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 THE NATIONAL MUSEUM 
 
 1. Front view. The building 153,35, long, 75,13, wide, 30,09 high, which 
 contains the collections now known in their ensemble as the National Museum 
 of Naples , was erected by Chevalier Fontana under the orders , of the Vi- 
 ceroy Duke d' Ossuna. It was originally intended for a stable, and work was 
 begun upon it 1586. The water supply proving insufTicient , this project was 
 abandoned, and the building was left in its unfinished condition until 1610. 
 
 The Viceroy Pietro Fernando de Castro, Count of Leinos, then assigned it 
 to the University, caused improvements to be made, and formally celebrated 
 its inauguration of June 14,1616, after which time the edifice was known as 
 the Regi Studii. 
 
 After the earthquake of 1688 , it was used by the Courts , and during the 
 revolution of 1701, by name Macchia it was turned into a barrack. 
 
 In 1767 it was again assigned to the department of public instruction. 
 
 In 1790, King Ferdinand IV, a Bourbon, desirous of transforming it into an 
 Archeological Museum , commissioned the architects Fuga and Schiantarelli to 
 build the upper story and the principal staircase, a work which was achieved by 
 the architects Maresca and Bonucci. 
 
 It was at that time they transported to it all the objects found in the excava- 
 tions at Pompeii , Herculaneum, Stabia, as well as the ancient monuments which 
 were in the Museum at Capodimonte, which had been inherited from the Farnese 
 Family by Elisabeth, second wife of Philip V, King of Spain, the last representa- 
 tive of the Farnese Family and mother of Charles III de Bourbon. The Bourbons 
 of Naples, down to the time of Ferdinando II, enlarged and enriched this magni- 
 ficent store of antiquities by purchases and by the addition of such collections as 
 the I^oja, Albani, Vivenzio etc., and gave it the name of the Real Miiseo Bor- 
 bonico. 
 
 During his dictatorship. General Garibaldi, in 1860 , proclaimed the museum 
 and the territory devoted to excavation to be the property of the nation , and in- 
 
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6 GROUND FLOOR 
 
 creased the annual endowment, in order that the works at Pompeii might be more 
 extensively prosecuted. 
 
 Finally, Victor-Emanuel II , decreed the re-organisation of the National Mu- 
 seum, modifying at the same time the system of administration. He also ordered 
 that it should include the Cumaean collection of the Count of Syracuse, given to 
 the Museum of Naples by Prince Carignano of Savoy , who had become its pos- 
 sessor — the Santangelo collection, which had been purchased by the Municipality 
 of Naples — the Palatina collection of engravings — the tapestries bequeathed by 
 the Marquis del Vasto — together with the medals and dies of the Neapolitan 
 royal mint. 
 
 WALL PAINTINGS 
 
 The wall paintings form the most important part of the Museum of Naples. 
 They excite lively curiosity, as they represent various scenes of our Ancestors'life; 
 historical facts; their Deities; heroes with their deeds. These paintings which em- 
 bellished the dwellings of the inhabitants of Pompeii were frequent allusions to 
 the use the appartment was destined to. The very habitations of the lower classes 
 were adorned with paintings and mosaics , which reflects an air of grandeur on 
 Pompeii. Few of these paintings are incorrect with respect to drawing which is 
 always pure, and in some of them, perfection has reached so high a degree, that 
 the most renowned great masters of our epoch can hardly attain to the same height. 
 
 The beauty and ingenuity of the touch are wonderful indeed ; every figure is 
 harmonious ; its attitude is natural ; the drapery is easy ; the expression of the 
 whole is in analogy with the subject, and all things conspire to give an adequate 
 idea of it. These paintings , when discovered , had vivid and beautiful colours ; 
 they looked as of recent date ; but after a short time they were more or less 
 altered, which no doubt depends on the colours used , or on the earth more or 
 less damp mingled with the ashes and the bituminous matters of the volcano. 
 The number of these paintings amounts to 1004 and nearly all of them proceed 
 from the excavations at Pompeii and Herculaneum. In the annexed prints is to 
 be seen the design of those worth especial observation. 
 
 2, Telephus fed by the hind. He is about to suck the teat of the hind , that 
 turns her head to caress him. Hercules, his father, with his attributes and crowned 
 
WALL PArNTINGS 7 
 
 with leaves of ivy, is looking at him frowningly. A winged woman , Fame , who 
 seems to be the leader of this hero, spreads her wings: her head is crowned with 
 olive-branches. She points out Telephus to his father. On a rock is sitting a ma- 
 jestic woman crowned with fruits : she seems to be the protecting goddess of the 
 forsaken boy. Near her there is a basket of fruits and pomegranates : a merry 
 faun of the retinue of the goddess is seen behind her, holding in his hand a syrinx 
 (Pan's flute). Hercules having at his side an eagle and a lion in a quiet attitude. 
 This large picture , the master-piece in the collection is perfectly preserved , 
 and remarkable for its rich composition and pure drawing. (Height 2,18, width 
 i ,86 ). Herciilanewn. 
 
 3. Theseus in Crete. The victorious Theseus is seen near the centre with his 
 knotty stick : he has around him four of the young Athenians who had been 
 condemned with him to be devoured by the monster , and who are expressing 
 their gratitude to their deliverer. Two boys are kissing the victorious hand; another 
 is clasping his knees with fervour, and a beautiful girl seeks to touch the potent 
 club. The bull-headed monster is lying stricken on the ground , covered with 
 wounds. On a high hill, to the left, is a woman sitting with a bow and arrows in 
 her hand , perhaps the protecting Goddess of Theseus. The scene takes place 
 before the entrance to the labyrinth. 
 
 This valuable picture remarkable for its beautiful workmanship seems to be a 
 production of the same artist who executed the. painting of the Telephus we have 
 just examined. This masterpiece was found in -1739 at Herculaneum in a large 
 hall which, according to appearences, might belong to a Temple. (Height 1,98, 
 width 1,58). 
 
 4. Achilles recognized by Ulysses in the palace of Lycomedes among the 
 maids of Chios. Achilles with his right hand is seizing the sword, and with the 
 left the shield, on which is Chiron teaching him to play the lyre. Ulysses , who 
 wears a long beard, stays with his right hand the young map's arm. On the other 
 side of Achilles the young Ajax, or Diomedes, grasping Achilles's arm as if to as- 
 sure him that the trumpets had given only a false alarm battle. The pretty Dei- 
 damia is seen behind. On the other side , Lycomedes severely looking at his 
 daughter. In the background two warriors. On the ground a helmet , mirror and 
 vase. (Height 1,40, width 0,90). The house called of the Questor at Pompeii. 
 
 5. The education of Achilles. The Centaur Chiron rests easily on his hind 
 legs. He wears a long beard , his shoulders are covered with a simple skin , and 
 his left hand is stretched out to touch the lyre of Achilles, whom he holds in his 
 arms, and who is looking affectionately at his master. (Height, 1,24, width 1,27). 
 Herculaneum. 
 
 6. Bacchus and Ariadne. The beautiful Ariadne is sleeping gently on a soft 
 bed, resting her head on a large pillow , at the foot of a tree and sheltered by a 
 
GROUND FLOOR 
 
 large tent. Cupid, seizing the opportunity of the flight of the ungrateful Theseus, 
 would lead the maid to Bacchus who sits crowned with leaves and grapes near his 
 master Silenus. A Cupid who has discovered Ariadne , and a little faun hidden 
 behind a rock, witness his surprise. In the distance the retinue of the god of The- 
 bes is to be seen carrying some mystical baskets and flowers. (Height 0,75, width 
 0,62). Herculaneum. 
 
 7. Galathea. a beautiful composition representing Galathea holding a lyre and 
 riding on a Triton. This painting is now in the house called the house of A- 
 riadne at Pompeii. 
 
 8. The sacrifice of Ipiiigenia. The unhappy girl was conducted to Aulis , 
 a maritimal lowrt of Beotia, known nowadays by the name of Negroponte under 
 pretence of uniting her to Achilles , the real intention being to sacrifice her. 
 Diana saved and took her to Tauris to be made one of her priestesses. The 
 unfortunate girl dragged by two men, raising up her hands beseeches Heaven 
 to help her. One of the men is looking with surprise at Calchas, who seems 
 struck with awe on seeing Diana in the air coming to save Iphigenia and 
 putting in her place a stag. Agamemnon , her father, is worthy of notice. He 
 is represented in the most mournful attitude , and with the symbols of the 
 deepest grief. The pompeian artist being therefore unable to find features suf- 
 ficiently expressive to picture his sorrow , represented Agamemnon's face co- 
 vered with a veil. (Height 4,40, width 1,30). Peristyle, Tragic Poet's house, 
 Pompeii. 
 
 9. Greek Charity. Two incidents which took place, one in Greece, and the 
 other in Home. In the latter case a daughter sustained her mother, condem- 
 ned to starve to death in prison by the Triumvirs for witchcraft. In the for- 
 mer , an old man named Cimori , prolonged life by taking the place of his 
 daughter's babe. 
 
 Pliny relates that the latter fact took place in the consulate of Tit. Quint. 
 Flaminius, and M. A. Balbus, in the year of Rome DCIII. ( Height 0,60, width 
 0,55 ). Eastern side of the street called Strada Stabiana at Pompeii. 
 
 40. The three parts of the old world ; Europe , Asia and Africa. Eu- 
 rope , without attributes , is seated on a throne , covered with a magnificent 
 canopy, held by a woman placed a little behind. On her right, Africa is repre- 
 sented as a negress in native costume. On the other side , Asia , having a 
 head-dress of elephant skins. Africa and Asia are both standing. Behind these 
 three figures , there is a ship underfuU sail , typical probably of the means 
 where by these different continents, were united. (Height 1,08 width, 1,28). 1820. 
 Meleager's house al Pompeii. 
 
 11. Elena and Paris seated at the foot of a tree. One may see the apple 
 of discord which is held by one of the Cupids in his left hand. Pompeii. 
 
WALL PAINTINGS 9 
 
 12. Leda and the swan. 1830, Meleager's house at Pompeii. 
 
 13. Medea meditating the dreadful sacrifice of her two children. She stands 
 holding in her left hand a sword unsheathed. The two children Merrnene and 
 Ferele , sons of Jason are playing at dice , joyful and unconscious that their 
 young life is near its end. Under the arch of a door a bearded old man is wat- 
 ching their gambols. (Height 1,20, width 0,27). Pompeii. 
 
 14. The dyers. On two sides of a pillar there are four squares, where the 
 painter has represented the different operations of the fuller's handicraft (Dyers) 
 whose design is annexed. Four boys fulling cloth in metal vats, others are oc- 
 cupied with looking after the cloth hanging from a pale. Another having in his 
 hand a pail and carrying on his head an engine for the drying of cloths , on 
 which is perched the bird consecrated to Minerva (the owl). The woman seated, 
 i^ perhaps the mistress of the establishment about to give or receive from a 
 girl a piece of cloth. The fine bracelets, necklace and a golden net that binds 
 up the hair of the pretty Roman , suggest the general taste for ornament of 
 the Pompeians. 1826, establishment of Fuller's shop, Pompeii. 
 
 15. Amusements of childood. Some Archeologues think they recognize in 
 several pictures of this description allegorical subjects with respect to Love. 
 Winged genii gracefully painted: some are hunting; one is frightening his com- 
 panion, showing him a mask, while yet another boy is scolding him; others 
 are making shoes. We give the design of the most conspicuous as representing 
 cupids most charmingly painted in the act of fishing and three others who, in 
 a lovely attitude, play at hide and seek. (September 1748, Herculaneim. 
 
 16. The caricature of Seneca. Small picture found in 1745 at Hercula- 
 neum, said to be a caricature of Seneca and Nero. A parrot drawing a small 
 cart , driven by a grasshopper holding the reins in its mouth. The learned 
 think it to be a satire on two persons, the weaker of whom keeps the other in 
 leading-strings; but there is no reason for believing it applicable to Nero and Se- 
 neca. With more likelihood people think that the grasshopper is typical of the 
 famous witch Locuste, who provided Nero with the poisons necessary for his 
 numerous crimes and supplied the Roman ladies with prompt means of gelling 
 rid of their husbands. The parrot would be meant for a slur upon the Ro- 
 mans that suffered and obeyed him. 
 
 Above — Rope-dancers — Two small figures of Satyrs who perform games 
 and tricks on the ropes. They are sporting gracefully and their attitude is char- 
 ming. House of Cicero at Pompeii. 
 
 17. The three Graces. These beautiful maids of Venus by name Aglaia, 
 Thalia, and Euphrosina are wonderfully executed. Their attitude is most char- 
 ming. (Height 0,52, width 0,47). July 1814, Pompeii. 
 
 18. Racchante or dancer playing the tambourine, remarkable for her gra- 
 
10 GROUND FLOOR 
 
 ceful motions , found in the house of Marcus Crassiis Fnigi, denominated Pi- 
 cerd's house at Pompeii. 
 
 19. Bacchante playing the cymbals found in the same house. Pompm. 
 
 20. Bacchante dancing. Her attitude is charming. Same house. Pompeii. 
 
 21. Bacchante dancing. Same house. Pompeii. 
 
 22. The Niobides playing at knucle-bones [pentalithe). A handsome compo- 
 sition with six personages; their names are in Greek, Latona, Niobe, Hilearia, 
 Phoebe and Aglae. In the upper part of this picture is in Greek the name of 
 the painter Alexander of Athens. Monochrome on marble painted in a clear 
 dark lint found in 1749 at Hcrculaneum. (Height 0,40, width 0,39). 
 
 23. Theseus killing the Centaur Euryslheus. (Height 0,35, width 0,49). Mo- 
 nochrome on marble. Herculaneum. 
 
 24. Tragic scene. Three personages, in a strange attitude, look as if pla- 
 ying a tragical scene. (Height 0,32, width 0,44). Monochrome on marble. Here. 
 
 25. A WOMAN SELLING CuPiDS. The beauty of the composition of this picture 
 and its subject have always attracted much attention from good judges of art. 
 This is the opinion generally admitted. The scene is an interior. The three 
 Cupids would be the symbols of the degrees in Love, the Desire, the Appetite 
 and the Possession. On the right, the woman seated on an ottoman, dressed 
 in yellow , having her head covered with a kind of whitish hood , would be 
 Penia, the goddes of poverty, the mother and nurse of love, holding a little 
 Cupid by the wings just taken out of a cage with several perpendicular radii , 
 placed before her. The cupid which might be thought to be the Desire, stretches 
 out his arms towards the woman opposite to him. Within this cage another little 
 Cupid begins hardly to move and fret, it may be interpreted the Appetite still 
 captive that begins to perceive rather indistinctly the beautiful and to w^ish for 
 it. A third Cupid, quite naked, stands between the knees of the handsome Venus 
 wrapped up in a sky-colour mantle, gazing on her intently, would signify Pos- 
 session, enjoyment. Behind her, standing, is one of her waiting maids, perhaps 
 Pitho, goddes of Persuasion, placing her hand on the goddess's shoulder as if to 
 induce her to make new conquests. (Height 0,21, width 0,28). June 1758. Stabia. 
 
 26. Nereid. A nymph lying on a sea-panlher with a fish's tail: her figure is 
 symmetrical, and the whole composition is skilful. (Height 0,47, width 0,77). 
 April MQO, Stabia. 
 
 27. Nereid. A nymph borne by a monster , a kind of sea-horse , with a 
 fish's tail : she lies on the back of the animal , holding on by its neck. The 
 attitude is graceful, and the nude figure is well drawn. (Height 0,61, width 0,91). 
 .4jt)r«71760, Stabia. 
 
 28. A CENTAUR most gracefully and charmingly painted with his hands 
 bound behind him, bearing on his back a beautiful nude Bacchante, who, in- 
 
THE MOSAICS 11 
 
 cites him by striking him with the thyrsus, full speed. 1749, house o^ Marciis 
 Crassiis Frugi, at Pompeii. 
 
 29. A CENTAUR leaching a young man to play on the lyre, and carrying on 
 his shoulder a long thyrsus with cymbals hanging at its end. It has been sup- 
 posed this painting represents the education of Achilles. Same house. Pompeii. 
 
 30. A FEMALE CENTAUR playing the lyre and holding in the other hand a 
 cymbal, striking it upon the other which is held in the right hand of a young 
 man who clings to her with his left arm. This picture excells all others by 
 correctness of drawing. Same house. Pompeii. 
 
 34. A FEMALE CENTAUR. As shc runs she turns to embrace the young man 
 whom she carries, giving him Bacchus's thyrsus with garlands. Same house. 
 Pompeii. 
 
 THE MOSAICS 
 
 The Mosaics amount, to 45, besides the large Mosaic, so well known re- 
 presenting Alexander's battle and several others which form the pavements of 
 a few halls on the upper floor at the Museum. The correctness of drawing, 
 the harmony of the composition, the variety and vivacity of colours make all 
 these mosaics unvaluable; and we can hardly believe they were ever trodden 
 under foot. 
 
 Agreeably to our plan we give the correct design of those which strike most 
 attention. 
 
 32. The battle of Issus. A large mosaic from the house of the Faun at 
 Pompeii, discovered on the 24 October, 1831. 
 
 This fine work is composed of small pieces of marble of different colours. 
 The subject, the only one of such dimensions, is admirable in point of com- 
 position and in the arrangement of its figui-es. It represents the balllo of Issus, 
 between the Greeks and Persians. The combatants are 26 , with 16 horses. 
 One of the chief figures is Alexander , on horseback, without a helmet , and 
 transfixing with his long lance one of his foes. On the other side, on the right, 
 on a magnificent chariot, is Darius, King of Persia, who raising himself higher 
 than the driver, is urging on the soldiers to the conflict. The ground is strewn 
 with lances, wounded men dying near their horses, pikes, helmets, poniards, etc. 
 
 When this precious monument came out of the excavations it was already so 
 sadly damaged on the spectator's left side that the Ancients themselves intended 
 
12 GROUND FLOOR 
 
 to put it in thorough repair. They had coated it with plaster, slightly drawing on 
 the personages that ought to be replaced. This slight drawing, almost worn away 
 by time, was luckily retraced by J. Marsigli. Look at the original design in the 
 room leading to Ihe papyrus. (Length 5,55, width 3,13). 
 
 33. A Dog chained with the motto « Cave Canem » betvare of the dog. 
 This mosaic was found on the lO* November 1824 in the middle of the labli- 
 num at the entrance of the Omerica house, improperly said Casa del Pacta Tra- 
 gico at Pompeii. 
 
 Below; two other small mosaics representing a partridge stealing away the 
 jewels it has found in a basket and three birds with small chains in their mouths. 
 (Height 1,57, width 1,35). Pompeii. 
 
 34. After the cock fight. The owner of the vanquished looks afflicted, while 
 a boy approaches the vanquisher holding in his hand a palm as symbol of victory. 
 In the background the bust of a divinity is seen. (Height 0,47, width 0,46). Pompeii. 
 
 A law passed in Athens en acted that there should be an annual cock fight in the 
 theatre, to celebrate the victory gained over the Persians by Themistocles who inspired his 
 men with courage by citing the example of the cock that fights but for glory. « Rodiginus ». 
 
 35. A COMIC SCENE. Three actors playing. It is one of the best pieces of the 
 collection of mosaic. The name and country of the artist is added in Greek, — 
 viz « Dioscourides of Samos » . (Height 0,47, width 0,46). House of Marcus 
 Crassus Frugi at Pompeii. 
 
 36. A RIVER with fishes, a work wonderfully full of life. A variety of very 
 life-like representations of fishes as well as of shell fish ; the latter as large 
 as life. A crane on a rock , stretching out its neck to take some small fish : a 
 shell lying in another crevice near a polypus eating a kind of lobster. This mo- 
 saic is adorned with pretty arabesks. (Height 1,16, same width). House of the Faun 
 at Pompeii. 
 
 37. A c.\t killing a quail. It represents a cat that has just killed a quail , 
 with which she plays. Below are some fish in a river towards which many birds 
 are flying. This mosaic is very interesting from the style of the work and the vivid 
 colours. (Height 0,55, same widlh). House of the Faun at Poinpeii.' 
 
 38. Festoon. A long festoon of flowers, fruits and leaves, tastefully twisted 
 together, and wreathed upon two tragic masks and two clusters of tambourines 
 and drums. This mosaic, which formed the threshold of the house of the Faun; 
 is one of the most interesting on account of the variety and vivacity of its co- 
 lours and for its elegance and harmony. (Height 0,22, width 2,80). Pompeii. 
 
MARBLE SCULPTURES 13 
 
 MARBLE SCULPTURES 
 
 39. (a) A RUSTIC calendar. Its form is square. The twelve months of the year 
 and the sign of the Zodiac are marked on it. It gives the physical and astrono- 
 mical phases, as well as the rustic and religious observances, of every month in 
 Latin. It first gives the name of the months and the days, the length of the days 
 and nights, the sign of the Zodiac and its correspondences. The rustic part indi- 
 cates the most important agricultural labours of each month. The religious pdivl 
 names the different divinities that presided over each month and notes the reli- 
 gious ceremony likely to render them propitious. This interesting calendar belongs 
 to an early epoch of the Roman empire. (Height 0,65; each of the surfaces is 0,40 
 in width). Rome. 
 
 (b) A SUN-DIAL in the form of a convex semi-circle. The hours are marked on 
 it by vertical lines and in the middle is a hole for the gnomon which is no longer 
 extant. The pin to be seen at present is an imitation of the ancient one. 
 
 The oscian inscription to be read on this monument informs us that Mara 
 Atinius, Mara's son, a questor, by a decree of the Senate, had this monument ere- 
 cted with the amount of the taxes. (Height 0,43, width of the plinth 0,53). Terme 
 Stabiane at Pompeii. 
 
 40. The Farnese Bull. This celebrated group sculptured out of a single mar- 
 ble block represents the preparations for Dirce's punishment. It is the work of 
 the two famous sculptors ApoUonius and Thauriscus, who flourished long before 
 the reign of Augustus. The two sons of Antiope, the wife of Licus, King of The- 
 bes, are struggling to hold the frantic bull and lie to his horns the rope already 
 bound to the hair of a woman by name Dirce , whom Lycus had married in se- 
 cond marriage. Dirce attired as a Bacchante is almost prostrate beneath the raging 
 animal on which she casts a terrified glance, vainly imploring the commiseration 
 of her fiendlike foes. Antiope exultingly stands by , a seeming impeller of her 
 sons in their merciless project. 
 
 On the base, a young man of the retinue of Bacchus, seems terrified at Dirce's 
 cruel fate, a dog standing by , and in basso-rilievo is seen a lyre leaning against 
 a tree, a syrinx (Pan's flute), a thyrsus, a mystical basket surrounded with ivy , 
 and other symbols, such as a wild boar's head, an eagle, a snake emerging from 
 a tree and other animals. 
 
 This group came out so much damaged from Caracalla's Thermae that J. Bat- 
 tista Bianchi made up again the bull's legs and tail , Dirce's head, arms and 
 
14 GROUND FLOOR . 
 
 breast, Antiope's head, arms and feet and one of Amphion's and Zelus's legs. 
 Others maintain that it was repaired by the celebrated Michelangelo. 
 
 Pliny XXXVI, 5, mentions this masterpiece, and informs ut that from Rhodes 
 it was removed to Rome in the reign of Augustus by Asinius Pollio. Afterwards, 
 Paul III found it again in Caracalla's Thermae, and ia 1786 it was removed from 
 Rome to Naples. (Height 3,70, same width, length 4,25). 
 
 41. The Farnese Hercules. This colossal statue, of deservedly high reputa- 
 tion, is perhaps the most celebrated of antiquity. It was sculptured in Athens by 
 Glycon according to the Grecian inscription under the club « TAYRfiN A0HNAIO6 
 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 
 against the rock and forms a support for his left shoulder : the lion skin covers 
 the club: bis 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 superiorly of 
 the physical over the intellectual in the nature of Hercules. This statue was found 
 in 1540 in Caracalla's Thermae at Rome, and with the inheritance of the Far- 
 nese Family, it was in 1786 carried to Naples. It was without legs, and Cardinal 
 Alexander Farnese , had them sculptured by Guglielmo della Porta , after the 
 terra-cotta model made by Michelangelo. In 1560 were replaced the primitive 
 ancient legs found later in a well of the Borghese house, three miles distant from 
 the place where the statue had been discovered. The half of the fore-arm , the 
 left hand and eyes are in plaster. (Height 2,99). 
 
 42. Farnese Flora. A colossal statue attributed 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 , holds up her dress 
 with the right. The head, the left armwith the flowers, and the legs are modern. 
 Strat is to say made up by Guglielmo della Porta. This fine Grecian sculpture 
 was found in the baths of Caracalla at Rome. (Height 3,25). 
 
 43. Marcus Nonius Balbus , the father, according to the inscription found 
 on the pedestal. Equestrian statue of high value, remarkable for the rider's at- 
 titude and the horse's movements that looks full of life. It was found without 
 the head and one hand which were replaced by Ganardi and modelled from 
 the statue of Balbus as proconsul which is to be seen in the hall of the marble 
 sculptures. This statue was situated opposite to that of his son in the Basilica 
 of Herculaneim. (Height 2,36. Length of the plinth 1,12 ). 
 
 44. Marcus Nonius Balbus, the son, according to the inscription found on 
 the pedestal. This statue is by far the finest equestrian statue yet discovered. 
 Balbus rides after the Greek fashion without saddle or stirrups. In his left hand 
 
. . MARBLE SCULPTURES 15 
 
 which has a ring on one of its fingers, he holds the reins, raising up tlie right 
 as if to thank the inhabitants of Herculaneum cheering their protector. He wears 
 sandals, a short tunic and still shorter breast-plate that leaves his belt visible. 
 He seems to draw the rein as if 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 the sculptor Drunelli. (Height 2,36. Length of the 
 plinth 1,12). 1739, Basilica of Herculaneum. 
 
 45. Venus victorious. A statue that reminds us perfectly well the Venus of 
 Milo at the Louvre. The art of sculpture could no further go, is the idea con- 
 veyed on seeing this Venus. The supple and soft limbs, the beauty of attitude 
 and the elegant harmony pervading the whole composition, so far impose upon 
 the imagination as to make us think we are looking on some living form stan- 
 ding motionless on a pedestal. She tramples under foot Minerva's helmet, and 
 bears on her forehead Juno's diadem. The arms are modern and were exe- 
 cuted by Brunelli. It was found about the middle of the 17"" century in the 
 amphitheatre of Capiia. (Height 2,02 on a plinth of 0,10). 
 
 46. A Faun carrying Bacchus. The execution of this fine Grecian group 
 seems to belong to Adrian's lime. When this precious sculpture was found in 
 the Agro Romano the Faun's head was wanting. ( Height of the Faun 1,63. 
 Height of the Faun with the Bacchus 1,77. The whole is on a plinth of 0,07). 
 
 47. Aeschines, known hy the name of Aristides. This statue is superior to 
 the most perfect works of the Grecian chisel. Glad in a mantle, with the right 
 arm on the breast , he seems pronouncing an oration : his look is calm ; the 
 head almost bald : a light beard , a natural expression complete the picture. 
 The beauty of this statue is acknowledged both by the expert artist and com- 
 petent amateur. (Height 2,40 on a plinth of 0,02). 1779, Theatre of Here. 
 
 48. Flora. Colossal statue gracefully draped. (Height 3,96). Farnese. 
 
 49. Lucius Verus. Statue. It is one of the most natural likenesses of this 
 emperor. (Height 2,20). Farnese. 
 
 50. Urania. Colossal statue which adorned Pompey's theatre at Rome. Farnese. 
 
 51. Alexander Severus. Colossal statue. (Height 3,96). Farnese. 
 
 52. Genius of the roman people. Colossal statue. (Height 3,96). Farnese. 
 
 53. Antinous. This statue in good Grecian style, represents the handsome 
 Antinous. The execution of this masterpiece conveys an idea of the high degree 
 of perfection reached by art in the reign of Adrian. It is known that by order 
 of this emperor, temples and statues were erected in his honour in Greece , 
 Italy and at Bithynia, where he was born. (Height 1,90 on a plinth of 0,10). Farn. 
 
 54. Venus sitting squat, close to her is Cupid who holds an arrow in his 
 
16 GROUND FLOOR 
 
 hand as if pointing out the spot he aims at. Avery fine group. (Height 1,15 
 on a pHnth of 0,28: the plinth is 0,90 in width ). Farnese. 
 
 55. Venus Callypige. This statue belongs to the finest-epoch of Greece, and is 
 deservedly attributed to Praxiteles. The surpassing beauty of the goddess is here 
 revealed, while raising the right hand, with the lefl she so disposes her drapery as 
 to unveil all the symmetry of her form. The right hand, half of the right arm, 
 the upper half of the bust with the head, and the right leg have been restored 
 by Albaccini. (Height 1,48 on a plinth of 0,80). Golden, house of Nero, Rome. 
 
 56. The same Venus Gallypige, observed on one side. 
 
 57. Torso of Venus. Original greek work executed about the time of the 
 Venus Gnydus of Praxiteles. (Height 1,04 on a plinth of 0,12). fiowe. 
 
 58. Venus de Medici. Roman sculpture. Repetition of the Venus known by 
 this name, and that is seen in the galleries of Florence. ( Height 1,77 on a plinth 
 of 0,09). Farnese. 
 
 59. Isis. A charming small marble statue, of elegant Roman sculpture, in imi- 
 tation of the egyptian style, holds in her left hand the key of the Nile, and in her 
 right one the handle of systnim, a musical instrument which was played on in the 
 temple of the Goddess. A girdle, in marble also, closed by two heads of crocodile, 
 goes round her body. Her hair , and a part of her garments were gilt , but few 
 traces are left at present. Round the right arm is observed also a gilding which 
 forms a bracelet turning round twice. The eyes and eyelashes were coloured red. 
 This small statue was found at Pompeii in a temple. bearing its name, and from 
 the inscription engraved on its plinth , we know it was placed in that temple by 
 Lucius Coecilius Phoebus in consequence of the Decurions' decree. (Height 1,00 
 on a plinth of 0,06). 
 
 The temple of Isis overthrown by an earthquake , was rebuilt to the cost of 
 Nunioeritis Popidms, and afterwards improved by the finances of his son Popidius 
 Qelsiniis. Owing to this liberality his name was inscribed in the order of the De- 
 curions, when he was but six years old. 
 
 60. Diana. A small statue, valuable sculpture in imitation of the ancient style. 
 The mantle was painted and gilt, only the traces remain. This statue was found 
 in 1 760 by mere chance in a digging between Torre-Annunziala and Torre del 
 Greco. (Height 1,20 on a plinth of 0,06). 
 
 61. Diana the huntress. She is going to shoot an arrow. A hind pursued by 
 a grey hound is beside the statue. Farnese. (Height 1,59 on a plinth of 0,08). 
 
 Te hind was sacred to Diana on account of its speed. It is believed that a hind lives 
 Kore than a century. Pliny VIII wroie that many ladies ate every day the flesh of the 
 hind, hoping to live long, and to be preserved from fever, these aninaals being free from 
 such diseases. 
 
 62. Psiche. a torso. This pure Grecian sculpture might well belong to the 
 
MARBLE SCULPTURES 17 
 
 times of Praxiteles. Grace of form and beauty of feature distinguish this object. 
 The sweet melancholy and ravishing expression of the gentle maid , seize to 
 gaze and move heart of the beholder. Some traces of the wings and bracelets 
 and a scrap of the drapery still remain. The upper part of the head, the arras 
 and legs are wanting. (Height 0,85 on a plinth of 0,09). Capua. 
 
 63. A Cupid entwined by a Dolphin. A beautiful group, style grecian. The 
 head and the feet of the Cupid are modern. (Height 1,70). Capua. 
 
 64. Nereid. This nymph seated on a sea-monster (pistrice) is gracefully 
 holding up her dress. This group has been several times repaired. A master- 
 piece of grecian sculpture. (Height 4,35; width of the plinth 0,80). 1848, sup- 
 posed the countryseal of Lucullus at Posilippo. 
 
 65. Bacchus seated presenting the cantharus to a figure almost entirely obli- 
 terated; and near him a table loaded with oblations. The panther reposes at 
 his feet. (Height 1,20, width 0,90). Herculaneum. 
 
 66. The temptation of Helen. Paris standing aided by a Cupid, tries to 
 persuade Helen , who is seated with Venus beside her, and above Pitho. There 
 is to be read A<[>POAITH, Venus; AAE5ANAP02 Alexander or Paris; EAENE Helena 
 and nEl0n Pitho, the goddess of Persuasion. This fine grecian basso-rilievo was 
 the property of the Nicola de Bonis. Later it was included in the collection of the 
 Dukes of Noja , and afterwards it was purchased by the Museo Borbonico. 
 (Height 0,60, width 0,66). 
 
 67. A LARGE CANDELABRUM in marble with arabesques and animals. The trian- 
 gular base is supported by sphynx. Beautiful work. (Height 2,70 on a plinth 
 of 0,11. Side of the Candelabrum 0,73). Farnese. 
 
 68. (a) The birth of Bacchus. A large vase in marble around which, in 
 basso-rilievo, is sculptured the birth of Bacchus. Mercury is giving Bacchus in 
 infant's attire, to the Nymph Leucothea, who seated 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 flourishing epoch of Greece. 
 On the upper part of it the name of the artist is engraved in greek « 2AAniftN 
 A0HNAIOS EIIOIHSE » the Athenian Salpion made this. This vase was found at 
 Gaeta, where it was used by sea-men to moor their 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 baptismal font. ( Height 1,30. Diameter 1,00 ). 
 
 (b) A LARGE VAT having around in rilievo the seven following divinities : 
 Jupiter with the eagle; Mars with his helmet; Apollo with his lyre: Aesculapius 
 with a rod entwined by a serpent; Bacchus with the thyrsus; Hercules with 
 his club and Mercury his caduceus. (Height 1,00. Diam. 0,87). Farnese. 
 
 69. Cicero. The bust is remarkable for the characteristical sion of the little 
 
18 GROUND FLOOR 
 
 protuberance on his left cheek, having the shape of a pea. Hence is name 
 Cicero. (Height 0,55 on a ph'nth of 0,1 0). Farnese. 
 
 70. Demosthenes. The bust is remarkable for the expression, about the lips 
 indicating the defect in speech from which this orator at one time suffered, — 
 namely a stutter. (Height 0,50). Herculaneum. 
 
 71. Marcus Aurelius. A fine bust with cloak. (Height 0,88). Farnese. 
 
 72. Caracalla. a bust. This head full of expression and life, with its frow- 
 ning brows, thin lips and wrinkled forehead, displays the cruel disposition of 
 this emperor. A fine piece of sculpture. (Height 0,65). Farnese. 
 
 73. (a) Julius-Caesar. A colossal bust. It is one of the most natural like- 
 nesses of this great man, and Sylla when granting him his life said, that he 
 embodied more than one Marius. A very fine piece of sculpture. Farnese. 
 
 (b) Titus. A colossal bust. This emperor who reigned at the time of the 
 destruction of Pompeii is represented here in his youth. His countenance and 
 frowning brows reveal his temper. Titus as a subject was a dissolute rake : 
 but after his elevation to the throne, his sole pursuit was the glory and pro- 
 sperity of the Romans, and he then practised all those virtues which should 
 be the real ornaments of a monarch, therefore he was called the delight of 
 mankind. Rome. 
 
 BRONZE SCULPTURES 
 
 The collection of the bronze sculptures, the richest ever known of that de- 
 scription , includes a large number of statues and bust of high excellence. 
 No Museum in Europe possesses so many bronze masterpieces which can come 
 in competition with ours. The Mercury resting , the Faun dancing , the Nar- 
 cissus, the busts of Plato, of Seneca etc., these alone can give us an idea of the 
 high degree of perfection attained by our Ancestors. 
 
 74. (a) Plato. The posture of his head bent on the ground and which seems 
 absorbed in meditation; the workmanship of his long hair girt with the phi- 
 losopher's head band, rank this renowned bust above all those in the bronze 
 collection. (Height 0,50 on a plinth of 0,21). April, 1759, Herculaneum. 
 
 (b) Architas. The head adorned with a turban , a style of head-dress pe- 
 culiar to great philosophers. He was the successor of Pythagoras, a friend of 
 Plato, a great captain and philosopher of Taranto. His countenance is highly 
 expressive. (Height 0,49 on a plinth of 0,19). November 1758, Herculaneum. 
 
BRONZE SCULPTURES 19 
 
 75. (a) Seneca. This bust of superior merit, strikes us with admiration through 
 the expression of the lips , and the anxious character impressed by the artist 
 on this bronze with astonishing truth. (Height 0,33). 1724, Herculaneum. 
 
 (b) Marcus Claudius Marcellus. This fine bust represents the nephew of 
 Augustus, who died in his twentieth year.(Heigt 0,iO). April, 1754, Herculaneum. 
 
 76. SiLENUS. He is drunk and reclining, crowned with ivy and clothed with 
 a short tunic, A serpent entwined round his left hand raised above his head 
 supported a basket which is no longer seen. The basis adorned with vine-bran- 
 ches and grapes was inlaid with silver. This small nice statue was found on the 
 21 May 1864 in the peristylium of an ordinary house, near the street said lane 
 of Augustus at Pompeii. ( Height 0,56 without the base : everything inclu- 
 ded 0,61 ). 
 
 77. Narcissus. He is unclothed, upright, wears sandals, has on his shoulders 
 a roe skin and with his right hand raised, head gently inclined, seems absorbed 
 in the subdned whisperings of the nymph Echo. The eyes were of silver. If per- 
 fection exists in any specimen of plastic art, it is in this figure, which is con- 
 sidered the finest small antique bronze in the, world. This small statue deno- 
 minated the pearl of the collection of bronze sculptures, was found in 1862 
 in an insignificant place, near some Lupanari, or tolerated house at Pompeii. 
 (Height 0,58 without the base. Height of the plinth 0,05). 
 
 78. A DANCING Faun. This small statue combines all the graces requisite ia 
 a masterpiece ; perfection in design and execution, graceful and delicate forms 
 embody the whole. Lightly posed on tip-toe and with uplifted hands this fi- 
 gure suggests perfect joy and freedom: he is crowned with oak leaves; his eyes 
 were silver. Above the plinth the observer can read : P C L pondo centum quin- 
 quaginta. (From the left foot to the crown of the head height 0,66. From the 
 right foot to the fingers of the left hand the height is 0,76 and a half. Height 
 of the plinth 0,05). Found at Pompeii in the house bearing his name. 
 
 79. A SLEEPING Faun. The mildness and calm which sleep infuses into his 
 fatigued body are perfectly expressed in this statue, a new masterpiece of the 
 greek art. On his forehead are to be seen two small horns just peeping, and 
 below the chin are hanging two sorts of glands. The artist meaning to point 
 on in this way the nature of the Faun. (Common size). March 1756, Herctdaneum. 
 
 80. A DRUNKEN Faun. Statue of greek work. Extended on a half empty 
 vine-skin; with the right hand he seems to play the castanets, and his merry 
 look shows his state of inebriety. On the neck are the two glands usual to 
 goats. From the forehead the sprouting horns. The tout ensemble highly cre- 
 ditable. (Height 1,51). Juny 1745, Herculaneum. 
 
 81. Mercury resting. Jupiter's messenger is reposing on the top of a moun- 
 tain, and seems still panting after his flight. His feet are winged. This statue 
 
 k 
 
20 GROUND FLOOR 
 
 belongs lo the most brilliant epoch of grecian sculpture , admirable both for 
 execution and style. (Height 1,04). August il5S, Herculaneum. 
 
 82. Bacchus and Ampelus. A small group representing a young man and 
 a boy, both nude and crowned with laurel. Their eyes and the garland which 
 adorns the base are inlaid with silver. ( Bacchus is 0,80 high. Ampelus 0,62 : 
 both on a, plinth semicircular of 0,03). Pansa's house at Pompeii. 
 
 83. Marcus Calatorius. Statue of a roman magistrate. On the plinth there 
 was the latin following inscription « M. Calator . . . Quartion . . . municipes 
 ET H . . . AERE coNLATO » To Mai'cus Calalorius, son of M. Quartion, the citizens 
 and inhabitants offer this. December, 1743, Herculaneum. 
 
 84. Mammius Maximus. A statue found with that of Marcus Calatorius, wea- 
 ring also the magistrate's robe. On the plinth there was the latin following 
 inscription « L. Mammio Maximo municipes et incolae aere conlato » To Lucius 
 Mammius Maximus Augustal the inhabitants contributing with money. 2 Decem- 
 ber 1743, Herculaneum.. 
 
 It is known that L. Mammius Maximus erected to his cost statues to Livia, 
 to Germanicus , to Antonia , Claudiu's mother , to Agrippina , this emperor's 
 wife, which induces us to admit that he lived in the last times of the empire : 
 he had also the market built. It appears that his father L. Mammius, from the 
 Menenia tribe, was a Decurion at Nocera. 
 
 - 85. Augustus deified. A colossal statue. His right hand is raised up, holding a 
 long lance. In the left hand he has Jupiter's thunderbolt. My mi, Herculaneum. 
 
 86. Apollo. He is naked, holding the plectrum and a lyre , the strings of 
 which were of silver. A small and well wrought statue. (Height 0,77). Pompeii. 
 
 87. Actress. She is in the act of clasping the drapery on her right shoul- 
 der : a head band inlaid with silver holds her hair back. The eyes are enamelled 
 to effect more illusion. This fine statue , as well as fine others exhibiting nearly 
 the same attitude and which can be observed in the hall of the bronze sculptures 
 decorated the proscenium of the theatre of Herculaneum. ( Height 1,45 on a 
 plinth of 0,04 ). 1754, Herculaneum. 
 
 88. Discobolus. A statue full of life : the glass eyes increase the expression. 
 The bent down body, with the arms and hands half open, the motion of the eyes 
 induce us to suppose that he has just thrown the discus which his eyes attenti- 
 vely follow as is he wanted to run after it. (Height 1,15 on a plinth of 0,5). 1754, 
 country house, Herculaneum. 
 
 89. Alexander. A small equestrian statue. Very valuable sculpture , for its fi- 
 nish , and rich harness inlaid with silver of his Bucephalus. Alexander is repre- 
 sented without helmet, in rich military accontrements, raising his sword to attack 
 the foe. (Height 0,44 on a plinth of 0,03. Length of the plinth 0,43 on a width 
 of 0,22). 22 October 1761, Herculaneum. 
 
BRONZE SCULPTDRES 21 
 
 90. Amazon. A small equestrian statue, holding a lance in its right hand. A 
 most precious monument owing to the rarity of the subject. (Height 0,49 on a plinth 
 of 0,03. Length of the plinth 0,34 on a width of 0,19). 41, October 4745, Here. 
 
 91. Apollo. He is in the attitude of shooting with the bow. This statue, highly 
 expressive, was one of the first discovered in Pompeii. June 1817. (Height 1,45). 
 
 92. Diana drawing her bow. A small statue perfectly preserved. (Height 0,25 
 on a plinth of 0,05). 8 February 1 747, Herculaneum. 
 
 93. Victory. A small statue with two large wings remarkable for its light wa- 
 ving garment. On the left arm is a goldenbracelet adorned with a ruby. (Height 0,40 
 on a plinth of 0,07 the globe included). Pompeii. 
 
 94. Fortune on a globe. A small statue. Its attitude and dress are remar- 
 kable. The necklace is inlaid with silver. ( Height 0,37. The ancient plinth, the 
 globe included is 0,07). Herculaneum. 
 
 95. Abundance. A charming small statue, of great value. It is wholly wrapped 
 up in a mantle. Its head is adorned with the attributes of Isis, the lotus and 
 modius. In its left hand it holds the horn of plenty , and with its right arm it 
 guides the helm. The base is decorated with pretty foliage and silver inlaid-work. 
 (Height 0,42 on an ancient plinth of 0,09). 1 February, 1747, Herculaneum. 
 
 96. An angler. Small statue for a fountain, holding in its hand a small basket 
 containing little bronze fish and with the other he keeps the angling-line. 
 (Height 0,53). Pompeii. 
 
 97. Two gazelles remarkable by their elegant forms and delicate workman- 
 ship. (Height 0,75: and till the crown of the head 0,95. Length of the plinth 0,60). 
 1751, Herculaneum. 
 
 98. Colossal head of a horse , an ancient emblem of the city of Naples. 
 This beautiful head, remarkable for its expression and finish, is one of the most 
 beautiful remains of greek sculpture. It has been asserted this head belonged to 
 the unbridled horse, emblem of Naples, and that in its complete unity it stood 
 before the temple of Neptune in Naples, at present the Piazza del Duomo. 
 
 Conrad of Swabia, had it bridled , and superstition led one to believe that this 
 horse cured other horses of any infirmity by making them turn three times round 
 him. In the year 1322, Cardinal Filomarino, to put an end to such superstition, 
 had it broken and the metal served to cast the bell of the Cathedral. (Consult Ce- 
 lano, Notizie di Napoli 1658, p. 16). 
 
 This historical account may be correct, but it is to be supposed there was 
 another monument the loss of which we must regret, for, according to appea- 
 rances, this head never belonged to any body, and it was cast such as it is seen, 
 because at the lower part of the neck are still the curve and beards such as the 
 casting gave them. In 1809 this precious monument was presented to the Mu- 
 
22 GRODND FLOOR 
 
 seum, and ils fac-simile in terra-colta was left in the palace Santangelo, where 
 was the original. (Height 4,60). 
 
 99. A Horse, — natural size. This splendid horse, full of life, is one of the 
 four horses of Nero's quadrige, found in 1739 at a short distance from the theatre 
 of Herculaneum. Fragments of the others were collected. 
 
 On the modern pedestal is seen the following inscription by Abbot Mazzocchi. 
 
 « EX QUADRIGA AENEA SPLENDIDISSIMA CUM SUIS JUGAUBUS COMMINUTA AC DlSSl- 
 PATA SUPERSTES ECCE EGO UNUS RESTO NONNISl REGIA CURA REPOSITIS APTE SEX- 
 CENTIS IN QUAE VESUVIUS ME ADSYRTI INSTAR DISCERPSERAT MEMRRIS » Of this 
 
 splendid bronze quadrige with its horses reduced to fragments and dispersed, 
 I alone remained uninjured, thanks to the diligent care of a monarch who had 
 collected the six hundred pieces into which Vesuvius separated me as were the 
 limbs of Absyrtus. 
 
 GLASS and TERRA-COTTA OF POMPEII 
 
 We are astonished at the rich variety of vases contained in the collection of 
 glass and terra-cotta. In it is found every thing necessary for the convenience 
 of every day life, as bottles, drinking glasses, cup, bottles for scented water , 
 mortars with pestle, money-boxes like those of our time, lamps and the window 
 frames of the house of Diomede. 
 
 100. Amphora of blue glass found in one of the dwellings on the street of 
 Tombs, near the house of Marcus Grassus Frugi improperly denominated Me- 
 dusa's house at Pompeii. Dec. 1837. It was full of ashes. This precious monument 
 is covered with a bas-relief of white enamel, representing in the midst of graceful 
 arabesque, the genii of the vintage. Some are occupied in gathering the grapes 
 and in trasporting them , or are diverting themselves with their companions. 
 Amid these different groups are two beautiful faun's heads, from the brows of 
 which spring the vines which embrace in their tendrils the whole body of the vase. 
 Below is a superb bas-relief of animals. 
 
 The precision of the workmanship, the drawing, and the elegance of the com- 
 position give this vase the highest importance. It is by no means inferior to 
 the splendid vase in the same style which is seen in London and known as 
 Portland's Vase. 
 
 101. Funeral vases in glass, that is to say, — {(i,e,f) Lacrymatories — 
 
PRECIOUS OBJECTS 23 
 
 {b, c, d, h, i) Amphores — (,»7, k, I) Cinerary urns containing bones of the 
 dead. Pompeii. 
 
 402. Domestic vases in glass and terra-cotta, namely,— (a) Cruet-stand placed 
 in a box of lead with handle — (^», c, d) Cup and saucer — (e) Vase for per- 
 fumes for the bath — (/;^) A funnel — (i, w, «) Drinking glasses. Pompeii. 
 
 103. Two CUPS in terra-cotta superbly decorated. Pompeii. 
 
 104. Two OTHER CUPS in terra-cotta, with beautiful decorations. Pompeii. 
 
 PRECIOUS OBJECTS 
 
 The collection of the precious objects is one of the most important in the 
 Museum. In addition to the great number of ornaments and rings in gold ser- 
 ving as ornaments to the seductive roman ladies there are several vases and 
 other objects in silver appropriate to religious worship, and used in kitchens , 
 the whole accurately wrought extracted out of the excavation of Pompeii and 
 Herculaneum. There is also a valuable collection of cameos (nearly 1050) and 
 engraved stones (490) most of them from the inheritance of the Farnese Family. 
 105. Cup of oriental sardonix known as the Tazza Farnese. The intrinsic 
 value of this tazza is unvaluable , and with its artistic merit renders it uni- 
 que. 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 such size and which presents a compo- 
 sition on each side. On the outer part there is carved a magnificent Medusa's 
 head, which covers it completely, and on the inside there are eight figures 
 in relief which stand out against the background supplied by the while stratum 
 of the stone. Archaelogists have not agreed as to their explanation of the sub- 
 ject. The interpretation which seems to us the most in conformity with the group 
 is that of Comm. Quaranta, who explains it as Ptolemy Philadelphius conse- 
 crating the harvest feast instituted by Alexander the Great, in Egypt, a country 
 denoted by the Sphinx. A woman sitting above the sphinx, holding in her right 
 hand an ear of corn, would be Isis. The old man, in the upper section his 
 back agamst a fig-tree and draped like a deified hero , is probably the ^ Nile 
 holding an empty cornucopiae, horn of plenty, the symbol of great rivers : below 
 the N.le are hovering two youths, who personify the Etesian winds, whose breath 
 arrests the course of the Nile , and fertilizes Egypt. The two Nymphs seated 
 
24 GROUND FLOOR 
 
 on Ihe right, one holding an empty horn, and the other a cup, are Memphis 
 and Anchirroe, as protectresses of Egypt. And finally the figure which occupies 
 the centre of the composition is one of the Plolemies, with the attributes of 
 Horus-Apollo , one of the chief Egyptian divinities and son of Isis , holding 
 a hydraulic engine for measuring the inundation of the Nile, and the dagger 
 with which he vanguished Typhon. 
 
 It is said that this splendid cameo was found at Rome in the Mausoleum 
 of Hadrian , now called the Casde Santangelo , but it seems more probable , 
 according to other authorities , that it was found in the ruins of the emperor 
 Hadrian's villa by a soldier who gave it to the duke Charles of Bourbon at 
 the time when he was besieging Rome. Unfortunately, prior to its reaching the 
 Farnese collection, the then owner caused a hole to be bored in the centre, 
 that a foot might be fitted to it, in order to make a chalice of it. (Diam. 0,08. 
 Same height). 
 
 106. Several Cameos, (a) Cameo in onyx. Daedalus and Icarus (b) Cui 
 
 in cornelian. Ajax and Cassandra near the Palladium. — (c) (Itit in cornelian. 
 Apollo and the twelve signs of the Zodiac. — (d) Cameo in onyx. lole sleeping 
 on the club of Hercules. — (e) Agate. The Farnese bull, — a fragment — ( f ) 
 Ciit in amethyst. Diana the huntress with the name of the artist Apollonius — 
 (g) Oriental onyx. A sculptor chasing a vase — (h) Agate. Jupiter Serapis,— 
 high-relief, (i) Agate. A beautiful head of Medusa. 
 
 407. Onyx. Jupiter hurling ihundei bolts at the Titans. We here read in 
 greek AGHNIiiN. Beautiful workmanship. 
 
 408. (a) Oriental onyx. Silenus seated, (b) Onyx. Silenus seated by Cupid who 
 plays the (siringa) flute of Pan. 
 
 109. (a) Sardonyx. A dancing Faun. A fragment — (b) Oriental onyx. A 
 Faun carrying Bacchus. A superb cameo. 
 
 440. Objects in gold, (a) Ear-drops; the design a quarter of an apple, 
 made of a convex leaf of gold — (b) Clasp or fibula richly adorned, having at 
 its extremity a ram's head, — (c) Ear-drop representing Pan's flute. — (d) Bra- 
 celet composed of half-spheres , united in pairs by links — (e) Bracelet ; two 
 horns, ending in lions'heads, united by a chain — (f) Necklace of artistically 
 woven gold braid; golden grains and oblong figures are hung to it. Pompeii. 
 
 411. Other objects in gold. A serpent-shaped bracelet, this is the largest 
 known, it weighs a neapolitan pound. House of the Faun at Pompeii — Another 
 bracelet smaller and of more rounds — Rings — Ear-rings terminated by pearls — 
 Pin with genii. Pompeii. 
 
 112. (a) A cup in silver — (b) Mortar in silver: they are decorated with su- 
 perb foliage. Pompeii. 
 
 113. (a) Vase in silver for sacrifices forming a chalice: it is ornamented with 
 
SMALL BRONZES 25 
 
 bas-reliefs of Genii of Bacchus. This vase is moulded and engraved to perfection, 
 and it is lined to prevent the deposit of any sediment in the concavities of 
 the bas-reliefs. Pompeii. — (b) Cup in silver with bas-reliefs representing Mi- 
 nerva fully armed on a car [higa) drawn by horses. Pompeii. 
 
 SMALL BRONZES 
 
 The collection of small bronzes, the most important in the Museum of Naples, 
 contains more than eighteen thousand articles, nearly all of them found in the 
 excavation at Pompeii and Herculaneum. It is a hall which visitors observe with 
 much interest and curiosity, as exhibiting every thing which , during eighteen 
 centuries, was connected with the public and private life of our ancestors, and 
 revealing at the same time the highest degree of perfection and elegance in the 
 most minute things. No wonder if it is incessantly visited by artists and ar- 
 cheologists of every nation. The number of vases is most considerable , and 
 especially those relating to the kitchen are so numerous that several Museums 
 might be adorned with them. It should be noted that the vases used in the 
 kitchens were nearly all inwardly silvered. Their forms, generally very elegant, 
 are perfectly executed, and it may be asserted that the niceties of details have 
 been carried in them to such eminent degree, that it induces us to infer that 
 greek artists had settled at Pompeii , for they alone could hold it a material 
 point to lavish on the objects in their hands all those embellishments. From 
 these unaffected improved niceties in art we are able to judge of the wide 
 distance which still separates the artists of our days from those of that epoch, 
 and of the perfection with which the latter executed the most ordinary objects. 
 Meanwhile not to deviate from our plan we exibil a correct design for each kind. 
 
 114. A SUPERB CANDELABRUM formed of a Corinthian pilaster ornamented on 
 the main side with a tragical mask , and witli a bucranium on the opposite 
 side. From the upper part of this pilaster proceed four branches from \vhich 
 are hanging small chains of wonderful workmanship, and four beautiful lamps 
 with two wicks. On the rectangular basis, inlaid with silver vine-branches, is 
 to be seen Acratus (the Genius of Bacchus) riding a panther, holding the rhyton 
 (a drinking horn) in his hand, with a small altar emitting a flame. A work 
 remarkable for its delicate wormanship. House of Marcus Arriiis Diomede at 
 Pompeii. (Height 1,14. The base is 0,54 long; 0,46 width). 
 
26 GROUND FLOOR 
 
 115. Lamp formed by a cupid holding in one band a lamp like a comic 
 mask, and a pair of snuffers in tbe other ( eUychnium ). Beside, on a bronze 
 column, another lamp in the shape of a human head stopped with Mercury's 
 winged cap ipetasus) for a lid : from the mouth issued the flame. Hercidaneum. 
 
 116. Two LAMPS. — (a) Lamp with three wicks, the lid of which represents 
 a dancing nude figure in a charming attitude, its hair dressed in the phrygian 
 manner, hanging from a small chain wonderfully wrought, is the ellijclmmm 
 used to put the wick in order. Hercidaneum. — (b) Splendid double lamp, en- 
 riched with foliage and surmounted by a handsome statue of Silenus. Pompeii. 
 
 117. (a) A BEAUTIFUL LAMP, both pendulous and portable, with a small chain 
 supplied with a cork. Rather queer is the sight of a little mouse, approaching 
 life ; and in high relief, which placed near the wick seems to suck. It is well 
 known fact that the rat was consecrated to Vulcan, and perhaps ours was a 
 lamp hanging before the image of this deity. Pompeii. — (b) A most beautiful 
 PENDULOUS LAMP with three burners. The three little chains which held it 
 hanging are wrought with double links , and of exquisite workmanship. A 
 fourth chain was used to hold the cork of the funnel [infimdibulum). This 
 lamp is adorned with three heads which appear to get out of circular wreaths. 
 Theatre of Hercidaneum. — (c) Great lantern of circular form, with leaves of 
 talc : on the convex side of the lid, from letters nearly erased one can read 
 « TiBURTi CATUS S.. » perhaps the maker's name. This lantern was found near 
 skeletons in the cellar of Diomede's house at Pompeii. — (d) Tweezers. — (e) 
 Snuffers. — (f) A utensil used as an extinguisher, formed of a hollow hemisphere, 
 with a small curved tube. Pompeii. 
 
 118. A TRIPOD for sacrifices, wonderfully executed in the purest greek style. 
 The feet , in the form of a lion's paw , are surmounted by a squat sphinx , 
 and decorated with splendid arabescs and bearded heads. Its basin is adorned 
 with festoons and bucranes , emblems reminding that the tripod was used to 
 receive the blood of the victims, when an oath was taken. Temple of his, Pompeii. 
 (Height 0,93. Side of the tripod 0,55). 
 
 119. (a) BiSELLiUM, or a kind of a high four-footed seat of honour for Pro- 
 consuls. The carving which adorns it is remarkable for its perfection. A marble 
 stool was used to go and sit on it. Tliealre of Hercidaneum. (Height 1,09, 
 width 1,01).— (b) Gurule chair, to fold up {sella cundis). The honour of the cu- 
 rule chair was only reserved to the king of Rome , but afterwards such pri- 
 vilege was granted to the consuls , praetors and to the curule Ediles of the 
 republic. Hercidaneum. (Height 0,40, width 0,58). 
 
 120. (a) Lectisternium inlaid with silver, used in the temples for supporting 
 the images of the gods and the sacred vases. (Height 0,60 , length 1,03). — (b) 
 Theother side. — (c) Details. — (d) A folding tripod with moveable tray. Pompeii, 
 
SMALL BRONZES 27 
 
 ■121. (a) Bed found in the month of January 1868 in a chamber on the right of 
 tahlimim of Caius Vibius's house, at Pompeii. It is ornamented with genii , ma- 
 gnificently inlaid in silver and copper, and laid on four feet with a rectangular 
 base. This bed in conformity to a few hints and the remainders of charred wood 
 is restored to its primitive form. The bed's head was of walnut tree. (Length 
 2,30, width 1,20, height 0,44).— (b, c) The back part of both sides.— (d) Details. 
 .122. An iron-safe magnificently ornamented with heads of bronze nails and 
 busts found at Pompeii in the house of Caius Vibius in the same room with the 
 couche. It is manufactured nearly after the system of modern strong-boxes. 
 (Height 0,90, width 0,60). 
 
 123. Door ironworks. — (a, b, c) Hinges. — (d) Key of perfect construction 
 and very complicated action with a small chain to hang it. — (e) Ring for 
 door knocker exhibiting lion's head. — (f) Another ring exhibiting Medusa's 
 head: whose teeth and eyes are silver. — (g) Hook for a door, — (h) Door 
 key. — (i) Key of iron , inlaid with silver found upon a skeleton in the gar- 
 den of the house of Diomede at Pompeii. — (1) Bolt of a lock. — (m) Bolt with 
 staple. — (n) A lock with its key. — (o) Pick-lock. — (r) Nail in bronze. Pompeii. 
 
 124. Harnesses for horses. — (a, c) Two bridles. — (b) Cavesson or nose- 
 band. — (d) Frontlet. — (e) Ornament for a horse's chest, beautifully inlaid with 
 silver. — (f) Ornament for the chest. — (g) Clasp, fihida. — (h) Chest with orna- 
 ments : in the small holes is to be seen some thread left , which induces to 
 suppose that it was trammed with cloth. — (i) Stirrup in iron. — (j) Curb. — 
 (k) Spur. Pompeii. 
 
 125. Musical instruments. — (a, c) Bells for cattle in bronze. — (b) Bell in 
 bronze composed of a disk with the hammer suspended from a chain, retaining 
 a very fine tone. — (d) Cymbals. — (e) Systrum. Musical instrument consecrated 
 to Isis: during the religious ceremonies each of the celebrants carried one in the 
 hand. On the outward curve of this instrument is observed in basso-rilievo the 
 twins Romulus and Remus sucking the she-wolfs teats ( look at the design let- 
 ter f) . — (g, h) Flutes. — (i) Musical instrument which resembles a bag-pipe : 
 it has seven ivory pipes mounted in bronze. — ( j, k,) Clarions. Pompeii. 
 
 126. Theatre tickets, dices, inkstands etc. — From the letter a to m thirteen 
 ivory tickets or tesserae for the theatre some of them represent a portrait on 
 one side , and on the other the number of the seat , or the title of the piece 
 as we point it out above each ticket. Notice the little pigeon which indicated 
 the highest row in the theatre the piccionaia of Naples. The latter have but 
 numbers. — (n) Knuckle-bones for playing ( as^ra^a/o). — (o) Dice for playing. — 
 (p) Loaded dice : there is a hollow for the melted lead causing the die to fall 
 continually on one side. — (q, r) Fish-hooks. — (s) Needle to work fishing-nets. — 
 (t) Stylet used for writting on tablets covered with wax. One end is pointed and 
 
28 GROUND FLOOR 
 
 the other is flat , for erasing or correcting what had been written, — (v) Pen 
 made of a reed, in bronze, cut like our pens found in the last excavations at 
 Pompeii. — (y) Another pen made of a reed found in a papyrus from Hercu- 
 laneum. — (u) Inkstand in bronze, octagonal in form, found in a tomb at Ter- 
 lizzo near Ruvo, and described by Martorelli, who thinks it was used by an astro- 
 nomer of the time of Trajan. Its surface, inlaid with silver, is ornamented with 
 figures that represent the divinities who presided over the seven days of the 
 week, — that is, Saturn, Vesta, Diana lucifera, or the Moon, Mars, Mercury, Jupiter 
 and Venus. — (x) Double inkstand. — (z) Inkstand ornamented with pretly silver 
 foliage. Pompeii. 
 
 127. Toilette articles for women. — (a, c, e, h) Netting-needles ornamented 
 with little figures. — (b) Ivory ear-picks. — (d) Metal mirror. — (g) Comb in 
 bronze. — (i, 1, k) Combs in ivory. — (f) Alabaster-bottle for odorous oils. — (j) 
 Bronze vase {rmguenlarmm) for ointment hanging from small chains manufac- 
 tured with double links. — (n, p) Ivory vases for pomades. — (o) A crystal cup 
 found with the point which it still contains. Pompeii. 
 
 428. Bathing articles — (a, b) Two strigilis. The ears exhibit the hermes of 
 Diana and Hercules. The ancients made use of the strigilis or scraper after gim- 
 nastic exercises, or after the action of the vapour-bath to remove the perspiration 
 or any external particles covering the skin. — (c) Balsamarium. — (d) Little spoon. 
 — (e) Vase for liquids, (patera) nearly about the shape of a frying-pan. — (f) 
 Another vase shaped like a saucepan destined to the same use. — (g, h) Two 
 unguentarium. — (i) Bath-tub, with a hole for the issue of the water. Pompeii. 
 129. Surgical instruments (1). — (a) Instrument used to cauterize wounds. — 
 (b) Speculum ani. By means of a pivot in the middle of this instrument its bran- 
 ches may be closed or opened. The modern speculum ani have been constructed 
 in imitation of the present one. — (c) Scissor, two branches which do not cross 
 each other are simply united by a curved spring. — (d) A probe (male catheter) 
 with a double curve, opened at one end and closed at the other : near the latter 
 is seen an oval opening like an eye in modern catheters. The direction of this 
 instrument is a proof that the ancient had a very correct notion of the anatomy 
 of the male urethra which from the neck of the bladder to the urinary passage 
 describes a double curve in the form of italic S. — (e) Hooks. — (0 An injection 
 probe for females having an opening at its vaginal extremity and close by , 
 laterally, eight small holes ranged in two crowns superposed, a disposition per- 
 fectly identical with the good vaginal modern probes which must furnish se- 
 parated jet but not violent jets. The other end is obviously shaped to fit a 
 
 (1) The information about the explanation of the chief chirurgical instruments — was 
 kindly communicated to us by Doctor Ferdut in Paris. 
 
 m 
 
SMALL BRONZES 29 
 
 syringe. — (g) Tongs-forceps ( fordter capere ) to hold fast , known under the 
 denomination of Pompeii forceps. This instrument, 0,21 meters in length, the 
 only one in its kind , is formed of two branches crossing each other and articu- 
 lated with a fixed pivot. Each branch is composed of two parts, that is a 
 handle and a spoon. The handles are engineturned which renders them less 
 slippery in the hands of the operator. They are long in comparison with the 
 spoons , which according to the theory of the lever, gives them a great power. 
 The spoons, in close contact to each other, have their edges curved , so that 
 the surgeon is enabled to observe better his operation. Their ends are fluted 
 on the contiguous surfaces ; these grooves exactly work into each other : they 
 allow a fast hold and prevent the instrument from letting go the objects it has 
 seized when a certain force is developped during the operation. This instru- 
 ment was used to pluck out splinters : or perhaps to break the skull in dif- 
 ficult deliverance. In no respect is it anything like the instrument used nowa- 
 days by our accoucheurs under the name of forceps. — (h) Pincer. — (i) Vase 
 used fas cupping-glass in bronze. — (j) Surgical case in six divisions , in some 
 of which there is yet balsam. House of the Surgeon, at Pompeii. 
 
 130. Other surgical instruments. — (k) Spatula to mix medicaments. — 
 (1) Lancet for blood letting. — (m) Scarificator for horses. — (n) Pincer. — (o) 
 Another pincer {forficiUa denticulata) with the maker's name. — (p) Trocar for 
 tapping in dropsical cases with a hole at its extremity for the issue of the li- 
 quid. — (q) Bone-handled spoon, ending in a ram's head. — (r) A probe (fe- 
 male catheter) with the form of a serpent. — (s) Anatomical knife. — 
 
 (t) Speculum uteri. This very important relic has been the subject of many 
 discussions among savans. {See the elucidations bu Viilpes and Quaranta). This 
 is a trivalvular speculum: the three valves forming a right-angle with the other 
 parts of the instrument, are dependent on each other in the opening transmitted 
 to one of them only. When the shut instrument is introduced into the vagina, 
 that is three valves being in contact with each other, it is about the thickness 
 of an inch. It suffices to turn the screw observed, in order to bring a valve 
 nearer ; this by with drawing obliges the other to go sidelong ; one gets in that 
 way a slow regular, progressive dilatation of the vagina, and rather extensive if 
 the surgeon requires it, as it is sometimes requisite in certain operations. Right 
 and left of the screw are two small articulated rods by means of which the 
 operator holds the instrument in his left hand whilst the right one turns dila- 
 ting screw. These movable small rods are like the flexible handles of our im- 
 proved modern speculums: (length 0,23; greatest extension of three valves 0,09 
 meters). Surgeon's house at Pompeii. 
 
 131. Armours. — (a,b) Armlets. — (c) Armour for the shoulder. — (d) Grea- 
 ves — (e) A cuirass adorned with the head of Medusa and graceful foliage inlaid 
 
30 GROUND FLOOR 
 
 with silver. — ( f ) Sword-belt, — (g) The same sword-belt seen entire, Pompeii 
 and Herciilaneim. 
 
 132. Armours. — (a,b) Two helmets with visor. — (c) A circular shield ador- 
 ned with the head of Medusa and a fine garland of olive-branches, inlaid with 
 silver. — (d) Quiver with arrows. — (e) Dagger, parazonium, in its sheath; the hilt 
 is adorned with a handsome eagles'head. — (f, f, f, f ) Four lances of different 
 form, — (g,' g, g ) Axes,— (h) Leaden bullet (ghianda missile) regimental number 
 with the inscription fir. It is asserted that this bullet as well as the others 
 alike which are to be seen in the hall of bronzes was used on the battle field 
 where Azius Varus's soldiers were routed. — (i) A bronze axe without a handle 
 which was darted in fighting and heldback by means of a string placed in the 
 hollow at its estremity. — (1) A bronze shackle worn by slaves around the neck 
 with the inscription « Servus sum tene quia fugio». (m) Stocks, or irons for 
 the condemned discovered in the soldiers' quarter at Pompeii with the skele- 
 tons of the unfortunates who were buried alive in the catastrophe. Each em- 
 pty, space of this long iron bar served to contain the feet of the unfortunate 
 people vvho were compelled to lie supine on the ground. Pompeii mid Hercu- 
 laneiim. 
 
 133. Articles of iron for agriculture , husrandmen , and artisans. — 
 (a) Spade. — (b, b, b) Hoes, — (c, c) Rakes to break the ground, — (d) Fork. — 
 (e) Scissor. — (f) Sickle. — (g) Scythe. — (h) Pruning knife: its ivory handle is like 
 a human leg. — (i) Carpenter's axe. — (j) Spoke-shave. — (k) Saw. — (1) Sculptor's 
 mallet. — (m, m, m, m) Trepan to perforate stones, and turners' points. — (n) 
 Mason's trowel, — (o) Blacksmith's tongs, — (p) Wedge to cleave timber, — (q, r) 
 Stone-cutter's hammers. — (s) Instrument for soldering lead. — (t) Anvil. — (u, 
 v) Levers. Pompeii. 
 
 134. Weights, steelyards, measures , compasses etc. — (a) Proportional 
 compass. — (b) Plumb-line. — (c) Measure of length. — (d, k) Two weights the 
 former exhibiting a pig with the initial P. G. {a hundred pounds), the latter a 
 knuckle-bone for weighing meat. — (1) Weight for cheese. — (f; Balance : its 
 scale is supported by four small chains wrought with double link ; a sliding 
 ring was used to hold close the objects which the scale contained : the weight 
 is a satyr bust: the beam is marked with roman numerals from I to the VIII 
 on one side and from X to the XXXIIII on the other for articles of greater 
 weight. — (g) Steel-yard or our modern stadera with two hooks to hang on the 
 objects to be weighed. — (h) Leaden weight bearing on one side the inscription 
 EME and on the other hahebis (pay if thou wouldsl have). — (i) Oil measure — 
 (j) Liquid measure in form of a saucepan. In the handle there is a slit to permit 
 the passage of a chain which according to the length within and without the 
 vessel, indicated the desired measure upon the handle, which was engraved with 
 
ITALO-GREEK VASES 31 
 
 roman numerals. — (m) Balance with two scales. — (n) Grain measure (modius) 
 with triangular level to make the measure exact. Pompeii. 
 
 435. (a) Economical kitchener or brazier representing a fortress flanked 
 by four towers. The centre was intended to receive the lighted coals which 
 heated the water contained in the square conduit : on one of the sides there 
 is a cock for drawing the water between the battlements could be placed the 
 spits for roasting. Thus there were at once hot water and coals for culinary pur- 
 poses or for heating the room. (Height 0,31: each surface is 0,65). Hercidaneum. 
 (b) Small ECdNOMiCAL kitchener, a kind of tower communicates with a cir- 
 cular brazier, hollow, and having a hot-water stop-cock. There birds form a sort 
 of tripod for the saucepan. Pompeii. 
 
 136. Milk-jar of pretty form, perhaps for goats railk. On each side of the rim 
 are two little goats. Pompeii. 
 
 137. Several vases. — (a) Kettle (calidarium) of elegant form, ornamented 
 with graceful designs, and having two handles. Inside, an aperture lengthened 
 out as far as the top of the vase was destined to receive the burning coal. 
 From this aperture there is room for the liquid which was taken out through 
 the cock on the principal side. It has the same form as the russian samovar. 
 {Herculaneum). — (b, b) Two little handled pails {hydria). — (c) Little vase {na- 
 siierno). It is adorned with superb designs. — (e, f) Two libation cups {praeferi- 
 culum) of exquisite workmanship. Pompeii and Herculaneum. 
 
 138. Articles for kitchen use , namely, — A pan for boiling eggs with 
 Iwentynine hollows: — A frying-pan. — A pot. — A pot on its stand. — Sauce- 
 pans. Pompeii. 
 
 ITALO-GREEK VASES 
 
 The collection of Italian-greek vases comprehends about 4000 vases of dif- 
 ferent dimensions, almost all painted with figures or with subjects which con- 
 cern the religious worship and every thing relating to the mysteries , to the 
 ceremonies of initiation, or to the public and private life of the ancients. These 
 vases were generally placed in tombs with vases or perfume, fancy articles, or 
 arms , which attested to posterity the rank of the deceased and the degree of 
 opulence which he had enjoyed on earth, and come from the Campania and 
 the greek provinces, that is to say from Bari, Nola , Poestum , Ruvo , Bast- 
 licata, etc. 
 
32 GROUND FLOOR 
 
 139. Drinking-cups [rhytons) or vessels for libations of odd forms, Nola 
 and Basilicala. 
 440. Forms of the vases italo-greek. 
 
 141. Other forms of vases. 
 
 142. Olla. a crowned gymnast between two women bearing the name of 
 Pilades. Nola. 
 
 143. The other side of the same vase. Hercules delivering Dejanira from the 
 Centaur : names in greek. 
 
 HALL of THE PAPYRUS 
 
 This collection, the finest in the world, contains 1800 papyrus in rolls: they 
 were discovered in January 1753 in a country-house at Herculaneum. When 
 first discovered they took them to be charcoal, but afterwards they perceived 
 they contained precious treasures of antiquity. We are indebted to the abbe 
 Pmjgi for the discovery of how to unroll them by fixing them on a transpa- 
 rent-web by means of a machine as ingenious as simple , which is slill used 
 for this delicate operation. Every papyrus is in greek or in latin and is ge- 
 nerally composed of 100 pages: they have unrolled nearly 500, many of which 
 have been already published, and they are constantly at work preparing others 
 for publication. Most part of the papyrus published belonged to Philodemus. 
 They treat of music — of life — of manners — of vices — of rhetoric etc.; the 
 others belonged to Hepicurus and Polystratus. 
 
 144. Fag-simile of a papyrus in a greek character of Philodemus. It treats 
 of liberty of speech , of its utility and of the different ways of correcting the 
 \ices of men. Herculaneum. 
 
 145. Dante with his name in greek. It is asserted the head was cast after the 
 death of the celebrated poet. A beautiful bust of the XVI century. 
 
 146. Hercules when a child, strangling serpents. A small statue in bronze of 
 the XV century placed on a 
 
 147. Round stand in bronze representing in basso-rilievo the labours of Her- 
 cules. A beautiful work of the XV century. 
 
PICTURES PRINTS 33 
 
 PICTURES (Master-Pieces), PRINTS 
 
 In a large Cabinet we admire bound in large volumes the ancient designs and 
 engravings which amount to 19320. This collection is called Flrmiana because it 
 belonged to the Count ot that name, Governor of Lombardy at the time of the 
 Austrian domination. Afterwards it was purchased by the Bourbons and in 1864, 
 King Victor Emanuel made a present of it to the Museum. 
 
 In the same cabinet we remark three silver plates. The most interesting is 
 that which represents 
 
 148. The descent from the cross. Silver plate engraved by Annibal Carracci 
 and dedicated to Cardinal A. M. Salviati in 1398, after the inscription engraved 
 on both sides of the same. 
 
 149. Raphael. Cartoon painted for the halls of the Vatican. Moses on Sinai 
 hiding his lace from the sight of llie Lord in the burning busl. — This picture 
 is composed of small sheets of ordinary paper stuck together. It has been lined 
 with canvass. (Height met. 1,37, width 1,39). 
 
 150. GiuLio Romano. The Holy Family, known as the « Madonna del gatto ». 
 (Height 1,67, width 1,41). Panel. 
 
 151. Raphael. The Holy Family. Splendid picture. (Height' 1,28, width 
 1,10). Panel. 
 
 152. Raphael. The Papa Leon the X seated between two Cardinals Louis 
 de Rossi and Jules de Medici. Splendid picture. (Height 1,64, width 1,20). Panel. 
 
 153. CoRREGGio. The mystical marriage of Saint Catherine. (Height 0,29, 
 width 0,24 ). Panel. 
 
 154. Leonaudo da Vinci. The Holy Virgin and the infant Jesus. This picture 
 was bought in Rome 1802 by Ferdinand 1. (Height 0, 93, width 0,67). Panel. 
 
 155. CoRREGGio. The Holy Virgin and the infant Jesus known under the name 
 of the « Zingarella ». (Height 0,56, width 0,40). Panel. 
 
 156. Parmigianino. The Holy Virgin and the iniant Jesus. ( Height 0,03 , 
 width 0,63). Canvass. 
 
 157. Carracci. Pity. (Height 1,50, width 1,55). Canvass. 
 
 158. ScHiDONE. Love. (Height 1,50, width 1,55). Canvass. 
 
34 GROUND Fr.OOR 
 
 159. TiziANO. The portrait of Philipp II king of Spain. (Height 2,45, 
 width 1,04). Canvass. 
 
 160. TiziANo. Danae. A superb picture executed towards the year 1545. Another 
 original picture regresenting the same subject and executed by the same artist 
 is in the gallery of Vienne and another is in St. Petersburgh. (Height 1,23, 
 width 1,70). Canvass. 
 
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