SECOND CATALOGUE 
 
 I'oWiun of Ancient and Modem 
 
 Works of Art, 
 
 N OH luASKH 
 
 TO THE TRUSTEES 
 
 <>h inr 
 
 Museum of Fine Af^ts, at Bosto 
 
 N, 
 
 Exhibition in the Picture Gallery of the Athenaeum. 
 
 BOSTON: 
 
 ALFRED MUDGE & SON, PRINTERS, NO. 34 SCHOOL STREET. 
 
 1873.
 
 I
 
 SECOND CATALOGUE 
 
 OF THE 
 
 Collection of Ancient and Modern 
 
 Works of Art, 
 
 give:* or loaned 
 
 TO THE TRUSTEES 
 
 OF THE 
 
 Museum of Fine Af^ts, at Boston, 
 
 NOW ON 
 
 Exhibition in the Picture Gallery of the Athenaeum. 
 
 BOSTON: 
 ALFRED MUDGE & SON", PRINTERS, NO. 34 SCHOOL STREET. 
 
 1873.
 
 fcrl 
 
 
 KEF ACE . 
 
 The collection herein catalogued is composed of works of 
 Art given or loaned to the Trustees of the Museum of Fine 
 Arts. It contains a series of objects which illustrate a wide 
 range of artistic activity in point of time and use of material, 
 including a very valuable collection of Egyptian antiquities, 
 and many specimens of ancient and modern glass, bronze 
 and pottery, Grseco-Italian vases, Italian Majolica, Venetian 
 glass, illuminated manuscripts, tapestry, and pictures; and 
 forms an artistic microcosm, well calculated to teach the 
 visitor something of the character and quality of the art- 
 industry of many nations during a long period of the world's 
 history. 
 
 The collection of Egyptian Antiquities arranged in the 
 first room at the Athenreum, was formed in Egypt by the 
 late Mr. Robert Hay, of Linplum, East Lothian, between 
 the years 1828 and 1833. After his death it was offered for 
 sale by his son, and exhibited in the Crystal Palace at Syden- 
 ham until 1871, when it was purchased by Mr. Samuel A. 
 Way of this city, whose son, Mr. C. Granville Way, presented 
 it to the museum in June, 1872. 
 
 The following quotation from a letter written about the 
 collection by Mr. Samuel Birch, Curator of the Egyptian an- 
 tiquities at the British Museum, and one of the most eminent 
 of living Egyptologists, is hei'e inserted, as sbovving his high 
 appreciation of it, and as offering a concise description of its 
 contents. 
 
 Mr. Birch writes: The Hay Collection comprises numer- 
 
 
 1920477
 
 cms specimens of each division of Egpytian antiquities, illus- 
 trative of the arts, manners, and civilization, and of the 
 Pantheon, civil life, and funeral rites of ancient Egypt. Its 
 chief strength is its mummies and coffins, some of which are 
 well preserved, and all would he valuable and important 
 additions to any museum which does not possess similar spe- 
 cimens. Besides these, it is remarkable for its number of 
 small objects, such as scarabrei, amulets, sepulchral figures, 
 canopic vases, stamped cones, and the usual specimens 
 found in Egyptian collections. It is such a collection as the 
 British Museum would have gladly purchased before it was 
 provided with Egyptian antiquities of the smaller kind." 
 
 A complete catalogue of the objects in the collection is 
 now in process of preparation by Gen. Ch. G. Loring, who in 
 the one here printed has only aimed to supply a present need, 
 by pointing out the most interesting objects to visitors. 
 
 The following notes upon Egyptian Chronology are in- 
 tended to facilitate their researches: — 
 
 The broad divisions of Egyptian History are three: namely, 
 those of the Ancient, the Middle, and the .New Empires. 
 During these three periods, Egypt, according to the tables of 
 Manetho, a priest of Sebennytus and the father of Egyptian 
 Chronology, was ruled by thirty dynasties of kings, many of 
 whom were, without doubt, contemporaries. The date of the 
 reign of Menes, the first king who united upper and lower 
 Egypt under one sceptre, is a matter of conjecture. Egyptol- 
 ogists vary in their estimates from 5000 B. C, the date given 
 in Manetho's tables, to 3600 B. C. Tradition ascribes to him 
 great works, but no monumental record, save a royal cartouche 
 here and there, is found of him or his immediate successors. 
 
 The kings of the IV Dynasty are celebrated as the builders 
 of the pyramids, 4000 to 3000 B. C. None of the art of that 
 day, excepting possibly one piece of stone cut in relief (Case 
 2, No. 214), is to be found in this collection. Those who have 
 seen at Boulaq the wonderfully fine bas-reliefs and pieces of
 
 statuary in stone and wood, recently brought to light by the 
 excavations of M. Marietta at Memphis, and iu its neighbor- 
 hood, know that for truth and simplicity the art of the pyra- 
 mid builders has never been equalled in later days. 
 
 With the XVIII dynasty, history begins to take form, 
 dates can be approximately ascertained, and the monumental 
 records again become of importance. 
 
 Later scholars agree to place the beginning of the XIX 
 dynasty, between 1464 and 1409 B. C. This was the period 
 of Egypt's greatest magnificence, when arts aud literature 
 alike flourished. The extent and grandeur of the temples 
 then built, the colossal size of the statues, the vivid paintings 
 of the tombs, the lavish pouring out of wealth in every form 
 of art, mark it as an epoch for the world's wonder. 
 
 It is to this period probably that the finest of the mummy 
 cases, and a large portion of the objects in this museum, 
 belong. 
 
 It may be interesting to bear in mind that Moses was 
 brought up at Court, under the third king of this dynasty, 
 Rameses I, and that the Exodus took place during the reign 
 of the fourth. 
 
 While some portions of this collection date from the XVIII 
 dynasty, many from the XIX, and others must be ascribed 
 to the succeeding Egyptian dynasties, some show the influ- 
 ence of Greek and Roman art. Even under the Ptolemies 
 and CaBsais, who followed Alexander's conquest (331 B. C), 
 the old civilization survived. The old religion continued to be 
 practised until it was finally overthrown by the last edict or 
 the Emperor Theodosius in 390 A. D. These successive 
 changes are well illustrated by the Terra Cotta lamps in the 
 Hay collection. The Egyptian divinities upon the oldest in 
 the series give place to Greek and Roman gods, and these in 
 their turn to Christian inscriptions and monograms. See 
 Nos. 1092, 1086, and 1090. No. 1085, with the Tau cross (the 
 Egyptian symbol of life) and the Latin cross united, is pecu- 
 
 i*
 
 6 
 
 Harly interesting as illustrating the influence of Egyptian 
 mythology and art in the earty Christian church of Alexan- 
 dria during the first four centuries of our era. 
 
 The almost unique series of Egypto-Arabic glass coins in' 
 the adjoining case (No. 1099), which date from the tenth cen- 
 tury of our era, remind us that Egypt was finally conquered 
 by the followers of Mahomet, A. D. 622. 
 
 The antiquities from Cyprus, which were sent to this coun- 
 try by General L. Cesnola. U. S. Consul at Cyprus, are but a 
 small portion of the treasures taken from the Necropolis at 
 Idalium (where he opened about 8,000 tombs)and from the site 
 of the Great Temple of Venus at Golgos, which he discov- 
 ered and identified. The pottery is extremely ancient. It 
 comes next in date to that made by a people of the stone age 
 perhaps 2000 B. C, which is found at Santorin, Thera, and 
 Aspronisi (volcanic islands of the Archipelago). The Phoeni- 
 cians colonized these and other Mediterranean Islands 
 about 1500 B. C, after they had been twice covered with lava, 
 under which the pre-historic pottery has been found, with 
 stone implements and remains of primitive dwellings. 
 
 The Cyprus pottery is for the most part Phoenician. The 
 Phcenicians,who were the great merchants of antiquity, carried 
 an active trade in pottery, glass, small idols, votive offerings, 
 beads, etc., such as are found along both shores of the Medi- 
 terranean from Syria to Spain. The system of ornament 
 used upon this ancient earthenware, which we may call 
 Phoenician, Pelasgic, or early Archaic, is made up of straight 
 bands, zigzags, simple and concentric circles, disposed in 
 spaces divided by horizontal, parallel, and vertical lines, 
 painted, or marked upon the clay while in a soft state by 
 means of pointed sticks, knotted cords, or little wheels. See 
 Nos. 4, 6, 7, 15, 52, 95, 96, etc. Animal forms .are rare, and 
 conventional plant and flower forms unknown. The decora- 
 tive s}'stem so closely resembles that of old Celtic pottery, 
 and that of bronze implements found in the tombs of North-
 
 orn and Central Europe, that certain archaeologists have sup- 
 posed it to have been introduced into Greece, Italy, and tin; 
 
 countries of Northern Europe by the Aryan tribes after their 
 dispersion. Next in dale to this early pottery, which is adorned 
 with colored and incised lines, comes the later Archaic or Ori- 
 ental, upon which horses, stags, and birds, especially water 
 fowl (see Nos. 13, 73, etc.), and conventional plant forms are 
 painted (sec No. 14). The animal forms (Nos. 10, 11, 12), in- 
 stead of being, as in the older examples, straight-lined, angu- 
 lar, and thin, are rounded in outline and full in form, though 
 very rude in execution. The design upon the CEnochoe, 
 No. 10, a hunter in a chariot, seems copied from an Assyrian 
 bas-relief. 
 
 Taken as a whole, the pottery from Cyprus represents a 
 very ancient art-system. Whether single examples are a 
 little earlier or later in date is a matter of small importance. 
 An old style is never immediately supplanted by a new one, 
 but lingers on through the strength of stylistic tradition. 
 
 The pottery from Cyprus and the painted vases of the 
 Appleton collection (Case A), illustrate ancient Keramic art 
 from 1000 to 100 before Christ. 
 
 Before speaking of painted vases, it may be well to premise 
 that in the first half of the last century it was customary to 
 regard those found in Italy as Etruscan; but as numbers of 
 vases with Greek inscriptions were found in the tombs of 
 Magna-Grsecia and Sicily, Winckelmann declared them to be 
 Greek. After this, the names of Italo-Graeco and Siculo- 
 Grreco were applied to them according to the locality where 
 they were found, while those with black figures on a red 
 ground were particularized as Sicilian, and those of the best 
 period, With red figures upon a black ground, were named 
 Nolan, from Nola, where they were first discovered. The 
 truth of VVinckelmann's theory was almost absolutely proved 
 in the year 1828, by the discovery of the Necropolis at Vulci, 
 which yielded no less than six thousand vases painted with
 
 8 
 
 subjects relating to the myths and poetry of Greece, Greek 
 in style, an I bearing inscriptions in the Greek language As 
 there is not even a tradition of the existence of a Greek 
 population m the region about Vulci, and as such an im- 
 mense number of vases could hardly have been transported 
 from Greece to Italy, the learned were forced to conclude that 
 they must have been made in local workshops under Greek 
 direction. This conclusion applies not only to the Vulci 
 vases, but also to all those found in the cemeteries of other 
 Italian cities, not of Hellenic origin. Certain kinds of vases, 
 as, for instance, those of black ware ornamented with figures 
 in relief, which are found only in Italy and especially at Chi- 
 usi; those adorned with representations of Etruscan deities, 
 and with emblems and symbols connected with the wor- 
 ship of Bacchus as god of the infernal regions; and those in- 
 ferior copies of Greek originals evidently painted by native 
 scholars of foreign masters, which are found at Chiusi, may 
 be regarded as Etruscan works, but with these exceptions 
 the painted vases found in Etruria are of undoubted Greek 
 origin. 
 
 Something may here be said about the names and uses to 
 which earthenware vessels were applied in antiquity, with 
 the understanding that these names are not, in all cases, 
 applied with absolute certainly. For purposes of classifica- 
 tion, the following division into six classes may be taken as 
 resting on good authority : — 
 
 1. Amphora, Pithos, Pelice, and Stamnos, — large vases for 
 holding wine, oil, figs, and honey. 
 
 2. Hydria and Kalpis, vases for carrying water. 
 
 3. GSnochoe. Olpe, and Prochoos, pitchers for pouring out 
 wine and water. 
 
 4. Krater, Kelebe, and Oxybaphon, vases for mixing wine 
 with water. 
 
 6. Kantharos, Kyathos, Karkhesion, Holkion, Skyphos, 
 Kyilx, Lepaste, Phiale, Keras, and Rhyton, drinking vessels.
 
 G. Lekythos, Alabastron, Askos, Bombjlios, Aryballos, 
 and Kotyliskos, receptacles for ointments and perfumes. 
 
 Many of these are represented in the Appleton and Cyprus 
 collections, as, for instance, — 
 
 Amphora, Nos. 1, 4, 5, 6, and 7; 3G3, 370, and 371, etc., etc. 
 
 Kalpis, Nos. 365 and 374. 
 
 CEnochoe, Nos. 10, 11, 12, 381, and 382. 
 
 Prochoos, No. 420. 
 
 Oxybaphon, No. 380. 
 
 Krater, No. 393. 
 
 Kylix, No. 377. 
 
 Kantharos, Nos. 379 and 390. 
 
 Leykthos, Nos. 207 and 20S (of stone), 121. 
 
 Skyphos, No. 378. 
 
 Aryballos, Nos. 362 and 389. 
 
 Ascos, No. 25. 
 
 Patera, Nos. 382 and 392 A. 
 
 Tripus, No. 61. 
 
 Some archaeologists believe that painted vases were placed 
 in Greek and Etruscan tombs as " tesserae," or marks that 
 the deceased had been initiated into the Eleusinian or Diony- 
 siac mysteries. Pionysius, or Bacchus, was the husband of the 
 Eleusinian Ceres, and he was often depicted as the god of 
 death by the ancients. What are called Panathenaic vases 
 (i. e. vases filled with oil from the sacred olive tree planted by 
 Minerva on the Acropolis, which were given as prizes to the 
 victors at the Panathenaic festivals) were preserved as marks 
 of honor and buried with the recipient. The Lekythoi found 
 in Attic graves were often expressly made for burial purposes, 
 as we know from a passage in Aristophanes, who further re- 
 fers to the custom of laying them upon the corpse. Vases 
 which had been especially valued by a deceased person were 
 piously buried with him, while those which are too small, or 
 being unglazed are unfit for household uses, must have been 
 made expressly for burial. Painted vases were Sildom used
 
 10 
 
 to contain ashes; they were either placed about the corpse, 
 or laid upon it, or hung upon the walls of the grave chamber. 
 The subjects represented upon them are divisible into two 
 great categories: namely, mythic, embracing the whole cycle 
 of Greek mythology; and individual, as connected with pri- 
 vate life. 
 
 The most renowned Greek potters were those of the Cera- 
 micus, a quarter of Athens in which they resided. They made 
 vases of wonderful lightness, and adorned them with paint- 
 ings of great beauty. They used very fine, carefully pre- 
 pared clay, of a bright red color, which they heightened 
 by a varnish mixed with red. Before using this varnish, 
 they painted figures upon the clay surface with a shining pig- 
 ment of a brownish hue, or of deep black, playing into olive 
 tones; or else filled up the spaces between the outlines of the 
 figures with black, leaving them the natural color of the clay. 
 Before doing this, they marked out the general outlines and 
 the contours of limbs, muscles, and draperies, with a sharp 
 instrument, and then went over them with a brush filled with 
 dark color, laid on with wonderful accuracy. Additional col- 
 ors, such as white, green, violet, and dark red, were added by 
 the vase painters of the latest period, after the vessel had been 
 twice burnt in the furnace. 
 
 The Appleton collection contains examples of vases of four 
 periods subsequent to the pre-historic period, which is repre- 
 sented by three small vases from the Lacustrian habitations 
 of Southern Italy (Nos. 359, 360, and 361). These vases are 
 similar to those found in nearly all the Swiss lakes. Lacus- 
 trian pottery, which is also found in Northern Italy, is either 
 plain like these examples, or adorned with horizontal or ver- 
 tical lines, incised around the body of the vessel, or with 
 short or oblique lines disposed geometrically. It is hand 
 made, i. e. made without the aid of the wheel, which was, how- 
 ever, used at a very early period both in Egypt and in Greece, 
 whence the cup or dish fashioned upon it was called the daugh-
 
 11 
 
 ter of the wheel. The painted vases of the first epoch, which 
 begins with the first Olympiad, 770 B. C, and eloses about 500 
 B. C, are called Asiatic or Corinthian. For the most part 
 they were made at Corinth, a city renowned for its potters, 
 and actively engaged in commerce with the East and with 
 Italy. The dull, yellowish clay of which they are formed is 
 painted with rows of animals, such as lions, "panthers, bulls, 
 and birds disposed in zones around the body of the vase, 
 and with floral ornaments of an Asiatic character. See Apple- 
 ton Collection, Nos. 302-369. 
 
 The vases of the second epoch are adorned with figures 
 painted in a black pigment upon a red background. The fig- 
 ures are disposed in Indian file and treated in an Asiatic 
 style. They are long and attenuated, exaggerated in action, 
 with broad hips, long noses, and staring eyes. Their range 
 of subjects is, for the most part, mythical. The oldest belong 
 to the sixth century, B. C, but such vases were made up to 
 a late period. In some cases this style and the succeeding 
 were mixed; but when this is the case, the black figures are 
 treated archaically according to traditional stylistic laws. See 
 Appleton Coll., Nos. 370-372. 
 
 The vases of the third epoch, which extends from about 
 400 to 200 B. C, are the finest. The subjects illustrate Greek 
 mythology and Epic poetry. The figures, which are red upon 
 a black ground, are of the purest outline, and show the high- 
 est technical skill. See Apple! on Coll., Nos. 373-383. 
 
 The vases of the fourth epoch (200-100 B. C.) are of Apulian 
 manufacture. See cases A and E. They belong to the latest 
 period of the art, which began to decline after the introduc- 
 tion of gold and silver vases from the East through the con- 
 quests of Alexander. They are, in many cases, of enormous 
 size, very elaborately decorated, overcharged with ornament 
 and color, and extravagant in shape. Those of the latest 
 period are more and more strongly marked by these signs 
 of decadence. See Appleton Coll., Nos. 381-395.
 
 12 
 
 Among the most interesting objects in the Cyprus collec- 
 tion are the fifty-one pieces of Greek glass, taken from the 
 tombs at Idalium. The exquisite colors which they display 
 are the result of oxidization, through contact with earth of a 
 certain quality during many centuries. Oxidization, which 
 gradually destroys such hard substances as glass and metal 
 (see the bronze weapons, implements, mirror, etc., etc., in 
 case D), has no power over terra cotta; (see the beautiful 
 Greek fragments of statuettes in this same case, Nos. 212-251, 
 which are as perfect as if made yesterday.) Some of the heads 
 of Cybele or Astarte are of the best period of Greek art, and 
 the horse's head (No. 237) is like one of the Parthenon mar- 
 bles in style and spirit. 
 
 In case B we would particularly call attention to the statu- 
 ette, in calcareous stone, of a female figure holding a child in 
 her arms, No. 127, repeated in the terra cotta No. 133. Many 
 such figures have been found at Cyprus, which although it 
 had no artistic school, was a centre of fabrication for small 
 objects of devotion, such for instance as the rude little terra- 
 cotta idol, in case E, No. 136, which probably represents 
 Aphrodite. Similar figures are mentioned by Athenreus as 
 commonly sold as talismans to navigators in the seventh cen- 
 tury B. C.; Lucian also says that terra-cotta figures of this 
 kind were sold near the Temple of Venus, at Cnidos. 
 
 The little stone group, No. 127 (case B), is one of many 
 repetitions of a traditional type, under which the Greeks rep- 
 resented the Telluric divinities as mothers and nurses. Such 
 goddesses were called kov P otpo4>o^ %. e. nursing goddesses. A 
 certain number of divinities were so regarded, as, for instance! 
 Demeter, Gaea, and the great goddess of Cyprus (Venus 
 Astarte), who seems to have been a combination of the Greek 
 and Oriental conception of Aphrodite. This group may per- 
 haps represent Nana and her son Atys, the beautiful shepherd 
 beloved of Cybele. 
 
 Among the most curious of the objects found in the tombs
 
 13 
 
 of Idalium, here exhibited, arc rudely-shaped, and in some 
 instances gaudily-painted, toys (see Nos. 142, 143, 147). It 
 lias been suggested that mothers placed these playthings in 
 their children's graves. The stone heads are of great in- 
 terest, from the variety of type which they exhibit. Ihe 
 Asiatic, Egyptian, Greek, and Roman races, who successively 
 ruled over Cyprus, are each represented in these mutilated 
 monuments. 
 
 Having now pointed out some of the most interesting 
 objects of ancient art in the Museum, we would say a few 
 words about those of modern art. Among these none are 
 better worthy of attention than the six Majolica plates and the 
 two very beautiful bottles loaned by Mrs. Lawrence (See Nos. 
 402, 3, 4, 5, 6, 8, 9, 10, placed on the wall and on the top of one 
 of the cabinets) No. 406, which is what is called Hispano- 
 Moorish ware, brings us to the origin of this beautiful art man- 
 ufacture. The Moorish potters were established in the island 
 of Majorca (whence the Tuscan name Majolica) at a very 
 early period, and fabricated earthenware plates distinguished 
 for the beauty of their metallic oxide glaze. They adorned 
 them with Arabic patterns and fantastic animals. The oldest 
 establishment of this sort of pottery was at Malaga, where it 
 was introduced by the Arabs or the Moors, who perhaps 
 derived the secret of making it from Persia. The Pisans, 
 who conquered the Balearic islands in the twelfth century, 
 are said to have brought the manufacture of Majolica to Italy 
 from Majorca. In the fifteenth century it was chiefly made 
 at Faenza, under the names of pietra or terra di Faenza, 
 whence the French derived the name of " faience," which 
 they applied to it. Unlike porcelain it is made of common 
 earth, and being only vitrified upon the surface retains a cer- 
 tain degree of porosity. That which was covered with a 
 plumbiferous (leaden) composition was called " Mezza Majol- 
 ica." Thanks lo the patronage of the Dukes of Urbino, the 
 Majolica made at Urbino, Castel Durante, Pesaro, and Gub-
 
 14 
 
 bio attained a high degree of perfection during the first half 
 of the sixteenth century, after which it began to decline 
 under the growing taste for porcelain. The names of such 
 distinguished artists as Giorgio Andreoli of Pavia, sculptor 
 and potter established at Gubbio in 1493, whose plates are dis- 
 tinguished for their beautiful iridescent glaze; of Francesco 
 Xanto da llovigo, of whose artistic skill the plate No. 408 
 (signed and dated 1532,) is an example; and those of Guido 
 and Orazio Fontana, who worked for Guidobaldo, duke of 
 Urbino (1540-1560), are connected with the great manufac- 
 tories above mentioned. The largest platter, No. 405 (sub- 
 ject, the Triumph of Bacchus), and the two richly adorned 
 and painted bottles (gourdes), Kos. 400 and 410, are probably 
 the work of Orazio Fontana. 
 
 The erroneous idea that Raphael made designs expressly 
 for the Majolica of Urbino and Castel Durante (whence the 
 name Raphael-ware, often given to it) may have arisen from 
 the fact that some of the designs were taken from his works; 
 or, as has been conjectured, from the substitution of his name 
 for that of Raffaellino del Colle, a painter who worked for 
 Guidobaldo I. della Rovere. 
 
 There is little doubt that the great reverence felt for the 
 name of Raphael has contributed to the preservation of many 
 of these fragile treasures, which were greatly valued by the 
 principal families of Urbino and the Romagna. 
 
 The Duke Alfonso d'Este, who was himself an amateur 
 potter, contributed not a little to the general use of majolica 
 for domestic puposes, by substituting it upon his own table 
 for the plate which he was obliged to pawn, to meet the 
 expenses of the war, which he and the Venetians waged 
 with Pope Julius after the league of Cambray, in 1510. 
 The Ferrarese factories were, for the most part, inactive from 
 this time until 1522, when they again flourished, for we know 
 that the celebrated painters Giovanni and Battista Dossi made 
 designs for them in 1524. Duke Alfonso then wrote to Titian
 
 15 
 
 to procure for him a number of pieces of Majolica from Mu- 
 rano. Among them were many Spezieria jars used to hold 
 drugs. Of such jars we have specimens in Nos. 43G and 407, 
 probably of Florentine manufacture. 
 
 No. 403 is an excellent example of the plates called " ama- 
 torii," or marriage plates. Upon these plates, lovers caused 
 the portraits of their betrothed to be painted, with such in- 
 scription as "Camilla bella," "Lucia diva," etc., etc., and 
 sent them as presents, laden with fruits, sweetmeats, or con- 
 fectionery. 
 
 We now come to the works of a celebrated artist who com- 
 bined sculpture and painting with the Keramic art, and orig- 
 inated a new and beautiful branch of decorative art. This 
 was Lucadella Robbia, one of the most eminent of the many 
 great Florentine artists of the fifteenth century. After long 
 practising as a sculptor he devoted himself to the discovery 
 of a hard enamel which would give terra cotta the durability 
 of marble, and after repeated failures at length attained 
 the desired result about the year 1443. With the true feeling 
 of an artist, Luca long used a pure white enamel upon the 
 figures which he modelled, and preserved their sculptural 
 feeling by keeping color in his backgrounds and accessaries. 
 Thinking, however, that his works might, if more highly col- 
 ored, be used as substitutes for fresco painting, he afterwards 
 added other hues than pure blue and green to his pallet, and 
 began to color the flesh parts and draperies of his figures. 
 His nephew, Andrea, carried this abuse still further, and 
 under his hands and those of his four sons the distinctive 
 character of pure Robbia ware was gradually lost, until it 
 become an enamelled picture not much above the level of 
 wax work. The difference between the art in its purity and 
 its decline may be judged of by Nos. 518, a Madonna and 
 child attributed to Luca, and 519, the Madonna adoring the 
 infant Jesus, by Andrea or one of his sons. The first is a 
 pure and charming work, which though by no means one
 
 16 
 
 of his best, will give the visitor some idea of the great talent 
 of the artist and the plastic propriety of his work. The 
 second will show him how, by overstepping the bounds 
 which should separate painting from sculpture, a hybrid 
 species of art was produced which had the merits of neither. 
 A cast of one of Luca's most celebrated works in marble will 
 be found among those of other great Tuscan masters at the 
 end of the room: namely, the " Singing Boys," No, 530, one 
 of a series of reliefs in marble, made for the balustrade of the 
 Cantoria (organ loft) in the Duorao at Florence. For excel- 
 lence of composition, and simple, unpretending truth to na- 
 ture, this group of choristers is worthy of the highest praise. 
 So earnestly do they sing, and so perfectly is the character 
 of each voice conveyed by the facial expression, that like 
 Dante, when he looked upon those celestial bas-reliefs which 
 surpassed the works of Polyclete (Purgatorio, X. Canto), we 
 are in doubt whether we do not hear as well as see, — 
 " . * . . . . & duo miei sensi. 
 
 Facea dicer 1' un No, 1' altro Si canta." 
 
 The other casts on either side of this relief are of works 
 by celebrated Tuscan sculptors of the fifteenth and sixteenth 
 centuries, from Orcagna to Benvenuto Cellini. 
 
 In case F will be found some bronze medals by the great 
 Italian medallists of the fifteenth century. Vittor Pisano, 
 commonly called Pisanello, a native of Verona (1380-1447), 
 who attained great eminence as a painter, revived the forgot- 
 ten art of the medallists, and founded a school which was 
 continued by his eminent countryman Matteo de' Pasti, and 
 by Sperandio of Mantua. They modelled the profile heads 
 of illustrious men and women of their time with unsur- 
 passed delicacy and truth, giving every varying plane of 
 facial surface in a small compass, and working out the ac- 
 cessaries with the utmost technical accuracy. The orna- 
 ments, inscriptions, and devices of all these medals are mod- 
 els of skilful and tasteful treatment; the bronze is of the finest
 
 17 
 
 quality and the most perfect color; and the reverses are 
 adorned with small reliefs of admirable workmanship. Both 
 Pisanello (who liked to foreshorten figures) and Sperandio 
 frequently introduced horsemen on the reverses of their med- 
 als. (Sec No. 509 and No. 510, where a knight is praying be- 
 fore a cross by the wayside, while his companion awaits him 
 on horseback ) Much the finest medal in this case is that by 
 Matteo de Pasti, of the famous Isotta da Rimini (No. 507), 
 the mistress of Pandolfo Malatesta, Lord of Rimini. The 
 elephant (see the reverse of this medal) was the crest of the 
 Malatestas. The two of Pandolfo Malatesta (Nos. 505 and 
 506), that of Lionello d'Este, 508 (by Pisanello), and that of 
 the Greek emperor, John Paloeologus (No. 509), who came 
 to Florence in the year 1439 to attend the great Council 
 convoked by Pope Eugenius IV to heal the schism be- 
 tween the Greek and Latin churches, are other excellent 
 examples. 
 
 The three magnificent specimens of Gobelin tapestry, 
 loaned to the museum by Mr. George O. Hovey, and once 
 the property of King Louis Philippe, were saved from 
 the fire which destroyed the chateau at Neuilly in 1848. 
 They were purchased in Paris by Mr. Hovey, who brought 
 them to Boston, where they were again saved from the flames 
 in November, 1872. The warehouse in which they were stored 
 stood in the very centre of the burnt district. This is really 
 a matter for great congratulation, as it may be safely said 
 that nothing comparable to them of their kind exists on this 
 side the Atlantic. The dimensions of the two largest are 20x12, 
 the third is 15x12. They represent summer, autumn, and 
 winter. The picturesque costumes of the figures, some of 
 which are nearly life-size; the landscape backgrounds, made 
 up of hills, trees, castles, and sky; the exquisite borders en- 
 riched with gold thread, and the fine texture of the fabric, 
 make these woven pictures, whose tones' are softened and 
 harmonized by time, equally precious, whether regarded as 
 2*
 
 18 
 
 examples of the designer's or workman's skill. We should 
 suppose them to be at least two hundred years old, though it 
 is difficult to be precise about the date of arras hagings. 
 They are what are technically called tapestries u de haute 
 lisse" i. e., wrought on the upright or vertical frame which 
 was substituted for the Saracenic low or horizontal frame 
 (called " basse lisss ") by the Flemish and French artisans, in 
 the XIV century. 
 
 The question as to how far such textile fabrics are the work 
 of the hand is so often asked that an answer in this place may 
 not be unacceptable. We quote from Dr. Rock's descriptive 
 catalogue: " Tapestry is neither real weaving nor true em- 
 broidery, but unites in its working these two principles into 
 one. It is not embroidery, though so very like it, for tapes- 
 try is not worked upon what is really a web, having both warp 
 aud woof, but upon a series of closety-set fine strings. Though 
 wrought in a loom and upon a warp stretched along a frame 
 it has no woof thrown across those threads with a shuttle or 
 any like appliance, but its web is done with many short 
 threads, all variously colored, and put in by a kind of needle. 
 With the upright as with the flat frame, the workman went 
 the same road to his labors; but in either of these ways he 
 had to grope in the dark a great deal on his path. In both 
 he was obliged to put in the threads on the back or wrong 
 side of the piece, following the sketch as best he could behind 
 the strings or warp. As the face was downward in the flat 
 frame he had no means of looking at it to correct a fault. In 
 the upright frame he might go in front, and with his own 
 doings in open view on one hand and the original design full 
 before him on the other, he could mend as he went on, step 
 by step, the smallest mistake, were it but a single thread." 
 
 In concluding this Preface it may not be out of place to 
 remind those persons who visit the present collections of the 
 Museum, that they have been brought together with the view 
 of giviug the public an opportunity of seeing rare and curi-
 
 19 
 
 ous objects, and in the hope of exciting interest and stimulat- 
 ing the general desire to have the Museum made a first-class 
 Institution of its kind. The student may learn a great deal 
 from the objects collected in these two rooms; the man of 
 culture may pass a profitable hour in examining them; and 
 the wealthy and jrenerous may perhaps, in seeing how few 
 they still are, be moved to give us the means of increasing 
 them, so that when the spacious Halls of the Museum build- 
 ing are ready, they may not be too scantily furnished with 
 treasures of Art. 
 
 CHARLES C. PERKINS, 
 Chairman of the Committee on the Museum. 
 
 Boston, April 10, 1873.
 
 THE WAY COLLECTION 
 
 OF 
 
 EGYPTIAN ANTIQUITIES 
 
 CASE NO. 1: — 
 
 OBJECTS IN BRONZE AND OTHER METALS. 
 
 DIVINITIES. 
 
 1 to 11. Figures of tiie God Osiris, generally repre- 
 sented as mummied. 
 
 In No. 1, both hands clasp a crook, while in the right 
 he holds the emblem of life eternal, a cross with a loop for 
 handle. In most of the other figures, he holds the crook 
 in one hand, the whip in the other. He was the judge 
 of the dead. 
 
 12 to 10. Figures of the God Amun, often styled " King 
 of the Gods," Chief of the great Triad of Thebes. 
 
 No. 12 is of the time of Eameses II; it is of good pro- 
 portions, and has had a gilt dress and necklace. No. 
 15, in a walking position, has eyes of silver. No. 1(5, a 
 sitting figure, has the head-dress, feathers, and crown 
 complete. 
 
 17 to 24. Figures of the God Horus, son of Isis and 
 Osiris. 
 
 Those figures which represent him as a child, once 
 supposed to be images of Harpocrates, wear a lock of 
 hair on the right side. 17, of excellent workmanship. 
 21 to 24 of late date.
 
 22 
 
 25. Figure of the bearded Pthah. Bes (?) on a 
 
 pedestal supported by two sphinxes. 
 
 A deformed dwarf. Some doubt as to the identity of 
 this God. 
 
 28. Figure of Khem. The God of Fertility. 
 29 and 30. Figures of Anubis, jackal-beaded. 
 
 He presided over embalmments, ami in many ways 
 guided the soul after death. 
 
 31 and 32. Figures of Pthah. Chief deity of Memphis, 
 represented as mummied. 
 
 The large figure is of curious workmanship. The 
 bronze, core was covered with white stucco; the face, 
 hands, and necklace were gilt; the eyelids, eyebrows, 
 scalp, etc., are of a composition of antimony. The eyes 
 were inserted, but are now missing, as well as the cap, 
 staff, and beard. 
 
 33. Figure of Atum or Atmoo. The sun under the 
 
 horizon, with a very curious head-dress. 
 34 and 36. Figures of Isis, wife of Osiris. 
 
 In 36, she is nursing Horus. 
 
 37. Figure or Pasht, cat or lion-headed, with her shield 
 in the left hand. 
 
 In 38, head, breast, and arms are given. 
 
 42, 43 and 44. Uncertain divinities. 
 
 46. Figure of Bes, with a club. 
 
 47. Small Figure of a God to the waist where it ends 
 
 in a base, various devices. Roman period. 
 
 ROYAL AND DOMESTIC FIGURES. 
 
 i 
 
 49. Figure of a King wearing the crown of upper and 
 
 lower Egypt.
 
 23 
 
 54. FIGURE OF a Roy, probably statue of a son of one of 
 
 the Ptolemies. 
 57, 59 and 60. Greek work. Boys asleep, playing the double 
 
 flute, and with wings. 
 
 FIGURES OF ANIMALS, DOMESTIC IMPLE- 
 MENTS, ETC. 
 
 61-67. The Urjeus, the asp, an emblem of royalty. 
 
 In No. 61, it wears the crown of Lower Egypt. Simi- 
 lar figures in wood may be seen over the door of en- 
 trance. 
 
 71-77. Bulls, Ram, Cats, head of an elephant. 
 
 78. Part of a Sistrum. 
 
 79, 81. Miniature Buckets. 
 
 82. 85. Various Spoons, one with a long hooked handle, 
 ending in a duck's head. 
 
 86 to 92. Mirrors, once highly polished. 
 
 93 to 95. Instruments for the use of Scribes. 
 
 99. Arrow-heads. 
 101. Miniature Hoe. 
 105. Head of a Miniature Rudder. 
 
 In their grand processions the arks, or boats, of the 
 divinities were borne in state. Miniature models are 
 often found. 
 
 106, 107, are the shields that made the prow of these boats. 
 107 is of silver. 
 
 110, 112. Rings of bronze and silver, for hand and ear.
 
 24 
 
 CASE No. 2: — 
 
 OBJECTS IN MARBLE, ALABASTER, LIMESTONE, SANDSTONE, 
 
 AND TERRA COTTA. 
 
 On the third shelf from the floor, right side, are grouped a 
 few figures of the Gods. 
 
 116. Amun. Seated. 
 
 117 and 119. Heads of Osiris. 
 
 122 and 123. Heads of Bes, the grotesque dwarf. 
 
 122, a remarkable piece of sculpture in some unknown 
 substance. 
 
 124, 125. Isis NURSING Horus. 
 
 12G. Ta-oer. Hippopotamus-headed, with claws of a lion, 
 
 in red stone. 
 127 to 158. Fragments of Figures. 
 
 On the upper shelf, right hand, are grouped a num- 
 ber of typical Egyptian faces and heads. The frag- 
 ment in the rear, mouth and nostrils, red, on a yellow 
 ground, are portions of a portrait of Seti I (about 1400 
 B. C. ), cut from the wall of Belzoni's tomb. On sec- 
 ond shelf, right, is a life-size hand in granite, holding 
 the crux ansata, emblem of eternal life A number of 
 curious figures of women on couches are grouped to- 
 gether on the fourth shelf, right hand. 
 
 159-185 also 678-707. In back part of third and fourth 
 shelves are many mummy figures in stone and 
 terra cotta, and on the second, are others in por- 
 celain. 
 
 These are found in great numbers in the tombs, 
 placed there, perhaps, on the day of the funeral, by 
 friends and relatives. They represent the deceased with 
 legs and arms swathed, as when mummied after death. 
 Generally an extract from the Book of the Dead is
 
 25 
 
 inscribed in front; often the name and occupation of tlie 
 deceased. Soineof the better made figures are pliieed 
 on the third shelf, left. The dead carries in either hand 
 a hoe and a pick, and over his shoulder a bag of seed 
 (one flg. is turned to show this). Part of the work of 
 his time of probation in the after-life was to cultivate 
 the fields. 706 is worthy of examination (on third shelf, 
 right), a mummy figure of the style of the XIX dy- 
 nasty, the face lost. Beneath the crossed hands is the 
 figure of a bird with human head. It is emblematical 
 of the soul, either just leaving, or returning to reani- 
 mate the body. 
 
 214. Ou the upper shelf, right, is a fragment cut from the 
 wall of a tomb. 
 
 A figure holding an oar, among papyrus reeds, prob- 
 ably part of a fowling scene. It is of the best style of 
 Egyptian sculpture, and may date from the time of the 
 pyramid builders. 
 
 24F-301. Vases, Tazze, and Jaes, of alabaster, marble, and 
 other stones. 
 
 The short, full ones are generally meant to hold 
 stibium, kohl, with which the women were wont to 
 paint the eyelid and brow. A curious one, a monkey 
 holding a pot, is on third shelf, right (186). 
 
 On lower shelf, right, are a number of beick cones and 
 cylindees with hieroglyphics. 
 
 Some of these may have served as stamps for the 
 seals put on doors of granaries, etc, as at the present 
 day in Egypt. Others probably marked the spots where 
 bodies were placed. While the richer were buried in 
 rock-cut tombs, immense numbers of the poorer classes 
 were placed in the debris at the foot of the hills, and here 
 these cones are found in great profusion. 
 
 3
 
 26 
 
 OX SHELVES OX THE WALL:— 
 
 On wall opposite entrance are three Funeral Tab- 
 lets. These generally contain a prayer to Osiris, and 
 record name and occupation of deceased. 
 
 195 is in good style; a man and his wife; before them a table 
 of offerings, meat, vegetables, and wine. 
 
 224 and 225, Pieces of Limestone, are portions of the wall 
 of a tomb, giving an excellent example of the 
 cutting of hieroglyphics. 
 
 227. Fragments of Sandstone from the wall of a temple. 
 
 One has the head of an Asiatic captive. 
 
 On these shelves and on the tops of cases are placed: — 
 
 237 to 247, A Number of Sepulchral Vases, intended 
 to hold the viscera of the person in whose tomb 
 they were placed. 
 
 A complete set consists of four (see upper shelf on 
 right on entering), the covers bearing the heads of the 
 four Genii of Amenti, human, of the ape, jackal, and 
 hawk. They are inscribed with the name of the de- 
 ceased, and of the genius protecting the special organ 
 embalmed within. A fine set in alabaster is placed over 
 Case 2. It dates from the time of Aphries, the Pharaoh 
 Hophra of Jeremiah. The covers are in this set all 
 human-headed. 
 
 CASE No. 3 : — 
 
 OBJECTS IN WOOD. 
 
 370. Figure of Osiris, once gilt with ivory eyes inserted. 
 
 371. Isis. Kneeling, she wears her emblem, a throne, on 
 
 her head.
 
 27 
 
 373, 375. Covers of Sepulchral Vases. The human- 
 headed one is a fine piece of carving. 
 376 to 429. Mummy. Figures See hefore Nos. 159-185. 
 
 These wooden figures answer the same purpose as the 
 stone and porcelain. Oftenthey are gayly painted. Some 
 are placed on pedestals on which also the wife kneels 
 before her husband, No. 411. Often in cavities in these 
 pedestals, Nos. 414, 415, etc., were placed papyri. Nos. 
 381 to 387 were found in the tomb known by the name 
 of Belzoni's, being that of Seti I (Oimenepthah), and 
 bear his cartouche (about 1400 B. C. ). Those with aprons 
 carved in folds generally date from the XVIII or XIX 
 dynasty. 
 
 430 to 486. Figures in - various Attitudes, dancing 
 standing, and squatting. 
 
 In the men the flesh is painted red, in the women yel- 
 low. These are found in great numbers in one quarter 
 of the tombs at Thebes. The group 430 and succeed- 
 ing numbers, was found on the little model of a boat. 
 It represents the captain and sailors seated or squatted 
 for a talk. 
 
 487. A Grotesque Figure, knees bent, cavity in the head 
 
 — a stibium bottle. 
 
 488. Figure of a Girl. Curious a3 giving a style of 
 
 dressing the hair like the modern fashion of Nu- 
 bia. The large ear-rings are also still seen there. 
 
 489. 490. Similar Figures in Ivory. 
 
 491-503. Figures of Animals. The dog, jackal, hippo- 
 potamus, cat, etc. 
 
 501-503. On upper shelf, Figures of the Soul, represented 
 by a hawk with human head. 
 
 For an illustration of this see fig. 706, case 2. 
 
 507-536. Figures of Birds, chiefly of Hawks. 
 
 The Hawk was the emblem of Horus. 532 wears the 
 crown of upper and lower Egypt. 524 represents a Hawk, 
 mummied.
 
 28 
 
 ON THE WALL:— 
 
 Suspended above Case 3, and also on the left, are various 
 Staves and Bows. 
 
 Long staves were usually carried by the Egyptians. 
 The top was often in the conventional shape of the 
 lotus flower; two such can be seen in Case 4. Often 
 they were ornamented with a short, projecting branch, 
 and if nature had not supplied it, an artificial one was 
 fastened on ; instances of both kinds can be seen on 
 the wall. They are of hard wood, carried the heavy 
 end down, and are of length much greater than the 
 canes of the present day. Often the owner's name is 
 inscribed. Frequent mention of staves is made in the 
 Bible, both literally and metaphorically, showing con- 
 stant use of them. The bows are generally in good 
 preservation ; the largest isjsixty-three inches in length, 
 and about one and three eighths in diameter at largest 
 part. They are of good shape, tapering at the extremi- 
 ties. 
 
 CASE No. 4: — 
 
 OBJECTS IN WOOD, CHIEFLY DOMESTIC MISCELLANEA. 
 
 579. Three Pieces of Hard Wood inscribed with hiero- 
 glyphics. 
 
 They were part of the posts of a rectangular-shaped 
 sarcophagus. The hieroglyphics are cut in admirable 
 style. The wood is the Sont, Acacia ( Mimosa) Nilotica, 
 one of the acacias that produces gum arabic, the shittim- 
 wood of the Old Testament. 
 
 581. A Box for paints (?) in five compartments, with a slid- 
 ing cover.
 
 29 
 
 582 to 583. Scribe's Palettes with brushes. 
 
 They usually have a long cavity for the reed, and two 
 round ones, one for red, and one for black pigments; 
 both were in constant use as the papyri show. In the 
 funeral ritual, or book of the dead, the titles of chapters 
 and directions for use were usually written in red. A 
 similar custom in mediaeval ecclesiastical books gave 
 rise to the word rubric. 
 
 587. Painters' Palettes. 
 589. Two Fan-holders. 
 
 Before the Egyptian kings, in their grand processions, 
 were carried two fans of feathers. A similar custom 
 cau be seen to-day at St. Peter's. 
 
 590-595. Kohl Bottles, for holding the stibium with which 
 to paint the eyelid and brow. 
 
 594 is a shape much affected by the female sex, the 
 grotesque dwarf. 
 
 597. Lady's Toilet Box, in shape of a duck, cover lost. 
 598 to 602 Combs. 
 
 603. Head of Horse on a stick, part of a harp of graceful 
 form, as may be seen in the pictures in the tombs. 
 
 C04. Head-Kests. 
 
 The Egyptian complicated arrangement of hairwould 
 have been disarranged by a modern pillow. These were 
 put under the back of the head. Precisely similar are 
 found in the Polynesian islands to-day; those of Japan 
 closely resemble. Ou one the grotesque dwarf is sculp- 
 tured, a frightful figure to drive away dreams. 
 
 607. Sandals. 
 
 608. A Doll, flat, painted. 
 610-611. Parts of stools or chairs. 
 
 612-630. Spoons, Models of Boats, Rudders, and numer- 
 ous other articles. 
 
 631. Three Cramps for holding stone together. 
 3*
 
 30 
 
 A. The Crux Ansata. — Cross with a looped handle, 
 
 the emblem of eternal life. 
 
 This is constantly represented in the hands of the 
 divinities. Often they are seen ottering it to mortals. 
 
 B. Fragment of the Symbol of Stability. 
 
 It was formerly called the nilometer, — the most usual 
 symbol of the god Ptah. 
 
 CASE No. 5: — 
 
 TABLETS OF WOOD, FRAGMENTS OF MUMMY CASES, ETC. 
 
 539. Tablet representing Horus on the crocodiles, sur- 
 mounted by the grotesque head of Bes. 
 
 Such tablets in wood are rare; they are of late date. 
 Probably emblematic of the triumph of life over death. 
 
 540 to 550. Funeral Tablets, placed in the tombs, gener- 
 ally inscribed with prayers to Osiris, etc. 
 
 The suppliant usually stands before an altar on which 
 is placed a lotus flower and other offerings. Behind 
 the altar one or more deities. Osiris, 541; Osiris and 
 Isis, 548; Osiris, Isis, and four genii of Amenti, 543 and 
 544. The suppliant often wears the white robe of justi- 
 fication, No. 548, a specimen of which can be seen in 
 Case 8. 
 
 550 is of belter workmanship. 
 
 Here the offering is made by a priest wearing his robe 
 of office, a leopard skin. Half only of this tablet has 
 been preserved.
 
 31 
 
 551 and 552 .ire Pectoral Tablets placed on the chest of 
 a mummy. 
 
 They are carved, and were once inlaid ; they repre- 
 sent Anubis as guardian of the tomb. 
 
 553. A Schoolmaster's Tablet for teaching a pupil to 
 
 write Greek. 
 551 Tablet with Greek Inscription, bearing name ot 
 
 Athanasius, probably hung in some church; only 
 
 half is preserved. 
 
 555 to SCO. Miniature Mummy Cases, or covers of the 
 same. Nos. 1017 and 1018, left hand of case, are 
 similar. 
 
 These cases may sometimes have contained a foetus 
 or some small animal, as No. 1018. Generally, how- 
 ever, they held a stick or figure wrapped in bits of ban- 
 dages, and inscribed, as if a child had put them up in 
 sport, Nos. 558 and 1017. 
 
 562. Fragment of a Mummy Case with nine lines of very 
 
 finely executed hieroglyphics. 
 
 The mummy lies on a funeral bier, above hovers the 
 figure of a bird with human head, representing the soul 
 returning to reanimate the body. Beneath are the 
 four vases, such as are seen ou the shelves above the 
 case, to hold the viscera. 
 
 563. Faces from Mummy Cases. — Others are suspended 
 
 on the wall opposite. 
 
 The expression of some is excellent. One in hard 
 wood, with glass eyebrows and eyes inserted, gives the 
 pale-brown complexion of the modern Egyptian. This 
 is of admirable execution, perhaps a portrait. 
 
 564. 565. Figures of Hands from mummy cases.
 
 32 
 
 566. Figures of Beards; two show th'e mode of plaiting 
 in shape of the letter J. 
 The rest of the case is filled with fragments of mummy 
 cases, or of the cartonage which enveloped the mummy, as 
 seen on the four mummies in the centre of the room. 
 
 CASES Nos. 6 AND 7, AND AGAINST THE 
 WALLS: — 
 
 955 to 981. Seven Mummies with their cases. 
 
 The immortality of the soul was a fundamental doctrine of 
 the Egyptian religion. It is probable that after a long period 
 of probation, the soul was expected to return to its body, and 
 hence originated the habit of embalming. This custom has 
 obtained among other people, but has nowhere been held in 
 such esteem, or carried out so perfectly, as with the Egyp- 
 tians. 
 
 There were various methods of embalming, according to the 
 taste and wealth of the friends of the deceased. That it was 
 done with skill is attested by the preservation of these bodies 
 for over three thousand years. During the process the vis- 
 cera were taken out, and after careful preparation, were either 
 returned to the body or placed in the four jars which are dis- 
 played on the shelves on the wall. After embalmment the 
 boJy was wrapped in bandages of fine linen, which, in some 
 instances, have measured over one thousand yards iu length. 
 These bodies have been unrolled, but specimens of the very 
 careful method of bandaging can be seen on the mummies of 
 animals in the lower part of Case 6. Among these baudages, 
 and but rarely immediately against the body, were placed 
 numbers of amulets and emblems, such as may be seen in 
 Case 12; often they were of gold or silver. To get at these, a
 
 33 
 
 mummy is generally unrolled and searched as soon as found. 
 After bandaging, it was placed in a stiff form of cartonage 
 made of linen cloths cemented and tightly pressed together, 
 then fitted to the hody while yet moist. The cartonage was 
 then gayly painted, as seen in these Cases 6 and 7. 
 
 The body thus enveloped was then placed in one or two cof- 
 fins, specimens of which, in wood, can be seen against the 
 walls. Sometimes these cotfins are of stone — sarcophagi — 
 and are wonderful specimens of skill in stone-cutting. 
 
 The faces on the cases and cartonage, when of women, are 
 painted yellow; of men, red. In some cases, they may be 
 meant for portraits. The resemblance between the face on 
 the cartonage of 959 and on the inner case against the wall 
 on the right, might indicate this. 
 
 959 is a fine specimen. Mummy of a Lady of Kank, 
 face gilt. 
 
 On the second line beneath the hands, is a double 
 picture of the deceased pleading her cause before Osiris, 
 who sits as judge, holding his emblems of dominion, the 
 crook and whip. She is supported by Truth, wearing 
 her ostrich feather. A large portion of the Egyptian 
 pantheon is displayed beneath. Near the feet, on the 
 ri^ht, is Athor in her sacred tree, pouring out to the 
 deceased the water of life. 
 
 The two wooden cases of this mummy are against the wall 
 on the right, the outer lid wanting. 
 
 955inCase7 is another fine specimen. It is of a man, bearded. 
 Its inner case, a fine piece of work, though in- 
 jured, stands between Cases 2 and 3. 
 
 961. In the corner, on the left on entering, stands a mummy 
 
 in its cartonage, in both of its cases. The lid of 
 the outer case on the left, of the inner on the 
 right. Through some accident, the painting of 
 the cartonage is obscured by melted bitumen. 
 
 962. In Case 6, a Mummied Hand, delicate, well-preserved; 
 
 a ring on the fourth finger.
 
 34 
 
 In the lower part of the Case are Mummied Skulls (one 
 of these is half filled with bitumen), Heads, etc. 
 Also two small mummy figures of wood, the 
 interior eaten out by insects. With them are 
 two locks of hair thrown into the tomb at the 
 funeral. Also many Mummies of Animals ; 
 of the cat, cynocephalus, hawk, ibis, etc. 
 
 In lower part of Case 7 are a number of baskets of reed and 
 palm-leaf, some sandals in excellent preserva- 
 tion, boots of leather, etc., etc. 
 
 CASE No. 8: — 
 
 MUMMY COVERINGS 
 
 On right, pieces of Mummy Cloth of various dates and 
 quality. Some are inscribed with hieroglyphics. 
 1004 on left, a fine specimen of the Robe of Justification, 
 represented on the wooden tablet, No. 548. 
 
 It is over sixteen feet in length by six feet, nine inches 
 wide, with a fringe. It was supposed to be worn in the 
 trial after death, before Osiris. 
 
 1012. A Long Mitten, with blue border, a piece of fine 
 
 linen fabric. 
 1021. A complete set of the Genii of Amenti in wax. 
 
 These have been mentioned in speaking of the sepul- 
 chral vases. The human-headed was Amset, the car- 
 penter; the monkey-headed, Hapi, the digger; the 
 jackal-headed, Smautf, the painter; and the hawk- 
 headed Kebhnsnof, the bleeder. These little figures 
 were perhaps put inside the body.
 
 35 
 
 Other Ou.tects are repetitions of these in wood and wax, 
 pieces of cartonage in shape of vultures, Scarabaei, etc. 
 
 All taken from the coverings of mummies ; among 
 which is a heal net work containing a human face, a 
 winged scarab, a winged deity, and the four genii, once 
 placed over a mummy of the time of the XVIII dynasty. 
 
 CASE No. 9, On Left of Foregoing Case: — 
 
 PAPYRI. 
 
 Only fragments of Egyptian manuscripts can here he 
 shown. They are portions of the Funeral Ritual, or Book of 
 the Dead. 
 
 A vignette on one shows a mummy drawn on the 
 funeral sledge, with a woman weeping over it. A mod- 
 ern specimen of the Papyrus reed simply sliced, with- 
 out preparation, is also shown. 
 
 CASE No. 10: — 
 
 VASES, BOTTLES, JARS, ETC., IN TERRA COTTA AND VITREOUS 
 
 WARE. 
 
 Some of the finer specimens are placed round the room, on 
 the tops of cases. 
 
 In this case on the upper shelf are sundry bottles, some 
 very tall on the left. 
 
 On the next are some pilgrim bottles, suspended. 
 
 755. A Pretty Greek Vase. 
 757. A Curious Jar. 
 
 756. A Vase bearing a grotesque face. 
 
 On the two shelves beneath are various heads of sepulchral 
 vases.
 
 36 
 
 CASE NO. 11 .;— 
 
 SCARAB^I. 
 
 The common beetle, from the very curious method in which 
 it lays its eggs, became with the Egyptians a favorite sym- 
 bol. Taking a morsel of mud or duug, and depositing on it 
 her eggs, the beetle then fashions it into a perfect sphere, and 
 pushing backwards, rolls it to a hole where she buries it, leav- 
 ing the sun to hatch the eg^s into life. 
 
 The Egyptians supposed that there was no female, that it 
 was the male insect solely, thus reproducing his kind. Hence, 
 it became the symbol of Creative Power ; of the World, hold- 
 ing the seeds of life ; and of the Sun. 
 
 Scarabs are found in the tombs and araon? the ruins, in 
 immense numbers. Besides the pure symbolic use, in which 
 sense they were placed with expanded wings on the breasts 
 of mummies, they were used often as ornaments to necklaces 
 and in great numbers as signet rings, in which case they bore 
 inscriptions of various sorts, often the name of the reigning 
 king, more frequently that of a god, or some attribute of one. 
 Those of larger size often recorded events of public or private 
 interest. Some of these, in hard stone, are remarkable for 
 their cutting. 
 
 CASE No. 12 : — 
 
 AMULETS, EMBLEMS, TRINKETS, ETC. 
 
 FIGURES OF DIVINITIES. 
 
 The brief limits here accorded do not permit a discussion 
 of Egyptian theology. An intricate system, varying in each 
 age and in each separate locality, understood by neighboring 
 nations only in fragmentary parts, — it has generally been 
 dismissed as a tissue of idle fables or of gross abominations.
 
 37 
 
 The patient labor of the later Egyptologists has, however, 
 brought some order from the chaos, and disclosed, reisniDS 
 above and over this multiplication of deities and deified 
 objects, one sole God, " who made all things, and was not 
 himself made." 
 
 How far this idea was present in the popular worship, — 
 whether it was ever held by the people, or was entertained 
 only by the priests as one of their holy mysteries, — what 
 limit of time or place it had, are subjects for discussion. 
 
 The Egyptian religion, as known to the Greeks and early 
 Christians from whom hitherto we have drawn most of our 
 information, had wandered far from its ideal; its pantheon 
 had become encumbered with a numberless host of divinities, 
 aud the sun, the chief visible agent, once taken as the chief 
 symbol of the deity, had become the chief god. His name, 
 Ra, was often given, as an added dignit}', to the other gods. 
 Amun was styled Amun-Ra. 
 
 The greater gods may at one time have all been deifica- 
 tions of the attributes of the One, as Thoth was of divine 
 reason, and Kneph of the divine spirit. Lesser gods were 
 often deifications of nature. 
 
 Many of the better known Egyptian deities are here 
 grouped together. If the question arises as to whether any 
 people believed that such monstrosities as are here shown — 
 human bodies with animal heads — had a real existence, it 
 may, perhaps, best be answered by bearing in mind that Chris- 
 tian art for mauy centuries, so represented the evangelists: 
 St. John, with the head of an eagle, St. Mark, with that of a 
 lion, and St. Luke with that of an ox. Such representations 
 were purely symbolical. 
 
 633, 034. Ptah, creative, or perhaps, more precisely, forma- 
 tive power. Chief d eity of Memphis. Here in 
 the shape of a dwarf, or rather of an embryo. 
 Another type of him can be seen in the bronze 
 case; unfortunately the figure is much cor- 
 roded. 
 4
 
 38 
 
 634. A. The Egyptians were prone to group their gods 
 together, usually into threes, these sometimes 
 forming triads, sometimes trinities. Two curi- 
 ous examples are here shown. 
 
 Ptah, ■* fPtah, 
 
 Horus, C and -j Horus, 
 
 Kneph, or Noum, ) <■ Thoth. 
 
 635. Thoth, generally characterized by the head of an ibis, 
 
 which he here wears; sometimes by that of the 
 cynocephalus ape. 
 
 The god of letters —the recording angel of the final 
 judgment. 
 
 636. Ra, the sun, hawk-headed, and wearing the disk of the 
 
 sun, from which projects the urceus. 
 
 With the definite article before it, this name became 
 Phra, a title of the sovereigns of Egypt — hence our 
 Pharaoh. 
 
 637. Hortjs, hawk-headed, wearing the crown of upper and 
 
 lower Egypt. 
 
 There were, perhaps, three gods of this name. 
 
 638. Antjbis, jackal-headed. Embalmer of the dead, guar- 
 
 dian of the tomb, etc. 
 
 Flat figures of this god are often sewu into the 
 mummy bandages. 
 
 639. Kkeph, or Noum, the spirit — ram-headed. 
 
 640. Khem. — The god of fertility. 
 
 640. A. — Chonso, the third person of the great Theban 
 
 triad. Represented as mummied, with the lunar 
 disk upon his head ; he wears the plaited lock of 
 childhood. 
 
 641. Horus as a child, his finger in his mouth. 
 
 642. Bes (?) holding sword and shield.
 
 39 
 
 643 to 645. The Grotesque Dwarf, Ees (?). 
 
 But little is known of this divinity. His effigy is con- 
 stantly placed on articles pertaining to the toilette of 
 women. These figures were mostly intended to be worn 
 round the necks of women and girls. Many of the 
 figures are double, back to back, some quadruple. 
 
 646. Heads of the sabie divinity, also adapted to be 
 
 worn. 
 
 647. Schou, with both hands above his head, elevating the 
 
 disk of the sun. 
 
 648. Head of Osiris. — Fine work. 
 
 The principle of good. In his career, he symbolizes 
 the eternal strife with evil and the final victory of good. 
 Worship of other deities was apt to be local, that of 
 him was universal. 
 
 649. Head of Afis. 
 
 650. Isis and her Sister Neptiiys, the former distin- 
 
 guished by a throne on her head. 
 651, 652. Isis. 
 
 In most of these figures, she is represented as nursing 
 Horus, a very favorite subject. 
 
 653. Isis, Neptiiys, and between them Horus. 
 654 to 656. Pasht, head of a lioness, rarely that of a cat — 
 the avenger of crime. 
 
 Statues of her, full size, of very dark stone are fre- 
 quent. A group of them in water color may be seen 
 near the door. 
 
 657, 658. Ta-oe r. — Head and body of a hippopotamus, with 
 
 the feet of a lion. 
 846. Amun-ra, the chief god of Thebes; one of these figures 
 
 is finely executed. 
 846. Probably of Ra, — hawk-headed, seated.
 
 40 
 
 848. Atum or Atmoo, the sun under the horizon. 
 
 Curious head-dress in which the lotus and two tall 
 shafts are prominent. 
 
 850. Uxknowx Divinities, one with large ears surrounded 
 
 by lions, Pasht V — the other with the head of a 
 rabbit. 
 
 851. A Goddess with a fish on her head. 
 
 818 to 833. Figures of Animals. — Of the monkey, ram 
 (one with four heads), cat, bull (one tied up for 
 sacrifice), crocodile, hawk, pig, lion, dog, frog, 
 rabbit, of fish, of the Phoenix (830), hedgehog, 
 scorpion, and calf. 
 
 872 to 884. The Mystic Eye (of Horus?), found in im- 
 mense numbers in the tombs and elsewhere. 
 
 These are mostly adapted to be worn as amulets. 
 
 855. Eyes from Mummy Cases. 
 
 856. The Tat, formerly supposed to be the Nilometer — 
 
 emblem of stability. 
 
 892. Two Columns, one supporting the figure of a cat, the 
 
 other the head of Athor. 
 894. A Scorpion with a woman's head and shoulders, a 
 
 very remarkable figure. 
 896, 897. Objects Belonging to Necklaces. 
 
 893. Emblems representing the fastening of the belt. 
 
 900. Heads of Serpents. 
 
 901. Rosettes, perhaps for furniture. 
 
 903. Four Miniature Jars on a slab. Supposed to have 
 been intended to hold paints, but a fracture 
 shows the interior to be uncolored. 
 
 907. The Caps of Upper and Lower Egypt v 
 
 912. Porcelain Rings, various devices. 
 
 913, 914, 915. Rings in ivory, cornelian, and a hard red 
 
 stone; parts of necklaces.
 
 41 
 
 010. Flat Figures, sewn into mummy coverings. 
 
 On the circular stand arc placed some objects selected 
 for the beauty of their execution, or as being of especial 
 
 interest. On the base are grouped various emblems. 
 
 932. Various Rings, two in gold; one of these in form 
 common at the present day, the other is of an 
 Etruscan pattern. 
 
 Three silver-mounted scarabffli, the hoops rather 
 heavy, probably a later imitation of real Egyptian work, 
 which can be seen in the bronze and delicate silver 
 mounting of the rings by their side. In these the silver 
 is oxidized. A ring, copper gilt, with head of Christ in 
 red coral, is probably of Byzantine work. A scarab in 
 its original gold setting, hoop of the ring lost. 
 
 92G. Figure of Ra, sitting, in highly polished chrysolite; 
 
 one of the child Horus in a hard yellow stone. 
 928. Six Figures of Isis, one of Thoth (this in fragments) 
 
 are fine specimens of carving in Lapis Lazuli. 
 
 The expression on the faces of two of the figures of 
 Isis is admirable. 
 
 934. Thmei or Ma. — One of these figures in an exquisite 
 bit of cutting in Lapis Lazuli. She wears her 
 ostrich plume on her head. The goddess of 
 truth. 
 
 At the final judgment the heart of the deceased was 
 placed in one scale, and Thmei or her ostrich plume in 
 the other, Thoth standing by to record the inclination 
 of the balance. 
 
 940. Figures of Hawks in Lapis Lazuli. 
 
 On the base are the various emblems most commonly 
 found wrapped up in the mummy coverings, in corne- 
 lian, Lapis Lazuli, and other stones. 
 
 941. The Heart, symbolized by the vase which contained 
 
 it after burial. It was accounted the seat of life.
 
 42 
 
 943. TnE Mystic Eye, outa. 
 
 No emblem is so universally found. Perhaps its 
 most common signification would be best interpreted by 
 the "All-seeing eye of God " In astronomy it had the 
 signification of the accomplishment of a period. Hence 
 it became emblematic of the period of probation or 
 justification of the soul in the regions below, and of its 
 final resurrection. It had other meanings more recon- 
 dite. 
 
 944. Miniature Head-rests, of hoematite, emblematic of 
 
 the eternal rest that awaits the "justified " soul. 
 
 945. Triangles. 
 
 946. Angles or Squares. 
 
 Tbese two would seem to bear some analogy to ma- 
 sonic emblems. Probably, however, the one referred 
 to their trinities; the other was a symbol of mystery or 
 adoration. 
 
 947. TnE Tat, emblem of stability. 
 
 893. The Papyrus Column, emblem probably of a happy, 
 
 well rounded life. 
 898. The Buckle or fastening of the belt. 
 
 In the Book of the Dead directions are given to em- 
 bnlmers for the preparation of many of these emblems, 
 as "to be washed with ankham flower water," etc., 
 and for placing them on various parts of the body. 
 
 CASE No. 13 : — 
 
 OBJECTS IN GLASS AND PRECIOUS STONES. 
 
 The Egyptians manufactured both opaque and transparent 
 glass. A variety of curious examples are here given; among 
 them several beads formed of rods of glass fused together, 
 then pressed into shape, making a mosaic of various colors.
 
 43 
 
 1040. A curious Head of an Asiatic. 
 1052. Beads of Yellow Green, and Blue Glass of 
 strange shape. 
 An almost unique collection of Arab coins in glass of the 
 10th century is added. 
 
 la this case also ara placed some specimens of stone 
 engraving; among others a small scarab in green jasper 
 is a very remarkable piece of gem cutting. It hears the 
 cartouch of Thothmes III, KiOO to 1500 B. C. A hawk 
 crowned, representative of Ra, or a deified Pharaoh, is 
 iu the centre; on one side the cartouch; on the other, 
 the solar disk with the urseus; beneath is a bird proba- 
 bly the Phoenix or Benuou. 
 
 CASE No.. 14: — 
 
 TERRA COTTA LAMPS. 
 
 All oflate date, chiefly interesting as showing the succes- 
 sion of different faiths. In the Greek lamps, Minerva and 
 Cupid (1086) have driven out the Egyptian gods, to give place 
 in turn to inscriptions to Christ (1000). 
 
 1085 is a curious instance of the adaptation of the old symbol- 
 ism to the new faith. The Latin cross decorates 
 the centre; on either side are Egyptian crosses, 
 symbols of life eternal.
 
 SECO N D ROOM. 
 
 CASES J, C AXD !>.-- 
 
 ANTIQUITIES FROM CYPRUS. 
 
 1. Large Amphora, used to hold wiue or oil. 
 
 The pointed base was stuck in the ground. 
 
 2. Earthen Jar, with Phenician inscription. 
 
 3. Ditto. 
 
 4. Large Amphora. Coarse clay, ornamented with ver- 
 
 tical and horizontal lines, and circles. 
 
 The pattern painted on one side of the neck is com- 
 posed of a winged, diamond-shaped, ornament, and two 
 
 circles. 
 
 5. Greek Amphora, with twisted handles and cannel- 
 
 lated body; remarkably beautiful shape. 
 
 6. Amphora, decorated with vertical, horizontal, and zig- 
 
 zag lines in red and black. 
 
 7. Ditto. 
 
 8. Ditto Horizontal bands of black and red color. 
 
 The upper zone is decorated with birds in black and 
 red, separated by conventionalized trees. 
 
 9. Ditto. Spaces containing birds marked by vertical 
 
 lines.
 
 45 
 
 10. (Enociioe. Round the neck are straight and zigzag 
 lines in black and red. Animal-headed handle. 
 
 The painting, which represents a hunter ahout to 
 shoot an arrow from a how, and a charioteer in a char- 
 iot .drawn by a black horse, resembles a Lion Hunt as 
 figured in Assyrian Bas-reliefs. 
 
 11. (Enociioe of yellow clay, with compressed trefoil lip. 
 
 A fantastic animal resembling a horse is painted 
 on one side. 
 
 12. Ditto. Decorated with an animal of the deer species. 
 
 13. Ditto. Decorated with a bird in black and red. 
 
 14. Small, Pitcher. Zone of birds. At base, leaves. 
 
 Ornament at the top composed of lines crossing 
 each other. 
 
 15. (Enociioe. Horizontal black bands. 
 
 16. Ditto. Lip and neck adorned with black bands. The 
 
 body is canncllated and painted black. 
 
 17. Ditto. Divided into spaces by circles formed of black 
 
 lines. Circle and wheel patterns in intermediate 
 spaces. 
 
 18. Like 15. 
 
 19. Ditto. 
 
 20. Small Unpainted (Enochoe of red clay. Cannel- 
 
 lated body. 
 
 21. Ditto. Large and small concentric circles and horizon- 
 
 tal bands. 
 
 22. Ditto. Red clay, unpainted. 
 
 23 and 24. Ditto. Red clay. Horizontal black bands. 
 Compressed trefoil lip. 
 
 25. Ascos. Brown vertical bands around base. 
 
 26. Flask of red clay with handle. 
 
 27. "Very Ancient Pitcher. (Assyrian?) Vertical and 
 
 horizontal bands in brown, formed of lines, dots, 
 and diamond-shaped patterns. 
 
 28. Pitcher with handle and spout at side. Yellow, red, 
 
 and black bands and stripes.
 
 46 
 
 20. "Wide-Mouthed Jar, with side handles, much in- 
 crusted. 
 
 30. Red Clay Pitcher. High handle. 
 
 31. Red Clay (Enochoe. Black horizontal stripes. 
 
 32. Red Jug. High handle. 
 
 33. Jug. Painted with concentric circles. 
 
 34. Jug with projecting spout. Yellowish clay. 
 
 35. Jug with handle across the orifice. 
 
 36. Red Clay Jug, once painted. 
 
 37. Round Jar, with upright spout and double handle. 
 
 38. Pitcher. Small and dark-colored, with handle. 
 
 30. Small (Enochoe, painted red: very thin and light. 
 
 40. Ditto. Maroon color; black horizontal stripes. 
 
 41. Small Pitcher of Yellow Clay, with remains of 
 
 paint. 
 
 42. Small Vase, without handles. 
 
 43. Ditto (Enochoe, with trefoil lip compressed. Brown 
 
 bands and concentric circles. 
 
 44. Trefoil Lip and Handle. Alabastron shape. 
 
 45. Jug, Red, Painted Clay. Black bauds, and lines 
 
 on neck and body. 
 
 46. Small Gray Jar. Black bands and concentric cir- 
 
 cles. 
 
 47. Aryballos, or Pilgrim Bottle. Red clay, with 
 
 double handle. 
 
 43. Small Amphora. Red, decorated with black lines. 
 
 40. Ditto. With three handles; yellow clay; black orna- 
 ments. 
 
 50. Rowl with two handles; ornamented with black lines. 
 
 51. Ditto. Red clay; long nose and handle. 
 
 52. Jug of Black Ware. Surface divided into com- 
 
 partments by indented lines in bauds, which are 
 filled with an incised willow pattern. 
 
 53. Black Pitcher. Ornamented with indented diagonal 
 
 lines in dots, made by pressing a whip cord into 
 clay or rolling a small wheel upon it while soft. 
 
 54. PnENiciAN Bird-Shaped Pitcher. [See 56, 57, 5S, 
 
 and 50.
 
 47 
 
 55. Ditto. Ornamented with diagonal and vertical lines in 
 
 red. 
 
 56. Ditto. 
 
 57. Ditto. 
 
 58. Ditto, with neck and tail; ornamented with indented 
 
 zigzag lines; holes iu rings for suspending. 
 
 59. Ditto; of yellow clay; the rings disposed vertically in 
 
 lour rows; painted, with diagonal lines forming 
 rows of triangles iu brownish red. 
 
 60. Red Clay. Ornaments painted in black and red. 
 
 61. Tripus. Blark and red lines. 
 
 62. Phenician Kylix. Reel and black lines inside and 
 
 out. Fantastic birds in compartments. 
 
 63. Kylix (Greek?). Red clay. Brown concentric half 
 
 circles, and bands of black round rim and upon 
 handles. 
 6-4. Red Bowl, with spout open at top, Moulded knobs 
 on the rim. 
 
 65. Patera, of red clay. Black concentric circles round 
 
 the middle of centre inside. One black line 
 round the rim. 
 
 66. Round Cup, with high handle, yellow clay. Red lines 
 
 disposed in triangles. 
 
 67. Black ditto. Circles disposed horizontally, and dots in 
 
 bands. 
 
 68. Saucer, of yellow clay. Black lines in circles. 
 
 69. Patera, ofyellowish-red clay, painted like No. 65. 
 
 70. Bowl, covered with pipe clay, with vertical and hori- 
 
 zontal lines, dots, etc., painted upon it in a brown 
 color. 
 
 71. Oxybapiion", of yellow clay, decorated with vertical, 
 
 horizontal, and zigzag lines in black. 
 
 72. Cup, of yellow clay, with a broad purple band round 
 
 the rim. 
 
 73. Patera of ditto, decorated with small birds, triangles, 
 
 and vertical lines in red. 
 
 74. Little Cup of ditto, with vertical bands in purple. 
 
 75. Red Patera. Bhick circles.
 
 48 
 
 76. Patera, of yellow clay. Black lines. 
 
 77. Flat Cup, of ditto, with high handle. Zigzag lines 
 
 round rim. 
 
 78. Round Bowl,, painted with horizontal hands, and con- 
 
 centric circles. 
 
 79. Ditto. Red clay. Black lines in a hand round the 
 
 inside. Ditto on rim; outside decorated with 
 small concentric circles. 
 
 80. Small Oxybapiion. Decoratedwith a diamond-shaped 
 
 pattern in black lines. 
 
 81. Small Round Jug, with three handles; ornamented 
 
 with bands and stripes in red. 
 
 82. Small Jug. (Greek.) Ornament in relief about the 
 
 neck. 
 
 83. Ditto. 
 
 84. Double Lekythos. (Greek.) 
 
 85. Small Red Jug, with spout and handle. 
 
 86. Ditto. 
 
 87. Two Cups, joined together, with one handle; yellow 
 
 clay; ornamented with red lines. 
 
 88. Small Amphora. Fine red ware; horizontal bauds, 
 
 and circles. 
 
 89. Ditto (Enochoe. Fine red ware; horizontal bands 
 
 and circles. 
 
 90. Ditto Jug. Fine red ware; horizontal bands, and cir- 
 
 cles. 
 
 91. Ditto. Double handles; " vaso a Tromba." 
 
 92. Ditto. Double handles; "vaso a Tromba." 
 
 93. Ditto. With one handle. 
 
 94. Ditto. With one handle. 
 
 95. Round bottomed Jug, with handle; soft red ware; 
 
 indented ornaments in white, consisting of ziz- 
 zags and circular bands, made with a sharp 
 pointed stick. 
 
 96. Ditto. Without handle; large neck; same style of orna- 
 
 ment. 
 
 97. Ditto. With high handle. 
 
 98. Like 95.
 
 49 
 
 99. Aryballos. Same ware and style of ornament. 
 
 100. Ditto. High handle; vertical and diagonal hands. 
 
 101. Ditto. 
 
 102. Ditto. Without handle. 
 
 103 Ditto, with two handles; rudely-shaped animals; same 
 incised ornament. 
 
 104. Aryballos, with one handle; same ware and orna- 
 
 ment. 
 
 105. Black Ware. Little pitcher; rudely-scratched orna- 
 
 ment, consisting of circles, vertical, horizontal, 
 and diagonal hues in bands. 
 
 106. Red Ware. Round short handle on rim. 
 
 107. Ditto. Like 105 in shape. 
 
 108. Ditto. High handle with knob and hole for suspend- 
 
 ing. 
 
 109. Dilto. With wide mouth. 
 
 110. Ditto. Like 105 and 107 in shape. 
 
 111. Ditto. Round, with handle. 
 
 112. Oval-Shaped Jar; high handle. 
 
 113. Round Red Bowl, decorated with zigzag lines. 
 
 114. Like 101. 
 
 115. Small Aryballos, with straight neck. 
 
 116. Like 101. 
 
 117. Small Phenician Pitcher; with bird, neck-shaped 
 
 nose. 
 
 118. Small Black Bowl, incised ornament in white, cir- 
 
 cles, and a zigzag border. 
 
 119. Small Red Jug, ornamented with zigzags and lines 
 
 in white. 
 
 120. Small Bowl, same ware and ornament. 
 12 L. Greek Lekythos, plain red ware. 
 
 122. Bowl, of red ware. 
 
 123. Ditto, painted brown. Two small flat handles. 
 
 124. Small Grayish Black Bowl. 
 
 125. Priest of Venus, with the dove in his hand. Cal- 
 
 careous stone. 
 
 126. Ditto.
 
 so 
 
 127. Statuette of a Seated Woman holding a child 
 
 upon her knees. Cybele " Kovporpo^s," Deme- 
 ter and Atys. 
 
 Traditional type under which the Greeks represented 
 the Telluric divinities as mother and nurse. 
 
 128. Like 126. 
 
 129. Like 127. 
 
 130. Phenician Player on the Tambourine of Ter- 
 
 ra Cotta. 
 
 131. Very Small, Rude Figure of T. C. Like 132, but 
 
 with arms outstretched. 
 
 132. Ditto. Rude, arms at sides. Body like a tube. See 
 
 146, 137, 138, etc., etc. 
 
 133. Telluric Divinity. Half figure. 
 
 134. Ditto, but smaller. 
 
 135. Like 133. 
 
 136. Phenician Idol, representing the great Goddess of 
 
 Cyprus. Aphrodite Astarte. 
 
 137. Phenician Worshipper. Rude. Terra Cotta. 
 
 138. Phenician Player on the Tambourine. 
 
 139. Toy of Terra Cotta. Grotesque figure. 
 
 140. Shapeless Stauette of Terra Cotta. 
 
 141. Two Figures supposed to be standing in a chariot. 
 
 Terra cotta, and very rudely modelled. 
 
 142. Phenician Toy. Horse with ajar on his back. 
 143 " " Little animal of Terra Cotta. 
 
 144. Votive Offering. Bull's head, Apis. 
 
 145. A Goddess or Priestess. Small T. C. figure, Terra 
 
 Cotta. 
 
 146. Statuette of T. C Same shape as 137 and 138. 
 
 147. Phenician Toy. 
 
 148. " " A bird of Terra Cotta. 
 
 149. Vase. Shaped like a duck; Terra Cotta. 
 
 150. Phenician Toy. Figure on horseback. 
 
 151. Vase. Shaped like a bull. (Apis.) 
 
 152. Nursing Goddess. See No. 127.
 
 51 
 
 153. Toy Animal. Coarsely painted. 
 
 154. Unknown Object in stone. 
 
 155. Mask of a Bearded Man. Colored red and black. 
 
 156. Ditto. Colored red and black. 
 
 157. Ram-shaped Vase. 
 
 158. Toy. A Terra Cotta shield. 
 
 159. Toy. A Terra Cotta bell. 
 
 160 and 161. Terra Cotta Lamps, of a very primitive 
 character. 
 
 Similar lamps are made at the present time by the 
 South Sea Islanders. 
 
 162. Toy. A Terra Cotta chariot. 
 
 163 and 164. Egyptian Osiride Figures, of vitrified earth. 
 
 165. Priest of Venus. Calcareous stone. 
 
 166. Large Head made of calcareous stone. (Egygtian 
 
 trye.) 
 
 167. Stone Statue and Detached Head, representing 
 
 a priest of Venus holding the sacred dove in his 
 hand. (Roman type.) 
 168 Stone Head of a King of Cyprus. (Asiatic type.) 
 
 169. Warrior's Head, of same stone. 
 
 170. Head. Of same stone. (Asiatic type.) 
 
 171. Terra Cotta Head. Cybele? 
 
 172. Ditto. 
 
 173. Stone Head. 
 
 174. Colossal Head. Greek type. 
 
 175. Small Stone Head. 
 176 and 177. Ditto. 
 
 178. Half Figure playing on a double pipe. Egyptian 
 
 type. 
 
 179. A priest of Venus in calcareous stone. 
 
 180. Marble Head. Greek. 
 
 181. Head of a Telluric Divinity in calcareous stone. 
 182 and 183. Small Head of a Warrior " " 
 184 and 185. Small Roman Heads. 
 
 186. Priest of Venus. Calcareous stone.
 
 52 
 
 187. Stone Head. Wears a Phrygian cap. 
 
 188. Head of Cybele or Juno. 
 
 189. Lower Half of the Statuette of a Goddess. 
 
 In Parian marble. 
 
 190. Small Stone Head. 
 
 191. Lion's Head. In marble head. (Greek.) 
 
 192. Head. (Roman type.) 
 
 193. Crowned Stone Head. 
 
 194. Small Head. (Egyptian type ) 
 
 195. Ditto. 
 
 196. Stone. Fragment of a figure. 
 197 and 19S. Small Stone Heads. 
 
 199. Like 200. 
 
 The long nose is a characteristic of the modern 
 inhabitants of Cyprus. 
 
 200. Stoxe Head of a Warrior. (Cyprian.) 
 
 201. Large Stone Head. (Asiatic type.) 
 
 202. Small Stone Head. 
 
 203. Headless Statuette of a Priest. 
 
 204. Seated Figure. 
 
 205. Animal, in calcareous stone. 
 
 206. Limestone Jar. 
 
 207 and 208. Stone Alabastrons. 
 
 209. Two Stone Platters and Cones. 
 
 210. Bronze Stand of a Candelabrum. 
 
 211. Bronze Lamp, with a gryphon-headed handle. 
 
 Small heads and fragments in Terra Cotta. Greek. 
 
 212. Statuette of Cybele, or Gaea. (Mother earth.) 
 213-224. Crowned Heads of Aphrodite, or the 
 
 Syrian Goddess. 
 
 225. Ditto. Upper half of figure. 
 
 226. Ditto. Head. 
 
 227. 8, and 9, an! 330. The Goddess of Silence, as indi- 
 
 cated by the bandage over the mouth. 
 
 Angerona, the Roman Goddess of Silence, was thus 
 represented.
 
 53 
 
 231. Female Head. 
 
 232. Statuette — upper half — like 212. 
 
 233. GAEA. Half of statuette. 
 
 234. Female Head. 
 
 235. Ditto. Wears the modius. 
 
 236. Mask. 
 
 237. Horse's Head, very fine. Style of the Parthenon 
 
 marbles. 
 
 238. Headless Statuette, of great beauty. 
 
 239. Head. 
 
 240. Acroterion ; architectural ornament placed on tem- 
 
 ple roofs. 
 
 241. Charming Head, draped like the Pudicitia of the 
 
 Vatican. 
 
 242. Small Head. 
 
 243. Ditto. Resembles Vespasian. 
 
 244. Arm and Breast in relief. Fragment. 
 
 245. Small Head. 
 
 246. Ditto. 
 
 247. 8, and 9. Small Heads. 
 
 250. Fragment, with remains of color. 
 
 251. Female Head. 
 
 252-347. Lamps of Terra Cotta. 
 
 347. One huudred and nine objects in bronze, consisting of 
 spear heads, a mirror, hatchets, armillas, mor- 
 tuary riugs, hinges, and fibulae. Two objects in 
 silver. 
 
 No. 348, A. Weights, cylinders (used by the Assyrians as 
 signet rings), a button, etc., etc. 
 
 No. 349, A. Egyptian and Pheuician amulets. 
 
 349. Fifty-one Pieces of Ancient Glass, including, — 
 
 13 Lachrymatories. 
 
 14 Glass Cups. 
 
 16 Bottles, without handles. 
 5 Bottles, with handles. 
 2 Paterae. 
 1 Flat Round Plate. 
 
 5*
 
 54 
 
 CASES B AND C: — 
 
 A collection of Grmco-Italian fictile painted vases, found by 
 Alessandro Castellani in Etruscan and Campanian Tombs. 
 . Loaned by T. Q. Appleton, Esq. 
 
 PRE-HISTORIC. 
 
 359, 360, and 361. Three Small Vases of black and brown- 
 ish earth from the pre-historic Lacustrian habi- 
 tations of Southern Italy. 
 
 ASIATIC. FIRST EPOCH, 700-500 B. C. 
 
 362. Artballos, of yellow unglazed earth, decorated with 
 
 a fantastic tiger-headed bird, surrounded by open 
 and closed lotus flowers. 
 
 These ornaments have a great affinity of style with 
 those upon Assyrian monuments. They are painted in 
 a single color of a burnt reddish yellow. Found at 
 Cuma. 
 
 363. Amphora. Painted with two zones of animals, birds, 
 
 and open lotus flowers. Found at Capua. 
 
 364. (Enociioe. Zone of animals and open flowers painted 
 in black and reddish brown. Found at Capua. 
 
 365. Kalpis. 
 
 Four female figures and two sphinxes are painted 
 about the neck. The body of the vase is decorated with 
 two kinds of fantastic animals of an Egyptian character, 
 and with many open flowers. Found at Nola. 
 
 366. Urn, with two handles. Yellow clay, decorated with 
 
 black and red lines. Found at Canosa, in Apalia. 
 
 367. Urn, with two closed and two open handles of fantastic 
 
 forms, decorated with red and brown geometri- 
 cally disposed lines. Found at Canosa.
 
 55 
 
 368. Small Count, of strange shape, with geometrical dec- 
 
 orations in red and brown. Found at Canosa. 
 
 369. Urn, double, with a single handle. Ionic ornaments in 
 
 brown and red. Found at Canosa. 
 
 SECOND EPOCH, 500-300 B. C. 
 
 370. Amphora, of yellowish clay, with figures of hunters 
 
 and liturgical scenes engraved with the point 
 (sgraffiti) and painted in a yellow, darker than 
 the background. Palmettos and lotus flowers 
 about tbe neck. Found at Cervetri. 
 
 371. Bacchic Amphora. Black and white figures on a 
 
 red ground. Bacchus and Ariadne between two 
 groups of Moenads. At the back, two persons in 
 a quadriga, followed by an old man bearing a 
 sceptre. A Hoplite stands near the horses. 
 Found at Capua. 
 
 371, B. Bacchic Amphora. Black and white figures on a 
 
 red ground. Hercules fighting with the Nemean 
 Lion, or the Lion of Cythseron, in Which latter 
 case the figure carrying a sceptre may be Am- 
 phitryon or Thespius. At the back are Moenads 
 and a priest of Bacchus. Bought from the Cav. 
 Visconti, in 1836. 
 
 372. Bacchic Amphora. Black figures adorned with white 
 
 and violet tones. Moenad mounted upon the 
 Dionysiac Bull. Mercury walks before. The 
 subject at the back is almost identical. Found 
 at Capua. 
 
 GR/ECO-ITALIAN. THIRD EPOCH, 300-200 B. C. 
 
 373. Amphora from Nola. Red figures on a black back- 
 ground. 
 
 Two persons, a man and a woman, conversing to 
 getber. The man leans on a stick. Between tbeni the
 
 56 
 
 words KAA02 AinN, are inscribed in -white. At the back 
 of the vase is a young man holding two eggs in his 
 right hand. Found at Nola. 
 
 374. Kalpis. Magnificent vase. 
 
 A seated woman (Penelope?) is occupied in taking 
 jewels from a casket which she holds upon her knees. 
 Oue of her attendants, standing near her, presents a 
 shut casket. A second, robed in an ample peplum, 
 stands behind her mistress. Found at Nola. 
 
 375. Amphora Pelice. Alcibiades walking in the streets 
 
 of Athens, followed by a slave leading a large 
 dog, whose tail is to be cut off by his mister's 
 order. The youth who appears to be making fun 
 of the deformed slave, probably symbolizes the 
 Athenian people. Plutarch. Alcibiades. X. 
 Found at Capua. 
 
 376. Amphora. A Satyr carrying Silenus on his shoulders, 
 
 followed by another Satyr, who seizes him by the 
 tail. Inscription, xapmiaes kaao2. At the back 
 a Satyr. Found at Nola. 
 
 377. Kylix. Inside, a young man lying on a couch holding 
 
 a Kantharos (the cup of Bacchus) in his left 
 hand, and raising a Kylix in his right. He is 
 playing a game of Sicilian orgiu called k6tto.6oS 
 In this game the player tried to throw wine from 
 one cup to another without spilling a drop, while 
 at the same time he pronounced the name of his 
 mistress. Outside, a person holding a lyre, who 
 stands between two draped figures. Same sub- 
 ject at the back. Letters illegible. Found at 
 Capua. 
 
 378. Skyphos Two Satyrs and four Moenads painted in 
 
 silhouette .; black, on a red ground. Imitation 
 of the style of the second Epoch. Found at 
 Capua.
 
 57 
 
 379. KANTHAROS. Decorated with a wreath of laurel. Found 
 
 at Capua. 
 
 380. Oxybaimion. A woman playing on a pipe, hetween 
 
 two men crowned, one of whom' seems about to 
 dance. At the hack are three young men (Ephe- 
 bi) draped. The exterior border is decorated 
 with a wreath of laurels. Found at Ruvo, in 
 Apulia. 
 3S1. CEnochoe. Black, with a very lustrous glaze. Found 
 at Nola. 
 
 382. Small (Enochoe. Cannellated, and covered with a 
 
 very beautiful black glaze. Found at Cuma. 
 
 383. Amphora Pelice. Imitation of the style of the sec- 
 
 ond epoch. Subject: Pasiphae between two 
 bulls. Same subject repeated at back. 
 
 FOURTH EPOCH. VASES FROM APULIA, 200-00 B. C. 
 
 384. (Enochoe. High handle, decorated with a mask- 
 
 woman's head and flowers. Red on black, with 
 white and yellow tones. 
 
 385. Aryballos. Black and cannellated. Head of a wo- 
 
 man. Black and white ornaments. Found at 
 Gnatia. 
 
 386. Amphora Pelice. Black. A winged and seated 
 
 genius is painted upon it. Found at Gnatia. 
 
 387. Kantharos, with knotted handles. Black and cannel- 
 
 lated. Decorated with garland and yellow pal- 
 mettos. Found at Gnatia. 
 38S. a^NDCFiOE. Very elegant. Black, with white and yel- 
 low ornaments. Found at Gnatia. 
 
 DECADENCE. 
 389. Aryballos. 
 
 Venus seated, caressing a dove. Behind her stands 
 a young man holding a strigil. A young woman offers 
 him a basket of fruit. Two Mcenads and a Satyr are 
 painted on the border. Found at Ruvo.
 
 58 
 
 390. Kantharos. Bacchus seated, holding the Thyrsus. 
 
 At the back a running Moenad. Found at 
 Canosa. 
 
 391. Small Urn, with a cover. A winged hermaphrodite 
 
 genius seated, holding a casket in his right hand. 
 At the back is a running Moenad. Found at 
 Ruvo. 
 
 392. Very Large Patera with handles. At the bottom 
 
 of the cup is a seated woman holding a cup in 
 her left hand. With her ri^ht she takes a casket 
 from the ground, and turns to a companion who 
 offers her an Alabastron. A shepherd with a 
 torch and a crook. The subject is connected 
 with the Eleusinian mysteries. Found at Ruvo. 
 
 392, A. Large Patera, with handle. At bottom of cup 
 
 in a medallion is a woman's head, seen in pro- 
 file. Her ear-rings, diadem, and necklace are 
 painted yellowish white. A wreath of dry leaves 
 and berries surmounts the medallion. Orna- 
 ments on handles are white or greenish black. 
 At back, a seated hermaphrodite genius holding 
 a casket, also a draped woman with a mirror and 
 a wreath. Subjects divided by large palmetto 
 leaves. Red on black. Found at (?) 
 
 393. Large Krater. Dionysius in royal l-obes, carrying 
 
 the Thyrsas aud the Kantharos. He is preceded 
 by a Satyr holding a lighted torch, and followed 
 by a drunken Moenad and a Satyr. At the back 
 three Ephebes wrapped in their peplums. Found 
 at Ruvo. 
 
 391. Large Amphora, with columnar handles. A woman 
 offers a basket of fruit and wine to two young 
 heroes who are seated (the Dioscuri?). The top 
 of the vase is decorated with garlands of ivy, 
 and at the back are three Ephebes wrapped in 
 their mantles. Found at Canosa. 
 
 395. Amphora. Subject, Bacchus and a Moenad. At the
 
 59 
 
 back arc two Ephebes. Tbe top is decorated 
 
 with garlands of ivy. Found at (?) 
 39G. Lamp-Shaped Jar of black ware. On the top is a 
 
 genius riding on a panther. Subject in relief. 
 
 Found at (?) 
 397. Small Kantiieros. Imitation style of the second 
 
 Epoch. Found at (?) 
 
 CASES D AND E. 
 
 414. Skypiios. Black with red Hues around the upper part 
 
 and ornaments at base. 
 
 415. Kantharos. Apulian. (Like No. 390 in the Appleton 
 
 collection found at Canosa.) On one side Mer- 
 cury is represented, on the other Minerva. 
 
 416. Skyphos. (Like 378 of Appleton collection found at 
 
 Capua.) 
 
 417. Small Apuliaist Amphora. Black ornaments on a 
 
 red ground. 
 
 418. Do. Black figures and ornaments on a yellowish 
 
 ground. A quadriga. 
 
 419. Do. 
 
 420. Prochoos. Apulian. White, yellow, and red orna- 
 
 ments on a black ground. 
 
 421. Cup, with two handles. Decorated with laurel leaves. 
 
 Red on black. 
 
 422. A Round Jar, of brown Terra Cotta, with a cover. 
 
 The ornaments upon it are rudely scratched with 
 a sharp point.
 
 60 
 
 423. Kylix. Black. 
 
 424. Amphora. Asiatic. The Assyrian ornaments are 
 
 painted in pale red on yellow clay. 
 
 425. Apulian Amphora, or Vase a Tremba. The flow- 
 
 ers and ornaments are painted in red, picked out 
 with white on a black ground. A seated woman 
 holds a mirror in her left hand into which a 
 flying Genius looks. 
 
 426. Small Fictile Vase of Black Ware, with a gilded 
 
 subject in relief, representing a man holding a 
 double-headed axe, and a tiger. 
 
 427. Small Amphora. Second period. Figures black on 
 
 a red ground. Bacchic subject. 
 
 428. Small Lekythos. Subject, Bacchus in a chariot, pre- 
 
 ceded by a Fawn. Figures Black on a red 
 ground. Second style. 
 
 429. Small Lekythos. Subject, a Fawn and a Moenad. 
 
 430. Small Jar of elegant form, with knotted handle and 
 
 ribbed body, once gilded. 
 431 and 432. Two Kraters. Apulian. Red figures on a 
 
 black ground. Laurel wreaths under the rim. 
 438. Large CExocnoE. Red figures on a black ground. 
 
 Bacchus with Thyrsus and Kantharos standing 
 
 before a goddess (Athena) and a woman dancing. 
 496. Archaic Greek GSnochoe. Black. Two warriors 
 
 fighting are painted in black upon a yellowish 
 white background upon the front, Case F. 
 
 539. Eight Silver Medals; 13 Roman do.; 1 Daric and 
 
 two modern Fersiau coins; 519 bronze and cop- 
 per coins, Case F. 
 
 540. One Gold Alexander. 
 
 GERMAN GLASS. 
 
 493. A Box containing four pieces of finely engraved glass. 
 German (?) Case G.
 
 61 
 
 467. Prize Goblet, of glass ; given at a German shooting 
 
 match, inscribed " Ordens schiessen zu Dresden, 
 dm 3, A ug. 1763." 
 
 468. Tall Drinking Glass, with ribbed circles. 
 
 469. Do., with coat of arms in color. Inscription: — 
 
 " Wer nicht trifftein pass, 
 Der trinht des game glass, 
 TJnd wer es dan zerbricht, der sei bericht, 
 Das er ess mich einer andern schlicht.' 1 ' 1 
 
 Deinen TischTer gesessen zu gehorig in Prnau. 
 Anno. 1726." 
 
 470. German Goblet. Engraved with coat of arms. On 
 
 one side an infant Bacchus sitting upon a wine 
 cask. Inscription: — 
 
 " JSTim helm und schild zum unter pfand, 
 Der wahren treu ans meiner hand, 
 TJnd sei bei alien Bacchus festen, 
 Des H. M. L. S: eingdenck am besten." 
 
 MAJOLICA. 
 
 402. Majolica Plate. Subject, a woman with a drawn 
 
 sword, about to slay a sleeping man. In the sky 
 a deity in a chariot drawn by Griffins. No mark. 
 Attributed to Francisco Xanto. 
 
 403. Majolica Marriage Plate, with portrait and in- 
 
 scription. Iridescent glaze. No mark. 
 
 404. Do. Coat of arms. A crouching sphinx in the centre, 
 
 supporting a shield with her paw. Rich border. 
 Iridescent glaze. 
 
 405. Do. The triumph of Bacchus. 
 
 Attributed to Orazia Fontana, painter to Guidobaldo, 
 duke of Urbino. (1540-1560. ) 
 
 406. Hispano-Moorish Ware. Iridescent glaze. 
 
 6
 
 62 
 
 407. Majoltca Bowl. Yellow ground, and lines, with 
 
 green ornaments. 
 
 408. Majolica Plate. Pyramus and Thisbe. Signed, F. 
 
 X. AR., and dated 1532. Francisco Xanto Avelli 
 de Rovigo. Made at Urbino. 
 
 Two lustre dishes by this artist brought £144 at the 
 recent sale of works of art belonging to Prince Napo- 
 leon, at Paris. 
 
 409 and 410. Majolica Bottles (Gourdes), with richly 
 ornamented handles and stoppers. Orazio Fon- 
 tana (1540). 
 
 A wood-cut of one of these bottles is given in Burty's 
 "chefs d'oeuvre des arts industriels," p. 84. £125 was 
 paid for a majolica bowl by this artist at Prince Napo- 
 leon's sale. 
 
 434 and 435. A Pair of Majolica Spezieria (apothecary) 
 jars. Dated 1620. 
 
 436. Majolica Plate, with arabesque border. In centre 
 
 a stag hunt. No mark. Italian. 
 
 437. Majolica Spezieria Jar. 
 466. A Majolica Bowl. 
 
 466. Majolica Spezieria Jar, with spout and cover. 
 Four plates of Alnizzi ware (on screen). One 
 plague of old Delft ware, Case G. 
 
 471. Ma jolica Plate. Subject: Perseus and Andromeda. 
 
 Medallions with ' k putti," in the border (on 
 screen). 
 
 472. Majolica Bowl (do.). 
 
 473. Do. Flat Plate. The salamander repeated in the 
 
 arabesque border was the favorite emblem of 
 Francis I of France (do.). 
 
 465, A. Majolica Plate (do.). 
 
 410, A. Dish. Bernard Palissy; born 1510, died 1580. (Im- 
 itation; on screen.)
 
 63 
 
 03JECTS IN WOOD. 
 
 411. Two Negro Boys; colored and gilded. Venetian. 
 
 411, A. Statuette of King Arthur of England. 
 Copied from the statue belonging to the tomb of 
 Maximilian at Innspruck, by a Tyrolese wood- 
 carver (in cabinet with glass doors). 
 
 411, B. An Italian Chest, or Cassone, of carved oak, 
 16th century. 
 
 Such chests, often decorated with paintings hy emi- 
 nent masters, were used for the preservation of wear- 
 ing apparel. 
 
 547. An Old Friesland Sled. The colored Bas-relief 
 represents Solomon and the queen of Sheba. 
 
 499. Box-Wood Cross. Open-work carving. Byzantine. 
 
 (Case F.) 
 
 500. Persian MiratoR Case (do.). Objects in ivory. 
 
 498. Madonna and Ciiild. Ivory statuette. Beginning 
 of XlVth century. School of Giovanni Pisano. 
 
 517. An Eraser. XVth century. Italian. In illuminated 
 MSS.; a scribe is often represented as using the 
 pointed ivory handle of such an instrument, to 
 hold the page down firmly with his left hand, 
 while writing or painting. The metal blade 
 served to erase any blot or verbal error, if such 
 occurred. 
 
 TAPESTRIES. 
 
 350. Gobelin Tapestry of the XVIIth century, repre- 
 senting France crowned by Victory, and at- 
 tended by Minerva. The female figure to the 
 left represents a conquered kingdom. The two 
 to the left are prisoners. Signed I. Van Schor- 
 rel. Presented by Miss Deacon. 
 
 The famous manufactory of the Gohelin was founded 
 at Paris towards the end of the XVth century hy Jean 
 Gohelin, a native of Rheims. In 1662, Louis XIV and
 
 64 
 
 his minister, Colbert, united in this establishment all 
 the trades which were under the royal protection, such 
 as potters, weavers, etc. Charles le Brun, the painter 
 (born lfil9, died 1(590), was appointed its director in 16G3 
 He furnished designs for many fine pieces of tapestry, 
 which were surrounded by rich frame-work of fruits and 
 flowers designed by Baptiste Monnoyer. Temporarily 
 placed in the Egyptian room. 
 
 548, 549, 560. Three Splendid Specimens of Gobelin 
 Tapestry, formerly in the chateau at Xeuilly. 
 (Two are hung in the second room, the third is 
 in the picture gallery of the Athenaeum.) 
 
 CASE F. 
 
 OBJECTS IN BRONZE. 
 
 502. Front of a Bronze Casket. On either side ot the 
 central medallion, which contains a head, is a 
 Centaur hearing a woman on his back. Italian. 
 XVth century. 
 
 504. Bronze Plaque. Half figure of a woman. Modern 
 
 imitation of a XlVth centuiw Italian work. 
 
 505. Medal. Portrait of Sigismuud Pandolfo Malatesta, 
 
 Lord of Rimini. Inscription around the head, 
 Sig. Panel, tie Malatestis pro Ecclesiae Capitaneus. 
 Reverse. A castle. Inscribed, Castellum Sis- 
 monclum Ariminense. MCCCCXLVI. 
 
 506. Do. Obverse, with profile head and this inscription: 
 
 Sig. Panel Malatestis pro Ecclesiae Capitaneus 
 Genealis. Reverse. Female figure holding a 
 broken column, seated upon two elephants. 
 MCCC. 
 
 507. Do. Profile head of Isotta da Rimini. Isotte Arim- 
 
 inensi forma et virtute Italiae clecori opus. Mat- 
 thei cle Pastis, MCCCCXLVI.
 
 65 
 
 508. Do. Profile head of Lionello d'Este. Reverse. Triple 
 
 face and emblems. Opus Pisani pictoris. 
 
 509. Do. Portrait of the Greek Emperor John Palseologus, 
 
 who attended the council held hy Pope Eugenius 
 IV, at Florence, A. D. 1439. Reverse. Two men 
 on horseback. Opus Pisani pictoris. 
 
 PICTURES. 
 
 353 and 354. L'Aller et le Rrteur du Makche — Fran- 
 cois Boucher. Born 1704, died 1770. Presented 
 by the heirs of the late Peter Parker, Esq. 
 
 355. Elijah Fed by the Ravens. — Allston. Born 1779, 
 
 died 1843. Presented by Mrs. S. Hooper and 
 Miss Hooper. 
 
 356. Portrait of John Harris, Esq. By W. Allston. 
 
 Painted when they were classmates at Cam- 
 bridge. Presented by Miss Harris. 
 
 536. A Dutch Fair (Kermesse). Attributed to Paul Bril, 
 
 born in 1554, died 1626. 
 
 537. The Ferry. By Alexandre Keerinckx or Kerrinckx, 
 
 born at Utrecht in 1590, died in 1646. Presented 
 
 by the children of the late I. P. Blanchard, 
 Esq. 
 
 538. Cartoon. Christ the hope and support of the af- 
 
 flicted. Paul Delaroche. See Isaiah, ch. 41, 
 v. 13. " For I, the Lord, thy God, will hold thy 
 right hand, saying unto thee, Fear not; I will 
 help thee." 
 
 The first drawing of this composition was made at 
 Eisenach, in 1847, and given by the artist to the 
 Duchess of Orleans. In 1851, Delaroche painted a 
 sketch from a tracing of the original drawing (6x8 
 inches) which was purchased at the sale of his works 
 at Paris in 1857 for $1,550, and is now in the Belmont 
 Gallery at New York. At the time of his death, De- 
 laroche had commenced to put the composition upon 
 canvas, figures life size. 
 6*
 
 66 
 
 STATUES. 
 
 541. The First Inspirations of Columbus. By Giulio 
 di Monteverde. Presented by A. P. Chamber- 
 lame, Esq. (temporarily placed in the vestibule 
 of the Athenaeum). 
 
 541. Hebe and Ganymede. By Thomas Crawford. Pre- 
 sented by C. C. Perkins (temporarily placed in 
 the reading room of the Athenoeum). 
 
 CASTS. 
 
 543. The Eleusis Bas Belief. Ceres, Proserpine, and 
 Triptolemus. Presented by C. C. Perkins (tem- 
 porarily placed in the first room). 
 
 520. St. George and The Dragon. From the Pedestal 
 
 of the statue of St. George at W. San Michale, 
 Florence. Douatello. 
 
 521. Madonna and Child. Mino da Fiesole. 
 
 522. The Annunciation, from the Tabernacle at Or San 
 
 Michele. Andrea Orcagna. 
 
 523. The Marriage of the Virgin. From ditto. By 
 
 ditto. 
 
 524. Bas Relief, from a pulpit at Prato. Donatello. 
 
 525. Perseus and Andromeda. From the Pedestal of 
 
 the statue of Perseus at Florence. Benvenuto 
 Cellini. 
 
 526. Bas Belief. From the door of the Sacristy at Flor- 
 
 ence. Luca Delia Robbia. 
 
 527. Trial Plate made in competition with Brunelleschi. 
 
 The sacrifice of Isaac. Lorenzo Ghiberti. 
 
 528. Bas Relief from the frieze of a tomb in the church 
 
 of Santa Trinita at Florence. Giuliano da San- 
 gallo.
 
 67 
 
 529. Bas RELIEF, representing the miraculous restoration of 
 
 a child to life, from the Cassa di San Zenobio in 
 the Duomo at Florence. (3 pieces.) Lorenzo 
 Ghiberti. 
 
 530. Singing Boys. Bas relief made for an organ balus- 
 
 trade in the Duomo at Florence. Luca della 
 Robbia. 
 534. Terra Cotta. Subject, St. John. XVIth century. 
 
 ROBBIA WARE. 
 
 518. Madonna and Child. Luca della Robbia. Bought 
 
 from the Campana collection at Rome. 
 
 519. The Virgin Adoring the Infant Jesus. St. Jo- 
 
 seph leans upon a staff in contemplation. An- 
 drea della Robbia. 
 357. Adoring Madonna. Modern imitation of Della 
 Robbia ware. Presented by Rev. Mr. Wash- 
 burne. 
 
 ANCIENT GLASS. 
 
 349. Fifty-one specimens found at Cyprus. Case D. 
 412 and 413. Two small Greek Amphora, of opaque col- 
 ored glass. 
 
 544. Case F contains several hundred fragments of antique 
 
 colored glass brought from Rome. (Loaned by 
 Mr. Gaffield.) 
 
 545. A volume of beautifully colored drawings of antique 
 
 glass in the collection of M. Charvet at Paris. 
 (Case G.) 
 
 VENETIAN GLASS. 
 
 546. A bowl bought at Prince Napoleon's sale, with orna- 
 
 ments gilded, colored, and in relief. 
 475 to 492. 18 pieces of old Venetian glass. Case G.
 
 68 
 
 494. An Old Venetian Drinking Glass. Do. 
 
 See other specimens in large cabinet with glass doors. 
 
 510. Do. Portrait of Carolus Grains, "miles et comes 
 
 Bononiensis." Opus Sperandei. Reverse. Two 
 Knights, one on horseback, the other kneeling 
 before a crucifix. 
 
 511. Do. Portrait of the Turkish Sultan — 1481. Reverse. 
 
 Tbe Sultan on horseback. 
 
 512. Do. Johanna Albizza, uxor Laurentii de Tornabonis. 
 
 Reverse. A seated female figure. 
 
 513. Do. Antonio's Marescotto of Ferrara. In- 
 
 scription: " Coepit facere et postea (Zocere." Re- 
 verse. Christian monogram in a flaming circle. 
 
 314. Do. Portrait of F. Mignanelli. Bolognese 
 Bishop. Reverse. A globe floating in the water 
 with a serpent climbing upon it. Motto: Lach- 
 rimarum fluctus et amoris. 
 
 21G. A Bronze Lamp. Early Christian. 
 
 ARMOR. 
 
 411, C. Twenty-eight Pieces of Oriental Armor. 
 The damascene work (steel inlaid with precious 
 metals) upon many of these exquisite examples 
 of Eastern skill is of the utmost beauty. Also a 
 Toledo rapier with inlaid hilt, and" an Italian 
 Crossbow (hanging on the wall). 
 
 CABINETS. 
 
 400. Large Boule Cabinet. Seventeenth century. Ital- 
 ian. 
 
 At the close of the sixteenth century carved furni- 
 ture gave place to furniture decorated with inlays of 
 different colored woods (Marquetrie, Intarsia), marhles 
 and other stones; or metal on wood or tortoise shell, 
 called Boule or Buhl after Boule, who brought this 
 sort of work to perfection in France under Louis XIV.
 
 69 
 
 401. Ebony Cabinet inlaid with colored marbles. Six 
 
 teeiith century. Italian. • 
 561. Smalt, Boule Cabinet, decorated with ornaments in 
 
 brass. Italian. 
 
 MISCELLANEOUS OBJECTS. 
 
 535. Spoon, with mother of pearl bowl, and bundle of rock 
 crystal. XVIIIth century (CaseG). 
 
 503. Small Silver Plaque from the outside of a missal. 
 Saint praying. Repousse work. Case F. 
 
 501. Piece of Stucco Ornament from tbe Albambra. 
 Case F. 
 
 PORCELAIN, JAPANESE AND CHINESE. 
 
 351. Two Japanese Porcelain Platters. Given by 
 
 A. D. Weld French, Esq. 
 
 352. Tw r o Japanese Bowls. Given by A. D. Weld 
 
 French, Esq. 
 
 433. Carved Cabinet in dark wood. Italian, filled with a 
 collection of Cbinese, Japanese, and Sevres por- 
 celain, and many pieces of Venice glass. 
 
 439-465. Twenty-five Plates of Japanese and Chi- 
 nese Porcelain arranged on a screen. 
 
 CASE G. 
 
 MANUSCRIPTS. 
 
 531 and 532. Tw r o Arabic MSS. portions of tbe Koran. 
 
 Purchased at Brousa in 1829. 
 495. Choir Book of the XIV Century. Italian.
 
 70 
 
 532, 533 and 534. Three Small Illuminated Books. 
 Italian. XVth and XVIth centuries. 
 
 DRESDEN CHINA. 
 
 562. A Group. Presented by Messrs. Sypher& Co. of New 
 York. 
 
 PHOTOGRAPHS. 
 
 Ten Volumes of Photographs of Roman Ruins, Stat- 
 ues, Mosaics, Frescos, etc., etc., presented by 
 Geo. B. Emerson, Esq.