Sabinus. Two figures, rudely sculptured, stand on plinths to the front. Pluto (?) is draped in sleeved tunic, and mantle, with a rod or sceptre on his left arm, and an uncertain object in his right hand. Persephone stands to the front with a long tunic and upper tunic. Between the two is Cerberus, also on a plinth. The upper part of both figures is wanting. The work is 236 CATALOGUE OF SCULPTURE. unskilled. Inscribed, tots eTnjKoots 4>. 2a/?e!vos eua//,evos aveOrjKW. 2nd cent. A.D. (?). Marble. Height, 1 foot 8 inches ; width, 1 foot 3J inches. 2172. Votive relief, unfinished and in rudest style. Zeus, in tunic and mantle, is seated to the front in the centre, with a sceptre in his raised left hand, and a bowl in his right hand. On the left is a female deity, standing, perhaps Demeter, with long tunic and diploidion, and wearing a veiled modius. On the right is Apollo, stand- ing, nude, except for a small chlamys, holding his lyre in his left hand. Beside him a Gryphon, looking up- wards. Late Graeco-Koman work. Prusn. Presented by T. F. Hughes, Esq., 1865. Marble. Height, 1 foot. 2173. Fragment of a votive relief. Mercury, nude, except for a chlamys, stands to the front, with caduceus on left arm, and large purse in his right hand. A diminutive figure makes an offering on an altar inscribed, Deo Mercurio. Above, on the left hand, is a part of a cock. Provincial and late Eoman work. Limestone. Height, 1 foot ; width, 1 foot 1 inch. Ellis, Town. Qall., II., p. 156. 2174. Votive relief. Within a rudely-shaped semi-circular panel a bearded figure rides to the right on a deer. He wears a short tunic, chlamys and boots, and is attended by a dog. On the right is a diminutive female figure, standing, closely draped, holding up a cornucopia (?). On the left is a tree. This is probably a votive relief dedicated to a local divinity. Eough provincial work. Varna. Marble. Height, 7 inches. Purchased, 1863. VOTIVE RELIEFS. 237 2175. Panel from the lower part of a relief, probably votive. In the middle is an altar. On each side is a bull, with his head tethered by two ropes, and a figure about to sacrifice the bull. The figures have long tunics and Phrygian caps, and stand with double-edged axes up- lifted in their hands. Above are the bases of columns and remains of a relief, perhaps consisting of two standing figures and an altar. The style is conventional and late. Philippi. Strangford Coll. Marble. Height, 10 inches ; width, 1 foot 8 inches. 2176. Fragment from the right-hand side of a votive relief. Within a roughly-sunk panel are two figures of women, standing to the front, closely draped in long tunics and mantles. The figure on the left turns her head towards the lost portion of the subject. Hellenistic work. Parian marble. Height, 10 inches. 2177. Fragment, probably from a votive relief. The upper edge of the relief is preserved, with three heads to the front, and traces of the drapery on the shoulders. The work is very rude and unfinished. Carthage. Marble. Height, 3| inches ; width, 7 inches. Excavated by Dr. N. Davis, 1859. 2178. Fragment of relief, perhaps votive, with a bearded figure, playing a lyre. He stands to the right, draped in a sleeveless tunic and mantle, and holds up a large lyre. The figure is wanting from the knees. Pentelic marble. Height, 7| inches ; width, 1\ inches. 2179. Fragment from the left lower corner of a relief, with the lower part of two male figures turned to the right. One of these has a short tunic girt at the waist. His right hand clasps his left wrist, and his left hand holds a knife (?) 238 CATALOGUE OF SCULPTURE. The figure on the left has a short tunic and chlamys, and stands on tip- toe. Inscribed 'Ao-/c]\^7ri[a) (?). Blacas Coll. Marble. Height, 1 foot 2 inches ; width, 10 inches. 2180. (Fig 28.) Fragment of a votive relief, sculptured in rude and unpractised style. Within a panel are two female figures, in long tunics and mantles, closely wrapped about them, holding up wreaths to the left. On the right is a diminutive figure of a girl, similarly draped, holding up a similar wreath. On the left are traces of an altar. Inscribed . . . *a[V] Laconia. Inwood Coll. Fig. 28. No. 218U. Marble. Height, 10J inches. Synopsis (1848), No. 429*. Inscriptions in Brit. Mtis., No. CLI. Greek 2181. (Fig. 29.) Fragment of a votive relief, containing the lower part of a draped female figure to the left, a draped figure of a child, also to the left, and a draped female figure, holding a wreath in the right hand and a branch in the left hand. In the field is a wreath. The work is exceed- Fig. 29. No. 2181. ingly rude, but it must be considered as unskilled and not archaic. Laconia. Inwood Coll. Marble. Synopsis (1848), No. 430. Height, 9 inches ; width, 1 foot 3J inches. VOTIVE RELIEFS. 239 2182. Fragment of the right side of a relief, either votive or sepulchral. Four draped figures, alternately male and female, advance to the left. In front of them are figures of a boy and girl, -ith cent. B.C. Athens (?). Pentelic marble. Height, 11| inches; width, 10 inches. Fur reliefs of this type, compare vol. I., p. 301, and Nos. 714-719. 2183. Fragment of a relief, probably votive, with a half- draped figure of an elderly man, turned to the right, having the right arm raised. The head and right forearm are wanting. A mantle passes over the left shoulder and roiind the legs, crossing over the left hand. Inscribed with a fragmentary list of officers of the gymnasium : . . . [o]u | ... evs. [ End of the 1st cent. A.D. Athens. Elgin Coll. Marble. Height, 8 inches. Synopsis, 335 (126); C.I.G., 280; Greek Inscriptions in Brit. Mus,, No. XLIII. For the date, cf. C.I.A., III., 1086. 2184. Fragment of a relief, probably votive. The lower parts are preserved of a draped female figure enthroned to the right with a foot-stool, and of a standing draped female figure to the left, with the right arm raised, and an un- certain object, perhaps a casket, in the left hand. Cyzicus. Presented by A. van Branteghem, Esq., 1890. Greek marble. Height, 1 foot 5J inches. Murray, Rev. Arch., 3rd Ser., XVII., p. 12, No. 5. 240 CATALOGUE OF SCULPTURE. DECORATIVE AND MURAL RELIEFS. The reliefs that are here grouped under the above title are those of which the main purpose appears to have been decorative ; they were probably employed as panels in buildings. It is difficult, however, to draw any strong line of distinction between such reliefs as the visit of Dionysos to Icarios (No. 2190) or the Apotheosis of Homer (No. 2191) and the preceding class, although the votive character appears more plainly in the former, and the decorative intention in the latter. It is also possible that some of the smaller reliefs in this class may have been cut from sarcophagi, but they retain no indications of such an origin. 2190. Belief, representing a visit paid by Dionysos to the house of a mortal, often described as the visit of Dionysos to Icarios. Near the left of the relief a beardless male figure half reclines on a couch. He raises himself and turns round to Dionysos with a gesture as of welcome. He is nude except for a mantle over his lower limbs (as to which see below), and wears an ivy wreath. In front of his couch is a table, which is supported by three lions' legs, and which carries cakes and a two-handled cup. To the left are four dramatic masks on a lower platform. In the centre of the relief is the Indian Dionysos, ivy-crowned, bearded, and corpulent, who is supported by a boy Satyr standing beneath his left arm. He wears a wreath of ivy and a large mantle wrapped closely about him. He holds out his right foot, and a second boy Satyr bends down to draw off his sandal, as was the custom with guests before sitting down to a banquet. On the right behind Dionysos is his suite, or thiasos, consisting in DIONYSOS AND ICARIOS. 241 its present state of four figures advancing one behind the other. The foremost of these is a youthful Satyr holding a thyrsus over his right shoulder and looking back at Silenus. He is nude except for a wreath. Silenus plays on the double flute. He wears a wreath (restored), a scanty mantle about his body, and buskins. Behind Silenus is another Satyr holding a wreath (?) over his head. He wears a panther-skin, and is carrying a wine- skin over his left shoulder, as may be seen on other examples. He is looking back at a bearded figure with a wreath, who, as we learn from extant repetitions of this design, has supported a drunken Bacchante, of whom the only trace remaining on the marble is the drapery from the waist downwards, a hand holding a lyre, and the feet. All the figures in the suite of Dionysos are smaller in stature than the god. On the left is an unfluted column on a square plinth, which supports a large basin with three feet. Rising out of this basin is a Doric column, on which stands a terminal figure. This has been thought to represent the figure called Manes in the game of Cottabos, which was placed on a pillar above a dish. The term, however, does not resemble the extant examples of the Manes, either in size or in type. In some instances the term is surmounted by a triple head, and has, therefore, been called Hecate, or Hermes Trike- phalos. In that case it may, perhaps, be considered as standing against the wall of the house, and not as rising out of the basin. In the background of the relief is a house which is of considerable interest, on account of the rarity of repre- sentations of Greek domestic architecture. It has a wooden roof covered with tiles, and two rectangular windows, divided by plain columns ; in the gable of this edifice is a head of Medusa, supported on each side by a Triton. Below the eaves the walls are hung with VOL. III. S 242 CATALOGUE OF SCULPTURE. festoons, which a Satyr is fastening. There is a small projection, also tiled, at the right end of the building, and, on the left, is a smaller building, also roofed with tiles. This is continued to the right by a wall terminated by a pilaster, which is surmounted by a small tablet ; on this is sculptured a Victory driving a chariot in relief; this, doubtless, indicates a votive tablet to commemorate a chariot victory. (Of. Nos. 814, 815.) A curtain is fastened to the small building and to the pilaster to form a background to Dionysos and the seated figure. Between this curtain and Dionysos is a second couch prepared for the god. Behind the suite of Dionysos is a lower wall, beyond which, in the distance on the extreme right, are a palm-tree, and a tablet surmounting a pillar; it corre- sponds with the tablet already described, except that the plain side is shown. Behind the larger edifice, on the extreme left, is a plane-tree, which, as elsewhere in reliefs, perhaps indicates a court round the house. The subject here described occurs, with certain modifi- cations in the design, on several reliefs, which are enumerated and compared by 0. Jahn (Arch. Beitrage, p. 198). On three of these repetitions a female figure, probably the wife of the male figure, is reclining on the same couch with him, and in the marble here described a new piece has been inserted in the place which should be thus occupied. The explanation of the subject of the relief, first proposed by Visconti, and commonly accepted till re- cently, was that the scene represents the visit of Dionysos to Icarios, the hero of the Attic deme Icaria, who enter- tained Dionysos and was taught by him to cultivate the vine. This is, no doubt, a possible interpretation. Pausanias saw a group of terracotta figures at Athens, representing Amphiktyon entertaining Dionysos and other gods (Paus., DIONYSOS AND ICARIOS. 243 i., 2, 5). There is, however, nothing decisive in the present relief, unless we suppose the masks to be an allusion to the supposed invention of the drama in Icaria (Athen., ii., p. 40a ; Jahn, Arch. Beitr., p. 206), and the figure of Icarios is too youthful. It is more probable that the subject must be interpreted in a general sense. In that case the relief might be supposed to represent the visit of Dionysos to a mortal, and to be a votive tablet, dedicated by a person who had received a favour from the god. In certain instances the subject has been interpreted as a visit paid by Dionysos to a sick person. (Of. Jahn, p. 208.) The type, however, occurs in a simpler form, on an Attic relief now in the Louvre (Arch. Zeit., 1881, pi. 14; Deneken, De Theoxeniis, p. 50 and pi.). In this example, the youthful Dionysos, supported by a Satyr, is received by a man reclining on a couch, while a woman sits at the foot of the couch and a boy pours out wine. In front is a table with provisions and a snake. The composition, except only for the figure of Dionysos, is akin to that of the "Sepulchral Banquets" (Nos. 711- 735), and appears to have been employed in that form, with sepulchral significance. Probably a Graeco-Koman copy of an original of the 3rd cent. B.C. Towneley Coll. Marble. Height, 3 feet ; ^length, 4 feet 11J inches. The surface has suffered much from decay and retouching. Restored : Icarios drapery about legs. Satyr removing sandal right arm, left foot. Leading Satyr parts of thyrsus. Silenus top of head and left hand. Following Satyr head, right arm, feet. Last group much mutilated and restored (see above). Figure decorating house left arm and leg. Small portions near the margin. This relief was in the Casa Maffei at the time of Martin van Heems- kerck's risit to Rome, about 1535 A.D. (Michaelis, Jahrbuch des Arch. Inst., 1891, pp. 133, 134). It was placed by Pope Sixtus V. in the Villa Montalto (afterwards the Villa Negroni). An engraving, dated 1548, was published by A. Lafreri in the collection of prints issued under the title Speculum Romanae S 2 244 CATALOGUE OP SCULPTURE. Magnificentiae. It is principally based on the present marble. The value, however, of the print for deciding questions of restoration is impaired by the fact that the figures appear to be taken from the Farnese replica, now at Naples. Details such as the stool under the masks, and the objects on the table, are also from the Farnese copy, although the masks are there wanting. The print is lettered " ex marmoreis tabulis graphica deformatio." A drawing in the Codex Pighianus (described by Hauser, Die Neu-Attischen Reliefs, p. 191) appears to be derived from Lafreri's composite print. On the other hand, a drawing in a Berlin codex (Hauser, ibid.) appears to represent the subject unrestored. Lafreri's print is copied in the Appendix of Ursinus to Ciacconius, De Triclinia (Heidelberg, 1590, p. 120) as a repre- sentation of the Farnese copy, and again in the ed. of Amster- dam, 1664 (p. 242), where it is said to be from the Montalto copy. Lafreri's composition was also repeated, with additions, by Bellori, Admiranda Rom. Ant. Vest. (2nd ed., 1693), pi. 43 ; Montfaucon, L'Ant. Expliq., II., pi. 89. For more recent literature, &c., see Mus. Marbles, II., pi. 4 (= Bau- meister, p. 1765, fig. 1849); Ellis, Town. Gall., II., p. 140 ( = Vaux, Handbook, p. 241); Miiller-Wieseler, Denkmaeler, II., pi. 50, No. 624; Graeco-Roman Guide, I., No. 176; Jahn, Beitrdge, p. 198; Deneken, De, Theoxeniis, p. 47; Wolters, No. 1844; Schreiber, Relief bilder, pi. 37, 37A ; Mansell, No. 847 ; Hauser, p. 190 ; Gardner, Handbook, p. 439 ; Frazer, Pausanias, II., p. 54. The principal examples of the type are (1) Relief in the Louvre. Clarac, II., pi. 133, No. Ill ; Schreiber, Reliefbilder, pi. 38. (2) Relief in the National Museum at Naples. Schreiber, Reliefbilder, pi. 39. (3) Terracotta panel. Campana, Opere in plastica, pis. 29, 30. Half of the composition is on a terracotta panel in the Brit. Mus. (D 531 ; Mus. Terracottas, pi. 25, No. 47). For further examples see Jahn, Beitrdge, p. 198 ; Hauser, p. 189. The example here described is chiefly remarkable as containing the Satyr decorating the house, the relief in the pediment, and , the figure of Victory on the tablet, which are wanting else- where. On the other hand the two female figures have been almost obliterated. 2191. (Fig. 30.) Apotheosis of Homer. In this relief is represented a mountain side, on the summit of which Zeus is seated. The scene below may be divided into three stages or rows of figures. In the lowest row Homer is APOTHEOSIS OF HOMER. 245 Fig. 30. Apotheosis of Homer. No. 2191. seen enthroned, and receiving the honours of an apotheosis. This ceremony takes place in front of a row of columns, which are nearl}' concealed from view by a curtain. The scene is similarly bounded in the relief of Dionysos and 246 CATALOGUE OF SCULPTURE. Icarios (No. 2190). Possibly in this case we are intended to imagine the scene as being enacted inside the temple thus slightly indicated. All the figures in this row can be identified, as their names are inscribed immediately under them. Homer, OMHPOZ, is seated near the left of the scene, on a throne with a footstool. He is a venerable bearded figure, wearing a long chiton with short sleeves, over which is a mantle. The poet holds a scroll in his right hand, and a sceptre with a lotus-top in his left hand. His throne is supported by two female figures, kneeling one at each side, IAIAZ, the Iliad, and OAYZZEIA, the Odyssey. Iliad wears a long chiton, girt at the waist. In her right hand she holds a sheathed sword, to indicate that the subject of the Iliad is war; her left hand clasps the leg of the throne of Homer. Odyssey, of whom the head and left arm only are visible, holds up the ornament from the stem of a ship (aplustre) as a symbol of navigation. In front of the footstool of Homer is a roll ; at the left end of the roll is a mouse, and at the right end, where the surface is now broken away, there was probably a frog, in allusion to the " Batracho-myo-machia," or Battle of Frogs and Mice, of which the authorship was ascribed to Homer. Behind the poet stand, side by side, XPONOZ, " Time," represented by a winged male figure, apparently a portrait, who holds a roll in each hand; and [OI]KOYMENH, "the inhabited Earth," a female figure wearing a long chiton with diploi'dion, and with her head veiled and surmounted by a calathos ; she crowns Homer with a wreath. In front of the Poet is a kindled altar inscribed AA, decorated with festoons and (probably) an ox-skull, beside which stands a Carian bull with a hump. On the left of the altar is MY0OZ, "the genius of Myth," represented as a youth partly draped in a mantle which leaves the right shoulder bare. He acts here as an attendant at the APOTHEOSIS OF HOMEK. 247 sacrifice, holding the jug in his right hand, and the bowl (restored) in his left ; he turns round towards Homer, as if to offer a libation. On the right of the altar is IZTOPIA, " History," strewing incense on the altar from a bowl held in her left hand. History, like the remaining figures in this tier, is considerably shorter than Earth. She wears a chiton without diploi'dion, closely girt under the breast, and a mantle. Behind her is HOI HZIZ, " Poesy," holding up two flaming torches and with head thrown up as if inspired. She wears a long chiton with diploi'dion, and a mantle. Behind these figures, on the right, are TPArnAIA, " Tragedy," and KHMQAIA, " Comedy," standing in the same attitude, holding up their right arms in the gesture of acclamation. Tragedy wears her usual dress a high mask and buskins, a long chiton with a broad girdle, and a mantle. Comedy has a close-fitting chiton without a girdle, mantle, and sandals, and also seems to wear a mask. Behind her is a child of un- certain sex, though most like a boy in the dressing of the hair, inscribed 4>YZIZ, "Nature," and on the extreme right is a group of four draped female figures, severally representing APETH, "Virtue," MNHM[H], " Memory," niZTI[Z], " Good Faith," and ZO[IA], " Wisdom." Between this scene and the top of the mountain are two rows of figures, which clearly represent the nine Muses with Apollo. In the row immediately above the sacrifice is a cave, in which stands Apollo, in the long flowing dress girt at the breast, and mantle, of Apollo Citharoedos (cf. Nos. 774, 817), and with a large lyre. The right hand perhaps holds a plectrum. At his feet is the Delphic omphalos (cf. Nos. 209, 776, 1438*), with the bow and quiver of the god laid on it. A female figure also stands in the cave, who, from her association with Apollo, has been usually called the Pythian priestess, making a 248 CATALOGUE OF SCULPTURE. libation. It is however a scroll, not a phiale for liba- tions, that she holds in her hand, and it is therefore probable that this is the figure of one of the Muses (compare a terracotta from Myrina, Gaz. Arch., 1887, p. 135). It has been generally supposed that the rocky terraces on which the Muses appear in this relief represent Parnassus, and in this case the cave within which Apollo is standing would be the Corycian cave on that mountain. The presence of the Carian bull might be taken to indicate that the scene is in Asia Minor, and Atabyris in Khodes has lately been suggested, but it is perhaps more likely that the artist had no definite mountain or cave in his mind when designing the relief. On the left of the cave are three Muses, which may be identified with more or less of certainty. The figure nearest Apollo, who leans on her elbow, is generally recognised as Polyhymnia, of whom this is the typical attitude; next to her, on the left, stands Urania, identified by her globe; the seated figure with the lyre associated with her is probably Terpsichore. The object held in the right hand of Terpsichore appears to be a roll, though it may be only a rude representation of the plectrum. On the platform above is another group of four Muses. The Muse seated on the left, and holding out tablets, as if reading, is probably Clio. The seated figure on the right who looks up towards Zeus, and holds two flutes, may be identified by this attribute as Euterpe. Behind her, and imme- diately over the cave, a lyre is thrown on the rock. The Muse who stands looking up at Zeus, and holding a lyre, is probably Erato, the Muse of amatory poetry. Having identified the Muses who are furnished with recognizable attributes, we must distribute the names that remain among the unidentified figures. If the figure in the cave is called the Pythian Priestess, all the remaining female figures must be Muses. If however, as observed above, APOTHEOSIS OF HOMER. 249 the figure in the cave is a Muse, one of the other figures must be differently named. It has therefore been pro- posed (by Cuper, by Goethe and by S. Eeinach) to call the standing figure, nearest to Zeus, Mnemosyne (Memory), who was accounted the mother of the Muses, Zeus being their father. Pausanias (i. 25) mentions a group at Athens which contained Zeus, Mnemosyne and the Muses. The position of Mnemosyne is next in rank to that of Zeus, and she is of a larger scale than the Muses. The remaining names to be assigned are Thalia, Melpomene, and Calliope. The standing figure in the upper tier, who seems to be listening to Clio, might be either Calliope or Melpomene, the Muse of Tragedy. The latter is, perhaps, to be preferred. The figure who is seen on the right running quickly down the rocky staircase might be Thalia, Muse of Comedy, or Calliope. Eeinach suggests Calliope, quoting Horace, " Descende . . . caelo Calliope." The left arm of this figure, which is modern, appears to have been restored in a way that exaggerates the violence of the movement. If the names proposed above are correct, the female figure within the cave must be Thalia. On the question of how far names can properly be attached to the different types before the Roman Empire, compare No. 1106. All the Muses in this relief and also the Mnemosyne wear the long tunic, with mantle variously disposed over it. Mnemosyne wears a veil over the back of her head. The hair of Polyhymnia is drawn back from her face, and the tresses are tied in a knot behind. At the top of the relief, Zeus is seated in a reclining attitude on a rocky throne, draped in a mantle which is wrapped about his legs. He holds a sceptre by the middle in his right hand and looks towards Mnemosyne. The eagle stands on the left. Immediately below the figure of Zeus the name of the 250 CATALOGUE OF SCULPTURE. artist, Archelaos, son of Apollonios, of Priene, is inscribed on an oblong tablet in the rock, partly covered by the flute of Euterpe : ATToXXwvtoi) hmujo* ITpir/vevs. One figure remains to be described, which probably contains the clue to the intention of the entire com- position. To the right of the cave and immediately below the rocky staircase is the representation, not of a poet, but of a statue of a poet. The statue stands on a square moulded plinth. It is draped in a tunic with short sleeves like that of Homer, and a mantle which passes about the body, under the right arm and over the left shoulder. The figure has a scroll in the right hand. Immediately behind is a large tripod with rings, and a domed cover (cf. No. 515). The head, being a restoration, must be disregarded. Among the names proposed are those of Homer, of Hesiod, as the chief rival of Homer, and of Orpheus, the inventor of poetry. [For Hesiod on Helicon, accompanied by a tripod, the emblem of a victory over Homer, compare v. Wilamowitz, Arch. Anzeiger, 1903, p. 119.] The most probable explanation appears to be that which was first proposed by Goethe, namely, that this is the portrait of a poet who won a tripod in a contest, and who celebrated the event by a votive relief, on which he is shown as the dedicator. In the same manner the reliefs of Apollo and Nike are thought to be dedications by a successful poet (cf. Nos. 774, 775), and in mediaeval pictures portraits of the dedicator and his family are introduced as if present at sacred events. The general meaning of the relief is clear, although the exact relations of some of the parts are uncertain, and APOTHEOSIS OF HOMER. 251 although it cannot be determined whether the temple in the lowest tier is the temple at Delphi, and whether the mountain is Parnassos with the Corycian cave, or Olympos or a mountain elsewhere. The artist has represented in the upper tiers the divine patrons and inspirers of song, and in the lowest tier the most divine of mortal poets, from whom, perhaps, the dedicator obtained his inspiration. Homer is enthroned, and by an easily under- stood allegory he is represented as receiving worship from the poetic arts that were derived from his poems, from the abstract qualities illustrated in them, and from the Space and Time through which they exist. If the figure running down the staircase is supposed to be the bearer of a message from Zeus respecting the Apotheosis, the whole composition is satisfactorily connected. Nothing is known from any other source of the artist Archelaos of Priene, and the date of the relief is therefore doubtful. Several recent writers have assigned the work to the time of Tiberius. The relief was found near Bovillae, whence a Tabula Iliaca was also obtained. As the Emperor Tiberius is said by Suetonius to have had a pedantic love of mythological lore such as these monuments record ("Maxime curavit notitiam historiae fabularis, usque ad ineptias atque derisum," Suet., Tib., c. 70), and as he erected a temple at Bovillae to the Julian Gens (Tac., Ann,, ii. 41), it has been conjectured that he there dedicated both the Tabula Iliaca (of. No. 2192) and the relief here described. But it is clear that, even supposing that the relief was placed at Bovillae by Tiberius, there is no evidence that it may not have been produced at an earlier period. That this was the case is shown by the forms of the inscriptions, which are decidedly earlier than the imperial times, and which allow us to assign the relief to the second century B.C. The absence of the adscript iota in the words 252 CATALOGUE OF SCULPTURE. and Kw/ite)Sia does not prove a late date, since the omission of the iota, though rare before the time of the empire, can be shown to have occurred occasionally, at least as early as the second century B.C. (cf. Loewy, p. 209 ; Eeinach, L'Epigraphie Grecque, p. 270; and the inscription from Priene, Greek Inscriptions in Brit. Mus., No. ccccxxii.). The sentiment of the design is also well suited to the taste of the Alexandrine age, when allegorical personifications began to take the place of simpler mythological figures. Such personifications would, no doubt, be recognised more frequently in ancient art, if we had the means of identifying them. The celebrated picture of Slander by Apelles (about 330 B.C.) is said to have contained figures of Ignorance, Suspicion, Envy, Malice, Deceit, Truth, Repentance. In the procession of Ptolemy II. (about 260 B.C.) a figure of Ptolemy was accompanied by a figure of Arete (Virtue) holding out an olive wreath (Athen., v., p. 201 D). Ptolemy Philopator built a temple of Homer, -which contained a statue of the poet surrounded by personi- fications of the cities that claimed to be his birthplace (Aelian, Far. Hist., xiii. 22). The style of the sculpture presents nothing dis- tinctively characteristic of the Roman period, or at variance with Hellenistic art. Little invention, however, is shown in the figures, several of which represent well- known types, the authorship of which has lately been assigned (by Watzinger, after Amelung) to Philiscus of Rhodes. The relief also is unusually complicated. The figures range from a low to a very high degree of projec- tion, and the planes of the background are remarkably varied. So picturesque a treatment would not have been admitted in Greek art till that later period when sculpture came under the influence of painting and attempted to express in marble scenes more suitable to the sister art. APOTHEOSIS OF HOMER. 253 The face of Chronos bears some resemblance to that of Ptolemy II. Philadelphus (284-247 B.C.), and it is not impossible that we have a king and a queen of the Hellenistic period represented here as allegorical personages. From Bovillae. Purchased 1819. Parian marble. Height, 3 feet 10J inches; width, 2 feet 7 inches. Restorations : Zeus knees ; Mnemosyne part of breast and face ; Calliope (?) left arm, part of drapery, hair, and neck ; Euterpe head ; Erato head, fingers of right hand ; Melpo- mene (?) head ; Clio face ; poet head, part of right hand, left foot ; Thalia (?) head ; Apollo head, part of right hand ; Polyhymnia part of drapery ; Urania head, right hand and part of globe ; Terpsichore head ; lowest tier, group on right, foremost figure (Sophia ?) head, part of drapery and left hand ; second figure from front (Pistis ?) left hand with scroll ; Comedy part of drapery ; Poesy parts of hair and drapery ; Mythos phiale and left hand; Homer right wrist, and right foot ; also the top corners and a part of the base of the relief. The restored portion of the frog, at the right end of the scroll (see fig. 30), has been removed from the marble. The above restorations were finished before 1658, the date of Galestruzzi's drawing (see below). The relief was discovered about the middle of the 17th century, together with ancient foundations, and numerous sculptures, at the Osteria delle Frattochie, which is on the Appian Way, about eleven miles from Rome, and near the ancient Bovillae. (Canina, Annali del? Jnst., 1853, p. 176 ; Mon. dell' Inst., V., pi. 60; cf. Kircher, Latium (1671), p. 81, " Paucis praeter- lapsis annis," and Sererolo, ibid., " ante bina circiter lustra.") It was found on property of the Colonna family, and was preserved in the Colonna Palace at Rome till 1805, when it was brought to London. First published by Kircher (loc. tit.) with pi. facing p. 82 by Galestruzzi, dated 1658. See also Bellori, Admiranda Bom. Vestigia (2nd ed., 1693), pi. 81, and in Fea, Miscellanea, I., p. 265 ; Cuper, Apotheosis Homeri (Amsterdam, 1683), reprinted in Polenus, Suppl., II., p. 1; Gronovius, Thesaurus, II., p. 21 ; Montfaucon, U Ant. Expliquee, V., pt. i., p. 165 ; pi. 130 ; Addison, Bemarks on Italy (ed. 1705), p. 343 ; Schott, Explica- tion nouvelle de VApotMose tFHomere, etc. (Amsterdam, 1714), repeated in Polenus, Suppl., II., p. 298 ; Winckelmann, Hist. FArt, Bk. VI., chap. 2 ; Visconti, Mus. Pio-Clem., I., pi. B Millin, Gal. Myth., pi. 148 ; Goethe, " Ftrneres iiber Kunst, 254 CATALOGUE OF SCULPTURE. in Collected Works (ed. Cotta, 1860), V., p. 435; Ellis, Town. Gall., II., pp. 118-130 (= Vaux, Handbook, p. 179); Braun, Apotheose des Homer, Leipsic, 1848; Schmidt, Annali deir Inst., 1849, p. 119 ; M filler- Wieseler, Denkmaeler, IL,pl. 58, No. 742 ; Brunn, Gr. Kiinstler, I., pp. 572, 584 ; Denkmaeler, No. 50 ; Kortegarn, De tabula Archelai (Bonn, 1862) ; Overbeck, Gr. Plastik (4th ed.), II., pp. 457, 463 ; Graco-Rorruin Guide, I., No. 159 ; Wolters, No. 1629 ; Reinach, Gaz. Arch., 1887, p. 132, pi. 18; Sittl, Gebaerden d. Griechen, p. 293, pi. 4; Bie, Die Musen, p. 50 ; Mitchell, p. 668 ; Baumeister, Denkmaeler, p. 112, fig. 113, p. 1303; Roscher, Lexikan, II., p. 3266; Collignon, II., p. 675 ; Bernoulli, Griech. Ikonographie, I., p. 5 ; Watzinger, Das Relief v. Archelaos (1903) ; Mansell, No. 827 ; Stereoscopic, No. 154. For the date and inscriptions see Stephani, in Kb'hler, III., p. 322 ; Michaelis in Jahn, Gr. Silderchron., p. 81 ; Trendelenburg, Musenchor, p. 12 ; Loewy, Inschr. Gr. Bildhauer, p. 207, No. 297 ; Kaibel,'/nscripf tones Graecae, XIV., No. 1295 ; Fougeres, Bull, de dorr. Hellen., 1888, p. 118. For further bibliography see Fabricius, Bibl. Gr. (ed. Harles), I., p. 318 ; C.I.G., 6131 ; Loewy, loc. cit., and Kortegarn, loc. cit. 2192. Fragment of a Tabula Hiaca. In the upper part Achilles, in his chariot, drags the body of Hector before the walls and towers of Troy. The horses are driven at a gallop by Automedon. Achilles looks back towards an armed figure on the left, who follows behind. His identity is doubtful. The name of Aeneas has been suggested. The figures are inscribed AXIAAE[Y2] and EKTO[P]. Below, on a larger scale, Achilles, nude, is conversing with Athene, both being lost below the waist. Athene wears a helmet, and carries her spear on her right shoulder, her right hand being visible below the elbow of Achilles. She must probably be regarded as carrying the shield on her left arm, though the drawing is in that case at fault. On the shield are suggestions of a subject in relief, arranged in three horizontal bands. These have been interpreted as a representation of ships before the walls of Troy. The scene is probably the visit of Athene to Achilles. TABULA ILIAOA. 255 The present tablet appears complete on the top and sides. The back is uninscribed. A small hole at the top was probably intended for a pin to fasten the relief to a background. The Tabulae Iliacae, of which the present tablet is a small section, are pictorial compendia of the various epic poems presenting the tale of Troy. They are commonly supposed to have been devised by the grammarians of Alexandria, but all the existing frag- ments have been found in Italy, and for the most part in or near Rome. A historical compendium of analogous character (Kaibel, No. 1297) was drawn up in 15 A.D. Said to have been found at Tarentum. Presented by Dr. Hermann Weber, 1895. Giallo-antico marble. Height, 3 inches ; width, 3| inches. Robert, Annali dell' Inst., 1875, p. 267, tav. M, fig. a ; Murray, Proc. Soc. Ant. Lond., 2nd ser., xm., p. 100, and plate ; Kaibel, Inscrip- tiones Graecae, XIV., No. 1288. Compare the corresponding portion of the Capitoline tables, as drawn in Annali, loc. cit., tav. M, fig. b. For the subject of these Tabulae, see Jahn and Michaelis, Griechische Bilderchroniken ; Kaibel, op. cit., 1284- 1293. 2193. Relief. Part of a Bacchic orgiastic procession (thiasos^). Three figures move to the right, in a panel, surrounded by a moulded frame which is deeper at the bottom than at the sides. The first figure on the right is a Maenad or Bacchante, who advances on tip-toe, playing on the tym- panum, and having her head thrown back and hair flying in frenzy. She wears the split chiton (scMstos) without a girdle, so as to leave open all the right side. The second figure is a young Satyr, with pointed ear and tail. He advances on tip-toe, playing on the double flute ; he has his head bound with the straps of the phorbeia, a kind of leathern mouth-piece used to give additional force to the muscles exerted in playing the two flutes (cf. No. 67); on the left arm of this figure hangs the panther's skin. 256 CATALOGUE OF SCULPTURE. The third figure is a young Satyr, with pointed ear, apparently without a tail, who also advances to the right, with bead thrown forward, and with the left arm extended, with the panther's skin upon it like a buckler, and with the thyrsus in his right hand. The panther of Dionysos walks at his side. This scene is part of a Dionysiac composition the several figures of which frequently occur in ancient sculpture. The types were introduced by the later Attic school, the present work being probably a Graeco-Koinan copy of the 2nd cent. A.D. Towneley Coll. Greek marble. Length, 4 feet l inches; height, 3 feet 2 inches. The frame is repaired on the left. Found by Gavin Hamilton in 1775 at the site called Roma Vecchia. [Assigned by error to Gabii by Mr. Townley.] Journal of Hellenic Studies, XXL, p. 317; Dallaway, pp. 335, 379; Mus. Marbles, II., pi. 12; Ellis, Town. Gall., II., p. 109 (= Vaux, Handbook, p. 183) ; Grceco- Roman Guide, I., No. 179 ; Mansell, No. 861. For the examples of this type see Hauser, Die Neu-Attischen Beliefs, p. 17. 2194. Frenzied Maenad. She advances on tip-toe to the left, with her head thrown forward. In her right hand she carries a knife behind her head, and in her left hand she holds the severed hindquarters of a kid swinging behind her. She has her hair drawn back under a cap, and wears a long tunic, with a diploidion, which leaves her left shoulder bare. A mantle, of which a fold is held in her right hand, flies about her. The sculptor, however, seems to have misunderstood the intention of the mantle, its folds being represented as continuous with those of the tunic. This relief has probably been inserted as a panel in some object of a decorative character, such as the base of a candelabrum, although in that case its original shape must have been different. Graeco-Eoman work. The type is one that frequently BACCHIC SUBJECTS. 257 occurs in the group of later Attic reliefs representing the orgies of the rout of Dionysos. Towneley Coll. Pentelic marble. Height, 1 foot 5 inches. Restored : right-hand lower corner. "Formerly belonging to Mr. Lock " (Town. Inv. Probably William Locke cf. Michaelis, Anc, Marbles, p. 92). Mus. Marbles, X., pi. 35; Ellis, Town. Gall., II., p. 103 (= Vaux, Handbook, p. 185); Welters, No. 1880; Grceco- Roman Guide, I., No. 140A; Mansell, No. 1475; Roscher, Lexikon,li., p. 2280 ; Hauser, Die Neu-Attischen Eeliefs, p. 14, No. 15. The principal example of the type (now in the Museum of the Con- servatori at Rome) avoids the confusion of drapery mentioned above. See Winter, 50es Programm zwn Winckelmannsfeste (Berlin), pi. 1, p. 97 ; Collignon, II., p. 648. For other examples of this Maenad type, see Hauser, loc. eit., Nos. 1-2, 4-7, 9-10, 14, 16, 17. 2195. (Plate XXV.) Fragment of a Dionysiac relief, which represents two nude Satyrs seated back to back on a rock ; between them is part of a stele, or pilaster. The Satyr on the right is beardless ; he leans back on his left arm, and looks up to the right ; his right arm, now broken away, has been raised towards a draped figure, the left foot of which remains resting on a high ledge of rock ; the right heel is seen below. The Satyr on the left is seated on a lower rock, and looks up to the left, leaning on his right elbow. His left arm, now broken away, has been extended to the left of the scene. Behind it is a sinking for a cramp. The Satyr on the right is seated on a panther's, the other on a lion's skin, strewn on the rock. Probably a work of the Hellenistic period. Temple Bequest. Parian marble. Height, 1 foot 5J inches ; length, 3 feet. Both this and the fragment of relief described below, No. 2196, were found at Cumae, and from the resemblance in style and subject it is probable that they both formed part of a larger com- position. Grceco-Roman Guide, I., No. 195 ; Welters, No. 1893 ; Schreiber, Hellenistische Reliefbilder, pi. 63, fig. 2. 2196. Fragment of relief: Ariadne (?), seated on a r*ock. VOL. III. T 258 CATALOGUE OF SCULPTURE. Her bead, now broken away, bas looked to tbe right ; ber body is turned to the left. She wears a fawnskin, and a peplos is wound round ber lower limbs. Her left hand rests on the upper ledge of the rock. Her right arm has been advanced and raised from the elbow, but the forearm, which was on a piece attached by a cramp, is broken away. Temple Bequest. Pentelic marble. Height, 1 foot 4J inches ; length, 1 foot 7 inches. Found at Cumae. Grceco-Boman Guide, I., No. 191 ; Schreiber, Hcllenistische Beliefbilder, pi. 63, fig. 1. Compare No. 2195. 2197. (I^S- 31.) Fragment of relief, with the upper part of the figure of a Maenad, reclining. A female figure, wearing a sleeveless chiton, ivy wreath and veil and armlet, reclines, resting on the left arm, which is supported by two cushions covered with drapery. The right hand, now lost, was extended and probably held a cup. The left holds a large thyrsus, which has sashes tied about it. A curtain is spread in the background. No. 2101 Fig. Hellenistic period. Marble. Height, 1 foot 1 inch. A drawing in the Dal Pozzo-Albani Collection (Dept. of G. & R. Antiqs., I., fo. 153) is inscribed " In casa d'Horatio Pacifici." Schreiber, Hcllentstiscfte Relief bilder, pls.^ 58, 58A. 2198. (Fig. 32.) Lower part of relief which has probably represented Theseus killing the Minotaur. The portions of this group extant on the fragment here described are the Tight thigh to below the knee, and the left thigh and DECOKATIVE BELIEFS. 259 leg of the Minotaur ; and the left leg with part of the left thigh of Theseus. The edge of drapery at the side of his knee shows that he wore a chlamys. The Minotaur kneels with his left knee on a rock, and stiffens out the right leg, in the attempt to resist Theseus, who may be supposed to have held a horn of the Minotaur with his Fig. 32. No. 2198. left hand, while his right hand was raised to strike with a sword or club. A wall, probably meant to represent the Cretan labyrinth, is seen at the back. Eocks form the ground ; below is a moulded frame. There is extant a smaller fragment of the same relief, now in the Museum of the Baths at Eome. It is probable that both it and the fragment here described were discovered in the Palace of the Caesars at Eome. The two fragments are combined in fig. 32 (after Schreiber). Presented by Charles Lambert, Esq., in 1812. Marble. Height, 1 foot 7 inches ; width, 1 foot 9f inches. Mus. Marbles, XI., pi. 48 ; Grasco- Roman Guide, II., No. 5 ; Mansell, No. 1283 ; Schreiber, Hellenistische Reliefbilder, pis. 26, 26A. 5199. Leda and the swan. Leda stands in a stooping position to the left, with bent knees. The swan clings to Ler thigh, arches his neck over her head, and bites her neck. T 2 260 CATALOGUE OF SCULPTUKE. His wings are fully spread out. Leda is nude except for some drapery which falls from- her knees to the ground. She has a taenia, and her hair is tied in a knot at the back of her head. 4th-3rd cent. B.C. (?). Purchased of Col. de Bosset, who obtained it at Argos in 1813. Marble. Height, 1 foot 8J inches ; width, 1 foot 5 inches. Mended, but not restored. Hughes, Travels in Greece, I., p. 227 ; Jahn, Arch. Beitrage, pi. 1, p. 6; Arch. Zeit., 1865, p. 49; Ellis, Town. Gall., II., p. 112; Overbeck, Kunstmythologie, II., p. 504; Atlas, pi. 8, fig. 22 ; Bull, dell' Inst., 1880, p. 67 ; Eoscher, Lexikon, II., p. 1930. A very similar but later relief is at Madrid. Arch, Zeit., 1865, pi. 198 ; Baumeister, Dcnkmaeler, II., p. 813. For representations of Leda, see Jahn, Overbeck and Roscher, II. cc. 2200. (Plate XXVI.) Circular disk with reliefs representing the destruction of the children of Niobe by Apollo and Artemis. The figures are irregularly disposed in four tiers, on a rocky background. In the top tier are (1) Artemis standing to the left, in short chiton and himation and boots, drawing her bow, which with her left arm is now lost; (2) Apollo kneeling to the right, nude except for a himation, and also drawing his bow, which is now lost, together with his head, right arm, and left knee. In the second tier are the following figures : (3) Nude youth standing, supporting with his right arm the kneeling draped figure of a girl, and holding out his mantle with his left arm as if for shelter from the arrows. The heads of both figures are wanting. (4) Wounded youth recumbent, leaning on his right hand, and drawing an arrow from his breast with the left hand. The head and both arms are wanting. (5) Slain Niobid lying on the rocks, with his legs higher than his head. Both arms are wanting. (6) Youth kneeling on rocky ground, with both arms raised and the body twisted as if wounded in the back. It is probable, from the replica mentioned RELIEF OF NIOBIDS. 261 below, that the hands were clasped together at the back of the neck. The head and arms are now wanting. (7) Of the figure on the right of this row, nothing remains except a right hand grasping the rock near the left foot of Apollo. In the third tier the figures are (8) Youth, who kneels on the right knee, with the left leg extended. The head is thrown back, the right hand clasps the back of the head, while the left arm rests on the thigh. (9, 10) Two daughters of Niobe, both dead, and lying at full length. One lies on her back, and the other on her face. They are both fully draped. (11) This figure, which is near the centre of the whole composition, may be that of Niobe herself. The only parts that remain of the figure are the himation, which she holds up above her head, and the right foot, which was extended. These parts agree fairly well with the statue of Niobe at Florence. On the other hand, the scale of the figure would be somewhat small. There seem to be traces of a child's foot on the rock before .her. (12) Of this figure nothing remains except the right leg from the knee, and some drapery. From the replica mentioned below, it appears that the complete figure was that of a girl fallen on her knees, with the head thrown back, the right arm raised, and the left hand pressed against the right breast. (13) This figure is preserved from the waist downwards, and is that of a girl moving to the right, and wearing a long chiton. (14) Of this figure, which is the last of the row, nothing remains except the foot and a fold of the drapery. The figure appears to have been that of a girl standing to the front. (15) The first group in the lowest row is that of the bearded figure, known as the paedagogue, and a child. The paedagogue stands to the front with the right arm raised and looking to his left. With his left hand he clasps the right hand of the child. He wears a short chiton 262 CATALOGUE OP SCULPTURE. girt at the waist and a large himation. The child in this case is a girl, with long drapery. (16) On the right is a slain Niobid, lying on the rocks, with all his limbs relaxed. The head and right arm are wanting. All the sons of Niobe are nude except for himatia, which partly cover the legs and fall over the rocks. Among the figures in this relief are several which are repeated elsewhere with an exactness which extends to the smaller folds of the drapery. The most important known works repeating the figures are the following: (A) Relief with seven figures or groups, formerly in the Campana collection and now at St. Petersburg. (B) Relief in the Villa Albani. (C) Relief formerly in the Palazzo Zambeccari at Bologna. (D) Relief formerly at Florence. (E) Relief in the Villa Ludovisi, in which the figure is ancient, the ground restored. (F) A series of terracotta reliefs from Kertch, now at St. Peters- burg. The figure of Artemis (No. 1) occurs on B; that of the slain Niobid (No. 5) on A ; that of the kneeling. Niobid (No. 6) on C, D ; that of the kneeling figure in the third row (No. 8) on A, B, F. The figure of the slain daughter of Niobe (No. 9) occurs also on A, but in this case we have a remarkable example of the adaptation of a single type to different purposes. On the Campana relief (A) this figure is erect and moves to the right with the right arm advanced. The figure of the girl (No. 12) occurs on A, and that of the slain youth (No. 16) on A and E. This persistent repetition of the various types proves that the figures must have been copied from a lost original of high reputation. It was independent of the famous group, now at Florence, representing Niobe and her children, although in certain points it may have been influenced by it. RELIEF OF NIOBIDS. 263 It is uncertain whether the original work was com- posed as a medallion group, as in the present copy, or whether it was in the form of a frieze, as on the other copies. It is more probable that it was in the latter form, as the figure of Artemis is best suited to the frieze composition. The present copy is of the Graeco-Roman period. The date of the original is uncertain. According to Heydemann it belonged to the end of the 4th century B.C., and may perhaps have been the group of Apollo and Artemis slaying the children of Xiobe which Pausanias (i. xxi. 5) saw in the cave behind the choragic monument of Thrasyllos (cf. vol. i., p. 257). It has also been suggested that the work is a copy of one of the ivory panels which decorated the door of the temple of the Palatine Apollo at Eome (Propertius, ii. xxxi.), but of this there is no evidence, although the . form is not unsuitable. Furtwaengler connects the reliefs with the group by Pheidias on the throne of the Olympian Zeus. Borne. Fine-grained marble. Diameter, 3 feet 1 inch. Bought of Castellani, 1877. Heydemann, Sachs. Berichte, Phil.-hist. Cl., 1877, p. 74. pi. 1 ; Murray, Greek Sculpture, II., p. 322, pi. 39 ; Baumeister, Denkmaeler, III., p. 1681 ; Academy, 1877, No. 273, p. 100 ; Hauser, Die Neu-Attischen Reliefs, p. 74; Overbeck, Griech. Kunstmythologie, IV., p. 292, and Sachs. Berichte, 1893, p. 58. [Overbeck denies the authenticity of the relief, but cf. Furt- waengler, Meisterwerhe, pp. 68, 738.] The replicas quoted above are as follows: (A) Stark, Niobe, pi. 3, fig. 1 ; Heydemann, Sachs. Berichte, 1877, pi. 5, fig. 1 ; (B) Zoega, Bassiril. ant., II., pi. 104'; Stark, pi. 3, fig. 3 ; Heydemann, pi. 5, fig. 2 ; (C) Heydemann, pi. 4, fig. 1 ; (D) Stark, pi. 4cr, fig. 2 ; Heyde- mann, pi. 5, fig. 3 ; (E) Heydemann, pi. 3 ; (F) Antiq. dn Bosp. Cimmgrien, pi. 67 = Stark, pi. 6 ; Compte-rendu (St. Peters- burg), 1868, pi. 2, fig. 5. 2201. Relief: Centaur carrying female figure, whom he clasps round the waist with both hands. The Centaur 264 CATALOGUE OF SCULPTURE. rears to the left, looking back to the right. He has Satyr's ears, and wears a panther's skin knotted round his neck. The female figure is clad in a long chiton, which leaves the left breast bare. She holds out her arms as if for help. Her drapery and the panther's skin are flying in the air to indicate the rapid movement of the Centaur. On the right is a tree, beyond which is seen a vase on an Ionic column. The ground (mainly modern) is rocky with stumps of trees. This group has been called Nessos and Deianira, but there is nothing to show that that incident is represented. The subject of this relief is that of several of the metopes of the Parthenon (cf. Nos. 313, 314, 318) and of groups on the frieze from Phigaleia, but the florid lines of the composition exhibit a strong contrast alike to the severe simplicity of the metopes, and to the somewhat greater elaboration of the frieze. The vase on the column is a not infrequent accessory on later Greek reliefs of a landscape character (cf. Schreiber, Hellenist. Beliefbilder, Nos. 9, 15, 40, 59, 60), but* the present work appears to be Graeco-Roman. Towneley Coll. Marble. Height, 1 foot 10 inches ; length, 1 foot 11 inches. Resto- rations (by Cavaceppi) : of female figure, right arm and part of left ; the four legs and tail of Centaur ; lower part of tree, and rocky ground. Formerly in the Verospi Palace at Rome. Mus. Marbles, II., pi. 15; Ellis, Town. Gall.,. II., p. 113; Grasco- Roman Guide, I., No. 157 ; Mansell, No. 862 ; Cavaceppi, Jtaccolta strewn, and stretches out her left hand to receive an Eros who is flying downwards holding out a lighted torch. (3) In the upper division the scene represents a proces- sion, headed by a male figure holding a branch and Avearing a short tunic and buskins. He dances to the right, looking back at an infant Dionysos mounted on a goat and wearing a nebris. Behind follows a bearded Silenus with a piece of drapery tied round his loins ; and the scene is closed on the left by a Maenad, who looks back, holding up in her right hand an oinochoe, and with her left drawing back the skirt of her garment, which a nude crouching figure, probably a Satyr, has seized with his right hand. She wears a loose flowing chiton, fastened on the left shoulder. The relief is probably incomplete at both ends, but the use to which it was applied is uncertain. Towneley Coll. Fine limestone. Height, 1 foot lOf inches ; width, 1 foot 8 inches. Restored : (1) arms of figure on left ; heads of next two figures ; right arm of figure on right ; (2) the body and left arm of Aphrodite, leg, hand, and torch of Eros, right arm of Triton, left foreleg and nose of bull, head and arm of figure on right; (3) the heads of all the figures, right arm and leg of figure on left, right shoulder and arm and left leg of Silenus, head and right leg of goat, right forearm and left hand (with part of branch) of figure on right. Mus. Marbles, II., pi. 9 ; Ellis, Tov:n. Gall., II., p. 146 (lower tier) ( = Yaux, Handbook, p. 242); G rceco-Soman Guide, II., No. 127 ; Baumeister, Denkmieler, III., p. 2142. This relief belonged to Pope Sixtus the Fifth, and was formerly in the Villa Montalto at Rome. 2210. Fragment of relief: An ox standing to the right under a pine tree. On the ground in front of him a sacrificial axe. Presented by S. Chambers Hall, Esq.. 1855. Parian marble. Height, 10 inches ; width, 1 foot 3 inches. Grceco- Roman Guide, II., No. 124 ; Arch. Zeit., 1855, p. 62*. 2211. Eelief: Cow drinking from a circular vessel while 270 CATALOGUE OF SCULPTURE. suckling a kneeling calf. The cow stands to the right on rough ground. Right horn and part of ear are wanting. Towneley Coll. Marble. Height, 8 inches; width, 1 foot. Mus. Marbles, II., pi. 16 ; Eilis, Town. Gall., II., p. 116 ; Grceco-Roman Guide, II., No. 125. 2212, (Fig. 34.) Belief, representing the conversion of new wine, mustum, into the decoction called defrutum. On the left a caldron on a fire of logs. A man kneeling, raises the lid of the caldron; his left hand is placed among tho logs to hold the caldron steady; the forearm is wanting. Behind him follows another figure, carrying a bundle of sticks, and advancing his right hand. Both these figures Fig. 34. No. 2212. have as their only garment a cloth tied round the loins. On the right is a nude man, pouring wine from an amphora into a second caldron. Another man approaches it from the opposite side, holding out an oinochoe to be filled ; his left hand is advanced. He wears a short chiton girt at the waist. Style late and bad. Towneley Coll. Parian marble. Height, 6J inches ; length, 1 foot 9 inches. Ellis, Town. Gall., II., p. 150 ; Grceco- Roman Guide, II., No. 128. 2213. Fragment from a relief representing a vintage. Two oxen are drawing a cart, to the right, on which is a large wineskin, supported by a sort of crate. In front of the MISCELLANEOUS RELIEFS. 271 oxen has stood a male figure, of whom the right arm, holding a goad, alone remains. At their side is another figure, standing under an archway, and advancing his right hand, as if awaiting the cart. His drapery leaves the left side bare. A dog follows the oxen. The wheel of the cart is a solid disk of wood, strengthened by cross- pieces. Sculpture rude, and late Roman. Parian marble. Height, 1 foot :.' inches; width, '2 feet. Grccco- Eoman Guide, II., Xo. 135. 2214. Fragment of relief, with a nude figure of a boy, leaning- over a large chest, and stretching down into it. The chest rests on ornamental feet, and has an open lid. Civita Lavinia. Presented by Lord Sauile, G.C.B., 1892. Marble. Height, 7J inches ; width, 6 inches. 2215. Relief. A boar is seated to right, and attacked by two hounds, which spring on its back from behind, and seize its head and flank. Sloane Coll. Marble. Height, 11 inches; width, 1 foot 2 inches. 2216. Fragment of the right-hand upper corner of a relief, with two oxen on rocky ground. Above in the angle, an overturned vase, and a miner's pick (?), used by a figure now lost. Roughly executed relief. Greek marble. Height, 7 inches. 2217. Relief, representing the visit of Priam to Achilles. Achilles is seated on a chair, on the left, with tunic, cuirass, cloak, boots, and taenia about his head. He holds his sword in the left hand, and his helmet lies beside him. Priam approaches from the right, in a supplicatory atti- tude, wearing trousers, sleeved tunic, and Phrygian cap. Between them stands a youthful attendant, wearing tunic 272 CATALOGUE OP SCULPTURE. and boots, and having a spear and shield. The work is late and rough. Towneley Coll. Parian marble. Height, 10 inches ; width, 1 foot 6| inches. Slightly mended in parts. Brought from Rome by Mr. Morison. Mus. Marbles, X., pi. 40, fig. 2 ; Ellis, Town, Gall., II., p. 134 (= Vaux, Handbook, p. 240). 2218. (Fig- 35.) Fragment of relief with the upper parts from the waist of two nude figures, male and female, reclining, with their bodies in opposite directions. Both heads look Fig. 35. No. 2218. to the left. Late work, roughly blocked out. Laconia. Inwood Coll. Marble. Height, 11 J inches; width, 1 foot 8 inches. Synopsis (1847), No. 431. 2219. Eelief, on a slab with a joint at each side and on the top. Two Tritons to the right; between them a dolphin. One Triton has a trident incised in the background, the other appears to carry a paddle. Kertch. Marble. Height, 2 feet 2 inches ; width, 3 feet 5 inches. Macpher- son, Ant. of Kertch, p. 50. (The paddle (?) is there rendered as wings.) 2220. (Fig- 36.) Torso of a Triton. Fragment of a very high relief, with the figure of a Triton, who appears to be MISCELLANEOUS RELIEFS. 2rt t) 7o moving to the left, with right arm extended. The head is wanting, together with both arms from the middle of the biceps. Below the hips of the figure are a flat bed and cramp holes which seem to show that the figure was in- serted in a plinth. The marine appen- dages, which sur- rounded the hips of the Triton, appear to have been added in bronze, to judge from the numerous drilled holes for bronze rivets. The relief has been connected with the remains of a marine relief recently found at Delos, but data are wanting for a comparison of the scales. It is wrought in a large and fine style, which may be compared with that of the giant frieze from Pergamon. Delos. Presented by Commander J. Murray, B.N., 1819. Pentelic marble. Height, 3 feet 11^ inches. Stuart, 2nd edition, IV., Section on Delos, pi. 4, fig. 3. Furtwaengler, Arch. Zeit., 1882, p. 365 ; Homolle, Bull, de Corr. Hellenique, 1884, p. 421. 2221. Head of a personified City in high relief, turned three- quarters to the right. She wears a wreath of ears of corn, with a rosette in the centre, and a mural crown. The nose is lost. The surface is only roughly finished. This VOL. in. u r. 36. No. 2220. 274 CATALOGUE OF SCULPTtBE. head appears to be that of the Tyche of some city rich in corn, such as Alexandria. 3rd cent. A.D. (?). Carthage. Marble. Height, 1 foot. From the excavations of Dr. N. Davis, 1859. For the corn wreath and mural crown combined on a coin of Alexandria, cf. Cat. of Greek Coins in Brit. Mus. } Alex- andria, p. 232, No. 1804. SEPULCHRAL MONUMENTS. The sepulchral monuments described in the following section are for the most part of a comparatively late period. The four examples, however, which are first described are works of a good period, recently acquired, and these are followed by several reliefs and fragments, also of Greek workmanship, but for the most part of minor interest, which were not included among the grave reliefs in Vol. I. of this Catalogue. The Greek reliefs are followed by Roman sepulchral reliefs (not being parts of sarcophagi or cippi) and minor Greek fragments. These are followed by Sepulchral Altars (2285-7), Sarcophagi and fragments (2295-2345), Chests and Cippi (2350-2394), Urns and Vases (2400-2430). GREEK SEPULCHRAL RELIEFS. 2230. Upper part of a sepulchral stele, with a female head veiled. Above is an acroterion ornament, consisting of an inverted palmette between two double volutes. This type of acroterion, in which there is no suggestion of the acanthus ornament, has its nearest parallel in early Attic stelae, such as that of Antiphanes (Conze, i., pi. 13). Compare also the antefixal ornaments of the Parthenon (Nos. 351-2). From Excavations at Amaihus (Turner Bequest}, 1894. Limestone. Height, 1 foot 3 inches. Excavations in Cyprus, p. 93, fig. 144. GREEK SEPULCHRAL RELIEFS. 275 2231. (Fig. 37.) Sepulchral relief of Glykylla. A woman, fully draped, wearing long tunic, a large mantle which passes over the back of the head and round the legs, and sandals, is seated on a low chair to right, with a footstool. The footstool is decorated with animal legs, and an ivy leaf. She holds up her left hand, and is engaged in adjusting a bracelet of spirally twisted work about her left wrist, with her right hand. A maid stands before her, keep- ing open with the right hand the lid of a casket which she holds in her left. The maid is dressed in long tunic and upper tunic, and has her hair closely rolled round her head. Inscribed Fig. 37. No. 2231. The relief is crowned by a simple pediment with small acroterial ornaments, but there are no side pilasters. Probably a work of the end of the 5th century B.C. Said to have been found at Thebes. Pentelic marble. Height, 3 feet J inch. Purchased, 1893. Joui-n. of Hellen. Studies, XIV., pi. 11, fig. 1 ; p. 267 (A. H. Smith); Arch. Anzeiger, 1896, p. 38 ; Mansell, No. 1474. 2232. Sepulchral relief, with mother, nurse and child. A woman, fully draped in sleeved tunic and mantle which passes over her head, is seated on a low chair to the left. V 2 276 CAtALOGtE Of SCtLPTUBfi. She holds an open casket in her hands, but is looking towards the group on the left. A standing maiden, draped in tunic and mantle, holds in her arms a young child, closely swathed. The composition seems to imply that the mother had died in child-birth, or not long after, leaving an infant to the care of a nurse. The relief is bounded by pilasters, surmounted by a pediment with acroterial ornaments. The architrave was inscribed, but only the termination . . . IAEO2 can now be read. The relief is in parts only blocked out. Attic work of about 400 B.C. Greek marble. Height, 2 feet ? inches. Found at Alphington House, Jersey. Purchased, 1894. Journ. of Hellen, Studies, XIV., pi. 11, fig. 2 ; p. 268 (A. H. Smith) ; Guide to Greek and Roman Antiquities, pi. 6, fig. 1 ; Mansell, No. 1115. 2233. Fragment of a sepulchral (?) relief, with a figure of a youth standing to the left. He stands mainly on the right foot, with the left drawn back, and leans forward heavily on his stick, which supports his right armpit. His cloak passes over the left arm, and under the right arm, where it covers the end of the stick. He looks down to the left, perhaps towards a seated figure of which a raised left arm remains, together with an indica- tion of a footstool. The relief is surmounted by a small pediment with an angle palmette, and a central acroterion, consisting of a palmette and volutes springing from faintly indicated acanthus leaves. Probably Athenian work of the fourth century B.C. Athens. Pentelic marble. Height, 2 feet 3 inches. Bought, 1901. Murray, Journ. of Hellenic Studies, XXII., pi. 1, p. 1 ; Guide to Greek and Roman Antiquities, pi. 6, fig. 2; Mansell, No. 1125. The fragment with the central palmette (presented in 1902 by J. Marshall, Esq.) seems to indicate the proportions of a votive relief. 2234* Fragment of relief. A male figure is seated on the GREEK SEPULCHRAL RELIEFS. 277 ground with the right leg extended, and with the left foot brought close to his body. He partly rests on the right arm, and holds out a chlamys on his extended left arm. The head, most of the right arm, the right foot and left hand are wanting. Behind is a trace of another figure. The figure is probably that of a warrior, wounded and sunk to the ground, who holds out his arm, trying to defend himself. It may have been part of a sepulchral relief of about 400 B.C. Athens. Strangford Coll. Pentelic (?) marble. Height, 11 inches ; width, 1 foot 1 inch. Com- pare the relief in the Villa Albani, Arch. Zeit., 1863, pi. 170. 2235. Female head in half relief, and hatf turned to the left. The head is bent slightly forward, but the eyes are looking upwards. The hair is gathered back in fine ripples from the face, and is confined in a cap, or perhaps an opisthosphendone, of which only a small part is seen. This head has been regarded as that of Iris of the east frieze of the Parthenon. It is, however, clear that it cannot come from that or any other figure on the Par- thenon frieze. It is no doubt a part of a fifth-century Athenian sepulchral relief. Presented by Dr. Lee (of Hartwell), 1862. Pentelic marble. Height, 6 inches. Formerly in the Athanasi Coll. No. 946. Smyth, Aedes Hartwellianae, addenda, p. 159 ; W. Lloyd, Trans. B. Soc. Lit., 2nd ser., VII., p. 49, pi. 3 ; Conze, Arch- Anzeiger, 1864, p. 224*, undAttische Grabreliefs, pi. 269, No. 1212. 2236. Veiled female head, broken off at base of neck; probably from a large sepulchral relief of the fourth century, with the head nearly in the round. Part of the left shoulder remains, showing the edge of the tunic, with the mantle falling over it. The end of the nose and the chin have been injured. Strangford Coll. Marble. Height, 1 foot 2 inches, Grceco- Roman Guide, II., No, 166 ; Mansell, No. 1490. 278 CATALOGUE OP SCULPTURE. 2237. Female head to the right, probably from a sepulchral relief of the fourth century. The hair is confined in a sphendone in front, and is brought over each ear to the back. Marble. Height, 2 inches. Bought from A. Biliotti, 1874. 2238. Fragment of relief, with a female head to the front. The hair is parted in the middle, and is brought in plaits several times round the top of the head. The nose is lost. 1st cent. A.D. (?). Athens (?). Elgin Coll. Fine Greek marble. Height, 7 inches. Synopsis, No. 241 (123) ; Ellis, Elgin Marbles, II., p. 127. 2239. Head, bearded, larger than life, from a relief to which it was slightly attached at the back. The head may bo from an Attic sepulchral monument. The nose and surface are mutilated. The hair is roughly blocked out. Late Attic work. Athens (?). Elgin Coll. Pentelic marble. Height, 11 inches. Synopsis, No. 243 (117); Ellis, Elgin Marbles, II., p. 118, No. 243 ("Hercules "). 2240. Sepulchral relief. A male figure, standing, draped in a mantle, holds out a bunch of grapes in his right hand, while a cock on the ground at his feet looks up to them. The top is wanting, and the surface is much worn away. Inscribed irapo8tTa(?) x a ANVJU AYP-AACEAN .APONKOCMIuu BIUJCANTA Fig. 38. No. 2243. 2244. Sepulchral relief. A female figure stands to the front, closely draped, wearing a long tunic, shoes, and a mantle 280 CATALOGUE OF SCULPTURE. which passes over the head and is wrapped round the arms. Beside her are a distaff and spindle, and below a large wool basket. On the right is a diminutive draped figure of a girl holding a casket. Inscribed IIdp/io>v 'OvatrtSos 6vydrr)p KoTrittS TTJV yvvatxa fivtas xa-pw ' x a W e - Apparently Parmon and (parentheti- cally) his daughter Kopias erect the stone in memory of the wife of Parmon. Above is a pediment containing a rosette, and having acroterial ornaments. Crete. Inwood Coll. Parian marble. Height, 2 feet 3J inches ; width, 1 foot 7 J inches. Greek Inscriptions in Brit. Mus., No. CCCLXXX. 2245. Upper part of a sepulchral relief. Within a panel is what remains, from the waist upwards, of a female figure seated, half turned to the left. A male figure stands on each side of her, and there is a fourth figure in low relief in the background. The relief is bounded by pilasters, surmounted by a Doric entablature with triglypbs and dentils. The heads are all mutilated. Late Greek work. Crete. Inwood Coll. Greek marble. Height, 1 foot 6 inches ; width 1 foot 4 inches. 2246. Sepulchral stele of Nouinenios. Within a sunk panel two figures advance rapidly to the right. The first figure (Noumenios) has a tunic girt at the waist and a flying cloak. The second figure, with a tunic only, is probably an attendant. Each carries a hunting spear on the left shoulder. Inscribed Nov/x^vio? 2ev^o[v] Avo-i- /xaxeu's. Seuthes is a Thracian name, and Noumenios was presumably a citizen of Lysimachia, at the neck of the Thracian Chersonese. The town was founded by Lysi- machus in 309 B.C., which gives an upper limit of date. The lettering is of the third century B.C. Obtained from GREEK SEPULCHRAL RELIEFS. 281 Pergamon. Presented by Baron Ferdinand de Roth* schild, M.P., 1897. Greek marble. Height, 1 foot 4f inches; width, 1 foot inch. Perdrizet, Bull, de Corr. Hellenique, XXIII., p. 558. 2247. Fragment of a sepulchral relief containing the foot of a standing figure and the lower part of a diminutive figure of a boy, standing, wearing a short tunic. Inscribed 2p]a7rtW xprja-Te X a 'P c> Parian marble. Height, 8 inches ; width, 11 inches. 2248. Fragment of a sepulchral relief. A male figure standing, wearing a chiton and mantle, clasps the hand of a woman, seated to the right on a chair with a foot- stool. She wears a long chiton and mantle. The heads of both figures are lost. By the side of the chair is a diminutive figure of a girl holding a casket. The relief is bounded by pilasters which were originally surmounted by an arch. Inscribed EuTropto, A^/Ar^r/Jibu 'AvTio^(tcr(o-)a, yw(r^) 8c EVVIKOU, xpyo-ri] /cat aAuTre \alpc. Greek marble. Height, 1 foot 5 inches ; width, 1 foot 4 inches. Ellis, Town. Gall., II., p. 165. 2249. Fragment of a sepulchral relief, with the lower part of a panel and the feet of a figure standing to the front. Inscribed AOTJ(KIOS) 'lovX(tos) Tpo[a]Tou, Xtc, XPWT* ^aipc. The stele is fixed by a projecting tongue of stone in a rectangular plinth. Ehenea. From Lord Belmore's Coll. Parian marble. Height (with plinth), 3 feet J inch ; width, 1 foot 5 inches. C.I.G., 2315. 2251. Fragment of a sepulchral relief, with the feet of a standing figure, within a sunk panel. Beneath is the inscription 'lovvt'ov Sw^o/Aevoi). Cnidos. Fine Greek marble. Height, 11 inches. Obtained by C. T. Newton, 1859. Greek Inscriptions in Brit. Mus., No. DCCCLXXII. 2252. Fragment from the left-hand side of a relief, with the torso from the neck to the knees of a figure in armour. He wears a cuirass with two sets of flaps above a short tunic, a chlamys and a sheathed sword. On the upper part of the cuirass are aegis-like scales. Rhodes. Marble. Height, 1 foot 7 inches. Found near the city of Rhodes. Obtained by C. T. Newton, 1854. Arch. Zeit., 1854, p. 485, No. 6. 2253. Sepulchral relief. In a sunk panel a girl is seated on a chair with a footstool to the right. She leans forward and rests her right elbow on her lap, while her left hand holds the edge of her veil. The stele is surmounted by a pediment, with roughly indicated acroteria. It is fixed by a projecting tongue of stone in a rectangular plinth. Inscribed . . . x/ 3 ] 7 ? " 1 ^ X a 'P e - Late Greek work. Parian marble. Height (with plinth), 2 feet 4J inches ; width, 1 foot inch. 2254. Sepulchral relief. A youth, who wears a chiton and mantle, stands clasping the hand of a man similarly RELIEFS FROM KERTCH. 283 draped, who is seated to the right. Above is a pediment, with acroteria. Inscribed in late lettering Mdpwv XPW"* X"-P - Temple Bequest. Limestone. Height, 1 foot 4^ inches ; width, 9 inches. 2255. Upper part of a sepulchral relief. A bearded figure stands to the front, wearing a tunic, and a mantle wrapped closely about him. Cut off at the knees. Late Graeco-Eoman work. Inscribed KX. A ... Parian marble. Height 1 foot 10 inches ; width, 1 foot. 2256. Fragment of a sepulchral (?) relief, with two hoofs of a horse, and the paw of a lion. Inscribed . . . s -n-ptar ... | ... vpuai . . . Fine Greek marble. Height, 3J inches. C. I.G., 7025. 2257. Sepulchral relief. A horseman, wearing chlamys and bowcase (gorytos), rides slowly to the right. The relief is bounded by pilasters, slightly sketched, and a pediment which is surmounted by acroteria, and contains a rosette. There are remains of an inscription . . . OT[^]S e . . . Kertch. Limestone. Height, 2 feet inch ; width, 1 foot 7 inches. Greek Inscriptions in Brit. Mus., No. CCIV. ; Latyschev, II., 279. 2258. Fragment of sepulchral relief, containing the lower part, from the breast, of a woman standing, wearing a chiton and a mantle in which her arms are wrapped. On the left a girl stands with a casket. Inscribed AaiXu>TJpa, 4>tAa>Tou Ovydnjp, ywr) Se 'Hov nap[o]8[iTa x]"tp] ' Kertch. Limestone. Height, 1 foot 9 inches ; width, 1 foot 8J inches. Greek Inscriptions in Brit. Mus., No. CXCIV. ; Latyschev, II., 261. 2269. Sepulchral relief, of which the top is lost. A woman, wearing a long chiton and mantle, stands leaning left elbow on a column, with left hand under her chin. Her right hand is wrapped in the mantle, before her body. The head is wanting. On the right a girl (head wanting) stands holding a casket. At the sides are pilasters. The inscription, which has been obliterated and reinscribed, runs ^vxaptWos ' AyaOoK\tia<> x[<"p] ' This is followed by- fragments of an elegiac epitaph, in which the words can be read : ... KCU cu/cXci^s ... /A' e\a\ov s, cv 8e. . .. Kertch. Limestone. Height, 3 feet; width, 1 foot 11^ inches. Greek In- scriptions in frit. Mus., No. CXCV. ; Latyschev, II., 1 12. 2270. Fragment of a sepulchral relief containing the lower part, from the waist, of a woman, wearing a long tunic, mantle and shoes, and seated on a throne with orna- mental legs and a footstool. On the left a girl stands GREEK SEPULCHRAL RELIEFS. 287 Inscribed ^v^r) yvvr) BpaSaKov, x a V e ' with a casket. Kertch. Limestone. Height, 2 feet 1 inches ; width, 1 foot 10 inches. Greek Inscriptions in Brit. Ifus., No. CXCVI. ; Latyschev, II., 266. 2271. (Fig. 39.) Sepulchral relief. Two bearded figures in civil costume stand to the front within a lunette. The figure on the left holds a cake (?) in his right hand over a flaming altar, and has a scroll in his left hand. The figure on the right places his right hand on a heap of armour, con- sisting of a shield, sheathed sword and helmet. Inscribed with an epitaph, partly met- rical : v ApT?9 nATCAMeNOCCTPATIACAPHCAPHinAPeAUKEMOnAA KAIOPATlMtkATAAri-ACTAYTAeiCeTCPONKOCMONAKOCms (rrpaTiav TO.VTO. is erepov /cooyxov axocruov a.ireXr)Xv6e ,^ / / N Fig. 39. No. 2271. OTTOV ovoev vrrapx^cji et /XT) /xo'vov O-KOTIT/. LK^. A soldier named Ares bas died at the age of twenty-nine. 2nd cent. A.D. (?). Marble. Height, 1 foot 10 inches ; width, 1 foot 3J inches. 2272. Sepulchral relief. Male and female busts to the front, side by side. The female figure has a coil of hair round 288 CATALOGUE OF SCULPTURE. her head. Both wear tunics, and a mantle, part of which passes over the left shoulder. Inscribed . . ./SoAis 'loBpavov 'AriXia EvTi>xi|Si ry (rv/u,/3t(i) xrJs \dptv. Presented by the Eev. G. T. Hudson, 1870. Marble. Height, 2 feet 1J inches ; width, 1 foot 5 inches. Found in the Thames, and thought to have come from the Earl of Arundel's collection of marbles. 2273. Bust, to the front, of a beardless man, with short hair and draped shoulders. The subject is treated as a relief. Inscribed on a tablet below : HoTrXios KoAXi/Aa^ou. L- A H i.e., " Publius, son of Callimachos. In his 38th year." For the year symbol L compare Nos. 656 and 2271. Eough work. From a tomb near Benghazi. Marble. Height, 1 foot J inch. Obtained from Vice-Consul Crowe, 1861. ROMAN SEPULCHRAL BELIEFS. 2274. (Plate XXVII.) Roman sepulchral relief. Within a sunk panel are a man and woman standing, with their right hands raised and clasped. The man is beardless, with thin features of a portrait character. He wears a tunic, toga and sandals. The woman has a long tunic girt at the waist, a mantle and sandals. The head, with its unantique arrangement of the veil, is modern. Inscribed on each side with the name of one of the parties, followed by couplets in which each, speaking in the first person, describes the other. [Au]relitt8 L. I. \H~\ermia [la]nius de colle Viminale. [H]aec, quae me faato praecessit, corpore casto [C]oniunxs una meo praedita amam animo [Fi]do fida viro veixsit, studio parili qum Nulla in avaritie cessit ab officio. Alurelia L. I.. SlilTLCHRAL RELIEFS. 289 Aurelia L. I. Philematio. Viva Philematium sum Aurelia nominitata, Casta, pudens, volgei nestia,feida viro. Vir conleibertus fuit eidem, quo careo cheu ! Ree fuit ee vero plus superaque parens. Septan me naatam annorum gremio ipse recepit, xxxx annos nata necis potio[r] llle meo officio adsiduo florebat ad o[mnis^ . . . The opening is- a correction by Fabretti for the impos- sible restoration added early in the seventeenth century and recently removed from the stone, which ran [Au~\reUus L. l.\[Fil]ermia\[En]nius, etc. 1st cent. B.C. Rome. Blacas Coll. Italian marble. Height of slab, 1 foot 11 inches; width, 3 feet 5 inches. For restorations see above. The relief was found about 1593 in a tomb in the Via S. Agnese fuori le Mura, or Via Nomentana. So Cittadini, Trattato dell' origins della nostra linyua (1601), fo. 29 ; Brit. Mus. Add. MS. 18,399, fo. 38 ; " ria antiqua Nomentana repertum, in Maio 1592, propc muros, in vme Xtupe, >?