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 UNIVERSITY OF CALIFORNIA. 
 
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SPECIMENS 
 
 FROM 
 
 THE NAPLES MUSEUM. 
 
SPECIMENS 
 
 FROM 
 
 THE NAPLES MUSEUM. 
 
 ONE HUNDRED AND SIXTY-EIGHT PLATES 
 
 ENGRAVED ON COPPER BY THE BEST ITALIAN ARTISTS, 
 
 ILLUSTRATING 
 
 FOUR HUNDRED AND SIXTY-FOUR OBJECTS FROM EVERY BRANCH OF 
 
 ART AND ARCHAEOLOGY. 
 
 BY 
 
 DOMENICO MONACO, 
 
 CURATOR OF THE NAPLES MUSEUM. 
 
 WITH DESCRIPTIVE LETTERPRESS, CAREFULLY REVISED AND AMPLIFIED 
 FROM THE BEST AUTHORITIES, 
 
 BY 
 
 E. NEVILLE ROLFE, ESQ., B.A., 
 
 HEACHAM HALL, ENGLAND. 
 > 0^ THR - 
 
 university] 
 
 LONDON: 
 
 PRINTED BY WILLIAM CLOWES AND SONS, Limited, 
 
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 1884. 
 
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 Ancient Frescoes ............. 2-31 
 
 Mosaics 32-38 
 
 The Statuary . 39-73b 
 
 The Large Bronzes .............. 74-99 
 
 Glass and Terra-cotta 100-104 
 
 The Gems 105-113 
 
 The Small Bronzes ............. 114-142 
 
 Italo-Greek Vases 143-150 
 
 The Papyri \ 151 
 
 Middle Ages .............. 155-167 
 
Price 35 francs (postage extraj. 
 From D. Monaco, 21 Arena Saniia, Naples. 
 
Introduction 
 
 In offering a New Edition of my illustrated Album of the finest Specimens in 
 the Naples Museum, I desire to thank my patrons for the success which I have 
 achieved in the former Editions, and to assure them that nothing shall be 
 wanting on my part to secure a continuance of their kind patronage. 
 
 The letterpress to this Edition has been carefully revised for me by 
 Mr. Neville Rolfe, who so kindly prepared the last English Edition of my 
 Handbook to the Museum, and at his suggestion I have inserted from the best 
 authorities a summary of the various legends and historical facts connected with 
 the plates, which cannot but make the work instructive as well as entertaining. 
 
 I desire especially to acknowledge the valuable assistance received in 
 compiling the letterpress from the works of Dr. Smith, Lempriere, Ramsay, 
 and Quaranta. 
 
 DOMENICO MONACO, 
 Curator of the Naples Museum. 
 
 21, Arena Sanita, 
 Naples. 
 
THE NAPLES MUSEUM. 
 
 1. The Museum. South Front.; — The build- 
 ing which is now known as the National 
 Museum of Naples has passed through many 
 vicissitudes. It was originally intended for 
 a stable, and was begun in 1586, but owing to 
 the deficiency of the water supply it was left 
 unfinished till 1610, when it was prepared for 
 the use of the University. Subsequently the 
 Law Courts held their sittings there, and in 
 the revolution of 1701 it was turned into a 
 barrack. It was not till 1790 that the upper 
 floor "and the grand staircase were built by Fer- 
 dinand IV., who then made a museum of the 
 building and placed in it all the specimens 
 found in the various excavations of the neigh- 
 bourhood, as well as the splendid collection of 
 antiquities which had been inherited from the 
 Farnese family by Elizabeth, the mother of 
 the Bourbon King, Charles III. 
 
 The Bourbons of Naples were generous 
 
 benefactors of the Museum, which they de- 
 clared to be their private property under the 
 name of the Real Museo Borbonieo. 
 
 General Garibaldi, when Dictator in 1860, 
 proclaimed the Museum, and the excavations 
 generally, to be national property, and caused 
 the latter to be more actively carried on. 
 
 On the accession of Victor Emmanuel II., 
 the Museum was reorganised, and important 
 additions were made to its contents, which were 
 then classified by the accomplished archaeologist, 
 Professor Fiorelli, who for many years has 
 occupied the important position of head of 
 the Boyal Commission for arranging and super- 
 intending all the excavations of antiquities in 
 Italy. 
 
 The Museum contains about a hundred and 
 twelve thousand specimens, which are being 
 daily added to, and ranks among the first of 
 the world. 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
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 RESCO.ES. 
 
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 These pictures represent various historical 
 scenes and mythological legends and person- 
 ages, gathered from the writings of ancient 
 historians and poets, and though they are 
 frequently deficient in technical skill, are of 
 admirable artistic merit. 
 
 The Pompeian painters had the great power 
 of bringing out the essential points of their sub- 
 ject, the tout ensemble of the idea they desired 
 to convey, by free execution, harmonious 
 grouping, and ease of pose, so that we look 
 over their errors of perspective and hardly 
 notice them. The familiarity which their 
 gladiatorial contests gave them with the 
 human form and the human face in circum- 
 stances of extreme emotion, is clearly seen in 
 their paintings, which thus had every chance 
 of being superior to those of our own artists, 
 whose experience is mainly derived from pro- 
 fessional models. 
 
 Again, the draperies worn by the ancients 
 were much more graceful than those of modern 
 Europeans, which accounts for the success 
 with which the Greeks could paint a waving 
 garment, a thing with which they came in 
 contact in everyday life, and we seldom or 
 never see. The same argument does not 
 apply to landscape painting, in which they 
 were never successful. They used it to 
 decorate their smaller rooms, to a limited 
 extent, but the want of perspective was fatal 
 to success. 
 
 These pictures served to a great extent the 
 purpose of our books in recording the myths 
 with which every educated Eoman was ex- 
 pected to be familiar. The Museum contains 
 
 upwards of a thousand of them, some of which 
 have retained their colours admirably, though 
 they have lain buried in volcanic ash for 
 eighteen hundred years. 
 
 These colours, some of which were found 
 unused at Pompeii, were subjected to an 
 analysis by Sir Humphry Davy at the request 
 of the Bourbon Government, and were found 
 to be composed of the same materials as the 
 pigments we use in the present day. 
 
 Our plates will revive the recollection of 
 some of the best of these paintings in the 
 minds of those of our readers who have visited 
 the Museum, and the letterpress gives, besides 
 a description of the picture, a summary of the 
 legend which it represents. 
 
 2. Telephus fed by the Hind. He is suck- 
 ing the hind, who turns her head to caress 
 him. His father Hercules, with his attributes 
 and crowned with ivy, stands on the right. 
 A winged Fame alights beside him, her head 
 crowned with olive, and points out Telephus to 
 his father. On a rock sits a majestic woman 
 crowned with fruits, the protecting goddess of 
 the forsaken boy. Sear her is a basket of 
 grapes and pomegranates : a merry Faun is 
 behind her, holding a panpipe in his hand. 
 Hercules has at his side an eagle and a lion. 
 (7 ft. X 6 ft.) (Hereulaneum.) 
 
 Telephus was the legendary King of Mysia and a 
 son of Hercules. He was exposed in his infancy 
 on Mount Parnassus, hut his life was preserved hy 
 a doe which suckled him. He married Laodice, 
 a daughter of Priam ; fought against the Greeks, 
 and was mortally wounded by Achilles, who cured 
 him with the rust of his spear at the request oi 
 Ulysses, who knew that Troy could not be taken 
 
SPECIMENS FEOM THE NAPLES MUSEUM. 
 
 without the assistance of one of the sons of 
 Hercules. From motives of gratitude Telephus 
 joined the Greeks, and fought against his own 
 father-in-law. 
 
 3. Theseus in Crete. A very fine picture 
 in composition and execution. In the centre, 
 Theseus with his knotted stick; around him, 
 the young Athenians who had been sent to be 
 devoured by the monster, expressing their 
 gratitude to their deliverer. One kisses his 
 hands, another his feet ; while the bull-headed 
 Minotaur lies dead at the entrance of the 
 labyrinth. Ariadne is seated on a rock in the 
 background. (1739. Herculaneum.) 
 
 Theseus, King of Athens and son of iEgeus, was one 
 of the most celebrated heroes of antiquity, and the 
 legends of his prowess are very numerous. 
 
 He was sent to Crete among the seven youths whom 
 the Athenians contributed annually to be devoured 
 by the Minotaur. 
 
 By the assistance of Ariadne (who gave him a clue 
 to the labyrinth) he slew the monster, and sailed 
 from Crete with Ariadne and the youths he had 
 rescued. He was driven by the winds to Naxos, 
 where he basely abandoned Ariadne, and returned 
 to Athens, which he entered with black sails, thus 
 causing the suicide of jEgeus, who thought the 
 expedition had been unsuccessful. 
 
 4. Achilles detected. Achilles in the 
 palace of Lycomedes, detected by Ulysses. 
 Achilles with his right hand grasps the sword, 
 and with the left the shield. On the ground, 
 a helmet, mirror, and vase. Ulysses, who 
 wears a long beard, stays the young man's 
 arm. On the other side of Achilles, the young 
 Ajax, or Diomede, seizes his arm. The pretty 
 Deidamia is seen behind. On the other side, 
 Lycomedes looking severely at his daughter. 
 In the background, two warriors. (4 ft. 7 in. x 
 3 ft.) (Pompeii.) 
 
 Thetis, to prevent Achilles from going to the Trojan 
 war, where she knew he would be slain, sent him 
 to the court of Lycomedes, where he was disguised 
 as a girl. Ulysses, desiring to find him out, went 
 to the court as a pedlar, and exposed jewels and 
 arms for sale. Achilles at once chose the arms, 
 which discovered him to Ulysses. 
 
 5. Chiron and Achilles. The Centaur, 
 seated on his hind legs and wearing a skin 
 over his shoulders, is teaching his youthful 
 pupil to play the lyre. The details of this 
 picture are admirably executed, and it is 
 esteemed one of the finest of the collection. 
 (4 ft. 1 in. x 4 ft. 4 in.) (1729. Herculaneum.) 
 
 6. Ariadne and Bacchus. This picture re- 
 presents Ariadne, after her desertion in Naxos 
 by Theseus, being found by Bacchus and his 
 retinue. She is sleeping gently on a soft bed. 
 Cupid, seizing the opportunity of the flight of 
 Theseus, leads Bacchus to the sleeper. Fauns, 
 Silenus, and other figures make up the picture. 
 (3 ft. 11 in. x 3 ft. 6 in.) (1748. Herculaneum.) 
 
 7. Galatea seated on the back of a Triton, 
 who is playing the lyre. Her dress is held up 
 by two Cupids, and in the background are two 
 figures personifying the Zephyrs. On the tail 
 of the Triton sits a Cupid playing the tibia, and 
 a nymph bearing an amphora accompanies the 
 group. (House of Ariadne, Pompeii.) 
 
 Galatea was a sea-nymph who was passionately 
 loved by the Cyclops Polyphemus, whose addresses 
 she rejected in favour of those of Acis, a Sicilian 
 shepherd, whom she loved devotedly. 
 
 8. The Sacrifice of Iphigenia. This is the 
 most important and the best preserved picture 
 .of the collection. It represents Agamemnon, 
 with his face covered, weeping. by a statue of 
 Diana, and Iphigenia being dragged off to 
 sacrifice. On the right, Chalcas, at the altar, 
 holding a sacrificial knife, and a tourniquet to 
 bind the victim. In the sky, Diana appears 
 with her bow; and on the left, one of her 
 virgins holding a stag, which the goddess 
 caused to be substituted for the maiden. 
 (4 ft. 8 in. x 4 ft. 6 in.) (House of the Tragic 
 Poet, Pompeii.) 
 
 The legend ran, that the Greek fleet having been 
 detained by a storm on its way to Troy, Chalcas 
 ordered Agamemnon to sacrifice his daughter. 
 She was accordingly taken to Aulis (Negropont) 
 on pretence of marrying her to Achilles, and at 
 the moment of sacrifice was saved by Diana, who 
 took her to Tauris, where she became one of her 
 virgin priestesses. 
 
 Besides its surpassing artistic merit, this picture has 
 a special historical interest. Parrhasius and 
 Timanthes, two very celebrated Greek painters 
 (b.c. 400), had a competition at Athens, which 
 was decided in favour of Timanthes, who chose for 
 his subject the sacrifice of Iphigenia, and expressed 
 the agony of Agamemnon by concealing it, just as 
 the Pompeian painter has done in the picture 
 before us. The judges awarded him the prize, not 
 because he had executed a skilful piece of artistic 
 legerdemain, but because he had followed the true 
 principle of Greek art, that nothing but the 
 beautiful should be painted, and the agony of a 
 father was beyond dignity of expression. The 
 picture shows us that this story was known to the 
 Pompeian artist. 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 It seems possible that the story of Iphigenia may 
 have been a corruption of the sacrifice of Isaac 
 (Gen. xxii. 13), and of the story of Jephthah's 
 daughter (Judges xi. 34-37). See, too, iEschylus, 
 * Agamemnon,' 104, and Racine's ' Iphigenie.' 
 
 9. CabitA Gkeca. This picture represents 
 the life of Cimon being saved by the devotion 
 of his daughter Perone. It has proved a 
 favourite subject to the painters of all ages, 
 and is often known as the " Carita Bomana." 
 (3 ft. x 2 ft.) (Pompeii.) 
 
 10. The Thkee Parts of the Ancient 
 World. Europe (without attributes) is seated 
 on a throne as mistress of the world, covered 
 with a conical canopy, held up by a female 
 figure standing behind her, who is thought 
 to represent the fourth continent, of which, 
 perhaps, the Greeks suspected the existence. 
 On the right, Africa is represented, as a negress 
 holding a tusk. On the other side, Asia, 
 having a head-dress of elephant scalp. In the 
 background is a ship in full sail, typical of 
 the means whereby the different continents 
 were united. (3 ft. 7 in. x 4 ft. 2 in.) 
 (Pompeii.) 
 
 11. Helen and Paris seated together. 
 Beside them two Cupids, one of whom holds 
 the apple of discord. (Pompeii.) 
 
 12. Leda and the Swan. This is a picture 
 of remarkable expression, showing the court- 
 ship of Jupiter (assisted by Eros) and Leda 
 (1 ft. X 1 ft. 6 in.) (Stabiw.) 
 
 Jupiter assumed the form of a swan, and persuaded 
 Venus to assume that of an eagle, and to pursue 
 him. He took refuge in the arms of Leda, who 
 was bathing in the Eurotas.and who subsequently 
 became the mother of the twins Castor ana 
 Pollux. 
 
 13. Medea meditating the murder of her two 
 children, holding a drawn sword. The children, 
 unconscious of their impending fate, are play- 
 ing at knucklebones. An old man in a door- 
 way looking on. A very famous picture, 
 displaying the hesitation of the mother at the 
 prospect of the crime. The colours are wonder- 
 fully vivid, and the artist has hit off the group- 
 ing with great dexterity. (4 ft. x 3 ft. 3. in) 
 (Pompeii.) 
 
 Medea was a celebrated magician, who married 
 Jasou, after assisting him to obtain the golden 
 
 fleece. She subsequently became jealous of the 
 love of Jason for G-lauce, and to revenge herself 
 slew his two sons before his eyes, and escaped from 
 him through the air on a chariot drawn by winged 
 dragons. 
 
 14. A Pillar, from the fountain of the shop 
 of the Fuller. (4 ft. 6 in. X 3 ft.) (Pompeii.) 
 
 On two sides of this pillar are four separate 
 paintings, representing the different operations 
 of the fuller's craft. On the right, a young 
 man bearing a large cage for drying cloth, 
 upon which an owl is perched, bears a brazier 
 in his right hand. An apparatus of this kind 
 is used to this day in Italy. The brazier 
 (sealdino) is lighted and hung from a hook at 
 the top of the cage, over which the damp cloth 
 is spread. 
 
 The picture to the left represents a young 
 man scrubbing a piece of cloth which is hung 
 on a pole ; and the mistress of the establish- 
 ment, wearing fine bracelets and necklace, and 
 having her hair bound up in a golden net, is 
 receiving a piece of cloth from a girl : while 
 in a row below are four lads fulling cloth with 
 their feet, in metal vats. 
 
 It is conjectured that the washing of Pompeii was all 
 done by the Fullers. They seem at any rate to 
 have been a wealthy and powerful community. It 
 will be remembered that they erected the statue of 
 Eumachia in the Exchange at Pompeii. 
 
 15. Sporting Genii, gracefully painted. 
 The upper picture represents a game of hide 
 and seek ; and the lower, two Cupids fishing. 
 (1 ft. 3 in. x 9 in.) (Herculaneum.) 
 
 16. Eope-dancees. The upper part of this 
 plate represents two rope-dancers — figures 
 selected from several found in the House of 
 Frugi at Pompeii. It would appear that the 
 art of rope-dancing was carried to great per- 
 fection in those times, as the dancers repre- 
 sented are performing a variety of feats and 
 are posed in numerous graceful attitudes. Our 
 plate shows one playing the lyre, and another 
 bearing the thyrsus of Bacchus, which may 
 have served as a balancing pole. (1 ft. 7 i n . 
 X 9 in.) (House of Frugi, Pompeii.) 
 
 Caricature. A parrot drawing a go-cart 
 driven by a grasshopper. A satire on the 
 stronger being driven by the weaker. Some 
 have referred this to the influence of Seneca 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 over Nero; others, with more reason, have 
 seen in the grasshopper the famous witch 
 " Locusta," who provided Nero with the poison 
 to murder Britannicus, and supplied the 
 Koman ladies with the means of getting rid of 
 their husbands. (1 ft. 5 in. X 8 in.) (Hereu- 
 laneum.) 
 
 17. The Three Graces. A good example 
 
 of this favourite subject of ancient painters 
 
 and sculptors. (1 ft. 10 in. x 1 ft. 9 in.) 
 
 (July 28, 1814. Pompeii.) 
 
 The three Graces, Aglaia, Thalia, and Euphrosyne, 
 were daughters of Venus and Jupiter. They were 
 looked upon as emblems of kindness and innocence, 
 and were worshipped in common with the Muses. 
 
 18 to 21. Four pictures selected from the 
 thirteen famous dancing girls of Pompeii. The 
 artistic merit of these pictures is incontestable. 
 They are exact in execution, complete in finish, 
 graceful in movement, and perfect in design. 
 It seems probable from their attributes that 
 they were intended for Bacchantes. 
 
 The first is playing the tambourine, still 
 the favourite instrument of the Neapolitan 
 people ; the second is gracefully striking the 
 small, or harmonious cymbals ; the third is 
 dancing ; and the fourth is holding a dish in a 
 graceful attitude. (9 in. x 7 in.) (House of 
 Frugi, Pompeii.) 
 
 22 to 24. Three Monochromes, or pictures 
 painted in a fine red line on marble. They 
 are believed to be unique specimens of this 
 style of ancient art. 
 
 Our first plate represents the most perfect 
 and the most important of them. An inscrip- 
 tion on it shows that it was painted by Alex- 
 ander of Athens, and it represents the five 
 daughters of Niobe, each one bearing her 
 name in Greek: Latona, Niobe, Hilearia, 
 Phoebe, and Aglaia — Hilearia and Aglaia are 
 playing at knucklebones. (1 ft. 5 in. x 1 ft. 3in.) 
 (Herculaneum.) 
 
 The next plate shows the Centaur Euristheus, 
 who, having been invited with his companions 
 to the wedding of Pirithous, attempted to 
 carry off Hippodamia ; when Theseus, who was 
 present at the nuptial banquet, punished his 
 attempt by killing him. (1 ft. 8 in. x 
 1 ft. 1 in.) (Herculaneum.) 
 
 Our third plate represents three female 
 actors wearing tragic masks, and is, no doubt, 
 a scene from one of the ancient Greek plays. 
 (1 ft. 6 in. X 1 ft. 1 in.) (Herculaneum.) 
 
 25. A Woman selling Cupids. The beauty 
 of the composition of this picture and its sub- 
 ject have always attracted much attention from 
 good judges of art. 
 
 The scene is an interior. On the right is a 
 woman seated on an ottoman, dressed in yellow, 
 having her head covered with a reddish hood. 
 This woman is Penia, the goddess of Poverty, 
 the mother and nurse of Love; her three 
 qualities are expressed in the picture. 
 
 She is holding a little Cupid by the wings, 
 just taken out of a cage. The Cupid is stretch- 
 ing out his arms towards the woman opposite 
 to him. This may be interpreted Desire. 
 Within this cage another little Cupid begins 
 to move and fret ; perhaps Desire still con- 
 fined, which begins to get a glance at the 
 beautiful and to long after it. This may be 
 interpreted Appetite. A third Cupid, quite 
 naked, stands by the knees of the handsome 
 Venus wrapped in a sky-blue mantle, gazing 
 on her intently : this would signify Possession. 
 Behind her, Peiiho (Persuasion) placing her 
 hand on the shoulder of the goddess. (8 in. X 
 11 in.) (Stabim, 1758.) 
 
 26. Nereid. A nymph lying on a sea- 
 panther with a fish's tail, and pouring him 
 some water to drink as he bears her along : 
 her figure is symmetrical, and the whole com- 
 position is skilful. (3 ft. x 2 ft.) (April 1870. 
 Stabile.) 
 
 27. A similar picture, drawn with equal 
 grace and good taste. It represents a Nereid 
 on a sea horse, which she holds with a single 
 rein. She wears a bracelet and a gold chain. 
 (2 ft. 6 in. X 1 ft. 7 in.) (April 1760. Stabile.) 
 
 28 to 31. Four groups of Centaurs of great 
 beauty. (12 in. X 9.) (House of Frugi, Pompeii.) 
 
 The first plate represents a Centaur with 
 his hands tied, bearing a beautiful nude 
 Bacchante, who urges him to full speed with 
 her thyrsus. 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 The second, a Centaur bearing a thyrsus 
 with cymbals, and teaching a youth to play 
 the lyre. 
 
 The third, a female Centaur of surprising 
 beauty, playing the lyre and striking a cymbal 
 
 against another held by a young man who 
 clings to her. 
 
 The fourth, a female Centaur embracing the 
 young . man whom she carries, giving him a 
 thyrsus and garlands. 
 
 c-^zsG\^f3[Qi^><3^< r ~^'<rK < ffl6d^><3^ 
 
 M 
 
 OSATCS. 
 
 The pictorial mosaics exhibited in the Mu- 
 seum are about fifty in number, besides the 
 mosaic pavements which are laid down in 
 many of the galleries upstairs. 
 
 They represent a very high class of art, and 
 it may be said of many of them that they have 
 never been equalled. 
 
 They are composed of very small cubes of 
 marble and glass, and their colouring and exe- 
 cution excite universal admiration. 
 
 32. The Battle op Issus- (b.c. 333.) This 
 fine work is composed of small pieces of marble 
 of different colours. The subject of this 
 mosaic, the only one of such dimensions, is 
 admirable in point of composition and in the 
 arrangement of its figures. It represents the 
 battle of Issus, between the Greeks and 
 Persians. The combatants are 26, with 16 
 horses. One of the chief figures is Alexander, 
 on horseback, bareheaded, transfixing an enemy 
 with his long lance. On the right, in a magni- 
 ficent chariot, is Darius, king of Persia, who, 
 raising himself higher than the driver, is 
 urging on the soldiers. The ground is strewn 
 with lances, wounded men dying near their 
 horses : pikes, helmets, a poignard, &c. There is 
 no glass in this mosaic. (18 ft. 6 in. x 10 ft. 6 in.) 
 (House of the Faun, Pompeii, 1831.) 
 
 The part filled up with plaster on the left was pre- 
 pared by the ancients themselves for a restoration, 
 aud the lines of their proposed drawing may still 
 be seen upon it. 
 
 33. A dog chained, with the motto, " Cave 
 
 canem " (Beware of the dog). This celebrated 
 mosaic was found at the entrance of the house 
 of the Tragic Poet, Pompeii, 1824. (5 ft. 4 in. 
 x 4 ft. 5 in.) 
 
 The same plate shows two other small mo- 
 saics — the one, a francolin partridge stealing 
 some jewels out of a basket (10 in. x 10), the 
 other, three birds holding a chain in their 
 beaks. (Pompeii.) 
 
 34. After the Cock-fight. In the centre 
 of this picture are two game-cocks, one bleeding 
 and vanquished, the other victorious. The 
 owner of the vanquished bird and his attendant 
 are weeping, while the owner of the winner 
 and his servant bear a garland and palm-branch 
 for the victorious bird. (1 ft. 6 in. X 1 ft. 5 in.) 
 (Pompeii.) 
 
 35. A Comic Scene, signed by the renowned 
 artist Dioscorides of Samos, representing three 
 actors playing the tibia, cymbals, and tambour- 
 ine, with a dwarf to form a contrast and give 
 the idea of their size. (1 ft. 5 in. X 1 ft. lin.) 
 (House of Frugi, Pompeii.) 
 
 36. Fishes. A large panel representing 
 various kinds of fish, all caught to this day in 
 the Bay of Naples. The central group shows 
 an octopus fighting a crawfish. The large fish 
 in the foreground is known by the name of 
 " Spinola," and is one of the best of the local 
 fish. The red mullet, lamprey, prawn, shrimp, 
 and the delicious bivalve known by the name 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 " Vungol o," are represented among many others, 
 while a kingfisher on the left is darting from a 
 rock upon his prey. The border of this mosaic 
 is of surpassing beauty. It consists of flowers 
 and leaves, among which hide birds, snails, 
 and graceful Cupids. (3 ft. 10 in. x 3 ft. 10 in.) 
 (House of the Faun, Pompeii.) 
 
 37. A Kitten killing a Chicken. Below, a 
 stream upon which are two ducks eating lotus 
 flowers, and upon the near bank a group of 
 
 water-wagtails and shell-fish, and some small 
 fish hung by the gills upon a reed. This mosaic 
 is much admired for the style of its work and 
 its bright colouring. (1 ft. 10 in. x 1 ft. 10 in.) 
 (House of the Faun, Pompeii.) 
 
 38. A long festoon of flowers, fruits, and 
 leaves, tastefully designed, and wreathed upon 
 two comic masks. (9 ft. 6 in. x 1 ft. 9 in.) This 
 superb mosaic formed the threshold of the 
 House of the Faun, Pompeii. 
 
 The Statuary. 
 
 The examples we select from the large col- 
 lection of ancient statuary are calculated to 
 show the great variety of purposes to which 
 the art of marble sculpture was put in the 
 ancient times. Not only was it used for the 
 purpose of portraiture and worship, but we 
 find it devoted to such domestic uses as the 
 making of a calendar, which displayed to the 
 public a great deal of useful information, and 
 a sun-dial, which served the purpose of the 
 town clock of our own day. 
 
 The richer houses were also adorned with 
 elegant bas-reliefs, and the genius of the artist 
 was even carried into the decoration of large 
 vats, which, from the designs upon them, seem 
 to have been used for purposes connected with 
 the vintage. 
 
 39 (a). A rustic Calendar, of cubical form, 
 each face being 2 ft. 2 inches in height by 1 ft. 
 3 inches wide, and divided vertically into three 
 columns. Beading these columns downwards, 
 we find on the top the sign of the Zodiac, below 
 this the name of the month and the number of 
 the days in it, the day upon which the Nones 
 fell, the number of hours of daylight and of 
 dark, the constellation through which the sun 
 
 is passing, the tutelary deity of the month, the 
 proper agricultural operations to be performed 
 in it, and the religious rites to be celebrated. 
 (Rome.) 
 
 39. (b). A Sun-dial in the form of a concave 
 hemisphere. The hours are marked on it by 
 radiating lines, and in the centre is the hole 
 for the gnomon, which is no longer extant, 
 the present gnomon being a restoration. 
 Beneath the dial is an Oscan inscription, 
 stating that Mara Atinius, the son of Mara, 
 Quaestor by decree of the senate, had this 
 sun-dial erected with public money. (Stabian 
 baths, Pompeii.) 
 
 The first recorded sun-dial at Rome was said to have 
 been brought from Southern Italy by Papirius 
 Cursor about b.c. 293, but as it was not set for 
 the latitude of Rome it gave the time incorrectly. 
 The use of the sun-dial must have spread very 
 
 . rapidly, as many have been found in various parts 
 of Italy. 
 
 40. The Farnese Bull. This celebrated 
 group represents the punishment of Dirce. 
 It is the work of the two famous sculptors 
 of Bhodes, Apollonius and Tauriscus, who 
 flourished before the reign of Augustus. The 
 sons of Antiope are struggling to cast the bull 
 and tie the ill-fated Dirce to his horns. Antiope 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 stands by encouraging them. On the base, in 
 fine bas-relief, a lyre against a tree, a syrinx, 
 a thyrsus, a mystical basket, and other 
 symbols. This magnificent group was found 
 with the Farnese Hercules by Paul III. in the 
 baths of Caracalla, having been brought, 
 according to Pliny, from Ehodes to Eome. It 
 has been much restored. (Base, 10 ft. X 10 ft.) 
 
 Antiope, the wife of Lycus, king of Thebes, was of 
 such surpassing beauty that Jupiter became her 
 lover. She was repudiated by her husband, who 
 took Dirce as his second wife. She, from motives 
 of jealousy, shut Antiope up in a tower, and ex- 
 posed her new-born offspring (twins) in the forest 
 of Citheron. They were found by a shepherd, who 
 named them Zetus and Amphion. After several 
 years Antiope escaped, and accident led her to the 
 cottage of the shepherd who had cherished her 
 children. She recognised them, and remained 
 with them panting for revenge. One day Dirce 
 went to the forest with her retinue to celebrate the 
 orgies of Bacchus. She met Antiope, and with 
 the assistance of her women dragged her into the 
 jungle ; but their mother's cries reached the ears 
 of Amphion and Zetus, who put the women to 
 flight, rescued Antiope, made Dirce prisoner, and 
 bound her to the horns of a wild bull that dragged 
 her over rocks and precipices, until the gods, pity- 
 ing her, changed her into a fountain, and the twins 
 killed Lycus and took his kingdom. 
 
 41. The Faenese Hercules. This colossal 
 statue, of deservedly high reputation, is 
 perhaps the most celebrated of antiquity. 
 It was sculptured in Athens by Glycon, 
 according to the inscription under the club, 
 " TAYKflN A0HNAIOC EnoiEi." The god is in 
 an attitude of repose ; his figure is quiet and his 
 aspect serious ; his muscular and athletic limbs 
 are nobly proportioned; his club rests upon 
 the rock, and forms a support for his left 
 shoulder ; the lion skin covers the club ; his 
 right hand holds behind him the three apples 
 of the Hesperides. According to the style of 
 sculptors of the best Grecian epoch, his head is 
 small, but it is thought that by this the artist 
 meant to imply the superiority of the physical 
 over the intellectual in the nature of Hercules. 
 This statue was found in 1540 in Caracalla's 
 Thermae at Eome, and, with the inheritance of 
 the Farnese family, it was in 1786 carried to 
 Naples. It was without legs, and Cardinal 
 Alexander Farnese had them restored by 
 Guglielmo della Porta. It is said that the 
 commission to restore this statue was offered 
 to Michelangelo, who declined it, saying, " I 
 
 could not make, nor would I wish to make, so 
 much as a finger for such a noble statue." In 
 1560 the ancient legs were found in a well of 
 the Villa Borghese, three miles from the place 
 where the statue had been discovered, and 
 were then restored to the statue, while the 
 legs made by Della Porta were placed in the 
 museum of the Villa Borghese. One-half of 
 the fore-arm, the left hand, and eyes are in 
 plaster. (Height, 9 ft. 9 in.) 
 
 42. Flora Farnese. A colossal statue at- 
 tributed to Praxiteles. It is one of the most 
 interesting of ancient statues. The attitude 
 is so natural, that Flora seems about to 
 advance ; a light robe, so transparent as not 
 to look like marble, covers her fine figure. She 
 has a bunch of flowers in her left hand, and 
 holds up her dress with the right. The head, 
 the left arm with the flowers, and the feet are 
 modern. (Baths of Caracalla, Borne.) 
 
 The worship of Flora was established at Eome from 
 the very earliest times, and the last days of April 
 were consecrated to her festival, which was a 
 scene of great revel and debauchery. 
 
 43. Marcus Nonius Balbus, Senior, accord- 
 ing to the inscription found on the pedestal. 
 This equestrian statue is as fine as that of 
 his son, opposite to which it stood in the 
 Basilica of Herculaneum. It was found with- 
 out the head and one hand, which were re- 
 placed by Canardi, and modelled from the 
 statue of Balbus as proconsul which was found 
 in the theatre. (Life size.) 
 
 44. Marcus Nonius Balbus, Junior. He rides 
 after the Greek fashion, without saddle or 
 stirrups. He holds the reins in his left hand, 
 which has a ring on one of its fingers, and 
 raises up the right as if to thank the inhabi- 
 tants of Herculaneum cheering their patron. 
 He wears sandals, a short tunic, and a breast- 
 plate that leaves his belt visible. He seems 
 in the act of stopping his steed. This statue 
 was kept in the Museum of Portici ; and in 
 1799, during the riots, a cannon ball carried 
 off the head. The fragments were collected, a 
 cast taken, and the head as now seen was 
 modelled by Brunelli. (Life size.) (1739. 
 Herculaneum.) 
 
SPECIMENS FKOM THE NAPLES MUSEUM. 
 
 45. Venus Victrix. An admirable work, 
 much praised by Winckelmann. The limbs are 
 supple, the attitude elegant, and the whole 
 composition absolutely life-like. She treads 
 under foot Minerva's helmet, and bears on her 
 brow Juno's diadem. The arms are a restor- 
 ation by Brunelli, and probably not like the 
 original ones, for the inclination of the body 
 and the fragments of the ancient arms make it 
 probable that the figure originally held up a 
 shield, and this is the more likely because 
 when Capua (which was destroyed in the 
 Second Punic War) was rebuilt by Julius 
 Caesar, Venus Victrix became her tutelary 
 deity, and was no doubt represented by this 
 exquisite statue, which was found in the 
 Amphitheatre of Capua in the seventeenth 
 century. It is in the style of the " Venus de 
 Milo " in the Louvre. (Height 6 ft. 7 in.) 
 
 46. Faun and Bacchus. A charming group 
 in Greek style, but considered to be of 
 Hadrian's time. It was found in the Cam- 
 pagna of Eome, with the Faun's head wanting. 
 (Height 6 ft.) 
 
 47. iEscmNEs (some say Aristides). This 
 is a very remarkable statue of this celebrated 
 man. He is represented dressed in a cloak, 
 with his right hand on his breast as if deliver- 
 ing an oration; his face is calm and his 
 expression natural, while the bald head and 
 the closely-cut beard are in thorough harmony 
 with the character of the statue. (Height 
 5 ft. 4 in.) {Theatre of Herculaneum.) 
 
 Machines was a celebrated Athenian orator who 
 flourished about 342 B.C., and distinguished himself 
 as the rival of Demosthenes. He died at Rhodes. 
 
 Aristides (surnamed "the Just") was also an 
 Athenian, and a rival of Themistocles, by whose 
 influence he was banished B.C. 484. He fought at 
 Marathon b.c. 490, and was made Archon in the 
 following year. 
 
 48. Flora. A colossal statue with elegant 
 drapery. (Height 13 ft.) (Farnese.) 
 
 49. Lucius Verus. A statue, considered one 
 
 of the best portraits extant of this Emperor. 
 
 (Height 6 ft. 5 in.) (Farnese.) 
 
 He was a successful general, and subsequently 
 Emperor for about eight years, a.d. 161. He died 
 of apoplexy in Germany. He was an inveterate 
 glutton, fond of the lowest company, and is said 
 to have spent on one banquet to twelve guests 
 £32,200. 
 
 50. Urania, the Muse of Astronomy, daughter 
 of Jupiter and Mnemosyne. From Pompey's 
 Theatre at Eome. (Height 13 ft.) (Farnese.) 
 
 51. Alexander Severus. A colossal statue. 
 (Height 13 ft.) (Farnese.) 
 
 He was a native of Phoenicia, adopted by Helioga- 
 balus, whom he succeeded, and was called Alex- 
 ander because he was born in a temple sacred to 
 Alexander the Great. He was a man of great 
 virtue, but so strict a disciplinarian that he was 
 murdered in his tent by Maximinus, after a reign 
 of 13 years, on the 18th of March, a.d. 235. 
 
 52. Genius of the Eoman People. A fine 
 colossal statue. (Height 13 ft.) (Farnese.) 
 
 53. Antinous. A favourite of Hadrian, whose 
 statue is familiar to every student of Grecian 
 art in Italy. (Height 6 ft. 4 in.) (Farnese.) 
 
 When he was drowned in the Nile, Hadrian caused 
 temples to be erected to him in Bithynia (where 
 he was born) as well as in Italy and Greece, and 
 wished it to be believed that he had taken a place 
 among the constellations. His statues are interest- 
 ing as showing the high perfection of sculptors 
 in the time of Hadrian. 
 
 54. Venus and Cupid. A Grecian group, 
 much admired for the purity of its style and its 
 careful execution. (Height 4 ft.) (Farnese.) 
 
 55. Venus Callipygus. A partly draped 
 statue, attributed to Praxiteles. The attitude 
 is graceful, and the statue has many warm 
 admirers, though Winckelmann and some other 
 excellent critics disparage it. The head and 
 left arm are modern, and the right leg has 
 been restored. (Height 4 ft. 10 in.) (Golden 
 House of Nero, Rome.) 
 
 56. A side view of the same statue. 
 
 57. Toeso of Venus. This is held to be an 
 original Greek work, executed about the time 
 of Praxiteles. (Height 3 ft. 6 in.) (Borne.) 
 
 58. Venus. A Eoman Venus in the same 
 pose as that of the Venus de' Medici at Flo- 
 rence. (Height 5 ft. 9 in.) (Farnese.) 
 
 59. Isis. A charming small statue in 
 marble, of Eoman workmanship, in imitation 
 of Egyptian style. She holds in her left hand 
 the key of the Nile, and in her right the sistrum, 
 a jingling bronze rattle, which was used in the 
 rites of her temple. She is girt with a marble 
 waistband, the clasp of which is formed of the 
 
 o 
 
10 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 heads of two crocodiles. There are some traces 
 of gilding ahout the hair and the dress, and on 
 the right arm is a remnant of gold that re- 
 presented a double bracelet. The eyes and 
 eyebrows were painted red. (Height 3 ft. 4 in.) 
 
 This statue was found in the temple of Isis at 
 Pompeii, upon a plinth bearing an inscription 
 stating that it was placed in the temple by Lucius 
 Csecilius Phoebus, in compliance with a decree of 
 the Decurions. 
 
 60. Diana. A small archaic statue, of awk- 
 ward execution, but full of movement, and 
 much admired. It bears traces of gilding. 
 (Height 3 ft. 6 in.) It was found in 1760 
 in a casual excavation made between Torre 
 delV Annunziata and Torre del Greco. 
 
 61. Diana the Huntress. In the act of 
 drawing the bow. (Height 5 ft. 3) (Farnese.) 
 
 62. Psyche. A fragment. This pure Grecian 
 sculpture, which is esteemed by many the gem 
 of this collection, may well belong to the time 
 of Praxiteles. 
 
 The idea conveyed by her name, which sig- 
 nifies " the soul," has been embodied by the 
 sculptor in this charming work, which com- 
 bines grace of form and beauty of feature 
 with pensive melancholy and sweetness of 
 expression. 
 
 She was represented with the wings of a 
 butterfly, of which the traces remain ; but the 
 statue has unfortunately been much mutilated, 
 and has evidently at some time been restored, 
 and the restoration subsequently removed. 
 (Height 2 ft. 8 in.) (Capua.) 
 
 It is from this statue that the writer of The Last 
 Days of Pompeii studied his ideal of his heroine 
 lone. 
 
 63. Cupid and the Dolphin. A much-ad- 
 mired group, which, however, has suffered a 
 good deal from injudicious restoration. (Height 
 5 ft.) (Capua.) 
 
 64. Nereid. A nymph, gracefully holding 
 up her drapery. She is seated on a marine 
 monster. It is a masterpiece of Greek sculp- 
 ture, sadly damaged by restorations. (Height 
 4 ft. 6 in.) (Villa of Lucullus, Posilipo.) 
 
 65. Bacchus seated, and holding out his 
 cantharus to be filled by a figure, of which 
 
 scarcely a trace remains. Bas-relief (4 ft. x 3). 
 (Herculaneum.) 
 
 66. The Persuasion of Helen. A beautiful 
 
 Greek bas-relief, displaying Alexander or Paris, 
 
 accompanied by Eros, paying his court to 
 
 Helen, whom he beckons to follow him. Peitho, 
 
 the goddess of Persuasion, and Aphrodite, the 
 
 goddess of Love, assist him in his suit. The 
 
 expression of indecision on the face of Helen 
 
 is admirably rendered. (2 ft. X 2 ft.) (Noia 
 
 collection.) 
 
 Venus had promised Paris the most beautiful woman 
 in the world for his wife, as a reward for having 
 selected her as the fairest of the goddesses. She 
 accordingly persuaded Helen, the wife of Menelaus, 
 king of Sparta, to desert her husband and to fly 
 with Paris to Troy, an abduction which caused 
 the Trojan war. 
 
 67. Candelabrum in marble, adorned with 
 arabesques and three storks perched on rams' 
 heads. The triangular base is supported by 
 three sphinxes, and the whole is of exquisite 
 workmanship. (Height 8 ft.) (Farnese.) 
 
 68. (a) The " Gaeta " Vase, around which, in 
 bas-relief, Mercury giving the infant Bacchus 
 to the nymph Nisa, who stretches out her 
 arms to take him. These figures are followed 
 by Fauns and Bacchantes, playing on the flute 
 and cymbals. This work belongs to the hap- 
 piest epoch of Greece. On the upper part of 
 it in Greek — the Athenian Salpion made this. 
 (Height 4 ft. 6 in.) 
 
 This vase was found at Gaeta, where it was used to 
 moor boats to, as is seen by the marks made by 
 the ropes. Before being taken to the Museum, it 
 was used in the Cathedral of the town as a bap- 
 tismal font. 
 
 (b) Large Yat, adorned with bas-reliefs 
 of the following divinities: Jupiter, with his 
 eagle; Mars, with lance and girdle; Apollo, 
 with the lyre ; iEsculapius, with his staff and 
 serpent ; Bacchus, with thyrsus and cantharus ; 
 Hercules, with his club ; and Mercury, with his 
 caduceus. (Height 3 ft. 6 in. ; diameter 3 ft.) 
 (Farnese.) 
 
 69. Cicero (b.c. 106). A bust showing a 
 remarkable mole on the left cheek. (Height 
 21 in.) (Farnese.) 
 
 70. Demosthenes (b.c 385). A fine bust, 
 with a realistic expression on the lips 
 
SPECIMENS FEOM THE NAPLES MUSEUM. 
 
 11 
 
 indicating the defect of speech from which he 
 suffered. (Height 1 ft. 8 in.) (Herculaneum.) 
 
 71. Marcus Aueelius (a.d. 121). A fine bust, 
 clad in the chlamys. (Height 2 ft. 5 in.) 
 (Famese.) 
 
 72. Caeacalla (a.d. 188). The frowning 
 expression and thin lips of this expressive 
 bust testify to the relentless cruelty of this 
 savage Emperor. It is a work full of diabolical 
 expression. (Height 2 ft. 5 in.) (Famese.) 
 
 73. (a) Julius Cesae (b.c. 100). Colossal 
 
 bust. (Height 3 ft.) This is considered one of 
 the most authentic portraits of this Emperor, 
 and was copied by Napoleon III. for the 
 frontispiece of his ' Life of Csesar.' (Famese.) 
 
 (b) Titus (a.d. 40). 
 (Borne.) 
 
 A colossal bust. 
 
 This Emperor succeeded Vespasian, after having 
 distinguished himself at the siege of Jerusalem. 
 He was on the throne at the time of the destruc- 
 tion of Pompeii and Herculaneum, and came with 
 great energy to the assistance of the suffering 
 population of those towns. He was an excellent 
 Emperor. He died a.d. 81,. deeply regretted hy 
 the Roman people. 
 
 The 
 
 Large 
 
 Bronzes. 
 
 Pompeii and Herculaneum have supplied 
 us with nearly all the high-class specimens 
 of Greek bronze which exist in the world. 
 It is clear that the principal bronzes of this 
 collection were made in a golden age of the 
 art of casting, and it is incontestable that at 
 no subsequent period has the perfection of the 
 ancient Greeks been attained. Pliny tells us 
 that the ancients put gold and silver into 
 their bronze, the metal itself being a mixture 
 of copper and tin, cast and tempered, and 
 used for a great variety of purposes besides 
 the making of statues. We find every kind 
 of household implement and ornament made 
 of it, and it served to adorn chariots and 
 galleys, as well as to make bracelets and 
 chains for the Koman ladies. 
 
 74. (a) Plato. This is reputed the finest 
 
 bronze head in the world. He looks down 
 
 as if in meditation, and every detail of the 
 
 hair and beard has been most elaborately 
 
 worked out. (Ht. 20 in.) (1759. Herculaneum.) 
 
 The likeness to the head of our Saviour is often 
 noticed ; aDd when we consider how temperate his 
 life was, and how near his teaching approached to 
 
 the Ethics of Christianity, we feel able to account 
 for the similarity of expression between the 
 portrait of the philosopher and the ideal likeness 
 of our Lord. He died B.C. 347. 
 
 (b) Archytas. This too is an admirable 
 bust. The head is surrounded by a turban, 
 the badge of great philosophers. (Height 
 20 in.) (1753. Herculaneum.) 
 
 Archytas was the successor of Pythagoras and an 
 able geometrician. He redeemed his master Plato 
 from the hands of the tyrant Dionysius, and was 
 made governor of Tarentum. He died about 
 394 B.o. 
 
 75. (a) Seneca. A head of great merit, 
 and presumably a portrait from life. He was 
 tutor to Nero, who murdered him a.d. 65. 
 (Height 13 in.) (1724. Herculaneum.) 
 
 (b) M. Claudius Maecellus, the unfor- 
 tunate nephew of Augustus, who died in his 
 twentieth year. A very fine passage in the 
 sixth iEneid (v. 883) was written in praise of 
 him. (Height 16 in.) (1754. Herculaneum.) 
 
 76. Sdlenus. A very famous statuette of the 
 inebriate tutor of Bacchus. He is crowned 
 with ivy and clothed in a short tunic, his body 
 
12 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 staggers under the influence of drink. The 
 left arm is raised above the head, and a 
 serpent twined round it served to support a 
 vessel of some kind, which is lost to us. The 
 base is inlaid with silver in a design of grapes 
 and vine-leaves. (Height 21 in.) (Pompeii.) 
 
 77. Narcissus. This statuette vies with that 
 of the Dancing Faun for the first place among 
 the smaller specimens of this gallery. He is 
 represented naked, and standing up. His 
 feet are covered with elegant sandals, and a 
 roeskin is thrown over his left shoulder. The 
 inclination of his head, and the uplifted finger 
 of his right hand, show that he is represented 
 as listening to the whisperings of the nymph 
 Echo. The eyes are of silver. It was found 
 in 1862, in a small house at Pompeii. (Height 
 25 in.) 
 
 78. The Dancing Faun. This exquisite 
 statuette combines all the distinguishing fea- 
 tures of the purest period of Greek art. 
 The figure is lightly poised on tiptoe, and 
 represents the beau-ideal of grace and easy 
 movement. The hands are uplifted, and the 
 face, full of animation, is in charming harmony 
 with the pose of the body. The head wears 
 a garland of oak-leaves, and the eyes are of 
 silver. Beneath the plinth are the letters 
 P. C. L., which have been rendered " Pondus 
 centum quinquaginta." (Height 32 in.) This 
 statuette gave the name to the " House of the 
 Faun," Pompeii. It was found in the centre 
 of the impluvium. 
 
 79. The Sleeping Faun. This casting 
 represents the personification of placid sleep. 
 Upon the forehead are two diminutive horns, 
 and upon the neck, two glands such as are found 
 upon goats. (Height 5 ft.) (1756. Hercu- 
 laneum.) 
 
 80. The Drunken Faun. He is stretched 
 on a half-empty wine-skin, and leans against 
 a rock. He snaps the fingers of his right 
 hand, and his whole pose is that of rollicking 
 inebriety. Like the Sleeping Faun, he has 
 small horns and glands. The statue is in 
 excellent preservation, though the body has 
 
 been slightly flattened. (Life size.) (1764. 
 Herculaneum.) 
 
 81. Mercury in Bepose. This is esteemed 
 the finest bronze statue extant. The herald of 
 the gods is seated on Mount Ida, reposing 
 after a long flight, and awaiting further orders. 
 The bronze seems almost to breathe, so vividly 
 does it convey the impression of panting. The 
 feet are winged, and the whole composition is 
 esteemed unique for grace of form and power of 
 expression. (Height 5 ft.) (1758. Herculaneum.) 
 
 82. Bacchus and Ampelus. A small group 
 of great beauty representing a young man and 
 a boy, naked, and crowned with laurel. (Height 
 2 ft. 9 in.) (House of Pansa, Pompeii.) 
 
 83. Marcus Calatorius. Statue of a Boman 
 magistrate, which bore the inscription, " To 
 M. Calatorius, son of Quartio, the citizens and 
 inhabitants contributing the money. (1743. 
 Herculaneum.) 
 
 84. Mammius Maximus. He wears the toga. 
 Upon the plinth was the following inscription : 
 " To Lucius Mammius Maximus, Augustal, the 
 inhabitants and the Muncipality contributing the 
 money." (1743. Herculaneum.) 
 
 This Mammius erected at his own cost statues to 
 Livia, to Germanicus, to Antonia the mother, and 
 to Agrippina the wife of Claudius, which leads one 
 to infer that ho lived in the reign of Claudius. 
 He also built the market. His father, Lucius 
 Mammius, was Decurion at Nuceria. 
 
 85. Augustus as Jupiter. A colossal statue. 
 He holds a long spear in his right hand, and 
 in his left the thunderbolts of Jove. (1714. 
 Herculaneum.) 
 
 86. Apollo holding the lyre and the 
 plectrum. The eyes and the strings of the lyre 
 were of silver. (Height 2 ft. 6 in.) (Pompeii.) 
 
 87. An Actress. She is fastening her cloak 
 with a brooch on the right shoulder. A fillet 
 inlaid with silver binds her hair, and her eyes 
 are of enamel. This statue is one of six which 
 decorated the proscenium of the theatre of 
 Herculaneum. (Height 5 ft.) 
 
 88. Discobolus. This casting is full of life. 
 
SPECIMENS FEOM THE NAPLES MUSEUM. 
 
 13 
 
 The eyes are of enamel. The body leans for- 
 ward, and he appears to be watching the quoit 
 which he has just thrown. (Height 3 ft. 9 in.) 
 
 This statue was found on a small island in the 
 centre of the piscina of a villa at Herculaneum, 
 and hence some good authorities have argued that 
 it was intended to represent a youth in the act 
 of plunging head first into the water. 
 
 89. Alexander on horseback. This little 
 equestrian statuette is richly decorated with 
 silver, and is much admired for its movement. 
 He is represented mounted on Bucephalus, 
 without a helmet and in rich armour, raising 
 his sword to slay an enemy. (Height 1 ft. 5 in.) 
 (1761. Herculaneum.) 
 
 90. A mounted Amazon. She is dressed in 
 a tunic and helmet, and is raising her lance 
 in her right hand. It is seldom that the 
 Amazons are found represented on horseback, 
 which has given an additional value to this 
 little bronze. (Height 1 ft. 7 in.) (Here.) 
 
 91. Apollo drawing his bow. (Height 5 ft.) 
 
 This statue was found in a well in the forum of 
 Pompeii in 1817, where it had heen thrown by 
 thieves who had tried to carry it away on the 
 night of the destruction. They succeeded in 
 wrenching off one arm and one leg, which were 
 found with their skeletons near the city wall in 
 1818. 
 
 92. Diana drawing the bow. In perfect pre- 
 servation. (Height 10 in.) (1747. Herculaneum.) 
 
 93. Victory. A charming statuette poised 
 upon a globe, and having a jewelled bracelet 
 on the left arm. The wings and the waving 
 garment are especially well executed. (Height 
 1 ft. 3 in.) (Pompeii.) 
 
 94. Fortune on the Globe. A statuette, 
 like the former, remarkable for its elegant 
 pose and the graceful execution of the drapery. 
 Her neck is adorned with an elegant silver 
 necklace. (Height 14 in.) (Herculaneum.) 
 
 95. Abundance. A statuette of great merit. | rent me; 
 
 She is wrapped in a cloak, and wears on her 
 head the lotus bud, an attribute of Isis. In 
 her right hand she holds the horn of abundance, 
 and in her left the rudder, an attribute usual 
 to her. The base is decorated with a pretty 
 design of foliage in silver. (Height 1 ft. 6 in.) 
 (Herculaneum.) 
 
 96. The Angler. A seated statue for a 
 fountain. In his left hand he holds a basket in 
 which was found a small bronze fish. His eye 
 is fixed upon the point of his rod, showing 
 that he knew this secret of the gentle craft. 
 (Height 1 ft. 8 in.) (Pompeii.) 
 
 97. Two Gazelles. Life size and of ex- 
 cellent execution. (Height to shoulder, 2 ft.) 
 (Herculaneum.) 
 
 98. Colossal Head of a Horse. Presented 
 to the Museum by the Santangelo family. This 
 is one of the finest specimens of spirited 
 colossal castings ; was cast, no doubt, just as we 
 see it, and never formed part of a complete 
 horse. (Height 5 ft. 4 in.) 
 
 An attempt has been made to show that this head 
 belonged to the colossal horse, emblem of Naples, 
 which stood in the Piazza del Duomo, and was 
 supposed to cure other horses of diseases. 
 
 This latter horse was, however, broken up by Cardinal 
 Filomarino to put an end to this superstition, and 
 the metal was used for casting the Cathedral bell. 
 
 99. Bronze Horse. (Life size, 15 hands.) 
 This fine horse formed one of the team attached 
 to Nero's quadriga which was found at a short 
 distance from the Herculaneum theatre. The 
 following inscription, which was compiled by 
 the Abbe Mazzocchi, may be read in Latin 
 on the pedestal : " Of this splendid bronze 
 quadriga with its horses, broken to atoms and 
 dispersed, I alone remain, thanks to the King who 
 joined together the six hundred fragments into 
 which, like the limbs of Absyrtus, Vesuvius had 
 
14 
 
 SPECIMENS FKOM THE NAPLES MUSEUM. 
 
 Glass and Terra- C otta, 
 
 The collection of glass and terra-cotta from 
 Pompeii is very large and varied, and the 
 resemblance of the specimens to our own 
 articles of domestic use makes it an especially 
 interesting department. As might naturally 
 be expected, the Naples Museum is very rich 
 in Eoman glass and terra-cotta, and the ex- 
 cavations at Pompeii are bringing new speci- 
 mens to light every day. The prismatic 
 colours, and bright iridescence on the glass, 
 is the result of centuries of burial, for no 
 doubt this glass when new was as transparent 
 as our own. The Greeks and Eomans got 
 glass-making from Egypt, and the pictures on 
 the tomb of Beni Hassan show every detail of 
 the Egyptian manufacture, at a period pro- 
 bably three thousand years before the time of 
 Christ. 
 
 Pottery, on the other hand, appears to be 
 much more ancient, and much more universal, 
 than glass. The history of the rudest nations 
 may be gathered from their earthenware, 
 which though easily broken is not easily 
 destroyed, and therefore occupies a most 
 important place in the annals of Archaeology. 
 
 It will be seen that the Eomans used terra- 
 cotta very extensively, and lavished ornamen- 
 tation upon it, and it is interesting to note 
 that some terra-cotta found in England in 
 1883, and exhibited in the Anglo-Boman 
 department of the British Museum, so closely 
 resembles the ware found at Pompeii in colour, 
 form, and design, that it might well have been 
 turned out by the same artificer. 
 
 100. Amphora of blue glass, found in the 
 Street of the Tombs, near the house of Frugi, 
 Pompeii. It was full of human ashes. This 
 priceless specimen is covered with a bas-relief 
 
 in white glass cut like a cameo, and represent- 
 ing in the midst of incomparably graceful 
 arabesques the Genii of the Vintage. Some 
 are occupied in gathering grapes, others are 
 playing with their companions. Among the 
 groups are two beautiful Fauns' heads, from 
 the brows of which spring vines which 
 encircle the whole body of the vase. Below 
 is a superb bas-relief of animals. The 
 precision of the workmanship, the correctness 
 of the drawing, and the elegance of the 
 composition, give this vase the highest im- 
 portance. (Height 1 ft.) 
 
 It is of the same material as the Portland vase which 
 is exhibited in the Gem-room of the British 
 Museum. The Portland vase is of purer style and 
 much more severe design, and represents legends of 
 Peleus and Thetis ; but it is worth observing how 
 similar the Eros on the Portland vase is to some of 
 the Genii on the blue Amphora. It is possible 
 they were by the same artist, as the one was found 
 at Rome and the other at Pompeii. 
 
 101. Vases used in funeral rites, (a, e,f) 
 Lachrymatories or tear bottles, to collect the 
 tears of the mourners, and to be placed on the 
 breast of the corpse, (b, c, d, h, i) Amphorae, 
 (g, h, I) glass cinerary urns of the Eoman 
 period, still containing ashes of the dead. 
 
 102. Glass and Tekra-cotta Vessels for 
 household purposes, (a) A terra-cotta oil cruet 
 in a leaden stand. (6, c, d) Glass cups and a 
 saucer, (e) Jar for perfume. (/) A terra-cotta 
 strainer, (g) A funnel. (h, i) Bottles. (l,m,n) 
 Glass tumblers. 
 
 103. Terra-cotta cups richly decorated. 
 
 104. Two similar cups. (Pompeii.) 
 
 These cups were used for drinking, as is known by 
 the fact that a similar cup has been found bear- 
 ing the inscription, " Bibe, amice de meo," " Drink, 
 friend, of my wine." 
 
SPECIMENS FEOM THE NAPLES MUSEUM. 
 
 15 
 
 The Ge/vis. 
 
 There are few departments of archaeology 
 more interesting than the history of jewelry. 
 A taste for personal adornment is found in the 
 lowest tribes of the human race, and as surely 
 as a race has progressed, so surely has its 
 jewelry progressed with it. We can trace the 
 precious metals through all the pages of the 
 Bible, from the signet which Judah gave to 
 Tamar to the costly stones of the Apocalypse ; 
 and the ornaments exhibited in the collection 
 of the Naples Museum are striking as show- 
 ing how this particular art had developed 
 hand in hand with Greek culture and Greek 
 taste. 
 
 In our age, jewelry has ceased to be artistic, 
 and has become, like everything else we have, 
 more or less mechanical, and this makes it the 
 more interesting to look back upon a time 
 when artists carried out their own designs, 
 and the skilful engraver and goldsmith was 
 the designer of his own handiwork. 
 
 105. Cup of Oriental Sardonyx, known as 
 the Tazza Farnese. The intrinsic value of 
 this tazza is inestimable, and its artistic merit 
 renders it unique. It is said to have been 
 found at Borne in the Mausoleum of Hadrian, 
 now called the Castello di Sant' Angelo ; but it 
 seems more probable that it was found in the 
 ruins of Hadrian's villa by a soldier, who gave 
 it to the Duke Charles of Bourbon when he 
 was besieging Borne. Unfortunately, prior to 
 its reaching the Farnese Collection, a hole was 
 bored in the centre, that a foot might be fitted 
 to it. (Diameter 8 inches ; depth 2 in.) 
 
 This incomparable relic has been the subject 
 of many discussions among savants, and articles 
 have been published about it by Maffei, 
 Winckelmann, and others. 
 
 It is the only known cameo of its size which 
 presents a composition on each side. On the 
 outer part is a magnificent Medusa's head, 
 which covers it completely ; and on the inside 
 are eight figures in relief, which stand out 
 against the dark background. 
 
 Archaeologists are not agreed as to their 
 explanation of the subject. The interpretation 
 which seems to us the most probable is that of 
 Comm. Quaranta, who explains it as Ptolemy 
 Philadelphus consecrating the harvest festival 
 instituted by Alexander the Great, after the 
 foundation of Alexandria. 
 
 Egypt is represented by the Sphinx, at 
 whose right sits Isis holding an ear of corn. 
 The old man in the upper section, with his 
 back against a fig-tree, is probably the Nile, 
 holding an empty cornucopia, the symbol of 
 great rivers; and below the Nile hover two 
 youths, who personify the Etesian winds, 
 whose breath arrests the course of the Nile 
 and fertilises Egypt. 
 
 The two nymphs seated on the right, one 
 holding an empty horn and the other a 
 cup, are Nymphs of the Nile, protectresses of 
 Egypt. 
 
 And finally the figure which occupies the 
 centre of the composition is one of the Ptolemies, 
 with the attributes of Horus- Apollo, a chief 
 Egyptian divinity and son of Isis, holding an 
 hydraulic instrument for measuring the inun- 
 dation of the Nile, and a dagger. 
 
 106. Cameos, (a) Onyx. Daedalus fitting 
 wings to Icarus, with two women looking 
 on, probably Pasiphae and Diana Dictynna, 
 representing the Cretan city, (b) Intaglio in 
 cornelian. Ajax ; and Cassandra clinging to the 
 Palladium, (c) Intaglio in cornelian. Apollo 
 
 Jil 
 
 X 
 
16 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 with the signs of the zodiac, (d) Onyx Cameo. 
 Iole asleep on the club of Hercules, (e) Agate. 
 A fragment representing the Farnese bull. 
 (/) Intaglio Amethyst. Diana the huntress, by 
 Apollonius — a gem of great celebrity, (g) 
 Oriental Onyx. Sculptor chiselling a vase. 
 (h) Fine high relief of Jupiter Serapis. 
 (i) Agate. Fine head of Medusa. 
 
 107. Onyx. Jupiter overwhelming the 
 Titans — bearing the inscription AeHNlfiN — 
 an exquisite gem. 
 
 108. Oriental Onyx, (a) Silenus seated. 
 (b) Silenus seated by Cupid, who is playing the 
 Pan-pipes. 
 
 109. (a) Sardonyx. Dancing Faun — a 
 fragment, (b) Oriental Onyx. Faun bearing 
 Bacchus : a fine cameo. 
 
 110. (a) Earring of gold representing a 
 segment of an apple. (b) Safety brooch 
 in gold, richly decorated and ending in a 
 ram's head, (c) Earring of gold in the form 
 
 of a Pan-pipe, (d) Bracelet formed of linked 
 hemispheres, (e) Bracelet in the form of two 
 horns ending in lions' heads, connected by a 
 small chain. (/) Necklace of gold lace with 
 elegant pendants. (Pompeii.) 
 
 111. Gold bracelet in the form of a ser- 
 pent. This is the largest that has as yet been 
 found in Pompeii. It weighs one pound. 
 (House of the Faun.) Another serpentine 
 bracelet — rings — earrings with pearl pendants, 
 a hair-pin surmounted by a genius. 
 
 112. (a) Silver drinking-cup. (b) Silver 
 mortar. (Height, 5 in.) Both are decorated 
 with exquisite sprays of foliage. (Pompeii.) 
 
 113. Silver vase for sacrifice, in the shape of 
 a chalice, adorned with bas-reliefs of genii of 
 Bacchus. This vase has a lining to prevent 
 sediment from resting in the concavities. 
 (Pompeii.) 
 
 Silver cup with bas-relief representing 
 Minerva, fully armed, on a chariot drawn by 
 two horses. (Pompeii.) 
 
 The 
 
 S/V1ALL 
 
 BRONZES. 
 
 We present to our readers several plates 
 illustrating this department of the Naples 
 Museum, because no other museum in the 
 world is so rich as this one in the everyday 
 articles of domestic use among the Bomans, 
 and also because the specimens are of a kind 
 not readily photographed, and it is difficult to 
 take away a memento of them without the 
 purchase of such a work as ours. The speci- 
 mens in the Museum are some thirteen 
 thousand in number, but among these there 
 are numerous examples of the same stamp, 
 though there are hardly any actual duplicates. 
 These articles were all hand-made, and not 
 
 sent out by the hundred dozen from large 
 manufacturing establishments, as our house- 
 hold chattels are in the present day. The 
 consequence of this is that the most ordinary 
 articles of household use were stamped with 
 an artistic merit — an intrinsic individuality 
 which it would never be worth while to obtain 
 in our day even if we could attain to it ; and 
 however much schools of art may do to improve 
 our artificers and better our designs — and they 
 will doubtless do very much indeed — they can 
 never get over the difficulty that the artistic 
 merit of a design must certainly vanish when 
 it is applied by a purely mechanical medium, 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 17 
 
 and repeated over and over again either by 
 machinery, or by artisans who become in 
 course of time little better than machines. 
 
 114. The Candelabrum of Diomede. This 
 beautiful work of art is formed of a decorated 
 Corinthian column bearing on the obverse a 
 tragic mask, and on the reverse a " bucranium," 
 or bull's skull. Four branches issue from the 
 top of the column, from which four handsome 
 double-wick lamps hang by four-stranded 
 chains. These lamps were not found with the 
 candelabrum, and do not belong to it, but they 
 are of fine workmanship, and there can be no 
 doubt that some such lamps hung on it 
 originally, many similar examples having 
 been found in the excavations. The lamp 
 decorated with the head of an elephant and 
 suspended by two dolphins is unique. Stand- 
 ing upon the left angle of the base, upon the 
 elaborate clusters of vine-leaves inlaid in 
 silver, we observe a fine group composed of 
 Acratus (a genius of Bacchus) mounted on a 
 panther, the rhyton in his hand, and opposite 
 to him a small altar upon which burns the 
 sacred fire. (Height 4 ft. 1. in.) (House of Dio- 
 mede, Pompeii.) 
 
 115. Double Lamp, representing Cupid 
 holding a lamp like a comic mask, and a lamp- 
 hook. Beside him, on a bronze column, 
 another lamp in the shape of a human head 
 with Mercury's winged cap for a lid; the 
 flame issued from the mouth. (Herculaneum) 
 
 116(a). Treble-wick Lamp surmounted by 
 a youth wearing a Phrygian cap, who dances 
 gracefully, and holds in his hand a chain from 
 which a lamp-hook is suspended. (Herculaneum.) 
 
 (b). Double-wick Lamp of ornate design 
 of vine-leaves and sprays, surmounted by a 
 Silenus. (Pompeii.) 
 
 117(a). Lamp adapted to be hung or carried, 
 fitted with a chain to carry the extinguisher. 
 A mouse is represented as gnawing the wick, 
 and this creature being sacred to Vulcan, it has 
 been argued that this lamp hung before his 
 shrine. (Pompeii.) 
 
 (b). Treble- wick Hanging Lamp. The 
 chains of this lamp are beautifully worked in a 
 
 double plait ; a third chain holds the stopper 
 of the reservoir. This lamp is adorned with 
 three heads issuing from garlands. (Theatre of 
 Herculaneum.) 
 
 (c). Circular Lantern, glazed with talc, 
 bearing the inscription " Tiburti Catus.," per- 
 haps the name of the maker. (Height 1 ft.) 
 (Herculaneum.) 
 
 Figures (d, e, f) represent (d) pliers used 
 for raising the wick, (e) a lamp-hook, and (/) 
 an extinguisher formed of a small hemisphere 
 with a curved handle. (Pompeii.) 
 
 118. Sacrificial Tripod, of beautiful execu- 
 tion. Its three lion-footed legs are capped by 
 a seated Sphinx, and adorned with beautiful 
 arabesques, and bearded heads of Jupiter 
 Ammon. The legs are braced together by 
 elegant sprays of lotus, and centre in the con- 
 ventional device of the pensile lotus bud, an 
 emblem which probably came from India to 
 Egypt, and from thence, with the worship of 
 Isis, to Italy. The basin is adorned with fes- 
 toons and " bucrania," emblems which remind 
 us that it was intended to receive the blood of 
 sacrifices. (Height 3 ft. Side of tripod 21 ^ in. 
 Height of basin 3 1 in.) 
 
 This tripod is usually called the tripod of the temple 
 of Isis, and no doubt it was consecrated to the 
 worship of that goddess, but it was, in fact, found 
 in a private house at Herculaneum. 
 
 119(a). Bisellium. A bronze seat, adorned 
 
 with superb ornamentation. The obverse is 
 
 decorated with two finely executed horses' heads, 
 
 and two human heads with beards. The reverse 
 
 bears the heads of two swans and two Medusae. 
 
 (3 ft. 4 in. x 1 ft. 4 in.) (Pompeii.) 
 
 The right of using this seat was granted as a mark 
 of honour to distinguished persons by the magis- 
 trates and people in provincial towns. 
 
 (b). Curule Chair, made to fold, with 
 
 remains of gilding still discernible. It was 
 
 originally decorated with ivory carvings, 
 
 which are exhibited in the Museum. The 
 
 ivory was so much damaged that it has been 
 
 replaced by wood. (Height 16 in. ; width 22 
 
 in.) (Pompeii.) 
 
 The sella curulis was the ancient Roman emblem 
 of the kingly power, but under the republic the 
 privilege of its use was extended to high officials. 
 It was displayed on all great occasions, notably 
 in the circus and the theatre, the statue of the 
 
 D 
 
18 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 reigning Emperor being often placed upon it ; and 
 it was the seat of the Piaetor when he administered 
 justice. The legs of the specimen before us are 
 of bronze, but originally they were made of ivory, 
 of which we see a survival in their shape which 
 resembles an elephant's tusk. (See Smith, ' Diet, 
 of Ant.,' Sella Curulis.) (Pompeii.) 
 
 120. (a) Bisellium adorned with the heads 
 of asses and of men, and elegant designs (c) in 
 silver and red mastic. The reverse (b) is de- 
 corated with the heads of swans and two masks. 
 (Height 23 in ; length 3 ft. 6 in.) (Pompeii.) 
 
 It has been conjectured that this specimen is not a 
 
 . bisellium but a pulvinar, a seat or couch used at 
 
 the lectistemia, festivals of great importance in 
 
 Roman times, when the gods were placed upon 
 
 the pulvinar, as if they partook of the sacrifice. 
 
 (d). Folding tripod with movahle hasin for 
 sacrificial purposes. (Height 1 ft. 9 in.) 
 (Pompeii.) 
 
 121. (a) Couch found in the dining-room of 
 the house of Vibius at Pompeii, along with two 
 other similar ones, which leads to the inference 
 that they were triclinia for use at meals, and 
 not beds as has been generally asserted. It is 
 decorated with bronze genii in relief, and hand- 
 some inlaid work in silver and copper, and is 
 set up on four legs with a rectangular base. 
 Figures (b, c, d) give details of the ornamenta- 
 tion. The frame was of walnut wood. (Height 
 18 in. ; length 7 ft. 7 in. ; width 4 ft.) (Pompeii.) 
 
 122. Strong Box made of iron, its obverse is 
 adorned with bronze nails, and two busts of 
 Diana in relief ; between them the head of a wild 
 boar. Beneath, two genii of Bacchus and the 
 mask of a Bacchante. The elegant handle at 
 the top served to raise the lid of this beautiful 
 safe. (Height 36 in. ; length 41 in. ; width 23 
 in.) Found with the couches in the house of 
 Vibius, Pompeii. 
 
 123. Door Furniture, (a, b) Two hinges 
 constructed on the same principle as modern 
 ones ; (c) socket for the pivot of a swing door. 
 (d) Key of a very complicated nature hanging 
 by a chain, (e) Lion-headed door-ring. (/) 
 Door-ring representing a fine head of Medusa 
 with eyes and teeth in silver ; (g) hook to fasten 
 back a door ; (h i) door keys, the latter richly 
 inlaid with silver and found with the skeletons 
 in the cellar of Diomede's house ; (I) the bolt of 
 
 a lock ; (m) a bolt ; (») lock-plate and key ; (o) 
 hook for a door ; (r) a bronze nail. (Pompeii.) 
 
 124. Saddlery, (a) Bit similar to a modern 
 one. (b, c) Modifications of the nose-band still in 
 use in Naples, (d) Ornament of brow-band, (e) 
 Ornament of breast-plate, inlaid with designs 
 in silver. (/) Ornament for breast-plate, (g) A 
 buckle. Qi) Ornament of breast-strap still bear- 
 ing the threads which originally attached it to 
 the leather, (i) A stirrup. (?) Great doubt exists 
 as to this specimen, since neither the paintings 
 nor the mosaics ever show a stirrup, and it is 
 never mentioned by the ancient writers, (j) A 
 curb-chain, (k) A spur. (Pompeii.) 
 
 125. Musical Instruments, (a, c) Cattle-bells. 
 (b) Bronze gong (Diam. 10 in.), with its striker 
 hanging by a chain beside it. It has a beauti- 
 ful tone, (d) Cymbals. (e,f) Sistrum bearing a 
 group of Bomulus and Bemus sucking the 
 wolf. This was a bronze rattle used in the 
 worship of Isis. (g, h) Flageolets. These were 
 the most important of Koman musical instru- 
 ments, and were used on occasions of all kinds 
 in the temples, the games, and at funerals. 
 
 Cantabat fanis, cantabat tibia ludis, 
 Cantabat ma;stis, tibia funeribus. 
 
 Ov. East. vi. 679. 
 
 (i) Fragment of an instrument in bronze and 
 ivory, thought to be part of a bagpipe. It was 
 found in the barracks, (j, h) Fragments of 
 two trumpets. (Pompeii) 
 
 126. Checks for Theatres &c. (a to m) 
 Thirteen ivory checks, thought to have been 
 used for admission to the theatres, the birds (i 
 and m) are of terra-cotta, and are supposed to 
 have given admission to the upper seats ; (n) a 
 knucklebone ; (o) a die exactly similar to our 
 own ; (p) a die intended to be loaded that it 
 might always throw alike, (q, r) Swivel hooks. 
 (s) Netting needle, (t) Stylus for writing on the 
 waxed tablets. The pointed end served for 
 writing and the blunt end for effacing what 
 was written, (v) Bronze pen in the shape of a 
 modern one. (Length 5 in.) (y) Beed pen found 
 near a papyrus in Herculaneum. (u) Bronze 
 octagonal inkstand found in a tomb at Terlizzi 
 near Buvo. Martorelli, who has written upon 
 it, thinks it belonged to an astronomer of the 
 
SPECIMENS FEOM THE NAPLES MUSEUM. 
 
 19 
 
 time of Trajan. It, is adorned with seven figures, 
 inlaid with silver, representing the divinities 
 which preside over the seven days of the week ; 
 namely, Apollo, Diana, Mars, Mercury, Jupiter, 
 Venus, and Saturn. (Height I 1 in.; diam. 
 I 1 in.) (x) Double ink-stand, (a) Ink-stand 
 adorned with pretty silver sprays. (Pompeii.) 
 
 127. Lady's Toilet Articles, (a, c, e, h) 
 Pins for securing the hair made in bone and 
 surmounted by pretty designs, (b) Ear-picker. 
 
 (d) Mirror made of metal. ) (g Bronze comb ; 
 (i, I, k) ivory combs. (/) Alabaster vase for 
 perfume; (j) bronze ointment vase, hung by 
 chains wrought in a double plait, (n, p) Small 
 ivory pots for cosmetics ; (o) small glass pot 
 found with the " rouge " in it, which it still 
 contains. (Pompeii.) 
 
 128. Bathing Utensils, (a, b) Two strigils 
 with busts of Diana and Hercules on the 
 handles. The strigil was used after the 
 vapour bath or gymnastic exercises, to scrape 
 off the perspiration and the ointments with 
 which the body was habitually rubbed at such 
 times, (c) Pot for containing ointment, (d) 
 Small ladle for drawing out the ointment, (e) 
 Patera in which the ointments were mixed ; 
 (/) vase for the same purpose, (i) Bronze bath 
 similar to those of our day, with four handles, 
 and a plug-hole to let off the water. (Length 
 5 ft. 8 in.) (Pompeii.) 
 
 We are indebted for our description of the Surgical 
 instruments to Dr. Barringer of Naples, and Dr. 
 Ferdut of Paris. 
 
 129. Surgical Instruments, (a) Actual cau- 
 tery, (b) A bivalvular speculum working on a 
 central pivot. It has been the model of 
 modern specula. (Length 6 in. ; maximum 
 dilatation 3 in.) (c) Scissors with a spring, 
 like shears, (d) A male catheter made in 
 the same form that was re-invented in the 
 last century by the celebrated French surgeon 
 J. L. Petit, It is open at one end and closed 
 at the other. At the closed end is an eye, 
 as in the modern instrument. (Length 10 1 in.) 
 
 (e) A bronze hook with elegant handle. 
 (/) An injection probe, with eight small holes 
 arranged like wreaths, as in the best modern 
 
 instruments. The other end was no doubt fitted 
 with a syringe. (Pompeii.) 
 
 (g) Pompeian Forceps, formed of two 
 branches crossing and working on a pivot. 
 Each branch is fitted with an engine-turned 
 handle, and a spoon-shaped blade. The length 
 of the handles gives great power to the 
 operator. (Length 8£ in. ; dilatation 4f in.) 
 (h) Forceps, (i) Cupping instrument of bronze. 
 (j) Medicine box with medicines. (House of 
 the Surgeon, Pompeii.) 
 
 130. Surgical Instruments — (continued), 
 (k) Spatula for mixing ointments. (I) 
 
 Lancet for bleeding, (m) Fleam for bleeding 
 horses, (n) Forceps, (o) Digitated forceps, with 
 name of maker, (p) Trocar for tapping in 
 dropsical cases, with a hole at the top for the 
 passage of the liquid, (q) Small spoon with 
 bone handle ending in the head of a ram. 
 (r) Female catheter, (s) Bistoury or surgical 
 knife ; the blade oxidised, and the handle in 
 bronze, (t) Trivalvular speculum ; an instru- 
 ment which has been very much discussed by 
 archaeologists and professional men generally. 
 It is composed of three valves, standing at 
 right angles to the rest of the instrument, 
 and jointly dependent on one another in the 
 expansion transmitted only to one of them. 
 By turning the screw, one valve is drawn 
 nearer to the operator, and this forces the 
 other two to open in a sidelong direction. 
 The instrument can be held by the two curved 
 handles with the left hand, while the right 
 hand turns the screw. (Length 8£ inches ; 
 widest expansion of the valves 1£ inches.) (u) 
 A spatula, (v) A case of surgical instruments. 
 (Pompeii.) 
 
 131. Armour. This armour is highly de- 
 corated, and was only used for processions 
 and shows, (a, b) Gauntlets, (c) Epaulette. 
 (d, d) Greaves, (e) Cuirass inlaid with silver, 
 and adorned with heads of Medusa. (/) A belt. 
 (g) A plate showing the whole design of the 
 belt. (Pompeii and Herculaneum.) 
 
 132. Armour, &c. (a, b) Two helmets with 
 visor, (c) Circular shield with head of Me- 
 dusa, and an olive garland inlaid with silver. 
 
20 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 (d) Quiver with arrows, (e) Dagger in sheath, 
 the handle adorned with a fine eagle's head. 
 (/> />/>/) Fcmr hinces of different shapes. 
 (g, g, g) Three battle-axes, (h) Leaden sling- 
 bolt, with inscription fib. This is one of 
 many found on the battle field of Cannae. 
 (i) Bronze axe-head without a handle, to which 
 a cord was fastened, by which it could be slung 
 and then withdrawn by the striker. (I) Bronze 
 collar, meant to be worn by a slave, bearing the 
 inscription, " Servus sum tene quia fugio." 
 ' I am a slave, arrest me because I am escap- 
 ing." (m) Stocks made of iron found in the 
 barracks at Pompeii, with the skeletons of four 
 men fixed in them, who were thus buried alive 
 when the city was destroyed. The stocks were 
 nailed to the floor of the gaol, so that the 
 prisoners were obliged to remain stretched on 
 the ground. (Length 8 ft.) It was probably 
 in such stocks as these that Paul and Silas 
 were secured at Philippi. (Acts xvi. 24.) 
 (Pompeii and Herculaneum.) 
 
 133. Agricultural and Mechanical Imple- 
 ment& (a) A spade, (b, b, b) Hoes, (c, c) Heavy 
 rake, (d) A pitchfork, (e) Clipping shears. 
 (/) Beaping-hook. (g) Scythe, (h) A pruning 
 knife, (i) An axe. (/) A plane, (k) A saw. 
 (I) A mallet, (m, m, m, m) Chisels, (n) Mason's 
 trowel, (o) Smith's pincers. (p) Hard chisel. 
 (q, s) Stone-mason's chisels, (r) Soldering iron. 
 (t) An anvil, (u) A lever, (v) A claw. 
 
 134. Steelyards, Weights, Compasses, &c. 
 
 (a) Compasses, (c) Proportional compasses. 
 
 (b) A weight in the shape of a pig, marked p.c. 
 (100 lbs.), (d) A plummet, (e) A linear 
 measure. (/) Steelyard graduated from i to 
 viii on the one side, and from x to xxxhi 
 on the other, the pan being supported by very 
 elegant chains, and the weight representing a 
 Satyr, (g) A Steelyard with hooks to hang the 
 object to be weighed. (h) Leaden weights 
 bearing the inscription eme habebis, "Buy, 
 and you shall have." (i) Liquid measure for oil, 
 with an olive on the handle. (J) An ingenious 
 machine for weighing liquids, which were put 
 into the pan, and the equilibrium was adjusted 
 by means of weights fastened to the ring 
 
 beneath, and by shifting the position of the 
 hook-chain along the graduated slot in the 
 handle, (k) Large weight in the shape of a 
 knucklebone, for weighing meat. (I) Bound 
 weight in the form of a cheese, (m) A pair of 
 scales, (n) A measure for grain, with trian- 
 gular cross-pieces to determine the capacity of 
 the measure. (Pompeii.) 
 
 135(a). Kitchener or Brazier in the shape 
 of a quadrangular fortress with four towers at 
 the angles. In the centre is a pan, in which 
 the embers were laid, the fire being surrounded 
 by a jacket of water contained in the square 
 conduit which forms the battlements, and is 
 furnished with a tap. (Height 12 in. x 25 
 broad.) (Herculaneum.) 
 
 (b) Economic Kitchener, consisting of a 
 covered cylindrical boiler, communicating with 
 a hollow semicircle, provided with a tap to 
 draw off the hot water. The fire within the 
 semicircle heated the boiler, and the three 
 swans upon it are constructed to carry a 
 trivet. (Height of boiler 18 in. ; diameter 7 in. 
 Brazier 18 in. square.) (Stabiw.) 
 
 136. Milk Jug of beautiful shape. The two 
 goats on the edge seem to indicate the use for 
 which this jug was intended. (Pompeii.) 
 
 137. Bronze Vases. (a) Urn with two 
 handles and lions' feet. Inside, a vertical 
 cylinder for live charcoal, round which lay the 
 hot spiced wine, which was drawn off by a tap 
 in the front, placed high up to prevent the 
 sediment choking it. (b, d) Two small pails. 
 (e) A small jug of elegant design. (e,f) Two 
 libation cups of exquisite workmanship and 
 beautiful forms. (Pompeii and Herculaneum.) 
 
 138. Kitchen Utensils. (1) Frying-pan. 
 (2) Frame for cooking twenty-nine eggs at 
 once. (3) Frame for four eggs. (4) Stew-pan. 
 Four stock-pots and two saucepans. 
 
 139. Kitchen Utensils (continued). Shapes 
 for pastry representing (a) A hare. (b) A 
 sucking pig. (c) Half a fowl, (d) A ham. 
 (e) A mould like a shell, with a head of Medusa 
 in the centre. (/) A shell, (g, h) Paste 
 cutters, (i) A spoon. (J) A ladle, (k) A 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 21 
 
 grater. (I) A bronze knife, (m) A gridiron. 
 (n) A spit. {Pompeii and Herculaneum.) 
 
 140. Lavek for lustral water, richly adorned 
 with elegant designs and inlaid with silver and 
 red mastic. (Diameter 2 ft. 10 in.) In this laver 
 was fonnd a whisk for sprinkling the holy 
 water. {Temple of his, Pompeii.) 
 
 141. Bronze Stove of cylindrical shape and 
 beautiful workmanship. It stands on three 
 lions' feet, and has four handles, of which two 
 are fastened to the sides by models of human 
 hands. On the upper part are two handles, 
 each formed of two wrestlers, whose exertions 
 aire portrayed with wonderful realism. The 
 
 lid is surmounted by a Cupid astride on a 
 dolphin, holding a lyre in his right hand. The 
 upper part of this stove forms a boiler, which 
 communicates with the fire-bars beneath, which 
 are hollow. The comic masks at the back of 
 the stove form uptakes for the fire, while the 
 one over the stove door communicates with the 
 boiler, and may once have been furnished with a 
 tap. (Height 3 ft. 6 in.; diameter 14 in.) 
 (Pompeii.) 
 
 142. Pail richly embossed and inlaid with 
 silver. The two handles fall back, and form 
 a rim to the pail. On one of the handles is the 
 inscription " Cornelia} S. Chelidonis." (Height 
 16 in. ; diameter at rim 14^ in.) (Herculaneum.) 
 
 
 Ttalo- Greek Vases. 
 
 The Naples Museum contains a collection of 
 something over four thousand vases, found in 
 ancient tombs in the neighbourhood of the Old 
 Greek colonies, and dating from the period 
 when this part of Italy was called "Magna 
 Grascia." Some of these vases were brought 
 from Greece, but by far the greater number 
 were made in Italy several centuries before 
 the destruction of Pompeii. They are divisible 
 into five great periods, namely, the Archaic, 
 the Panathenaic, the Grand, the Transition, 
 and the Decadence, and they date over the four 
 hundred years from B.C. 600 to b.c. 200. It is 
 desirable to remark that these vases are com- 
 monly but erroneously called " Etruscan." The 
 Etruscans made no painted vases at all that 
 deserve the name, whereas the Greeks excelled 
 in this branch of art, and produced exquisite 
 models decorated with highly artistic designs 
 and varnished with a skill that we have never 
 been able to equal. The method of painting 
 them was as follows. When the vase came 
 from the lathe it was covered with a coat of 
 red paint. The ornaments were then drawn 
 in black, and afterwards the figures were de- 
 
 lineated with a stylus. The black background 
 was then painted in, and the finishing touches 
 put in by the artist before the final baking. 
 
 Many of them when found contained ashes of 
 the dead and jewelry, but the majority were 
 empty. 
 
 We give two plates showing the forms of 
 the types most usually found, and others 
 illustrating the most celebrated vases of the 
 collection. 
 
 143 and 144. These two plates show the 
 various forms of Italo-Greek vases, and will be 
 very useful to students of this branch of Ar- 
 chaeology. These vases are generally known 
 in commerce and in books by their Italian 
 names. 
 
 143. (a) A nodi, that is having a knot in the 
 handles; (b) a tromba, the neck and mouth 
 being trumpet shaped ; (c) a colonnette, from the 
 small columns that support the rims, (d) Am- 
 phora; (e) a calice, being in the shape of a 
 chalice; (/) TJrna, or funeral urn ; (g) rhyton, in 
 the shape of a horse's head, from which libations 
 were poured through a small hole in the mouth. 
 
22 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 These vessels were also used to drink from, as 
 we learn from many frescoes, the vessel being 
 held up in the air and the wine allowed to pour 
 into the mouth of the holder, (h) Lagrimatoio, 
 (i) pr odious; Qc) a prefericulum ; (I) cantharus; 
 (m, n, o,) paterae ; and the remainder balsamarii, 
 small vessels used for ointments and perfumes. 
 
 144. (a) A rotelle, from the curved tops of 
 the handles ; (b) a mascheroni, from the masks 
 upon the handles ; (c) a girelle, from the globes 
 on the handles ; (d) lagena ; (e) Bacchic am- 
 phora ; (/) a tre manichi, because it has three 
 handles, (g) rhyton; (h) a campana, because it is 
 of the shape of an inverted bell ; (i) balsamario ; 
 {h)Lepaste; (l)Lehane; (m) Cylix; (n) shyphos ; 
 (o) Ashos ; (p) a lamp ; (q) Askos ; (r) cantharus. 
 
 145. Ehytons of grotesque shapes. The 
 Santangelo collection in the Naples Museum is 
 especially rich in these grotesque specimens. 
 Our plate shows a few of the most celebrated 
 ones. They were found at Nola and in the 
 province of Basilicata. 
 
 146. The Vase of Darius (Transition 
 Period). A colossal vase on a tripod, a nias- 
 cheroni, with sixty figures of exquisite execu- 
 tion. It is one of the few historical vases in 
 the collection, and represents Darius in the 
 centre, seated upon an elegant throne, holding 
 the golden sceptre of the Persian monarchy, 
 and meditating the conquest of Greece. Be- 
 hind him, a sentry, who was commanded to 
 repeat to him daily, "Kemember, king, to 
 punish the Athenians," and two councillors in 
 earnest conversation. Before him, his prime 
 minister, representing the Persian nation 
 (nEPZAl), holding up two fingers, and inform- 
 ing the king that the success of the enterprise 
 depends upon two things: first, the goodwill 
 of the provinces ; and secondly, the contribu- 
 tion of money. Behind him, two councillors 
 repeating his gesture, and an old pedagogue. 
 In the bottom order, the treasurer, with a dis- 
 satisfied countenance, is seated at a table, collec- 
 ting the contributions from the provinces, which, 
 from the inscription on the tablets, seems to 
 have amounted to eight talents, or £1600. 
 
 One province is paying, the others are beg- 
 
 ging for more time, while one behind the trea- 
 surer brings an offering of gold plate. 
 
 The upper order represents Greece backed 
 up by Athena, with aegis and shield, who pats 
 her on the back as she introduces her to Zeus, 
 who, with Hera and Artemis, make up the 
 picture on the left. Behind Minerva, Apata 
 (the goddess of craft), with lighted torches, 
 and, (beneath a hermes of Artemis,) the 
 Asiatic provinces of Greece holding a sceptre. 
 
 The neck represents the battle. This has 
 been mistaken for a battle of Amazons, but it 
 represents the Greeks fighting the same Per- 
 sian provinces as are seen at the bottom of the 
 principal picture. Beverse ; Greece mounted 
 on Pegasus, crowned by Victory. (Height to 
 top of handles, 4 ft. 6 in.) (Canosa.) 
 
 147. Side view of the same vase showing the 
 lotus bud ornament, which was so much adopted 
 for decoration in the Transition period of vase 
 making. 
 
 148. Vase of the shape technically called 
 Olla (Grand period). This beautiful vase 
 represents the festival of the Vinalia, or end of 
 the vintage, a festival answering to our " harvest 
 home." On the left is the priestess Dione 
 about to pour a libation before an image of 
 Bacchus. On the right stands Mainos, and on 
 each side a Bacchante with lighted torches. 
 The ladle by the side of the vase was found 
 inside it, and is similar to the one in the hands 
 of Dione. 
 
 On the reverse of the vase are four female 
 figures. The first playing the tibia. The second 
 {Thalia) with the Bacchic thyrsus and a lighted 
 torch. The third (Koreia) clad in a goat-skin and 
 striking a tambourine, and the fourth a Bac- 
 chante with the thyrsus. This vase is alike 
 remarkable for its beautiful design, and its 
 wonderful varnish. (Height 1 ft. 10 in.) (Nocera 
 dei Pagani.) . 
 
 149. Olla (of the best period of the 
 Transition), representing a gymnasiarch, by 
 name Pylades, with two women. 
 
 150. The reverse of the preceding vase ; re- 
 presenting Hercules delivering Dejanira from 
 the centaur Nessus in the presence of Oineus. 
 (Found at Nola.) 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 23 
 
 F, 
 
 The tapyri. 
 
 This collection is as interesting as it is 
 unique. It consists of some eighteen hundred 
 charred rolls of papyrus taken from a house at 
 Herculaneum. They were mistaken for char- 
 coal when first found, but it was subsequently 
 discovered that they were books, and the 
 Abbot Piaggi discovered an ingenious plan by 
 which they might be unrolled and read. They 
 are written in Greek or Latin, and consist of 
 about a hundred pages each. Some five hundred 
 have been read, and about a hundred have been 
 published. Nothing of great importance has 
 hitherto been found, but as the research 
 continues, it is hoped that some great literary 
 treasure may yet come to light. 
 
 The papyrus is a picturesque reed, which 
 grows in marshy places and on the banks of 
 rivers. It has a long angular stalk, without 
 leaves, ending in a bushy crown of flowers. 
 
 It may be seen growing on the banks of the 
 river Anapo, near Syracuse, as well as in parts 
 of Syria, but it has almost entirely disap- 
 peared from Egypt, which was its home in 
 ancient times. 
 
 The early Egyptians discovered the process 
 by which it might be made into what was to 
 all intents and purposes paper, a word derived 
 directly from the name of the plant. The reed 
 was rolled out, and the strips were joined 
 lengthwise with a paste, which is variously 
 stated to have been made of Nile water, or a 
 decoction of the juice of the papyrus plant 
 itself. 
 
 When the scroll was complete it was rolled 
 on a small stick, and hence it obtained its 
 name " Volumen," or " roll," a name which we 
 have preserved in the word " Volume." as ap- 
 plied to books. The manuscript was written 
 
 with a pen made of reed or bronze (see plate 
 126 (v) (y) ), of the shape of our modern pens, 
 and with ink contained in inkstands made 
 variously of bronze or terra-cotta, some of 
 which were very tastefully decorated (see plate 
 126 («)). 
 
 The writing was in narrow columns, a fac- 
 simile of one of which we give in our plate 
 (No. 151). These rolls were usually written 
 upon one side only of the paper. When written 
 on both sides they were called " Opisthographa," 
 which became at last a term used colloquially 
 to express a very long work. 
 
 The prophet Ezekiel and the Evangelist St. 
 John, writing at an interval of more than six 
 hundred years, both speak of a book written 
 " within and without," alluding no doubt to a 
 papyrus roll of unusual length, and written in 
 an exceptional manner. 
 
 When the work was complete, it was rolled 
 upon a stick, tied with a string, and frequently 
 sealed with one or more seals, as was the book 
 in the Eevelation of St. John, to which we 
 have already alluded. 
 
 It seems probable that the Apocalypse was 
 written within a very few years of the destruc- 
 tion of Herculaneum, and in its original form no 
 doubt closely resembled theHerculanean papyri. 
 
 Seven specimens of these charred rolls were 
 presented by the Bourbon Government to the 
 University of Oxford, who sent them over to 
 Naples in 1883 to be deciphered. 
 
 151. Facsimile of a portion of a Greek 
 papyrus by Philodemus. It treats of liberty 
 of speech, of its utility, and of the different 
 ways of correcting the vices of humanity. 
 (Herculaneum.) 
 
24 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 Middle 
 
 Ages. 
 
 152. Dante. A bronze head bearing his 
 name. (Height 1 ft.) This is a work of the 
 16th century, and is thought to have been cast 
 from a mask of the poet's face taken after 
 death. 
 
 153. The infant Hercules strangling the 
 serpents. This is a fine example of 16th- 
 century work. (Height 3 ft.) 
 
 154. Detail drawing of the plinth (8 inches) 
 upon which the above stands, representing the 
 labours of Hercules in bas-relief. 
 
 155. Silver plate representing a descent 
 from the Cross, dedicated in 1398 to the 
 Cardinal A. M. Salviati by Annibale Carracci. 
 
 156. Life-size cartoon by Eaphael, painted 
 for one of the rooms of the Vatican, representing 
 Moses on Sinai hiding his face at the sight of 
 Jehovah. It is composed of small sheets of 
 paper fastened together. (Height 4 ft. 6 in. x 
 4 ft. 7 in.) 
 
 157. Gitjlio Bomano. The Holy Family, 
 with Elisabeth and St. John. This picture is 
 known as the "Madonna del gatto." (5 ft. 
 7 in. x 4 ft.) (Panel). 
 
 158. Eaphael. Holy Family. A very fine 
 example. (Height 4 ft. 2 in. x 3 ft. 7 in.) 
 (Panel.) 
 
 159. Eaphael. The Pope Leo X. seated 
 between the Cardinals Luigi di Eossi and 
 Giulio de' Medici. A celebrated picture. 
 (Height 5 ft. 6 in. x 4 ft.) (Panel.) 
 
 160. Correggio. The mystic marriage of 
 Saint Catharine. (Height 10£ in. x 8£ in.) 
 (Panel.) 
 
 161. Leonardo da Vinci. The Virgin and 
 Child. Purchased at Eome by Ferdinand the 
 First. (Height 37 in. x 26 in.) (Panel.) 
 
 162. Correggio. The Virgin and Child, 
 known as " la Zingarella." (Height 22 in. 
 X 16.) (Panel.) 
 
 163. Paemigianino. The Virgin and Child. 
 (Height 2 ft. 9 in. x 25 in.) (Canvas.) 
 
 164. Annibale Carracci. " La Pieta." 
 (Height 5 ft. x 5 ft. 2 in.) (Canvas.) 
 
 165. Schidone. Love. (Height 5 ft. x 
 5 ft. 2 in.) (Canvas.) 
 
 166. Titian. Portrait of Philip II. of Spain. 
 (Height 7 ft. 4 in. X 3 ft. 6 in.) (Canvas.) 
 
 Philip IF. was wounded by the refusal of Queen 
 Elizabeth to marry him, and was smarting under 
 the loss of many treasure-ships. Actuated by these 
 feelings, and by a strong desire to suppress Protes- 
 tantism, he equipped the Invincible Armada and 
 a large army to conqui-r England. The Armada 
 was destroyed by Lord Howard of Effingham, 
 a.d. 1588. Philip was King of Spain in 1 586, when 
 the Spanish Viceroy, the Duke D'Ossuna, laid the 
 foundation of the Museum building. 
 
 167. Titian. A superb life-size picture 
 executed about the year 1545, and representing 
 Jupiter, in the form of a shower of gold, 
 entering the chamber of Danae. It is justly 
 considered one of Titian's best works. The 
 galleries of Vienna and St. Petersburg both 
 contain a picture of this subject by the same 
 master. (Height 4 ft. x 5 ft. 8 in. (Canvas). 
 
 Danae was daughter of Acrisius, King of Argos, 
 by Eurydice An oracle having told Acrisius that 
 his daughter's son would put him to death, he 
 confined Danae in a brazen tower, to which 
 Jupiter obtained access as above explained. 
 Some suppose that the shower of gold indicates 
 a bribe paid to the servants of Acrisius by Prastus 
 to admit him to the tower. Danae became the 
 mother of Perseus, who slew Medusa, and was 
 one of the great legendary heroes of Greece. 
 
 THE END. 
 
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[UNIVERSITY) 
 
THIS BOOK IS DTJE ON THE LAST DATE 
 STAMPED BELOW 
 
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 WILL BE ASSESSED FOR FAILURE TO RETURN 
 THIS BOOK ON THE DATE DUE. THE PENALTY 
 WILL INCREASE TO 50 CENTS ON THE FOURTH 
 DAY AND TO $I.OO ON THE SEVENTH DAY 
 OVERDUE. 
 
 APR 12 1S34 
 
 StP y 1940 
 
 i<ovir-raBT^5- 
 
 RECTOf-O 
 
 H HS2035-2P ft 
 
 LD 81-100* 
 
 1. 
 
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 YE 00792