iJn-.:nli-«i n n, 
 
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 UNIVERSITY OF CALIFORNIA, i:^ 
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— ^ ^ HJ 
 
 A COMPLETE HANDBOOK 
 
 TO THE 
 
 NATIONAL MUSEUM 
 
 NAPLES, 
 
 THE :n"ew aeeangement. 
 
 WITH TLAXS AND HISTORICAL SKETCH OF THE BUILDING, AN1» 
 
 AN APPENDIX RELATIVE TO POMPEII AND 
 
 HERCULANEUM. 
 
 THE ORIGINAL WORK BY 
 
 DOMENICO MONACO, 
 
 CURATOR OF THE MUSEUM; 
 THE ENGLISH EDITION BY 
 
 E. N^EVILLE EOLFE, ESQ., B.A., 
 > EDITION, 
 
 LONDON: 
 PKINTED BY WILLIAM CLOWES AND SONS, Limited, 
 
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A COMPLETE HANDBOOK 
 
 TO THE 
 
 NATIONAL MUSEUM 
 
 NAPLES. 
 
A COMPLETE HANDBOOK 
 
 TO THE 
 
 NATIONAL MUSEUM 
 
 IN 
 
 NAPLES, 
 
 ▲CCOBDINa TO 
 
 THE NEW AEEANGEMENT. 
 
 WITH PLANS AND HISTORIGA*~SKfi¥eH^OF THE BUILDING. AND 
 AN APPENDIX RELATIVE TO Pp5H?EII AND 
 HEE^U^^EUM.V 
 
 D ]S?R^Wa^3^6lT A C 0, 
 
 CCBATOB OF THE MUSEUM; 
 THE ENGLISH EDITION BY 
 
 E. NEVILLE EOLFE, ESQ., B.A., 
 
 HEACHAM HALL, ENGLAND. 
 
 PRINTED BY WILLIAM CLOWES AND SONS, Limited, 
 
 STAMFORD STREET AND CHARING CROSS. 
 
 1883. 
 
 iAU rights of B^roituiion and Trarulation rtserveiL'^ 
 
ni^o 
 
 
 "I XT rn? "VT rn a \ 
 
 CONTENTS 
 
 PAGE 
 
 Preface v 
 
 Historical Sketch vii 
 
 Regulations ix 
 
 Notice . . . x 
 
 Index . . . xi 
 
 Description of Collections 1 
 
 Appendix 201 
 
 DIAGRAMS. 
 
 Great Hall of the Library 1 
 
 The Museum-Ground Floor f * * ' To face page xii 
 
PREFACE. 
 
 Having been much encouraged by the success that has 
 attended the first two editions of this Handbook, I have 
 decided, on account especially of the re-arrangement of the 
 Museum and the re-numbering of the collections, to bring 
 out a third edition, which should give more ample assistance 
 to the student without being too scientific for the use of 
 the tourist. In this work I have been cordially assisted 
 by Mr. Neville Kolfe, an English gentleman residing here, 
 who, for the benefit of his fellow-countrymen, has kindly 
 assisted me for several months, and whose varied reading 
 and indefatigable perseverance nave added very materially 
 to the value of the Handbook. 
 
 DoMENico Monaco. 
 Naples. 
 
 It has been with great pleasure that I have assisted 
 Mr. Monaco in bringing out this new edition of his Hand- 
 book to the Naples Museum. 
 
 His intimate knowledge of the specimens, and his 
 various works upon the subject, give him an experience 
 which enables him to speak with authority. 
 
 Having had a large experience in practical sight-seeing, 
 I am well aware how diificnlt it is to produce a vade-mecum 
 which shall be complete without being prolix, and com- 
 prehensive without being tedious. The visitor wants to 
 know, not so much what is in a museum, as what he ought 
 
VI PREFACE. 
 
 to see of its contents, and the difficulty of selection has been 
 very great. The specimens selected for description are the 
 most celebrated in each department, and the descriptions 
 have been carefully written on the sjpot, and verified by a 
 reference to the best authorities. 
 
 It is impossible to make a handbook interesting to the 
 general reader, but I am not without hope that much of 
 the general information contained in these pages may be 
 of interest to visitors before their visit to the Museum as 
 well as afterwards. 
 
 The principal authorities I have drawn from are Dr. 
 Smith's well-known dictionaries, and the works of Fiorelli, 
 De Petra, Pistolesi, Winckelmann, Birch, Westropp, and 
 other standard books, most of which may be consulted on 
 application to the Librarian at the Museum. 
 
 I am also much indebted to the Eev. J. C. Fletcher (an 
 American gentleman who is preparing a work on Pompeii), 
 who has most kindly placed a great deal of new and 
 valuable information at my disposal. 
 
 I have inserted references to the Bible and to the 
 Classics where the specimens are illustrated by them, but 
 want of space forbade my setting out the quotations at 
 length. 
 
 In conclusion, I venture to hope that the careful work 
 of several months may be useful to the vast English- 
 speaking community who visit these magnificent collec- 
 tions, and to them I respectfully dedicate it. 
 
 Eustace Neville Kolfe, B.A. 
 
 Heacham Hall, England. 
 
HISTORICAL SKETCH. 
 
 The building which is now known as the National 
 Museum of Naples was erected, by order of the Viceroy 
 Duke d'Ossuna, by Chevalier Fontana. It was originally 
 intended for a stable, and was begun in 1586. The water 
 supply proving insufficient, the building was left in an 
 unfinished condition until 1610. 
 
 The Viceroy Pietro de Castro, Count of Lemos, then 
 assigned it to the University, adapted it to this purpose, 
 and formally inaugurated it on the 14th of June, 1616, 
 after which time it was known as the Begi Studii. 
 
 After the earthquake of 1688, it was used by the Law 
 Courts, and during the revolution of 1701 it was turned 
 into a barrack. 
 
 In 1767 it was again used for educational purposes. 
 
 In 1790, King Ferdinand IV., a Bourbon, desiring to 
 transform it into an Archasological Museum, commissioned 
 the architects Fuga and Schiantarelli to build the upper 
 story and the principal staircase, a work which was com- 
 pleted by the architects Maresca and Bonucci. It was 
 then they transported to it all the specimens found in the 
 excavations at Pompeii, Herculaneum, and Stabia, as well 
 as antiquities from the Museum at Capodimonte, which 
 had been inherited from the Farnese ,family by Elizabeth, 
 second wife of Philip V. of Spain, the last representative 
 of the Farnese family and mother of Charles III. de 
 Bourbon, 
 
VI 11 HISTOEICAL SKETCH. 
 
 The Bourbons of Naples enriched this magnificent 
 store of antiquities by purchases, and by the addition of 
 such collections as those of Noia, Albani, Vivenzio, Arditi, 
 Poli, &c. They also declared the Museum to be their 
 private property, independent of the Crown, and gave it 
 the name of the Beal Museo Borhonico. 
 
 General Garibaldi, when Dictator in 1860, proclaimed 
 the Museum and the territory devoted to excavation to 
 be the property of the nation, and increased the annual 
 subvention in order that the works at Pompeii might be 
 more actively prosecuted. 
 
 Lastly, Victor Emmanuel II. re-organized the National 
 Museum, and included in it the Cumeean Collection of 
 the Count of Syracuse, presented by Prince Carignano of 
 Savoy, the Santangelo Collection, the Palatina engravings, 
 the tapestries bequeathed by the Marquis Del Yasto, 
 together with the medals and dies of the Neapolitan 
 Royal Mint. 
 
 These incomparable collections of marbles, bronzes, 
 antique paintings, and articles of gold and silver, are now 
 all exhibited as classified by the learned Senator, Giuseppe 
 Fiorelli, head of the royal commission for arranging and 
 superintending all the excavations of antiquities in Italy. 
 This gentleman, whose reputation as an antiquary is 
 European, has by his good taste, his great learning, and 
 his devotion to the fine arts, raised this Museum to the 
 highest place among archaeological collections. 
 
 The savant^ the artist, the antiquary, even the 
 casual visitor, may derive from an inspection of these 
 vast treasures, a clear idea of the manners and customs 
 of the ancients, as well as of the high civilization and 
 luxury to which they had attained. 
 
( 'X ) 
 
 EEGULATIONS. 
 
 The MuseTim is open to the public from 10 a.m. to 
 4 P.M. daily, from November 1st to April SOtli, and from 
 9 A.M. to 3 P.M. the rest of the year. 
 
 Entrance, 1 franc; children half-price. Free on 
 Sundays from 10 to 1. 
 
 THE MUSEUM IS CLOSED ON THE FOLLOWING 
 DAYS :— 
 
 January 1st, New Year's Day. 
 
 January 6th, the Epiphany. 
 
 March 14th, King's birthday. 
 
 Easter Day. 
 
 Ascension Day. 
 
 The Festival of Corpus Christ i. 
 
 The first Sunday in June (national statute holiday). 
 
 June 29th, Feast of SS. Peter and Paul. 
 
 August 15th, the Assumption. 
 
 September 8th, the Nativity of the Virgin. 
 
 September 19, Feast of St. Januarius, patron of Naples. 
 
 November 1st, All Saints' Day. 
 
 November 20th, Queen's birthday. 
 
 December 8th, Immaculate Conception. 
 
 December 25th, Christmas Day. 
 
( X ) 
 
 NOTICE. 
 
 The following abbreviations are occasionally adopted : — 
 
 F. Farnese Collection. 
 H. Herculaneum. 
 P. Pompeii. 
 
 And in the account of the picture galleries — 
 
 C. for canvas. 
 P. for panel. 
 
 Where a Latin word is given in italics, the reader is 
 referred to Dr. Smith's ' Dictionary of Antiquities.' 
 
 Specimens marked with an asterisk (*) are illustrated in 
 Mr. Monaco's large work entitled ' The Monuments of 
 the National Museum in Naples,' price 35 francs. See 
 advertisement on back of cover. 
 
 Other specially remarkable specimens are marked with 
 a dagger (f). 
 
 The numbers referred to are the white ones with blue 
 edges. They are not always in arithmetical sequence, 
 because new specimens are constantly being found and 
 put with others of the same class, with a higher number ; 
 but by attention to the book, visitors will experience 
 little difficulty in identifying the specimens. 
 
( xi ) 
 
 INDEX. 
 
 The building consists of Ground-floor with basement, 
 Entresol, and Upper Floor, and is divided into two wings 
 by the Great Hall below, and the Library above. 
 
 The Ground-floor contains — 
 1. The Great Hall in the centre 
 
 PAGK 
 
 1 
 
 Ground-floor, right wing. 
 
 2. Mural Frescoes from Pompeii and Herculaneum 
 
 3. The Collection of Mosaics ...... 
 
 4. The Gallery of Inscriptions, with the Famese Bull and 
 
 Hercules ........ 
 
 5. The Basement, which contains the Egyptian Collection and 
 
 the Christian Inscriptions ..... 
 
 6. A Corridor, containing Fragments of Mural Paintings 
 
 Ground-floor, left wing. 
 
 7. The Marble Masterpieces 
 
 8. The Portico of the Emperors 
 
 9. The Portico of the Balbi . 
 
 10. Other Statues and Bas-reliefs 
 
 11. The large Bronzes 
 
 1 
 
 18 
 
 22 
 
 27 
 33 
 
 35 
 40 
 45 
 50 
 66 
 
 The Entresol contains- 
 Right Wing. 
 12. Glass and Terra-cotta from Pompeii 
 
 Left Wing. 
 
 13. The Cumasan Collection 
 
 85 
 
xil INDEX. 
 
 The Upper Floor contains — 
 
 Left Wing. 
 
 (N.B,— The door to this wing is on the right at the top of the stairs.) 
 
 PAGE 
 
 14. CoiDs and Medals 86 
 
 15. Reserved Cabinet ....... 88 
 
 16. The Picture Gallery (left wing) : Neapolitan and Foreign 
 
 Schools 89 
 
 17. The large Cabinet— Mediaaval Collection . . . 100 
 
 18. The small Bronzes ....... 114 
 
 19. Room of the Gems . 144 
 
 20. The Italo-Greek Vases 159 
 
 21. The Santangelo Collection 178 
 
 In the centre of the Staircase. 
 
 22. The Library 179 
 
 Eight Wing. 
 
 23. Articles of Food, &c., from Pompeii 
 
 24. The Papyri 
 
 25. The Picture Gallery : North Italian Schools 
 
 26. Masterpieces (Sala di Correggio) 
 
 27. The Engravings 
 
 . 181 
 
 . 183 
 
 . 187 
 
 . 195 
 
 . 195 
 
 28. Appendix : Historical Sketch of Pompeii and Herculaneum 201 
 
PLAN OF THE NAPL5 
 
 Tuese Diagrams have been kindly lent to the E it ' 
 
MUSEUM 
 
 hy John Mdbkat, Esq. 
 
S^ OF THE f 
 
 UNIVEESr 
 HANDBOOK 
 
 NAPLES MUSEUM 
 
 THE GREAT HALL. 
 
 Twelve marble slabs recording the history of the building. 
 Sixteen ancient cipollino columns on modern pedestals, 
 found in Sanf Agata dei Goti, 
 
 On the EIGHT, 
 
 Alexander Severus. Colossal statue in marble. (F.) 
 Four statues of Eoman Consuls. (^Herculaneum.) 
 *Flora. a colossal statue gracefully draped. (Farnese.) 
 
 On the STAIRCASE, 
 
 Marble statues representing (5976) the Ocean, (5977) 
 the Nile, a lion, and two Venuses. (Farnese.) 
 On the left, 
 
 * Genius of the Eoman people. Colossal statue. (F.) 
 Four statues of Eoman Consuls. {Herculaneum.) 
 Urania. Colossal statue from Pompey's theatre at 
 Eome. (^Farnese.) 
 
 GEOUND-FLOOR— EIGHT. 
 
 ANCIENT FRESCOES. 
 
 This fine collection of upwards of one thousand paint- 
 ings, taken from the walls of Pompeii and Herculaneum, 
 forms one of the chief attractions of the Museum. 
 
2 GROUND-FLOOE— EIGHT. 
 
 The pictures represent various historical and mytho- 
 logical scenes from the ancient poems and legends, as well 
 as many domestic incidents, which have served to throw 
 a flood of light upon the manners and customs of the 
 ancient Eomans ; and though they are frequently incorrect 
 in drawing, the freedom of their execution, the harmony 
 of the grouping, the ease of pose, and the power of ex- 
 pression, are scarcely surpassed by the best painters of 
 our own day. 
 
 The collection contains some unimportant landscapes, 
 for landscape-painting was never a favourite with the 
 ancients, the end and aim of whose painting seemed to be 
 to give prominence to the representation of the human 
 form, with which their games and contests rendered them 
 so familiar. Landscape, especially in an age of decline as 
 at Pompeii, was employed for mere decorative purposes, 
 while the other pictures served to a great extent the 
 purpose of books in recording the ancient myths with 
 which every educated Roman was expected to be familiar. 
 
 When first discovered, the colours are as bright as 
 though they had been painted yesterday, but they fade 
 more or less with exposure, perhaps according to the 
 colours employed in their execution, or perhaps according 
 to the special nature of the volcanic ash in which they 
 have been buried. They were painted upon the plaster 
 of the walls, the last coat of which we learn from Yitru- 
 vius was composed of a cement made of powdered marble, 
 upon which the pictures were painted while it was still 
 wet, so that they became actually incorporated into the 
 wall itself. 
 
 We describe the most important of them. The com- 
 partments are numbered in Eoman numerals on the 
 cornices of the respective halls. 
 
 FIEST HALL (Corridor). 
 
 COMPARTMENT IX. 
 On THE RIGHT, 
 
 8598. One of the largest paintings in Pompeii, found in 
 the House of Diomede. 
 
 The centre represents a Faun kissing the hand of a 
 
ANCIENT FRESCOES. 3 
 
 Bacchante. Above : still life, fish, game, a j^iirse, a 
 papyrus with seal, an inkstand and a pen. 
 
 COMPARTMENT VIII. 
 
 8594. A large painting from the House of Pansa the 
 iEdile, Pompeii, representing fish and game. 
 
 COMPARTMENT IV. 
 
 Other mural paintings of splendid arabesques, galleys, 
 and ornaments, chiefly from the Temple of Isis, Pompeii. 
 
 Continuing straight on, we come to the 
 
 SECOND HALL. 
 
 A large number of small pictures representing game, 
 fish, and still life, for the decoration of dining-rooms. 
 (P. and H.) 
 
 COMPARTMENT XI. 
 
 8645. A glass water bottle, admirably executed, and a 
 dish with figs, among which are a gold and a silver coin. 
 Some say this refers to a Eoman custom of putting coins 
 among their sweetmeats ; others, that it refers to the fact 
 mentioned by Athenaeus, vii. 2, that the cooks of that day 
 preferred masters who did not check their bills. (P.) 
 
 COMPARTMENT XIII. 
 
 8750. Quails pecking ears of corn and millet. 
 
 8759. Gazelles and ducks, admirably executed. 
 
 8760. Peacock perched on a trellis work. (P.) 
 
 compartment XIV. 
 
 *8791. Caricature. A parrot drawing a go-cart driven 
 by a grasshopper. A satire on the stronger being driven 
 by the weaker. Some have referred this to the influence 
 of Seneca over Nero ; others, with more reason, have seen 
 in the grasshopper the famous witch " Locusta," who 
 provided Nero with the poison to murder Britannious, 
 and suppKed the Eoman ladies with the means of getting 
 rid of their husbands. (Herculaneum?) 
 
 8795. Panther fighting a snake. 
 
 B 2 
 
4 GROUND-FLOOR— EIGHT. 
 
 Beturning to the first corridor, we enter the 
 
 SOUTH HALLS 
 
 THIRD HALL. 
 
 COMPARTMENT XV. 
 
 On the left, 
 
 Several pictures exhibiting legends of Apollo. 
 
 8846. Apollo, Chiron,* and ^Esculapius. The artist 
 has brought together in this picture the three inventors 
 of medicine with their attributes. Apollo is represented 
 as the god of medicine, Chiron as that of surgery and 
 botany, and near to him his pupil ^sculapius in an 
 
 . appropriately reflective attitude. (1807. Pompeii.) 
 
 8847. Meli'Omene crowned with laurel, bearing a club 
 and holding a mask. (P.) 
 
 COMPARTMENT XVI. 
 
 From 8850 to 8855. Tritons and sea-monsters. {Stahia.) 
 
 COMPARTMENT XVII. 
 
 8859. Nereid. A nymph borne by a sea-horse. She 
 lies on the back of the animal, holding on by its neck. 
 The attitude is graceful, and the nude figure well drawn. 
 (^Stahia.) 
 
 8864. Hylas, carried off by the nymphs while he was 
 taking water from the river Ascanius. Beyond : Hercules 
 sorrowfully seeking his friend in the wood. (JEerc.) 
 
 8870. Nereid. A nymph lying on a sea-panther with 
 a fish's tail : her figure is symmetrical, and the whole 
 composition is skilful. (April 1870. Stabia.) 
 
 COMPARTMENTS XVIII., AND XIX. 
 
 Below the window, 
 • 8889 and 8896. Phryxus and Helle. The latter falling 
 into the waves, from the ram which carried her, is raising 
 
 * Chiron was the son of Saturn and Filira ; he was represented as 
 half man and half horse, because he prescribed medicine both for men 
 and horses. 
 
ANCIENT FRESCOES. 5 
 
 her arms imploring assistance from her brother Phryxns, 
 who is exerting himself to save her. (Pompeii.) 
 
 *8898. The three parts of the ancient world, Eiirope, 
 Asia, and Africa. Europe, without attributes, is seated 
 on a throne, covered with a conical canopy, held by a 
 woman placed a little behind. On her right, Africa is 
 represented as a negress holding a tusk. On the other 
 side, Asia, having a head-dress of elephant scalp. Africa 
 and Asia are both standing. Behind these three figures, 
 there is a ship under full sail, typical probably of the 
 means whereby these different continents were united. 
 (Pomjteii.) 
 
 compartment XX. 
 
 8905. Ceremonies in honour of Ceres. An acolyte leads 
 a wild boar towards the lighted altar. On each side 
 stands the Camillus (or assistant to the sacrificers), with a 
 rliyton (or libation cup) and a small pail in his hand, 
 celebrating the Deity, while the officiating priest plays 
 on the tibia and strikes a cymbal with his foot. In the 
 centre, a priestess. Below, the sacred serpents. (Pompeii.) 
 
 compartments XXI., TO XXIII. 
 
 8919 and 8924. Ceremonies in honour of Isis and Osiris, 
 and other paintings with Egyptian symbols and divinities. 
 (^Temple of Isis, Pompeii.) 
 
 Two octagonal tables containing 
 Water colours in pots as found in a shop at Pompeii, 
 composed of materials similar to those of modern colours, 
 according to an analysis made by Sir Humphry Davy. 
 
 compartment xxiv. 
 
 8968. SoPHONiSBA and Massinissa — a fragment. Sophon- 
 isba supported by Massinissa, holding in her hand the cap 
 from which she is about to drink the poison. On the 
 other side, Scipio admiring the heroine. (Pompeii.) 
 
 109751. Theft of the Palladium. This painting re- 
 presents six personages in two groups. In the group of 
 four, on the left, is seen Ulysses (OAYCCeYC), easily re- 
 cognised by the pileus or felt hat he has on his head, in 
 
4 GKOUND-FLOOR— EIGHT. 
 
 Beturning to the first corridor ^ we enter the 
 
 SOUTH HALLS 
 
 THIRD HALL. 
 
 COMPARTMENT XV. 
 
 On the left, 
 
 Several pictures exhibiting legends of Apollo. 
 
 8846. Apollo, Chiron,* and ^sculapius. The artist 
 has brought together in this picture the three inventors 
 of medicine with their attributes. Apollo is represented 
 as the god of medicine, Chiron as that of surgery and 
 botany, and near to him his pupil ^sculapius in an 
 
 . appropriately reflective attitude. (1807. Pompeii.) 
 
 8847. Meli'Omene crowned with laurel, bearing a club 
 and holding a mask. (P.) 
 
 COMPARTMENT XVI. 
 
 From 8850 to 8855. Tritons and sea-monsters. (Stahia.) 
 
 COMPARTMENT XVII. 
 
 8859. Nereid. A nymph borne by a sea-horse. She 
 lies on the back of the animal, holding on by its neck. 
 The attitude is graceful, and the nude figure well drawn. 
 {Stahia.) 
 
 8864. Hylas, carried off by the nymphs while he was 
 taking water from the river Ascanius. Beyond : Hercules 
 sorrowfully seeking his friend in the wood. {Here.) 
 
 8870. Nereid. A nymph lying on a sea-panther with 
 a fish's tail : her figure is symmetrical, and the whole 
 composition is skilful. (April 1870. Stahia.) 
 
 COMPARTMENTS XVIII., AND XIX. 
 
 Below the wikdow, 
 
 • 8889 and 8896. Phryxus and Helle. The latter falling 
 into the waves, from the ram which carried her, is raising 
 
 * Ohh-on was the son of Saturn and Filira : he was represented as 
 half man and half horse, because he prescribed medicine both for men 
 and horses. 
 
ANCIENT FRESCOES. 5 
 
 her arms imploring assistance from her brother Phryxus, 
 who is exerting himself to save her. (Pompeii.) 
 
 *8898. The three parts of the ancient world, Europe, 
 Asia, and Africa. Europe, without attributes, is seated 
 on a throne, covered with a conical canopy, held by a 
 woman placed a little behind. On her right, Africa is 
 represented as a negress holding a tusk. On the other 
 side, Asia, having a head-dress of elephant scalp. Africa 
 and Asia are both standing. Behind these three figures, 
 there is a ship under full sail, typical probably of the 
 means whereby these different continents were united. 
 (Pompeii.) 
 
 compartment XX. 
 
 8905. Ceremonies in honour of Ceres. An acolyte leads 
 a wild boar towards the lighted altar. On each side 
 stands the Camillus (or assistant to the sacrificers), with a 
 rhyton (or libation cup) and a small pail in his hand, 
 celebrating the Deity, while the officiating priest plays 
 on the tibia and strikes a cymbal with his foot. In the 
 centre, a priestess. Below, the sacred serpents. (Pompeii.) 
 
 compartments XXI., TO XXIII. 
 
 8919 and 8924. Ceremonies in honour of Isis and Osiris, 
 and other paintings with Egyptian symbols and divinities. 
 (Temple of Isis, Pompeii.) 
 
 Two octagonal tables containing 
 Water colours in pots as found in a shop at Pompeii, 
 composed of materials similar to those of modern colours, 
 according to an analysis made by Sir Humphry Davy. 
 
 compartment XXIV. 
 
 8968. SoPHONiSBA and Massinissa — a fragment. Sophon- 
 isba supported by Massinissa, holding in her hand the cap 
 from which she is about to drink the poison. On the 
 other side, Scipio admiring the heroine. (Pompeii.) 
 
 109751. Theft of the Palladium. This painting re- 
 presents six personages in two groups. In the group of 
 four, on the left, is seen Ulysses (OAYCCGYC), easily re- 
 cognised by the pileus or felt hat he has on his head, in 
 
6 GROUND-FLOOK— EIGHT. 
 
 the act of stealing the Palladium^ or sacred statue of 
 Minerva, from the temple at Troy. He bears it under his 
 left arm. A little behind is Diomedes (AIOM HAHC), with 
 a lion's skin on his head: farther on, Helena (eaENH), 
 and behind, her faithful maid ^thra (AI0PA), a relative 
 of Menelaus. In the other group, on the right, a priestess, 
 holding a torch in her hand, struggles with a man who 
 wishes to prevent her from giving the alarm. The name 
 of each figure is painted beside it, but is now hardly 
 legible. (May 1870. Pompeii.) 
 
 The Palladium was preserved in the sanctuary of the 
 Temple of Vesta at Eome, with the sacred fire always 
 burning before it. According to one legend, ^neas 
 brought this sacred relic from Troy, and instituted the 
 Vestal Virgins to take care of it. 
 
 COMPARTMENT XXVI. 
 
 8976. Medea. A picture remarkable for the expression 
 of the face and its admirable preservation. (Pompeii.) 
 
 *8977. Medea meditating the murder of her two chil- 
 dren, holding a drawn sword. The children, unconscious 
 of their impending fate, are playing at knucklebones. An 
 old man in a doorway looking on. A very famous picture. 
 (Pompeii.) 
 
 compartment XXVII. 
 
 8980. Meleager and Atalanta, the former seated with 
 tw^o hounds and two spears, and his foot upon a stone, 
 near which lies the Calydonian boar. Atalanta stands by, 
 and two figures, probably the uncles of Meleager, are 
 hard by. Behind Meleager a statue of Diana. (Pompeii.) 
 
 FOUETH HALL. 
 
 compartment XXVIII. 
 
 8984. The Cyclops Polyphemus with his three eyes, 
 sitting by the sea-shore upon a rock, receiving a letter 
 from Galatea brought by a Cupid on a dolphin. (H.) 
 
 8991. Death of Perdix, a carpenter who invented the 
 geometrical compass, and was murdered by his uncle 
 Daedalus. The picture represents the murder in the 
 workshop, with apprentices sawing and planing. It is 
 
ANCIENT FRESCOES. 7 
 
 painted as being on the plane of a catafalque carried 
 by four bearers, and probably records the funeral of a 
 carpenter. (Pompeii.) 
 
 8992. Hercules and Omphale. A fine picture. The 
 hero leans playfully on the neck of a bearded man, while 
 a Cupid blows a flageolet in iiis face. On the left, among 
 other figures, Omphale, looking on severely, with a club 
 in her hand. (House of Marcus Lucretius^ Pompeii.) 
 
 COMPARTMENT XXIX. 
 
 8997-8. Perseus and Andromeda. This fine painting 
 shows Perseus holding the Gorgon's head, that Andromeda 
 may see the reflection in the brook at their feet. He thus 
 gratifies the curiosity of his bride, and saves her from the 
 malevolence of Medusa. (June 1760. Pompeii.) 
 
 COMPARTMENT XXX. 
 
 9000. Hercules sprawling on the ground and teased by 
 Cupids. Two of them are sawing up his club. Three 
 very elegant girls are in the background. (Pompeii.) 
 
 9001. Hercules delivering Dejanira from the Centaur 
 Nessus and his son Hylseus. Observe the method of 
 harnessing the horses. (Pompeii.) 
 
 COMPARTMENT XXXI. 
 
 9006. Hercules bringing Eurystheus the wild boar of 
 Erymanthus. This picture is full of life. (Pompeii.) 
 
 *9008. Telephus fed by the hind. He is sucking the 
 hind, who turns her head to caress him. Hercules, with 
 his attributes and crowned with ivy, looks at him frown- 
 ingly. A winged Fame alights beside him, her head 
 crowned with olive, and points out Telephus to his father. 
 On a rock sits a majestic woman crowned with fruits, the 
 protecting goddess of the forsaken boy. Near her is a 
 basket of grapes and pomegranates : a merry Faun is 
 behind her, holding a panpipe in his hand. Hercules has 
 at his side an eagle and a lion. (Herculaneum.) 
 
 9010. The Trojan horse. The entry of the famed 
 wooden horse into Troy (Virg. Mn. ii. 15). His head is 
 covered with a helmet ; on his back the skin of a wild 
 
10 GKOUND-FLOOK — EIGHT. 
 
 COMPARTMENT XXXVIH. 
 
 Contains sketches of Pompeian street life, roughly- 
 drawn but extremely interesting. 
 
 9058. Paquius Proculus and his wife, in the same frame. 
 Their expression is charming. Above this picture, and 
 as a type of their conjugal love, was a small painting of 
 Cupid and Psyche (see Comp. xlvi. No. 9195) kissing each 
 other. An inscription in the house of Proculus tells us 
 that he was a baker, and that, thanks to his popularity 
 with the Pompeians, he was raised to the dignity of Chief 
 Magistrate {Duumvir juri dicundo). 
 
 9066. A Schoolmaster flogging his pupil, who is 
 " horsed " on the back of another boy, while a third holds 
 his feet. Three others are studying tablets placed on 
 their knees, and others lean against the columns. (P.) 
 
 Martial records the barbarity of Roman schoolmasters (Ep. 
 cviii.). 
 
 9069. The Forum. A woman buying cloth. On the 
 left, a seller of tools and bronze vases. (Pompeii.') 
 
 9071. A Baker's shop. {Pompeii.) 
 
 9084. Sappho (?). This pretty portrait has been named 
 without authority after the Lesbian poetess. She is in 
 an attitude of meditation, with stylus and tablets. (-H.) 
 
 9088. Venus at her toilet. {Pompeii.) 
 
 9089. jiEneas, Anchises, and Ascanius flying from 
 Troy. All have dogs' heads — a caricature. (JSerc.) 
 
 9097. Silence. A girl with her finger to her lips. (P.) 
 9098 et seq. Grotesque dwarfs. {Inns at Pompeii.) 
 
 Dwarfs were employed by the Eomans as jesters, to give 
 amusement at banquets and processions (Propert. iv. 8, 41 ; 
 Lamprid. Alex. Severus, 34 : " Nanos et nanas et morioDes 
 populo donavit "). Artists often used dwarf figures of men 
 and animals to set off the principal figures by contrast. 
 
 compartment XXXIX. 
 
 19104. Achilles drawing his sword. A fragment. 
 
 f9105. Briseis. Achilles on a luxurious chair before 
 his tent, with a sword hanging from his shoulder and a 
 sceptre in his left hand, addresses the two heralds of 
 Agamemnon who have come to demand Briseis, one of 
 
ANCIENT FEESCOES. 11 
 
 whom wears a helmet and bears a spear ; the other wears 
 a steel cap, and bears the cadnceus of peace. Achilles 
 looks proud and passionate. His friend Patroclus leads 
 out the girl, who is weeping bitterly and drying her tears 
 with her veil. {House of the Tragic Poet, Pompeii.') 
 
 9106. A BLIND BEGGAR led by a dog asking alms of a lady. 
 Thought to represent Ulysses and Penelope. {Pompeii.) 
 
 9108. Briseis and Ulysses embarking for Greece. (P.) 
 
 *9J09. Chiron and Achilles. The Centaur Chiron 
 seated on his hind legs. He wears a beard, his shoulders 
 are covered with a skin, and his left hand is stretched out 
 to touch the lyre of Achilles, who is looking affectionately 
 at his master. (1739. Herculaneum.) 
 
 *9110. Achilles recognised. Achilles in the palace of 
 Lycomedes, recognised by Ulysses. Achilles with his 
 right hand grasps his sword, and with the left his shield. 
 On the ground, a helmet, mirror, and vase. Ulysses, who 
 wears a long beard, stays the young man's arm. On the 
 other side of Achilles, the young Ajax, or Diomede, seizes 
 his arm as if to assure him that the trumpets had given a 
 false alarm. The pretty Deidamia is seen behind. On 
 the other side, Lycomedes looking severely at his daughter. 
 In the background, two warriors. {Pompeii.) 
 
 COMPARTMENT XL. 
 
 9111. Orestes and Pylades. Their hands are tied 
 behind them, and they are led to the sacrifice. Diana's 
 statue, with attributes, in the background. In the fore- 
 ground, an old man, perhaps Thoas. (1740. H.) 
 
 *9 1 1 2. Iphigenia. The Greek fleet having been detained 
 
 by a storm, Chalcas ordered Agamemnon to sacrifice his 
 
 daughter. She was accordingly taken to Aulis {Negro- 
 
 pont), on pretence of marrying her to Achilles, and at the 
 
 moment of sacrifice was saved by Diana, who substituted 
 
 a stag in her place and took her to Tauris, where she 
 
 became a priestess. {House of the Tragic Poet, P., 1826.) 
 
 Besides its surpassing artistic merit, this picture has a special 
 
 historical interest. Parrhasius and Trinanthes, two very 
 
 celebrated Greek painters (b.c. 400), had a competition at 
 
 Athens, which was decided in favour of Trinanthes, who 
 
 chose for his subject the sacrifice of Iphigenia, and expressed 
 
 the agony of Agamemnon by concealing it, just as the 
 
12 GROUND-FLOOK— EIGHT. 
 
 Pompeian painter has done in the picture before us. The 
 judges awarded him the prize, not because he had executed 
 a skilful piece of artistic legerdemain, but because he had 
 followed the true principle of Greek art, that nothing but 
 the beautiful should be painted, and the agony of a father 
 was beyond dignity of expression. The picture shows us 
 that this story was known to the Pompeian artist. 
 It seems possible that the story of Iphigenia may have been a 
 corruption of the sacrifice of Isaac (Gen. xxii. 13), and of 
 the story of Jephthah's daughter (Judges xi. 34-37). 
 
 We leave the adjoining hall of Mosaics for the present to com- 
 plete our notice of the Frescoes. We shall soon return to it. 
 Crossing the room we first entered, we find : 
 
 COMPARTMENT XLI. 
 
 *9118 to 21. Rope dancers (funamhuli). These cele- 
 brated pictures exhibit the greatest variety of feats on the 
 tightrope, performed by Satyrs. {House of Frugi, Pompeii, 
 1749.) 
 
 See also Compartment xliv. No. 9163. 
 Opposite, 
 
 COMPARTMENT XLII. 
 
 9130 et seq. Centaurs of both sexes. (Pompeii.) 
 
 *9133. A Centaur, with his hands tied, bearing a beau- 
 tiful nude Bacchante, who urges him with the thyrsus. 
 
 *A FEMALE Centaur of surpassing beauty, playing the 
 lyre and striking a cymbal against another held by a 
 young man who clings to her. 
 
 * A Centaur bearing a thyrsus with cymbals, teaching a 
 youth to play the lyre. 
 
 *A FEMALE Centaur embracing the young man whom 
 she carries, giving him a thyrsus with garlands. 
 
 These beautiful groups were found in the house of 
 Frugi, Pompeii. 
 
 FIFTH HALL. 
 
 COMPARTMENT XLV. 
 
 On the left, 
 
 *9180. A WOMAN SELLING I.ITTLE CuPiDS. The bcauty of 
 the composition of this picture and its subject have always 
 attracted much attention from good judges of art. 
 
 The scene is an interior. On the right is a woman 
 
ANCIENT FRESCOED 
 
 seated on an ottoman, dressed in yelloi 
 covered with a reddish hood. This womall 
 goddess of Poverty, the mother and nurse of ^Eo^ 
 three qualities are expressed in the picture. 
 
 She is holding a little Cupid by the wings, just taken 
 out of a cage. The Cupid is stretching out its arms 
 towards the woman opposite to him. This may be inter- 
 preted Desire. Within this cage another little Cupid 
 begins to move and fret ; perhaps Desire still confined, 
 which begins to get a glimpse of the beautiful and to long 
 after it. This may be interpreted Appetite. A third 
 Cupid, quite naked, stands between the knees of the hand- 
 some Venus wrapped in a sky-blue mantle, gazing on her 
 intently : this would signify Possession. Behind her Pitho 
 (^Persuasion) placing her hand on the shoulder of the 
 goddess. (Stahia, 1758.) 
 
 *9176 et seq. Sporting Genii, gracefully painted, hunt- 
 ing, fishing, playing and working. Perhaps allegorical of 
 Love, which finds its way into all the pursuits of life, (-ff.) 
 
 9181. Exquisite head of Venus. 
 
 COMPARTMENT XLVI. 
 
 9195. Cupid and Psyche kissing. This picture was 
 found above that of Proculus and his wife (Comp. xxxviii. 
 Ko. 9058), and was emblematical of their afiection. (P.) 
 
 9202. Wedding of Zephyrus. A nude goddess on a 
 rock holds the end of a veil which floats in the air. 
 Zephyrus descends from the sky, with large wings and 
 wreathed with flowers, led by two Cupids. In the fore- 
 ground a beautiful Flora asleep, with her head in the lap 
 of a winged Genius. A Cupid is in the act of uncovering 
 her. (1827. Pompeii.) 
 
 9210. Thrones of Mars and Venus. The helmet, shield, 
 and other attributes indicate Mars. Venus is suggested 
 by a dove standing on a cushion, which a Genius is about 
 to festoon with a garland of myrtle leaves ; and another 
 Genius holds the sceptre in his hand. (^Pompeii.) 
 
 compartment xlvii. 
 
 *9231 and 9236. The Three Graces. Two small but 
 tasteful pictures. (28th July, 1814. Pompeii.) 
 
14 GROUND-FLOOK — RIGHT. 
 
 COMPARTMENT XLHX. 
 
 9241. Diana and Action. {Pompeii.) 
 
 9246-7. Diana andENDYMioN. A Cupid conducts Diana, 
 wlio walks on tiptoe not to awake her lover, her floating 
 veil revealing the beauty of her person. The young 
 hunter reclines in deep slumber against a stone, his hand 
 carelessly holding his hunting spears. {Herculaneum.) 
 
 compartment xlix, 
 
 9248. Mars and Venus. Mars about to embrace Venus, 
 who but for her gold chain and the bangles on her wrists 
 and ankles is nude. Two Cupids at play with the sword 
 and helmet of the god occupy the foreground. {Pompeii.) 
 
 9257. Venus and Urania. Venus on the left has just 
 punished the Cupid at her side. Another Cupid behind 
 Urania's chair, in a derisive attitude : " II lui fait la corne." 
 Very charming. (^Pompeii.) 
 
 compartment l. 
 
 9262. Pan and Cupid fighting. Pan is represented as 
 a child with the legs and feet of a goat. He bends to butt 
 at Cupid, who avoids the blow. Silenus, protector of Pan, 
 is present at the contest, holding a palm-branch for the 
 victor. Bacchus, seated on a rock, is also a spectator of 
 the fight : he has a long thyrsus, with which he touches 
 Ariadne. (1747. Herculaneum.) 
 
 9270. Bacchus in the arms of Silenus, his guardian 
 and teacher. Silenus, bald and bearded, sits upon a stone, 
 holding up the infant Bacchus that he may reach a bunch 
 of grapes held out to him by one of his nurses, who 
 stands behind. Two other girls near a tree are looking 
 on. Mercury is reclining on a cask and playing on a lyre. 
 (1747. Herculaneum.) 
 
 compartment LI. 
 
 *9278. Ariadne and Bacchus. The beautiful Ariadne 
 is sleeping gently on a soft bed, resting her head on the 
 knee of a winged Genius. Cupid, seizing the opportunity 
 of the flight of Theseus, leads Bacchus to the maid. 
 Fauns, Silenus, and other figures make up the picture. 
 (1748. Herculaneum.) 
 
ANCIENT FRESCOES. 15 
 
 COMPARTMENT LIII. 
 
 *9295 et seq. Thirteen dancers, found with the rope- 
 dancers in the house of Marcus Crassus Frugi (^Cicero's 
 house), at Pompeii. 
 
 The thirteen figures represented in these paintings are 
 usually known under this title ; but a careful examination 
 shows that they ought to be called Bacchantes. The 
 exactness of the execution, the complete finish, the grace 
 of the movements, and the perfection of the design in 
 these pictures, are admirable. 
 
 Two are dancing and joining hands. 
 
 The garments of another, remarkable for vivacity and 
 beauty, seem almost to wave, so light and airy is her pose ; 
 she is playing a tambourine. 
 
 Another is playing the cymbals. 
 
 Another has a vase in one hand, and a cup with three 
 pears in it in the other. 
 
 Two are crowned with ears of corn. 
 
 Another holds a sceptre in one hand, and in the other a 
 branch with two of the golden apples of the Hesperides. 
 
 SIXTH HALL. 
 
 compartment lviii. 
 On the left, 
 
 9350. Mercury receiving mioney to convey a soul across 
 the Styx. (^Pompeii.) 
 
 9352 et seq. Etruscan paintings representing funeral pro- 
 cessions. (Buvo.) 
 
 compartment lix. 
 
 9359 to 64. Other Etruscan paintings more remote 
 than the Pompeian epoch, found in a soldier's tomb; 
 they represent warriors returning from an expedition. 
 {Pcestum.) 
 
 COMPARTMENT LX. 
 
 9382 et seq. Narcissus. Several sketches of this subject 
 — a young man seated on a rock holding in his hand two 
 hunting spears. His face is reflected in the water of a 
 basin at his feet. (Pompeii.) 
 
16 GROUND-FLOOR— EIGHT. 
 
 COMPARTMENTS LXI., LXII., LXIII. 
 
 Several views and landscapes. (P. and H.) 
 
 COMPARTMENT LXIV. 
 
 9350-1. Mercury. (Pompeii.) 
 
 9456-7. Two pictures on a red baekgronnd. One. 
 represents Ceres seated on a throne ; she is fnlly dressed 
 and holding the thyrsns in her right hand. A basket full 
 of flowers is at her feet. The other picture shows Bacchus 
 seated on a magnificent throne, having the shaft of a 
 column behind him. A beautiful garland of bunches of 
 grapes and vine-leaves crowns his head. He is holding 
 the cantharus and thyrsus, and is attended by a panther. 
 (Pompeii.) 
 
 COMPARTMENTS LXV., LXVI., LXVII. 
 
 Views and landscapes. (Pompeii.) 
 9472. Landscape with temples and figures and Vesuvius 
 in eruption. (Pompeii.) 
 
 COMPARTMENT LXVIU. 
 
 9519 to 9521. The seven days of the week. These 
 medallions represent the planets which rule the days of 
 the week. Apollo (Sunday) wifch mantle and whip. 
 Diana (Monday) with sceptre. Ma-rs (Tuesday) in armour. 
 Mercury (Wednesday) with winged cap. Jupiter (Thurs- 
 day). Venus (Friday), and Saturn (Saturday) with a cap 
 on his head and a scythe in his hand. (Pompeii.) 
 
 9529. Thetis preparing arms for Achilles. Thetis is 
 seated, and her likeness reflected in the shield which is 
 held up by two men. At some distance Vulcan is emboss- 
 ing his helmet. (Pompeii.) 
 
 COMPARTMENT LXIX. 
 
 9539. Apollo and Marsyas. Apollo sits, wearing the crown 
 of a conqueror, having a Muse at his side. Marsyas, con- 
 demned to be flayed alive, is bound to a tree ; his flutes have 
 been thrown at his feet. A minion of Apollo is approach 
 ing, holding in his hand a knife to execute the sentence. 
 
 9546. Leda and the Swan. (Pompeii.) 
 
ANCIENT FRESCOES. 17 
 
 COMPARTMENT LXXI. 
 
 9553. Jupiter seated on the clouds, crowned with a 
 chain, holding thunderbolts and a sceptre. The eagle, 
 emblem of his power, behind him. Iris, the rainbow, 
 image of his splendour, on a group of clouds. Cupid at 
 his side, with his arm around his neck. (^First excavations, 
 Pompeii.^ 
 
 9558. lo taken to Egypt. She has two short horns on 
 her forehead, and is borne by the Nile personified, giving 
 her hand to a pretty woman, who has a serpent rolled 
 about her arm. Behind her, two other figures standing 
 and celebrating the new divinity; one of them is 
 Mercury. On the left, Harpocrates, having in his hand 
 a water-snake (Naia Coluber), while a smaller one is 
 crawling at his feet. A crocodile, the emblem of the 
 Nile, is lurking on the shores of the river, and on a 
 pedestal is a Sphinx. {Pompeii.) 
 
 9559. The wedding of Jupiter and Juno. A large 
 picture, of the same size as the preceding one. {House of 
 the Tragic Poet, Pompeii.) 
 
 MONOCHROMES. 
 
 COMPARTMENT LXXII. 
 
 Monochromes. Five paintings on marble, styled " mono- 
 chromes," because they are painted in outline with only 
 one colour (a dark red). These are priceless, and are 
 believed to be unique. They were found in Herculaneum. 
 
 *9560. The Centaur Eurystheus, who, having been in- 
 vited with his companions to the wedding of Pirithous, 
 tried to carry away Hippodamia ; when Theseus, who 
 was present at the nuptial banquet, punished his attempt 
 by killing him. 
 
 9561. In a very defective state. Probably Silenus 
 seated and drinking from a horn, with a woman helping 
 him to empty his rhyton. On the other side, a woman 
 with an ass. (May 1749.) 
 
 9562. The centre painting is w^orthy of attention as 
 bearing in its upper part in Greek the name of the 
 painter, " Alexander of Athens," and the names of the five 
 maidens, also in Greek — namely, Latona, Niobe, Hilearia, 
 
 c 
 
18 GEOUND-FLOOR— RIGHT. 
 
 Phoebe, and Aglaia. Hilearia and Aglaia are playing at 
 kuTickle-bones (pentalithe or astragales). 
 
 9563. Three persons wearing tragic masks. 
 
 9564. A charioteer driving a quadriga at full gallop. 
 
 109370. Niobe weeping for her children; much oblite- 
 rated. This picture shows signs of having been tinted 
 yellow, violet, and green. (1872. Pompeii.) 
 
 Returning through the suite of Halls we have just visited, we 
 come to the room of the 
 
 MOSAICS- 
 
 This room contains fifty incomparable specimens of ancient 
 mosaic in stone, marble, and glass. 
 
 In the centre, on the floor. 
 
 Strength conquered by Love. A magnificent mosaic 
 of a lion chained to a rock, with two Cupids deriding him. 
 On each side, a woman seated. In the background, a 
 female figure with vase and thyrsus. The border is an 
 elaborate curved pattern in several colours. (Found in 
 the House of the Centaur, Pompeii.) 
 
 Behind the spectator, on the wall next to the window, 
 are sixteen small pictures in mosaic, all of them of extra- 
 ordinary merit. 
 
 9978. Outline of a Skeleton, with a vase in each hand ; 
 the ornament of a dining-room. (Herculaneum.) 
 
 Petronius tells us that the Eomans brought a skeleton 
 to table after meals, to incite to gluttony, on the principle 
 of " Bum vivimus vivamus : " " Let us eat and drink, for 
 to-morrow we die." 
 
 109679. A Comic Mask. (Pompeii.) 
 
 *9980. A Francolin partridge stealing a jewel from an 
 open basket. {Pompeii.) 
 
 9981. Harpy or Syren. Eepresented from the waist 
 upwards as a woman with wings; her legs are those of a 
 bird. She carries a vase in her right hand, and with her 
 left steadies a basket which she carries on her head. A 
 Cupid carrying a cup flies after her, and she is preceded 
 by a bird flying towards a tree. {Herculaneum.) 
 
 109982. Allegory of Human Life. This splendid 
 mosaic was inlaid upon the dining-table of the " House of 
 
MOSAICS. 19 
 
 the Tanners" at Pompeii. The masonic emblems of 
 square and plumbline indicate inexorable judgment ; the 
 butterfly upon the wheel, the changes and chances of our 
 mortal life. The purple of kings upon the warrior's 
 lance, and the rags and wallet of the poor upon the 
 broken staff, alike are subject to the equity of judgment 
 above, and to the sting of death, represented by the skull 
 in the centre of the picture. This mosaic is emblematical 
 of all the best teaching of Seneca. (Pompeii.) 
 
 *9982. After thp: Cock-fight. In the centre of this 
 picture are two game-cocks, one bleeding and vanquished, 
 the other victorious. The owner of the vanquished bird 
 and his attendant are weeping, while the owner of the 
 winner and his servant bear a garland and palm-branch 
 for the victorious bird. (Pompeii.) 
 
 109687. Mask of Silenus. (1873. Pompeii.) 
 
 9983. Ducks plucking lotus flowers. (^Pompeii.) 
 
 9984. A Mountain Deity. Probably an allegorical re- 
 presentation of the source of a river. A youthful god 
 seated on a rock, holding a sceptre in his left hand, pours 
 water from a vase in the centre of the picture, with his 
 right. Two companions (one on each side of the picture) 
 are with him. (Herculaneum.) 
 
 *9985. A Comic Scene. A pendant to No. 9987, re- 
 presenting three actors playing. This is one of the finest 
 pieces in the collection, being full of action and life. (We 
 have drawn attention to a copy of it in fresco, Comp. xxxv.. 
 No. 9034.) It bears at the top in Greek, the inscription 
 " Made hy Dioshorides of Samos." (Pompeii.) 
 
 9986. CoRAGiUM, the " green room " of the ancient stage. 
 The central figure represents the stage manager seated, 
 " posing " two actors on the left. On the right, a servant 
 putting a tunic on one of the actors; in the centre, a 
 musician tuning his flageolet. (House of the Tragic Poety 
 Pompeii, 1826.) 
 
 9987. A Comic Scenp:. Masked actors at table (probably 
 a scene from a play), by Dioscorides. Of wonderful 
 execution and much admired. (Pompeii.) 
 
 9988. Lycurgus. The Thracian king flying (from a 
 panther of Bacchus, who defends a Bacchante. An at- 
 tendant of Bacchus in the background is threatening 
 him. (Herculaneum.) 
 
 c 2 
 
20 GROUND-FLOOK— EIGHT. 
 
 9989. Bacchus. A roughly executed mosaic on a dark 
 blue background. The god is represented leaning against 
 a rock, with his thyrsus and cantharus. {Herculaneum.^ 
 
 Beneath the window, 
 
 9990. The Nile. A magnificent symbolical mosaic, 
 representing the sacred Ibis, a hippopotamus, a crocodile, 
 ducks, lotus flowers, and (in the left corner) a mongoose 
 fighting a cobra. (Pompew.) 
 
 On the next wall, 
 
 9992. Three Parrots perched on the edge of a bowl 
 with water in it, watched by a cat. (Pompeii.) 
 
 109371. Three Ducks and four Fishes. (Pompeii,) 
 
 9991. Genius of Bacchus on a Panther. Group re- 
 presenting a panther in a graceful attitude, covered with 
 a small chlamyde, having leaves and grapes round his 
 neck, treading a thyrsus under his feet, and ridden by a 
 charming winged Genius crowned with ivy, holding a red 
 cord as a bridle-rein in his left hand and a cup to his lips 
 wdth his right. Around this group is a mosaic border of 
 fruits and flowers intertwined with eight tragic masks, 
 one at each corner and one in the middle of each of the 
 four sides. This again is surrounded by another border. 
 One can hardly believe that this beautiful work of art 
 was made to be walked upon, and formed part of a pave- 
 ment. Its unimpaired condition, the excellence of the 
 w^orkmanship, together with its sentiment, expression, and 
 colouring, render this mosaic superior to any as yet dis- 
 covered. (House of the Faun, Pompeii.) 
 
 109678. Female figure in giallo antico, with bangles on 
 her arms, leaning against a pillar. (1873. Pompeii.) 
 
 *9993. A Kitten killing a Chicken. Below, a stream 
 upon which are two ducks eating lotus flowers, and upon 
 the near bank a group of water- wagtails and shell-fish, 
 and some small fish hung by the gills upon a reed. This 
 mosaic is much admired for the style of its work and its 
 bright colouring. (House of the Faun, Pompeii.) 
 
 *9994. A long festoon of flowers, fruits, and leaves, 
 tastefully designed, and wreathed upon two comic masks. 
 This superb mosaic formed the threshold of the House of 
 the Faun, Pompeii. 
 
 9995-6. Columns made of concrete, and covered with 
 
MOSAICS. 21 
 
 designs and figures in glass mosaic. The bases and 
 capitals are adorned with shells, and the execution of the 
 mosaic is much admired. (House in the Street of the Tombs, P.) 
 *9997. Fishes. A large panel representing various kinds 
 of fish, all caught to this day in the bay of Naples. The 
 central group shows an octopus fighting a crawfish. The 
 large fish in the foreground is known by the name of 
 " Spinola," and is one of the best of the local fish. The 
 red mullet, lamprey, prawn, shrimp, and the delicious 
 bivalve known by the name " Vungolo," are represented 
 among many others, while a kingfisher on the left is 
 darting from a rock upon his prey. The border of this 
 mosaic is of surpassing beauty. It consists of flowers 
 and leaves, among which hide birds, snails, and graceful 
 Cupids. (House of the Faun, Pompeii.) 
 9998-9. Water-birds. (Herculaneum.) 
 10000-1. Two mosaic columns. (Pompeii.) 
 *10002. A DOG chained, with the motto "Cave canem" 
 (Beware of the dog). This celebrated mosaic was found in 
 the centre of the Tablinum at the entrance of the house 
 of the Tragic Poet, Pompeii. 
 
 10003. Dwarf feeding two game-cocks, and holding a 
 palm branch out to one of them — probably a celebrated 
 bird. (Pompeii.) 
 
 The wall opposite the window, 
 
 9037. Black dog on a chain. Found in the house of 
 Vesonius Primus (known as the house of Orpheus) at 
 Pompeii, and so called because a hermes of a man about 
 sixty years old bearing the name was found in it. 
 
 10004. The Three Graces. (Baia.) 
 
 10007. Wedding of Neptune and Amphitrite. They 
 are seated in a car drawn by Tritons playing the tibia 
 and the lyre, and surrounded by the mythical courtiers of 
 Neptune, who is wrapped in a mantle and bears his 
 trident. His bride wears a tiara and has a Cupid beside 
 her. A design of leaves surrounds the picture. (P. 1870.) 
 
 10008. Large niche for a fountain. (Herculaneum.) 
 
 Above, 
 
 10005. Phryxus and Helle, the latter falling from the 
 ram into the water. The colouring of this mosaic is 
 splendid. (Herculaneum.) 
 
22 GEOUND-FLOOR— EIGHT. 
 
 Large Black and White Mosaic, with head of Medusa 
 in the centre. The upper panel represents the Sea Gate 
 of Pompeii, with a vessel anchored in front of it and 
 moored by her stern to the quay ; a boat is rowing away 
 from her. The lower panel represents the northern gate 
 of Pompeii, with the sentry-box, walls, and towers, and a 
 palm-tree. Found in a bedroom on the left of the 
 peristylium of a house in Pompeii, 1879. 
 
 Last wall, 
 
 10012-13. Two Candelabra on blue ground, with panel 
 in red representing Cupid wounding a fugitive deer. (P.) 
 
 10010. A Boxer armed with the "cestus," a loaded 
 boxing glove used in Roman prizefights (Virg. Mn. 
 V. 362). Beneath, a game-cock with a pine cone and a 
 piece of lemon (?), of wonderful execution. {Serculaneum.) 
 
 10014. Niche for a fountain; beneath, a cock and 
 pomegranates. (Herculaneum.) 
 
 10018 et seq. Theseus and the Minotaur. (Pompeii.) 
 
 These mosaics show us how fond the Eomans were of cock- 
 fighting, and that they had domesticated both the cat and 
 the fowl. The cat is nowhere mentioned in the Bible, and 
 only once in the Apocrypha (Baruch, vi. 22). The fowl is 
 never mentioned in the Old Testament, nor do we find any 
 representation of it on the Egyptian monuments. It seems 
 probable therefore that it was introduced into Palestine by 
 the Eomans. 
 
 Beturning to the corridor, the passage on the right leads to 
 the collection of Inscriptions, and to the Hall of the Farnese 
 Bull. 
 
 HALL OF THE FARNESE BULL, HERCULES, 
 AND INSCRIPTIONS. 
 
 Before the days of printing, all important public acts 
 and documents were recorded by inscriptions. If a new 
 law was promulgated, it was inscribed on stone or metal, 
 and erected in a public place that all might read it, and 
 that anyone who wished might copy it. Hence the 
 priceless value of the collection before us, for its records 
 
INSCRIPTIONS. 23 
 
 instruct us as to the religion of the ancients, tlieir 
 divinities, their heroes, their politicians, their governors, 
 and their dead. From them also we get an idea of the 
 habits of private life, and trace the civilization of Greeks, 
 Etrurians, and Arabians ; nor is the persecution of the 
 primitive Christians without its record. 
 
 The inscriptions are written with those abbreviations 
 which make it impossible for any but an expert to read 
 them, but the student will find them all sei out in the 
 well-known work of Professor Fiorelli. 
 
 In the first passage, 
 
 Inscriptions in red on white, and graffiti, found on the 
 walls of houses at Pompeii. 
 
 Two lofty columns of cipollirw marble with pseudo- 
 archaic inscriptions, found on the Appian way near the 
 tomb of Cecilia Metella, and carried to the Farnese gardens 
 in the beginning of the sixteenth century. 
 
 Neoptolemus bearing Astyanax (?). (Farnese.) 
 
 Tiberius. Two colossal marble statues.' {Farnese.) 
 
 LARGE HALL. 
 
 Fixed to the wall. At the sides, 
 
 The Heraclean Tables. Of these two celebrated oblong 
 bronze tables, the larger is written on both sides, bearing 
 on the obverse an inscription in Greek, and on the reverse, 
 another in Latin. The former consists of some decrees of 
 the municipality of Heraclea near Tarentum, defining the 
 grounds consecrated to Bacchus, a part of which had in 
 course of time been annexed by private individuals ; the 
 latter contains a law of Julius Caesar, granting the freedom 
 of the city to the inhabitants of Cisalpine Gaul. 
 
 This table is composed of two pieces joined together in 
 the same frame. One was discovered in 1735 near the 
 river Acalandro in Calabria, and was purchased by M. 
 Ficaroni; later it belonged to the collections of Brien- 
 Fairfax and Carteret- Webb, and finally it became the 
 property of Charles III., king of Naples. 
 
 The second piece was found later near the same river, 
 and from the collection of the Duke of Bovino it passed 
 to the Naples Museum. 
 
24 GROUND-FLOOR— RIGHT. 
 
 2480. The other table, opposite, was found with the 
 second piece just described. 
 
 The Abbot MazoccM, who published these inscriptions, 
 is of opinion they were engraved about b.c. 300. 
 On the eight, 
 
 *2541. A SUN-DIAL in the form of a concave hemisphere. 
 The hours are marked on it by radiating lines, and in the 
 middle is a hole for the gnomon, which is no longer 
 extant. The present is an imitation of the ancient one. 
 The Oscan inscription informs us that Mara Atinius, 
 Mara's son. Quaestor by decree of the Senate, had this 
 sun-dial erected with public money. (Terme Stahiane, P.) 
 
 2542. Oscan Inscription. " Vibus Vinixius, the son of 
 Mara, Qusestor of Pompeii, built this Palaestrum with 
 money which Vibius Adiranus, the son of Vibius, left by 
 his will to the youth of Pompeii." (Pompew.) 
 
 2659. Shaft of a column in greenish cipolUno marble, 
 bearing three Latin decrees in bronze. (^Uome^ 
 On the walls, near the Hercules, 
 
 Two square plates in bronze, engraved in Latin, found 
 at the foot of the Tarpeian rock, among the ruins of the 
 Temple of Saturn. 
 
 2637. The plate beginning with the words " Principium 
 fuit pro tribu," &c. is a fragment of the Lex Cornelia de 
 viginti qucestoribus, or magistrates of finances. 
 
 The 'Eoman number viii. engraved in the upper part 
 shows it to be the eighth table of this law. 
 
 2638. The other, beginning " C. Antonius M. F. Gn. 
 Cornelius," &c. is the Lex Antonia, or the decree confirming 
 the independence of a city called Termessus Major. 
 
 These two tablets are pierced with holes by which they 
 were fastened to the wall. 
 
 ♦THE FARNESE HERCULES. 
 
 This colossal statue, of deservedly high reputation, is 
 perhaps the most celebrated of antiquity. It was sculptured 
 by Glycon of Athens, according to the Grecian inscription 
 under the club, "TAYKON A0HNAIOC EnOIEI.y The god 
 ■ is in an attitude of repose ; his figure is quiet and his 
 aspect serious ; his muscular and athletic limbs are nobly 
 proportioned ; his club rests upon the rock and forms a 
 
INSCRIPTIONS. 25 
 
 snpport for his left shoulder; the lion skin covers the 
 club ; his right hand holds behind him the three apples 
 of the Hesperides. According to the style of sculptors of 
 the best Grecian epoch, his head is small, but it is thought 
 that by this the artist meant to imply the superiority of 
 the physical over the intellectual in the nature of Hercu- 
 les. This statue was found in 1 540 in Caracalla's Thermas 
 at Eome, and, with the inheritance of the Farnese family, 
 it was in 1786 carried to Naples. It was without legs, 
 and Cardinal Alexander Farnese had them restored by 
 Guglielmo delta Porta, after the terra- cotta model made by 
 Michetangeto. In 1560 the ancient legs were found in a 
 well of the Villa Borghese, three miles from the place 
 where the statue had been discovered, and were then 
 restored to the statue, while the legs made by Delia Porta 
 were placed in the museum of the Villa Borghese. One 
 half of the fore-arm, the left hand, and eyes are in plaster. 
 (Height, 9 feet 9 inches.) 
 Near the last window, 
 
 2636. A bronze Plate (opistografa'). It is in Latin and 
 is a part of the law of the tribune Servilius, called lex 
 repetundarum, referring to the illicit fees of magistrates or 
 lawyers ; and on the other side there is the Agrarian law, 
 for the division of lands subsequent to the time of the 
 GraccM. 
 
 *2132. A RUSTIC CALENDAR. Its form is cubical. It is 
 divided vertically into columns, three upon each face 
 of the cube, heading these columns downwards, we 
 find on the top the sign of the zodiac, below this the 
 number of days in the month, the day upon which the 
 Nones began, the number of hours of day and night, 
 the god of the month, the agricultural operations for the 
 month, and the religious ceremonies to be observed 
 throughout it. 
 Near the stairway leading to the easement, 
 
 3615. Public measures in marble, for wheat, corn, &c., 
 with an inscription showing that they had been verified 
 at the Capitol. {Pompeii.) 
 On the wall, on the left of the entrance, 
 
 2487. Five inscriptions — two Latin, two Greek, and a part 
 of an inscription (2402) deserving particular attention. 1 1 
 
26 GBOUND-FLOOE— EIGHT. 
 
 is a table in Greek and Latin, containing a declaration of 
 the Eoman Senate highly honourable to the three Greeks 
 Asclepiades, Polistratus, and Meniscus. 
 Glass case on the right, 
 
 Among the different inscriptions one is worthy of 
 particular attention, namely — 
 
 2554. The Bantina table, found in 1793 in Bantia 
 Oppido in Basilicata. It contains a municipal decree of 
 this town for a treaty of alliance with the Eoman people. 
 As it was found in Campania, where Oscan was spoken, 
 on one side the decree is set forth in that language, and 
 on the other in Latin. 
 
 3706 et seq. Honesty Missiones, or honourable dis- 
 charges given to Eoman soldiers. (^Pompeii.) 
 
 One of these is of the reign of Yespasian, the other of Claudius. 
 They bear the names of the soldiers and of seven witnesses, 
 and gave to the veterans who had served twenty years and 
 more in the second legion, called Adjutrix, the rights of 
 Eoman citizenship, and permission to marry. 
 
 111623 et seq. Four Gold plates bearing inscriptions 
 in Greek. They were found in a tomb at Sibari in 
 Campania along with some skeletons, and refer to an 
 initiation into the mysteries of Bacchus, Ceres, and the 
 Infernal gods. (^Gift of Baron Compagni.) 
 
 Sundry leaden waterpipes with inscriptions. (^Pompeii.) 
 Glass table on the left, 
 
 Bronze seals used as trade-marks. (Bompeii.) 
 Near the bull, 
 
 3828. Public measures for grain, in marble, " verified at 
 the Capitol." {Bompeii.^ 
 
 Stone weight, 100 lbs., with inscription. 
 
 *THE PARNESE BULL. 
 
 Antiope, the wife of Lycus, king of Thebes, was of such sur- 
 passing beauty tliat Jupiter became her lover. She was re- 
 pudiated by her husband, who took Dirce as his second wife. 
 She from motives of jealousy shut Antiope up in a tower, 
 and exposed her new-born offspring (twins) in the forest of 
 Citheron. They were found by a shepherd, who named 
 them Zethus and Amphion. After several years Antiope 
 escaped, and accident led her to the cottage of the shepherd 
 
EGYPTIAN COLLECTION. 27 
 
 who had cherished her children. She recognised them, and 
 remained with them, panting for revenge. One day Dirce 
 went to the forest with her retinue to celebrate the orgies 
 of Bacchus. She met Antiope, and, with the assistance 
 of her women, dragged her into the jungle; but their 
 mother's ciies reached the ears of Amphion and Zethus, who 
 put the women to flight, rescued Antiope, made Dirce 
 prisoner, and bound her to the horns of a wild bull that 
 dragged her over rocks and precipices, until the gods, pitying 
 her, changed her into a fountain, and the twins killed Lycus 
 and took his kingdom. 
 
 This celebrated group represents Dirge's punishment. 
 It is the work of the two famous sculptors of Rhodes, 
 Apollonius and Thauriscus, who flourished long before the 
 reign of Augustus. The sons of Antiope are struggling 
 to cast the bull and tie the ill-fated Dirce to his horns. 
 Antiope stands by encouraging them. On the base, in 
 fine bas-relief, a lyre against a tree, a syrinx, a thyrsus, a 
 mystical basket, and other symbols. This magnificent 
 group was found with the Hercules by Paul III. in the 
 baths of Caracal) a, having been brought, according to 
 Pliny, from Ehodes to Eome. It has been much restored, 
 but was originally cut out of a single block, 12 ft. X 9 ft. 
 
 In the centre of this hall a spiral staircase descends to the 
 basement, where are the 
 
 EGYPTIAN COLLECTION AND CHRISTIAN 
 INSCRIPTIONS. 
 
 FIRST ROOM. 
 
 Latin and Greek sepulchral inscriptions of the Christian 
 and Pagan epoch ; found in the catacombs of Naples, 
 Capua, Rome, and Pozzuoli. The walls are painted in the 
 same style as the catacombs. 
 
 SECOND ROOM. 
 
 An interpretation of the hieroglyphics of this collection has 
 been kindly placed at our disposal by an eminent German 
 Egyptologist. 
 
 Most of the specimens in the collection came from the Borgia 
 Museum, but some were found in Pompeii and at Pozzuoli. 
 
28 BASEMENT. 
 
 Egyptian art was the earliest of all art, and its traces may- 
 be seen in the arts of Grreece and Home many centuries 
 after. This gives a great interest to this collection for 
 purposes of comparison. 
 On the left of the door, 
 
 176. A Toad in nero antico. Though found in Egypt, 
 its perfection and beauty betray Grecian art. (^Borgia.) 
 First glass cupboard (bronzes), 
 
 205. Statuette of Isis, Anubis, and Osiris, side by side. 
 
 244. Isis with the child Anubis on her knee. 
 Between the cupboards, 
 
 315-16. Two wooden images of the god Phta. 
 Second glass cupboard, 
 
 384. Votive offering of a bronze hand. 
 Near the window, 
 
 978. Two columns of Egyptian 6reccm. (^Pompeii.) 
 In the middle, 
 
 999. Altar dedicated to " Isis, the patroness of the two 
 mountains, by the King Ranouterka (of the twenty-seventh 
 dynasty, 750 B.C.), that she might ward off evil from the 
 city Makeran." (Pompeii.) 
 
 *976. Isis — a charming small marble statue in Egyptian 
 style, but of Roman workmanship — holding the key of the 
 Nile in the left hand and . the systrum in the right. This 
 instrument, which gave a shrill rattling sound, was used 
 specially in the rites of her temple. A girdle in marble, 
 clasped by the heads of two crocodiles, surrounds her 
 waist, and her hair and tunic show traces of gilding. A 
 double bracelet surrounds her right arm, and her eyes and 
 eyelashes were painted red. (Pompeii.) 
 
 This statue bore an inscription stating that it was placed in 
 the Temple of Isis at Pompeii by Lucius Ctecilius Phoebus, 
 in fulfilment of a decree of the Decurions. 
 Third glass cupboard, 
 
 Divinities in painted clay. 
 Fourth glass cupboard. 
 
 Images in wood and clay. 
 
 726. Head of a panther in giallo antico. 
 
 754. Cup made of bark. 
 
 756. Frog with eyes of rubies. 
 
 757, 907. Diminutive images in lapis-lazuli. 
 
EGYPTIAN COLLECTION. 29 
 
 On the top of the cupboard, 
 
 635. Small bust of Isis (very fine) in green basalt. 
 Outside the cupboards, 
 
 765-6. Two Ibises. Sacred birds among the Egyptians, 
 and consecrated to Isis. They were thought to purify 
 Egypt. Their beaks, necks, and feet are in bronze, the 
 body in marble. They were found in the Temple of Isis 
 in Pompeii, on the two columns near the window. 
 
 982. Head of a Sphinx in black basalt. The bust is of 
 plaster and modern. 
 Fifth glass cupboard, 
 
 Sacred animals, and alabaster vases for ointments. 
 On the top of the fifth cupboard, 
 
 881. Harpocrates, the god of Silence, represented as an 
 infant. 
 On the walls, 
 
 2347-8. The lids of two mummy-cases. Besides the 
 hieroglyphics, these lids bear representations of deities 
 embossed upon them. They are made of sycamore and 
 coated over with a mastic made of pitch, to keep out the 
 damp and to allow of the design being embossed upon it. 
 
 981. Anubis with the head of a jackal. Marble statue, 
 mutilated. (Farnese.) 
 Last glass cupboard, 
 
 Marble model of an obelisk ; and bronze fragments. 
 In the middle, 
 
 975. Serapis. Marble statue. The god is on his throne 
 clad in a tunic, resting his hand on the head of Cerberus 
 and holding a lance. (Pozzuoli.) 
 
 THIRD EOOM. 
 
 On the left of the door, fixed to the wall, 
 
 1016. Funeral Steles. Six limestone pictures, coloured. 
 The most important and best preserved is the first, — a 
 funeral stele of the scribe Hori, between the fifteenth and 
 sixteenth century before Christ. It is divided into three 
 subjects, one above the other, and on the upper part are 
 represented in bas-relief the three chief Egyptian deities 
 on seats — Isis, Horus, and Osiris, with their attributes. 
 
30 BASEMENT. 
 
 In presence of these divinities is observed the symbolical 
 personification of Death, standing and offering fruit. 
 
 In the next order, Death worshipping his father and 
 mother, and presenting them offerings. In the third order, 
 Death worshipping himself and his consort, when alive. 
 
 This picture was found in a hypogeum of Abydos 
 (^3Iadfune)y a ruined city in Egypt. 
 First glass case, 
 
 Bas-reliefs and fragments of splendid workmanship 
 representing Egyptian deities and their attributes. They 
 are of black basalt. No. 1007 is of wood, and No. 1009 of 
 basalt. Both bear traces of gilding. 
 
 SkCOND glass CUP130ARD, 
 
 Amulets in the shape of eyes, symbolical of the all- 
 seeing Osiris. 
 
 1350. Large scaraboeus (an emblem sacred to the sun). 
 
 1336. Clay joints painted blue to imitate lapis-lazuli. 
 These were probably used as hinges for coffins. 
 Third glass case, 
 
 Four sandals for priests; two in papyrus and two in 
 straw. 
 
 2376. Necklace of precious stones. Sundry necklaces 
 in glass. 
 
 2321. A strip of linen covered with hieroglyphics, and 
 showing traces of gilding. 
 On the wall by the window, on the left, 
 
 2318. Papyrus in Greek, very illegible, of the second or 
 third century after Christ. It was found at Ghizeh, the 
 ancient Memphis, near the pyramid of Pharaoh, in a sub- 
 terranean passage, with more than forty other papyri in a 
 sycamore case. The others were taken by the Turks, who, 
 finding them perfumed, smoked them in their pipes. By 
 chance one of those papyri was bought by a merchant, 
 and we are indebted for it to the Borgian Museum. Jt 
 treats of the excavations of the Nile. 
 
 1069. A granite sepulchral monument. Twenty-two 
 figures are sculptured upon it, representing various priests 
 and scribes of Ammon. According to Champollion, the 
 hieroglyphics state their names, and add that these priests 
 were living during the reign of Eameses II. or Sesostris. 
 
 1070. Fragment of a sarcophagus of granite. From 
 
EGYPTIAN COLLECTION. 31 
 
 the hieroglyphics engraved on this monument we know 
 that the personage buried in it was the head of the 
 scribes ; his name was Pa-ar, born of Her-Neith. On the 
 outside is sculptured the boat of the sun, and above the 
 boat, Anubis, the keeper of Erebus. Below are the gods 
 tliat Death ought to find later. Inside, Isis, with her 
 wings displayed, has on her head a small throne, symbol 
 of her power. Also a demon with a sparrow-hawk's head, 
 and another with a jackal's head. (Memphis.') 
 
 1068. A KNEELING statuc in black basalt, representing a 
 personage kneeling against a pillar covered with hiero- 
 glyphics. This was Ra-ab-nah, a nobleman entrusted 
 with the custody of the seals. He wears an amulet on 
 his neck and bears a small shrine between his knees, 
 exhibiting in bas-relief the image of Osiris, with his attri- 
 butes of a whip, a sceptre, and a shepherd's crook. 
 Beyond the window, on the right, 
 
 2322. Fragment of papyrus, with hieroglyphics dating 
 about 1600 B.C. It includes part of the Book of the Dead, 
 and, as far as it goes, is in good preservation. It was 
 found at Donkol in Nubia, in the coffin which contained 
 the centre mummy, who was a priest of the Temple of 
 Jupiter Ammon, and must have been a giant. 
 Fourth glass case, 
 
 Priestly decorations on papyrus, showing traces of gilt 
 and painted with figures. 
 Fifth glass case, 
 
 Scarabaei and small idols used as amulets. 
 Sixth glass case, 
 
 Sundry amulets and [1441-2] Kilometers. 
 In the glazed niche. 
 
 Five Mummies in sycamore cases. The most perfect one 
 has her hands crossed upon her breast. This muinmy had 
 round her neck a collar made of several amulets, amonir 
 them the eye of a divinity, a mutilated jphallus, a small 
 vase shaped like a pear, some beetles, a Nilometer in 
 cornelian, and a fragment of papyrus. The hair, teeth, 
 and nails are perfect. Found at Thebes. 
 
 As to the ceremonies of the ancient Egyptians in enibalmlDg, 
 
 Herodotus and Diodorus of Sicily write ; 
 " V/omen that had been loved by their husbands or relations, 
 
32 GROUND-FLOOK— EIGHT. 
 
 were not at first delivered to the embalmers. They were 
 kept at horae for some days for fear that their beauty might 
 still fascinate. Thus the jealousy of the Egyptians outlived 
 the object of their love ; by rendering these remains imperish- 
 able, they hoped to keep the departed in their affection, ex- 
 pecting to see the dead body revive when the soul returned 
 after its peregrination. When the corpse was taken to the 
 embalmers, they showed several models of wood, with a 
 ticket, on which was written the price of the different kinds 
 of preparation. The first was a silver talent (about £136) ; 
 the second the fourth part of this sum, and the third (which 
 was only for the poor) cost almost nothing, for it consisted in 
 washing the bodies and laying them in salt for seventy days. 
 " One of the embalmers — the scribe — made a mark on the left 
 side of the abdomen where the incision had to be made. 
 They used for this purpose a sharp Ethiopian stone (Ex. iv. 25). 
 He who made the incision was called Faraschites, because 
 he fled immediately on the completion of the operation to 
 avoid the anger of the bystanders, who threw stones at him 
 and cursed him. The embalmers, on the contrary, were 
 greatly respected. It was they who removed the abdomen, 
 and wrapped linen or cotton round the bodies so skilfully 
 that the hair, eyelids, nails, and features remained intact. 
 The corpse was tlien handed over to its relations, and, after 
 being placed in a case to which they gave the form of a 
 human being, was set standing against the wall of the 
 apartment destined for this purpose. The mummies were 
 adorned with necklaces, beetles, idols of every kind, and 
 bore on their breasts a papyrus, giving their age, name, 
 parentage, and rank." 
 An embalmed Crocodile. 
 The Egyptians were in the habit of embalming their sacred 
 animals. The crocodile is undoubtedly the creature described 
 as the Leviathan (Job xli. 1). 
 1037. Ptolemy V., king of Egypt. A head in Paros 
 marble, of very correct Eoman sculpture. (^Borgia,) 
 
 1072. Portrait of a lady in black basalt, with a liand- 
 some necklace. 
 Opposite the window, 
 
 1048 et seq. Fourteen pear-shaped vases in serpentine 
 marble and Oriental alabaster. These vases were used to 
 preserve the entrails of the dead, as is pointed out by the 
 hieroglyphic inscription engraved on them. The name of 
 the person and that of the protecting goddess are engraved 
 on them also. 
 
^ OF THE ^r 
 
 oN 
 
 FULLEK'S PILLAR. 
 
 UNIVEifeSITl 
 
 Next wall, "'^^'^IFPE^'^^ 
 
 1061. Statuette in calcareous marble, pem^«— isia,^.---'''''^ 
 
 having on its head an Ibis and a lyre. 
 
 1065. Torso in black basalt, inscribed all round with 
 
 small hieroglyphics of admirable execution. 
 
 1035. IsiAC table in alabastrine stone. The upper row 
 is of fourteen figures, all Anubides ; but two of them 
 have human faces, and are worshipping the god Noum or 
 Osiris, represented with his attributes. Under these 
 figures are twenty hieroglyphic lines, which Champollion 
 reads thus : This is a public commemoration of the priest of 
 Horus and other divinities of the upper and lower regions, 
 regulator of the light, that torch that illumines the world, august, 
 gracious, etc. (^Temple of Isis, Pompeii.) 
 
 1036. Funeral stele covered with hieroglyphics in 
 three orders, in painted calcareous stone. 
 
 The first order represents Osiris receiving offerings from 
 four persons. 
 
 The second, four deities receiving offerings from one 
 person. 
 
 The third, two deities seated. Before them a priest ; 
 and behind them, two figures kneeling. 
 
 In the centre of the boom, 
 
 2317. Fragments of a granite obelisk, engraved with 
 hieroglyphics that record its erection by Alphakanes. 
 (^Palestrina.) 
 
 Ascending the staircase, and leaving the hall of the Farnese 
 Bull, a turn to the right brings us to the 
 
 CORRIDOR OP THE FULLER'S PILLAR. 
 
 This corridor contains fragments of ancient frescoes 
 and medallions in stucco, which are unique. 
 On the right in a niche, 
 
 *A Pillar, from the fountain of the shop of the Fuller 
 (Fulhy {Pompeii.') 
 
 On two sides of this pillar are four separate paintings, 
 representing the different operations of the fuller's craft. 
 On the right, a young man bearing a large cage for drying 
 cloth, upon which an owl is perched, bears a brazier in his 
 right hand. An apparatus of this kind is used to this 
 
 D 
 
34 GROUND-FLOOE — LEFT. 
 
 day in Italy. The brazier (scaldino) is lighted and hung 
 from a hook at the top of the cage, over which the damp 
 cloth is spread. 
 
 The picture to the left represents a yonng man scrub- 
 bing a piece of cloth which is hung on a pole ; and the 
 mistress of the establishment, wearing fine bracelets and 
 necklace, and having her hair bound up in a golden net, 
 is receiving a piece of cloth from a girl: while in a 
 row below are four lads fulling cloth with their feet, in 
 metal vats. 
 
 On the other side is a press for cloth worked with a 
 double screw, and beneath it some cloths hung up to dry ; 
 and three figures, one seated, the other two standing, and 
 engaged in animated conversation about a piece of cloth 
 they hold between them. (1826. Pompeii f) 
 
 The vats and the soap may be seen in the Fuller's shop where 
 this pillar was found, at Pompeii. The trade is a very 
 ancient one : see 2 Kinprs xviii. 17. 
 
 INTRODUCTION TO THE STATUAEY. 
 
 Imagination is the treasure-house of art, for art is the 
 incorporation of the ideal. All ancient nations except the 
 Jews gave a corporeal similitude to their gods, whose ideal 
 form was the conception of beauty, as they understood it, 
 however roughly they may have expressed it in their 
 images. The first image of Pallas in the Parthenon was 
 a mere block of wood ; this developed by Greek art and 
 Greek taste became the glorious Athena of Phidias. From 
 the head rudely carved upon the " truncus ficulnus inutile 
 lignum" art in course of time evolved the hermes, the 
 bust, the statue, the group, and the bas-relief, and by 
 degrees came the ideal conception of the representation 
 of character and form in marble, until the several types 
 were clearly distinguished and readily recognised. 
 
 Then came precision of execution, grace of form, correct 
 anatomy, and exquisite material, all culminating in the 
 golden age of Greek statuary, of which we have so many 
 examples before us. To understand a Greek statue we 
 must know what the artist intended to convey to our 
 minds — not to our eye. We must know that Zeus and 
 
MASTERPIECES. 35 
 
 Hera were to him power and dignity ; Poseidon, muscu- 
 larity ; Ceres, the irajx/xi^TOip^ maternity ; Apollo, youthful 
 beauty, with that effeminacy which is characteristic of the 
 male musician ; Artemis, activity ; Pallas, gravity ; Mars, 
 manliness ; Hermes, vigour ; Aphrodite, attractiveness ; 
 Bacchus (who was brought up as a girl), the effeminacy of 
 avoluptary ; Eros, mischief; and Sileni and Satyrs, joviality 
 
 It is just in their misconceptions of these ideals that 
 restorers of statues have failed so lamentably ; it is the 
 want of this conception that makes us unable to dis- 
 tinguish a good statue from a bad one, and that leads an 
 uneducated eye to look upon a beautiful torso as a mere 
 stone fragment, the useless encumbrance of a gallery. 
 
 All the best statues in this large collection are un- 
 doubtedly Greek ; some imported from Greece, others 
 perhaps executed in Italy by Greek artists at a time 
 considerably before the destruction of Pompeii, w^hich was 
 destroyed when art was in a state of decadence. 
 
 PORTICO OP THE MASTERPIECES 
 
 {Capo lavori). 
 
 This gallery contains some wonderful examples of the 
 best period of Greek art. 
 
 6005. Juno (on a column). A bust expressing great 
 firmness of character and dignity (Virg. ^n. i. 46). {F.) 
 
 6006. Orestes and Electra. A group remarkable for 
 its style, the simplicity of its attitude, and the strong 
 family likeness between brother and sister. Electra is 
 here represented in the act of instigating Orestes to 
 murder Clytemnestra. (Herculaneum.) 
 
 f 6007. Pallas. An Archaic statue, considered one of 
 the finest extant. It is full of spirit, though the attitude 
 is stiff and awkward, and the drapery formal ; the hair 
 and ornaments were gilt when it was found, but no traces 
 remain. She wears a helmet adorned with a fierce 
 gryphon, like that of her statue in the Parthenon. Her 
 hair is elegant, and her neck adorned with a double row 
 of pearls ; her joeplum is fastened by a fibula in the form 
 of a serpent. The segis is attributed to her instead of the 
 shield, in conformity with Horn. II. v. 733, and is fastened 
 round her neck by a broad belt, and, wrapped over the 
 
 D 2 
 
36 GEOUND-FLOOE— LEFT. 
 
 left hand and arm, serves as well for defence as defiance 
 (Hor. Od. iii. 4, 57 ; Herod, iv. 189). (HercuJaneum.) 
 
 6008. Artemis. A small statue, showing traces of 
 gilding. The style is Archaic Greek, bnt there is great 
 freedom of movement. (^Pompeii. ^ 
 
 6009-10. Harmodius and Aristogiton. Two celebrated 
 friends who delivered Athens from the tyranny of the 
 Pisistratidse, B.C. 510. They are represented in the act of 
 killing the tyrant Hipparchns. The Athenians held them 
 in great honour, and raised statues in their memory, which 
 were carried off by Xerxes when he took Athens. The 
 statues before us are in Archaic style, but their execution 
 betrays Greek art, and the pupils of the eyes prove a 
 late period. Their anatomy is excellent, and their pose 
 incomparable. The head of Aristogiton has been added 
 at some remote period ; it is in the style of Lysippus, 
 and the face bears a resemblance to Alexander the 
 Great. The statue of Harmodius bears marks of a bronze 
 cross-belt. (Farnese.) 
 
 109621. Bust of a woman with remarkable head-drees, 
 in Archaic style. {Street of Fortune, Pompeii, 1873.) 
 
 6011. DoRYPHOKUS, by Polycletus, a celebrated statuary 
 of Sicyon, B.C. 232. He was reckoned by the ancients 
 superior to Phidias, and his chef-d'ceuvre, a Doryphorus or 
 picked lancer from the body-guard of the king of Persia, 
 was so happily executed that it was looked upon as the 
 model, and called ''the Bule." This example is a fine 
 Grecian sculpture. (JELerculaneum?) 
 
 6012 to 6015. Four small recumbent statues on the 
 same pedestal, thought to have formed part of the gifts 
 sent by Attains, king of Pergamos, to the temple at 
 Delos. He defeated the Gauls, and the Athenians held 
 him in great honour. He died B.C. 197. 
 
 These four statues represent the four great triumphs of 
 Greece over the Barbarians, namely — 
 
 6012. An Amazon conquered at the river Thermodon in 
 Cappadocia by the Greeks (Virg. Mn. v. 311). Diodo- 
 rus gives an account of their customs. They are said to 
 have spread over a great part of Asia Minor and as far as 
 the Caspian Sea, and to have founded Smyrna, Ephesus, 
 and other towns. Slie lies dead upon her spear, with the 
 fresh blood still flowing from her wounded breast. The 
 
MASTERPIECES. 37 
 
 relaxation of the limbs and the parted lips, which have 
 hardly ceased to breathe, are remarkably well executed. 
 
 6013. The Giants conquered by Zeus and Hercules 
 when they piled up Pelion on Ossa and attempted to scale 
 heaven. 
 
 The giant Typhoeus is here represented. The legend 
 ran that Zeus buried him beneath Sicily, with his head 
 under ^tna, from whence he continued to belch out sand 
 and fire (Ovid. Metam. v. 350). This, too, is an admirable 
 sculpture. 
 
 6014. A Persian conquered at the battle of Marathon, 
 B.C. 490, when Miltiades drove back the invading host 
 from Greece. He is completely dressed, and lies upon his 
 shield, with his falchion at his side. The face is of ad- 
 mirable expression. 
 
 6015. A Gaul conquered by Attains himself, and exe- 
 cuted in commemoration of the' victory. The pose is 
 the same as that of the Dying Gladiator at Rome, but the 
 attitude is reversed. The deep wounds, half-closed eyes, 
 and motionless limbs show him at the last gasp. 
 
 This is a fine Grecian statue, and the realism of it is 
 most impressive. {Farnese.) 
 
 6016. Adonis. Originally a fine statue, but so restored 
 as to be scarcely recognisable. (^Amphitheatre of Capua.) 
 
 *6017. Venus Victrix. An admirable work, much 
 praised by Winkelmann. The limbs are supple, the atti- 
 tude elegant, and the whole composition absolutely life- 
 like. She treads under foot Minerva's helmet, and bears 
 on her brow Juno's diadem. The arms are a restoration 
 by Brunelli, and probably not like the original ones, for 
 the inclination of the body and the fragments of the 
 ancient arms make it probable that the figure originally 
 held up a shield, and this is the more likely because when 
 Capua (which was destroyed in the Second Punic War) 
 was rebuilt by Julius Ceesar, Yenus Victrix became her 
 tutelary deity, and was no doubt represented by this 
 exquisite statue, which was found in the Amphitheatre of 
 Capua in the seventeenth century. It is very much in 
 the style of the " Venus de Milo " in the Louvre. 
 
 *6018. ^SCHINES, an Athenian orator, who flourished 
 B.C. 342. This statue has been said by some to represent 
 Aristides. Clad in a mantle, with his right arm on his 
 
38 * GROUND-FLOOK— LEFT. 
 
 breast, he seems in the act of pronouncing an oration. 
 His appearance is calm, his head bald, and his expression 
 natural. 
 
 This statue is universally esteemed of surpassing ex- 
 cellence. {Theatre of Herculaneum?) 
 
 *6019. Psyche. A fragment. This pure Grecian sculp- 
 ture, which is esteemed by many the gem of this collection, 
 may well belong to the time of Praxiteles. 
 
 The idea conveyed by her name, which signiJ&es " the 
 soul," has been embodied by the sculptor in this charming 
 work, which combines grace of form and beauty of feature 
 with pensive melancholy and sweetness of expression. 
 
 She was represented with the wings of a butterfly, of 
 which the traces remain, but the statue has unfortunately 
 been much mutilated, and has evidently at some time 
 been restored, and the restoration subsequently removed. 
 {Capua.) \ / 
 
 *6020. Venus Call^^pige. Although this statue is 
 attributed to Praxiteles, and has many admirers, it has 
 been very severely handled by some excellent critics. It 
 is a partly draped statue, and was a good deal restored by 
 Albaccini. {Golden house of Nero, Borne.) 
 
 6021. A large porphyry basin on fine pedestal. The 
 
 handles are formed of ser23ents. It has been much 
 
 repaired. {Baths of Caracalla, Borne.) 
 
 y^i^y^i^i ^*6022. A EiW«^ carrying the infant Bacchus. This fine 
 
 -'Grecian group is probably as late as the time of Hadrian, 
 
 who died at Baia, a.d. 138. 
 
 This beautiful sculpture was found in the Agra Bomano, 
 with the Faun's head wanting. {Farnese.) 
 y 6023. Homer. This is frequently cited as the finest 
 bust in Europe of the great blind poet. {Farnese.) 
 
 He probably lived about 1000 B.C. ; that is, in the time of 
 Solomon. The uncertainty of his birthplace is recorded in 
 the following elegiac : 
 
 " Stoyrna, Chios, Colophon, Salami s,- Rhodos, Argos, Athenee, 
 Orbis de patria, certat Homere tua." 
 
 6024. Minerva. A statue in perfect Grecian style, 
 wearing a double mantle. Her breast is adorned with a 
 cuirass bordered with serpents. On her head, a helmet 
 adorned with two Pegasi and a Sphinx. {Farnese.') 
 
 6025. The younger Brutus {on an ancient column). This 
 
MASTERPIECES. 39 
 
 bust is admirably executed and quite perfect. {House of 
 Popidius, Pompeii.) 
 
 *6026. Nereid. The nymph, seated on a sea-monster 
 {jpistrix)^ is gracefully holding up her hand. A master- 
 piece of Grecian sculpture, but much restored. (Posilipo.) 
 
 6027. Juno. One of the finest examples of this deity. 
 She is robed in a flowing mantle that displays the bust. (F.) 
 
 6028. PoMPEY the Great {on a column from Pompeii). 
 A bust of rare perfection. {House of Popidius, Pompeii.) 
 
 6029. Agrippina, wife of Germanicus, mother of Caligula, 
 and of Agrippina, the mother of Nero. 
 
 Tiberius exiled her to the island of Pandetaria, where 
 she died of starvation, a.d. 26. She left nine children, and 
 was universally regretted (Tac. Ann. i. 2). 
 
 This statue shows her seated on a chair, with her head 
 gently inclined, and her arms slightly raised from her 
 knees, as if wringing her hands in despair at the slow 
 approach of death. Her feet are crossed, and the whole 
 work is full of pathos. Great authorities give unqualified 
 praise to this statue. {Farnese.) 
 
 *6030. Antinous. A favourite of Hadrian, whose statue 
 in various characters is familiar to every student of 
 Grecian art in Italy. When Antinous died, Hadrian 
 caused temples to be erected to him in Bithynia (where 
 he was born), as well as in Italy and Greece, and wished 
 it to be believed that he had taken a place among the 
 constellations. This statue, though inferior to many in 
 the Vatican, is in good Grecian style. 
 
 6031. Antoninus Pius {on a cipollino column from Pom- 
 peii). A perfect bust, with the fine open countenance 
 suited to his exemplary character as an Emperor, and 
 wearing a cloak knotted on the right shoulder. The 
 curly hair and beard are very well executed. {Baia.) 
 
 6032. Faustina. A wicked woman, wife of the Em- 
 peror Antoninus. This beautiful and perfect bust stands 
 on a cipollino marble column from Pompeii. {Baia.) 
 
 *6033. Caracalla. A bust full of expression and life, 
 with its frowning brows, thin lips, and wrinkled forehead, 
 all displaying the cruel disposition of this Emperor. He 
 was assassinated a.d. 217, after a degraded and wicked 
 life. {Farnese.) 
 
 6034. Torso of Bacchus. A work of great celebrity. 
 
40 GEOUND-FLOOR — LEFT. 
 
 The curly locks prove who was originally represented by 
 this exquisite fragment. It represents the god in the 
 vigour of youth, and is of wonderful execution. (Farnese?) 
 *6035. Torso of Venus. An original Greek work, 
 executed about the time of the Venus Cnidus of Praxi- 
 teles, who died 324 B.C. (Itome.) 
 
 The Portico of the Emperors will be taken next, and the reader 
 is recommended to return to the Great Hall, and enter this 
 Portico by the door next to the turnstile, as the numbers 
 begin from that end. 
 
 THE PORTICO OP THE EMPERORS. 
 
 The Portico of the Emperors contains portraits of all 
 the Eoman emperors, including Commodus and Caligula, 
 whose busts are very rare, as on account of their odious 
 lives the Eomans made a point of destroying every trace 
 of them after their death. 
 On the left, 
 
 *6038. Julius C^sar. A celebrated bust, selected by 
 Napoleon III. for the frontispiece of his " Life of Caesar." 
 (Farnese.) 
 On the eight, 
 
 6039. The same, in a short mantle with a sword. On 
 the breastplate, an eagle. Head by Albaccini. (Farnese?) 
 
 His distinguished name was borne by his eleven successors, 
 who i-eigned in the following order and died in the years 
 indicated: — Julius, B.C. 44; Augustus, a.d. 14; Tiberius, 
 A.D. 37 ; Caligula, a.d. 41 ; Claudius, a.d. 54 ; Nero, a.d. 
 68 ; Galba, a.d. 69 ; Otho, a.d. 69 ; Vitellius, a.d. 69 ; 
 Vespasian, a.d. 79 ; Titus, a.d. 81 ; and Domitian, a.d. 96. 
 Juhus Csesar was a man of great eloquence, distinguished 
 himself in Spain, and was made Consul. He governed Gaul 
 and invaded Britain, till then unknown. Owing to his 
 jealousy of Pompey, he crossed the Kubicon and conquered 
 Italy in sixty days. He finally defeated Pompey at Pharsalia, 
 joined Cleopatra, conquered Egypt, and returning to Rome 
 was made perpetual Dictator. He was stabbed by Brutus, 
 March 15, B.C. 44. 
 
 On the left, 
 
 6040. Augustus. A colossal statue. Head modern. (B'.) 
 A prudent and brave man. Defeated the Republicans at 
 
 Philippi. Conquered Antony at Actium, and closed the 
 
POKTICO OF THE EMPEROES. 41 
 
 gates of the Temple of Janus, in token of universal peace, the 
 year our Saviour was born (Hor. Od. iv. 15). He died at 
 JS'ola after a reign of forty-four years. Virgil, Horace, and 
 Ovid praise him. The character of -^neas i)ersonated him. 
 He was a polished scholar, 
 
 6041. LiviA as a priestess. She was wife of Augustus 
 and mother of Tiberius. (^Pantheon, Pompeii.) 
 
 6042. Marcellus. A bust in a cloak. A celebrated 
 Eoman general (Virg. Mn. vi. 855). (Farnese.) 
 
 6043. Tiberius. A bust. (Farnese.) 
 
 As a private citizen he was much esteemed, but he was an 
 extremely vicious and cruel Emperor. 
 
 6044. Drusus, brother to Tiberius, with the parazoniwm 
 in his left hand, and a mantle. (Pantheon, Pompeii.') 
 
 6045. Agrippina. Mother of Nero. A bust. (Farnese.) 
 
 6046. Caligula. This statue with, its sunken eyes is the 
 most authentic of this infamous man ; a cloak covers part 
 of his armour, which is adorned with bas-reliefs. The head 
 was used by some boatmen on the Garigliano to fasten 
 their boats to, and the trunk was found in the refuse of an 
 inn near the river. The Marquis of Yenuti bought the 
 fragments in 1787, and had them repaired. (Minturno.) 
 On the eight, 
 
 6047. Li VIA. A well-draped statue. (Pompeii.) 
 
 6048. Augustus as a youth. A bust. (Farnese.) 
 
 6049. T'iBERius. A small statue in a cloak. (Farnese.) 
 109516. Unknown; perhaps Augustus. A bust. (P.) 
 
 6050. Tiberius as a youth. A bust. (Herculaneum.) 
 
 6051. Tiberius crowned. A colossal bust, the armour 
 adorned with trophies. (Farnese.) 
 
 6052. Tiberius. A bust. (Farnese.) 
 
 6053. Tiberius as a youth, holding a cornucopia. (F.') 
 
 6054. Agrippina Junior. Bust with cloak. (Farnese.) 
 
 6055. Drusus, son of Tiberius. A statue with a cloak. 
 (Herculaneum.) 
 
 On the left, 
 
 6056. Claudius. The Emperor is seated and wears the 
 paludamentum. This statue was one of the first found in 
 Herculaneum. 
 
 6057. Antonia, wife of the younger Drusus. A draped 
 statue. (Farnese.) 
 
42 GROUND-FLOOE— LEFT. 
 
 6058. Nero (on a column). A crowned bust, (i^.) 
 
 He began his reign well, but after he had murdered his 
 mother he plunged into every kind of abominable vice and 
 cruelty. He executed his blameless tutor, Seneca ; set fire 
 to Rome, massacred the Christians, and eventually com- 
 mitted suicide. 
 
 6059. ViTELLius (some say Titus). He wears a tunic 
 and cloak; on bis armour are two dragons and some 
 beautiful bas-reliefs. He was brought up at Capri in tbe 
 Court of Tiberius, and was a notorious glutton. The bead 
 and neck are modern. (^Herculaneum.) 
 
 6060. Galea, or perhaps Claudius (on a column). A 
 crowned bust with a cloak. (Farnese.^ 
 
 6061. Otho. a bust with cloak. (Farnese.) 
 *110892. Titus. A colossal head. (Borne.) 
 
 Titus became known for his valour, especially in the siege of 
 Jerusalem. He was dissolute in his youth, but after he 
 became Emperor he was a pattern of virtue. He was in 
 power at the time of the destruction of Pompeii, and brought 
 valuable assistance to the inhabitants. He was deeply 
 lamented at Rome. 
 
 6062. Julia, wife of Titus. An excellent bust. The 
 high head-dress is curious. (Farnese.) 
 
 6063. Nerva (on a column). A head on a modern bust, 
 (Farnese.) He succeeded Domitian, and was a most 
 exemplary Emperor. He died a.d. 98. 
 
 On the eight, 
 
 6064. Britannicus (?). The hand held out as if de- 
 claiming. He was poisoned by the witch Locusta at 
 the instigation of Nero. (Farnese.) 
 
 6065. Britannicus (on a column). A bust. (Farnese.) 
 
 6066. Vespasian. A fine bust. (Farnese.) 
 
 He began the siege of Jerusalem, which was achieved by his 
 son Titus, and was proclaimed Emperor at Alexandria. He 
 effected great refoims, and was very popular. He was the 
 first Roman Emperor who both died a natural death (a.d. 79) 
 and was succeeded by his own son. 
 
 6067. Hadrian. A bust with armour, adorned with a 
 Medusa's head. (Farnese.) 
 
 He was a warlike man, and built a wall eighty miles long 
 between Carlisle and Newcastle to keep out the Caledonians. 
 
PORTICO OF THE EMPERORS. 43 
 
 He succeeded Trajan, rebuilt Jerusalem, and called it iEtia. 
 He erected a statue uf Jupiter on the site of our Lord's tomb, 
 and one of Venus on Calvary. He wished to enrol Christ 
 among the gods of Rome. His reign was good, but his 
 private life infamous. He died at Baia, a.d. 138. 
 
 6068. Vespasian. A colossal head. (Farnese.') 
 
 6069. Hadrian. A bust. (Farnese.) 
 
 6070. Marcus Aurelius Carinus (?). A bust. (Capua.) 
 
 6071. Antoninus Pius (on a column). A bust. (Farnese.) 
 
 He succeeded Hadrian, and was an exemplary monarch. He 
 raised a rampart between the Firths of Clyde and Forth in 
 Britain, but waged no war during his reign except in defence 
 of the empire. He died a.d. 161. 
 
 Ox THE LEFT, 
 
 6072. Trajan. A statue in a short tunic and holding 
 the parazonium. The armour has some bas-relief upon it, 
 and the statue is a fine specimen of art. (1787. Minturno.) 
 
 On the eight, 
 
 6073. Trajan. A statue with a cloak. (Farnese.) 
 
 Trajan succeeded Nerva, was a benevolent prince, bridged 
 over the Danube, and made Dacia a Roman province. He 
 extended his conquests to India, and died a.d. 117. The 
 celebrated column at Rome records his victories. He was 
 very cruel to the Jews. His reign was one of great splendour, 
 but his private life was vicious. 
 
 On the left, 
 
 6074. Plotina (on a column), the wife of Trajan, with 
 singular headgear. A bust. (Farnese.) 
 
 6075. Hadrian. A bust with a cloak. (^Farnese.) 
 
 6076. Sabina. a bust. Fine head-dress. {Farnese.) 
 On the eight, 
 
 6077. DoMiTiAN, the last of the Cassars. Much restored. 
 (Farnese.) 
 
 He succeeded his brother Titus, whom he is thought to have 
 poisoned. His reign began well, but he proved immoral 
 and superstitious, and very foolish. He was assassinated 
 A.D. 96, and the Senate refused him a funeral. 
 
 On the left, 
 
 6078. Antoninus Pius. A fine colossal bust. (Farnese.) 
 
44 GBOUND-FLOOK— LEFT. 
 
 *6079. Marcus Aurelius. A fine bust with a cloak. {F.) 
 He was by far the noblest of the Roman Emperors, and was 
 deservedly beloved. He was a hard-vvorkin<r, self-denying 
 man of letters, of guileless life, A celebrated equestrian 
 statue of him, deservedly eulogized by Michael Angelo, and 
 considered the most perfect in the world, stands on the top 
 of the Capitoline hill at Eome. For a charming essay 
 on his life, see "Seekers after God," by Canon Farrar. 
 (Macmillan.) 
 
 6080. Faustina, wife of M. Aurelius. A fine head on a 
 bust of Oriental alabaster. (Farnese.) 
 
 6081. Lucius Verus. A fine statue in a tunic. (^Farnese.) 
 He was a successful general, and a short time Emperor. He 
 
 died of apoplexy in Germany. He was an inveterate glutton, 
 fond of the lowest company, and is said to have spent on 
 one banquet to twelve guests, £32,200. 
 
 6082. Marcus Annius Verus. A very fine head on a 
 yellow marble bust with a cloak. {Farnese.) 
 
 6083. LuciLLA, wife of Verus. Well preserved. (F.) 
 
 6084. CoMMODUS. A very interesting head, the likenesses 
 of this Emperor being very rare, as the Komans demolished 
 them on account of his crimes. He was murdered a.d. 192. 
 (Farnese?) 
 
 6085. Manlia Scantilla. A head on an alabaster bust, 
 in perfect condition. (^Farnese.) 
 
 6086. Septimius Severus, father of Caracalla. A bust 
 with a peculiarly striking countenance. (Farnese.') 
 
 He was the most warlike of the Roman Emperors, and rebuilt 
 the Caledonian wall in Britain. As a monarch he was 
 cruel, and never did an act of humanity or forgave a fault. 
 He died at York, a.d. 211. 
 
 6087. Julia Domna. A fine head on an alabaster bust. 
 (^Farnese.^ 
 
 6088. Caracalla. Assassinated a.d. 217, after an in- 
 famous life. He was son of Severus. (^Farnese.) 
 
 6089. Plautilla, wife of Caracalla and murdered by 
 him. This bust is of great artistic merit, and the head- 
 dress is curious. (Farnese.) 
 
 On the eight, 
 
 6090. Marcus Aurelius in his youth, wearing a cloak. 
 A head on an Oriental alabaster bust. (Farnese.) 
 
 6091. The same. A fine bust. (Farmse.) 
 
MAKBLE STATUES. 45 
 
 6092. The same. A statue with tunic, cloak, and fine 
 greaves. (Farnese.) 
 
 6093-4. The same. A bust. (Farnese.) 
 
 *6095-6-7. Lucius Verus. {Farnese.) 
 On the left, 
 
 6098. Heliogabalus. A fine bust. (Farnese.) 
 
 He chose a senate of women, made his horse a consul, was 
 cruel, foolish, and licentious, and was murdered a.d. 222. 
 
 6099. Pupienus. A fine bust. (Farnese.) 
 
 He was of low extraction, but a dignified and serious Emperor, 
 and was massacred by the Prtetorian guards a.d. 236. 
 
 6100. Peobus. a bust with a cloak. (Farnese.) 
 
 He was a warlike n^.an and an excellent Emperor. He introduced 
 the culture of the vine into Gaul, but his army mutinied 
 because he employed them on drainage works at Sirmium 
 and murdered him, to the great sorrow of the Koman people. 
 
 On the right, 
 
 6101. A bust in porphyry, with a Medusa's head in 
 white marble. Unknown. (Farnese.) 
 
 6102. Maximinus. A statue with the paludamentum. 
 The legs and arms are modern. (Farnese.) 
 
 6103. Julia Domna. A bust. (Farnese.) 
 
 She was a Phoenician, and very celebrated for her knowledge of 
 geometry and philosophy, but her private life was infamous. 
 
 PORTICO OF THE BALBI. 
 
 In the centre, 
 
 *6104. Marcus Nonius Balbus, JUNIOR. By far the finest 
 equestrian statue yet discovered. He rides after the 
 Greek fashion, without saddle or stirrups. He holds the 
 reins in his left hand, which has a ring on one of its 
 fingers, and raises up the right as if to thank the inha- 
 bitants of Herculaneum cheering their patron. He wears 
 sandals, a short tunic, and a breastplate that leaves his 
 belt visible. He seems in the act of stopping his steed. 
 This statue was kept in the Museum of Portici ; and in 
 1799, during the riots, a cannon ball carried off the head. 
 The fragments were collected, a cast taken, and the head 
 as now seen was modelled by Brunelli. (1739. H.) 
 
46 GEOUND-FLOOE— LEFT. 
 
 On the left, 
 
 6105. A YOUNG MAN, gesticulating. (Herculaneum.) 
 
 6106. A Dacian king. A colossal bust. {Farnese.) 
 
 6107. A priestess. A small statue. {Pompeii.^ 
 6108 et seq. Seven boys for fountains. {Pompeii.) 
 6115-7. A Phrygian in paonazzetto marble. A colossal 
 
 statue. The Phrygian is on his knees, holding up a pedes- 
 tal. The extremities are in a stone called paragone. (1^.) 
 6116. (In a niche.) A Dacian king, a prisoner. {F.) 
 6118. A YOUNG Phrygian on his knees. A small coloured 
 marble statue. (Farnese.) 
 
 '|'6119. A HUNTER. A statue, — so well done as to appear 
 alive. He wears a large hat and mantle of sheep-skin, 
 and holds a rope to which are bound a hare and two doves. 
 The legs have been repaired. (Farnese.) 
 
 6120. A young Phrygian. A small statue. (Farnese.) 
 
 6121. A priestess. A statue. (Farnese.) 
 
 6122. {In a niche.) A Dacian king, downcast at being 
 obliged to grace a Koman triumph. (Farnese.) 
 
 6123. A priestess. A statue. {Pompeii.) 
 
 6124. Pyrrhus. On the armour are two Corybantes 
 striking their shields with their swords. {Herculaneum.) 
 
 6125. Sibyl, well draped. A statue. (Farnese.) 
 
 6126. Homer. A fine statue. {Th. of Herculaneum.) 
 
 BUSTS. 
 
 Upper row, 
 
 6127. An orator. (Farnese.) 
 
 6128. Zeno. (Name in Greek.) The chief of the Stoics. 
 (Farnese.) 
 
 6129. Socrates. (Farnese.) 
 
 6130. Lysias. (Name in Greek.) (Farnese.) 
 
 6131. Carneades? (Farnese.) 
 
 6132. Lycurgus. (Vivenzio Museum.) 
 
 6133. Unknown ; with a beard. (Farnese.) 
 
 6134. Sophocles. (Farnese.) 
 
 6135. Euripides. (Farnese.) 
 
 |6136. Lycurgus. The left eye injured and sunken 
 leaves no doubt of the authenticity of this bust. He lost 
 an eye in a riot in Sparta. (Farnese.) 
 
 6137. Hannibal? (Capua.) 
 
 6138. Unknown. Very like Virgil. (Farnese.) 
 
MAEBLE STATUES. 47 
 
 6139. Sophocles. (Farnese.') 
 
 6140. Apollonius of Tyane. (^Farnese.) 
 
 6141. Aratus, the astronomer, contemplating the 
 heavens. (Farnese.) 
 
 6142. PosiDONius. (Name in Greek.) (Farnese.) 
 
 6143. Solon. (Farnese.) 
 
 6144. Periander. A Corinthian tyrant. (Pompeii.) 
 
 6145. Unknown. (Farnese.) 
 
 6146. Herodotus. (Name in Greek.) (Farnese.) 
 
 Lower row, 
 
 6147. Lysias. (Farnese.) 
 
 6148. Attilius Eegulus. (Farnese.) 
 
 6149. Alexander the Great. (Herculaneum.) 
 
 6150. A warrior crowned with ivy. (Farnese.) 
 
 6151. A warrior. (^Farnese.) 
 
 6152. Zeno Citiacus. (Farnese.) 
 
 *6153. Demosthenes. Eemarkable for the expression of 
 the lips, indicating the defect in speech from which he 
 suffered. (Herculaneum.) 
 
 6154. JuBA in old age. (Herculaneum.) 
 
 6155. A bearded philosopher. (Farnese.) 
 
 6156. Archimedes. (^Herculaneum.) 
 
 6157. Themistocles. (Herculaneum.) 
 
 6158. Ptolemy Soter. (Herculaneum.) 
 
 t6159. Antisthenes. Founder of the Cynics. (^F.) 
 6160-1. Euripides. (Farnese.) 
 
 6162. Anacreon. (^Pompeii.) 
 
 6163. Philosopher with a beard. (Herculaneum.) 
 
 6164. Unknown. (Farnese.) 
 
 6165. Sextus Empiricus ? (Farnese.) 
 
 6166. Unknown. (^Pompeii.) 
 
 On PEDESTALS, 
 
 6167. Marcus Nonius Balbus, the elder, according to the 
 inscription found on the plinth. A fine statue. (Theatre 
 of Herculaneum.) 
 
 6168. YiciRiA Archas, mother of Balbus, according to 
 the inscription found on the plinth : 
 
 " . . . . CIRIAE. A. F. ARCHAB. MATRI BALBI D. D." 
 
 This statue represents Yiciria Archas in the decline of 
 life : the head is admirable for the expression. A long 
 
48 GROUND-FLOOR— LEFT. 
 
 mantle is wrapped round her, and her head is covered 
 with a veil. ( Theatre of HerculaneumJ) 
 
 TT OTHER BUSTS. 
 
 Upper row, ^xj^ji^j^ ^^^j.^. 
 
 6169. Unknown. An old man. (Farnese.) 
 
 6170. A boy wearing the jprae<ea;ia. (Farnese?) 
 
 6171. A boy. (Farnese.) 
 
 111386. Emperor with painted hair, perhaps Brutus. (P.) 
 
 6172. A boy. (Po7npeii.) 
 
 6173. A boy wearing the bulla patritia.- (Fompeii?) 
 
 6174. Titus Vespasian ? {Pompeii.) 
 
 6175. A young man. (Farnese.) 
 
 111385. Unknown; supposed to be Pompey. (1878. P.) 
 
 6176. Gallienus. (Herculaneum.) 
 
 *6177. Cicero. The mole on his left cheek is remark- 
 able. Hence his name Cicero. {Farnese.') 
 
 16178. Lucius Junius Brutus I. One of the finest 
 likenesses of the first Eoman Consul. The head is on a 
 fiorito alabaster bust. (^Farnese.) 
 
 6179-80. Unknown. (Farnese.] 
 
 6181. Caius Marius. (Farnese.] 
 
 6182. Unknown. (Farnese.') 
 
 6183. Marcus Arrius Secundus. (Farnese.) 
 
 6184. Claudius Marcellus. (Farnese.) 
 6185-6-7. Seneca. (Farnese.) 
 
 Lower row, 
 
 6188. Vestal. (Herculaneum.) 
 
 6189. Cleopatra. (Herculaneum.) 
 
 6190-1-2-3. Unknown. (Pompeii, Farnese, Hermlaneum.) 
 6194. Vestal called the Zingarella. (Farnese.) 
 6195-6-7. An Empress. (Stahia and Pompeii.) 
 6198 to 6201. Unknown. (Pompeii and Farnese.) 
 
 6202. Sylla, supposed to be Celius Caldus. (H.) 
 
 6203. A PHILOSOPHER. (Pompeii.) 
 
 6204. Lucius Cornelius Lentulus? (Farnese.) 
 6205-6. Unknown. (Farnese.) 
 
 6207. Postumius Albinus ? (Farnese.) 
 
 6208-9. Unknown. (Farnese.) 
 On a pedestal, 
 
 6210. Valerius Publicola. Found with Aristides and 
 Homer, opposite to the stage of the theatre of Herculaneum. 
 
MARBLE STATUES. 49 
 
 In the centre, 
 
 *6211. Marcus Nonius Balbus the elder, according to 
 the inscription found on the pedestal. This equestrian 
 statue is as fine as that of his son, opposite to which it 
 stood in the Basilica (not the Theatre) of Herculaneum. It 
 was found without the head and one hand, which were 
 replaced by Canardi, and modelled from the statue of 
 Balbus as proconsul (6167) in this corridor. 
 On a pedestal, 
 
 6212. Priestess holding a vase in her right hand. (P.) 
 
 6213-4-5. Three torsos. {Farnese.) 
 
 6216-9. Two dogs. {Farnese.) 
 
 6218. Group of two men, scalding a hog. The attitude 
 of the man blowing the fire is nature itself. Both the 
 figures are girt with a sheep-skin. (Farnese.) 
 Opposite (between two small panthers), 
 
 ■f6224. Eepresenting the head, a part of the neck, and 
 of the right arm of the celebrated group of Laocoon ; 
 a Eoman copy executed after the Greek original when 
 still uninjured. The right arm of this fragment turned 
 behind the head proves that the original Laocoon at the 
 Vatican was wrongly repaired by Michael Angelo, who 
 made the right arm stretched out instead of placing it 
 behind the head, as it is seen here. (Rome.) 
 
 6226-7-8. Three torsos. (Farnese.) 
 On the left (beyond the equestrian statue\ 
 
 6229. Britannicus (?) as a youth, wearing the hulla 
 patritia. A small statue. (Telese.) 
 
 6230. Nero (?) as a youth, wearing the hulla jpatritia. A 
 small statue. (Telese.) 
 
 6231. Cicero. A statue. (Pompeii.) 
 
 6232. EuMACHiA, a priestess. A statue expressing 
 amiability and modesty. It stood at the upper end of the 
 Exchange at Pompeii, and bore the following inscription ; 
 To Eumachia, daughter of Lucius, public priestess, this statue 
 was dedicated by the Fullers. (1818. Pompeii.) 
 
 •f6233. Marcus Holconius Rufus. A statue in a tunic 
 adorned with fine bas-relief. Finely sculptured. On the 
 plinth was inscribed " m. holconio m. e. rufo trie. mil. a 
 
 POPUL. II. VIR. I. D. V. QUINQ. ITER AUGUST. CAESARIS SACERD. 
 
 PATRONO COLONIAE." To Marcus Holconius Bufus, son of 
 
 E 
 
50 GEOUND-FLOOR— LEFT. 
 
 Marcus, a Duumvir and magistrate for the fifth time : for the 
 second time Quinquennalis, a military Tribune elected by the 
 people, a priest of Augustus, a chief of the Colony. (Poinpeii.) 
 
 6234. A consul. A statue. (Pompeii?) 
 
 6235. Suedius Clemens. A small statue. (JSerculaneum?) 
 In the centre, on a table, 
 
 6236. Terentius (Latin) and Menander (Greek"). Latter 
 with a beard. Two comic poets. Double hermes. (Farnese.) 
 
 6237. A philosopher. (Farnese.') 
 
 6238. MoscHiON. A small statue. The tragic poet, 
 seated, holding a papyrus. Name in Greek. (Farnese.) 
 
 6239. Herodotus and Thucydides. Double hermes. 
 Names in Greek. (Farnese.) 
 
 On the left, 
 
 6240. Chastity. A finely-veiled statue. (Pompeii.) 
 
 6241. Unknown. A hermes. (Herculaneum.) 
 
 t6242. Daughter of M. Nonius Balbus. A statue. (H.) 
 
 6243. Unknown. A hermes. (Herculaneum.) 
 
 t6244. Daughter of Balbus. A statue. (Herculaneum.) 
 
 6245. Terentius. A head. (Herculaneum.) 
 
 6246. Marcus Nonius Balbus, junior. A statue. (H.) 
 
 6247. Terentia. A head. (Herculaneum.) 
 
 t6248. Daughter of Balbus. A statue. (Herculaneum.) 
 t6249. Daughter of Balbus. A statue. (Herculaneum.) 
 The hair of the daughters of Balbus shows traces of 
 
 gilding. The dress is a tunic with a mantle. All found 
 
 in the theatre of Herculaneum. 
 
 6250. A woman draped. A statue. (Herculaneum.) 
 
 6251. Unknown. A hermes. (Herculaneum.) 
 
 6252. Sylla. a finely-draped statue. (Pompeii.) 
 
 INNER HALLS 
 
 (behind thi Portico of the Balbi). 
 
 FIRST RALL (of Apollo), 
 On the left, 
 
 6253. Apollo with the lyre. A statue. (Farnese.) 
 
 6254. Apollo. A sitting statue with the lyre. (F.) 
 
 6255. Apollo playing the lyre. A statue. (Farnese.) 
 6256-7-8. Apollo. A hermes. (Pompeii.) 
 

 MAR^E STATU:EgC 51 
 
 6259. Ceres. A small statue. (Pompeii.') 
 
 6260. Jupiter. A fragment. (Pompeii.) 
 
 6261. Apollo, seated. (Herculaneum.) 
 
 t6262. Apollo Musagktes, in green basalt ; a stone very- 
 difficult to carve. The left hand holds a lyre, the other is 
 raised to the head. (Farnese.) 
 
 6263. Ceres. A sitting statue. (Farnese.) 
 
 6264. Venus. A mask. (Farnese.) 
 
 6265. Jupiter tonans. A small statue. (Farnese.) 
 t6266. Jupiter. A bust of rare perfection, found in 1818 
 
 in his temple at Pompeii. 
 
 6267. Jupiter. A colossal demi-figure. The finest 
 monument found in the Temple at Cumce. 
 
 6268. Juno (on an ancient column). A head on an 
 ancient bust. (Farnese.) 
 
 6269. Ceres. A richly-draped statue. (Farnese.^ 
 
 6270. Bacchus. A fine head with a fillet. (Farnese.) 
 
 6271. Neptune with a dolphin. A statue. (PcBstum.) 
 
 6272. Bacchus. A fine bearded head with a fillet. 
 Some think it a Plato. (Farnese.) 
 
 6273. Ceres holding a torch and an ear of corn. A 
 statue. (Farnese.) 
 
 t6274. Jupiter Ammon (on an ancient column). A 
 hermes. His hair is waving round the two ram's horns 
 that sprout from his head. (Herculaneum.) 
 
 6275. Neptune. A bust. (Farnese.) 
 
 6276. Diana the huntress. A statue. A hind pursued 
 by a greyhound is beside her. The hind was sacred to 
 Diana on account of its speed. (Farnese.^ 
 
 6277. Apollo hermaphroditus. A small statue. (P.) 
 
 6278. Diana of Ephesus. A statue of Oriental alabaster 
 with bronze extremities. The goddess wears a tower on 
 her head and an aureole decorated with eight griffins. 
 Round her neck a handsome collar of cereals fringed 
 with acorns, and above it a design of female figures in 
 bas-relief. Three lions are upon each arm, and between 
 the arms the numerous breasts symbolical of her nourish- 
 ing the world. Her skirt is covered with mythical and 
 other animals. (Farnese.) 
 
 This statue is one of the best representations extant of the 
 celebrated statue of Diana, which stood in the magnificent 
 temple of Ephesus. " The image that fell down from Jupiter " 
 
 E 2 
 
52 GKOUND-FLOOR— LEFT. 
 
 (Acts xix. 35) was merely a rude block of beech; but 
 the Ephesian Artemis whose silver shrines brought " no 
 small gain unto the craftsmen," was such a statue as this 
 one. The priests are said to have killed the sculptors of it, 
 lest they should own to having made it. The Ephesian 
 Artemis must not be confounded with the Greek goddess of 
 the same name. The Greeks found the worship of the 
 ancient Asiatic goddess when they settled in Ionia ; and as 
 she was the goddess of pools and rivers, and so far had the 
 attributes of their maiden goddess, they grafted her into 
 their system, as was their wont, and gave her the name 
 Artemis, which she has borne ever since. 
 
 6279. Diana drawing the bow. A statue. (Farnese.) 
 
 6280. Diana Lucifera. A statue. She wears a long 
 tunic thrown round her, and holds a torch in her right 
 hand. {Capua.^ 
 
 In the centre, 
 
 6281. Apollo. A porphyry colossal statue. The god 
 is seated crowned with laurel, wearing a tunic, and hold- 
 ing the lyre and a bow. The extremities are in white 
 marble from Luni. {Farnese.) , 
 
 SECOND HALL (of Mars). 
 On the left, 
 
 6282. Pallas (on a column). A bust. (Farnese.) 
 
 6283. Venus leaving the bath. A statue. (Farnese.) 
 6284-5. Venus. Heads. (Pompeii.) 
 
 *6286. Venus Anadyomene. A statue. In the attitude 
 of the Venus dei Medici. Her attire lies on an amphora. 
 The head and legs have been repaired. (Farnese.) 
 
 6287. Venus genitrix. A small draped statue. (P.) 
 
 6288. Venus in the same attitude as the VenV;S dei 
 Medici. (Farnese.) 
 
 6289-90. Venus. Heads. (Pompeii.) 
 
 6291. Venus and the dolphin. A statue oi Faustina in 
 the attitude of the Venus dei Medici^ with an elegant 
 bracelet on her left arm. (Farnese.) 
 
 6292. Venus {on a column) adorning herself. Her hair 
 and dress are painted red. A small statue. (Pompeii.) 
 
 *6293. Venus seated, with her son, who holds an arrow 
 in his hand. A very fine group. (Farnese.^ 
 6294. Venus. A small statue. (Farnese.) 
 
MARBLE STATUES. 53 
 
 6z95. Venus partly draped. Beside her, Cupid on a 
 sea-dragon holds a bird in his hands. His head, left arm, 
 and half of the fore-arm modern. (Pozzuoli.) 
 
 6296. Venus. A small statue. At her side, Cupid on a 
 dolphin seizing a polypus. {Farnese.^ 
 
 6297. Venus seated. She holds a scent bottle ; on the 
 right wrist is a bracelet. (Famese?) 
 
 6298. Venus adorning herself (on a column). (P.) 
 
 6299. Marciana, sister of Trajan, as Venus. She looks 
 elderly. On her head-dress is an ornament originally set 
 with precious stones. The arms are modern. (Farnese.) 
 
 6300. Venus and Cupid. Group. Venus holds up her 
 tunic. Cupid bears a sea-shell. Eepaired. (Farnese?) 
 
 6301. Venus with dolphin. A statue. The lower part 
 of the body and the shoulder are draped. Repaired by 
 Albaccini. (Farnese.) 
 
 109608. Venus holding the apple in her hand, leaning 
 her left arm on the head of a smaller figure of Archaic 
 style. She is dressed in a long tunic. An ordinary 
 statue, but interesting for the painting of the dress. 
 (1873. Pompeii.) 
 
 111387. Venus. A statue in a red tunic. (1879. P.) 
 Most of these Venuses are portraits of Empresses of 
 the latter period of the Roman Empire. More portraits 
 under the form of Venus have been found than actual 
 statues of this goddess. 
 
 6302. Mercury holding a purse in his right hand. He 
 was the god of pickpockets and usurers. (Farnese.) 
 
 6303-4. Pallas (on a column). Busts. {Pompeii.) 
 6305. Bacchus with a panther. A small statue. (F.) 
 t6306. Indian Bacchus. A bust with hermes. (F.) 
 
 6307. Bacchus and Acratus. A fine group. (Farnese.) 
 
 6308. Bacchus. A hermes. (Farnese.) 
 
 6309. Bacchus. A small statue. (Farnese.) 
 
 6310. Indian Bacchus. A hermes. (Pozzuoli.) 
 
 6311. Bacchus with a panther. A statue. (Farnese.) 
 
 6312. Bacchus. A small statue. On the plinth is 
 engraved the following inscription : " n. popidius ampliatus 
 PATER p. s. D." (Temple of Isis, Pompeii.) 
 
 6313. Ariadne. A bust. (Farnese.) 
 
 6314. Antinous as Bacchus. A colossal statue, with a 
 bunch of grapes in its right hand and a cup in the other, 
 
64 GKOUND-FLOOR — LEFT. 
 
 crowned with a vine-garland. The sandals are very fine. 
 (^Farnese.) 
 
 6315. Ariadne. A bust. (Farnese?) 
 
 6316. Bacchus with a panther. A statue. (Farnese.') 
 
 6317. Indian Bacchus {on a column). A bust. (H.) 
 
 6318. Bacchus. This statue, of the time of Hadrian, is 
 known as the Farnese Bacchus. The god is naked, and 
 holding a cup in his left hand ; he rests his arm against a 
 tree covered with leaves and grapes. On his head is a 
 garland of leaves ; he holds up a bunch of grapes with his 
 right hand. 
 
 6319. Pallas with her helmet. A snake at her feet. 
 Colossal. {Farnese.~) 
 
 6320. Pallas. A bust. {Farnese.) 
 
 6321. Pallas. A statue. {Farnese.) 
 
 6322. Pallas. A hermes. {Farnese.) 
 In the centre, 
 
 6323. Mars seated, with the shield. A statue. {F.) 
 
 THIKD HALL {of Atlas). 
 On the left, 
 
 6324. Bacchus. A hermes. {Farnese.) 
 
 6325. Satyr as Bacchus with a panther. A statue. (P.) 
 
 6326. A SMILING Faun, full of expression. {Pompeii.) 
 
 6327. Bacchus holding grapes. A statue. {Pompeii.^ 
 
 6328. A LAUGHING Faun, full of expression. A bust. (P.) 
 
 6329. Marsyas and Olympus. A group. The god is 
 seated on a rock, near Olympus, teaching him to play 
 pan-pipes. A highly esteemed sculpture. {Farnese.) 
 
 6330. A smiling Faun. A bust. {Pompeii.) 
 6331-2. Satyr holding grapes. A small statue. (P.) 
 
 6333. A Satyr crowned with ivy. A bust. {Pompeii.) 
 Front row, 
 
 6334. A Satyr. On one knee, joining his hands. The 
 body is coated with hair. {Pompeii.) 
 
 6335. SiLENUS. A small statue for fountain. {Pompeii.) 
 
 6336. A reclining boy, for a fountain. {Pompeii.) 
 
 6337. A boy. A bust with a cloak. {Pompeii.) 
 
 6338. A winged Cupid with cornucopia. {Borgia.) 
 t6339. A SLEEPING Cupid, with bow, quiver, and arrows. 
 
 A fine small statue. {Farnese.) 
 
MARBLE STATU! 
 
 OF TjiE yr/ 
 
 Back row, \v^ T > *^^__ •« K. 
 
 6340. A Satyr struggling with PanN;S groi])" (1^.>^ 
 
 6341. Silenus. A small statue for a fountaia. (^.) 
 • 6342. A little Faun with a goose. (^Pompeii.) 
 
 6343. A little Faun playing on a flute. (^Pompeii.) 
 
 6344. A sleeping Faun, for fountain. {Pompeii.^ 
 
 6345. A man holding a cup. A small statue. (S".) 
 
 6346. Faun giving grapes to a bird held by a child. 
 {Pompeii.) 
 
 6347. Faun holding a nehride full of fruits. {Farneae.) 
 
 6348. Satyr leaning against a tree. {Farnese.) 
 
 6349. A Silenus. A small statue for a fountain. (P.) 
 
 6350. A Satyr crowned with ivy. (Farnese.) 
 
 6351. Ganymede and the eagle. A group. {Farnese.) 
 
 6352. Bacchus hermaphroditus. {Pompeii.) 
 
 6353. Cupid. Like the Cupid of the Vatican. (Farnese.) 
 
 6354. Bacchus hermaphroditus. A statue wearing a 
 transparent double tunic. (Farnese.) 
 
 6355. Ganymede and the eagle. A group. The boy is 
 embracing an eagle that with its wing touches his 
 shoulders. Both have an animated expression. A fine 
 sculpture, much repaired. {Farnese.) 
 
 6356-7. Ariadne. Hermes. {Farnese.) 
 
 6358. DioscuRUS (? Paris) with a dog. (Farnese.) 
 
 6359. ^sculapius ? A bust. (Farnese.) 
 
 f6360. ^scuLAPius. A colossal statue, wrapped in a 
 mantle, leaning on a long stick with a large serpent 
 twisted about it. Parts of the right arm and stick, with 
 the serpent, have been repaired. Found in the island 
 Tiberina, in a temple dedicated to this divinity. {Farnese.) 
 
 6361. Venus or Libera. A bust. {Farnese.) 
 
 6362. Fortune, an almost colossal statue. Attired in a 
 long tunic, with a cornucopia. Found at Pompeii, in 1816, 
 near the Forum. 
 
 6363-4. Colossal masks, open-mouthed : used as water- 
 spouts. {Farnese.) 
 
 6365. A young Naiad seated on a rock. Ornament of a 
 fountain. {Pompeii.) 
 
 6366-7. Colossal masks. {Farnese.) 
 
 6368. CERh:s, in variegated marble. A statue. {Naples.) 
 
 6369. Cybele with castellated crown. A bust. {H.) 
 
 6370. Isis, in grey variegated marble. She holds in her 
 
6Q GKOUND-FLOOR— LEFT. 
 
 hand the systrum, a musical instrument used in her rites. 
 A statue. (Farnese.) 
 
 6371. Cybele on her throne. A small statue. At the 
 sides two lions, with their paws on the plinth. The head 
 and left hand have been repaired. On it is inscribed : 
 
 VIRIUS MARCARIANUS V. C. DEASI CYBELEM. P. S. {Famese.') 
 
 6372. Isis in grey, with extremities of white, marble. 
 Holding a bronze sy strum. (Famese.) 
 
 6373. Indian Bacchus. A hermes. (Famese.) 
 In the centre, 
 
 6374. Atlas. A statue. He kneels under the heavy- 
 weight of the celestial globe : 42 constellations are de- 
 picted on it ; and as in ancient times 47 were known, it is 
 believed that the others are hidden by his shoulders. A 
 line production. (Famese.) 
 
 *6375. A Cupid entwined by a dolphin. A beautiful 
 group, in Grecian style. The head and feet of the Cupid 
 and the tail of the dolphin are modem. (Capua.) 
 
 FOURTH HALL (of the Muses). 
 On the left, 
 
 *6376. Urania (Astronomy) holding the globe. The 
 head is modem. (Herculaneum.) 
 
 6377. Calliope. A statue robed, having a papyrus in 
 the left hand. (Famese.) 
 
 6378. Mnemosyne. The mother of the Muses, in a long 
 and finely folded tunic. (Herculaneum.) 
 
 6379. A young Hercules. A colossal head. (Famese.) 
 
 6380. An athlete. A small statue. (Pompeii.) 
 
 6381. Unknown. A small armless statue. (^Pompeii.) 
 
 6382. Hercules. A small statue. (Famese.) 
 6383-4. Hermes of Hercules. (Famese.) 
 
 6385. Meleager, in rosso antico. A small statue, resting 
 its left hand on the head of a bronze wild boar. The legs 
 are modem. (Famese.) 
 
 6386. Hermes of Histrion. (Famese.) 
 
 6387. An old man. Hermes. (Herculaneum.) 
 
 6388. A young man leaning against the hermes of 
 Priapus. A small statue found at Pompeii, 1873. 
 
 6389. Discobulus. A small statue. (Pompeii.) 
 
 6390. Ajax wearing a helmet. (Famese.) 
 
MAEBLE STATUES. 57 
 
 6391. Niobe's daughter. A draped statue. (H.) 
 
 6392. Hermes of Hercules. (Farnese.) 
 
 6393. Hermes of a woman. A fine Grecian sculpture. 
 (^Famese.) 
 
 6394. Clio. A statue. The head is modern, (fl".) 
 6395-6-7-8. Euterpe. A statue with a flute, to show she 
 
 was the inventor of musical instruments. {Herculaneum.) 
 
 6399. Thalia. A statue. The Muse of Comedy, hus- 
 bandry, and rural retirement wears a double tunic with 
 wide sleeves. A mask in her left hand. The head is 
 modem. (Farnese.) 
 
 6400. Melpomene (Tragedy), with a mask in her left 
 hand. The head and right arm are modem. (B".) 
 
 6401. Clio, the Muse of History. (Herculaneum.) 
 
 6402. Erato. A statue. The Muse of amorous poetry 
 wears a double tunic ; she has a lyre in her left hand. The 
 upper part and the two arms are modern. (Herculaneum.^ 
 
 6403. Calliope. The Muse of heroic poetry seated, with 
 a papyrus in her left hand. Very spirited. {Farnese.) 
 
 6404. Polyhymnia. A statue. The Muse of memory is 
 in a long tunic, her right hand raised to the left shoulder. 
 Much restored. (^Herculaneum.) 
 
 In the centre, 
 
 6405. A DYING Amazon on horseback. She falls to the 
 right, raising her shield on her left arm. An expressive 
 statue. The arms and legs are modem. (Farnese!) 
 
 6406. Hh:rcules and Omphale. Hercules in a long 
 tunic, his head covered with a slouched cap ; in his hand 
 the distaff and spindle. Omphale, covered with the lion- 
 skin, holds the hero's club. An allegory of love. {F.) 
 
 6407. A WARRIOR ON horseback. He is parrying the 
 blows of his adversary. The head and legs, both of the 
 rider and horse, are modem. (Farnese.^ 
 
 FIFTH HALL (of the Flora). 
 In the centre, 
 
 * 10020. A large mosaic, from the House of the Faun at 
 Pompeii, 1831. 
 
 This fine work is composed of small pieces of marble of 
 different colours. The subject of this mosaic, the only one 
 of such dimensions, is admirable in point of composition 
 
58 GROUND-FLOOK — LEFT. 
 
 and in the arrangement of its figures. It represents the 
 battle of Issus, between the Greeks and Persians. The 
 combatants are 26, with 16 horses. One of the chief 
 figures is Alexander, on horseback, bareheaded, transfixing 
 an enemy with his long lance. On the right, in a mag- 
 nificent chariot, is Darius, king of Persia, who, raising 
 himself higher than the driver, is urging on the soldiers. 
 The ground is strewn with lances, wounded men dying 
 near their horses, pikes, helmets, poignard, &c. There is 
 no glass in this mosaic. 
 On the left, 
 
 6408. A gladiator. A statue. (Farnese.') 
 *6409. Flora Farnese. A colossal statue attributed to 
 Praxiteles. It is one of the most interesting of ancient 
 statues. The attitude is so natural that Flora seems 
 about to advance ; a light robe, so transparent as not to 
 look like marble, covers her fine figure. She has a bunch 
 of flowers in her left hand, and holds up her dress with 
 the right. The head, the left arm with the flowers, and 
 the feet are modem. Found in the Baths of Caracalla^ 
 Borne. 
 
 6410. A gladiator. A statue. (Farnese.') 
 
 6411. Protesilaus. A fine statue. (Herculaneum.^ 
 
 6412. DoRYPHORUS OF PoLYCLETES. Ilermcs. (^Pompeii.) 
 . 6413. Homer. Head on a hermes. (Farnese.) 
 
 6414. Euripides. Head on a hermes. {Farnese.') 
 t6415. Socrates. Head on a hermes, full of expression. 
 The Greek motto adds much to its interest ; according to 
 Visconti, it may be rendered, " Not only now, hut always, it 
 has been my Jiahit to follow only the dictates of my judgment. 
 Mature reflection, I find, after strict examination, to he the best 
 of all things.'' (Farnese.') 
 
 •|-6416. The Farnese gladiator. A statue in true 
 Grecian style. Faint with agony, his trembling knees 
 hardly support him. He has received his death-wound in 
 the heart, and staggers under it. The half-open lips show 
 the difficulty with which he draws his little remaining 
 breath, and the eyes bespeak the depth of his agony. 
 This statue seems as if the unfortunate victim were about 
 to fall at our feet. The head, arms, and hands are modern, 
 but the restoration is generally approved. (Farnese.) 
 
MARBLE BAS-RELIEFS. 59 
 
 SIXTH HALL {of the Gaeta Vase). 
 BAS-RELIEFS. 
 
 On the left, upon the walls, 
 
 From 6550 to 6555. Keversible medallions, with figures 
 carved in relief. {Pompeii and Herculaneum.) 
 
 6556. A MAN, with his dog. A Grecian archaic 
 sculpture from Asia Minor. (Farnese.) 
 
 By the window, 
 
 6570. A sepulchral bas-relief. A woman on a bed. A 
 Cupid is descending towards her. Inscribed " d. flaviae 
 M. SATURNiNAE." (Famese.) 
 
 6573. A man and woman shaking hands. (Farnese.) 
 
 16575. Small bas-relief representing the shop of a 
 maker of metal vases. On the left, a man and boy stand- 
 ing by a pair of scales. In the centre, two men working 
 at an anvil. On the right, a man finishing a vase. In 
 the background, sundry vases and a dog. 
 
 6595. A small bas-relief in Archaic style, representing 
 a feast. Beneath a couch, upon which are three men 
 drinking, a boar's head and two loaves. A curly boy 
 hands the wine from a large vase on the left. (Hor. Od. 
 I. xxix. 7.) 
 
 Two sarcophagi, and sundry bas-reliefs. {Farnese.) 
 
 Ancient galleys. (Fozzuoli and Pompeii.) 
 
 6603. Alto-rilievo representing a marriage, with several 
 standing figures. (Pozzuoli.) 
 
 6605. A sarcophagus. On the chief surface are the 
 portraits of a man and his wife. (Farnese.) 
 
 110565. Ancient galley from Cuma. (1858.) 
 
 On the right, 
 
 111070. Sarcophagus representing Diana and Endy- 
 mion. Found in a house at Sanf Antiifno^ near Naples, 
 where it was used as a water-trough. Eoman sculpture. 
 
 Upon the walls. 
 
 From 6608 to 6660. Masks used as water-spouts. 
 
 Medallions to decorate intercolumnia. 
 
 Among these is one (last wall. No. 6667), painted in red, 
 on the reverse side, which is extremely rare. {Pompeii.) 
 
60 GROUND-FLOOR — LEFT. 
 
 Glass case, 
 
 Various eflBgies of Indian Bacchus and Fauns, of lively- 
 expression. These heads were commonly placed on marble 
 pedestals to point out land-marks. (P. and H.) 
 
 Busts and small statues in fancy attitudes used as 
 water-spouts. {Pompeii and Herculaneum.) 
 
 A small statue of Venus, with bracelets and a gold 
 necklace. (1873. Pompeii.) 
 
 A PHILOSOPHER. Very small head, with the inscrip- 
 tion Diogenes. The inscription is thought to be a 
 forgery. 
 
 6339. A heron holding a lizard in its bill. {Pompeii.) 
 
 6505. A Satyr pressing down a panther. The animaFs 
 mouth was a passage for water. Eemarkable for the 
 expressive countenance of the Satyr. {Pompeii.) 
 
 In the centre {nearest to the windows), 
 
 6670. A large vat, having around it in relief, Jupiter 
 with the eagle ; Mars with his helmet ; Apollo with his 
 lyre ; -zEsculapius with a rod, with a serpent around it ; 
 Bacchus with the thyrsus ; Hercules with his club, and 
 Mercury with his caduceus. {Farnese.) 
 
 6671. A large vat, adorned with vines. {Pompeii.) 
 
 6672. Trapezophore, representing a Centaur carrying 
 Cupid and playing pan-pipes, and Scylla with the remains 
 of a human victim entwined in her tail. {Villa Madama 
 ai Borne.) 
 
 *6673. The " Gaeta vase," around which in bas-relief, 
 Mercury giving the infant Bacchus to the Nymph Nisa, 
 who stretches out her arms to take him. These figures 
 are followed by Fauns and Bacchantes, playing on the 
 flute and cymbals. This work belongs to the happiest 
 epoch of Greece. On the upper part of it in Greek — the 
 Athenian Salpion made this. 
 
 This vase was found at Gaeta, where it was used to 
 moor boats to, as is seen by the marks made by the ropes. 
 Before being taken to the Museum, it was used in the 
 Cathedral of the town as a baptismal font. 
 
 6674. A SARCOPHAGUS representing Amazons fighting. 
 Found at Mileto in Calabria, containing the corpse of Kiug 
 Buggiero. Much repaired. 
 
 6675. A LARGE VAT, representing a bearded Silenus 
 
I 
 
 MAKBLE BAS-RELIEFS. ^1 
 
 presiding over the vintage performed by Satyrs, one 
 of whom is putting grapes into the wine-press ; others 
 are working the lever, while others are carrying grapes 
 in baskets. A Grecian sculpture. (Francavilla' s garden.) 
 
 6676. A VAT, with wreaths of ivy and hucrania, 
 (Farnese.) 
 
 SEVENTH HALL. 
 
 On the left, against the first wall, 
 
 6677. Sarcophagus of a Child. Two Cupids holding a 
 garland. (Famese.) 
 
 6678. A SACRIFICE before the image of a god without a 
 head. According to the inscription, it was a votive 
 offering for Marcus Aurelius's safety and victory. (Borgia's 
 Museum.) 
 
 6679. Initiation into the mysteries of Bacchus. On the 
 right, a bearded priest sacrificing before a plane-tree, 
 holding a ^cup and a vase that he empties on the altar. 
 Behind him two figures, one seated and veiled, the other 
 standing. (Farnese.) 
 
 6680. Young Hercules, with the three apples of the 
 Hesperides. (Herculaneum.) 
 
 6681. Diana, with a dog. She wears a tunic and mantle 
 with quiver and lance. {Pompeii.) 
 
 *6682. The temptation of Helen. Paris, aided by a 
 Cupid, tries to persuade Helen, who is seated with Venus 
 beside her, and Pitho above. Act>POAITH, Venus; 
 AAEZANAPOC, Alexander or Paris; EAENH, Helen; and 
 riElOO, Persuasion. A fine Grecian sculpture. This 
 precious bas-relief was the property of Nicola de Bonis ; 
 later it belonged to the Dukes of Noj\ and was pur- 
 chased for the Museo Borbonico. 
 
 6683. Hercules and Omphale. The twelve labours of 
 Hercules are represented around the monument. Accord- 
 ing to the inscription, "Omphale Hercules Cassia mani 
 FiLiA Priscilla FECIT," it was the fulfilment of a vow rnade 
 to Hercules by Cassia Priscilla. (^Borgia's Museum.) 
 
 6684. Bacchus drunk, supported by a Faun. A Bac- 
 chante playing the double flute, another the castanets, and 
 other figures. A fine piece of sculpture. {Pompeii.) 
 
 ■|'6685. SiLENUS drunk, on an ass. He is resting his 
 
62 GROUND-FLOOR— LEFT. 
 
 arms on the necks of two Fauns : Pan leads the animaL 
 {Pompeii.^ 
 
 6686. Perseus delivering Andromeda. (Farnese?) 
 t6687. Comic scene. Taken from some ancient play. 
 (Pom'peii.) 
 
 t6688. Apollo and the Thiiee Graces. This sculpture 
 is a gem. On the left, Apollo with his lyre disposes his 
 arm affectionately round the neck of an elegant female 
 figure, who is playing the cymbals. On a bed behind him, 
 the other two Graces, one seizing the lyre, the other 
 kneeling. (Found at Ischia.) {Farnese.') 
 
 6689. Orestes seeking refuge in Apollo's temple after 
 having murdered his mother. Apollo's statue, the tripod, 
 the priestess Pythia, and the serpent Python are visible. 
 {Herculaneum.^ 
 
 6690. A WOMAN playing with a bird. (Pom'peii.) 
 
 6691. Tiberius and his mistress riding pillion. {Capri.) 
 
 6692. A negro on a chariot : a warrior is stopping his 
 horses. {Herculaneum.) 
 
 t6693. Sarcophagus portraying a bacchanal. The prin- 
 cipal figures on this beautiful monument are, Bacchus 
 standing on his chariot with his attributes, and Silenus 
 drunk, lying on another chariot drawn by asses. (J^.) 
 
 Second wall, under the first window, 
 
 6694. Jupiter seated. A small bas-relief. {Pompeii.) 
 
 6695. Two men driving a cart. (Pompeii.) 
 
 6696. Cupid" (drawing the bow) and Venus. {Pompeii.) 
 
 6697. Socrates (?) seated and wrapped in a mantle. He 
 holds a cup. A small fine bas-relief. {Pompeii.) 
 
 6701. A sarcophagus representing Bacchus seated on a 
 Centaur. In the middle a medallion with the following 
 inscription : " d. M. s. p. dasumi germani vix. ann. l. v. fili 
 heredes patri dulcissimo." {Farnese.) 
 
 6704. A large pediment of a sarcophagus, representing 
 in bas-relief and in three circles the life and exploits of a 
 gladiator. {Pompeii.) 
 
 6705. A SARCOPHAGUS representing Prometheus having 
 created a man, in the presence of Jupiter, Juno, Mercury, 
 and Neptune, with their attributes. {Pozzuoli.) 
 
 Under the second window, 
 
 •f6711. A very interesting sarcophagus, showing the 
 
MAEBLE BAS-KELIEFS. 63 
 
 race of Pelops and (Enomaus (see p. 171). On the left, 
 CEnomans making terms with relops. In the centre, the 
 king, prostrate beneath his chariot, with his ofF-horse 
 kicking violently ; beyond him, Pelops in his chariot at 
 full gallop ; and on the extreme right Pelops kissing Hip- 
 podamia. The race is said to have taken place at Pisa. 
 (Pozzuoli, 1857.) 
 
 Third wall, 
 
 f 6712. Sarcophagus of a child, representing four chariots 
 racing, driven by children. The boy weeping is remark- 
 ably fine, and the whole work admirable. (Farnese.) 
 
 6713. IcARius's FEAST. Bcforc a house with tiled roof 
 lounges the Indian Bacchus, wearing a long dress, and fol- 
 lowed by Fauns and Bacchantes. Another Faun is taking 
 off his sandals. Icarius and his daughter Erigone recline 
 on a couch, inviting the god to the feast. Before the bed 
 is a table with bread and eatables. A very fine sculpture. 
 (Oopn.) 
 
 |6715. Pedestal representing three Caryatides. At the 
 foot of a tree is seated a woman clad in the Dorian fashion, 
 leaning on her right arm and in evident grief. On each 
 side is a Caryatide wearing a double tunic. They bear a 
 pediment, on the front of which, " Greece erected this trophy 
 after the victory gained over the Garians,^ who had abandoned 
 the Greeks to follow the Persians. (^Avellino.) 
 
 6717. Medallion representing a consul. Half-figure, 
 life-size. (Farnese.) 
 
 6723. Yow TO MiTHRA. Sacrifice of a bull. . (Pompeii.) 
 
 Mithra was the Persian sun-gotl, and is represented allegorically 
 as a young man stabbing a bull, just as the sun penetrates 
 the earth. The tail of the bull ends in ears of corn, to denote 
 plenty. The blood from the bull nourishes all the lower 
 creation, from the sacred serpent to the unclean dog. 
 
 6724. A Bacchante struggling with a Faun. (5".) 
 
 6725. Seven girls hand in hand in bas-relief: Euphro- 
 syne, Aglaia, Thalia (the Three Graces), Ismene, daughter 
 of ^sop of Thales, Kikais, Eranno the charming (perhaps 
 the Phylia of Deodoros), and I'elonnesos. (Herculaneum.) 
 
 6726. Bacchus with a Faun going before him, and 
 playing on the double flute, while a Bacchante dances to 
 the music of a tambourine which she holds aloft. Similar 
 
64 GROUND-FLOOR— LEFT. 
 
 to the bas-relief on the Gaeta vase in the preceding hall. 
 (Farnese.) 
 
 6727. Orpheus, EuRYDicE, and Mercury: (names in Greek.) 
 Orpheus turning his head to bid farewell to Eurydice, 
 whilst Mercury, conductor of souls, commands them to 
 separate. The expression of Eurydice is charming. 
 (Noja's Museum,^ 
 
 *6728. Bacchus presenting the caniharus to a figure 
 almost effaced, near an altar loaded with oblations. The 
 panther reposes at his feet. (Herculanemn.) 
 
 6729. A CONSUL. Half-figure, life-size. {Farnese.) 
 Fourth wall, 
 
 6738-9. Two trophies, one of armour, lance and caduceus, 
 the other of a flag. {Farnese.') 
 
 Among sundry bas-reliefs, most of them from Capua, is — 
 
 6747. Punishment of Marsyas. The unfortunate Satyr 
 tied to a tree, and beside him the executioner. The pecu- 
 liarity of this fragment is the grinder sharpening the 
 knife to skin Marsyas. It reminds us of the picture of 
 the grinder in the Tribune at Florence. 
 
 6753. Pedestal representing a conquered Province, in 
 Phrygian costume. {Farnese.) 
 
 6756. A sarcophagus. Jupiter, Juno, Apollo, and the 
 Muses Euterpe, Polyhymnia, Melpomene, and Thalia, are 
 carved around it. {Capua.) 
 
 6757. Pedestal representing a province. {Farnese.) 
 
 6762. A sarcophagus. The outside fluted. {Farnese.) 
 
 6763. Pedestal representing a province. {Farnese.) 
 
 Fifth wall, 
 
 6776. Sarcophagus, adorned with bas-relief of Bacchus 
 in a chariot drawn by a male and female Centaur, and 
 Hercules leaning on Omphale. {Farnese.) 
 
 In the centre, 
 
 6778. A MARBLE vase {cratera). Its spiral handles are 
 adorned with masks. It represents Proserpine's return. 
 Bacchus with a long beard is followed by Proserpine, 
 Mercury, and Yenus. {Farnese.) 
 
 6779. Another fine vase, representing a bacchanal. {F.) 
 . 6780. A pedestal in honour of Tiberius, erected by the 
 fourteen towns of Asia Minor that he had rebuilt after an 
 
MAKBLE BAS-EELIEFS. 65 
 
 earthquake a.d. 17. The towns are personified, with their 
 names written below, " Philadelphea, Imolus, Cihyra, Myrina^ 
 Ephesos, Apollonidea," &g. On the principal side of this 
 monument is the following inscription : " ti. caesari divi 
 
 AUGUSTI F. DIVI JULI N. AUGUSTO PONTIF. MAXIMO COS. IIII IMP. 
 VIII TRIE. POTESTAT XXXII AUGUSTALES RESPUBLICA RESTITUIT." 
 
 Plin. vii. 4; Tac. An. ii. 13. (December 1693. Pozzuoli.) 
 *6781 and 6782. Two large candelabra with arabesques 
 and animals. The triangular bases are supported by 
 chimaeras. {Farnese.') 
 
 EIGHTH HALL. 
 
 On the left. 
 
 From 6788 to 6791. Ornament of the door of the 
 
 Exchange at Pompeii, — arabesques, birds, insects, and 
 
 different reptiles, admirably designed. (Fompeii.) 
 
 Around the hall. 
 
 Some columns in verde antico. {S. Ag. dei Goti.') 
 Sundry Oriental alabaster columns. (^Pompeii.) 
 Several small columns adorned vdth leaves. 
 Many legs for tables, representing panthers, lions, 
 
 griffins, and sphinxes. {Pompeii.) 
 
 6857. Candelabrum, ending in a small vase to hold a 
 torch. The base is adorned with two fine rams, a small' 
 hind sucking its dam, and two birds. 
 
 6858. Standard of a triangular candelabrum adorned 
 with figures. {Pompeii.') 
 
 In the centke, 
 
 6862. Basin in rosso antico with decorations. {Pompeii,) 
 Marble lustral basins, acquaminaria. Used for sacrifices. 
 
 {Pompeii.) 
 
 6863. An altar adorned with Bacchic symbols. (P.) 
 6866. Three Sphinxes supporting a basin; admirably 
 
 done. {Pompeii.) 
 
QQ GKOUND-FLOOR — LEFT. 
 
 LARGE BRONZES. 
 
 FIRST HALL. 
 
 On the left, 
 
 4885. DoRYPHORUS OF PoLYCLETUS. Hermes of a bust 
 known as Augustus. On the plintli in Greek is ApoUonius 
 the Athenian made this. (1753. Herculaneum.^ 
 
 *4886 and 4888. Two elegant gazelles. (1751. H.) 
 
 4887. Colossal head of a horse. This head is one of 
 the most beautiful of Greek castings. It has been asserted 
 that it belonged to the colossal horse, emblem of Naples, 
 that stood before the Temple of Neptune, at present the 
 piazza Duomo, in Naples. 
 
 Conrad of Suabia had it bridled, and the superstition 
 ran that this horse cured other horses of any infirmity if 
 they turned three times round him. In 1322, Cardinal 
 Filamarino, to end such superstition, had it broken up, and 
 the metal was used in the casting of the bell of the 
 Cathedral. (See Celano, Notizie di Napoli, 1758, p. 16.) 
 
 This account must relate to another horse which is lost to us, for 
 this head never belonged to any body, because at the lower part of 
 the neck we observe the jagged edges such as the casting gave them. 
 In 1809 it was presented to the Museum, and its facsimile in terra- 
 cotta was placed in the Santangelo palace, whence came the original. 
 
 4889. LiviA. Hermes of a bust, notable for its wig. A 
 fine casting. (1753. Herculaneum.) 
 
 On A MARBLE PEDESTAL, 
 
 4890 to 4893. A bull — A crow— A Mercury seated — A 
 pig for fountains. (Pompeii and Herculaneum.) 
 
 4894. A HORSE galloping. The bridle is inlaid with 
 silver. ' It was found with the statue of Alexander men- 
 tioned further on. (1761. Herculaneum.) 
 
 t4895. Diana. A half -figure with glass eyes, discovered 
 in 1818, near the Forum of Pompeii. It is accurately 
 worked and wonderfully expressive. 
 
 It is asserted that the ancients used it for oracles, speaking 
 through the hole in the back of the head. Two other small holes 
 behind the shoulder, on the right, were used to move the eyes. 
 
LAEGE BRONZES. 67 
 
 In a glass case, 
 
 Sundry animals. (^Pompeii and Herculaneum.) 
 
 Two wings of a statue ; very well executed. (Pompeii.) 
 
 112841. Two queerly-shaped triangular penthouses with 
 
 mythical birds, and a silver-gilt mask. Supposed to have 
 
 been mounted on staves and to have served as military 
 
 ensigns. (Borne.) 
 
 4896. Sappho. A bust of rare perfection. (1758. H.) 
 From 4897 to 4902. A wild boar attacked by two dogs. 
 — A serpent. — A lion and stag. A group for a fountain, 
 in the garden of the house of the Citarista, Pompeii. 
 4903. A she-goat, for a fountain. (1841. Nocera.) 
 *4904. A HORSE. One of the four horses of Nero's 
 quadriga, found in 1739, near the Theatre of Herculaneum. 
 A few fragments of the others were collected. The body 
 of the quadriga is no longer extant, but we shall observe 
 some of the bronze bas-reliefs which adorned it. 
 
 On the modem pedestal is an inscription by Abbot 
 Mazzocchi, of which the translation follows : 
 
 *' Of this splendid bronze quadriga, with its horses reduced to 
 fragments and dispersed, I alone remained uninjured^ thanks to 
 the diligent care of a monarch ivho collected the six hundred pieces 
 into which Vesuvius separated me, like the limhs of Ahsyrtus.^^ 
 
 SECOND HALL. 
 
 In the centre, on a column from Pompeii, 
 
 111701. A Cupid carrying a dolphin. A charming small 
 statue for a fountain. (1880. Pompeii.) 
 On a marble table, 
 
 4993. A Cupid holding a lamp like a comic mask, and a 
 lamp-hook. Beside, on a bronze column, another lamp 
 in the shape of a human head, with Mercury's winged cap 
 for a lid ; the flame issued from the mouth. (Pompeii.) 
 
 *4994. An Angler. Small statue for a fountain, holding 
 a small basket, and a fishing rod. Many similar baskets 
 on view upstairs. (Pompeii.) 
 
 *4995. 13acchus and Ampelus. A small group represent- 
 ing a young man and a boy. Their eyes and the garland 
 on the base are in silver. (Pansa's House at Pompeii.) 
 
 *4996. Alexander. A small equestrian statue. The 
 trappings inlaid with silver. Alexander is represented 
 
 F 2 
 
b» GROUND-FLOOK — LEFT. 
 
 without helmet, in rich military accoutrements, raising 
 his sword. (1761. Herculaneum.) 
 
 *4997. Victory. Poised on a globe, with two large wings; 
 remarkable for its light waving garment. On the left 
 arm is a gold bracelet adorned with a ruby. (Pompeii.) 
 
 4998. Venus at her toilet. A statuette. (Nocera,') 
 
 *4999. Amazon. A small equestrian statue, holding a 
 lance. (1745. Herculaneum.) 
 
 5000. Cupid clasping a goose. A small statue for a 
 fountain. (Pompeii.) 
 
 On columns in giallo antico, 
 
 *5001. SiLENUS. Crowned with ivy, and girt with a 
 cloth. Originally no doubt he bore a basket on his left 
 hand. The base is adorned with vines and inlaid with 
 silver. Height, 21 inches. (May 1864. Pompeii.) 
 
 *5002. A DANCING Faun. This statue is a masterpiece 
 in design and execution. Lightly posed on tiptoe, and 
 with uplifted hands, this figure suggests perfect freedom. 
 Height, 32 inches. This statuette gave the name to the 
 House of the Faun^ Pompeii. 
 
 111495. A DRUNKEN Faun, for a fountain. He is 
 staggering. In his left arm he holds a wine-skin, from 
 which the water flowed. (1880. Pompeii.) 
 
 *5003. Narcissus. Wears sandals, has on his shoulders 
 a roe- skin, and, with his right hand raised and head gently 
 inclined, seems absorbed in the subdued whisperings of 
 the nymph Echo. The eyes of silver. This small statue, 
 the pearl of the collection, was found in 1862, at Pompeii. 
 Height, 25 inches. 
 
 On a pedestal, as found, 
 
 110663. Lucius C^GiLius Jucundus. A bronze head 
 with the following inscription : " Genio L. Nostri Felix L." 
 Felix Lihertus to the genius of our Lucius. This splendid 
 casting exhibits the portrait of a man of remarkable ex- 
 pression. His face reveals a malicious look, especially in 
 the motion of the lips. Observe the wart on his left cheek. 
 Many deal charred tablets found in his house, exhibiting 
 Latin and Greek writings, acquainted us with his name, 
 and that he was a usurer who effected contracts for loans 
 at 2 per cent, monthly, which fell due a month after the 
 date of the transaction. (1875. P.) (See p. 185.) 
 
LARGE BRONZES. 69 
 
 Near the window, glass case, first row, 
 
 5004. Mars with cuirass and ploak. (Pompen.) 
 109326. Fragment of a small draped statue. (^Pompeii.) 
 
 5005. Mars wearing armour and mantle. This small 
 statue belonged to the alto-rilievo ornamenting the chariot 
 of Nero. (1739. Herculaneum.) 
 
 5006-7. SiLENUS seated, with a wine-skin. (Pompeii.) 
 5008. Genius with enamelled eyes, and a flower in the 
 
 right hand, to serve as a lamp. (Pompeii.) 
 
 *5009. Apollo. A small statue, with a wand, (if.) 
 110127. Galea. A silver bust found in Herculaneum^ in 
 
 1874. He wears the paludamentum, and Medusa's head is 
 
 on the armour. 
 
 *5010. Fortune on a globe. Her attitude and dress 
 
 are remarkable. The necklace is inlaid with silver. (H.) 
 5011-2. Silenus caressing a panther. (Pompeii.) 
 
 5013. Juno in a mantle which covers her head. This 
 statue belonged to the chariot of Nero. (Herculaneum.) 
 
 5014. Caligula? A small statue. Fine armour inlaid 
 with silver, and a club. (Pompeii.) 
 
 5015. Silenus on a wine-skin : a fountain. (Pompeii.) 
 
 5016. Apollo, covered with a mantle. This statue 
 belonged to the chariot of Nero. (1739. Serculaneum.) 
 Second row, 
 
 5017 ct seq. Statues for fountains. (Pompeii.) 
 
 5024. Diana drawing her bow. (Pompeii.) 
 
 t5025. A man in modern dress, who has involuntarily 
 
 assumed a horizontal position. (Pompeii.) 
 
 5026. A MAN setting his foot on a rock. (^Pompeii.) 
 
 On pedestals, 
 
 4989. Unknown. A bust. (Pompeii.) 
 
 4990. Agrippina. A bust. (Pompeii.) 
 Side glass case, 
 
 5510 et seq. Etrurian figures. 
 
 5534. An idol in bronze, of primitive style, found in the 
 island of Elba. 
 
 From 5562 to 5571. Etrurian Patera with mj^tho- 
 logical figures, of primitive style. (Inscriptions.) 
 On a pedestal, 
 
 4991. 0. NoRBANUS Sorex. a bust with hollow eyes. 
 On the plinth the following inscription, in Latin : — Caius 
 
70 GKOUND-FLOOR — LEFT. 
 
 Norhanus Sorex^ second magistrate of the suburb Augusta 
 Felix, to loliom, the place has been assigned by decree of the 
 Decurions. (P.) 
 
 A LARGE GLASS CASE FACING THE WINDOW, ON THE LEFT, 
 
 Small statues of Jupiter. (P. and H.) 
 Jupiter seated on his tlirone with his attributes. (P.) 
 5053. Jupiter tonans. (Pompeii.) 
 Small statues of Diana. {Pompeii and Herculaneum.') 
 5199. Neptune (quite unimpaired). (Herculaneum.) 
 Statuettes of Minerva and Mercury with the wand 
 and purse. (Herculaneum.) 
 
 Two fine Medallions inlaid with silver. (Pompeii?) 
 5292. A DANCING Faun, with thyrsus. (Pompeii.) 
 5296. A Faun playing the flute. (Pompeii?) 
 5133. Venus Anadyomene, wearing golden bracelets on 
 the arms and legs. The base is inlaid with silver. (P.) 
 
 5074 to 5081. Eight hermes of two-faced Fauns, ad- 
 mirably done. Intended for landmarks. (Pompeii.) 
 
 5301 etseq. Genii of Bacchus. (Pompeii erndi Herculaneum.) 
 
 *5313. Abundance. A charming small statue with a 
 
 lotus-flower on its head, and a horn of abundance in one 
 
 hand. The base is decorated with pretty foliage and 
 
 silver. (1747. Herculaneum.) 
 
 111697. Abundance seated on a chair. She holds a 
 silver plate, and the horn of plenty. When discovered, 
 she had on each side the little statues of Lares offering a 
 libation to the goddess with the rhyton and the patera. In 
 front was the lamp in the form of a foot. (1880. P.) 
 5364. Victory with a trophy. (Pompeii.) 
 Several statues of Hercules, Harpocrates, etc. (Pompeii.) 
 5185. Hercules. Thesame attitude as the Farnese statue. 
 5371. iEneas and Creusa with Ascanius. 
 
 On A PEDESTAL, 
 
 4992. Brutus. A bust oxidized by lava. (Pompeii.) 
 Side glass case. 
 
 Priestess with rhyton and patera. (P. and H.) 
 
 5503. A sitting dwarf, very well executed. 
 
 5508. A votive hand. (Inscribed.) 
 
 5465-6. Epicurus and Hermarchus his successor. Their 
 names in Greek. (Herculaneum.) 
 
 6467. Demosthenes, with his name engraved thus : 
 
LARGE BRONZES. 71 
 
 AHMOC0ENHC. The form of the letter c instead of z 
 shows (according to Montfauc. Paleogr. Gr. 11, 6) the 
 epoch of Angustus. (^Herculaneum.) 
 
 5468. Zeno : name in Greek. (Herculaneum?) 
 
 5469. Demosthenes. (Herculaneum.) 
 5470-1. Demosthenes. {Herculaneum.) 
 
 This bust adorned the bookcases where the papyri were 
 found at Herculaneum, 1753. 
 
 5472. Tiberius. (Pompeii.) 
 
 5473. Augustus as a youth. {Pompeii.) 
 
 5474. Agrippina. (^Pompeii.) 
 
 Camilli holding the rhyton. (P. and H.) 
 
 5480. A warrior wounded, at the last gasp. It is gilt. 
 
 5487. A man leading a ram to sacrifice. 
 
 5488. A man seated on a rock, milking a she-goat. 
 5491. A philosopher seated. Very small. (Pompeii.) 
 
 THIRD HALL. 
 
 On a pillar near the left door, 
 
 5588. Unknown. Bust. 
 
 5589. CiRiA, mother of Balbus. Statue. The body and 
 arms are wrapped in a mantle gracefully folded, (-ff.) 
 
 5590. Ptolemy Philometor. Bust. The head has the 
 royal fillet, and glass eyes. (1755. Herculaneum.) 
 
 *5591. Mammius Maximus. A statue found with that 
 of Marcus Calatorius, wearing the magistrate's robe. On 
 the plinth was the Latin inscription, " l. mammio maximo 
 municipes et incolae aere conlato." To Lucius Mammius 
 Maximus^ Augustal^ the inhabitants contributing the money. 
 
 Lucius Mammius Maximus erected at his own cost 
 statues to Livia, Germanicus, Antonia, Claudius' mother, 
 and to Agrippina, wife of Claudius, which shows that 
 he lived after her decease : he also built the market. His 
 father was a Decurion at Nocera. (1743. Herculaneum.) 
 
 t5592. Berenice. Bust. The head-dress ornamented 
 with a band entwined in the hair. (Herculaneum.) 
 
 5593. Tiberius Claudius Drusus. A colossal statue, 
 leaning on a lance. On the pedestal was the inscrip- 
 tion. To Tiberius Claudius, Sovereign and Pontiff, having had 
 for the eighth time the tribunary power, sixteen times Emperor^ 
 Father of his country, Censor, — By the ivill . . . Messius, 
 
72 GROUND-FLOOR — LEFT. 
 
 son of Lucius . . . Seneca^ a soldier of the thirteenth city 
 cohort ; and to erect it four sesterces were bequeathed to every 
 Municipality. (December 20, 1741. Herculaneum.) 
 On a column, 
 
 5594. Ptolemy Philadelphus. A bust crowned with 
 laurel. (1759. Herculaneum.) 
 
 *5595. Augustus deified. A colossal statue. His 
 right hand is raised up, holding a long lance. In the left, 
 Jupiter's thunderbolt. (1741. Herculaneum.) 
 On a column, 
 
 5596. Ptolemy Alexander. Bust. (1755. Herculaneum.) 
 
 *5597. Marcus Calatorius. A Koman magistrate. On 
 the plinth was the Latin inscription (see the Hall of In- 
 scriptions), "M. CALATOR. . . QUARTION. . . MUNICIPESETH. . . 
 
 aere conlato." To Marcus Calatorius, son of M. Quartion, 
 the citizens and inhabitants offer this. (1743. Herculaneum.) 
 
 5598. Ptolemy Apion. Bust. His curly hair makes him 
 look effeminate. He reigned at Tyre, and left his 
 kingdom by will to the Romans. (1759. Herculaneum.) 
 
 5599. Unknown. 
 On a column, 
 
 5600. Ptolemy Soter II. Bust. He resembles Soter 
 VIII., king of Egypt. (1754. Herculaneum.) 
 
 On a bracket, 
 
 5601. Unknown. Bust. 
 On a column, 
 
 5602. Heraclitus. Bust. His aspect is gloomy. He 
 was conceited (Laertius, ix. 5, 13), pretended to universal 
 knowledge, and declared that all men were unjust and 
 liars. {Herculaneum.) 
 
 *5603 to 5605. Actresses. These three statues, and the 
 other three opposite, decorated the Theatre of Herculaneum. 
 Their eyes are enamelled. Some are acting and others 
 dressing. (1754. Herculaneum.) 
 On a bracket, 
 
 5606. Unknown. A bust. (Farnese.) 
 On a column, 
 
 *5607. Archytas. Bust. The head adorned with the 
 turban, pecuHar to great philosophers. He was the 
 successor of Pythagoras and friend of Plato. (1753. H) 
 
LARGE BRONZES. 73 
 
 On a column, 
 
 5608. Speusippe? Bust. {Hercvlaneum.^ 
 
 5609. Antonia, wife of Drusus. The drapery is graceful. 
 (1741. Herculaneum.^ 
 
 On a pillar, 
 
 5610. Antinous. Bust. (^Pompeii.) 
 
 5611. A Camillus, or acolyte. (^Naples.) 
 
 5612. Faustina. Covered by a mantle hiding the head. 
 On the finger a ring with the sign of the lituum, a dignity 
 seldom conferred on a woman, being special to the augurs. 
 (September 1741. Herculaneum.) 
 
 On a column, 
 
 *5613. Apollo. He is naked, holding the plectrum and 
 a lyre, the strings of which were of silver. Height, 33 
 inches. (^Pompeii.) 
 
 On a column, 
 
 *5614. Marcus Claudius Marcellus, nephew of Augus- 
 tus, who died in his twentieth year. (1754. Herculaneum.) 
 
 5615. Nero Drusus. A statue. Attired as a priest. 
 A highly esteemed work. (1741. Herculaneum.) 
 
 f5616. Seneca. A head of great artistic merit, and 
 wonderful realism; evidently a portrait from life. (1724. if.) 
 
 On a bracket, 
 
 5617. Tiberius. A bust. {Farnese.) 
 
 On a column, 
 
 *5618. Plato. Eeputed the finest bronze head in Europe. 
 He looks down as if in meditation, and every detail has 
 been most elaborately worked out. The likeness to the 
 head of our Saviour is often noticed ; and when we con- 
 sider how temperate his life was, and how near his teach- 
 ing approached to the Ethics of Christianity, we feel able 
 to account for the resemblance between the portrait of the 
 philosopher and the ideal likeness of our Lord. He died 
 B.C. 348. (1759. Herculaneum.) 
 
 5619 et seq. Three dancers. (^Pompeii.) 
 
 On a bracket, 
 
 5622. Unknown, perhaps Sylla. {Farnese.) 
 
 5623. Democritus. Bust. (1753. Herculaneum.) 
 
74 GROUND-FLOOR— LEFT. 
 
 In the centre, on a pedestal, 
 
 *5624. The sleeping Faun. This statue personifies 
 placid sleep and is of wonderful realism, the right hand 
 under the head, which is thrown back, and the lips almost 
 seem to breathe. (1756. Herculaneum.) 
 On a pedestal, 
 
 *5625. Mercury in repose. This statue belongs to the 
 happiest epoch of Grecian sculpture. Jupiter's messenger 
 is reposing on the top of a mountain, and seems still panting 
 after his flight. Height, 5 ft. (August 1758. Herculaneum.) 
 On a pedestal, 
 
 *5626 and 5627. The Discoboli. Two nude youths with 
 arms and hands extended. Height, 5 ft. (1754. H.) 
 
 Eminent authorities consider " The Divers " to be a more correct 
 name, as they were found on a small island in the piscenum of a 
 villa. 
 On a pedestal in the centre, of the room, 
 
 *5628. A DRUNKEN Faun. Statue. Extended on a half- 
 empty wine-skin. With the right hand he seems to snap 
 his fingers, and his merry look shows his state of inebriety. 
 On the neck are the two glands usual to goats. Horns 
 sprout from the forehead. Height, 5 ft. 9 in. (1745. H,) 
 On a column, 
 
 *5629. Apollo in the act of shooting. Height, 5 ft. (P.) 
 
 This statue stood in the Forum, and on the nio;ht of the destruc- 
 tion two thieves wrenched it from its pedestal, threw the torso into 
 a well and carried off one arm and one leg, which were found with 
 their skeletons near the city wall in 1818. 
 
 On an ancient column, 
 
 5630. Apollo. With the plectrum. A statue. {Pompeii.) 
 
 LAST HALL. 
 
 On a column, 
 
 5631-2. Unknown. Busts. (^Herculaneum and Famese.) 
 
 5633. Apollo. Bust. (^Famese.) 
 
 5634. PuBLius Cornelius Scipio (Africanus). A perfect 
 bust, with two scars on the head. (^Herculaneum.') 
 
 In the middle, 
 
 5635. Nero (or Caligula), on horseback. This statue 
 has been almost entirely restored. (^Pompeii.) 
 
LABGE BRONZES. 75 
 
 Under the window in three glass cases, 
 
 5776. Fragmentary armour, of ivory.* 
 
 5777 to 5781. Ornaments for helmets and sword-belts. 
 (Po7npeii,) 
 
 Leaden sling- bolts (glandes) with inscriptions ; from the 
 battle-field of Cannae. 
 
 5811 et seq. Axes. {Pietrahhondante.) 
 
 From 5821 to 5843. Bronze clasps (fibulae) for sword- 
 belts, (Pietrabhondante.) 
 
 GRECIAN ARMOUR. 
 Large glass case, 
 
 Cuirasses — helmets — greaves — frontlets, for horses — 
 spear-heads from the excavations of Pcestum and Buvo in 
 1804, found in tombs rich in painted vases, and belonging 
 to Grecian times before the Roman dominion. 
 
 ARMOUR FOR GLADIATORS. 
 
 Glass case opposite window, 
 
 5669. A circular shield (parma) adorned with the head 
 of Medusa and a fine garland of olive-branches, inlaid with 
 silver. (Pompeii.) 
 
 5674. A magnificent helmet (galea) of unusual weight, 
 with splendid bas-reliefs representing the last night of 
 Troy. (Herculaneum.) 
 
 5865 to 5868. Greaves (ocrea) with splendid ornaments. 
 (Pompeii.) 
 
 A large helmet with traces of gilding. (Pompeii.) 
 
 Trumpets, lances, sword-belts, and poignards with ivory 
 handles. (Pompeii.) 
 
 These ai-ms were not intended for use, but were worn for 
 display in gladiatorial processions, and were j)robably given 
 as prizes. 
 
 ITALIAN AND. ROMAN ARMOUR. 
 
 Last glass case, 
 
 Lances, daggers, and helmets. 
 
 5746. A flag-staff with a cock at the top, used as a 
 military ensign. This, with the other arms in this case, 
 was found at Pietrahhondante, the ancient Bovianum Vetus. 
 It was a symbol of Mars, who was the patron of that city. 
 
76 ENTEESOL — EIGHT. 
 
 ENTEESOL— RIGHT. 
 
 THE COLLECTION OF TERRA-COTTA. 
 
 The Pompeians used terra-cotta very extensively. 
 Their roofs were tiled in the peculiar manner still in 
 vogue at Naples, and pavements made of tiles (notably 
 the hot chambers of the baths) are still extant. It was used 
 also for various purposes of architectural ornamentation, 
 for votive statues and offerings, pots of all kinds, chil- 
 dren's toys, money boxes, lamps, and all kinds of domestic 
 purposes. Very large amphorae were made of it to con- 
 tain corn, wine, fruits, and salt ; and we find from an 
 ancient lamp in the British Museum that the article we 
 speak of as the " tub of Diogenes " was none other than 
 one of the colossal amphorae which we may see stand- 
 ing where they stood 1800 years ago in the shops at 
 Pompeii. 
 
 These terra-cotta specimens are of different clay from 
 that used in the manufacture of the vases, which we shall 
 see further on ; and though the working of terra-cotta by 
 the Greeks is known to be of the highest antiquity, the 
 specimens before us are mostly Roman, and probably not 
 earlier than the time of our Lord. 
 
 Many of the specimens bear traces of colour and gild- 
 ing, and perhaps the most remarkable are the lamps in 
 the last room, which, after being made, were dipped 
 into molten glass, which gives them a rich appearance, 
 and no doubt added very materially to the light cast 
 by them. 
 
 We believe that all the toys in this collection were 
 found in Pompeii, but we might have been at a loss to 
 know what they were intended for, were it not that they are 
 so frequently found in the tombs of children ; a touching 
 illustration of the sentiment of the ancients, who buried 
 with their dead those chattels that had been dearest to 
 them in life. Some of the dolls in this collection are very 
 curious, especially one which hangs from a wire in the 
 last room, which is singularly like the modern favourites 
 of the European nursery. 
 
TERRA-COTTA. 77 
 
 FIKST BOOM. 
 
 'J'HE FRESCOES I ON THE LEFT, 
 
 The judgment of Solomon (?) (1 Kings iii. 16). 
 
 The subject of this picture is disputed. If its origin is 
 Biblical, it is the only trace of Holy Writ as yet discovered 
 in Pompeii. It is said by some to be a human sacrifice, 
 but it represents neither priest, altar, nor sacred fire, nor 
 as far as we are aware will the details fit any ancient 
 legend. 
 
 The picture represents a woman imploring three judges 
 (one of whom holds a sceptre) to save the life of her child, 
 which a soldier is about to cleave in two with a chopper. 
 A second woman is holding down the infant. A guard of 
 soldiers and a few spectators make up the picture. (June 
 18^2. Pompeii.) 
 
 111482. A fresco in four divisions, representing scenes 
 in tavern life. The third division shows a dispute over a 
 game at dice. One player is made to exclaim, " Six ! " 
 the other, " No ; it is three and two ! " {Pompeii.') 
 
 111475. The capture of Europa. (1878. Pompeii.) 
 
 111476. Cassandra predicting the fall of Troy to Priam 
 and Hector. (1873. Pompeii.) 
 
 111210. The death of Laocoon. (1875. Pompeii.) 
 
 Second wall, 
 
 111483. A girl killing herself near her dead lover. 
 (1881. Pompeii.) 
 
 fl 11437. Yenus adorned with bracelets and seated near 
 Adonis, holding a nest, which contains Castor and Pollux 
 just hatched from the egg of Leda. Two lovers ogling 
 one another, and other figures. (1863. Pompeii.) 
 
 111441. Orion, with the intervention of Cupid, urging 
 his suit to Diana (Hor. Od. iii. iv. 70). The maiden 
 goddess warns him ofi*. Three damsels in the background. 
 Well painted and in good preservation. (1863. Pompeii.) 
 
 |1 11439. Iphigenia as priestess of Diana at Tauris, 
 after her rescue by the goddess from sacrifice at Aulis. 
 (1875. P.) 
 
 111436. A SACRIFICE, suggesting the scene of Acts xiv. 
 13 : " Then the priest of Jupiter . . . brought oxen and 
 garlands . . . and would have done sacrifice with the 
 people." (1878. Pompeii.) 
 
78 ENTRESOL — RIGHT. 
 
 111211. Polyphemus and Ulysses. A fragment. (1875. 
 Pompeii.) 
 
 111481. Bacchus and Ariadne. (1878. Pompeii.) 
 fl 11480. The remains of a very beautiful picture. It 
 represents a goddess appearing to a young prince who is 
 seated on a throne, holding a sceptre, and surrounded by 
 four attendants. (1878. Pompeii.) 
 
 111484. Bacchus finding Ariadne. (1863. Pompeii.) 
 
 Wall next the window, 
 
 111212. Danae with her infant Perseus about to be 
 driven out to sea by her father Acrisius. (Nov. 1879. 
 Pompeii.) 
 
 111442. Neptune and a Nereid. (1878. Pompeii.) 
 112285. A grotesque picture, intended as a warning to 
 passers-by. The classical reader will understand the 
 inscription, " Oacator, cave mdlum" which for obvious 
 reasons we do not interpret. (1880. Pompeii.) 
 
 111472. Scene in a camp. Much defaced. (Jan. 1863. P.) 
 
 111213. Bacchus and Silenus. (1879. Pompeii.) 
 111209. Wine-party (symposium) ; prettily painted. 
 
 (1879. Pompeii.) 
 
 111214. Venus and Mars. (1879. Pompeii.) 
 111479. Spirited hunting picture, representing perhaps 
 
 one of the many legends of the destruction of the Niobe 
 family by Apollo and Diana. (1872. Pompeii.) 
 
 111477. Medea sacrificing a ram, which she afterwards 
 rejuvenated into a lamb, with the view of persuading the 
 sons of Peleus that she would do the same by their father. 
 They slew their father accordingly, but she (out of re- 
 venge) declined to restore him to life. (1874. Pompeii.) 
 
 Third wall, 
 
 tll2222. Amphitheatre of Pompeii on the occasion of 
 the fight between the Nocerans and Ponipeians, which 
 caused Nero to stop all theatrical performances at Pompeii 
 for ten years. This interdict had but recently expired at 
 the time of the destruction of the cities. This historical 
 painting presents several features of the greatest interest. 
 First, the awnings are represented as spread. We knew 
 they used awnings, because the words " vela erunt " at the 
 bottom of the theatrical advertisements (lihelli) could 
 mean nothing else ; but it was by means of this picture 
 
TERKA-COTTA. 79 
 
 that we were able to understand the use of the mast-holes 
 in the upper part of the wall of the great theatre at 
 Pompeii. Secondly, we see that there is an important 
 building to the right of the amphitheatre which has not 
 yet been discovered. And lastly, we see that it was 
 situated in a boulevard upon which itinerant sellers of 
 refreshments erected their stalls, precisely after the modern 
 Neapolitan fashion. Two men bearing a litter can also 
 be distinguished. (1869. Pompeii.) 
 
 The following is an interpretation of the advertisement to 
 which we have referred. It may be seen on a wall close to 
 the Casa del Centenario at Pompeii, and the mutilated in- 
 scription on the picture before us, painted on the walls of 
 the building on the right, seems to have been a duplicate 
 of it :— 
 
 ^^ Twenty pairs of Oladiafors, paid hy Decimus Lucretius Satrius 
 Valens, priest (flamen) in the time of Nero the son of Ccesar 
 Augustus, and ten pairs of Gladiators, paid hy Decimus 
 Lucretius the son of Decimus Valens, will fight at Pompeii 
 on the 10th, Uth, 12th, ISth, and Uth of April. There will 
 he a splendid hunting scene (legitima venatio), and tJie 
 awnings will he spread. Written hy Celer. — Emilius Celer, 
 writer of Lnscriptions, wrote this hy moonlight." 
 
 tll2282. Mars and Venus. A large picture. (January 
 1863. Pompeii.) 
 
 112286. An allegory of Bacchus. (1879. Pompeii.) 
 tll2283. Bacchante asleep at the foot of a cascade. 
 Her companion on the right with her shoes on the rock 
 beside her. A picture powerfully painted, and the only 
 cascade in the collection. (1863. Pompeii.) 
 
 111474. Hercules delivering Dejanira. (1878. P.) 
 1 11473. Pan and three Nymphs. In the background, a 
 building precisely like a Neapolitan farmhouse. (1878. P.) 
 
 In the centre of this room a cabinet not yet filled, but destined 
 to contain terra-cotta from Pompeii. 
 
 SECOND KOOM. 
 SPECIMENS OF MEDIEVAL ART. 
 
 On the left, 
 
 10522. Cain and Abel. 
 
 10523. Model of Famese bull. 
 
80 ENTRESOL— RIGHT. 
 
 10524. Figures from the Eape of the Sabines. (Florence,) 
 
 10793-4-5. Bronze medallions, representing Chris- 
 tianity, the Holy Family, and Cupids. 
 
 Hanging lamp shaped like an eagle ; and three others. 
 
 10525-6. Two alabaster basins, with Medusa's head in 
 the centre, and Silenus's head for handles. 
 
 10810. Beautiful basin in rosso antico. 
 
 10527. Ferdinand I. of Arragon, decorated with the 
 Ermine order, which he instituted after the rebellion of 
 the Barons (bronze). 
 
 10528. Cupid, very graceful (bronze). 
 
 10529. Head of Antinous, in bronze. 
 
 10815. Night by Thorwaldsen. A work of great merit. 
 
 10816. Triptych in alabaster of the Kenaissance period, 
 representing the Passion. Formerly in the Church of S. 
 Giovanni a Garhonara, Naples. 
 
 10881. Stalactite of the form of a large cup. (Calabria.) 
 
 Six cabinets containing statuettes and sundry mediseval 
 hric-a-hrac. Mexican, Chinese, and Japanese idols ; neck- 
 laces of stone ; a Chinese necklace, and enormous earrings 
 composed of coins. Ostrich eggs, stalactites, and petrified 
 seaweed. Fittings belonging to the Chapel of the Famese 
 Pope, Paul III. 
 
 10926. A relic. A footprint made by our Lord. (Famese.) 
 In the centre, 
 
 10915. Chinese ivory basket of very minute execution. 
 
 10811. Modesty, a veiled marble statue by Sammartino. 
 The walls are hung with Indian paintings of Vishnu and 
 
 Shiva, brought by Signer Paulino, an Italian missionary. 
 
 THIRD ROOM. 
 ANCIENT GLASS. 
 
 First Cabinet (to the left), 
 
 11580 et seq. Circular dishes and plates, all of glass, 
 like modem ones. 
 
 11575. A glass hand-basin. 
 Second Cabinet (near the window). 
 
 Panes of window-glass from the bath-room of the House 
 of Diomede, and plates of talc for glazing. 
 
 11679. Elegant bowls like finger-glasses. 
 
TERRA-COTTA. 81 
 
 In the centre, near the window, 
 
 *13521. Amphora of blue glass, found in one of the 
 columbaria in the Street of the Tombs, near the house of 
 Marcus Crassus Frugi, at Pompeii. It was full of ashes. 
 This precious specimen, now placed on a modern silver 
 stand, is covered with a bas-relief of white enamel, repre- 
 senting, in the midst of graceful arabesque, the Genii of 
 the vintage. Some are occupied in gathering the grapes ; 
 others are playing with their companions. Amid these 
 different groups are two beautiful Fauns' heads, from the 
 brows of which spring vines which embrace in their 
 tendrils the whole body of the vase. Below, is a superb 
 bas-relief of animals. The precision of the workmanship, 
 the correctness of the drawing, and the elegance of the 
 composition give this vase the highest importance. It is 
 second only to the splendid Portland Vase of the British 
 Museum. 
 
 Third Cabinet, 
 
 Pear-shaped, spherical, and long-necked bottles of 
 sundry sizes. (^Pompeii and Hereulaneum,) 
 Fourth Cabinet, 
 
 Sundry bottles, such as are now used in Naples. (P.) 
 
 11961. Glass Mortars. (^Pompeii.) 
 
 11971 et seq. Cup, goblets, vases. (P. and Jff.) 
 
 12010. Cream jug " a petto d' oca ; " that is, shaped like 
 the breast of a goose. {Pompeii.) 
 
 12120. Glass funnels. (Pompeii,) 
 
 12156. Lachrymatories, or tear bottles. (Psalm Ivi. 8.) 
 
 These were carried by the mourners at funerals, who collected 
 (or were supposed to collect) their tears in them. The 
 bottles were then laid on the breast of the corpse. Some of 
 the tombs contained very large numbers of these bottles, 
 and genuine ones can be readily purchased in Naples. 
 
 12087. Glass hammer. It is hollow, and may have been 
 used' as a liquid measure or a child's rattle (?). (P.) 
 
 12071. Troughs for bird-cages. {Pompeii.) 
 Fifth, sixth, and seventh Cabinets, 
 
 * Drinking glasses, like our ovni tumblers, richly 
 fluted. Age and burial have given them beautiful pris- 
 matic colours. Observe No. 111414, showing all the hues 
 of the rainbow. 
 
 G 
 
82 ENTKESOL— EIGHT. 
 
 Eighth Cabinet, 
 
 Druggists' BOTTLES. {Pompeii.) • 
 
 Ninth Cabinet, 
 
 12969 and 12975. Cinerary urns, with covers and two 
 handles, found in a columbarium at Pompeii, in the two 
 leaden vases on the top of the case. They still contain 
 the ashes of the dead. 
 Tenth, eleventh, and twelfth Cabinets, 
 
 Druggists' bottles, with large orifices and single 
 handles, of shapes similar to those used by chemists now- 
 a-days. Many of them still contain drugs. Centuries 
 of burial have given them a fine mother-of-pearl colour. 
 (Found in the House of the Surgeon, Pompeii.) 
 
 13365. Beautiful glass bowl, containing human ashes. 
 Last Cabinet, 
 
 Amphora of glass, suspended from the shelf, ending in a 
 point so that they could not stand. They were used to 
 contain perfumes. 
 
 111396. Blue saucer, of a beautiful colour. 
 In the centbe, 
 
 13522. A glass plate, of an extremely rare combination 
 of gold and lapis-lazuli. Much repaired. (Euvo.) 
 Kectangular glass case with four shelves, 
 
 The specimens in the upper shelves are from Ruvo ; in the two 
 lower, from Pompeii and Herculaneum. 
 
 The top shelf contains some elegant specimens in blue 
 glass ; the second, many coloured vases, principally Greek, 
 including nasiterns, amphorae, cups, and goblets. 
 The third shelf, 
 
 13591. Blue glass saucer, well preserved. (Pompeii.) 
 
 13593. A small cup, containing the skeleton of the head 
 of a parrot. 
 Bottom shelf, 
 
 1363-4 and -9. Two little pictures of Cupids, on glass, 
 gilt ; modem frames. (Herculaneum.) 
 Under glass, 
 
 13688. Blue Patera, decorated with a mask of Silenus 
 encircled by vines, in white enamel. The handle ends in 
 a ram's head, also in white enamel, which shows it was 
 intended for religious uses. (House of the Tragic Poet, 
 Pompeii.) 
 
TERRA-COTTA. 83 
 
 In the doorway leading to the fourth room, 
 Frames containing the names and trade-marks of Pom- 
 peian potters. 
 
 FOURTH ROOM. (P. and H,) 
 
 First and second Cabinets (on the left), 
 
 Sundry bottles, lachrymatories, beads and buttons. 
 On the wall. 
 
 Large stone mortars and a pestle. 
 Third Cabinet, 
 
 Elegant table pottery and lamps. (1882. Pompeii.) 
 Fourth Cabinet, 
 
 Sundry earthenware pipkins and paintpots, containing 
 various pigments ; also bottles and colanders. 
 
 Small FURNACE, like a modern stove. 
 Fifth, sixth, and seventh Cabinets, 
 
 * Earthenware dinner services, of a rich red colour. 
 
 Observe in the fifth case a loving cup, richly adorned, 
 and bearing the inscription " Bihe amice de meo." " Drink, 
 friend, of my wine." 
 In the corner between the cases, 
 
 Large two-handled Amphorae with pointed ends. These 
 were stuck into the ground and used to keep wine in. 
 Several may be seen in their original places in the cellar 
 of the House of Diomede at Pompeii. 
 Eighth Cabinet, 
 
 Pipkins and pots, containing carbonised barley, beans, 
 and two eggs. Troughs for bird-cages. 
 >iiNTH Cabinet, 
 
 Sundry vessels with narrow necks and single handles, 
 like our modern oil-jars. 
 Last Cabinet, 
 
 Sundry vases and nasiternce, some ornamented with bas- 
 reliefs and showing traces of gilding, others ending in a 
 human head, all probably used in the temples. 
 
 Two coloured vases, highly glazed. 
 In the centre, 
 
 A Philosopher. A sitting statuette in terra-cotta, hold- 
 ing a papyrus. (Pompeii.) 
 
 G 2 
 
84 ENTRESOL — EIGHT. 
 
 FIFTH EOOM. 
 
 First wire case, on the left, 
 
 Money-boxes, some containing coins; others have "been 
 opened and their contents displayed. 
 
 Small cones, which were used for hanging round the 
 necks of cattle. 
 
 Inkstands and Ointment pots. 
 On the floor near the window. 
 
 Sundry architectural ornaments, gurgoyles, gutters, 
 statues of Jove and Juno, in terra-cotta ; a dove-cot ; a 
 flat tile with impression of a left hand. Observe how 
 accurately the grain of the flesh is reproduced. 
 
 By THE WINDOW, 
 
 Two earthenware tubs, used by the Eomans for fattening 
 dormice, which they esteemed a great delicacy. (Lev. ii. 
 29 ; Isaiah Ixvi. 17.) 
 
 Three cases full of common lamps. 
 
 1041. The celebrated Volscian bas-reliefs found at 
 Velletrij 1784. They are of very remote antiquity, and 
 represent mounted warriors pursuing the enemy, a chariot 
 race, a council, a triumph, and a festival. 
 
 Covers of four sarcophagi. (Etruria.) 
 Fifth case, opposite the window, 
 
 Toys for children, representing various animals. 
 Sixth case. 
 
 Votive ofierings for the temples, as masks, hands, feet, 
 breasts, uteri. (Hor. Od. i. v. 13.) 
 
 Similar offerings may be seen in the Neapolitan churches. 
 
 LAST EOOM. 
 
 On THE left, a cabinet running all along the wall, 
 
 Terra-cotta moulds for dolls, pretty cups, rhytons, and 
 other specimens. 
 
 4927. Centaurs and Lapith^e ; fragment of a very fine 
 gilded bas-relief found on a tomb at Pompeii. 
 In the window. 
 
 Two actors wearing comic masks. Eoman urns and 
 statuettes used as covers for vases and amphorse. 
 Third wall, 
 
 Sundry statuettes of divinities, and caricatures. 
 
CUM^AN COLLECTION. 85 
 
 6672. Doll hanging from the shelf. 
 
 4941. Satyr, also a child's doll. 
 
 Sacrificers leading animals to the altar. 
 
 A group of -^neas and his father flying from Troy. 
 Fourth wall, 
 
 Glazed terra-cotta lamps, with head of Medusa. 
 
 Sundry candelabra. A group of the Carita Romana. 
 On the eight of the door, 
 
 Water bottles. Venus in her shell. Sundry caricatures. 
 Masks for fountains, gurgoyles, fruits in terra-cotta, &c. 
 
 Eeturning to the staircase and crossing it, we come to the left 
 wing of the Entresol, which contains, 
 
 ENTRESOL— LEFT. 
 
 THE CUM-EAN COLLECTION. 
 
 (Presented to the National Museum by Prince Carignano in 1861.) 
 
 ' FIRST ROOM. 
 
 A handsome marble bust of Prince Carignano by 
 Angelini. 
 In the corner, on the right, 
 
 86489. Bronze drum, containing human ashes. 
 On the left of the door: first case. 
 
 Round mirrors of silver-plated bronze. Strigils for 
 scraping after the hot-air baths. A wooden box, bronze 
 coins, terra-cotta vases. 
 Second case, 
 
 Italo-Greek vases (see p. 159). 
 Third case, 
 
 Glass per fume jar. Unglazed terra-cotta vases. Lamps. 
 Italo-Greek vases. Dice, &c. 
 Fourth case. 
 
 Sundry paterae. Perfume vases, and small Italo-Greek 
 vases without figures, in excellent preservation. 
 In the window. 
 
 Dressing-case with cover, ornamented with bas-reliefs 
 in ivory, with lock and small key. It contains a round 
 metal mirror, an ivory pomatum pot, a bone comb, a ring. 
 
S6 UPPER FLOOR — LEFT. 
 
 a pair of gold ear-rings, and some bobbins. The wood- 
 work has been restored after the remains of the old wood. 
 It is very interesting, because a similar box is seen so 
 Hoften on the vase-paintings upstairs. 
 
 SECOND EOOM. 
 
 Surrounded with cases containing Italo-Greek vases. 
 
 Two flat glass cases, containing trinkets and beautiful 
 specimens in coloured glass. 
 In the window, 
 
 t A SUPERB Italo-Greek balsamarium of the Grand epoch, 
 representing a battle between Greeks and Trojans, with 
 names in Greek. 
 In the centre, 
 
 Wax mask with crystal eyes, found with four headless 
 skeletons in a tomb at Cuma3. Supposed to be bodies of 
 Christians decapitated in the persecutions. 
 
 UPPER FLOOR— LEFT. 
 COLLECTION OP COINS (Medagliere). 
 
 Long before anything like a coinage was attempted, 
 the precious metals were used as a circulating medium, 
 and we learn from the Egyptian monuments that gold 
 and silver money in an annular form was used for pur- 
 poses of commerce. It seems probable that it is some such 
 currency as this which is alluded to in Genesis xxiii. 16, 
 where we read that Abraham "weighed to Ephron four hun- 
 dred shekels of silver, current money with the merchant." 
 
 Herodotus ascribes the first coining of money to the 
 Lydians, but they divide the honour with Phidon, king 
 of Argos, who, according to Ephorus, first inaugurated a 
 coinage at -<3Egina. Homer does not mention coined money, 
 though it is clear that the mercantile transactions he re- 
 cords were conducted by means of gold and silver, and pro- 
 bably it was long after his day that the Greeks accepted 
 the talent as their unit, and originated their monetary 
 system, which was partly decimal and partly duodecimal. 
 
 The Greek system, which commenced about 770 B.C., 
 spread to Sicily and Southern Italy, and there probably 
 
COLLECTION OF COINS. 87 
 
 became blended with the purely duodecimal system that 
 the Etruscans had introduced into Italy in very early times. 
 
 Like all the other arts, coinage has suffered great vicis- 
 situdes ; it has had periods of decadence and renaissance, 
 but the only specimen to which we call attention in this 
 magnificent collection, shows that in the reign of Au- 
 gustus, the Eoman mint could turn out coin of which no 
 era need be ashamed. 
 
 The important evidence that coins have given us as to 
 dates in all periods of history need hardly be mentioned ; 
 and, besides this, we have learnt from them the use of 
 many of the relics of antiquity found in Pompeii which 
 without their assistance would have been a puzzle to us. 
 
 This collection comprises the Farnese, Poli, Arditi, 
 Geneva, and De Tuzii collections, as well as the important 
 coins found in the excavations. It includes also some rare 
 Arabic, Cufic, Indian, and Persian coins, and numbers some 
 80,000 specimens, arranged in glazed cabinets, each cabinet 
 having Professor Fiorelli's admirable catalogue above it. 
 
 The first room is devoted to Greek, the second and 
 third to Roman, the fourth and fifth to Mediaeval and 
 Modern coins, while the last room contains the dies of the 
 Old Mint of Naples and a numismatic library. 
 
 Second room, sixth division on the left, 
 
 3692. Gold coin of Augustus, about the size of a florin, 
 the most perfect coin yet found at Pompeii. 
 
 In the third room, on the right wall, 
 
 Coloured copy of Peutinger's celebrated map of the 
 world, the manuscript of which is in the Hofbihliotheh at 
 Vienna. It was executed by an unknown author in the 
 13th century, and is known to have been in Peutinger's 
 possession in the 16th. Eleven segments of the twelve 
 which composed it remain to us, and the character of the 
 writing gives us a tolerable certainty as to its date. Much 
 valuable ethnological information may be gleaned from it. 
 The ocean is represented as running completely round the 
 world, which comprises Western Asia, North Africa, and the 
 eastern part of the British Isles, the remainder of which, 
 with Spain, were probably represented on the missing sheet. 
 
 The pavement of these rooms is of mosaic from Pompeii, 
 and that of the last room is unique. 
 
88 UPPER FLOOE — LEFT. 
 
 RESERVED CABINET (Oggetti osceni). 
 
 (Gentlemen only are admitted.) 
 In the centre, 
 
 Tkipod, supported by young Satyrs of surprising expres- 
 sion, warning off the uninitiated from the mysteries. 
 (House of Julia Felix, Pompeii.) 
 
 27710. Sarcophagus with Bacchanalian bas-relief. (F.) 
 
 Marble Satyr and goat of fine execution. (Sculptor's 
 Studio, H.) 
 
 Bronze statuette of an emaciated man upon a hermes. (P.) 
 In the glass case, 
 
 Grotesque figures of dancing dwarfs, sundry bells, 
 hermes, lamps and amulets, terra-cotta vessels with 
 figures, bronze mirror and conch, &c. (P. and H.) 
 On the walls, from the left of the door (Frescoes), 
 
 27683. Victory crowning an ass, who has conquered a 
 lion. An allegorical representation of an ancient legend. 
 (^Pompeii.) 
 
 27692. Bacchus and Ariadne. (Pompeii.) 
 
 27796. Three figures in a punt, with a monster before 
 and behind them, illustrating the ultimate destruction of 
 the human race for this crime : Eom. i. (Pompeii.) 
 
 27687. Galatea and Polyphemus with a ram. (P.) 
 
 27700. Satyr flying from an hermaphrodite. (JEL.) 
 
 27701. Pan and Olympus. (Herculaneum.) 
 27695. Leda and the swan. (Herculaneum.) 
 
 27690. Painting with inscription '■'•Lente impelle." (P.) 
 
 27740. Sign of a house in stone, found on the door of a 
 baker's shop, which formed part of the house of Pansa the 
 iEdile, bearing the inscription, " Hie habitat felicitas." (P.) 
 On the right wall, 
 
 211 Ql. Mosaic ; two seated figures. 
 
 27708. Satyr advancing towards a Nymph, who is 
 changed into a tree. Mosaic. (Noja.) 
 
 27711. Comic marble bas-relief. (Bome.) 
 
 27712. Pan on a mule. Marble bas-relief. (Pompeii.) 
 27714. Two figures with traces of gilding. Marble. (P.) 
 27875. Satyr discovering an hermaphrodite, of wonder- 
 ful execution. (^Pompeii.) 
 
 27705. Two figures in capital preservation. (^Pompeii.) 
 Symposium on the banks of the Nile, 1882. (Pompeii.) 
 
( 89 ) 
 
 PICTURE GALLERY. 
 
 The pictures are divided into two wings. 
 The left wing contains the Neapolitan and foreign schools. 
 The right wing contains the masterpieces, and various schools. 
 N.B, — Owing to the position of the staircase, the door on the right 
 of the visitor at the top of the stairs leads to the left wing. 
 
 LEFT WING. 
 NEAPOLITAN AND FOREIGN SCHOOLS. 
 
 FIKST HALL. 
 BOLOGNESE SCHOOL. 
 
 fl. Lavinia Font ANA. The woman of Samaria. Canvas. 
 
 2. GuERCiNO. The Virgin in glory. Sketch on canvas. 
 
 fS. Annibal Carracci. The Virgin and Child; St. 
 Francis in adoration. On the reverse, the Annunciation. 
 Oriental agate. 
 
 4. EoMANELLi. Battle-piece. Canvas. 
 
 5. RiMiNALDi. St. John Baptist. Canvas. 
 
 6. Carracci (^School of), Sophonisba Anguisciola play- 
 ing the organ. Canvas. 
 
 7. GuiDO Eeni. The Infant Jesus asleep. Canvas. 
 8.. The SAME. St. John the Evangelist. Canvas. 
 
 9. The same. Ulysses welcomed by Nausicaa. C. 
 
 10. GuERCiNO (^School of). Erminia and the shepherds. 
 Canvas. 
 
 11. DoMENiCHiNO (^School of). St. John Evangelist. G. 
 
 12. Giovanni Lanfranco. Satan bound. Canvas. 
 
 13. Romanelli. Battle-piece. Canvas. 
 
90 UPPER FLOOE— LEFT. 
 
 14. BoLOGNESE School. St. Anthony of Padua adoring 
 the Virgin and Child. Canvas. 
 
 15. LiONELLO Spada. Cain killing Abel. Canvas. 
 
 16. Carracci (School of). A cherub with book. C. 
 
 17 . DoM^mcRmo (School of ). The flight into Egypt. C. 
 
 18. GuERCiNO (School of). St. Paul. Canvas. 
 
 19. Ercole Gennari. Einaldo and Armida. Canvas. 
 
 20. SiSTO Badalocchi. The Eesurrection. Canvas. 
 
 21. Elisabetta Sirani. Timodea thrusting into a well 
 the Thracian captain, who desired to descend into it in the 
 hope of finding booty. Signed and dated 1600. Canvas. 
 
 22. The same. The Virgin and Child adored by SS. 
 Barbara and Clara. Signed and dated 1600. Canvas. 
 
 23. Annibal Carracci (School of). The Virgin weeping 
 over the body of Jesus. Canvas. 
 
 24. Guercino. St. Jerome. Canvas. 
 
 2.5. Annibal Carracci. Apollo in the sky. Canvas. 
 
 26. Annibal Carracci (School of). The Virgin and 
 Child. Canvas. 
 
 27. Annibal Carracci. Sketch from life. Canvas. 
 
 28. Giovanni Lanfranco. Holy Family. Canvas. 
 
 29. 'J HE SAME. St. Maria Egiziaca. Canvas. 
 
 30. Carracci (School of). St. Eocco. Canvas. 
 
 31. Agostino Carracci. Head of St. Jerome.' Canvas. 
 
 32. Carlo DoLCi (Cop?/). '' Madonna del Dito.'" Copper. 
 33-4. Annibal Carracci. Holy Family. Canvas. 
 
 35. Carracci (School of). Holy Family " della Scodella." 
 Copper. 
 
 36. A. Carracci. Hercules between Virtue and Vice. 
 Canvas. 
 
 37. Spada. " Madonna del Silenzio." Canvas. 
 t38. Eomanelli. Half-length Sybil. Canvas. 
 
 39. LuDOVico Carracci. The Entombment. Canvas. 
 
 40. Annibal Carracci (School of). Sleeping Cupid. C. 
 
 41. Simone da Pesaro. St. Carlo Borromeo adoring the 
 Virgin and Child. Slate. 
 
 42. Annibal Carracci. Head of St. Francis. Canvas. 
 *43. The same. Satirical composition directed against 
 
 Michelangelo da Caravaggio, who is represented as a 
 hairy savage, offering fruits to a parrot perched on the 
 shoulder of a dwarf. In one corner, the artist, smiling at 
 his rival. Canvas, 
 
PICTURES — BOLOGNESE SCHOOL. 91 
 
 44. Guroo Eeni. Vanity and Modesty. Canvas. 
 
 45. Crespi (lo Spagnolo). Holy Family. Copper. 
 
 46. Annibal Carracci. Portrait. Unknown. Canvas* 
 
 47. GuERCiNO. St. Peter weeping. Canvas. 
 
 48. Lanfranco. Peter walking on the sea. Canvas. 
 
 49. Annibal Carracci (School of). Cupid asleep. C. 
 
 50. BoLOGNESE School. St. John presenting fruit to the 
 Virgin and Child. Copper. 
 
 51. A. Carracci (School of). Holy Family. Panel. 
 t52. Kaibolino (Francia). The Virgin and Child with 
 
 St. John. Panel. 
 
 53. Spada (School of). The Flagellation. Canvas. 
 
 54. BoLOGNESE School. St. Joseph. Copper. 
 
 55. A. Carracci. Einaldo and Armida in the enchanted 
 garden. Canvas. 
 
 56. GiACOMO Cavedone. Hymen. Canvas. 
 
 57. Lanfranco (School of). Saints adoring the Virgin. 
 Canvas. 
 
 58. Lanfranco. SS. Dominic and Augustine adoring 
 the Virgin and Child. Canvas. 
 
 59. Carracci (School of). Venus and Adonis. Canvas. 
 
 60. Giovanni Lanfranco. Jesus in the desert, with 
 ministering angels. Canvas. 
 
 61. A. Carracci (School of). Bacchus. Canvas. 
 
 62. DoNATO Cresti. Burial of St. Sebastian. Canvas. 
 
 63. Lanfranco. St. Francis and another Saint adoring 
 the Virgin. Canvas. 
 
 64. Guercino. St. John Evangelist. Canvas. 
 
 65. A. Carracci. Angels with censers. Arched panel. 
 
 66. GuiDO Eeni. St. Matthew. Canvas. 
 
 67. LuDOvico Carracci. The fall of Simon Magus. C. 
 
 68. Guercino (School of). St. Matthew inspired by an 
 angel. Canvas. 
 
 69. Michelangelo da Caravaggio. Judith slaying 
 Holofernes. Canvas. 
 
 70. Guercino. The Virgin giving the Infant Jesus 
 into the arms of San Pasquale. Canvas. 
 
 71. A. Carracci. St. Eustace kneeling before the cinici- 
 fix which appears to him on the head of a stag. Canvas. 
 
 72. DoMENico MuRATORi. The martyrdom of SS. Philip 
 and James. Sketch for the fresco in the Church of the 
 Apostles at Eome. Canvas. 
 
92 UPPER FLOOR — LEFT. 
 
 73. Artemisia Gentileschi. The Annunciation. C. 
 
 74. Benedetto Gennari. Death of the Magdalen; an 
 angel about to crown her. Canvas. 
 
 75. P. Francesco Nola. Vision of St. Komuald. C. 
 
 SECOND HALL. 
 
 TUSCAN SCHOOL. 
 In the centre, 
 
 Octagonal bronze tabernacle, decorated with bas-reliefs 
 of the Passion, brought from the Certosa at Eome to San 
 Lorenzo della Padula, where it was stripped of its lapis- 
 lazuli columns and base, and of the magnificent cameos 
 and jewels which adorned it. The work is of the school 
 of Michel Angelo, and is said to be by Jacopo Siciliani, a 
 celebrated founder of that period. 
 
 1. L. Grazia da Pistoia. The Presentation. Panel. 
 
 2. Jacopo Carduzzi da Pontormo. Holy Family, after an 
 original by Andrea del Sarto. Panel. 
 
 3. Marco Pino da Siena. The Circumcision. Panel. 
 
 4. Cosmo EossELLi. The marriage of the Virgin. P. 
 
 5. GIANNANTONIoEAZZI(^7/S^od!ow^a). The Kesurrection. P. 
 
 6. Angelo Allori (il Bronzino). Holy Family. Panel* 
 
 7. Marco Pino da Siena. The Annunciation. Panel. 
 
 8. Giorgio Vasari. The Presentation. Panel. 
 
 9. Ghirlandaio (^School of). Holy Family. Panel. 
 
 10. Copy after Giotto. The xinnunciation. Panel. 
 
 11. Francesco Bring. The Last Supper. Octagonal panel. 
 
 12. Pino da Siena. In the centre, the Virgin; above, the 
 Father ; at the sides, the Annunciation, the birth of Jesus, 
 and the adoration of the Magi. Panel. 
 
 13. Buonarroti (/ScAooZo/). The sacrifice of Isaac. P. 
 
 14. Carducci da Pontormo. A cardinal kneeling at the 
 feet of Jesus. Panel. 
 
 15. Marco Pino da Siena (School of). The adoration of 
 the shepherds. Panel. 
 
 16. Marco Viiso da Siena. The Circumcision. Below, the 
 painter's portrait. Arched panel. 
 
 17. Florentine School. Head of a bishop. Panel. 
 
 18. Andrea del Sarto {School of). Holy Family. P. 
 
 19. Marco Pino da Siena (School of). The descent of 
 the Holy Spirit. Panel. 
 
/^ X^^ OF THE ^^ 
 
 PICTUEES— TUSCAN SChKoL.- y ^ -ri ^^j^ T m 
 
 20. Andrea del Sarto {School of). Thoskda^miionc&tihe^ k 
 filieplierds. Panel. ^^JjIFQ'Z^^!^ 
 
 21. Lorenzo di Credi (School of). The "Vn'gki ami Y^^-^""^^ 
 Josepli adoring the Child. Above, a choir of angels. P. 
 
 22. Tuscan School. " Madonna delta PuritaJ' Panel. 
 
 23. FiLiPPO Marolla. The two Marys attending the 
 " Madonna della Pieta." Panel. 
 
 24. Jacopo Pacchiarotto. The Virgin and Child en- 
 throned. At the sides, St. Sebastian and a Martyr. (In 
 the author's early style.) Panel. 
 
 25. Gentile da Fabriano. The Virgin surrounded by 
 Cherubim and angels. Above, the Saviour. Panel. 
 
 26. Copy after Andrea del Sarto. Head of Christ. P. 
 
 27. Lorenzo Sciarpelloni (di Credi). The Infant Jesus 
 adored by his mother, St. Joseph, and angels. Panel. 
 
 28. D. CoRRADi (il Ghirlandaio). The Virgin and Child. 
 Panel. 
 
 29. Florentine School. The Virgin and Child. Panel. 
 
 30. Il Ghirlandaio. The Virgin enthroned with the 
 Infant Jesus. At the sides, saints. Panel. 
 
 31. Matteo Giovanni da Siena. The massacre of the 
 innocents in the presence of Herod. Signed and dated 
 1418. Panel. 
 
 •f32. Sandro Botticelli. The Virgin and Child sus- 
 tained by two angels. Panel. 
 
 33. Antonio del Pollaiuolo. The Virgin and Jesus 
 blessing the infant St. John. Bound panel. 
 
 34. Gentile da Fabriano. Libercus tracing the founda- 
 tions of the church of S. Maria ad Nives, in Eome. Panel. 
 
 35. Baldassarre Peruzzi. Portrait of Gianbernardo da 
 Castel Bolognese, a celebrated engraver. Panel. 
 
 36. Il Bronzino. *' Ecce Homo." Panel. 
 
 37. Filippo Lippi. The Annunciation. At the sides, St. 
 John and St. Andrew. Panel. 
 
 38. Filippo Mazzola. The Infant Jesus adored by the 
 Virgin, St. Clara, and the Magdalen. Panel. 
 
 39. Florentine School. St. Peter, in presence of a 
 bishop, giving the keys to the Infant Jesus. Panel. 
 
 40. CiAMPELLi. The entry into Jerusalem. Canvas. 
 
 41. Salviati {School of). The Virgin with Jesus and 
 St. John. Canvas. 
 
 42. Il Bronzino. Portrait of a young gentleman. P. 
 
94 UPPER FLOOR— LEFT. 
 
 43. GiULiANO Pesello. a martyr. Fanel. 
 
 f 44. Masaccio di San Giovanni. His own portrait. P. 
 
 45. Marco Pino da Siena. Adoration of the Magi. P. 
 
 46. Giovanni Balduzzi. The Presentation. Panel. 
 
 47. RiDOLFO DEL Ghirlandaio. The Virgin and Child 
 with cherubim. Panel. 
 
 48. CoRRADi DEL Ghirlandaio. The Virgin caressing 
 St. John, and Jesns blessing him. Panel. 
 
 49. Giuliano Pesello. The crowning of the Virgin. P 
 
 50. Florentine School. The death of Lucretia. P. 
 
 51. Andrea del Sarto (School of). Lucretia. Panel. 
 
 52. Marco Pino. The adoration of the shepherds. P. 
 
 53. Giorgio Vasari. Justice crowning Innocence 
 (brought forward by Time), and chaining Vice. Panel, 
 
 54. Giuliano Bugiardini. The Deposition. Panel. 
 
 55. Il Bronzino. Portrait of a lady holding a book. P. 
 
 56. Giuliano Pesello. An apostle. Panel. 
 
 57. Agostino Giampelli. Jesus descending into Hades. 
 Canvas. 
 
 58. Francesco Granacci. The Virgin and Child, with 
 St. John. Panel. 
 
 59. Benedetto Luti. The Virgin and Child, with St. 
 John, in a beautiful landscape. Canvas. 
 
 THIRD HALL. 
 
 NEAPOLITAN SCHOOL. ' 
 
 Fourteenth, Fifteenth^ and Sixteenth Centuries. 
 
 1. PiETRO DEL DoNZELLO. The Crucifixion. Panel. 
 
 2. FiLiPPO Criscuolo. The Trinity contemplating the 
 Nativity. Panel, in five compartments. 
 
 3. PiETRO DEL DoNZELLO. St. Martin, on horseback, 
 giving half his tunic to Satan, who appears to him as a 
 mendicant. Arched panel. 
 
 4. Old Neapolitan School. The Virgin kneeling before 
 the new-born Saviour. Panel. 
 
 5. Andrea da Salerno (School of). The adoration of the 
 Magi. Panel. 
 
 6. Santafede (School of). St. Francesco da Paola and 
 two bishops adoring the Virgin and Child. Panel. 
 
PICTURES— NEAPOLITAN SCHOOL. 95 
 
 t7. Antonio Solari (lo Zingaro). The Virgin and 
 Child enthroned. About them are SS. Peter, Paul, 
 Sebastian, Aspremus and Candidus. Panel. 
 
 8. Francesco Curia. The Virgin of the Rosary, and a 
 glory of saints and angels. Panel. 
 
 9. PoMPEO Landulfo. Angels crowning St. Catherine 
 of Siena. Panel, 
 
 10. Giambattista Caracciolo. Angels bearing the 
 Vir<5in to heaven. Panel. 
 
 1\. Gian Bernardo Lama. ^'•Madonna della Pieta.'* 
 Above ^ the Annunciation. Panel. 
 
 12. Andrea da Salerno {School of). A martyr. Panel, 
 v.). Ippolito Borghese. " Madonna della Pieta.'' Canvas. 
 
 14. The same. The dead Christ supported by his 
 mother and an angel. Canvas. 
 
 15. D'Amato {School of). The Virgin of the Rosary 
 enthroned, and several Dominicans. Panel. 
 
 16. GiovANNANTONio d'Amato. The Virgin and Child 
 with a choir of angels. Canvas. 
 
 17. Andrea da Salerno {School of). John Baptist. P. 
 
 18. Ippolito del Donzello. The Crucifixion. Panel. 
 
 19. Francesco Curia. Holy Family adored by two 
 Dominicans. Panel. 
 
 20. The same. The Virgin of the Rosary, with St. 
 Dominic, St. Rose, and others. Arched panel. 
 
 21. SiMONE Papa. Above, Jesus on the cross, and the 
 two Marys lamenting. Below, the Virgin and Child. 
 Panel, in two compartments. 
 
 22. Andrea da Salerno {School of), A Dominican.'- P. 
 
 23. PiETRO and Ippolito del Donzello. The Virgin and 
 Child between St. Sebastian and St. James. Above, Jesus 
 between the Magdalen and St. John the Evangelist. 
 Below, twelve half-length figures of the Apostles, with 
 the risen Saviour in their midst. Panel, in compartments. 
 
 24. Andrea Sabbatini da Salerno. The miracle of 
 St. Niccolo of Bari. Panel. 
 
 25. SiMONE Papa. Above, St. George and another 
 saint. Below, SS. John the Baptist and the Evangelist. 
 Panel, in two compartments. 
 
 26. Andrea da Salerno {School of). An apostle. P. 
 
 27. Belisario Corenzio. St. James of Galitz, on horse- 
 back, exterminating the Saracens. Panel 
 
96 UPPER FLOOR— LEFT. 
 
 (Without ntiinber.) Pietro and Ippolito del Donzello. 
 The Virgin and Child between two saints. Panel. 
 
 The same. The bust of our Saviour between 
 
 female martyrs. Panel. 
 
 28. Andrea Sabbatini da Salerno (School of). Miracle 
 by a Franciscan saint. Panel. 
 
 29. The same School. St. Benoit. Panel. 
 
 30. The same School. St. Benoit receiving into hie 
 order St. Maur and St. Placide. A sketch. Panel. 
 
 31. Lo ZiNGARO (?). The Virgin and Child enthroned, 
 adored by two angels. Panel. 
 
 32. Simone Papa. In the centre, the Archangel ; at the 
 sides, SS. Jerome and James della Marca, invoking his 
 protection in favour of Bernardino Turbolo and Anne de 
 Rosa, noble Neapolitans. 
 
 33. Andrea da Salerno. Adoration of the Magi. 
 Arched panel. 
 
 34. The same. St. Benoit bestowing the capuchon on 
 SS. Maur and Placide. A sketch. Panel. 
 
 35. Andrea da Salerno {School of). The Descent from 
 the Cross. Panel. 
 
 36. GiROLAMO Imparato. The Annunciation. Panel. 
 
 BYZAN'KNE AND OLD TUSCAN SCHOOLS. 
 In a Boom opening from the same Saloon. 
 
 1. Giotto (^School of). SS. Bartholomew and Ber- 
 nardino. A diptych, with the name of St. Bartholomew 
 in Latin. Panel. 
 
 2. Neri di Biccl St. Paul. Panel. 
 
 3. Simone da Siena (^School of). The Virgin and Child, 
 crowned by two angels. At the sides, SS. John the 
 Evangelist and the Baptist. Pointed panel. 
 
 4. Angelo Gaddi. The Annunciation. Panel. 
 
 5. Neri di Bicci. St. Peter. Canvas on wood. 
 
 6. Giotto (^School of). A triptych. In the centre, the 
 Virgin and Child between two saints. On one side, 
 Jesus upon the cross, mourned by his mother and St. 
 John ; on the other, Jesus and the angel Gabriel. 
 Panel. 
 
BYZANTINE AND OLD TUSCAN SCHOOLS. 97 
 
 7. Florentine School. The Virgin and Child with a 
 jackdaw. Panel. 
 
 8. Del Verrocchio (?). A martyr with a book. 
 Panel. 
 
 t9. Italo-Greek School. St. Peter (name, in Greek). 
 Arched panel. 
 
 10. Giotto (^School of). Christ on the cross adored by 
 his mother and St. John ; a saint beneath. Panel. 
 
 11. Italo-Greek School. An apostle. Greek inscrip- 
 tion. Arched panel. 
 
 12. Giotto (School of). St. Paul. Panel. 
 
 13. Andrea del Verrocchio (?). St. Clara with pyx 
 and book. Panel. 
 
 14. The same. The Assumption, with two angels. 
 Ahove, the Father, with seraphim. Panel. 
 
 15. Lorenzo Monaco. The Magdalen kneeling before 
 the crucified Saviour. The Virgin and Child adored by 
 St. Anthony. Diptych. Panel. 
 
 16. Lorenzo di Niccol6. The Annunciation. Panel. 
 
 17. Byzantine School. Christ between SS. Nicholas 
 and Anastasius. Greek inscription. A triptych. Paneh 
 
 18. Taddeo Gaddi (?). SS. Anthony and Francis 
 holding a book on which is the initial T. Panel. 
 
 19. Andrea del Verrocchio (?). A half-length of St. 
 Bernardino of Siena. Panel. 
 
 20. The same. St. Ludovic in pontifical robes. Panel. 
 
 21. Attributed to Cimabue. St. Spiridion enthroned, 
 with cherubs. With inscriptions in Greek. Panel. 
 
 22. Florentine School. The Virgin and Child with a 
 goldfinch. Panel. 
 
 23. Bernardino (da Firenze). Death of the Virgin and 
 her reception in heaven. Panel. 
 
 24. Byzantine School. St. Francis. Greek inscription. 
 Panel. 
 
 25. The same School. Jesus rising from a chalice and 
 giving his blessing. Greek inscription. Panel. 
 
 26. Italo-Greek School. " Madonna delle Grazie." The 
 inscription in Greek. Panel. 
 
 27. From the Catacombs. Virgin and Child. Fresco. 
 
 28. The same. A priest holding a glass. Fresco. 
 
 29. The same. A young man carrying a basket with 
 fruits. Fresco. 
 
98 UPPER FLOOR— LEFT. 
 
 30. The same. Bust of a young man carrying ears of 
 corn in a basket. Fresco. 
 
 31. Florentine School. The Virgin and Child. Panel. 
 
 32. The same. The " Madonna di Monserrato" with the 
 Infant Jesus on her knees. Panel. 
 
 33. The same. Coronation of the Virgin. Panel. 
 
 34. Italo-Greek School. The Virgin and Child, with 
 St. Catherine. Panel. 
 
 35. Byzantine School. Jesus, between the Virgin and 
 John Baptist. Greek inscription. Panel. 
 
 36. The same. The Virgin and Child, with St. Cathe- 
 rine. The names in Greek. Panel. 
 
 37. Italo-Greek School. The Virgin and Child. P. 
 
 38. Attributed to Taddeo Gaddi. The Annunciation. 
 Below, St. John Baptist, St. Francis, St. Ludovic, and an 
 apostle. Triptych. Names in Greek. Panel. 
 
 39. Byzantine School. The Virgin and Child, with two 
 archangels. Triptych. Names in Greek. Panel. 
 
 40. Andrea del Verrocchio (?). St. Jerome. Panel. 
 *41. Byzantine School. The Saviour, whose head is 
 
 encircled by a golden crown, with three Oriental pearls. 
 Silver. 
 
 42. Italo-Greek School. St. Nicholas enthroned. In- 
 scription in Greek. Panel. 
 
 43. Florentine School. The dead Christ. Panel. 
 
 44. Andrea Richo di Candia. The Virgin and Child. 
 Names in Greek. Panel. 
 
 45. Byzantine School. St. George and the dragon. 
 The name in Greek. Panel. 
 
 46. EiCHO DI Candia {School of). The Virgin and Child, 
 with St. Joseph. Names in Greek. Panel. 
 
 47. Andrea Velletrano. A triptych. In the centre^ the 
 Virgin and Child, with four saints. At the side, the Annun- 
 ciation, the baptism of Jesus, and the Descent from the 
 Cross. The date 1336, and the painter's monogram. P. 
 
 48. Alessio Balduinetti. The Virgin and St. John, at 
 the foot of the cross. Panel. 
 
 49. Lorenzo di Ricci. " Madonna della Pieta." Panel. 
 
 • 50. Byzantine School. St. Nicholas of Bari. With 
 name in Greek. Panel. 
 
 51. Italo-Greek School. St. George and the dragon. 
 The name in Greek. Panel. 
 
PICTURES— NEAPOLITAN SCHOOL. 99 
 
 52. Italo-Greek School. The Holy Trinity, between 
 Gabriel and Michael. Above, the Virgin enthroned be- 
 tween St. Basil and St. Athanasius. A votive offering from 
 Filippo Luma. Names in Greek. Panel. 
 
 53. The same. St. George. Name in Greek. Arched 
 panel. 
 
 54. Giotto (^School of). Jesus appearing to Mary 
 Magdalen. Pointed panel. 
 
 55. Attributed to Giotto. The Virgin and Child, with 
 four saints. Arched panel. 
 
 56. Byzantine School. Three winged figures at table. 
 Inscription in Greek. Panel. 
 
 57. Andrea del Verrocchio (?). The Magdalen with 
 the box of ointment. Panel. 
 
 58. The same. St. Anthony of Padua. Panel. 
 
 59. Jacopo del Casentino. A Carmelite and eight 
 persons watching a star. Panel. 
 
 60. Neri di Ricci. St. Anna holding the Virgin and 
 the Infant Jesus. Canvas on panel. 
 
 61. Florentine School. St. Eleutherus enthroned and 
 adored by the disciples of the Virgin. A votive offering 
 at the time of the plague in Velletri, in 1484. Panel. 
 
 62. Andrea del Verrocchio (?). St. Francis. Panel. 
 
 NEAPOLITAN SCHOOL. 
 Thirteenth and Fourteenth Centuries. 
 
 In an adjoining room (much restored), 
 
 1. SiLVESTRO BuoNO. The Magdalen with a box of 
 ointment. Panel. 
 
 2. Old Neapolitan School. The Crucifixion. Panel. 
 
 3. The same. The Descent from the Cross. Panel. 
 
 4. Pietro del Donzello. The Virgin and Child. At 
 the sides, SS. Francis and Jerome. Panel. 
 
 5. Angelo Eoccaderame. Archangel Michael. Panel. 
 
 6. CoLANTONio DEL FiORE. St. Jcrome. Panel. 
 
 7. SiLVESTRO BuoNO. St. Johu the Baptist. Panel. 
 
 8. Old Neapolitan School. A bishop. Panel. 
 
 9. Neapolitan School. Two hermits fording a stream, 
 bearing a box with the image of the Virgin. P. 
 
 flO. The same. The Nativity. Panel. 
 11. SiLVESTRO BuoNO. Death of the Virgin. Panel. 
 
 h 2 
 
100 UPPER FLOOR— LEFT. 
 
 12. FiLiPPO Tesauro. Virgin and Child, with saints. 
 Fanel. 
 
 13. Old Neapolitan School. The Virgin and Child in 
 the disc of the moon, surrounded by cherubim. BeloWy 
 SS. Andrew and James. Panel. 
 
 14. Stefanone. ^'- San Giacomo delta Marca" adored by 
 two angels. Panel. 
 
 FOUETH HALL. 
 
 LARGE CABINET— MEDIEVAL COLLECTION. 
 
 This fine cabinet originally surrounded the sacristy 
 of the church of Sanf Agostino degli Scalzi, and the other 
 armoire at the end of the room served as the door of the 
 same sacristy. Both are of walnut and of the 1 5th century, 
 and were superbly carved, by a lay brother of the order, 
 with reliefs representing the life of Saint Augustine. 
 
 When the monastery was suppressed, the carving was 
 taken down ; and the two sides, placed back to back, were 
 erected as they now are, and filled with priceless mediaeval 
 specimens from the magnificent collections of the Farnese 
 family. 
 Compartment I., 
 
 Four statuettes and two crucifixes in ivory. 
 
 fCYLiNDRiCAL bas-relicf in ivory of a cavalry battle 
 between Spaniards and Austrian s. 
 
 110036. Magnificent ivory bas-relief of children hand 
 in hand — one playing the drum. 
 
 Two others similar in shape, and five ivory statuettes. 
 
 Compartment II., 
 
 The Nativity. Ivorybas-relief of ten figures. Plaques 
 of rock-crystal which adorned the altar of the Farnese 
 Pope, Paul III.. 
 Compartment III., 
 
 Jesus at the pillar. Ivory. 
 
 A man holding two women by the hand. 
 
 tThe martyrdom of a Saint. 
 Compartment IY., 
 
 The Virgin and Child. Ivory triptych. 
 
 Ebony casket mounted in Oriental agate. 
 
 Paper weight in the shape of a frog. 
 
MEDIEVAL COLLECTION. 101 
 
 Compartment V., 
 
 tNEPTUNE angry. Ivory. 
 
 Sundry pieces of rock-crystal. 
 Compartment VT., 
 
 Ebony casket. 
 
 The sword of Alex. Farnese. The handle is of jasper 
 set with rubies, turquoises, and amethysts ; the scabbard 
 with silver and precious stones. 
 
 Poignard, hilt in agate, blade damascened with gold, 
 inscribed " Ducefidus Achates" 
 
 Three pictures in pietra dura, and sundry pieces of rock- 
 crj^stal. 
 Compartment VII., 
 
 t Amber casket adorned with statuettes. The drawer 
 contains chessmen and draughts. 
 Compartment VIII., 
 
 Charles III. in solid silver. 
 
 fPR^FERicuLUM of Oriental sardonyx set with rubies 
 and other jewels. A syren in enamel forms the handle. 
 A priceless specimen. 
 
 Oval dish and knife of Oriental agate ; cup of jasper ; 
 sundry pieces of rock-crystal ; two miniatures ; Florentine 
 mosaics ; snuff-box of petrified wood ; two fine heads in wood. 
 
 Cup of jade, supposed to have the property of testing 
 poisoned liquors. 
 
 Handsome crystal bowl, beautifully cut on the inside. 
 Compartment IX., 
 
 Jesus bound to the pillar. Ivory. 
 
 Two mosaics in varied marbles. 
 Compartment X., 
 
 Europa and the bull. 
 
 Portable ivory sun-dial. 
 
 A woman bound for martyrdom. 
 
 Crystal dish mounted in gilt bronze. 
 
 Five splendid engravings of the Evangelists in rock- 
 crystal, and other specimens bearing the name of Giovanni 
 di Bernardi. 
 Compartment XI., 
 
 Carta Gloria, a magnificent triptych for use on the altar, 
 headed with three pictures in enamel by the celebrated 
 
102 UPPER FLOOR — LEFT. 
 
 artist Leonard de Limousin, representing the Nativity, the 
 Crucifixion, and the risen Saviour appearing to Mary- 
 Magdalene. 
 
 Below the enamels is a white silk canvas, npon which 
 are worked the words ''Hoc est enim corpus meum,'' &c. 
 from the Koman Missal. Below, a mystical garden, the 
 flowers bearing the names of the seven Christian virtues. 
 
 In the centre of the garden, a lamb impaled by a 
 cross, his blood flowing into a basin, towards which twelve 
 sheep concentrate. Legend, " Agnus redemit oves." Below 
 the basin, the word " Fontevrault" the name of the French 
 convent where the work was executed. 
 
 The accessory picture on the left shows the " Ecce 
 Homo" between Pilate and Herod — the former being 
 indicated by an ewer and basin and a washed hand, the 
 latter by a narrow gold band on his head. Below, an 
 " ostensoir " and the symbols of the Passion, including the 
 ear of Malchus on the point of a sword. 
 
 The picture on the'right shows Caiaphas with his mitre, 
 and Judas with a purse round his neck, the seamless robe, 
 and other emblems of the Passion. Below, a winepress, 
 with a bleeding heart impaled by three nails. Legend, 
 *' Torcular calcavi solus" " I have trodden the winepress 
 alone " (Is. Ixiii. 3). 
 
 The folding panels are decorated with the Creed and 
 the " Gloria in excelsis." 
 
 The initials and arms on this beautiful relic show that 
 it belonged to Charles de Lorraine-Guise when he was 
 Archbishop of Eheims and before he became Cardinal in 
 July 1547. It probably was given him to celebrate 
 his appointment to the bishopric in 1545, by his niece 
 Madeleine de Bourbon, who is represented as kissing the 
 foot of the cross in the centre enamel, and has recorded 
 her name by the cypher M. de B, f. {Madeleine de Bourhon 
 fecit). She was a nun of Fontevrault, of which convent 
 Louise de Bourbon was abbess. 
 
 After the French Revolution it became the property of 
 the Cardinal Stephen Borgia, from whose collection it 
 passed to the Naples Museum. 
 
 The above particulars are taken from a pamphlet by 
 Monsieur Auguste Castan, read the 6th of March, 1882, at 
 the *' Academie des Sciences et Belles-lettres dAngers." 
 
MEDIEVAL COLLECTION. 103 
 
 Compartment XII., 
 
 The Good Shepherd ; ivory. 
 
 10345. Head of Our Lord in wood, of wonderful execution. 
 Spherical bronze censer, 11th century. (Limoges.) 
 
 10346. Amber cup with cover. 
 10351-2. Two wooden cups with foliage. 
 
 10395. Praefericulum in stag-horn, with ivory handle 
 carved with dogs and a wild boar, &c. 
 Compartment XIII., 
 
 Ivory dish carved with scenes from the Metamorphoses 
 of Ovid ; and Chinese fans. 
 
 Bronze crucifixes, 12th century. (^Limoges.) 
 
 Another Cabinet. 
 
 Also from the sacristy of Sanf Agostino degli Scalzi, con- 
 taining a beautiful 
 
 Porcelain service, which belonged to Cardinal Borgia 
 Farnese, enamelled elegantly in blue and gold, and deco- 
 rated with the family fleur-de-lys. 
 
 Majolica ware with figures and ornaments. Observe 
 the dish representing the Massacre of the Innocents. These 
 specimens are of the Abruzzi and Urbino manufacture. 
 Near the balcony, 
 
 The Farnese casket, in silver gilt, attributed to Ben- 
 venuto Cellini. This magnificent work is in the form of 
 a temple, at the four angles of which are statuettes of 
 Minerva, Mars, Diana, and Bacchus. 
 
 The two principal faces are divided by a Caryatide, with 
 the armorial bearings of the Farnese family on her breast ; 
 the sections between the Caryatides are decorated with six 
 engravings on rock-crystal of surprising workmanship. 
 These were executed by the famous Bolognese, whose name 
 is engraved in Latin on each plate — Joannes de Bernardi. 
 
 The right-hand engraving represents a battle between 
 Greeks and Amazons, and the left one the contest of the 
 Centaurs and Lapithce. On the opposite side are ovals 
 with Meleager^s Hunt and the Triumph of Bacchus. On one 
 of the lateral faces are the Games of the Circus, and on the 
 other a naval combat between Greeks and Persians. Each 
 plate bears a corresponding inscription. The cover repre- 
 
104 UPPER FLOOR — LEFT. 
 
 sents on one side Hercules strangling the Serpents, and on the 
 other the Apotheosis of Hercules on Mount ^ta, surmounted 
 by a sitting statue of Hercules holding his club and the 
 three Hesperidian apples. Below the cover is the Bape of 
 Proserpine. In the interior of the casket is another bas- 
 relief representing Alexander the Great, surrounded by his 
 captains. A slave offers him a casket, in which he orders 
 the works of Homer to be placed. 
 Near the other window, 
 
 A Huntress, loith the Genius of the chase on a stag. This 
 silver-gilt bijou was a toy of the Farnese family. It 
 moved by clock-work. 
 
 IN THE SAME SALOON. 
 
 NEAPOLITAN SCHOOL. 
 
 Sixteenth, Seventeenth, and Eighteenth Centuries. 
 
 t*l. DoMEi^ico Ga-rgiulo (^Micco Spadaro). An historical 
 picture, representing, with much variety of costume, the 
 revolution of Masaniello, in the Largo del Mercato at 
 Naples, in 1647. Masaniello on horseback, in the costume 
 of the lazzaroni, is exciting the people. Near the centre, 
 the heads of the nobles who had been decapitated. A 
 countless multitude crowds the popular chief, testifying 
 the greatest devotion. Canvas. 
 
 2. Giovanni Do. Landscape with figures and river. C. 
 
 3. Andrea Vaccaro. St. Francis at prayer. Canvas. 
 t4. Micco Spadaro. View of the Largo del Mercatello, 
 
 Piazza Dante, in Naples, 1656, at the time of the plague. 
 Horror and consternation are upon every countenance. 
 Carts breaking down under the loads of dead, and the 
 dying dragging themselves towards a priest, who ad- 
 ministers the extreme unction to them, occupy a prominent 
 part of the scene. Canvas. 
 
 5. FiLiPPO Criscuolo. Adoration of the Magi. Canvas. 
 
 6. Francesco Guarino da Solofra. St. Cecilia playing 
 the organ, surrounded by angels. Canvas. 
 
 t*7. Marco Cardisco (il Calahrese). St. Augustine 
 arguing with infidels. This painter's works are very 
 rare. Panel, 
 
PICTUBES— NEAPOLITAN SCHOOL. 105 
 
 8. SciPiONE CoMPAGNO. View of the Largo del Mercato, 
 in 1648. Don John of Austria makes his triumphant 
 entry on horseback, accompanied by the Archbishop of 
 Naples, Cardinal Filomarino, and other dignitaries of the 
 State. The municipality present him the keys of the city 
 on a silver plate. The heads of the rebels are in the 
 place where those of the executed nobles were. Canvas. 
 
 9. Cav. Stanzioni. St. Bruno at prayer. Canvas. 
 
 10. Stanzioni (^School of). The Baptist. Oval canvas. 
 
 11. Neapolitan School. '^ Madonna addolorata." Canvas. 
 
 12. Paolo Porpora. Still life. Canvas. 
 
 tl3. Gennaro Sarnelli. The Virgin and St. Joseph 
 contemplating the sleeping Jesus. Canvas. 
 
 14. Fracanzano. An apostle. Oval canvas. 
 
 15. Pacecco de Eosa. Jacob meeting Eachel. Canvas. 
 
 16. Cav. Giuseppe Eecco. Birds and flowers. Canvas. 
 
 17. Cav. Stanzioni. Death of Lucretia. Canvas. 
 
 tl8. Giordano {School of). St. Francesco di Paola. C. 
 
 19. Salvator Eosa (School of). Battle-piece. Canvas. 
 
 20. EiBERA (School of). Head of an old man. Canvas. 
 
 21. Francanzano. An apostle. Oval panel. 
 
 22. Giordano. Semiramis at the defence of Babylon. C. 
 
 23. Abbot Andrea Belvedere. Still life. Canvas. 
 124. Paolo de Matteis, after Alhano. The adoration of 
 
 the shepherds. Copper. 
 
 25. P. DE Eosa. St. Peter's denial. Bound panel. 
 
 26. Salvator Eosa (School of). Anchorite at prayer. C. 
 
 27. Giordano, after Paolo Veronese. Salome with the 
 head of John Baptist. Canvas. 
 
 28. LucA Giordano. Battle of Amazons. Canvas. 
 
 29. Abbot Andrea Belvedere. Still life. Canvas. 
 
 30. LucA Giordano. Descent from the Cross. Canvas. 
 
 31. GiAMBATTisTA EuoppoLi. Still life. Canvas. 
 
 32. Nicola Vaccaro. The repose in Egypt — an ex- 
 tended landscape. Canvas. 
 
 33. Francanzano. An apostle. Oval panel. 
 
 34. Andrea Vaccaro, after Guido. Magdalen in tears. 
 Canvas. 
 
 35. Salvator Eosa (School of). Battle-piece. Canvas. 
 
 36. Pacecco de Eosa (School of). Portrait of a young 
 lady. Oval canvas. 
 
 37. Cav. Stanzioni. Adoration of the shepherds. C. 
 
106 UPPER FLOOR— LEFT. 
 
 38. GiAMBATTiSTA EuoppOLi. Still life. Canvas. 
 
 39. B. DE Caro. Dog and game. Canvas. 
 
 40. Francanzano. An apostle. Oval canvas. 
 
 41. P. DE Matteis. Paradise — sketch for a fresco. C. 
 
 42. Gaspare Lopez. Young woman with a little child ; 
 vases and flowers. Canvas. 
 
 43. Danzeryk. Marine. Canvas. 
 
 44. Gaetano Martoriello. A storm. Canvas. 
 
 45. Domenicantonio Vaccaro. The Virgin and Child, 
 with angels. Below, St. Komuald and other saints. 
 Sketch for the picture in the church of Monteverginella. 
 Canvas. 
 
 46. Sebastiano Conga. The Virgin, St. Carlo Borromeo, 
 and St. James of Galitz. Sketch. Canvas. 
 
 47. Neapolitan School. St. Peter blessing a young 
 man kneeling on the steps of an altar. Canvas. 
 
 48. Same School. Flowers. Canvas. 
 
 49. Bernardo Cavallino. Holy women by the body of 
 St. Sebastian. Canvas. 
 
 50. The same. Martyrdom of St. Andrew. Canvas, 
 
 51. Stanzioni (School of). Holy Family. Canvas. 
 
 52. Fabrizio Santafede. The Nativity. Canvas. 
 
 53. Andrea Vaccaro, after Michelangelo da Caravaggio. 
 The Massacre of the Innocents. Canvas. 
 
 54. Giordano. St. Fran9ois Xavier baptizing the In- 
 dians, and St. Ignatius returning thanks. Canvas. 
 
 55. Paolo Finoglia. St. Bruno receiving the rules of 
 his order from the Virgin and Child. Canvas. 
 
 56. Traversa. A girl with a white dove. Canvas. 
 
 57. LucA Giordano. Jesus asleep. Canvas. 
 
 58. Neapolitan School. An explosion overthrowing a 
 temple. Canvas. 
 
 *59. Salvator Kosa. The parable of the mote and the 
 beam. Canvas. 
 
 60. Nicola Vaccaro. St. Cecilia. Canvas. 
 
 •f61. Giordano, after Paolo Veronese. The marriage at 
 Cana. Canvas. 
 
 62. Francesco de Mura {Francischiello). The adoration 
 of the shepherds. Canvas. 
 
 63. P. DE Kosa. " Madonna delle Grazie." Bound panel. 
 
 64. Spagnoletto. St. Bruno receiving the rules of his 
 order. Copper. 
 
PICTURES— NEAPOLITAN SCHOOL. 107 
 
 65. P. DE Rosa. St. Joseph with Jesus. Canvas. 
 
 66. NovELLi (Monrealese). Judith and Holof ernes. C. 
 
 67. P. DE Rosa. St. Jerome. Bound panel. 
 
 68. Cav. Stanzioni. The Virgin and Child, with a glory 
 of angels. Canvas. 
 
 t69. LucA Giordano. Salome presenting the head of 
 John the Baptist to Herod — an imitation of Paolo Veronese. 
 Canvas. 
 
 70. Vaccaro. The Magdalen weeping and holding a 
 skull. Canvas. 
 
 t*71. LucA Giordano. St. Rosa, St. Dominic and others, 
 adoring the Madonna of the Rosary. Canvas. 
 
 ^72. Spadaro. Portrait of Masaniello smoking a pipe. 
 Canvas. 
 
 73. RuiTZ. Small landscapes. Canvas. 
 
 74. Cav. Stanzioni. The Virgin and Child, with St. 
 John. Canvas. 
 
 t75. LucA Giordano. Pope Alexander II. dedicating 
 the church of Montecassino. Sketch for the picture in 
 that church. The painter's portrait in one comer. Canvas. 
 
 76. Giordano, after Bilrer. " Ecce Homo." Canvas, 
 
 77. Cav. Calabrese. St. John Baptist. Canvas. 
 
 78. The same. A sketch of a picture representing the 
 plague of 1656. Canvas. 
 
 79. Micco Spadaro. St. Onofrio in the desert. Canvas. 
 
 80. The same. Cardinals Filomarino and St. Bruno, 
 monks of San Martino, Naples, praying the Virgin to avert 
 the plague in 1654. In one corner, portraits of the painter, 
 Vivien, and Salvator Rosa ; in the other, a personification 
 of the plague, scourge in hand. Canvas. 
 
 81. Cav. Calabrese. Return of the prodigal. Canvas. 
 
 82. The same. A sketch of a picture representing the 
 plague of 1656. Canvas. 
 
 83. Micco Spadaro. St. Paul the hermit and St. Anthony 
 in the desert. Canvas. 
 
 84. Andrea di Leone. The Jews fighting the Amalekites. 
 Canvas. 
 
 85. LucA Giordano. Christ before Caiaphas — an imita- 
 tion of Alhrecht Diirer. Canvas. 
 
 86. Cav. Calabrese. Judith and Holofernes. Canvas. 
 
 87. Micco Spadaro. A Carthusian monastery in fiames 
 and the monks being murdered by soldiers. Canvas. 
 
108 UPPER FLOOR — LEFT. 
 
 88. EuiTZ. Small landscapes. Canvas. 
 
 89. Cavallino. St. Cecilia and an angel. Sketch. C. 
 
 90. P. DE Rosa. Peter baptizing St. Candid. Canvas. 
 
 . 91, Mario Masturzo. Landscape with river. Canvas. 
 
 92. DoMENico Viola. The Saviour telling the Pharisees 
 to render Caesar his tribute. Canvas. 
 
 93. P. DE EosA. Death of a pilgrim. Bound panel. 
 
 94. Aniello Falcone. Spanish soldiery. Canvas. 
 t95. Stanzioni (School of). St. Agatha. Canvas. 
 
 f96. B. RoDERiGO (Bernardino Siciliano). The Virgin 
 wearing sacerdotal robes. Canvas. 
 
 97. P. DE Rosa. Shepherd with bagpipe. Bound panel. 
 
 98. Aniello Falcone. Battle-piece. Canvas. 
 
 99. Salvator Rosa (School of). Landscape with figures. 
 Canvas. 
 
 •f 100. Vaccaro. St. Anthony with the Infant Jesus. C. 
 
 101. Carlo Coppola. The Largo del Mercato at Naples 
 during the plague of 1656. Canvas. 
 
 102. Copy after Salvator Rosa. St. Roch. Canvas. 
 
 103. Stanzioni (School of). St. Jerome. Oval panel. 
 
 104. LuiGi RoDERiGo. The Holy Trinity adored by the 
 Baptist and St. Francis. In the corner, the painter's 
 portrait and name. Panel. 
 
 FIFTH HALL. 
 
 GERMAN, DUTCH, AND FLEMISH SCHOOLS. 
 
 1. N. Frumentl One of the Magi. Panel. 
 
 2. Old German School. The Visitation. Panel. 
 
 ■fS. L. Damnez (Luca d'Olanda). The adoration of the 
 Magi, — a great triptych. Panel. 
 
 4. Old German School. The Virgin with the dead 
 Christ ; St. John and Magdalen. Panel. 
 
 5. J. Beuckelaer. Fowl market with monkeys. Canvas. 
 
 6. N. Frumenti. One of the Magi. Panel. 
 
 7. Old German School. The flight into Egypt. Panel. 
 
 8. Joachim Beuckelaer. Market-scene. Panel. 
 
 9. Dutch School. Market and boats. Copper. 
 
 10. Bruegel (School of). Landscape. Panel. 
 
 til. J. Bruegel (il Velluto). Festival at Rotterdam. 
 Panel. 
 
 12. Old German School. One of the Magi. Panel. 
 
GEEMAN, DUTCH, AND FLEMI^ 
 
 13. Bruegel (School of). A seaport "Mt^^d bjDMus- ^ k 
 
 sulmans. Panel. ^^S^lFQE'S^ ^'S^ 
 
 14. Bruegel {School of). Landscape. P/rw^^s;^- ^^^^ 
 
 15. Bosch {dalX inferno). Holy Family in a cloister. P. 
 
 16. Bruegel (ScJiool of). St. Jerome praying near the 
 grotto of Bethlehem. Panel. 
 
 17. Dutch School. Fruit and fowl market. Canvas. 
 
 18. Kranach {School of). John Baptist preaching. P. 
 
 19. Von Bles. Landscape with figures. Panel. 
 
 20. Dutch School. Woman nursing a child. Panel. 
 
 21. Beuckelaer {School of). Game dealer. Canvas. 
 
 22. Bruegel {School of). Landscape. Panel. 
 
 23. The same. Ships in a tempest. Panel. 
 
 24. Barbato. Interior of Dresden Cathedral. Panel. 
 
 25. Old German School. Nicodemus and one of the 
 Marys with a vase of perfume. Panel. 
 
 26. Dutch School. A village with skaters. Panel. 
 
 27. Lambert Suavio. Christ on Calvary. Panel. 
 
 28. Joachim Beuckelaer. Fish market. Canvas. 
 
 29. M. Schongauer. Adoration of the Magi. Panel. 
 
 30. Old German School. Joseph of Arimathea and one 
 of the Marys. Panel. 
 
 131. Albrecht DiJRER. A triptych of the Nativity. P. 
 
 A comparison of this picture with a triptych in the Museum 
 at Brussels makes it highly probable that this picture is by 
 Bernard van Orley, and the more so that another triptych in 
 the gallery of Besanfon, certainly by Van Oiley, has been 
 long erroneously attributed to L)iirer. {Kindly communi- 
 cated hy M. A. Castan, of Besangon.) 
 
 32. Dutch School. Fruit and flower market. Canvas. 
 
 33. Joachim Beuckelaer. Market-scene. Canvas. 
 
 34. Old German School. The Virgin kneeling before 
 the Infant Jesus. Panel. 
 
 35. The same. Twoof the Magi. Panel. 
 
 36. Joachim Beuckelaer. Market. Canvas. 
 
 37. Lucas van Leyden. Portrait of Maximilian 1. P. 
 
 38. Dutch School. Portrait. Panel. 
 
 39. Old German School. The Entombment. Panel. 
 
 40. Lucas Muller {Kranach). The woman taken in 
 adultery. Panel. 
 
 41. Dutch School. Lady holding a little dog. Canvas. 
 |42. Christopher Amberger. Portrait of Fran9ois 
 
110 • UPPER FLOOR — LEFT. 
 
 Dauplim of France, at the time of his marriage with Mary 
 Queen of Scots (April 24, 1558), when he was only 
 fourteen years of age, and she but one year his senior. 
 The picture bears their monograms, blended beneath a 
 coronet, and the legend " Unissons-nous ainsi." (Castan.) P. 
 
 43. Hans Hemmelinck? Portrait of a young man wear- 
 ing the order of the Golden Fleece. Panel. 
 
 |44. Jan van Eyck (^Giovanni da Bruges). St. Jerome 
 extracting the thorn from the lion's foot. Panel. 
 
 45. Schaeufelein. The Descent from the Cross. Panel. 
 
 46. Joachim Beuckelaer. Market. Panel. 
 
 47. Dutch School. A lady holding a book. Panel. 
 
 48. Bruegel. Landscape. Panel. 
 
 49. Van der Weyden. Descent from the Cross. Panel. 
 foO. Bruegel. An old monk wrapped in a mantle 
 
 directs his steps towards a solitary spot, while a thief, 
 encircled with a double ring, signifying the world, secretly 
 steals his purse. The Flemish legend at the bottom says : 
 " Since the world is so perverse, I go to seek repose else- 
 where." Gouache, with the painter's name and the date, 
 1565. 
 
 51. Hans Holbein. Portrait of a cardinal. Panel. 
 
 f52. Bruegel (^School of). Landscape. Panel. 
 
 f53. Hans Hemmelinck? Calvary, and a devotee at 
 orisons with his family. Arched triptych. Panel. 
 
 '|'54. Bruegel, the Elder. The parable of the blind 
 leading the blind. Gouache. 
 
 55. Joachim Beuckelaer. Fish market. Canvas. 
 
 SIXTH HALL. 
 
 FLEMISH AND DUTCH SCHOOLS. 
 
 fl. Imitation of Rembrandt. Study of an old man. C. 
 2. Flemish School. Daedalus and Icarus. Canvas. 
 o. Wouwermans. White pony tied to a hut. Panel. 
 
 4. Teniers, the Younger. Violin player. Copper. 
 
 5. Peter Porbus, the Elder. Portrait of a richly-dressed 
 princess. Panel. 
 
 6. Albrecht Kuyp. Portrait of an Amsterdam burgo- 
 master's wife. Panel. 
 
 7. Flemish School. Daedalus and Icarus. Copper. 
 
FLEMISH AND DUTCH SCHOOLS. Ill 
 
 8. Francis Sneyders. Babbit hunt. Canvas. 
 
 9. Daniel Seghers. The Virgin and Child, surrounded 
 with a garland of flowers. Canvas. 
 
 10. Van Dyck {School of). Magistrate. Canvas. 
 
 11. School of Jan Fyt. Hounds guarding dead game. 
 Canvas. 
 
 12. Van Dyck. Portrait of a gentleman with a rich 
 collar. Canvas. 
 
 13. Flemish. Theseus and Ariadne at the bath. Copper. 
 
 14. Wouwermans {School of). Tempest scene. Panel. 
 
 15. Teniers, the Younger. Violin player. Panel. 
 
 16. Peter Paul Eubens. Head of an old man. Canvas. 
 tl7. Rembrandt van Rhyn. Portrait painted by himself 
 
 when he was sixty years old. Canvas. 
 
 18. Flemish School. The fall of Icarus. Copper. 
 
 19. F. Sneyders. Deer-hunt. Canvas. 
 
 20. Flemish School. Landscape, — dawn. Canvas. 
 
 21. Grundmann. Roadside inn. Copper. 
 
 22. The same. A bric-a-brac shop. Copper. 
 
 23. The same. The charlatan. Copper. 
 
 24. F. Sneyders. Two hounds with game. Canvas. 
 
 25. Matthias Bril. Hunters in a forest. Canvas. 
 
 26. After Poelemburg. Ruins in a landscape. Sunset. 
 Canvas. 
 
 27. Flemish. Battle-field with figures. Copper. 
 
 28. Paul Bril (School of). Small landscape. Copper. 
 
 29. Peter Molyn. Landscape. Canvas. 
 
 30. C. Berentz. Fruits, flowers and vases, and a child 
 taking grapes from a peasant girl. Canvas. 
 
 31. Flemish School. Still life. Canvas. 
 
 t32. Wouwermans {School of). Battle-piece. Panel. 
 
 33. Flemish School. Battle-scene. Copper. 
 
 34. Nicolas Varendael. The Virgin and Child, in a 
 garland of flowers. Copper. 
 
 35. School of Rubens. St. George. Canvas. 
 
 36. Van Dyck {School of). Christ on the cross. Canvas. 
 
 37. BoNAVENTURA Peeters. Marine, a tempest. Panel. 
 
 38. Paul Bril. St. Cecilia playing the organ, and 
 angels. Canvas. 
 
 39. Van Dyck. St. Peter denying his Master. Canva»^ 
 
 40. Copy after Rubens. (The original is at Amsterdam.) 
 The Entombment of the Saviour. Canvas. 
 
112 UPPER FLOOR — LEFT. 
 
 41. Rubens {School of). A Spanish grandee. Canvas. 
 
 42. B. Peeters. Marine, with figures. Camas. 
 
 43. Paul Bril. The baptism of Jesus. Canvas. 
 
 44. Danzerick. a bacchanah Panel. 
 
 45. Jan Sons. The Ascension of Jesus, in presence of 
 Mary and the Apostles. Canvas. 
 
 46. Martin De Vos. Jesus blessing the children. Panel. 
 
 47. Van der Meulen {School of). Bivouac. Canvas. 
 
 48. Flemish School. The Hebrews worshipping the 
 golden calf. Panel. 
 
 49. The same. Daedalus and Icarus preparing to fly 
 from the Cretan labyrinth. Copper. 
 
 50. Van der Meulen. .Encampment of vanguard. C. 
 
 51. J. Jordaens {School of). Peasant yawning over a 
 book. Canvas. 
 
 52. Jacques Jordaens. Christ on Calvary. Canvas. 
 
 53. LuiGi Finsonio. The Annunciation. Canvas. 
 
 54. Flemish. Landscape, with women bathing. C. 
 
 55. The same. Ariadne abandoned by Theseus. C. 
 t56. Wilhelm Schellings. Skaters upon a river. C. 
 
 57. Anton David. Interior of an arsenal. Canvas. 
 
 58. Flemish School. The prophet Jeremiah. Canvas. 
 
 59. Rubens {School of). Head of an old man. Panel. 
 
 60. J. Huchtenburg. Landscape, with stag-hunt. C. 
 
 61. Flemish. Portraits of the Farnese family. Panel. 
 
 62. Van Flatten. Small marine, with ships. Panel. 
 
 63. Rubens {School of). Head of an old man. Panel. 
 
 64. Paul Potter. Sunset ; landscape with cows. C. 
 
 65. Rubens {School of). St. George and the dragon. 
 Arched canvas. 
 
 66. H. Pacx. Village festival near Amsterdam. C. 
 
 67. OsTADE (School of). Men drinking in a tavern. 
 Panel. 
 
 68. Dirk Van den Berg. Landscape, with cattle. C. 
 
 69. Fle:mish School. Shepherd and flock. Panel. 
 
 70. Rubens {School of). Portrait of a Farnese prince. 
 Canvas. 
 
 71. Teniers, the Younger {School of). Landscape, with 
 buildings and peasants. Canvas. 
 
 72. Van Dyck {School of). Portrait of Ranuccio Farnese, 
 resting his right hand on a dog's head. Canvas. 
 
 73. Michael Mierevelt. Portrait of a young magistrate 
 
FLEMISH AND DUTCH SCHOOLS. 113 
 
 wearing a rich collar and holding a roll of paper in his 
 left hand. Panel. 
 
 74. Jan Both. Landscape, with a peasant-girl on 
 horseback. Sunset. Canvas. 
 
 75. Jan van Kessel. Still life. Canvas. 
 
 76. Heemskerck. Interior of a cottage. Lamp-light. 
 Canvas. 
 
 77. David Winckenbooms. Landscape, with St. Panl 
 the Hermit and St. Anthony the Abbot. Panel. 
 
 78. Ferdinand Bol. Presumed portrait of the painter 
 Stiwens. Panel. 
 
 79. JoHANN Spielberg. Portrait of a canoness. Canvas. 
 
 80. Van Dyck {School of). Half-length of a richly- 
 dressed young lady. Canvas. 
 
 t81. Teniers, the Elder (^School of). Men drinking in a 
 tavern. Panel. 
 
 82. J. MoNPERT. The Holy Family resting. Land- 
 scape. 
 
 83. Van Dyck. Portrait of the Princess d'Egmond. 
 Panel. 
 
 84. Jan Fyt» Game. Canvas. 
 
 85. JoNSON Van-Ceulen. Portrait of a magistrate. C. 
 
 86. Jan Both. Landscape, with a tower. Sunset. C. 
 
 87. Jan van Kessel. Fruits and flowers. Canvas. 
 
 88. Van Dyck (School of). Portrait of the wife of 
 Ranuccio Farnese. Canvas. 
 
 89. Samuel Wabassen. The Centaur carrying off De- 
 janira. A beautiful garden, with figures. Panel. 
 
 90. Flemish School. Bridge over a river ; Amsterdam 
 in the distance. Panel. 
 
 91. WiLHELM Schellincks (?). Hawking. Canvas. 
 
 92. J. JoRDAENS (School of). Peasant with a large hat. 
 Canvas. 
 
 93. Grundmann. a saw-grinder. Copper. 
 
 94. The same. A shoemaker. Copper 
 
 95. The same. A spinner. Copper. 
 
 96. F. Sneyders. Game. Canvas. 
 
 97. Jan Sons. The Agony in the garden. Canvas. 
 
 98. Flemish School. Landscape, with river and build- 
 ings. Canvas. 
 
114 UPPER FLOOR — LEFT. 
 
 SMALL BRONZES. 
 
 This collection of small bronzes, numbering some thirteen 
 thousand specimens, nearly all found in Pompeii or Hercu- 
 laneum, is the unique feature of the Naples Museum. 
 
 This department never fails to interest the passing 
 visitor, while it is a mine of wealth to the antiquary, as it 
 contains many perfect specimens of the everyday articles 
 of personal use and ornament which eighteen centuries 
 ago were connected with the public and private life of the 
 Roman citizens. 
 
 All these articles, from the elaborate curule chair to the 
 most common kitchen utensil, are designed and executed 
 with an artistic grace which reaches the acme of perfection 
 and elegance. Their number alone is sufficient to stock 
 several museums, and such is the elegance of their form 
 and the perfection of their execution that they are no 
 doubt correctly attributed to Greek artists, who alone 
 would be likely to carry their taste foi* ornament into 
 such minute details. 
 
 The difference between the woik of these Pompeian 
 artists and that of the artificers of our utilitarian age is 
 especially noticeable in these rooms. Everything in a 
 Roman house displayed the master hand of the artist in 
 an unaffected but quite unmistakable manner ; whereas 
 our household chattels, being made to a pattern and in 
 vast numbers, though they answer their purpose admir- 
 ably, may justly be treated as being the production of a 
 mechanical age, testifying rather to the skill of the 
 artisan than to the taste of the artist. 
 
 The paintings on the walls are of no artistic Ujerit. They re- 
 present records of the Farnese family; and battle scenes 
 attributed to Borgognoni. 
 
 The asterisk (*) denotes the specimens illustrated in Signor 
 Monaco's large work, and the dagger (f) other noteworthy 
 objects. 
 
 Where a Latin word is given in italics, the reader will find an 
 article on the subject in Smith's * Dictionary of Antiquities.* 
 
SMALL BRONZES. 115 
 
 FIKST BOOM. 
 
 Ik the centre, close to the door, ox ax antique marble 
 
 TABLE, 
 
 *72983. Economic Kitchener or Brazier, in the shape of a 
 rectangular fortress, with four towers at the angles. In 
 the centre is a pan, in which the embers were laid, the 
 lire being surrounded by a jacket of water contained in 
 the square conduit which flows beneath the battlements. 
 The water could be drawn oif by a tap in one of the sides. 
 Spits for roasting were laid across the embrasures. Thus 
 the kitchener furnished hot water, and was adapted for all 
 ( ther culinary purposes, as well as for heating a room ; 
 while the steam from the water neutralized the noxious 
 gases from the charcoal. Height, 12 in. x 25 in. broad 
 each side. {HercidaneumS) 
 
 72984. A rectangular brazier, with four castors still in 
 working order. (Pompeii. ) 
 
 72985. Triclinium on five feet, on which the ancients 
 reclined at meals. This one was made for only one 
 person. The leather cushion, like all the others in thib 
 room, is modem, imitated from the antique, which can be 
 done accurately from the impression made in the ashes. 
 Length, 6 ft. Height, 1 ft. 4 in. {Pompeii.) 
 
 109831. Brazier with original ashes in it. (^Pompeii.) 
 
 Upon a modern marble table, 
 
 *72986. Economic Kiichexer, consisting of a covered 
 cylindrical boiler, communicating with a hollow semicircle, 
 provided with a tap to draw ofi' the hot water. The fire 
 within the semicircle heated the boiler, and the three 
 swans upon it are constructed to carry a saucepan. 
 Koasting could be carried on over the biazier in fiont. 
 Height of boiler, 18in. ; diameter, 7 in. Brazier, 18 in. 
 square. {Stahia.) 
 
 1 72987. Bronze j^edestal of a table formed of a rect- 
 angular column, surmounted by a bearded head of Bacchus 
 bearing a cup with bracket, intended to support a marble 
 table top. In front of the column a charming " A'ictor}'," 
 with flowing robe and holding a martial trophy in her 
 right hand, rests her feet upon a globe bearing a silver 
 
 I 2 
 
116 UPPEE FLOOR— LEFT. 
 
 crescent. Height of column, 33 in. ; Victory, 13 in. (Xov. 
 29, 1864. Pompeii.) 
 
 111047. Folding table in bronze, with '•'■ semisanto" 
 marble top. Stands on horses' hoofs and is decorated with 
 horses' heads. The edge of this table is inlaid with silver. 
 Height, 26 in. ; width, 20 in. (Feb. 8, 1876. Pompeii.) 
 
 *72988. BiSELLiUM adorned with superb ornamentation 
 in copper. The obverse is decorated with two finely- 
 executed horses' heads, and two human heads with beards. 
 The reverse shows the heads of two geese and two 
 Medusae. 3 ft. 4 in. x 1 ft. 4 in. (Pompeii.) 
 
 " The ri^ht of using; this seat was granted as a mark of honour 
 to distinguished persons by the magistrates and people in 
 provincial towns. The word hisellium is not classical, but 
 it occurs in inscriptions." — Smith, Diet. Ant. 
 
 72989. Brazier damascened in copper. (Pompeii.) 
 
 *72990. Laver (aqua minarium) for lustral water. The 
 centre is inlaid with silver and red mastic. Diameter, 
 2 ft. 10 in., including the edge. (Temple of Isis, Pompeii.) 
 
 72991. Brazier. The obverse and reverse are adorned 
 with Genii, head of Medusa, and two lions' masks. The 
 feet are of griffins. (July 4, 1822. Pompeii.) 
 
 72992. BisELLiUM adorned with the heads of asses and 
 of men, and designs in silver and copper. On the reverse, 
 the heads of geese and two masks. (Pompeii. ) 
 
 72993. Small tripod on lions' claws for sacrifices. The 
 edge is carefully worked. Height, 13 inches. (H.) 
 
 72994. Folding Table. The edging which secures the 
 marble and the four legs with lions' feet are inlaid with 
 silver s|)rays. These legs have on the upper parts 
 acanthus leaves, from which voung Satyrs are emerging, 
 each one liolding a rabbit under his arm. (Pompeii.) 
 Under glass on a Pompeian mosaic table, 
 
 *72995. Sacrificial tripod, of beautiful execution. Its 
 three lion-footed legs are capped by a seated Sphinx and 
 adorned with beautiful arabesques and bearded heads of 
 Jupiter Amnion. The legs are braced together by elegant 
 sprays of lotus flowers. The basin is adorned with 
 festoons and the skulls of bulls,— emblems which remind 
 us that it was destined to receive the blood of victims. 
 Height, 3 ft. Side of tripod, 21 J inches. Height of 
 basin, 3^ inches. Many p^uide-books assign this tripod 
 
SMALL BRONZES. 117 
 
 to the Temple of Isis. It was, in fact, found at Her- 
 cnlaneum. 
 
 72997. Double iron ring used as stocks. (Lock missing.) 
 Diameter, 2 ft. (Pompeii.) 
 
 *72998. Stocks found in the barracks at Pompeii (Acts xvi. 
 24). Each partition confined the ankle of a prisoner, who 
 was accordingly forced to sit or lie upon the ground. These 
 stocks would secure twenty prisoners, and the extremity of 
 the sliding bar was fastened with a lock. From the nail- 
 holes in the cross-irons we see that the structure was fixed 
 to the floor of the gaol. Four skeletons were found fixed in 
 this terrible instrument, the suddenness of the calamity not 
 permitting of their release. Length, 7 ft. 4 in. {Pompeii.) 
 
 fill 050. Small chair with back; the only specimen yet 
 discovered of its kind. The woodwork is modern, but copied 
 from the carbonised remains of the ancient wood. Height, 
 1 ft. 9 in. ; back, 9 in. ; width, 1 ft. 3 in. (February 1876. 
 Pompeii.) 
 Under glass on a Pompeian mosaic table, 
 
 *73000. Candelabrum formed of a decorated Corinthian 
 column, bearing on the obverse a tragic mask, and on the 
 reverse a " hucranium" or skull of a bull. Four branches 
 issue from the top of the column, from which four hand- 
 some double-wick lamps hang by four stranded chains. 
 These lamps were not found with the candelabrum and 
 do not belong to it, but they are of fine workmanship. 
 The one decorated with the head of an elephant, and 
 suspended by two dolphins, is unique. Standing upon the 
 left angle of the base upon the elaborate clusters of vine- 
 leaves inlaid in silver, we observe a fine group composed 
 of Acratus (a genius of Bacchus) mounted on a panther, 
 the rhyton in his hand, and opposite to him a small altar, 
 upon which burns the sacred fire. Height, 4 ft. 1 in. 
 (House of Diomede, Pompeii.) 
 
 73003 and 73007. Two baths, the only bronze ones yet 
 discovered. One has a plug-hole in the comer to let oiF 
 the .water and four fluted handles. 
 
 t73005. Great Brazier for use in the public baths, 
 found in the tepidarium of the baths near the Temple of 
 Fortune at Pompeii. Its object was to raise the chamber 
 to a gentle temperature, thus preparing the bather for 
 
118 UPPEK FLOOR— LEFT. 
 
 the hotter chamber. On one side we observe a cow in 
 relief and the words "M. Nicidius P." (M. Nicidius posuit), 
 denoting probably that it was his gift. A precisely 
 similar brazier stands in the public baths at Pompeii. 
 Height, 2 ft. 1 in. ; length, 8 ft. ; width, 2 ft. 9 in. 
 Bkhind the brazier, 
 
 73017. Long four-legged bench from the public baths. 
 (Pompeii.) 
 
 Six Candelabra, adapted to a single lamp. They are 
 telescopic, and constructed to take to pieces in a very 
 ingenious and simple manner. (Pompeii.) 
 
 Sundry braziers and small altars (square and circular), 
 almost all of them ornamented with carving or reliefs. 
 (Pompeii and Herculaneum.) 
 
 73016. Iron stove, oxidized by lapilli. This stove has 
 places for two saucepans, and the bottom is of fire-brick. 
 (Pompeii.) 
 ]n the centre, immediately behind the Triclinium, 
 
 *73018. Cylindrical stove (calidarium), of exquisite 
 beauty. It stands on three lions' feet and has four 
 handles, of which two are fastened to the sides by models 
 of human hands. On the upper part are two handles, 
 each of them formed by two wrestlers, whose exertions 
 are portrayed with wonderful realism. The lid is sur- 
 mounted by a Cupid astride of a dolphin, holding a lyre 
 in his right hand. The interior of this stove is of very 
 peculiar construction, the upper part being a boiler which 
 communicates with the firebars beneath, which are hollow. 
 Two comic masks at the back of the stove form uptakes 
 for the fire, while a third over the stove door communicates 
 with the boiler, and probably was originally furnished 
 with a tap. Height, 3 ft. 6in. ; diameter, 14 in. (May 
 1863. Pompeii.) 
 
 This stove stands on 
 
 73019. A round marble table, which served as the base 
 of a fountain. The water flowed away through the lions' 
 masks on the edge. (Herculaneum.) 
 
 73020-1-2. Three safes. All found empty. The centre 
 one, which is of iron, is the finest. Its obverse is adorned 
 with bronze nails and two busts of Diana in relief; 
 between them, the head of a wild boar. Beneath, two 
 
SMALL BRONZES. 119 
 
 busts of Genii of Bacchus, and the mask of a Bacchante. 
 An elegant handle served to raise the lid of this beautiful 
 safe. Height, 36 in. ; length, 41 in. ; width, 23 in. Found 
 in a room to the right of the tahlinum of the house of C. 
 Vibius with the bedsteads (see next room). (1867. P.) 
 
 The safe to the left is also of iron. The obverse is covered 
 with bronze panels framed in iron cornices. This is the 
 only safe with a keyhole, and beneath the keyhole is an 
 image of Jupiter in bas-relief upon a pedestal, and a priestess 
 pouring a libation upon an adjacent altar. (1864. P.) 
 
 The third safe is entirely of iron. On its obverse are 
 the six following busts in relief: — Minerva, Mercury, 
 Bacchus, Juno, Apollo, Diana, and (on the top of the lid) 
 Jupiter. (1869. Pompeii.) 
 Immediately below the three safes, stand 
 
 *109983 and 111764. Two Lectisternia, used by the 
 ancients for the Penates and the sacred vessels. They 
 stand on four feet, and their edges are inlaid with waving 
 designs in silver and Greek patterns. The woodwork 
 painted red is a restoration from the old carbonised wood 
 which was found upon them. Height, 14in. ; length, 
 3 ft. 3 in. ; width, 13 in. Found January 1874, at Pompeii. 
 
 11232. Bronze fragments of a bedstead, standing between 
 the two Lectisternia, put up on a short frame merely for 
 purposes of exhibition. (1877. Pompeii.) 
 On a round marble table, 
 
 tl09697. Bell-shaped vase, on a quadrangular base. 
 This vase is one of the finest in the collection, especially 
 remarkable for its two handles. These rise above tlie 
 edge and rest on miniature acanthus leaves, and, curving 
 back gracefully, cling to the sides of the vase with leaf- 
 like ornaments. In the centre of these leaves is a superb 
 mask of Medusa, with silver eyes. The chin of the 
 Medusa rests upon two Chimaeras. Height, including 
 base, 2 ft. 2in. ; diameter, 16^ in. (1873. Pompeii.) 
 Surrounding the room, and close against the Cabinets, 
 
 A large number of candelabra for single lamps. They 
 are nearly all different, and many of them are very 
 beautiful. (Pompeii and Herculaneum.) 
 On the top of the Cabinets, 
 
 Sundry kettles and amphorae. (^Pompeii and J?.) 
 
120 UPPEK FLOOE — LEFT. 
 
 Near the entrance door, on the right, 
 
 fFonr magnificent vases. Observe especially the one 
 nearest the door, the handles of which are formed by 
 figures of gladiators. These figures are especially inter- 
 esting, as they wear the spiral bronze wire anklets and 
 gauntlets (see next room, Cabinet XXXXV.) with which 
 the gladiators protected their arms and legs. 
 
 Observe next to this vase a candelabrum, with lamp fitted 
 to slide up and down the staff. This specimen is unique. 
 
 Cabinet No. I., to the left on entering, 
 
 68747 et seq. Bronze baskets of very elegant form. 
 Their folding handles are still in working order. (See No. 
 4994, p. 67.) 
 
 Below, 
 
 68788 et seq. Scoops with elegant handles, probably for 
 taking up grain. Decorated with parrots and other birds. 
 (Herculaneum and Pompeii.) 
 
 Cabinet No. II., 
 
 68808 et seq. Ten garden stools. (Pompeii and H.) 
 Among them, 
 
 1110673. A small serpent, on a miniature altar, with a 
 gold necklace. Probably intended for family worship. 
 (1875. Pompeii^ 
 
 68823 et seq. Twenty-two small pans, with spouts and 
 nozzles. (Pompeii and Herculaneum.) 
 
 68843-7. Five flattened globular water-bottles, of the 
 same shape as European soldiers use now. (Pompeii.) 
 
 Cabinet No. III., 
 
 *68853. Pails (hydrice). These water buckets are 
 richly inlaid with arabesques and animals in silver and 
 copper. Two have a double handle, which when at rest 
 forms a rim to the pail. 
 
 On the handle of No. 68854 the words "Cornelia S. 
 Chelidonis " are engraved. (Pompeii and Herculaneum.) 
 
 Cabinet No. IV., 
 
 68937 et seq. Jugs similar to those now used in Italy 
 for oil. From a specimen which was found upon a trivet, 
 and is in the next room, we learn that these were put on 
 the fire. (Pompeii and Herculaneum.) 
 
SMALL BRONZES. 121 
 
 Cabinet No. V., 
 
 A large number of jugs, with three lips and one handle, 
 of highly artistic form. Observe Nos. 69044 to 69048. 
 These jugs were for table use. (^Pompeii and Herculaneum.^ 
 
 69049. Similar jug, with ram's head and Medusa inlaid 
 in silver. (Stahia.) 
 Below, 
 
 Twelve prcefericula, with single lip and handle. Note 
 +69085 as being of very remarkable form. The handle is 
 joined to the cup by the demi-bust of a woman holding 
 fruits. A Syren issues from the edge. Unfortunately 
 this specimen has been very much damaged. (^Pompeii.) 
 
 69086. Cup without handles, formed in the shape of a 
 beautiful female head, with tiara, eyes, and necklace in 
 silver. (Borgia?) 
 
 t69087. Libation cup, of very beautiful execution. The 
 edge is surmounted by an eagle with its wings spread out. 
 The handle is formed by a swan. (Nocera.) 
 Outside, on a column under glass, 
 
 t69089. Libation cup, of oblong shape. This is quite a 
 unique specimen. On the handle we observe a man and 
 four horses plated in silver. (B,uvo.) 
 Cabinet Ko. VI., 
 
 Several jugs with one handle. Observe those called " a 
 petto d'oca " — that is, " goose-hreasted ; " especially 
 
 *69167. Milk-jug, of elegant form. On its rim are 
 two goats, showing probably that it was intended to 
 contain milk. (Herculaneum?) 
 
 69168. Another jug, of the same shape. The body of 
 the jug is ornamented ; the handle forms the perch of a 
 parrot. (Pompeii?) 
 
 69169. Similar jug, with elegant sprays in bas-relief 
 and having a panther for its handle. (Pompeii?) 
 
 69171. Jug remarkable for its handle, at the bottom of 
 which is a female mask with silver eyes, and on the top 
 the bust of a nude female issuing from the jug, and leaning 
 her hands on the backs of two greyhounds. (1866. P.) 
 
 t69174. Libation cup (rJiyton), representing the head of 
 a stag with silver eyes. The mouth being partly open 
 allowed the liquid to flow out. Examples of the use of 
 this vessel will be seen in the frescoes downstairs, (fl".) 
 
122 UPPER FLOOR — LEFT. 
 
 Cabinet No. VIL, 
 
 Observe Nos. 69315 to 69322. 
 
 69318. A Jug, which deserves special notice. It is 
 ornamented with two griffins resting their claws upon 
 an urn ; the whole is artistically chased. (^Pompeii.) 
 
 Cabinets VI If. to XI. (second corner of the room), 
 
 Large number of vases, which to judge by the ornaments 
 on their handles were probably used for wine and other 
 household purposes. 
 
 The handles are specially beautiful, and an endless 
 variety of elegant form is displayed in their construction. 
 (^Pompeii and Herculaneum.) 
 
 Cabinets XII. to XIV., 
 
 Two-handled ewers for household purposes. (Pompeii 
 and Herculaneum.^ 
 
 Cinerary UrnSy made of lead. (Pompeii.^ 
 
 Cabinets XV. and XVI. (third corner of the room), 
 FOUNTAIN JETS AND SPRAYS. 
 
 69762 et seq. Ten tiger heads for fountains. (Herculaneum.^ 
 
 ■|"69782. The head of a ram of fine workmanship, from a 
 fountain. (Herculaneum?) 
 
 69784—9. A peacock with spreading tail; a column 
 capped with three dolphins ; a pine-cone ; a serpent 
 and a cylindrical vase with jet, all forming a group for a 
 fountain. 
 
 These specimens are set up on wood to show their exact 
 position as found. (1853. Pompeii.') 
 
 69791-3. Fragments of a small tank, which was fitted 
 with a very fine rose for producing a cascade to simulate 
 rain. (Pompeii.) 
 
 69795. Basin, with a very finely executed lion in the 
 centre. The water flowed through his open mouth. 
 (18th March, 1861. Pompeii.) 
 
 69799 et seq. Thirty-two taps and a lead pipe. (P.) 
 
 79838 et seq. Four gratings made of perforated lead 
 for gutters. (Pompeii.) 
 
 Cabinet No. XVI., 
 
 Several oblong pans. (Pompeii.) 
 
SMALL BRONZES. 123 
 
 In front of the window, 
 
 *73153. CuRULE CHAIR (sella curulis), made to fold. Its 
 four crossed legs are fastened by two nails with large 
 heads. (Herculaneum.) 
 
 In early times the honour of the Curule chair was due only to 
 the kings of Rome. Subsequently, the privilege of its use 
 was allowed to Consuls, Pr^tors, and -^diles, Curules of the 
 Republic. 
 First glazed table. No. XXVIIL, 
 
 One hundred and forty-three vase handles, finely 
 executed and adorned with heads and arabesques. 
 
 72578 to 72581. These four are in the style known as 
 " a valuta.'^ They are cunningly entwined and finish into 
 small acanthus leaves. 
 
 72582-3. Two serpentine handles, each serpent holding 
 a cockchafer in his mouth. 
 
 72591. Handle representing in bas-relief a cross-legged 
 Faun, playing the pan-pipe; and above, the bust of a 
 woman with her hands on the necks of two dogs. 
 
 f 72592. Very fine handle, representing a Phrygian with 
 a pair of shoes on, and his feet crossed. He stands on the 
 mask of a bearded man. (Pompeii.^ 
 
 72594. Handle. The point of contact with the vase 
 represents in bas-relief a woman extracting a thorn from 
 the right foot of a man. (Borgia.^ 
 
 t72600. Superb Handle, the gem of the collection, 
 adorned with arabesques and inlaid in silver, with a head 
 of Medusa of exquisite finish. (Hermlaneiim.) 
 
 72637. Fine Handle. The point of contact with the 
 vase represents the bust of Apollo holding the lyre and 
 the plectrum. Below, a swan with spreading wings. (P.) 
 Next table, No. XXIX., 
 
 72722-3. Two legs of a table, with lions' claws, each 
 representing an armless Sphinx issuing from three leaves. 
 (Pompeii.) 
 
 72727 et seq. Four legs of a table, with greyhound 
 claws. (Pompeii.) 
 Cabinet No. XVII., 
 
 BATHING REQUISITES. 
 
 *Strigils (strigilis), used by the ancients after gymnastic 
 exercises and vapour baths to scrape off the perspiration 
 and the ointments. (Pompeii and Herculaneum.) 
 
124 UPPEE FLOOR — LEFT. 
 
 *69962-3. On an antique ring are strung two strigils 
 (the best in the collection), the handles representing busts 
 of Diana and Hercules. {Pomjpeii?) 
 
 69904:. Complete apparatus for Eoman bath, consisting 
 of an opening ring upon which are strung four strigils, one 
 patera or shallow saucer with handle for mixing the 
 ointments in, and one ointment pot. (^Pompeii.) 
 
 Sundry small pots Qjuttus or unguentarium) in bronze or 
 alabaster, for containing perfumed ointments. (P. and H.) 
 Pliny tells us that the alabaster pots were preferable, and we 
 may infer that they were used for the more costly ointments. 
 These were hermetically sealed, and the expression "she brake 
 the box " (Mark xiv. 3) may probably mean " she brake 
 open the box." 
 
 Cylindrical vase in ivory, covered with Bacchanalian 
 figures. (^Asia Minor.) 
 Below, 
 
 Ornamental bronze claws for furniture. Sundry strigils. 
 
 70127 et seq. Several small pans, thought by some to 
 have been used for horseshoes. In our opinion this could 
 not have been the case, as the nailholes are seen to be all 
 round them, which would involve driving the nails into the 
 frog of the foot. Besides, the reverse is decorated with a 
 bas-relief. Undoubted • specimens of horseshoes of this 
 period may be seen in the British Museum. (P. and H.) 
 Cabinets XVIU. to XX., 
 
 LOCKS AND KEYS. 
 
 70981 et seq. Long borders inlaid with silver, serving as 
 horizontals for bedsteads. (^Pompeii.) 
 
 Locks in bronze and iron. Some have keys belonging 
 to them. (P. and H.) 
 
 Sundry keys of all sizes, some of which are very 
 complicated. (P. and H.) 
 
 171401. Iron key, carefully made and inlaid with silver. 
 It was found upon one of the skeletons of the family of 
 Diomede^ in the cellar of his house at Pompeii. 
 
 71392 et seq. Bolts of locks. (Pompeii.) 
 
 71465. Iron skeleton key. (^Pompeii.) 
 
 Sundry hinges. (^Pompeii and Herculaneum.) 
 Below, 
 
 71629 and 71630. Two large hinges from one of the 
 
OF THE ^^ 
 
 SMALL BRONZES. (( U N I V E fi^ I T "^ 
 
 city gates of Pompeii. Similar hinges 
 
 ago shown to a celebrated Neapolitan antiqi 
 
 invention) at Woolwich Arsenal, to his great amuSuuieiit." 
 
 (i LAZED TABLE, No. XXX., 
 
 Ornaments for doors and furniture, including tragic and 
 comic masks and busts ; heads of lions, horses, and other 
 animals, with movable rings passed through their mouths. 
 (^Pompeii and Herculaneum.^ 
 
 1 7 282-2 and -4. Kectangular panels, on which are bas- 
 reliefs of a Centaur playing the lyre and a female Centaur 
 playing the double flute. Very fine. (^Pompeii.') 
 
 72823. Vexus seated by Bacchus, accompanied by 
 Silenus. A tine bas-relief, intended for a safe. (^Pompeii.) 
 Glazed table, Xo. XXXI., 
 
 72898 et seq. Handles for vases, formed of two dolphins. 
 (^Pompeii.^ 
 
 Other handles ending in foliage and human hands. 
 (^Pompeii and Herculaneum.) 
 
 Statuettes serving as handles for vases. 
 
 f 72960. A female figure of wonderful expression, resting 
 her feet on a serpent and supporting on her head an archi- 
 trave to which the vase was fitted. 
 
 72963. Knocker of a door, representing in alto-rilievo 
 the bust of Diana armed with a quiver. {Pompeii.) 
 
 172966-7. Four knockers with movable rings. These 
 represent in bas-relief superb heads of Medusa with silver 
 eyes, and the two larger ones with silver teeth. (1870. 
 Pompeii.) 
 
 The work of these specimens, and especially of the two centre 
 ones, is exquisite. Alone, they prove the high perfection of 
 ancient art. 
 
 72970. Door knocker (ring lost), representing in bas- 
 relief the head of a woman, with fine expression and 
 mouth partly open. (^Pompeii.') 
 
 72972. Pretty furniture ornament, representing a Cupid 
 seated between the tails of two sea-horses. {Herculaneum.^ 
 
 172981. Large handle for furniture, with winged Genii 
 in bas-relief, having their heads pillowed on their en- 
 twined arms, and (on the sides) two Tritons with cuirasses 
 in a striking attitude. This specimen is in the Etruscan 
 style. Duplicate in the British Museum. (Borgia.^ 
 
126 UPPER FLOOR— LEFT. 
 
 In front of the window, 
 
 t73152. CuRULE CHAIR (^sella curulis), made to fold, with 
 remains of gilding still discernible. It was originally 
 mounted in ivory, which has been replaced by wood. (P. ) 
 
 (The original ivory is exhibited in fragments in the 
 next room, Glazed Table LXYII.) 
 Cabinet XXI. (last corner of the room), 
 IRON TOOLS. 
 
 7 17 00 etseq. Scythes, sickles, bill-hooks, knives. (P.andfl^.) 
 
 71733 et seq. Rakes and forks with two and three teeth, 
 four ploughshares, spades as used in Naples now, and 
 trowels for gardening. (P. and H.) 
 Cabinet Ko. XXIL, 
 
 Carding combs, long shovel, large spring shears ; shears 
 of this form still used in silk factories. (1877. Pompeii.) 
 
 Sundry smaller shears, blacksmiths' cutters and pincers, 
 axes and hatchets (securis, ascia) ; soldering iron, claws 
 for drawing nails, pickaxes, wedges, and hammers for 
 chipping pavements. (P. and if.) 
 Cabinet No. XXIII. 
 
 Hammers for carpenters and masons. (^Pompeii.) 
 
 "|'71875. Key for raising heavy blocks of stone (as used 
 now), compasses, callipers, masons' trowels, turnery tools, 
 centre-bits, scalpels, planes, saws, anvils, a large whetstone. 
 Cabinet Xo. XXIV., 
 
 LAMPS AND LANTERNS. 
 
 72067. Lantern glazed with talc, bearing on the top 
 the words *' Tiburti Catus S." This lantern was found 
 near the skeletons in the cellar of the House of Diomede 
 at Pompeii. 
 
 72166. DouBLE-wiCK lamp, bearing inscription " D. luni 
 Proquli." (^Pompeii.) 
 
 72172. Single lamp, adapted either to hang or carry, 
 fitted with a chain to which the lid is attached. A small 
 mouse on the spout is about to gnaw the wick. (^Pompeii.) 
 
 The mouse was sacred to Vulcan, and perhaps this 
 lamp hung before his shrine. 
 
 |72180. Magnificent treble-wick lamp, fitted with three 
 exquisite double-stranded chains to hang it by ; a fourth 
 chain holds the lid of the reservoir. This lamp is adorned 
 with four heads issuing from garlands. (Pompeii?) 
 
SMALL BRONZES. 127 
 
 72181. Large treble- wick lamp. Instead of a cover it 
 has a handsome urn over the reservoir which contains the 
 oil. This lamp is unique in point of form, and is adorned 
 with festoons and three masks. (^Pompeii?) 
 
 72187. Single lamp. A horse's head upon the handle. 
 The original wick is visible. (Pompeii?) 
 
 Sundry candelabra for single lamps. (P. and if.) 
 
 Cabinet No. XXV., 
 
 72190. Candelabrum in the form of a cup. (P.) 
 
 72191. Candelabrum formed of a fluted column, with 
 four boughs to carry hanging lamps. (H.) 
 
 72192-3. Twu pretty candelabra (like modern candle- 
 sticks), the top representing a lotus-flower. (Pompeii?) 
 
 72195. Candelabrum formed of a fluted column capped 
 by a small vase, from which issue three branches. (P.) 
 
 Upon the plinth an octagonal pedestal, upon which is a 
 globe. This plinth is inlaid with silver. (Pompeii?) 
 
 72246 and 72250. Treble-wick lamps with elychnium, 
 hanging by a well- wrought chain, and decorated with a 
 nude dancer. 
 
 72251. Double lamps with garland and sunflower 
 handle. The cover represents a child with a goose. 
 
 Cabinet No. XXVI., 
 
 72198. Treble-wick circular lamp. The lid, which also 
 forms a handle, is surmounted by the figure of a Harpy, 
 in Etruscan style. (Pompeii?) 
 
 72199. Drunken Silenus. His movement and the 
 gestures of his hands lead us to infer that he proposes to 
 dance. (Nemo saltat sobrius?) Behind him. a paiTot on a 
 bough which carries two lamps. (Pompeii?) 
 
 72202-3. Phrygian figure on one knee. Behind him, 
 the stump of a tree with a lamp upon it. (Pompeii?) 
 
 t72206. Lamp-stand. Drunken Silenus, seated on a 
 rock, pouring wine from a wineskin which he holds in 
 liis left hand. Behind him, a stump to carry two lamps. 
 (Pompeii?) 
 
 72209. Lamp-stand. Silenus with a basket on his head. 
 Behind him, a stump bearing a cup to carry a lamp. 
 (^ August 17, 1876. Pompeii?) 
 
 72279. Double-wiok lamp (dimyxos). The handle is 
 ornamented with an acanthus. The lid represents a 
 
128 UPPER FLOOR— LEFT. 
 
 Satyr seated on a stump, holding a pan-pipe in his left 
 hand ; one of the original wicks is in its place. (Feb. 21, 
 1868. Pompeii.^ 
 
 72280. Fine lamp, with two wicks adorned with beau- 
 tiful sprays. The lid bears a Silenus standing upright. 
 (^Pompeii. ^ 
 
 t72291. Handsome small candelabrum, fitted to be 
 carried or hung by the chains attached to it. It repre- 
 sents Cupid astride on a dolphin, which is about to devour 
 a polypus issuing from a shell. A wonderful work of art, 
 for the harmony of the grouping and the expression of 
 the Cupid, who betrays alarm at what is passing beneath 
 him. (House of Marcus Lucretius, Pompeii.) 
 
 110674. Single lamp, representing a goose with mov- 
 able neck. {Pompeii?) 
 
 72292. Small Silenus, holding a bowl which could be 
 used as a lamp. The pose of this figure is admirable. (P.) 
 
 |72298. Night-light in a saucer. The lid is perforated 
 to subdue the light. {Stabia.) 
 
 Cabinet No. XXVI I., 
 
 72226. Candelabrum in the form of the trunk of a tree. 
 From the boughs are suspended three lamps, of which two 
 are in the shape of snails. (June 13, 1772. Pompeii?) 
 
 72231. Candelabrum in the form of a tree, the boughs 
 supporting five double-wick lamps. (Herculaneum?) 
 
 72333. Bronze fish, perhaps a dolphin, constructed as a 
 lamp. The wick passed through the creature's mouth. 
 On the back, the feet of a statuette which is lost. (P.) 
 
 |72336. Portable lamp with one wick and long folding 
 handle. {Stabia.) 
 
 END OF FIRST ROOM.^ 
 
 SECOND EOOM. 
 
 In the centre of this room stands a cork model of the 
 excavations of Pompeii, on the scale of 1 to 100. It is 
 extremely accurate, and well worthy of attention, as 
 giving a bird's-eye view of the city, such as can be ob- 
 tained in no other situation. 
 
 The wooden balustrade shows the perimeter of the city, 
 
SMALL BRONZES. 129 
 
 and represents the outline of the ancient ramparts, while 
 the part painted green shows what yet remains to be 
 excavated. 
 
 The amphitheatre, which was capable of holding 12,800 
 people, was situated either at one of the extremities of 
 the town as shown on the model, or perhaps without 
 the walls. 
 
 The extent of the city is estimated at about one hundred 
 and forty acres, and the part excavated may be taken at 
 about fifty acres, leaving ninety acres still buried beneath 
 a mass of volcanic ash about twenty feet deep, which has 
 been cultivated and even built upon for centuries. The 
 length of the excavated portion is about six hundred yards, 
 and the circuit of the city two miles. 
 
 If the visitor stands opposite to the windows of the 
 room at the left end of the model, he will have the Porta 
 Marina of Pompeii, by which we now enter the ruins, 
 opposite to him. Entering by that gate, he sees the 
 Basilica or Law Court on his right hand, the Temple of 
 Venus opposite on his left — both touching the large open 
 space which was the ancient Forum, and which had (in 
 common with all the public buildings) a colonnade running 
 round it. At the further end of the Forum was the Temple 
 of Jupiter, and beyond it on the right that of Fortune, and, 
 on the left, one of the public baths, easily distinguished 
 by its dome and roofs, which are still standing, Eeturn- 
 ing to the Forum, we see on the right the Pantheon, re- 
 cognised by the pedestals of the statues, which stand in a 
 group in the court. Next to that, the Cm-ia Senatorum 
 or " Town Hall." Then the Temple of Mercury, and, ad- 
 joining this, the Exchange, where the statue of Eumachia 
 which was erected by the Fullers can be recognised in 
 the model. 
 
 Leaving the Forum by the broad " Street of Abund- 
 ance," which runs right across the city, we come to the 
 principal public baths, and on the extreme right of the 
 spectator the Temple of Isis, the two theatres, the trian- 
 gular Forum, and the barracks (ludi Gladiaforii). 
 
 The gate heading to the " Street of the Tombs " is on 
 the spectator's left, and at the point nearest to the window. 
 The House of Diomede and the Street of the Tombs being 
 outside the walls, are not represented on the model. 
 
 K 
 
130 UPPEK FLOOR— LEFT. 
 
 Against the balustrade of the Model, 
 
 Twelve circular leaden tanks for the impluvia of houses, 
 found in the courtyards. They were lime-washed to 
 purify the rain-water. One of them has a bronze tap. (P.) 
 
 SAUCEPANS, PATERA, &c. 
 On the left, Cabinets XXXII. and XXX II f., 
 
 Saucepans, of which many are lined with silver ; some 
 bear their maker's name. 
 
 7233. A saucepan as found at Ilerculaneum, completely 
 full of lava and encrusted with ash. 
 Cabinets XXX IV. and XX KV., 
 
 Sundry Paterae (or bowls for containing libations). They 
 are of the shape of a deep saucer, with a handle ending 
 generally in the head of a ram or a swan. Observe Nos. 
 73439, 73440, 73455, and 73484. These are handsomely 
 worked and inlaid with silver. (^Pompeii and Herculaneum.) 
 Cabinet XXXVI. (among a number of two-handled hmnfi), 
 
 73511. Bas-relief in silver of jEthra showing her son 
 Theseus the sword that his father J^]geus had hidden 
 under a rock. (Herculaneum.) 
 
 ^geus, king of Athens, promised to acknowledge his son 
 Theseus as soon as he could lift this rock and bear away 
 the sword. This he did, and came to Athens, to find his 
 father living with Medea, who forthwith attempted to poison 
 him. His father having identified him by the sword, sent 
 him to Crete to slay the Minotaur, and on his return he 
 forgot to hoist white sails as arranged ; and iEgeus, seeing 
 black sails, threw himself into the sea, which was called 
 iEgean after him. 
 Cabinet XXXVII., 
 
 73535. Basin. Two figures in bas-relief, one dancing. 
 (Herculaneum.') 
 
 73549. Basin on a tripod with ornate border. The 
 handles are lions, and the sides bear four serpents. (P.) 
 Cabinet XXXVIV., 
 
 73613. Basin with a bas-relief of a woman fashioning a 
 trophy, and Hercules with his club standing by. (H.) 
 Cabinet XXXXIV., 
 
 Ladles (cyatlius and shnpulum) used for dipping into 
 vases. (Poinpeii and Herculaneum.) 
 Cabinet XXXXV. (second corner of the room), 
 73888-73863. Twenty-six funnels. (P. and H.) 
 
SMALL BKONZES. 131 
 
 73879-80-81. Three round stoves. The first has a lid 
 whose handle is formed by a statuette of a slave seated, 
 with his hands tied behind him ; between them he holds 
 a ring, fastened to a bronze chain. (Pompeii.) 
 
 *73882. Urn (aw^/iepsa), with two handles and lions' feet. 
 Inside, a vertical cylinder for live charcoal, with perfora- 
 tions below for draught. Round this cylinder lay the hot 
 spiced wine (calida), which was drawn off by a tap in the 
 front, placed high up to prevent the sediment choking it. 
 On the right, a cup or conduit by which the vessel might 
 be filled without taking off the lid. Inside was a false 
 lid, which closed the whole urn except the mouth of the 
 furnace, thus preventing the ash from polluting the 
 liquid. 
 
 This beautiful urn is decorated with designs, and is 
 similar to the Eussian Samovar and the old-fashioned 
 English tea-urn. (Pompeii.) 
 
 111048. Another elegant urn, found February 8, 1876. 
 It stands on three lions' feet, and is ornamented with 
 three female masks. The tap represents Cupid astride 
 on a dolphin. (Pompeii.) 
 Below, 
 
 73886 et seq. Feet for vases. (P. and H.) 
 
 73937. Bronze ring for slaves, bearing the inscription : 
 " Servus sum, tene quia fugio " (I am a slave ; hold me lest 
 I escape). 
 
 73940. Large serpent in gilt bronze. Possibly the arm 
 of a chair. (Borgia.) 
 
 73934. Manacles for slaves. 
 
 Spiral gauntlets in bronze, which gladiators wore as a 
 protection for their arms and legs. 
 
 Bones of a child, round which a long bronze wire is 
 twisted. (Found in a tomb at SanV Angelo, near Capua.) 
 
 Cabinet XXXXVI., 
 
 ARTICLES USED IN SACRIFICES. 
 
 73945 et seq. Four portable altars on three legs, 
 supporting a disc which received the blood of victims. 
 (Pompeii.) 
 
 t74021-2-3. Flesh-hooks (harpago) for taking boiled 
 meat out of the caldron (see Exodus xxvii. 3, 1 Sam. ii. 
 
 K 2 
 
132 UPPER FLOOR— LEFT. 
 
 13, 14; Aristoph. Vesp. 1152). They were fitted with 
 wooden handles. There are four similar specimens in 
 the British Museum. (Canino.) 
 
 73996 et seq. Small altars for incense. Very fine. 
 (Pompeii and Serculaneum.^ 
 
 73983 et seq. Censers (turihula), with chains and spoons 
 for incense, not to be confounded with the Jewish censer, 
 which seems, like the modern ones, to have been portable 
 and waved in the air. (^Pompeii and Herculaneum.) 
 
 74002. Handle of sprinkler, for scattering lustral water,. 
 Found in the laver in the Temple of Isis. The hair is 
 modern, but restored from a bas-relief found at Eome. (P.) 
 
 74003 et seq. Mensce for the Augurs (aruspica). They 
 are in the shape of a stool. Upon them lie the instru- 
 ments (lingulce) which were used to examine the entrails of 
 the victims for the purposes of pretended prophecy. (P.) 
 Bei.ow, 
 
 Bronze letters for sh.op-fronts. (Pompeii.) 
 
 BEDSTEADS. 
 t78614. Three bedsteads. Two have heads to them. 
 The wooden part painted red is a restoration ; the original 
 wood was walnut. 
 
 The obverse of these bedsteads is richly inlaid with 
 silver and decorated with a genius in relief holding a 
 rabbit, which he is feeding with grapes (much injured). 
 On the reverse is a goose's head. Height, 18 in. ; head, 
 20^ in. ; length, 7 ft. 7 in. ; width, 4 ft. (Pompeii.) 
 
 Notice the old-fashioned " trundle-hed " beneath the 
 centre bedstead. Found in 1868, in the house of Vibius 
 at Pompeii. 
 
 Jn the garden of this house is a well twenty-five metres in 
 depth, which still contains water. This water corresponds 
 exactly to the height of Pompeii above the sea-level. 
 
 78613. Small round table. The three legs represent 
 greyhounds jumping up. (Pompeii.) 
 Upox this table is placed, 
 
 t78673. Two-handled ewer of very remarkable con- 
 struction, supported on three Sphinxes with lions' claws, 
 and intended for heating water. The fire lay on a grating 
 of hollow tubes at the bottom. The water circulated 
 through these tubes, and was heated in the jacket, which 
 
SMALL BRONZES. 133 
 
 surrounded the coals in the centre of the vase, exactly on 
 the principle of modem tubular boilers. {Pompeii.) 
 
 WEIGHTS AND MEASURES. 
 Cabinet XXXXVIL, 
 Eighteen steelyards and scales, complete. 
 All the scale-pans are ornamented and held up by chains of 
 beautiful workmanship. A sliding ring upon the chains 
 secured the goods in the pan while they were being weighed. 
 The sliding weight on the beam of the steelyards represents 
 the reigning Emperor. The beams are graduated with 
 numbers, from I. to XIII. and a half on the obverse, and 
 from X. to XXXX. on the reverse, to weigh heavier goods. 
 
 74039. The sixth scale from the visitor's left bears the 
 inscription (in dotted lines) : " ti. claud. c^s. iEnii. vitel. 
 III. cos. exacta. m. tic. cura. aedil. ; " meaning that this 
 balance was stamped at the Capitol in the reign of the 
 Emperor Claudius. The sliding weight represents this 
 Emperor. (Pompen.) 
 Cabinet IL., 
 
 t74056. Under the hook from which this specimen 
 hangs we read the inscription, " imp. vesp. aug. iix. t. imp. 
 AUG. F. VI. COS. EXACTA. IN CAPITo(Z^o) ;" that is to say, that 
 it was stamped in the Capitol under the eighth consulate 
 of the Emperor Vespasian, and under the sixth of Titus, 
 which corresponds to a.d. 77, two years only before the 
 destruction of Pompeii. The weight represents the bust 
 of Vespasian. {Pompeii.) 
 
 74062. Steelyards fitted with hooks instead of pans, to 
 hold the goods to be weighed. {Pompeii.) 
 
 74084. Very small scales. In the place of one of the 
 pans is a coin of the Emperor Augustus. (Pompeii.) 
 
 74165. Ingenious machine for weighing liquids. It is 
 in the form of a saucepan, and was suspended by the hook 
 and chain. The liquid to be weighed was then put in the 
 pan, and the equilibrium was adjusted by means of weights 
 fastened to the ring beneath, and by shifting the position 
 of the hook-chain along the graduated slot, which bears 
 the symbols : | •'• •'• ) -'v'- 1 ■• | iv : ^B | * | -xi- 1 •"•xi- 1 {Pompeii.) 
 
 Sundry round weights in black basalt {nefritica), marked 
 in Boman figures. 
 
134 
 
 UPPER FLOOR — LEFT. 
 
 We subjoin a table of these weights. 
 
 ROUND WEIGHTS IN BLACK STONE (nefritica). 
 
 74179. Weight marked XX, equal to kilos. 6,460,40 
 
 74180. „ „ X, „ „ 3,404,10 
 
 74181. „ „^ X,_ „ „ 3,249,60 
 This last bears the inscription : l. atilius fiilix mag. 
 
 MAR D. S. D. 
 
 74182. Weight marked X, equal to kilos. 3,232,30 
 
 74183. 
 
 74184. „ 
 
 74185. 
 
 74186. 
 
 74187. „ 
 
 74188. „ 
 74189. 
 74190. „ 
 74191. 
 74192. „ 
 74193. 
 74194. 
 74195. 
 74196. 
 74213. This weight bears the inscription: ex auc- 
 
 io{ritate) lUNi rustici. 
 
 74280 to 74290. Eleven round weights in bronze, marked 
 with silver numerals, X, V, III, II, I, S or ''semis" (half), 
 for the pounds, and : : •.• : . S for fractions of pounds. 
 
 GLANDULAR BRONZE WEIGHTS. 
 
 74295. Weight marked V, equal to kilos. 1,668,50 
 
 X, „ 
 
 „ 3,226,70 
 
 X, „ 
 
 „ 3,224,00 
 
 X, „ 
 
 „ 3,223,25 
 
 X, „ 
 
 , 3,222,70 
 
 X, „ 
 
 , 3,123,60 
 
 »> 
 
 , 3,290,90 
 
 V, „ 
 
 , 1,619,35 
 
 V, „ 
 
 , 1,616,55 
 
 V, „ 
 
 , 1,616,20 
 
 V 
 
 , 1,612,00 
 
 V 
 
 , 1,608,70 
 
 » 
 
 , 1,605,40 
 
 5> 
 
 , 1,590,70 
 
 V 
 
 , 1,414,50 
 
 74296. 
 74297. 
 74298. 
 74299. 
 74300. 
 74301. 
 74302. 
 74303. 
 
 , HI, 
 „ II, 
 
 I) 
 S (semis) 
 
 1,653,70 
 1,031,50 
 0,658,60 
 0,339,40 
 0,153,45 
 0,088,65 
 0,084,20 
 0,034,10 
 
 74307. Bronze weight, in the shape of a fish. Equal to 
 kilos. 0-63780. 
 
SMALL BRONZES. 135 
 
 74308 to 74313. Six bronze weight.^, in the shape of 
 goats, probably used for weighing goats' meat. These are 
 marked P.X, P.V, P.III, P.II, P.I. 
 
 The last but one bears the inscription, stalli felic. 
 (Oct. 14th, 1863. Pompeii.) 
 
 Nest of bronze weights, in the shape of mortars. The 
 largest answers to the decempondiurrif and is equal to kilos. 
 3-04380. y^gj^^ ^^^^^ ^^ ^.j^g 1,631,40 
 
 74316. 
 
 „ 0,984,40 
 
 74317. 
 
 „ 0,162,20 
 
 74318. „ 
 
 „ 0,108,00 
 
 74319. 
 
 „ 0,081,35 
 
 74320. 
 
 „ 0,054,20 
 
 74390 to 74393. Four large weights, bearing the shape 
 of the meat they were used for ; a pig, bearing the initials 
 P.C (one hundred pounds); a cheese, and two huge 
 KNUCKLE-BONES. {Pompeii.) 
 
 Smaller leaden weights, bearing the word " eme " on one 
 side and " habebis " on the other — ''Buy, and you shall have.'" 
 
 74582 et seq. Measures for oil. Ihey bear an olive on 
 the handles. (^Pompeii.) 
 
 74599. Measure for liquids, — the congius spoken of by 
 Pliny. A long-necked vase without handle, bearing the 
 inscription : imp. caesare vespas. vi. t. caes. aug. f. iiii 
 cos. MENSURAE EXACTAE IN cAPiTOLio P. X. — " measure of the 
 weight of ten pounds, gauged at the Capitol in the sixth 
 consulate of the Emperor Caesar Vespasian and the fourth 
 of his son Titus Augustus Csesar." (^Borgia.) 
 
 74600-1. Measures for dry goods. Their capacity was 
 settled by the triangular crosspieces. Inscription : " d. d. 
 p. p. herc." {Pompeii.) 
 Outside the Cabinet, 
 
 74602. Dry measure. (The wood is a restoration.) (P.) 
 Cabinets L. and LI., 
 
 Sundry kitchen utensils. (Pompeii and Herculaneum.) 
 
 SCULPTOR'S INSTRUMENTS. 
 Glazed Table LXl., 
 
 76657 to 76667. Plummets. (P. and H.) 
 
 76670 et seq. Sundry pairs of compasses. (P. and H.) 
 
136 UPPER FLOOR — LEFT. 
 
 76684. Keducing compasses. {Pompeii.') 
 76690 et seq. Linear measures. (P.) 
 76689. Square. (P.) 
 
 FISHING- TACKLE. 
 
 Netting needles, bronze and bone needles, quadruple fish- 
 hook weighted, four hundred and forty common fish-hooks. 
 
 109703. A RUDDER, belonging probably to a bronze statue 
 of " Abundance," who was usually represented with one. 
 
 Small anchor ; the only one yet found. Gift of Baron 
 Savarese. (1882. P.) 
 
 MUSICAE. INSTRUMENTS. 
 Glazed Table Kg. LXIL, 
 
 76945 et seq. Systra — jingling bronze rattles used in 
 the worship of Isis, and still to be found among the 
 natives of Nubia. These are decorated with a repre- 
 sentation of Komulus and Remus sucking the wolf. (P.) 
 76942. Cymbals of two kinds. (Pompew.) 
 11055. A bronze wind instrument, like an organ. No 
 certain explanation can be given of this fragment. It 
 was fitted with a chain, apparently to be carried round the 
 neck. (1876. Pompeii.) 
 
 76887. Tibia or flageolet. (P.) 
 
 *76890. Bagpipes found in the barracks. The " dulci- 
 mer " of Dan. iii. 5. (^Pompeii.) 
 
 76891 et seq. Four single flageolets, made of silver, 
 bronze, and ivory. (1869. P.) 
 
 The modem flageolet lying by them was made of the same 
 materials as an experiment, in imitation of the ancient ones, 
 and has been much approved for its tone by musical critics 
 both here and in Grermany. 
 
 TOYS— DICE AND TICKETS FOR THEATRES. 
 Glazed Table LXIIL, 
 
 ■fKnucklebones and dice; some constructed that they 
 might be loaded. {Pompeii.) 
 
 Nine conical specimens in carbonised wood, supposed to 
 be children's tops. {Pompeii and Herculaneum.) 
 
 177087 et seq. Sundry checks or tickets (tesserce) for 
 theatres and boxing matches, made of ivory. Some bear 
 
SMALL BRONZES. 137 
 
 the names of the play, some the number of the seat, others 
 names, as " iEschylus," " Arpax," " Yapio," " Pernix," &c. 
 Observe the small numbered pigeons made of terra-cotta. 
 These were checks for the upper row of seats, still called 
 the '^ piccionaia" or pigeon-loft, at Naples. (P. and H.) 
 The above is the received explanation, but we cannot vouch 
 for it. 
 
 1990880. Six death's-heads (use unknown), numbered 
 II, III, IV, VIII, IX, X. Found 21st Sept., 1873. (Pompeii.) 
 
 77076. Earthenware death's-head, bearing the inscrip- 
 tion " HAYAOC" and the number vi. (Herculaneum.) 
 
 TOILET REQUISITES. 
 Glazed Table LXIII. (6/s), 
 
 77146. Small bit of chain, to which is attached a crystal 
 tassel for a trinket. (P.) 
 
 77147 et seq. Bronze clasps (fibulae), one in the form of 
 a horse. (P. and H.) 
 
 77259 et seq. Bronze rings fitted with a small key for 
 jewel cases. (Pompeii.') 
 
 77269. Very large ring, for use as a seal, or possibly it 
 belonged to a statue. (P.) 
 
 Sundry rings in bone and lead, bearing initials and 
 numbers. (P.) 
 
 77174 e^ seq. Bronze bracelets, in the form of serpents, 
 one with a silver medallion. (1863. P.) 
 
 77184. Ten bone beads, part of a necklace; hairpins in 
 bronze, in form of a serpent ; a caducous ; Yenus dressing. 
 One of these, representing Venus and Cupid, stood in a 
 glass jar, which we now see twisted up all round it by 
 the heat. (P.) 
 
 77213 et seq. Five perfect metal mirrors. One in a 
 modern frame was found in the House of the Faun. (P.) 
 
 77291 et seq. These specimens have hitherto been sup- 
 posed to be perforated boxes for perfumes, made on the 
 principle of the modern " vinaigrette ; " but in our opinion 
 they are cases for seals to be attached to parchments. 
 The box would contain the seal, and two or more threads 
 of silk attached to the wax would pass from the parch- 
 ment through the holes and be attached by the wax and 
 the impression, while the case would preserve the seal 
 intact. One of them may be seen represented upon the 
 
138 UPPEK FLOOR — LEFT. 
 
 large fresco from the House of Pansa attached to the 
 
 papyrus (see No. 8598, p. 3). 
 
 77298. Small rectangular bolts in ivory, for securing 
 
 dressing cases or small articles of furniture. (P.) 
 Bone buttons and bronze studs. (P.) 
 77355 et seq. Ivory and bronze combs. (^Pompeii.^ 
 77363. Bronze thimble. This specimen is very large, 
 
 and must probably have been intended for a man. 
 
 Perhaps it was used upon the thumb, as it used to be in 
 
 England, where its original name was " thumble." (P.) 
 Sundry small pots for cosmetics. 
 
 77569. Small ivory pot, adorned with a pretty bas- 
 relief of Cupids, one playing the flageolet. (^Pompeii.) 
 
 77570. Pot of rock-crystal, still containing rouge. 
 (2 Kings ix. 30.) (^Pompeii.) 
 
 Sundry small flagons in alabaster and ivory, for 
 perfumes. (P.) 
 
 Spindle, fitted with a bronze hook. (P.) 
 
 Possibly tlie point was originally straight, and the implement 
 was an ordinary spindle. The upper part of it favours this 
 idea. At any rate the specimen is unique. 
 
 77518. Bronze winder, in nine divisions, for threads of 
 different colours. (P.) 
 
 77544-5. Two needle-cases (?). (P.) 
 
 A small alabaster bowl containing pins. 
 
 8088. Small toothed wheel, used as part of a bolt. (P.) 
 
 We draw attention to this little specimen, to show how nearly 
 the Komans had reached one of the leading principles of the 
 modern clock. 
 
 Hairpins in bone, adorned with statuettes and busts ; 
 toothpicks and earpickers. (P. and jff.) 
 
 As to the antiquity of such ornaments, see Isaiah iii. 18. 
 Cabinets LIT. and LIII., against the wall, 
 
 Kitchen pots and pans. (P. and H.) 
 
 COLANDERS. 
 Case LXIV., in front of the window, 
 
 Colanders perforated in graceful designs. (P. and H.) 
 77609. In the centre of this specimen a bas-relief of 
 
SMALL BRONZES. 139 
 
 Venus with silver bracelets, holding out her hand to a 
 small Cupid. (Herculaneum.) 
 
 These colanders are so elegant, that they must probably have 
 been intended for table use. The received theory is, that 
 they were filled with snow and dipped into the wine-bowls, 
 and served to keep the impurities from the snow out of the 
 wine. 
 
 Near the balustrade of the model of Pompeii, 
 
 78579. Large caldron, nailed and bolted as our modern 
 steam boilers. (^Pompeii.) 
 
 78580. Large fire-plug, found in the palace of Tiberius 
 at Capri. The rust of ages has sealed it hermetically. 
 Till within two years this specimen had some water in it, 
 which one could hear by shaking it. This water appears 
 now to have completely evaporated. Height, 1 ft. 9 in. ; 
 length, 2 ft. 5 in. ; diameter of pipe, 7 in. 
 
 78581. Bronze grating (daustrum), found before a 
 window in Pompeii. 
 
 Glazed Tables LXV. ksj) LXVI. (the second contains the 
 more important specimens), 
 
 SURGICAL INSTRUMENTS (Chirurgia). 
 
 We have been favoured with the following description of these 
 instruments by Dr. Barringer of Naples. Most of them 
 were found in the '^ Bouse of the Surgeon" at Pompeii, 
 and differ but little from those in use at the present day. 
 
 Glazed Table LXV., 
 
 Bistouries (surgical knives), spatulse, sounds, and 
 pincers, some of which last belonged to lamps. 
 
 77738 et seq. " Directors." 
 
 77982. Curved dentated forceps, for removing foreign 
 substances from cavities. The curved extremity of the 
 branches is hollowed out, and the teeth fit into each other. 
 
 77985. Digitated forceps bearing the name " Acaecolus" 
 These are used for holding open the lips of a wound while 
 a deeper incision is being made. They are usually made 
 now with curved ends and small teeth. 
 
 Glazed Table LXVL, 
 
 77986 et seq. Fourteen bronze cupping vessels of modern 
 shape, but ours are now made of glass. 
 
140 UPPER FLOOR — LEFT. 
 
 78000-1. Spoons ending in the head of a ram and of a 
 woman. 
 
 78003. Lancet for bleedihg. 
 
 78004. Silver spoon with elegant handle. 
 
 78005. Scissors with a spring, like shears. 
 
 78007. Fleam for bleeding horses. 
 
 78008. Trochar for tapping for dropsy. A hole in the 
 end gives an exit to the water. 
 
 78012. An elevator (or instrument for raising depressed 
 portions of the skull) made of bronze, five inches long, 
 and very much resembling those made use of in the 
 present day. 
 
 78026. A MALE CATHETER (cenea fistula), ten inches in 
 length. The shape is remarkable, from its having the 
 double curve like the letter S, which is the form that was 
 re-invented in the last century by the celebrated French 
 surgeon, J. L. Petit. It is open at one end, closed at the 
 other. At the closed end is an eye, as in the modem 
 infitrument. 
 
 78027. A FEMALE CATHETER, 3J inchcs in length. (See 
 Celsus, de Med. vii. 26, § 1, p. 429.) 
 
 78029. PoMPEiAN FORCEPS, formed of two branches 
 crossing, and working on a pivot. Each branch is fitted 
 with an engine-turned handle and a spoon-shaped blade. 
 The length of the handles gives great power to the 
 operator, and the curve of the blades enables the surgeon 
 to see what he is doing. The blades are fluted on their 
 contiguous surfaces, and these grooves fit exactly into one 
 another, thus affording a firm hold even when an opera- 
 tion requires considerable force. It was used for crushing 
 small calculi. Length, 8 inches. 
 
 *78030. Speculum uteri. Professional men have dis- 
 cussed this instrument very closely. (See the works of 
 Vulpes and Quaranta.) It is a tri- valvular speculum ; 
 the three valves, standing at right angles to the rest of 
 the instrument, are jointly dependent on each other in the 
 expansion transmitted only to one of them. 
 
 When the three valves are in contact, the instrument 
 for insertion is about an inch in circumference. By 
 turning the screw, one valve is drawn nearer to the 
 operator, and this forces the other two to open in a side- 
 long direction, producing thus a slow, regular, progressive 
 
SMALL BRONZES. 141 
 
 dilatation, as extensive as may be required. The instrument 
 can be held by the two curved handles in the left hand, 
 while the right hand turns the screw. These movable 
 handles are similar to those fitted to modern specula. 
 Length, 8 J inches; widest expansion of valves, 1^ inches. 
 
 78031. Speculum ANi. A bi- valvular speculum, probably 
 used also for the uterus before the other one was 
 known. This instrument is opened or closed by means of 
 the pivot in the centre. It has been the model of modem 
 specula. 
 
 78032. Dentated forceps, of elegant construction, with 
 hollowed blades. 
 
 78121. Sound, with flattened extremity, bifurcated for 
 cutting the frenum of the tongue ; as used in modem 
 surgery. 
 
 78034 et seq. Actual cauteries. 
 
 78071. Surgical needle. 
 
 78037. Probes found in the cases to the left of them. 
 Some are inlaid with silver, and all are perfectly pre- 
 served. 
 
 78195-6. Stones for sharpening instruments. 
 
 78037 et seq. Sundry hooks and instrument cases. 
 
 78197. Case of surgical instruments. It is fitted to a 
 slab of basanite, used to mix medicines on. 
 
 78235. An injection probe for females, with eight small 
 holes arranged like wreaths, as in the best modern instru- 
 ments, thus insuring a separate and gentle flow. 
 
 I'he other end is obviously shaped to be fitted with a 
 syringe. 
 
 Sundry boxes containing pills, sulphur, and other 
 medicaments. 
 
 IVORY ARTICLES. 
 
 Last glazed Table LXVII., 
 
 Lions' claws for furniture ; bosses and other fragments 
 of the Curule chair in the first room. (P.) 
 
 Medallions and statuettes for furniture. 
 
 110924. Statuette of Venus with a dolphin. (^Pompeii.) 
 
 78279. Statuette of a boy wearing the bulla patritia, the 
 badge of patrician birth (see p. 145). (^Pompeii.) 
 
 109905 and -5 his. Two ivory panels (frame modern), 
 carved on both sides, adapted as ornaments for furniture. 
 
142 UPPEK FLOOK— LEFT. 
 
 The one (No. 109905) represents, on the side that one 
 cannot see, a wounded hero carried by two attendants. 
 The exposed side is a continuation of the episode : the 
 same hero is seated near a tree ; a woman kneeling by 
 him is dressing his wound ; behind him stands an 
 attendant. 
 
 The other panel (No. 109905 his), which no doubt 
 belonged to the same article of furniture, represents Pluto 
 capturing Proserpine in a quadriga on the one side, and on 
 the other Minerva, Diana, and Ceres. (April 1873. P.) 
 
 78289. Fine ivory death's-head. (^Pompeii.) 
 
 78288. Small bronze skeleton. (^Pompeii.') 
 
 78445. Bone spoons. (Pompeii.) 
 
 WRITING MATERIALS. 
 Cabinet LVI., 
 
 Sundry inkstands, pens, metal mirrors, porte-honheur 
 bracelets. (Pompeii.) 
 
 75080. Inkstand (atr amentum^, still containing ink. 
 
 1 7 5091. Octagonal inkstand (found' in a tomb at 
 Terlizzi) of bronze, decorated in silver, with the seven 
 divinities who presided over the seven days of the week, 
 — namely, Apollo, Diana, Mars, Mercury, Jupiter, Venus, 
 and Saturn. 
 
 Martorelli, the archaeologist (who wrote two volumes 
 about this inkstand), thinks that it belonged to some 
 astronomer of the time of Trajan. 
 
 110672. Bronze pen, nibbed like a modern one. (P.) 
 In a tube of modern glass, 
 
 75095. Another pen of reed, found in a papyrus at 
 Herculaneum. 
 
 70099. Slabs of stone, which were covered with wax for 
 writing upon with the "s%Zms." 
 
 75113. Two bone "%Zi." Pointed at one end and flat 
 at the other, to correct or rub out what one had written. 
 (Pompeii.) 
 Below, 
 
 80111. Bracelet on the bone of a human arm. (P.) 
 
 Sundry small bone tubes. The large charred fragment 
 in this case, found in Herculaneum, shows us that these 
 tubes were used for hinges. (P.) 
 
SMALL BRONZES. 143 
 
 SADDLERY. 
 Cabinet (next the door) LVIL, 
 
 Cattle bells, harness, &c. Large mimber of bells for 
 cattle. By pulling a wire in the side of this case, one of 
 these bells is made to ring. (^Pompeii and Herculaneum.) 
 
 75478. Small model of a biga, of very great interest, as 
 showing US the form of Pompeian vehicles. 
 
 75479-75480. Small model waggon and biga. (Borgia.) 
 
 Harness for horses (epJdppium), consisting of scrolls, 
 sprays, bits, nosebands, poleheads, curb-chains, spurs, 
 stirrups (?), buckles, and other objects which can be 
 readily identified. 
 
 75537. HooF-PARER (?). The blade is gone, but the handle 
 represents a blacksmith in the act of paring a hoof. 
 
 KITCHEN UTENSILS. 
 Cabinet LVIII., 
 
 Pastry moulds in the shape of shells. (P. and H.) 
 
 76352 et seq. Four shapes, representing a hare, a pig, a 
 ham, and half a fowl. (Pompeii.) 
 
 76336. Implements for making pastry. Pastry cutters. 
 
 76349. Cheese-graters. Bronze knives and spoons. 
 (Pompeii.) 
 Cabinet LIX., 
 
 76543. Large egg frame, capable of cooking twenty-nine 
 eggs at once. (Inn, Pompeii.) 
 
 76540. Very handsome andirons. 
 
 76542. Egg-frame for four eggs. (Pompeii.) 
 
 Seven spits. (Pompeii.) 
 
 76540-1. Two trivets, with bulls' heads and sea-horses. 
 (Very fine.) (Pompeii.) 
 
 Tart dishes, frying-pans, gridirons, tongs, artistic fire- 
 shovels, kitchen trivets. An iron trivet, much oxidized 
 and covered with lapilli, with a pot firmly stuck to it by 
 the oxidization. 
 
 Hanging up against the wall near the door, 
 78622. A bronze bell, shaped like a gong. It has a 
 beautiful tone, which may be heard by swinging the 
 tongue which hangs before it. It was used at the end of 
 the narrow streets where two vehicles could not pass, to 
 warn people that a car was coming. (Pompeii.) 
 
144 UPPER FLOOR — LEFT. 
 
 THE CABINET OF GEMS. 
 
 That artists who could work in metal as we have seen 
 the Greeks could, should excel in the craft of the gold- 
 smith, must be a matter of small surprise; at the same 
 time we are hardly prepared to find gold ornaments and 
 silver plate executed with a taste and finish to which we 
 cannot arrive in our day with all our wealth and all our 
 appliances. 
 
 The mention of Joseph's silver cup (Gen. xliv. 2) shows 
 us how early in the history of the world the precious 
 metals were used for the purposes for which we now 
 adopt them, and as early as the time of Abraham we find 
 mention made of the golden ear-ring (Gen. xxiv. 22) which 
 Eleazar presented to Kebekah, though as it is spoken of 
 in the singular number, and is mentioned as weighing 
 half a shekel, we may assume the marginal reading of 
 " jewel for the forehead " to be the more correct one. 
 
 The variety of purposes for which gold and silver 
 ornaments were used as early as b.c. 750 appears in an 
 interesting passage of Scripture (Isaiah iii. 18) which 
 recites nearly all the articles of jewellery exhibited in 
 the beautiful collection before us, though it is scarcely 
 likely that in the time of the prophet so high a perfection 
 of work was attained. Considering that the precious 
 metals have always preserved their value and been the 
 standard, the subsequent decadence of the art is more to 
 be wondered at, for until the time of the Italian Eenais- 
 sance we find but meagre traces either of gold, silver, or 
 cameos of any great worth or importance. 
 
 This collection contains some Greek cameos and intaglios 
 of world-wide fame; it includes also a large number of 
 fine mediaeval gems. 
 
 The question whether or not the ancients had magnify- 
 ing glasses wherewith to cut these gems is still uncertain 
 (see No. 27,613, p. 145), but it seems impossible that the 
 naked eye could attain to such minute exactitude. We 
 know from Pliny that they could not cut the diamond, 
 but when by any means one got broken we find they set 
 a high value on the splinters, because they found that by 
 their aid thev could cut any other stone with great ease. 
 
GEMS. 145 
 
 There are constant references in the classical writers to 
 the decoration of cups and articles of furniture with gems 
 and cameos, and their use for rings is of the highest 
 antiquity. 
 
 The first mention of a ring in the Bible is in Gen. 
 xxxviii. 18, where Judah gave his signet to Tamar, and 
 again (Gen. xli. 42) where Pharaoh puts his ring on the 
 hand of Joseph to invest him with authority ; and indeed, 
 without interruption throughout the history of the world, 
 the " giving and receiving of a ring " has been the token 
 of a solemn compact between the contracting parties. 
 They were also frequently used much as we use letters of 
 introduction, and given for this purpose to ambassadors 
 and other high functionaries, and, as in the case of Hanni- 
 bal, they frequently contained a dose of poison to enable 
 their wearer to extricate himself from an unpleasant 
 dilemma by an heroic suicide (see No. 157, p. 147). 
 
 ARTICLES OF GOLD. 
 
 24606. BuLL^ PATRITI.E. Two gold bullBB with gold- 
 wire loops to hang them round the neck by. They were 
 worn by young patricians till they attained the age of 
 seventeen years, when they were exchanged for the toga 
 virilis, hung up in the house, and dedicated to the Lares. 
 Amulets were placed in the hollow of them, to bring good 
 luck and keep off evil spirits. (Herculaneum?) 
 
 Sundry necklaces of beads, links, and precious stones. 
 Well-wrought gold braid, ear-rings, trinkets, and rings 
 set with fine stones, of which 24732-3-4 still contain the 
 finger-bones of their owners. (Pomjpeii.) 
 
 25813. Amber statuette with cloak and wig. (P.) 
 
 127613. A CIRCULAR PIECE OF GLASS, thought to be a 
 magnifying glass. This unique specimen has given rise 
 to much discussion, the received opinion being that it is a 
 lens, a point that cannot be satisfactorily proved unless it 
 is repolished. On the other hand, we have no mention of 
 any instrument of the kind, and many authorities assert 
 that they were unknown to the ancients. {Pompeii.^ 
 
 t25234 et seq. Greek ear-rings of large size and great 
 beauty, with a sardonyx ring (the setting modem) bearing 
 
146 UPPER FLOOR— LEFT. 
 
 an Amazon ; and a gold coin from Syracnse, found in a 
 tomb at Taranto. {Gift of Baron d'Arhou-Castillon, 1864.) 
 
 *Magnificent specimens of gold work found in the 
 upper story of a house at Pompeii in November 1870, 
 comprising the largest gold chain yet found ; bracelets, a 
 necklace, and several pairs of ear-rings, set with fine 
 emeralds and pearls. 
 
 t25000. Large gold lamp, without a cover (weighing 
 896 grammes, nearly 2 pounds avoirdupois), and having 
 its handle formed of a leaf. It is in the most perfect pre- 
 servation, and is the only gold lamp as yet found in 
 Pompeii. Probably a votive offering to Pallas. (1863.) 
 Among sundry other scold ornaments, 
 
 *24825. Two bracelets in the form of serpents — the 
 largest known — weight two pounds. {House of the Faun, 
 
 24826. Kid in solid gold, from Edessa in Mesopotamia. 
 (Borgia.) 
 
 24833. Superb necklace of gold chain, ornamented with 
 boss and pendent vine-leaves. 
 
 24845-6. Two large fibulae or pin clasps, from which 
 hang two pomegranates that [do not belong to them. 
 {Pompeii.') 
 
 t24852. Solid gold bull, bearing inscriptions in Phoe- 
 nician and in Greek. It was found at Syracuse, and no 
 doubt was connected with the worship of Apis (Ex. 
 xxxii. 19). 
 
 t24883. Magnificent necklace, the finest in the col- 
 lection, ornamented with 21 masks of Silenus and 58 orna- 
 mental acorns and fieurs de lys. Found in the Vase of 
 Triptolemus (see p. 171, No. 507). 
 
 24893. Superb diadem set with precious stones (from a 
 Greek tomb at Venosa). 
 
 24876 and -8. Two blue glass bottles in gold stands of 
 exquisite designs. They probably contained perfumes, 
 and were found in a tomb at Venosa. 
 
 fSundry beautiful necklaces, clasps, and trinkets. 
 {Pompeii and Herculaneum.) 
 
 110834. Lady's hair-net, made of gold wire. {Pompeii.) 
 
 Sundry engraved amethysts, topazes, emeralds, &c., 
 recently found. {Pompeii.) 
 
TAZZA FARNESfi. ^ of the MT^ 
 
 n.«..T>xJ UNIVERSITY 
 
 THE RINGSW - 
 
 Many are set with fine stones and e^*^Ald plasmas, and^ 
 the majority came from either HerculanetTmr-or Pompeii. 
 
 Double rings, made of two united circles. It is asserted 
 that these were wedding rings. Some of them have an 
 anchor and a palm in the place of the setting. 
 
 Rings made in imitation of serpents. 
 
 fSOl, red no. Very large ring, which was probably 
 used for a seal, having a well-cut head of Brutus. It bears 
 in Greek letters, written from right to left, " Anaxilas 
 made me." Weight, three ounces. 
 
 136, red no. Ring bearing the name of the owner, 
 " Cassia," found on the finger of a skeleton in the House 
 of the Faun, with two bracelets (see No. 24825, p. 146), 
 and several ear-rings, a jewel-case, gold coins, &c. 
 
 tl57, red no. Ring set with an emerald plasma of convex 
 form, intended to hold poison. 
 
 161, red no. Necklace ornaments, representing three 
 Egyptian figures in glass. 
 
 179, red no. Ring with a cameo representing a theatrical 
 mask, found at Pompeii by King Charles III. When he 
 left Naples for Spain, he deposited it in the Museum. 
 
 TAZZA FARNESE. 
 In the window, 
 
 *Cup OF Oriental sardonyx, known as the Tazza 
 Farnese. The intrinsic value of this tazza is inestimable, 
 and its artistic merit renders it unique. It is said to have 
 been found at Borne in the Mausoleum of Hadrian^ now 
 called the Castle Sanf Angelo ; but it seems more probable 
 that it was found in the ruins of Hadrian's villa by a 
 soldier, who gave it to the Duke Charles of Bourbon 
 when he was besieging Rome. Unfortunately, prior to 
 its reaching the Farnese Collection, its owner caused 
 a hole to be bored in the centre, that a foot might be 
 fitted to it. 
 
 This incomparable relic has been the subject of many 
 discussions among savans, and articles have been published 
 about it by Maffei, Winckelmann, and others. 
 
 It is the only known cameo of its size which presents 
 
 L 2 
 
148 UPPER FLOOR— LEFT. 
 
 a composition on each side. On the outer part is a mag- 
 nificent Medusa's head, which covers it completely, and 
 on the inside are eight figures in relief which stand out 
 against the dark background. 
 
 Archaeologists are not agreed as to their explanation of 
 the subject. The interpretation which seems to us the 
 most probable is that of Comm. Quaranta, who explains 
 it as Ptolemy Philadelphia consecrating the harvest festival 
 instituted by Alexander the Great, after the foundation of 
 Alexandria. 
 ^ Egypt is represented by the Sphinx, at whose right 
 sits Isis holding an ear of corn. The old man in the upper 
 section, with his back against a fig-tree, is probably the 
 Nile, holding an empty cornucopia, the symbol of great 
 rivers ; and below the Nile hover two youths, who per- 
 sonify the Etesian winds, whose breath arrests the course 
 of the Nile and fertilizes Egypt. 
 
 The two nymphs seated on the right, one holding an 
 empty horn and the other a cup, are nymphs of the Nile, 
 protectresses of Egypt. 
 
 And finally the figure which occupies the centre of the 
 composition is one of the Ptolemies, with the attributes of 
 Horus- Apollo, a chief Egyptian divinity and son of Isis, 
 holding an hydraulic instrument for measuring the inunda- 
 tion of the Nile, and a dagger. 
 
 ARTICLES OP SILVER PLATE. 
 
 25284. Three altars, of which two are alike, while the 
 third is a little smaller and set with rubies. They are of four 
 pilasters, with bronze plinths surmounted by a cortina or 
 bowl, and ornamented with graceful foliage. (Pome.^ 
 
 ■|"25289. Silver pail with bronze handle. Around it a 
 portico in bas-relief; on one side five nude women issuing 
 from the baths hard by, — one is seated, the others are 
 waiting upon her. On the other side are three nude 
 women near a fountain, one of whom is opening the door 
 of the baths, while another is dressing the third, (jff.) 
 
 f25301. Apotheosis of Homer. A mortar-shaped cup 
 with the above design in bas-relief. This is one of the 
 most celebrated pieces of silver plate that has come down 
 to us from the ancients. 
 
ARTICLES OF SILVER PLATE. 149 
 
 The poet is clothed in the Vestis talaris, and his head 
 half veiled ; he is borne heavenwards by an eagle. On the 
 left the Iliad personified, armed cap-a-pie, and wearing the 
 chiton and the perones. On the right the Odyssey with 
 the pilevbs, and her head resting on her right hand. (H.) 
 
 25343. Silver censer with cover and chain. (Borne.') 
 
 Sundry beautiful cups, saucers, dishes, eleven saucepans, 
 mortar, &c. {Pompeii and Herculaneum.) 
 
 *25367. A cup with bas-relief of Apollo in his car. (P.) 
 
 t25376 et seq. Six beautiful cups adorned with bas- 
 reliefs and lined to prevent deposit in the concavities. 
 The designs relate to the worship of Bacchus. {Pompeii.) 
 
 109688. Exquisite silver skeleton. (1873. Pompeii.) 
 
 111760. Statuette in a bronze chair, completely oxidized. 
 (Pompeii.) 
 
 25382-3. Statuettes of a Camillus and of Abundance. 
 (Pompeii.) 
 
 109661. A flat spoon of very elegant design. 
 
 25498. Hairpin. Yenus and Cupid. 
 
 25488. Two Genii dancing to the tibia. 
 
 25489. Abundance ; a round plaque in perfect preser- 
 vation. (Pompeii.) 
 
 25490. The reverse of a circular mirror representing 
 the death of Cleopatra. The queen is sitting, having 
 just been bitten by the asp, her head supported by an 
 attendant. Below the chair is the basket of figs in 
 which Plutarch tells us that Cleopatra's two attendants, 
 Charmion and Eiras, hid the asp. (Pompeii.) 
 
 |25492-3. Diana and Apollo. Two oval high reliefs. 
 (Herculaneum.) 
 
 'f25494. Bronze sun-dial, faced with silver, in the shape 
 of a ham. The hours are indicated by vertical lines, be- 
 neath which are the names of the months. The knuckle 
 served as a gnomon. This is believed to be the only 
 ancient portable sun-dial extant. (Herculaneum.) 
 
 25495. Circular bas-relief of a Satyr playing the lyre 
 before a hermes. (Herculaneum.) 
 
 109331. Apollo seated beneath a tree, with a snake 
 twined round his staff. (1872. Pompeii.) 
 
 Sundry rings, bracelets, cups, shapes, and fragments. 
 (Pompeii and Herculaneum.) 
 
 25496. A delicate silver colander. (Herculaneum.) 
 
150 UPPER FLOOR— LEFT. 
 
 Eight pitcliers (lagense), a round plate, a large rect- 
 angular plate, goblets, spoons with their own cups, arm- 
 lets, a systrum, some mirrors, two strigils, and a hand- 
 some unguentarium with removable cup; some beautiful 
 silver dishes, and sundry fragments. (P. and JT.) 
 
 In the glazed tables, 
 
 CAMEOS AND INTAGLIOS. 
 
 This collection comprises about a thousand cameos and 
 five hundred intaglios, many of which bear the name of 
 Lorenzo dei Medici, and came from the Farnese Collection. 
 The remainder are from Pompeii and Herculaneum. 
 
 The ancient specimens are marked " Ant.^" and the medicBval 
 ones "XV." {fifteenth century). 
 
 FIRST TABLE. — FIRST COMPARTMENT {nCXt wiudow). 
 
 25833 to 25899. 
 First row, 
 
 1. Onyx. The education of Bacchus. The infant god, 
 mounted on a lion led by a nymph, is held up by one of 
 the Nysiades ; behind, Nysa seated. Ant. 
 
 2. Onyx. Meleager, sitting and caressing his dog ; 
 two women in conversation. Ant. 
 
 3. Onyx. A ^ERE^) on a Triton, playing cymbals. Ant. 
 
 4. Sardonyx. Venus surprised at her bath. Ant. 
 
 6. Onyx. Neptune and Pallas disputing about the 
 name to be given to arising city. Inscribed HY — pro- 
 bably meaning Pyrgotele. Ant. 
 
 6. Onyx. D^dalus and Icarus. Two females admiring 
 the prodigy — probably Pasiphae and Diana Dyctine — per- 
 sonifying the Cretan city. Ant. 
 
 7. Onyx. Yenus on a lion led by Cupid. Ant. 
 
 8. Oriental Onyx. Triumph of Bacchus and Silenus. 
 The car is drawn by two Psyches, the reins held by 
 Cupid, while another pushes the car. Ant. 
 
 9. Onyx. Bear-hunt. Inscribed Gneius. Ant. 
 
 Second row, 
 
 10. Sardonyx. Two female heads. Ant 
 
CAMEOS. 151 
 
 11. Onyx, Faun and Bacchante. Ant. 
 
 12. Onyx. Chariot driven by Victory. Legend, 
 ZOZTPATOY. Ant. 
 
 13. Agate. Helle on a ram, and Cupid, xv. 
 
 14. Oriental Onyx. Male and female Centaur. Ant. 
 *16. Onyx. Jupiter overwhelming tlie Tt'tows. Legend, 
 
 AOHNION. Ant. 
 
 17. Onyx. Cock-fight, in presence of two Cupids, one 
 lamenting his defeat, the other victorious. Ant. 
 
 18. Onyx. Hercules and Omphale. Ant. 
 
 19. Sardonyx. Head of Omphale. Ant. 
 
 20. Onyx. Bacchus finding Ariadne. Ant. 
 
 21. Oriental Onyx. Cupids at work. Ant. 
 
 Third how, 
 
 23. Agate. Ulysses at rest. xv. 
 
 24. Sardonyx. A Eoman Lady ; portrait. Ant. 
 
 25. Sardonyx. Homer ; name on the mantle. Ant. 
 
 26. Onyx. Nymphs sporting with Cupids on a tree. ^w/. 
 
 27. Agate. A Nereid on the hipjpocampjLs. Ant. 
 
 28. Agate. Aurora in a higa. Ant. 
 
 29. Onyx. Omphale with the club of Hercules. Ant. 
 130. Agate. Jupiter Serapis, in high relief. Ant. 
 
 31. Onyx. Hercules bearing Cupid. Ant. 
 
 32. Agate. Head of Medusa. Ant. 
 
 33. Agate. Satye kneeling. A fragment. Ant. 
 
 34. Agate. Two combatants. Ant. 
 
 35. Onyx. Bacchante playing the tihia. Ant. 
 
 36. Agate. Head of Hercules, with a fillet. Ant. 
 
 37. Onyx. Satyr and Bacchante, xv. 
 
 Fourth row, 
 
 38. Agate. Othryades dying. Ant. 
 
 Othryades was the only survivor of 300 Spartans who fouj];ht 
 300 Argives for Thyrea. He returned to the camp, raised a 
 trophy, wrote vici with his own blood on his shield, and 
 killed himself, unwilling to survive the death of his comrades. 
 
 39. Sardonyx on glass. Head of Medusa. Ant. 
 
 40. Sardonyx. Male head, crowned. Ant. 
 
 t41. Sardonyx. Satyr dancing. A fragment. Ant. 
 
 42. Agate. Minerva with helmet and quiver. Ant. 
 
 43. Sardonyx. Head of Minerva. Ant. 
 
152 UPPEK FLOOR— LEFT. 
 
 t44. Sardonyx. Augustus. Attributed to Dioscorides. 
 
 45. Glass. Head of Mercury, xv. 
 
 46. Onyx. Genius running with a palm branch. Ant. 
 t47. Onyx. Aurora in her chariot. Ant. 
 
 t48. Oriental Onyx. A Faun carryiog the infant Bacchus. 
 Ant. 
 
 Female head. xv. 
 
 Genius of Bacchus on a ram. xv. 
 
 49. 
 50. 
 
 Agate. 
 Agate. 
 
 Fifth 
 
 ROW, 
 
 51. 
 52. 
 53. 
 54. 
 
 Onyx. 
 Onyx. 
 Onyx. 
 Onyx. 
 
 Satyr and Faun. A fragment. Ant. 
 A fine head, perhaps Cicero. Ant. 
 Victory, on a higa. xv. 
 Three Cupids playing with a ram. xv. 
 
 55. Oriental Onyx. Venus and Cupid. 
 
 56. Onyx. Faun and Bacchante. Ant. 
 t57. Sardonyx. Centaur. Ant. 
 
 58. Sardonyx. Bellerophon killing a lion. Ant. 
 
 59. Sardonyx. Venus sitting with Cupid on her 
 knees, xv. 
 
 t60. Oriental Onyx. Sculptor chiselling a vase. Ant. 
 
 61. Oriental Onyx. Nereid on hippocampus. Ant. 
 
 62. Agate. Bust of a woman, xv. 
 
 63. Oriental Onyx. Silenus on a fawn's skin. Ant. 
 
 Sixth row, 
 
 64. Agate. Two Egyptian birds. Ant. 
 
 65. Agate. Dirce's punishment. Fragment. 
 
 66. White and red Onyx. Egyptian bird. Ant. 
 
 Seventh row, 
 
 1857. Onyx enamelled. Vestal, a superb head. Ant. 
 
 second compartment. 
 
 25900 to 26042. 
 First row, 
 
 67. Onyx. Silenus near an altar. Ant. 
 
 68. Sardonyx. A man's head, perhaps Maecenas. Ant. 
 
 69. Agate. Ariobarzanus III., king of Cappadocia (?). 
 Ant. 
 
 72. Onyx. Chariot, xv. 
 
 75. Agate, Priest of Bacchus. Ant, 
 
153 
 
 76. Sardonyx. Baccha^tr. xy:' ' 
 
 77. Sardonyx. Domitian, laurel-crowned, xv. 
 
 78. Agate. Faustina the younger (?). Ant. 
 
 79. Sardonyx. Cupid and Psyche. Ant. 
 
 83. Onyx. Minerva, xv. 
 
 84. Agate. A child's head. Ant. 
 
 85. Sardonyx. Bust of Minerva. Ant. 
 
 86. Onyx. Hercules strangling the serpents. Ant. 
 
 87. Agate. Cassandra at the Palladium, xv. 
 
 Second row, 
 
 88. Oriental Onyx. Centaur playing the tibia. Ant, 
 90. Sapphire. Veiled head of Livia. xv. 
 
 93. Emerald. Lotus-crowned head of Isis. Ant. 
 97. Agate. Ajax dragging Cassandra from the Palla- 
 dium. Ant. 
 
 99. Lapis-lazuli. Tiberius crowned with laurel, xv. 
 
 100. Agate. Victory, in a higa. Ant. 
 
 105. Emerald. Bust of Jupiter Serapis. Ant. 
 108. Chrysolite. Harpocrates. xv. 
 
 Third row, 
 
 112. Sardonyx. Silenus with a snake round his arm. xv. 
 120. Sardonyx. Bust of a philosopher, xv. 
 
 123. Jacinth. Cleopatra, xv. 
 
 124. Onyx. Marsyas bound and Mercury. Ant, 
 
 130. Agate. Juba II., king of Mauritania. Ant, 
 
 131. Jade. Bust of a child. Ant. 
 
 133. Agate (modern). Head of Nero. xv. 
 
 134. Onyx. Leda and the Swan. Ant. 
 
 Fourth row, 
 
 138. Onyx. Sacrifice to Priapus. Ant, 
 
 139. Agate. Cupids with lyre and panpipe. Ant. 
 147. Sardonyx. Hercules and the lion. xv. 
 152. Onyx. Cupid on a car drawn by goats. Ant. 
 154. Onyx. Ganymede and the eagle, xv. 
 
 156. Agate, Hercules with the lion's skin. xv. 
 
 Fifth row, 
 
 158. Agate. Three Cupids forging darts. Ant, 
 
 160. Onyx. Venus and Mars. Ant. 
 
 161. Oriental Onyx. LrviA as Juno. Ant. 
 164. Onyx, Cupid leaning on his torch. Ant. 
 
154 UPPEE FLOOR — LEFT. 
 
 167. Garnet. Samson, with legend, xv. 
 
 171. Agate. Domitian. xv. 
 
 172. ^^aie. Head of Julia M^SA. Ant. 
 175. Onyx. Bust of Aquila Severa ? Ant, 
 17 Q. Agate. Bust of Julia Scemis ? Ant. 
 
 Sixth kow, 
 
 185. Onyx. Head of Agrippina. Ant. 
 
 tl88. Sardonyx. Aurora on a quadriga. The artist 
 knew how to make the most of the different strata of the 
 stone to give each horse a distinct colour. According to 
 Winckelmann, their colours indicate dawn, day, twilight, 
 and night. Ant. 
 
 190. Onyx. Erato playing the lyre. Ant. 
 
 193. Onyx. Cupid; legend — <l>IAO, Hove. Ant. 
 
 196. Jacinth Chrysopath. C^sar. xv. 
 
 197. Onyx. Hand pulling an ear; MNHMONEYE— 
 remember. Ant. 
 
 198. Onyx. Hand-in-hand; OMOHO\^, concord. Ant. 
 
 199. Onyx. Cupid leaning on his torch. Ant. 
 
 Seventh row, 
 
 201. Onyx. Ganymede borne by the eagle. Ant. 
 
 t203. Agate. Thetis on a dolphin, with Triton and 
 Zephyr, xv. 
 
 206. Glass. Tiberius. (^Pompeii.) 
 
 INTAGLIOS. 
 
 26043 to 26209. 
 
 second table — first compartment. 
 First row, 
 
 205. Amethyst. Old man, with cloak. Ant. 
 
 206. Garnet. Vestal. Ant. 
 
 207. Sardonyx. The Heraclid^e drawing lots. Ant. 
 "|-209. Cornelian. Ajak and Cassandra at the Palladium. 
 
 Ant. 
 
 210. Chalcedony. Head of infant Hercules, xv. 
 
 212. Emerald Plasma. Orpheus playing the lyre. Ant. 
 
 213. Cornelian. Apollo and Marsyas bound. Ant. 
 t214. Chrysolite. Pallas, xv. 
 
INTAGLIOS. 155 
 
 t21o. Chalcedony, Antoninus Pius (?). xv. 
 216. Sardonyx. Bust of Julia, xv. 
 219. Cornelian. Perseus with the head of Medusa. 
 Legend — AIOZK. . . Dioscorides. Ant. 
 
 221. Cornelian. Solon. Legend — ZOAnNOZ. Ant. 
 
 Second row, 
 
 226. Cornelian. Silenus with Faun and Bacchante. 
 Ant. 
 
 227. Green Plasma. Cupid drawn by butterflies. Ant. 
 
 228. Amethyst. Jole ; a fine head. xv. 
 
 229. Cornelian. Thetis and a Triton. Ant. 
 
 230. Sapphire. Fine bust of Juno. Ant. 
 
 231. Cornelian. Head of Marcus Aurelius. Ant. 
 *232. Amethyst. Diana, with Apollonius inscribed in 
 
 Greek. A gem of great celebrity. Ant. 
 233. Cornelian. Head of Philosopher. Ant. 
 t234. Chalcedony. Actor with a mask. xv. 
 236. Agate. Sabine, xv. 
 238. Cornelian. Head of Antinous. Ant. 
 
 Third row, 
 
 244. Beryl. Head of Sergius G-alba. xv. 
 
 247. Amethyst. Mounted Warrior. Ant. 
 
 248. Cornelian. The Car of the Sun. Ant. 
 
 250. Amethyst. Antoninus Pius. Ant. 
 
 251. Sardonyx. Trajan and his wife Plotina, Marciana 
 his sister, and his niece Matidia. Group. Ant. 
 
 253. Amethyst. Thetis on two sea-horses. Arit. 
 
 254. Cornelian. Perseus with Medusa's head. In- 
 scribed Dioscorides. Ant. 
 
 256. Cornelian. Hadrian, crowned. Ant. 
 260. Head of Ptolemy Philadelphia.. Ant, 
 
 Fourth row, 
 
 266. Cornelian. Theseus and the Minotaur. Ant. 
 268. Cornelian. Fine head of Plato, xv. 
 276. Cornelian. Julius C^sar. xv. 
 279. Garnet. Harpocrates. Ant. 
 
 Fifth row, 
 
 287. Garnet, Bust of Cleopatra. Ant. 
 
156 UPPER FLOOR — LEFT. 
 
 Sixth row, 
 
 The^rs^ stone, without a niimber. 
 
 Cornelian. Handsome bust of Juno. {Pompeii.') 
 Seventh row, 
 
 329. Sardonyx. Mars crowned by Victory. Ant. 
 Ninth row, 
 
 362. Cornelian. Pallas bearing an image of Victory. 
 Ant. 
 
 369. Green Plasma. Marcus Aurelius. Ant. 
 
 SECOND COMPARTMENT. 
 
 26210 to 26389. 
 
 First row, 
 
 372. Green Jasper. Head of a Philosopher, xv. 
 
 373. Sardonyx. Woman's head. xv. 
 Second row, 
 
 f390. Cornelian. Sacrifice. Group of 18 figures, xv. 
 
 392. Cornelian. Woman on a couch. Ant. 
 
 393. Agate. Plotina, a fine bead. xv. 
 404. Heliotrope Jasper. tEsculapius. xv. 
 
 408. Cornelian. Silenus upon an ass. Group, xv. 
 Third row, 
 
 413. Cornelian. Pescennius, with inscription, xv. 
 
 414. Cornelian. Apollo with Minerva, playing the 
 lyre. xv. 
 
 417. Sanguine Jasper. Sacrifice, xv. 
 419. Cornelian. LiviA and Tiberius. Group, xv. 
 Fourth row, 
 
 428. Cornelian. Julia, daughter of Titus, xv. 
 431. Lapis-lazuli. Mars, standing, xv. 
 
 438. Sardonyx. Vulcan, with his forge, xv. 
 
 439. Cornelian. Strength conquered by Beauty. A 
 woman seated on a lion, with two Cupids. Legend — 
 AAEZAN... "Alexander." xv. 
 
 Fifth row, 
 
 445. Green Jasper. Bacchante, with thyrsus and cornu- 
 copia. Ant. 
 
 446. Cornelian. Cupid drawing water, xv. 
 
INTAGLIOS. 157 
 
 451. Emerald Plasma. Jupiter, Juno, and Minerva. Ant. 
 455. Sardonyx. Cupid dedicating one wing to the Sun. xv. 
 
 Sixth row, 
 
 473. Chalcedony. Africa personified. Engraved with 
 unintelligible characters. Ant. 
 
 474. Agate. Galea crowned with laurel, xv. 
 
 Seventh row, 
 
 490. Chalcedony. Yictory. Ant. 
 
 494. Sardmiyx. Theatrical Mask. Ant. 
 
 503. Agate. Dolphin, xv. 
 
 Eighth row, 
 
 521. Topaz. Hippocampus, xv. 
 
 524. Jade. A handsome female head. Ant. 
 
 |531. Lapis-lazuU. Galerius Maximinus. xv. 
 
 OTHER INTAGLIOS AND CAMEOS. 
 
 THIRD TABLE FIRST COMPARTMENT. 
 
 26390 to 26766. 
 
 (Intaglios.) 
 First row, 
 
 573. Cornelian. Head of Cybei.e. Ant. 
 
 Second row, 
 
 584. Chalcedony. Jupiter enthroned, xv. 
 
 589. Cornelian. Vulcan forging thunderbolts, xv. 
 
 1592. Cornelian. Mars in full armour. Ant. 
 
 Third row, 
 
 607. Cornelian. Priam and one of his soldiers. Ant. 
 
 617. Cornelian. Protesilaus and Laodamia (?). Ant. 
 
 620. Sardonyx. Victory on a chariot. Ant. 
 
 Fourth row, 
 
 641. Plasma. Three divinities in a temple. Ant. 
 644. Green Jasper. Jupiter Serapis and Juno. Ant. 
 
 Fifth row, 
 
 659. Cornelian. Warrior putting on his cuirass. Ant. 
 679. Sardonyx. Cupid before Priapus. Ant. 
 
158 
 
 UPPER FLOOR — LEFT. 
 
 Fortune. 
 Minerva. 
 
 Ant. 
 Ant. 
 
 Sixth row, 
 
 691. Cornelian. 
 
 695. Sardonyx. 
 Seventh row, 
 
 726. Cornelian. 
 Eighth row, 
 
 779. Cornelian. 
 Ninth row, 
 
 884. Cyprian Jasper. Household god. Ant. 
 
 905. Emerald Plasma. Satire personified. Ant. 
 
 Pegasus. Ant. 
 
 Minerva crowned by Yictory. Ant. 
 
 SECOND COMPARTMENT.i 
 
 26767 to 26965. 
 
 (Cameos.) 
 First row, 
 
 930. Agate. Fine female bust. Ant. 
 
 931. Agate. Minerva, with helmet. Ant. 
 
 933. Turquoise. Sabina; bust, with head of Medusa. Ant. 
 Second row, 
 
 Negro's head. Ant. 
 
 Pretty portrait of a woman, xv. 
 
 Minerva, fully armed. Bust. 
 Aurora in her chariot. Ant. 
 CoMMODUs (?). Bust. Ant. 
 
 XV. 
 
 940. Onyx. 
 946. Agate. 
 
 Third row, 
 961. Agate. 
 967. Onyx. 
 969. Glass. 
 
 Fourth row, 
 988. Onyx. 
 992. Onyx. 
 
 Fifth row, 
 
 1003. Onyx. 
 Sixth row, 
 
 fl021. Lapis-lazuli. Minerva armed. 
 
 f 1024. Onyx. Alexander the Great. 
 Seventh row, 
 
 1044. Onyx. M^cenas? xv. 
 
 1046. Agate. Socrates, xv. 
 
 The Three Graces. 
 Orpheus. Ant. 
 
 Minerva, xv. 
 
 XV. 
 XV. 
 
ITALO-GREEK VASES. 159 
 
 FOURTH TABLE. 
 
 (This table contains sundry specimens of less interest.) 
 
 1129. Agate. Thetis on a Triton. Ant. 
 
 1162. Agate. Head of Cicero. KI-KE-PO. Ant. 
 
 1217. Large scarabasus. Ant. 
 
 A necklace of scarabaei. 
 
 1375. Green Jasper. Aurora, xv. 
 
 1 145 2. Cornelian. A bulla mounted with gold wire to 
 hang round the neck, representing a man and his wife — 
 probably portraits of the wearer's parents. Ant. 
 
 LAST TABLE. 
 
 27349 to 27610. 
 
 Portraits in intaglio, designed as ornaments for necklaces. 
 1520. Sardonyx. Jupiter. Bust. xv. 
 1540. Shell-fish. Three Cupids drawing water, xv. 
 1559. Sardonyx. An eagle, xv. 
 
 From 1701 to 1703. Agates. Vases for perfume. Ant. 
 Agate. A " knucklebone." Ant. 
 
 Two large rings belonging to Cardinals of the Farnese 
 family. They are silver-gilt. 
 
 ITALO-GREEK VASES. 
 
 This is certainly the finest collection in the world. It 
 includes more than four thousand vases, mostly found in 
 tombs, where they were originally deposited with the 
 perfume vessels, armour, and jewellery which the deceased 
 had most prized in his lifetime, and which were most 
 associated with his habits ; for with the Greeks, as with 
 all other races of men, there was a sentiment against 
 using the chattels of the dead. 
 
 Ever since the first discovery of these vases in the last 
 century, they have been the cynosure of artists and anti- 
 quaries, and the battle-ground of historians; and if on 
 the one hand they have been imitated for the fraudulent 
 
160 UPPER FLOOR— LEFT. 
 
 purpose of deceiving a too credulous public, on the other 
 they have furnished us with exquisite models which 
 have refined our taste and vastly improved our modern 
 ceramics. 
 
 The distinguishing features of ancient painted vases 
 are their form, colour, material, weight, varnish, design, 
 and inscriptions. From one or other of these signs we 
 are able to determine their authenticity and to judge 
 of their date, which ranges from about B.C. 600 to 
 B.C. 200. 
 
 The making of pottery seems to have been the earliest 
 of the arts. We read in the Book of Job (the oldest book 
 in the world) that the patriarch " took him a potsherd to 
 scrape himself withal ; " and Isaiah tells us that in early 
 times fire-shovels were made of earthenware (Is. xxx. 14). 
 We know, too, that the Israelites in Egypt were occupied 
 in making pots (Psalm Ixxxi. 6), but we are not inclined 
 to date any vase in this collection further back than 
 B.C. 600 — a date which we assign to the Archaic Corinthian 
 or Assyrian vases in the first room. 
 
 Next to them in date come the real Etruscan vases, made 
 of black clay without artificial colouring, and unglazed ; 
 and to these we cannot assign a date. Etruscan painted 
 vases are very rare ; there are certainly none in this col- 
 lection, but some may be seen in the Museum at Volterra. 
 They are of a pale colour ; and though the characters of 
 the inscriptions resemble Greek letters, they are always 
 written from right to left, and the workmanship and 
 painting are extremely rough. 
 
 The Greek vases, on the other hand, are of very fine 
 clay, covered with a coat of paste laid on with a brush, 
 upon which the figures were painted. They could be 
 executed only with the greatest rapidity, as the clay 
 absorbs the colours so rapidly, and hence their great 
 freedom of design and manipulation. • 
 
 The period of Greek vases that follows the Archaic 
 Corinthian, may be called the "Panathenaic period," 
 dating probably back to about 500 B.C., though we find 
 one in the British Museum dated as late as b.c. 328. They 
 are painted in black on red, and bear the legend " twi/ 
 ^AOrjv^Oev a^Awv," " Of the games at Athens" denoting that 
 they were given as prizes to the successful competitors at 
 
ITALO-GREEK VASES: 161 
 
 the Pentathlon, and bearing on each side of the design 
 two pillars with cocks on the top of them, representing 
 the metcp, of the Greek circus. The picture usually repre- 
 sents Athena or a warrior, or one or other of the five 
 games of the Pentathlon — leaping, foot-racing, hurling the 
 quoit and javelin, and wrestling. These vases were given 
 full of oil, perhaps because the olive was sacred to Athena, 
 or for the utilitarian reason that the competitors used oil 
 to lubricate their limbs (Hor. Od. i. viii. 9). 
 
 The designs were palpably imitated from the Egyptians, 
 and a decided improvement upon them in drawing and 
 colour, but they bear evident traces of the hand of a 
 copyist and of the stiffness of Egyptian art. 
 
 They are commonly, but erroneously, called Etruscan, 
 whereas it is quite clear from the form and ortho- 
 graphy of the inscriptions that they are really Archaic 
 Greek. 
 
 After this period the Greek artists seem to have struck 
 out a line of their own, and made vases representing their 
 divinities and scenes from private life, notably represen- 
 tations of banquets and funerals ; and this was only to be 
 expected, as it was for these purposes that the vases were 
 specially used, and it was then, namely about B.C. 400, 
 that the Grand epoch of vase-making was reached. 
 
 To enter upon the question of their use is to break very 
 debateable ground. Opinions differ widely, but we will 
 lay a few bare facts before our readers, premising first 
 that none of these vases were found in Pompeii, and, as far 
 as we know, their existence was not known to the Eomans 
 of that day, though Suetonius (who wrote about 120 a.d.) 
 mentions that the soldiers of Julius Csesar found some 
 ancient vases when they were preparing the foundations 
 of a house near Capua. 
 
 No doubt they were in many cases intended for orna- 
 ment alone ; in most cases they were constructed to stand 
 where only one side could ordinarily be seen, as the re- 
 verse of the best of them is very inferior to the obverse. 
 No doubt, too, the larger vases, if they were used at all, 
 must have been practically fixtures, as unless they were 
 empty it is clear they could not readily have been moved. 
 
 Again, in spite of the argument that they have been found 
 in tombs in which bodies have been huried and not hurnt, 
 
 M 
 
162 UPPER FLOOR — LEFT. 
 
 it is unquestionable that many of tlie gems of this collec- 
 tion did contain ashes of the dead when they were found. 
 
 The simple explanation is that a family tomb was 
 made in which the head of the family was buried. With 
 his body were deposited a number of precious vases ; and 
 as by degrees other members of the family died, their 
 bodies were cremated, the tomb opened, and the ashes 
 placed in one of the vases that awaited them. This ex- 
 planation (which we offer with some diffidence, as we have 
 not met with it in any of the standard books) accounts 
 for the finding of empty vases as well as full ones, for in 
 many cases the family would be dispersed and the vases 
 intended for their remains would remain unused. 
 
 The painting on the beautiful " 011a," No. 2357 (p. 172), 
 shows how they were used in religious worship, and an im- 
 portant little bas-relief in the Sixth Hall downstairs. No. 
 0595 (p. 59), shows us their use in the feasts of the day. 
 
 The smaller vases were used for ordinary domestic 
 purposes, and often placed in the tombs as a tribute of 
 affection and piety. 
 
 The Greeks, when they colonised Italy, brought their 
 arts with them, and no doubt not only imported vast 
 numbers of vases into Italy, but established factories in 
 this country which ultimately culminated in the Grand 
 epoch of the art of which we find so many examples here, 
 from the celebrated manufactory of Nola, bearing date 
 about B.C. 400. 
 
 Then came a period of transition, which has been called 
 the " Florid period," but we prefer to call it " the Transi- 
 tion'' The artists departed from the purity of style of 
 the Grand epoch and introduced architectural ornaments, 
 scrolls, sprays, and other decorations, but their figures and 
 groupings were still first-rate and their detail exquisite. 
 This period may have lasted down to about 300 B.C. ; and 
 then, as time went on, the population increased, the 
 demand became greater, and the vases were sent out care- 
 lessly finished. The artists degenerated : their drawings 
 became incorrect, their paste coarse, their colours second- 
 rate and gaudy ; the slovenly graphite took the place of 
 the careful inscription, and the period of decadence set 
 in, until about 200 B.C. the art was lost altogether, and 
 these beautiful vases became things of the past. 
 
ITALO-GEEEK VASES. 163 
 
 We recommend the visitor to read our Introduction, and get 
 a general idea of the various epochs by studying the contents 
 of the First Room. He should then go through the collec- 
 tion, noting the vases we have marked t> and comparing 
 them with our description. 
 
 A glance at this grand collection will showr how very- 
 difficult our work has been. The principle upon which 
 we have gone has been to describe the mosaic of each floor, 
 so that the student may identify the room. Then, com- 
 mencing at the entrance door, the vases are taken 
 beginning from the left, and the most remarkable are 
 described. We adopt the yellow number throughout, be- 
 cause it alone is on all the vases, and we use the following 
 abbreviations : — 
 
 A. Archaic. 
 
 G. Grand epoch. 
 
 T. Transition. 
 
 D. Decadence. 
 Ins. Inscription. 
 
 If the visitor finds any difficulty in identifying any specimen, 
 he should apply to the Curator of the department, who is 
 well versed in these matters, and will gladly assist him. 
 
 Entering the Collection hy the door in the Picture Gallery ^ we 
 come to the 
 
 FIEST EOOM. 
 
 The mosaic of the floor is a geometrical pattern in black 
 and white, of bold execution, and the sprays of vines 
 surrounding it are highly artistic. (Fompeii.) 
 On the left. Cabinets 1 and 2, 
 
 Corinthian or Assyrian vases, the oldest in the collec- 
 tion, dating probably about 600 b.c. 
 
 Some of these are admirable specimens and in fine 
 preservation. 
 
 Second Cabinet, 
 
 Several small round vases, about the size of tennis balls. 
 It was long supposed that these were used as whistles by 
 mourners at funerals, and such is still the generally 
 received theory amongst the antiquity sellers at Athens. 
 It is now, however, considered by the best authorities, 
 
 M 2 
 
164 UPPER FLOOE — LEFT. 
 
 that tliey were employed by the athletes to hold oil ; 
 and as a vase exists in the Museum at Athens in which 
 a representation occurs of an athlete with one of the 
 little vases attached to his belt, together with a strigil, 
 one may reasonably suppose the latter conjecture to 
 be right. Moreover, they would just fit into the hollow 
 of the hand, and appear well adapted for that purpose. 
 
 On a pillar between the Cabinets, 
 
 2516. Assyrian vase in two orders : the upper, quadrigas 
 and warriors with inscriptions; the lower, animals in 
 Archaic style. 
 
 Third and fourth Cabinets, 
 
 Etruscan vases of the earliest epoch in black earth, not 
 artificially coloured, the third cabinet being clearly more 
 primitive than the fourth, but we cannot assign a 
 date. 
 
 On a pillar, 
 
 996. Vase (D.) with three handles, and traces of gilding. 
 (Puglia.) 
 
 Fifth Cabinet, 
 
 Oldest Grecian vases of the Decadence period, among 
 which several paterce with Greek trade-marks. 
 
 On a pillar, 
 
 2943. (T.) Cratera with leaf-pattern. (Nola.) 
 
 Sixth Cabinet, 
 
 Vases from Nola of the Grand epoch, of wonderful 
 varnish and various beautiful forms. 
 
 On a pillar, 
 
 fFluted vase (G.), with gold necklace, similar to some 
 in the British Museum. 
 
 Seventh Cabinet, 
 
 This cabinet contains a mixture of the Grand, Transi- 
 tion, and Decadence epochs, among which may be ob- 
 served, 
 
 1328. Praefericulum (T .). Ins. " Syttos, sonof Caclymos." 
 
 2257. A campana, bearing the words NIKA HPAKLHS, 
 ** Hercules conquers." (Nola.^ 
 
 2322. A plate beautifully engraved. (Cuma.) 
 
ITALO-GREEK VASES. 165 
 
 Eighth Cabinet, 
 
 Black and white and polychrome ware, all of the 
 Decadence period. (Puglia.) 
 Last column, 
 
 A fluted vase of the Decadence period, interesting for 
 comparison with the fluted vase above described of the 
 Grand epoch. It bears a rude inscription of the maker's 
 name, and an examination shows its inferiority of execu- 
 tion, gilding, and varnish. 
 On a Mosaic Table from Pompeii, 
 
 1183. Unique vase (D.), with handles in a knot, and a 
 design in polychrome of Cupid driving a quadriga drawn 
 by griffins. {Oria.) 
 
 SECOND ROOM. 
 
 Mosaic of marine plants (the finest in the gallery), with 
 an appropriate border of anchors, tridents, beacons, &c. 
 (House of Diomede, Porripeii.^ 
 On a column, 
 
 13231. Hydria (G.). Many red figures scattered over 
 a black ground. At the bottom, Marsyas in a state of 
 extreme dejection, hearing his sentence read by a woman 
 from a papyrus. Her face is of marvellous beauty. 
 Victory above is crowning Apollo, in token of his victory 
 over Marsyas ; and other divinities, splendidly painted, 
 surround the group. 
 
 The reverse represents the theft of the Palladium 
 (p. 5). (Buvo.) 
 
 The carelessness with which the best artists drew the 
 feet and hands of their figures is especially noticeable in 
 this beautiful specimen. 
 On a column, 
 
 1192. A tromha (T.). 36 figures in two orders. Venus 
 seated, with the apple of discord in her hands, near a 
 hermes, and speaking to an old man. Compare this old 
 man with the one on the Vase of Europa (No. 2775, 
 p. 175). The face betrays the hand of the same artist. 
 
 Reverse, a quadriga and other figures. (^Muvo.^ 
 In the window, 
 
 tMoDELS OF TOMBS, found, the one on the right at Psestum, 
 
166 UPPEK FLOOK — LEFT. 
 
 the other at Sanf Agata dei Goti. The skeletons within 
 them are of terra-cotta, and of excellent workmanship. 
 
 The models represent the tombs precisely as found. A 
 lamp is at the head of each corpse, and a coin, the " oholus 
 Acherontis" (Juv. iii. 267), in the mouth of each skeleton, 
 to pay his passage across the Styx. 
 
 One of the deceased (a warrior) is buried in his armour 
 with his spear at his side, and a duel with dart and 
 javelin (of very great interest) is painted upon the wall 
 of the tomb, inside. Whether this picture represents an 
 exploit of the deceased, or whether it represents the way 
 in which he came by his death, we must leave our readers 
 to decide for themselves. The tombs contained lachryma- 
 tories, which lay upon the breasts of the corpses, but 
 these do not appear in the models. 
 
 t2068. Vase of the Acrobats {dei Saltimhanchi) (Gr.). A 
 perfect gem in the highest style of art, representing ten 
 persons of both sexes engaged in acrobatic feats. (See 
 Saltatio, Smith's Diet, of Ant. ; Plato, Euthyd. 3, 4.) 
 
 In common with several other gems of this collection, this vase 
 has been burnt in the sacred fire. When the corpse of an 
 important personage was cremated, a very valuable vase was 
 often burnt with it. This of course shivered it into frag- 
 ments. The ashes of the dead were then placed in another 
 vase, and the fragments of the burnt vase were put in with 
 them. This was the case in this instance, and the fragments 
 of this beautiful vase were taken from the ashes, and with 
 consummate care and patience put together by a well-known 
 antiquary. It was found at Nola. 
 
 In the doorway, 
 
 2028. A girelle (T.). Cassandra playing the lyre, with 
 other figures. Eeverse, Hercules carrying off the tripod 
 and fillet of Apollo. The priestess Pythia looking from 
 the window. 
 
 2362. A mascheroni (T.). A woman, whose face ex- 
 presses great sorrow, lamenting before a tomb; perhaps 
 Artemisia at the tomb of Mausolus (see below, No. 1585). 
 
 t2258. A girelle. Bacchus and Akiadne (T.). Seated 
 on a luxurious couch with a beautiful quilt ; beside them 
 " Lfjiepo?" the Genius of passion. 
 
 They are represented as celebrating their marriage by a 
 masked ball, and the obverse of the vase shows all the 
 
ITALO-GREEK VASES. 167 
 
 guests, each one appearing with his character. At the 
 bottom, a richly-dressed figure playing the tibia. On 
 the reverse, the ball has begun. Bacchus and his bride 
 bearing the torch of Hymen lead off, and other groups 
 dance with grace and vigour. (JBwyo.) 
 
 2718. A girelle (T.\ {Upon a tripod.) The largest vase 
 in the collection, having 151 figures in three orders. The 
 principal subject is Penthesilea and the Amazons fighting 
 the Greeks. Above, the gods viewing the contest. {Buvo.) 
 
 2034. Olla with conical cover (T.). Orestes claiming 
 sanctuary in the Temple of Apollo, and clinging to the 
 Python. Apollo warns off" a black Fury who appears in 
 the corner. Electra flies terrified. A beautiful figure of 
 Artemis on the right. 
 
 2711. A rotelle (T.). Meleager and the Calydonian boar. 
 (Buvo.) 
 
 2796. A tromha (T.). Bacchus and Ariadne on a car 
 drawn by four white horses, preceded by a winged Genius 
 and followed by Mercury. Much restored. 
 
 1587. A tromha (T.). Electra and others weeping at 
 the sepulchre of Agamemnon. (Ins. on pillar, " Agamem- 
 non.") The painting reproduces this vase. Reverse, 
 iEgistheus with Clytemnestra. 
 
 Cabinet XXIL, top shelf, 
 
 1585. Hydria (D.). Artemisia, queen of Caria, bewailing 
 her husband Mausolus. ( Vivenzio Museum.) 
 
 She was so disconsolate at his death (b.c. 353) that she 
 drank up his ashes and died of grief within two years ; she 
 erected the finest monument of antiquity to his memory, 
 of which fragments are preserved in the British Museum. 
 Immediately beneath it, 
 
 1636. Cratera (D.), representing the duel between 
 Turnus and ^Eneas (Mn. ix. 740). ( Vivenzio.) 
 
 THIRD ROOM. 
 
 The pavement represents four large roses and foliage 
 of fine workmanship. {Pompeii.) 
 
 On columns, on the left, 
 
 1185. A rotelle (T.). Bacchus on a triclinium with his 
 
168 UPPEE FLOOR— LEFT. 
 
 followers. Reverse, Victory pouring a libation to 
 Jupiter. (iVapZes.) 
 
 1511. A mascheroni (T.). A woman dancing to the 
 sound of the double tibia. {Basilicata.) 
 
 1514. A campana (D.). Victory presenting Hercules 
 with a crown. Behind, Mercury. 
 
 t2716. {On a tripod?) Colossal Vase (T.), a mascheroni^ 
 found with many other valuable specimens in a large 
 tomb at Buvo, in 1834. It fepresents the death of Arche- 
 morus, who lies upon a bier, and a female is crowning him, 
 while the old pedagogue stands by. in the centre of a 
 temple, his mother Eurydice. Without, divinities. On 
 the right of the lower order, two slaves bearing vases and 
 gifts to put in the tomb. 
 
 2961. A tre manichi (T.). Many figures in three orders. 
 A winged Genius presenting a patera. {Buvo.) 
 
 2717. A mascheroni (T.). (On a tripod.^ Artemis (in- 
 scription of doubtful authenticity) driving her car drawn 
 by stags over a warrior. Below, Jason in the presence 
 of Medea, fighting the Minotaur. On the neck, Scylla 
 and Charybdis and the car of the Sun (in relief) preceded 
 by Aurora. (Ruvo.) 
 
 1510. A calice (D.). Very bright coloured vase, repre- 
 senting a hero and his horse in the centre of a shrine. 
 This is probably a portrait of the deceased, and the brand 
 on the horse's rump is interesting. It appears to be a 
 " 6." The brands " /c" and "<r" are often mentioned by 
 ancient writers as used to distinguish special breeds of 
 horses. 
 
 1515. A rotelle (D.)« Orestes tormented by the Furies, 
 one of whom holds up the portrait of Clytemnestra. 
 Eeverse, Orestes oifering the patricidal sword to Apollo, 
 in the presence of Electra, Pylades, and Pythia. 
 
 1509. A calice (D.). Combat of Greeks and Trojans 
 over the body of Patroclus. 
 
 THE DOORWAY, 
 
 2965. A mascheroni (D.)- ^ woman seated, conversing 
 with a warrior. Above, Jupiter and Mercury. {Buvo.) 
 
 3021. A mascheroni (T.). Woman offering drink to an 
 armed warrior. Behind, a woman with fruits, and an 
 armed hero. (Altamura.) 
 
ITALO-GKEEK VASES. 169 
 
 1506. A girelle (D.)' Neptune and Amymone at a 
 tomb. 
 
 2032. A calice (T.). Probably the triumphal return of 
 Meleager. 
 
 2715. A mascheroni (T.). Daedalus fixing wings to 
 Icarus in the presence of Minerva. Below, Proteus as a 
 marine monster attacked by two warriors. Keverse, 
 Perseus and the Gorgons. (^Basilicata,) 
 
 2309. A mascheroni (T.). Apollo seated. Two women 
 listening to his lyre, and two warriors. 
 In the corner, 
 
 1502. A rotelle. Two women playing at ball, a favourite 
 pastime in the public baths. 
 In the last Cabinet on the right, 
 
 t688. A campana (D.). Grotesque painting of the old 
 Greek buffoon, with white tunic and mask, standing 
 between two figures. He is supposed to be the prototype 
 of the Neapolitan '' pulcinella." (^Psestum.) 
 In the doorway, 
 
 1501. A girelle (T.). Young Hercules with a crown. 
 
 All the cabinets contain specimens of the Decadence 
 period. 
 
 FOURTH ROOM. 
 
 Mosaic of Neptune amid fish and marine monsters, sur- 
 rounded by battlements. (Herculaneum?) 
 On a tripod, 
 2774. The Vase of Patroclus. A mascheroni (T.). 
 Hector killed Patroclus, and after a loner struggle his friend 
 Achilles got possession of the body, which he cremated, and 
 placed the ashes in a golden urn. To avenge his death, 
 Achilles afterwards dragged the body of Hector thrice round 
 the walls of Troy (Virg. JEn, i. 474). 
 This vase represents a human sacrifice by Achilles at 
 the tomb of Patroclus, which is shown as a funeral pyre, 
 with the arms of the hero on the top, and the words 
 " liarpox^ov Tacf>o<s " beneath. Another hero pouring a 
 libation, and a noble lady followed by a slave, who is 
 fanning her. Below, the body of Hector tied to the cha- 
 riot of Achilles, and Briseis, followed by a maid-servant, 
 giving drink to the horses. (^Buvo.) 
 
170 UPPER FLOOR— LEFT. 
 
 2960. Colossal Olla with, handles, a valuta (D.), repre- 
 senting the deities of Olympus. The drawing is very 
 incorrect, and no doubt the vase is of late date. ( Vivenzio 
 Museum.^ 
 
 *2882. The Vase of Darius (T.). A colossal vase on a 
 tripod, a mascJieroni, with sixty figures of exquisite execu- 
 tion. It is one of the few historical vases in the collec- 
 tion, and represents Darius in the centre, seated upon an 
 elegant throne, holding the golden sceptre of the Persian 
 monarchy, meditating an expedition against Greece. Be- 
 hind him, a sentry, who was commanded to repeat to him 
 daily, " Eemember, king, to punish the Athenians," and 
 two councillors in earnest conversation. Before him, his 
 prime minister, representing the Persian nation (riEPZAl), 
 holding up two fingers, and informing the king that the 
 success of the enterprise depends upon two things : first, 
 the goodwill of the provinces ; and secondly, the contribu- 
 tion of money. Behind him, two councillors repeating his 
 gesture, and an old pedagogue. In the bottom order, the 
 treasurer, with a dissatisfied countenance, is seated at a 
 table, collecting the contributions from the provinces, 
 which, from the inscription on the tablets, seems to have 
 amounted to eight talents or £1600. 
 
 One province is paying, the others are begging for more 
 time, while one behind the treasurer brings an offering of 
 gold plate. 
 
 The upper order represents Greece backed up by 
 Athena, with aegis and shield, who pats her on the back 
 as she introduces her to Zeus, who, with Hera and 
 Artemis, make up the picture on the left. Behind 
 Athena, Apata (the goddess of craft), with lighted 
 torches, and, beneath a hermes of Artemis, a personifica- 
 tion of the Asiatic provinces of Greece holding a sceptre. 
 
 The neck represents the battle. This has been mis- 
 taken for a battle of Amazons, but it represents the 
 Greeks fighting the same Persian provinces as are seen 
 at the bottom of the principal picture. Eeverse, Greece 
 mounted on Pegasus, crowned by Victory. {Canosa.) 
 
 2884. Incensiere (T.). Figures of women and Fauns. 
 (Cawosa.) 
 In the doorway, 
 
 1186. A tre manichi (T.). Two women at a shrine. (iJ.) 
 
ITALO-GREEK VASES. 171 
 
 2885. The same. (Observe the umbrella.) (Canosa.) 
 
 2710. A mascheroni. Achilles dragging the body of 
 Hector. (Buvo.) 
 
 2033. A campana (T.), representing a symposium. 
 (^Sanf Agata dei Goti.) 
 
 2021. Incensiere with cover (T.). Tereus mounted and 
 armed, followed by warriors, is halted by Apata. Below, 
 Procne and Philomela in bigae. This vase is remarkable 
 for the expression of the faces. (Buvo.) 
 
 607. A campana (T.). Triptolemus in a chariot drawn 
 by serpents, extending his right hand to Ceres, who pre- 
 sents him with ears of com. Proserpine, Minerva, and 
 Mercury (holding a landmark), and other deities. 
 
 2883. Incensiere with cover (T.). Andromeda bound to 
 two trees and about to be delivered to the monster. 
 Beside her, Cephea and Cassiope. Below, Perseus fighting 
 the monster ; around him, Nereids. Eeverse, the crowning 
 of Bacchus. A vase remarkable for fineness of execution. 
 {Canosa.) 
 
 2031. A campana (T.). Vase of (Enomaus. An oracle 
 had declared to (Enomaus that he would be killed by his 
 son-in-law. He therefore refused to give his daughter 
 Hippodamia in marriage. Eventually, he made it a con- 
 dition precedent that the suitor should beat him in a 
 chariot-race or die. Pelops accepted the challenge, and 
 bribed Myrtilus, the charioteer of (Enomaus, to draw his 
 master's linch-pins ; and thus Pelops won the race. He is 
 represented in a chariot with Hippodamia, keeping a care- 
 ful eye on Myrtilus, while (Enomaus offers a sacrifice in 
 the centre. Divinities and many other figures. (^Palermo.) 
 
 2709. A mascheroni (T.). Cassandra taking refuge in 
 the Temple of Minerva, and clinging to her statue. Ajax 
 trying to drag her from the sanctuary. 
 
 2192. Langella (D.). Funeral shrine. A servant offer- 
 ing a helmet and shield to a warrior. {Buvo.) 
 
 The cabinets of this room contain specimens of the 
 Decadence period. 
 
 FIFTH EOOxM. 
 
 Mosaic of pretty designs in bright colours, with a 
 border of geometrical pattern. 
 
172 UPPER FLOOR — LEFT. 
 
 On the left of the dooe, 
 
 2364. A colonnette (T.). Boreas pursuing Orithyia. 
 {Sicily.) 
 
 t2360. The last night of Troy (G.). Under glass. The 
 gem of the collection. Nineteen exquisite figures. In the 
 centre, Priam seated on the altar of Jove, beneath a palm 
 tree, hiding his face in his hands. Pyrrhus, who has just 
 killed the boy Astyanax, has hold of the king and is about 
 to despatch him. At the foot of the altar, Polytes, son of 
 Priam, lies dead. On the right, behind Pyrrhus, a warrior 
 fighting with Polyxena, who defends herself with a frag- 
 ment of a lance. Above the next handle, Hecuba on the 
 ground, and Diomede persuading Ulysses to spare her. 
 Behind them, a female figure weeping. The other side of 
 the vase, beginning again from the altar in the centre, 
 shows two priestesses tearing their hair by a hermes of 
 Pallas, to which Cassandra is clinging. Ajax seizing the 
 prophetess by the hair drags her from the sanctuary. 
 Beneath Ajax, Corvus dead, and behind him, JEneas, 
 bearing Anchises, and leading Ascanius. {Nola.) 
 
 This magnificent vase is marked " KaXos," " beautiful," 
 in three places, and was found in a tomb inside the large 
 earthenware vase that stands in the window. The Bourbon 
 Government paid £1600 for this vase. 
 
 2359. Olla (G.). Battle of Greeks and Amazons. 
 Penthesilea on horseback. An Amazon begging her life 
 from Theseus. Unique for the size of the figures. (B.} 
 
 *2357. Olla (G.) under glass, representing a priestess 
 officiating before a hermes of Bacchus. The simpulum 
 at the foot of the vase was found with it, and the 
 design upon the vase clearly points to its use. Eeverse, 
 a Bacchanal. {Nola.) 
 
 2361. A tromha (T.). Bellerophon and Pegasus ad- 
 vancing towards lobates, king of Lycia, to claim his 
 daughter. (Buvo.) 
 
 2355. Langella (T.). Warrior in an cedicula ; without, 
 Bacchus, Ariadne, and others. {Buvo.') 
 
 Near the doorway, 
 
 2354. A colonnette (G.). Banquet. (Puglia.) 
 
 2353. A colonnette (G.). Woman driving a quadriga. 
 
 {Puglia.) 
 
ITALO-GREEK VASES. 17^ 
 
 2714. Incensiere (T.). Bacchus and Ariadne with a 
 festive company. Below, Greeks and Amazons. {Buvo.) 
 
 2351. A colonnette (G.). Bacchus, Mystis, and the Faun 
 Dinos bearing an amphora on his shoulder. {Sicily.) 
 
 2712. The capture of the golden fleece. {Sicily.) 
 
 2350. A rotelle (T.). Bacchic sacrifice. Keverse, Cen- 
 taurs and Greeks. 
 
 2027. A rotelle (T.). Orestes, condemned to death by 
 Thoas, meets his sister Iphigenia, who saves him. {Buvo.) 
 
 2349. A colonnette (G.)* Combat of Centaurs and 
 Lapithae. {Buvo.) 
 
 2707. Incensiere with cover (T.), terminating in a lotus 
 flower. A woman in a shrine celebrating the memory of 
 the dead. {Buvo.) 
 
 2347. A colonnette. The apotheosis of Hercules, with 
 Jupiter, Minerva, and Mercury. {Bari.) 
 
 In the First Cabinet, on the left, 
 
 t3382. Small barrel with grotesque figures (D.). Unique 
 in shape. 
 
 The cabinets contain specimens of the Transition and 
 Decadence periods. 
 
 SIXTH EGOM. 
 
 The nine squares which fonn the pavement came from 
 nine different rooms in Pompeii. 
 
 In two glazed Tables, 
 
 Patera (G.), burnt. Victory presenting the palm to 
 Mars. (Nola.) 
 
 13. Patera (G.). Hercules killing the lion. {Nola.) 
 
 Second Table, 
 
 Fourteen paterae (D.), of which eight represent Amazons. 
 
 130. Patera (G.), with designs of men and horses. Ins. 
 " Ohj beautiful hoy." 
 
 Under glass, in the ^VIND0W, 
 
 200. Balsamario in alto-rilievo (D.). Marsyas tied to a 
 tree. Victory crowning Apollo, and other divinities. 
 Unique. {Ganosa.) 
 
 Beside it, two small haUamarii ; one in relief, of a 
 
174 UPPEE FLOOK — LEFT. 
 
 warrior on horseback, the other a fight between a hero 
 and a griffin. Both bear traces of gilding. 
 
 On a column, 
 
 2365. Olla (A.). Hercules mounting a chariot, assisted 
 by Minerva and others. (Muvo.) 
 
 In the Cabinet on the right of the window, 
 
 2614. Theseus and the Minotaur (Fuglia) and other 
 Archaic specimens. 
 
 Two cabinets containing specimens of the Decadence. 
 
 On the right wall, 
 
 112848 (blue number). Panathenaic amphoea, just found 
 (1882) in a tomb at Taranto, bearing the inscription 
 %Ke\o<i eypaxj/ev. Unique for inscription. 
 
 2673. Pallas armed with a shield. At the sides, the 
 metse of the circus, headed by two cocks. Ins. (^Euvo.) 
 
 2410. Langella. Silenus on a braying ass, with 
 Satyrs. 
 
 2427. A colonnette. Hercules conquering Eryx, king of 
 Sicily. On a shield the " Manx-man," the ancient emblem 
 of Trinacria. 
 
 2405. Tazza. Greeks and Trojans. 
 
 2435. Tazza made by " Tleson, son of Nearchus." Very 
 light. (Canino.) 
 
 2384. Tazza. Theseus and the Minotaur. Six other 
 figures in miniature. 
 
 To THE RIGHT OF THE DOORWAY, 
 
 2402. Olla. Minerva with quadriga and four figures. 
 {Buvo.^ 
 
 Next Cabinet (Archaic), 
 
 2441. Langella. Quadriga with occupant playing the 
 lyre, preceded by Apollo. 
 
 2386. Langella. iEneas flying from Troy. (Nola.) 
 
 2383. Langella. Hercules bringing the wild boar to 
 Eurystheus. 
 
 2416. Olla. Quadriga with warriors fighting. One of 
 the horses has fallen. 
 
 2686. Hydria. Upper order, three warriors with 
 Hercules, Minerva, and Mercury. Below, a boar-hunt 
 on horseback. {Nola.) 
 
ITALO-GREEK VASEj{f' ^" '"■ '^Ylb _ „' 
 
 , , .^UNIVERSITY 
 
 Last Cabinet, V /> c:):e' 
 
 Very fine and rare Corinthian vases 
 ground, undoubtedly imported from Greec^ 
 
 t2226. Nasitern (in the centre), representing a lady 
 seated with a mirror, and a slave bearing a tray. 
 Ins. {Locri.) 
 
 Near the door, 
 
 2024. Campana (T.). Cadmus, assisted by Minerva, 
 attacking the dragon of Mars. Above, Thebes personi- 
 fied, sitting on a rock. Ins. {Sicily.) 
 
 SEVENTH EOOM. 
 In the centre, 
 
 2939. Pluto and Proserpine. A colossal vase; nume 
 rous figures, with names in Greek, comprising Hercules, 
 Cerberus, the Danaides, Triptolemus, Orpheus, (Enoe, Bac- 
 chus, Myrtilla, Pelops, Sisyphus with his stone, and an 
 allegorical group representing Megara and the Heraclidae, 
 which has formed the key for deciphering many other 
 vases. (Isernia.) 
 
 fThe following four vases " a tromha " on pillars, all 
 alike in shape and style, and apparently painted by the 
 same artist (T.). (JRuvo.') 
 
 2776. Medea on a chariot drawn by serpents. 
 
 502. Bacchus and Ariadne. The paintings on the neck 
 of this vase are admirable. 
 
 501. Lycurgus, king of Thrace, held back by a man as 
 he is pursuing the Msenades and trying to drive them 
 from the sanctuary. 
 
 2775. Europa and her maidens sporting with the bull. 
 The figures are beautifully drawn, and the face of the old 
 shepherd on the left, who clearly thinks something 
 " uncanny " is going forward, is admirable. 
 
 1668. (A.) Theseus and Pirithous fighting the Cen- 
 taurs. (J?ww.) 
 
 199. A tromha (G.). Apollo playing the lyre, sur- 
 rounded by Fauns and Bacchantes. 
 
 1664. A tre manichi (G.). Hippolytus presenting a 
 girdle to an Amazon, who stands by Hercules. Theseus 
 and other Amazons. Below, a Bacchic procession. 
 
176 UPPER FLOOR— LEFT. 
 
 1516. Vase a hottoni ed a fogliami. Hercules and an 
 Amazon. The drawing poor, but the handles exquisite. 
 
 The First Cabinet, on the left of the door. 
 Sundry small vases of the Grand epoch. 
 
 Second wall, First Cabinet, 
 
 2179. Langella. A Victory disrobing Apollo, who plays 
 upon the lyre. 
 
 2164. A tre manichi (G.). Women with an idol and a 
 box, a crane in the centre. {Vivenzio.) 
 
 2160. A tre manichi (G.). Cassandra, followed by Mer- 
 cury, asking Apollo for the prophetic gift. (^Nola.) 
 
 2087. Theseus and the Minotaur. 
 
 2348. A colonnette (G.). A young man being taught 
 to cast the spear. The cock falling off the meta, in token 
 of his skill. 
 
 Second Cabinet (second shelf), 
 
 t9. Prsefericulum. Iris with wings and caduceus. 
 
 12. Preefericulum. An initiate, with cyst and staff, 
 beside a lustral basin. A priestess setting free the dove, 
 in token of his regeneration. 
 
 2352. A colonnette (G.). A shepherd followed by a flute 
 player. 
 
 *2170. Balsamarium. A lady seated and playing the 
 lyre. Ins. ''How beautiful thou seemest to me." (Locri.) 
 This vase is quoted by Arditi and Quaranta as unique. 
 
 2171. Balsamarium. Erato playing the seven-stringed 
 lyre and singing. 
 
 2165. Langella. Menelaus pursuing Helen. 
 
 Third Cabinet (second shelf), 
 
 t2106. TJrna. Hercules 1-escuing Dejanira (G.). On 
 the reverse, a gymnasiarch between two females. i^Nola.) 
 
 This vase has a curious history. Some years ago a country 
 priest was felling a tree in his garden, when the earth gave 
 way beneath one of the workmen, and he fell into what 
 eventually proved to be a tomb. The Duke of Luini having 
 been apprised of the fact, searched the tomb, and found this 
 vase. It contained human ashes and some beautiful Greek 
 gold jewellery amongst them. The whole should have been 
 given up (at a price) to the Government, but the Duke 
 persuaded the priest to give up the vase only, he himself 
 
ITALO-GREEK VASES. 177 
 
 keeping the jewels, which he afterwards presented to the 
 Library of the Kue Vivienne at Paris, where they now are. 
 
 2107. Langella. Apollo (as the sun) resting after his 
 day's work. He holds a cup given him by the Hours to 
 refresh him. His winged car is singularly like the equi- 
 rotal bicycle. (^Nola.) 
 
 2103. Langella. Man pursuing a well-dressed girl. 
 Ins. " The handsome captivator of damsels ; " and, above the 
 girl, " gracefully shaped." (JVoZa.) 
 Third wall — two Cabinets, 
 
 Sundry prcefericula, and a collection of rhytons and 
 canthari. 
 
 2216. Grotesque rhyton. Head of Silenus. Above, a 
 Faun chasing a Bacchante. {Nola.) 
 
 2196. Bhyton. Head of a griifin. Above, battle of griffins. 
 Last wall. First Cabinet, 
 
 Eemarkable urn, with small vases and a bird on top of it. 
 
 2331. Tazza on a lofty pedestal. A chariot-race, with 
 the meta. A vase of unique shape. 
 {Second Cabinet, 
 
 2312. Hydria (T.). Ulysses and Diomede leading off 
 the horses of Ehesus, which were feeding in the Trojan 
 fields. {Bum.^ 
 
 7. A calice. MglQ and Arethusa, daughters of Hesperus. 
 {NoU.) 
 
 1503. A calice (G.). The ambassadors of Agamemnon 
 before Achilles. Below, a sacred procession. (1805. 
 FcBstum.) 
 
 2045. Titans scaling Olympus. A fragment of a cylin- 
 drical vase. Of great interest for its grouping, drawing, 
 and the graduation of the tints. (Ruvo.) 
 Third Cabinet, 
 
 2275. Balsamarium. The garden of the Hesperides. 
 Calypso offers the soporific to the dragon; the bird of 
 Venus at her feet. Hermessa holding two apples and 
 gathering a third; behind her, Hercules. Artist's name, 
 Asteas. (Pcestum.) 
 Last Cabinet, 
 
 1370. A campana (D.). Theseus, or perhaps Hercules, 
 with Minerva, seizing the tyrant Procrustes by the feet to 
 
178 UPPER FLOOR — LEFT. 
 
 slay him upon the same bed whereon he slew strangers 
 who trespassed in his dominions. {Naples.) 
 
 169. A campana (D.). The winged Sphinx of Thebes 
 on a rock, addressed by Silemis. 
 
 THE SANTANGELO COLLECTION 
 
 Was purchased from the Santangelo family by the 
 Municipality of Naples in 1865 for £8600, and is exhibited 
 in three rooms opening to the left out of the first room of 
 the vases. None of the specimens are numbered. 
 
 FIRST EOOM. 
 
 The floor is of magnificent mosaic from Pompeii. 
 
 The cabinets round the walls contain splendid specimens 
 of all the periods. The glass cabinet in the window con- 
 tains an unrivalled collection of rhytons, of magnificent 
 form, design, and colour, and representing all the epochs. 
 
 Glass Cabinet in the centre, 
 
 Very fine Panathenaic and Archaic Greek vases, and 
 some admirable specimens of the Transition and Decadence 
 periods. At the further end is a " Vaso bruciato " of the 
 Archaic epoch. 
 
 SECOND EOOM. 
 
 On the left, 
 
 Cabinets containing Eoman terra- cotta and sundr}^ 
 small bronzes from tombs. 
 
 On columns, 
 
 Four vases of the Transition period. Small cinerary 
 sarcophagus of a woman in terra-cotta. 
 
 Near the window, 
 
 Cabinet containing Roman glass and ex-voto offerings, 
 cinerary urns, lamps, rhytons, and a few Archaic Corinthian 
 vases. 
 
 Upon a handsome marble mosaic table from Pompeii, 
 
 A fine Greek vase, with figures in relief in terra-cotta, 
 of great antiquity, probably 500 B.C. 
 
THE LIBRAE Y. 179 
 
 THIRD ROOM. 
 On the left, 
 
 Greek and Roman sepulchral inscriptions. 
 
 Five locked cabinets, containing a celebrated collection 
 of 42,000 Grecian and Mediaeval coins. 
 
 Eighteen large vases, one Panathenaic, the others 
 Transition ; all first-rate. 
 On the end wall, 
 
 tGRAND MOSAIC of a cock-fight, for a bag of money which 
 stands upon a table between the caduceus of Peace and 
 the palm of Victory. (^Canosa.) 
 
 fTwo UNIQUE mosaics in high relief, representing a 
 Camillus and a Bacchante. {Metaponto.) 
 
 Fragment of a comic scene, in the style of Dioscorides. 
 Last wall, 
 
 Greek female head. (Canino.) 
 
 Fine mosaic of a leopard and other symbols of Bacchus. 
 {Canino.) 
 
 Fragment of an Archaic bas-relief. ( Taranto.) 
 In the centre. 
 
 Two glazed tables, containing Greek and Roman bronze 
 coins (among which some specimens of the " as ") and 
 modem medals. 
 
 On a Pompeian table, 
 
 A large vase representing hell, Proserpine seated, 
 Orpheus, Pluto, Cerberus, and the infernal gods. Above, 
 battle of Greeks and Amazons. {Buvo.) 
 
 In the centre of the staircase 
 
 THE LIBRARY. 
 
 The Great Hall is sixty-one yards long by twenty-three 
 broad, contains 90,000 volumes, and has a surprising echo, 
 which will repeat the sound thirty times. The walls are 
 decorated with eighteen pictures, by Carlo Drago, of the 
 history of the Famese family ; and the ceiling by Bondelli 
 represents Virtue crowning Ferdinand I. and his wife 
 Caroline, queen of Austria. Upon the floor is an admi- 
 rable meridian line, made in 1791 by Grassi and Caselli. 
 
 N 2 
 
180 UPPER FLOOR — CENTRE. 
 
 There are some twenty other rooms, with 90,000 more 
 books, assigned to students and the staff. 
 
 Among other remarkable books are — 
 
 The Katholicon of Giovanni Balbi, printed at Mayence 
 in 1460. 
 
 The Biblia Maguntina, on parchment, 1462. 
 
 A highly esteemed editio princeps of the Lactance, printed 
 at Florence in 1488, and some fine specimens from the 
 early Neapolitan presses. 
 
 Three hundred Aldines. 
 
 One hundred and fifteen Stefani and Giunti ; numerous 
 atlases, four hundred and sixteen volumes of drawings and 
 engravings, and a large collection of unprinted books and 
 Bodonian editions. 
 
 Seventy-five manuscripts in Arabic, Turkish, Persian, 
 Syrian, Chinese, &c., of which the most valuable came 
 from Troia in Puglia. 
 
 Some 600 MSS. from San Giovanni a Carbonara, and 
 five from San Martino, besides others from suppressed 
 monasteries. Farnese MSS. in modern languages, in- 
 cluding compositions of the Troubadours in Proven9al, 
 and one in English verse of the fourteenth century treat- 
 ing of the life of St. Alexis. 
 
 There are 4466 autographs, including those of St. 
 Thomas Aquinas, Tasso, Vico, Pyrrhus Ligonius, Card. 
 Seripando, Gravina, Mastorelli, Mazzocchi, and others. 
 
 The book of St. Prospero, presented in 1108 to the 
 Church of Troia ; and two papyri of the fourteenth cen- 
 tury, one of which contains an assignment of rental by 
 Odoacer, king of the Turcilinges and Herules, and is a 
 part of the one in the library of Vienna. The other is in 
 Gothic and Latin characters. 
 
 fThere is a large number of illuminated missals, and two 
 Breviaries of the Farnese. family deserve especial notice. 
 The 'Office of the Virgin' is so rich in flowers and 
 colouring that it is known by the name of the " Flora.'' 
 
 A bust of the famous antiquary Professor Fiorelli 
 stands in the Great Hall, erected in' 1874. 
 
ARTICLES OF FOOD, ETC. 181 
 
 UPPER FLOOR— RIGHT. 
 
 ARTICLES OP POOD, etc., PROM POMPEII. 
 
 The doorway leading to this department is on the left at the 
 top of the stairs. 
 
 The walls are decorated with, careful copies of Pompeian 
 frescoes, the originals of which are downstairs. 
 On the left of the door, 
 
 84595 ei seq. Fourteen loaves, selected from eighty-six 
 which were found in an oven at Pompeii. 
 
 84596. Loaf inscribed eleris. q. crani. e. r. i. . . ser. . . . 
 
 84596. A small ring cake, like the Neapolitan tar alio. 
 
 A loaf and a half found on the counter^ evidently cut 
 to make up the weights of the others. 
 Next wall, 
 
 84613 et seq. Case containing many different sorts of 
 grain ; millet, lentils, barley, pepper, wheat, and beans. 
 
 Second Division, 
 
 84621 to 84625. Pine-nuts, walnuts, figs, pears, and 
 chestnuts. 
 Third Division, 
 
 84628 to 84638. Carob bean-pods, pomegranate flowers, 
 Barcelona nuts, garlic, dates, raisins, almonds, and onions. 
 Fourth Division, 
 
 84639 to 84072. Piece of cake, knucklebones, wax, 
 honeycomb, eggs, bones of a fish and of a fowl. 
 Wall near wtlndow, 
 
 847-03. Meat. -04. Pigments. -08. A piece of asphalte 
 for roofing. -09. A cake of pitch. -10-11. Pigments. 
 -12. Sulphur. -13. Plaster. -14. Talc for windows. 
 
 In an upright glazed Cabinet, bottom shelf, 
 
 84839. Meat in a double saucepan; figs, olives, and 
 
 dried grapes. 
 
 Second shelf, 
 
 84843. Barley and oil (in ancient bottles). 
 
 Top shelf, 
 
 84846. Glass jar containing petrified wine. 
 
182 UPPEK FLOOR— RIGHT. 
 
 84847. Flour in a jar. 
 
 84849. Eight modern glass tubes, hermetically sealed, 
 containing olives preserved in oil, and caviare. 
 
 Last wall. First Division, 
 Sundry ropes. 
 
 Second Division, 
 
 Nets, balls of thread, netting needles, cork floats. 
 109782. Nets for ladies' hair. 
 
 Third Division, 
 
 84732. Charred cloth purse, with three bronze coins of 
 the Emperor Vespasian, found with one of the skeletons 
 in the House of Diomede. 
 
 847-33. Sandal soles made of grass. -34. Cloth. 
 -35. Purse with money. -36. Linen. -37. Silk wound 
 on a bobbin. 
 Fourth Division, 
 
 847-47. Wicker wrapper for cream cheese, as used in 
 Naples. -43. Straw. -44. Plates. -55. A boar's tusk. 
 -56. Buttons. -57. A tassel, or perhaps a bunch of 
 lavender. -46. Amber. -59. Coral. 
 
 Fifth Division, 
 
 847-61. Asbestos or uninflammable cloth. Sundry 
 cords. -66. Lamp wicks. -63. Linen found in a wash-tub. 
 Last Division, 
 
 Shells of snails, whelks, oysters, a tortoiseshell. 
 In the centre of the room, 
 
 A handsome glass jar, containing olive oil. Age has 
 given this vessel a superb enamel and a brilliant colour. 
 It has been hermetically sealed to prevent evaporation. 
 (1872. Pompeii.) 
 
 In an upright glass case, 
 
 A strip of Asbestos cloth, found in 1835 by some 
 peasants in the Abruzzi. 
 
 Being incombustible, it was used by the ancients to 
 collect the ashes of the dead after cremation ; and the 
 finders, who used it to clean out their ovens, could not 
 imagine how it was that it came out clean, and uninjured 
 by the fire. 
 
PAPYEI. 183 
 
 COLLECTION OP PAPYRL 
 
 ANTE-KOOM. 
 
 On the walls, 
 
 Copies of Pompeian mosaics and frescoes, notably the 
 large picture from the House of Orpheus. 
 In the centre (in a glass case), 
 
 Ashes in which the impression made by the bosom, the 
 shoulders, and a part of the back of a female body, sup- 
 posed to have been Diomede's wife, may still be distin- 
 guished. Eich ornaments of gold (see Eoom of the Gems) 
 and a bronze key inlaid with silver, in a purse, were 
 found by this corpse. 
 
 tA MODEL of the House of the Tragic Poet at Pompeii. 
 When the two sections are united, it is surprising to 
 observe how small an amount of light could penetrate 
 into the house. 
 
 Cork models of the temples at Paestum; also of the 
 three columns which remain of the Temple of Constantine 
 in the Camjpo Vaccino in Kome ; and of the Roman 
 Coliseum. 
 
 THE PAPYRI. 
 
 In ancient times the papyrus grew in Egypt. It is 
 now found in Syria and on the river Anapo near Syracuse, 
 the only place where it grows in Europe. It has an 
 angular stem without leaves, and grows to the height of 
 about ten feet ; the flowers form a bushy crown to each 
 stem. No doubt all the early books of the Bible were 
 written upon it, and the remarkable prophecy of Isaiah 
 xix. 7 against Egypt has been literally fulfilled : " The 
 paper reeds by the brooks .... shall wither .... be 
 driven away, and be no more." 
 
 The manufacture of the papyrus was performed by 
 rolling out the reed and joining the strips together length- 
 wise with Nile water, paste, or the juice of the plant. 
 
 The manuscripts (called Volumina, because they were 
 rolled) were only written on one side, and hence Juvenal 
 speaks of an unusually long play as written on both sides 
 
184 UPPEK FLOOR— EIGHT. 
 
 (see also Ezek. ii. 10 ; Eev. v. 1). The rolls written on 
 both sides were called " opistograpJia.'' When the book was 
 complete, it was rolled upon a stick, usually ornamented 
 with a boss at each end, and its title was tied to it. 
 
 The sticks upon which the papyri of Herculaneum were 
 rolled did not project beyond the edge of the roll. 
 
 These were found in January 1752, in a house 100 feet 
 beneath the garden of the convent of St. Augustine, at 
 Eesina; in which the sitting Mercury, the drunken 
 Faun, the two Discobuli, the sleeping Faun, the busts of 
 Plato, Seneca, Scipio Africanus, Epicurus, Demosthenes, 
 and Zeno, were also discovered. 
 
 The library of this house was furnished with shelves 
 against the walls, and a central bookcase in the middle 
 of the room, containing together some three thousand 
 charred papyri, inkstands, and reeds for writing. When 
 first discovered, they were taken for pieces of charcoal; 
 about half of them were destroyed and the house was called 
 the " Casa del Carhonaro,'^ and it was not till much later 
 that they were discovered to be literary treasures, perhaps 
 of inestimable value. Hitherto nothing special has been 
 found among them, but there is no saying what may yet 
 come to light. 
 
 At first the greatest difficulty was experienced in de- 
 ciphering them, and many were destroyed in the first 
 attempts of the experts ; but, thanks to the ingenuity of 
 the Rev. A. Piaggi, a way was found to unroll these 
 cylinders and to fix them upon a transparent membrane. 
 Each papyrus consists of about one hundred pages, and 
 about five hundred have been unrolled. 
 
 The following is the method adopted in the case of 
 those that have been published. The left page of the 
 book is devoted to a facsimile reproduction of the papyrus. 
 Then, where words or letters are missing, they are 
 supplied by the conjecture of the experts, and printed in 
 red ink; the page opposite being devoted to a Latin 
 translation and notes by the readers. These volumes can 
 be seen in the room and are worth looking at, if only as a 
 specimen of careful classical investigation. 
 
 The following have been published : — 
 
 Philodemus : On Music — Life and Manners (abridged 
 from Zeno on Freedom of Keason, lib. ix.) — On Vice, lib. x. 
 
WAXED TABLETS. 185 
 
 — On Khetoric (4) — Life and Eeligion — On what is useful 
 to the people, according to Homer — On Vices and their 
 opposite Virtues — On Phenomena — On Animals — On 
 Poems ; and lastly, a paper of questionable morality. 
 
 Epicurus, de Natura. Books ii., xi., and two others. 
 
 PoLYSTRATUS ou Pride. 
 
 Chrysippus, de Providentid. 
 
 Metrodorus (?) on Sensations. 
 
 Fragment of a Latin poem, perhaps referring to the 
 battle of Actium ; and a few other writings of uncertain 
 authorship. 
 
 WAXED TABLETS {TahuU). 
 
 Thin pieces of wood countersunk and covered with wax 
 on the inner side, and folding book wise on a hinge (Hom. II. 
 vi. 169). They were made in two, three, or more folds, 
 and those containing important matter were sealed by a 
 thread passing through the margin and secured by wax 
 to the exterior. The manuscript was scratched upon the 
 wax with a pointed stylus, and could be erased with the 
 blunt end of the same instrument. 
 
 In 1875 a large box was found in the '■'■House of 
 Jucundus" at Pompeii, containing a number of these 
 tablets, bearing Latin and (one or two of them) Greek in- 
 scriptions, interpreted by Professor de Petra to be contracts, 
 bonds, and receipts. The name of Jucundus appears upon 
 them all, and in the house was a most beautiful bronze 
 bust (see large Bronzes, No. 110663, p. 68), bearing the in- 
 scription " Genio L. Nostri Felix L." being no doubt the 
 portrait of the usurer Lucius Caecilius Jucundus, who 
 transacted loans at the rate of 2 per cent, per month, 
 the term of payment being one month. 
 
 We annex a version of one of these documents, with 
 Professor de Petra's interpretation. 
 
 34. It consists of three tablets, of which two were 
 surrounded by a thread, which was sealed by all the 
 witnesses. The third was separate, and contained a 
 summary or memorandum of the transaction for reference. 
 
 The tablets themselves may be seen at the extreme left of the 
 case, oa the side away from the window, in the middle of 
 the last room, but no one but an expert can read them. 
 
186 UPPER FLOOR— RIGHT. 
 
 *' Hs. N 1 00 00 C30 00 DLXii. Quae pecTinia in stipulatum L. 
 Caecili Jucundi venit ab auctionem Pulliae Lampuridis 
 mercede minus. 
 
 " Persoluta habere se dixit PuUia Lampuris ab L. Caecilio 
 Jucundo. 
 
 " Act. Pomp. X. k. Januar. Nerone Caesare II. L. Caesio 
 Martia Cos." 
 
 Then follow the names of the witnesses : — " L. Vedi 
 Cerati, A. Caecili Phiiolog., Cn. Helvi. Apollon., M. Fabi 
 Crusero, D. Yolc. Thalli, !Sex. Pomp. Axsioch., P. Sexti 
 Primi, C. Vibi Alcimi. 
 
 *' Nerone Caesare II. L. Caesio Martiale Cos. — x. k. Janu- 
 arias Sex. Pompeius Axiochus scripsi rogatu Pulliae 
 Lampuridis eam accepisse ab L. Caecilio Jucundo sester. 
 nummum octo millia quingenti sexages dupundius ob 
 auctionem ejus ex interrogatione facta tabellarum signa- 
 tarum." 
 1'he interpretation follows: 
 
 "Eight thousand five hundred and sixty-two sesterces 
 (£75) in specie. This sum has been credited by L. Csecilius 
 Jucundus on account of the auction of Pullia Lampuris 
 — less commission. 
 
 " Pullia Lampuris acknowledges the receipt from L. 
 Caecilius Jucundus. 
 
 " Executed at Pompeii the tenth day before the kalends 
 of January (23rd December, a.d. 57), under the consulate 
 of Nero Csesar (Consul for the second time) and of L. 
 Cassius Martial." 
 
 The witnesses' names and seals as above. 
 
 "Under the consulate of Caesar Nero (for the second 
 time) and of Csesius Martial, the tenth day before the 
 kalends of January, I, Sextus Pompeius Axiochus, at the 
 request of Pullia Lampuris, have witnessed that she 
 received from L. Caecilius Jucundus the sum of eight 
 thousand five hundred and sixty sesterces, plus one du- 
 pundius, proceeds of a sale by auction, according to sti- 
 pulations written and signed." 
 
 The dupundius was a bronze coin, equal to two " as." 
 
 Several other tablets have been read ; among them the 
 memorandum of the purchase of a slave for 2500 sesterces, 
 about £20. 
 
( 187 ) 
 
 PICTURE GALLERY. 
 
 EIGHT WING (NORTH ITALIAN ' 
 SCHOOLS). 
 
 FIKST HALL. 
 
 A small room, for the sale of artists' copies, opens into this Hall. 
 
 Eight large sketches by Caracci, for the frescoes of 
 the Church of Parma, representing Jesus, the Virgin, 
 Angels, &c. 
 
 SECOND HALL. 
 
 ROMAN SCHOOL. 
 
 1. Pannini {School of). The Coliseum and Arch of Con- 
 stantine. Panel. 
 
 2. The same. Euins of Eome. Oval canvas. 
 
 3. Giuseppe Cesari (il Cavalier d'Arpino). St. Michael 
 casting Satan into the pit. Panel. 
 
 4. The same. Angels. Oval panel. 
 
 5. Claude Gell^e (il Lorenese). Marine, with ships 
 and figures ; sunset. Canvas. 
 
 6. Carlo Maratta (School of). The Virgin presenting 
 Jesus to the Magi. Canvas. 
 
 7. Cav. d'Arpino. The Last Supper. Panel. 
 
 8. The same. Glory of Angels. Panel. 
 
 9. Sassoferrato. The Holy Family. Canvas. 
 
 10. Pannini. Temple of Jupiter Stator. Oval canvas. 
 
 11. Francesco Penni (il Fattorino). Jesus at table with 
 the Apostles. Panel. 
 
 12. Eaphael (School of). His mother (?). Panel. 
 
 13. The same. Head of Joseph. Panel. 
 
 14. Il Fattorino. Head of the Baptist ; Herodias and 
 her daughter. Panel. 
 
188 UPPEE FLOOE — EIGHT. 
 
 15. Giovanni Spagna. Holy Family, in a pleasing land- 
 scape. Oval panel. 
 
 16. Copy after Eaphael. '^ Madonna del Velo." Panel. 
 
 17. PoLiDORO Di Caravaggio. Christ on Calvary. P. 
 
 18. SiciOLANTE (^7 Sermoneta). St. Catherine. Panel. 
 
 19. Perugino (School of). The Virgin and Child. P. 
 
 20. Copy after Raphael. ''Madonna del Passeggio.'' 
 Panel. 
 
 21. PiNTURiccHio (School of). The Saviour's cradle and 
 angels. Panel. 
 
 22. Barocci (School of). The Salutation. Canvas. 
 
 23. PoLiDORO DA Caravaggio. Adoration of the shep- 
 herds. Panel. 
 
 24. Federigo Barocci. Holy Family. Canvas. 
 
 25. Barocci {School of). Holy Family. Canvas. 
 
 26. Raphael (School of). The Virgin and Child with 
 St. John. Circular panel. 
 
 27. Il Sassoferrato. The Saviour's cradle and angels. 
 Canvas. 
 
 28. Raphael (School of). The Virgin and Child. P. 
 
 29. Roman School. Holy Family. Panel. 
 
 30. Kaphael (School of). Urban IV. Panel. 
 
 31. Il Fattorino. Christ in the house of Simon. P. 
 
 32. Copy after Raphael, in the Borghese Gallery at 
 Rome. The burial of Jesus. Panel. 
 
 33. Skbastiano Bourdon. The Virgin and Child with 
 St. John. Canvas. 
 
 34. Il Sassoferrato. The Virgin. Canvas. 
 
 35. Roman School. The Virgin in a niche. Panel. 
 
 36. Cavalier d'Arpino. Angels. Oval panel. 
 
 37. Roman School. A Saint of the order of St. Theresa. P. 
 
 38. D'Arpino. St. Nicholas of Bari, and angels. Oval 
 panel. 
 
 39. LuiGi Garzi. The Virgin visiting Elisabeth. C. 
 
 40. Poussin (School of). Landscape. Canvas. 
 
 41. Francesco Vanni. The Saviour appearing to Mary 
 Magdalen as a gardener. Panel. 
 
 42. Poussin (School of). Landscape. Canvas. 
 
 43. Roman School. Eight Apostles. Copper. 
 
 4A. Copy after Raphael. Lucretia dying. Panel. 
 
 45. Poussin (School of). Landscape with waterfall. C. 
 
 46. P. Di Caravaggio. Jesus falling under the cross. P. 
 
PARMESAN AND GENOESE SCHOOLS. 189 
 
 47. Pannini. Charles III. de Bourbon on horseback, 
 in the sijnare of St. Peter's at Rome. Canvas. 
 
 48. P. SuBLEYRAS. The woman taken in adultery. C. 
 
 49. Carlo Maratta. The Virgin and Child with St. 
 Joseph. Canvas. 
 
 60. SuBLEYRAS. Christ and the Centurion. Canvas. 
 
 51. Raffaele Mengs. Fernando IV. de Bourbon, at 
 the age of twelve. Canvas. 
 
 52. PoussiN (^School of). Landscape with figures. C. 
 
 53. Pannini. Charles III. de Bourbon presenting him- 
 self to Benoit XIV. at the Vatican. Canvas. 
 
 54. D'Arpino. Jesus appearing to Mary Magdalen as a 
 gardener. Canvas. 
 
 55. Mengs. The king of Sardinia as a young man. C. 
 
 56. D'Arpino. Jesus and the woman of Samaria. C, 
 
 57. Il Fattorino. The marriage at Cana. Panel. 
 
 THIRD HALL. 
 PARMESAN AND GENOESE SCHOOLS. 
 
 1. Simon Vovet. An angel holding a lance emblematic 
 of the Passion. Canvas. 
 
 2. Bernardo Strozzi (il Prete Genovese). A monk. C. 
 
 3. Storer. The angel delivering St. Peter. Canvas. 
 
 4. Castiglione. A young woman playing with her 
 child on a rich carpet covered with flowers and con- 
 fectionery. Canvas. 
 
 5. Parmigianino {School of). Portrait of a young 
 Famese prince. Canvas. 
 
 6. Genoese School. The Virgin and Child. Canvas. 
 
 7. Vovet. Angel with emblems of the Passion. Canvas. 
 
 8. Storer. Adoration of the shepherds. Canvas. 
 
 9. Parmesan School. The Virgin and Child with 
 St. John. Canvas on panel. 
 
 10. Parmigianino. A small Holy Family. Canvas. 
 
 11. CoRREGGio (School of). Mouk's head. Canvas. 
 
 12. Parmigianino. The Virgin and Child. Canvas. 
 
 13. Storer. Jesus led away to Pilate. Torchlight. C. 
 
 14. Parmigianino (School of). The Virgin and Child, 
 surrounded by angels. Copper. 
 
190 UPPER FLOOR — RIGHT. 
 
 15. Parmigianino. A sketch. The Virgin and Child, 
 with angels. Panel. 
 
 16. ScHiDONE. Charity. Canvas. 
 
 17. Parmesan School. The Virgin with two saints, 
 and the Child surrounded by angels. Canvas. 
 
 18. CoRREGGio {School of). Jesus crowned with thorns. 
 Panel. 
 
 19. Parmigianino {School of). Portrait of a young 
 princess wearing a coral necklace. Panel. 
 
 20. Parmigianino. Two boj^s laughing. Canvas. 
 
 21. ScHiDONE. Cupid at rest. Canvas. 
 
 22. Storer. The supper at Emmaus. Candle-light. C. 
 
 23. ScHiDONE. Small Holy Family. Panel. 
 
 24. Parmigianino {School of). Head of a princess. P. 
 
 25. The same. The Holy Famil}^ Mary Magdalen, 
 and St. Catherine. Canvas. 
 
 26. The same. Holy Family. Panel. 
 
 27. Milanese School. The Virgin and Child, with St. 
 Jerome and a bishop. Panel. 
 
 28. ScHiDONE {School of). St. Lawrence kneeling, and a 
 cherub showing the emblem of his martyrdom. Canvas. 
 
 29. Parmesan School. St. John Baptist. Panel. 
 
 30. ScHiDONE {School of). Holy Family. Panel. 
 
 31. Parmesan School. The Virgin and Jesus sustained 
 by cherubim. The Baptist and St. Catherine. Panel. 
 
 32. The same. The Virgin and Child caressing St. 
 Catherine. Canvas. 
 
 33. Milanese School. Adoration of the Magi. Panel. 
 
 34. Schidone {School of). Small Holy Family. Panel. 
 
 35. Parmigianino. Child studying the alphabet. Panel. 
 
 36. Parmesan School. Portrait of a Famese prince. P. 
 
 37. Parmigianino. The city of Parma, as Pallas, em- 
 bracing Alex. Famese seated on a globe. Canvas. 
 
 38. Cristoforo Storer. Holy Family. Lamplight. C. 
 
 39. Schidone. The Holy Family in glory, with angels 
 and cherubim. Below, four saints. Canvas. 
 
 40. Castiglione. Landscape. The Baptist sleeping ; in 
 the foreground, the symbolic lamb. Canvas. 
 
 41. Cristoforo Storer. The supper at Emmaus. C. 
 
LOMBARD AND PARMESAN SCHOOLS. 191 
 
 FOURTH HALL. 
 
 LOMBAED AND PARMESAN SCHOOLS. 
 
 1. ScHiDONE. The shoemaker of Paul III. Canvas. 
 
 2. Parmigianino {School of). The marriage of St. 
 Catherine. Panel. 
 
 3. ScHiDONE (School of). St. Paul, sitting. Canvas. 
 
 4. ScHiDONE. St. John with the lamb. Panel. 
 
 6. CoRREGGio {School of). The dead Christ. Canvas. 
 
 6. Procaccini {School of). The Salutation. Canvas. 
 
 7. ScHiDONE. Jesus and two Jews. Panel. 
 
 8. Parmigia-NINO {School of). The Virgin and Child with 
 St. Lawrence. Canvas. 
 
 9. ScHiDONE {School of). St. Sebastian. Canvas. 
 
 10. ScHiDONE. The Saviour advising the Pharisees to 
 render tribute. Panel. 
 
 11. Bernardino Luino. St. John the Baptist. Panel. 
 
 12. Parmigianino. Amerigo Vespucci. Panel. 
 
 13. The same. The Annunciation. Canvas. 
 
 14. Parmesan School. Two angels in the clouds. C. 
 
 15. Leonardo da Vinci {School of). Two devotees ad- 
 miring the Virgin and Child. Panel. 
 
 16. Parmigianino. St. Clara holding a book and the 
 sacred ciborium. Canvas. 
 
 17. Cesare da Sesto. The adoration of the Magi ; rich 
 architectural background. Panel. 
 
 18. BoLTRAFFio. Jcsus embracing St. John. (After 
 Leonardo da Vinci.) Panel. 
 
 19. Niccol6 dell' Abate. After Leonardo da Vinci. 
 *' Madonna delle rocce." Canvas. 
 
 20. Parmesan School. The Virgin and Child with 
 saints. Panel. 
 
 21. Parmigianino {School of). Holy Family with St. 
 Catherine. Canvas. 
 
 22. NiccoLo dell' Abate. The rest in Egypt. Canvas. 
 
 23. ScHiDONE {School of). The tailor of Pope Paul III. 
 (Famese). Canvas. 
 
 24. Old Lombard School. The Visitation, cradle, and 
 adoration of the Magi. In three sections. Panel. 
 
 25. CoRREGGio {School of). The Assumption of the 
 Virgin, in presence of the Apostles. Panel. 
 
192 UPPER FLOOR — RIGHT. 
 
 26. Parmigianino (School of). Minerva. Canvas. 
 
 27. ScHiDONE {School of). Two angels bearing the 
 symbol of redemption. Canvas. 
 
 28. L. DA Vinci {School of). Holy Family. Panel. 
 
 29. Same School. Two Cupids and a Satyr looking 
 at a sleeping Bacchante. Panel. 
 
 30. Parmigianino (School of). Portrait of a young 
 prince. Panel. 
 
 31. ScHiDONE (School of). The Virgin and Child. C. 
 
 32. ScHiDONE. The rest in Egypt. Panel. 
 
 33. The same. Gauthier's music master. Canvas. 
 
 34. The same. A soldier announcing to some women 
 the massacre of the innocents. Canvas. 
 
 35. The same. The Agony in the garden. Canvas. 
 
 36. Milanese School. The Virgin and Child enthroned. 
 On each side, two bishops. Panel. 
 
 37. Schidone. An old man. Canvas. 
 
 38. The same. A lute player. Canvas. 
 
 39. The same. St. Cecilia and an angel. Canvas. 
 
 40. The same. Joseph and John Baptist. Canvas. 
 
 FIFTH HALL. 
 VENETIAN SCHOOL. 
 
 1. LuiGi ViVARiNi. The Virgin and Child with two 
 nuns. Panels forming a triptych. 
 
 2. Tintoretto (School of). Jupiter on the globe, sur- 
 rounded by divinities. Circular canvas. 
 
 3. GiAMBATTiSTA Zelotti. The Virgin and Child, with 
 saints in adoration. Canvas. 
 
 4. Tintoretto (School of). Jupiter at table with the 
 divinities of Olympus. Circular canvas. 
 
 t5. Bartolommeo Vivarini. The Virgin and Child, St. 
 Niccolo da Bari, St. Kocco and two bishops. Signed and 
 dated 1465. Panel. 
 
 6. Venetian School. The Virgin crowned by angels. 
 Canvas. 
 
 7. Giorgio Barbarelli (Giorgione). Portrait of Anto- 
 iiello, prince of Salerno. Canvas. 
 
 8. Attributed to Del Piombg. Anne Boleyn (?). Canvas. 
 
VENETIAN SCHOOL. 193 
 
 9. S. DEL PiOMBO. Head of a young man. Slate. 
 tlO. Bernardo Bellotti {Canaletto). Church of SS. 
 John and Paul at Venice. Canvas. 
 
 11. GiACOMO DEL Ponte {the elder Bassano). A richly 
 dressed Venetian lady. Canvas. 
 
 12. Titian (^cAooZ o/). Portrait of his wife. Canvas. 
 
 13. Canaletto. Venice from the Grand Canal, with 
 the church of Santa Maria degli Scalzi. Canvas. 
 
 14. Dosso-Dossi. Small Holy Family. Panel. 
 
 15. Sebastiano del Piombo. Monk's head. Slate. 
 
 16. Venetian School. A young prince dressed in red. 
 Panel. 
 
 17. Canaletto. Venice from the Kialto. Canvas. 
 
 18. Titian {School of). Portrait of a Cardinal. Canvas. 
 
 19. Copy after Titian. Paul III. (Farnese). Canvas. 
 t20. Titian. Paul III. (Farnese) with his nephew Pier 
 
 Luigi, and a Cardinal. Sketch on canvas. 
 
 21. Titian {School of). Portrait of a lady. Canvas. 
 
 22. Canaletto. Venice from the Grand Canal, with 
 the Balbi and Foscari palaces. Canvas. 
 
 t23. P. Veronese. The Circumcision. Canvas. 
 
 24. Copy after Titian. Portrait of Charles V. Canvas. 
 
 25. Canaletto. S. Maria della Salute, Venice. Canvas. 
 
 26. Venetian School. Adoration of the Magi. Canvas. 
 
 27. Del Piombo {Sclwol of). Soldier's head. Canvas. 
 
 28. TiBERio TiNELLi. Portrait of a gentleman. Canvas. 
 
 29. Canaletto. The Custom-house at Venice. Canvas. 
 
 30. ToRBiDO {il Moro). Old man with a grey beard. C. 
 
 31. GiROLAMO MuziANO. St. Francis at his orisons. C. 
 
 32. Alessandro Bonvicino {Moretto da Brescia). Jesus 
 bound to the column. Panel. 
 
 33. Antonio Cicala. Paradise. Sketch for the cupola 
 of a church. Canvas. 
 
 34. Teoscopoli {dalle Greche). Child blowing a live 
 coal. Canvas. 
 
 35. GiAcoMO EoBUSTi {Tintoretto). The Virgin on a 
 crescent, surrounded by cherubim. Canvas. 
 
 36. Leonardo del Ponte {il Bassano) {School of). The 
 miracle of the loaves and fishes. Monte Cassino in the 
 distance. Canvas. 
 
 37. Copy after Paolo Veronese. The Centurion before 
 Jesus. Canvas. 
 
194 UPPER FLOOR— RIGHT. 
 
 38. Dosso-Dossi. A bishop adoring the Virgin and Child. 
 Panel. 
 
 39. Tisi DA Garofalo. St. Sebastian. Fanel. 
 
 40. Andrea Mantegna {School of). The Eesurrection of 
 Jesus. Fanel. 
 
 41. Il Bassano. a market. Canvas. 
 
 42. Veronese {School of). The finding of Moses. C. 
 
 43. Santacroce (?). The martyrdom of St. Lawrence. 
 Panel. 
 
 44. Fede GtALIZia. The adoration of the Magi. Canvas. 
 
 45. Canaletto. The Doge's Palace, Venice. Canvas. 
 
 46. Andrea Mantegna. St. Eufemia. Canvas. 
 
 47. Canaletto. The Grand Canal. Canvas. 
 
 48. Dalle Greche. Portrait of Ginlio Clovio. Panel. 
 
 49. Copy after Titian. The Virgin and Child, with 
 the Magdalen offering the vase of ointment. Canvas. 
 
 50. Del Piombo {School of). Female head. Canvas. 
 
 51. Canaletto. The jpalazzo Turchi a,i Yenice. Canvas. 
 
 52. Garofalo. The adoration of the Magi. Panel. 
 t53. Andrea Schiavone. Christ before Herod. Canvas. 
 
 54. Giambellino {School of). The Circumcision. Panel. 
 
 55. Canaletto. Biva degli Schiavoni at Venice. C. 
 
 56. Lorenzo Lotti. The Virgin and Child, with SS. 
 John and Peter. Panel. 
 
 57. Tintoretto. A naked man whispering in the ear 
 of Jesus. Canvas. 
 
 58. Venetian School. Head of a young man -^ith a 
 cap. Canvas. 
 
 59. Canaletto. The Doge's palace and the square of 
 St. Mark, at Venice. Canvas. 
 
 t60. Titian {School of). Holy Family, with St. Bar- 
 bara and others. Panel. 
 
 61. Tintoretto. The Virgin and Child, crowned by 
 cherubs. Canvas. 
 
 62. Canaletto. Tower of the Lions at Venice. C. 
 
 63. Garofalo {School of). The Circumcision. Panel. 
 
 64. Giambellino {School of). Profile of a young man 
 wearing a cap and a red tunic. Panel. 
 
 65. Palma, the Younger {School of). Jesus lying dead 
 upon his mother's knees. Canvas. 
 
 66. Venetian School. St. Jerome, St. John, and a 
 young man kneeling. Canvas. 
 
THE COLLECTION OF ENGRAVINGS. 195 
 
 SIXTH HALL. 
 
 MASTERPIECES (Sala di Correggio). 
 
 *\. Salvator Eos a. Jesus disputing with the doctors 
 On the right, in a black cap, the portrait of the painter. C. 
 
 2. Sebastiano del Piombo. Holy Family. Slate. 
 
 t3. Correggio. The Ziiigarella, or the ^^ Madonna del 
 Coniglio." Panel. 
 
 4. A. Van Dyck. Portrait ; unknown. Canvas. 
 
 t5. Titian. Jupiter entering the chamber of Danae in 
 the form of a shower of gold. Canvas. 
 
 6. Correggio. The Infant Jesus asleep. Panel. 
 
 t7. The same. The marriage of St. Catherine. Panel. 
 This picture is the gem of the collection. 
 
 t8. Titian. Portrait of Pope Paul III. (Farnese). C. 
 
 9. Correggio. The Descent from the Cross. Panel. 
 
 10. The same. The Virgin bending her head affection- 
 ately over the Infant Jesus. Gouache. 
 
 til. Titian. Portrait of Philip II. of Spain. Canvas. 
 
 12. Giuseppe Eibera (Jo S;pagnoletto). St. Sebastian. C. 
 
 13. The same. St. Jerome, terrified at the sound of the 
 last trump. Canvas. 
 
 14. The same. St. Jerome in meditation. Canvas. 
 tlo. GuERCiNO. The Magdalen. Canvas. 
 
 16. EuBENS. Head of an Alcantarine monk. Panel. 
 
 Four bronze busts of the fifteenth century — namely, 
 Caracalla, Antinous (see Symonds, ' Sketches and Studies 
 in Italy/ Smith, Elder & Co.), and two unknown. (jP.) 
 
 SEVENTH HALL. 
 THE COLLECTION OP ENGRAVINGS. 
 
 The engravings in the large press, and bound in 225 
 large volumes, number 19328. This collection is also 
 called the Firmiana Collection, because it belonged to 
 Count Charles Firmian, governor of Lombardy at the time 
 of the Austrian dominion. 
 
 After his death it became the property of the Bourbons, 
 
 2 
 
196 UPPER FLOOR— RIGHT. 
 
 who had it placed in the Eoyal Palace of Naples. In 
 1864, it was given to the Museum by King Victor 
 Emmanuel. 
 
 In the same press are three splendid silver plates, 
 with modern engravings, belonging to the Farnese family. 
 
 The first (416), of square form, represents a bacchanal 
 with rich decorations. On the lower part, " Painted by 
 Annibal Caracci, and engraved by Francis Villamena, a 
 pupil of Caracci." 
 
 The second (415), of circular form, is a copy of the pre- 
 ceding by Francis Villamena. 
 
 *The third (417), of square form, represents a Descent 
 from the Cross. Signed "• Annibal Carraccij 1598." 
 
 BUSTS. 
 
 On the left, 
 
 10514. Paul III. (Farnese). Marble bust with rich 
 vestment, bearing medallions of biblical and other sub- 
 jects in relief, the work of Michelangelo. 
 
 10515. Caracalla. Bronze bust of the fifteenth cen- 
 tury. 
 
 10516. Dante. Bronze bust, inscribed *' Dantes." It is 
 asserted that the head was cast after death. 
 
 10517. Paul III. (Farnese). Marble bust, attributed to 
 Michelangelo. Unfinished. 
 
 10518. Jean Gaston dei Medici. Marble bust by 
 Bernini. 
 
 10519. Ferdinand dei Medici. Marble bust by Bernini. 
 * 10520. Hercules strangling the serpents. Round the 
 
 plinth, in bas-relief, the labours of Hercules. A beautiful 
 bronze of the fifteenth century. 
 
 10521. Paul III. (Farnese). Marble bust by Delia Porta. 
 
 CARTOONS. 
 
 1 . Three warriors. Episode of the battle of Pisa. A 
 fragment of the renowned cartoon by Michelangelo. 
 
 2. Holy Family. Cartoon by Eaphael. 
 
 3. Cupid and Venus. Cartoon by Michelangelo. 
 
 4. A SACRIFICE. Cartoon attributed to Parmigianino. 
 
 5. Moses on Sinai, hiding his face on the apparition of 
 
PICTURES— VARIOUS SCHOOLS. 197 
 
 Jehovah. Cartoon by Raphael, executed for the fre%co to be 
 seen in Paolina chapel, at Rome. This picture is composed 
 of small sheets of paper pasted together, and strengthened 
 with linen. 
 
 6. Portrait of Cardinal Bembo, attributed to Titian. C. 
 112879. Eprete Genovese? St. Francis. Canvas. 
 
 7. P. Veronese. Portrait of Alexander Famese. C. 
 
 EIGHTH HALL {Great Saloon). 
 VARIOUS SCHOOLS. 
 
 fl. Annibal Carracci. ^^ La Madonna della pieta." C. 
 
 t2. ScHiDONE. Themartyrdomof St. Sebastian; Christian 
 women dressing his wounds. Sketch on canvas. 
 
 t3. GiACOMO DA PoNTE (il Bassano). The Saviour raising 
 Lazarus from the dead. Canvas. 
 
 4. Andrea Vaccap^o. Holy Family. Canvas. 
 
 t5. GiULio Romano. " Madonna del gatto." Panel 
 
 t6. Parmigianino. Holy Family. Gouache on canvas. 
 
 t7. Giovanni Bellini. The Transfiguration. Panel. 
 
 t8. Raphael {School of). Portrait, presumed to be that 
 of Christopher Columbus. Panel. 
 
 9. Pulzone da Gaeta. The Annunciation. Canvas. 
 
 flO. Marcello Venusti. The last judgment. Copy of 
 the original by Michelangelo in the Sistine Chapel at Rome. 
 Panel. 
 
 11. PiETRO Vannucci (il Perugino). The Virgin and 
 Child. Panel. 
 
 12. Andrea del Sarto. Portrait of Clement VII. P. 
 
 13. Giovanni Lanfranco. The Virgin with the Infant 
 Jesus, who is casting out a devil. St. Jerome and a 
 disciple admiring the miracle. Canvas. 
 
 14. Bernardino Gatti. The Crucifixion. Canvas. 
 
 15. Bernardino Luini. The Virgin and Child. Panel. 
 
 16. Giovanni Bellini. Portrait. Unknown. Panel. 
 
 17. Raphael. Portrait of the Cavalier Tibaldeo. P. 
 
 18. Scipione da Gaeta. Unknown. Copper. 
 
 tl9. Raphael. Pope Leo X. seated between the Car- 
 dinal Luigi de Rossi and Giulio de Medici. Panel. 
 
 20. Giovanni Lanfranco. The Virgin on the clouds. 
 Below, St. Jerome and St. Carlo Borromeo. Canvas. 
 
198 UPPER FLOOR — RIGHT. 
 
 t21. Eaphael. Portrait of Cardinal Passerini. Panel. 
 t22. Raphael. Holy Family. Panel. 
 
 23. Francesco Santafede. The Virgin and Child, en- 
 throned. At her feet, St. Jerome and another. Panel. 
 
 24. PiETRO NovELLi (U Monrealese). The Virgin in an 
 archway. Above, the Holy Trinity and the angel 
 Gabriel. Canvas. 
 
 25. The same. The Apostle Paul. Canvas. 
 
 26. Tisi DA Garofalo. The Descent from the Cross. 
 Arched panel. 
 
 27. G. Antonio Sogliani. Holy Family. Panel. 
 
 t28. Palma il Vecchio, St. Jerome praying to the 
 Virgin for two devotees. Panel. 
 
 29. Mattia Preti (^Cavalier Calahrese). Jesus over- 
 throwing Satan. Canvas. 
 
 t30. DoMENico Zampieri {il Bomenichino). The guardian 
 angel defending Innocence from the Devil. Canvas. 
 
 31. Angelo Allori (il Bronzino). Holy Family. P. 
 
 t32. Claude Gell^e (il Lorenese). Magnificent landscape 
 with lakes and temples. The figures are in the style of 
 Filijppo de Lauri. Canvas. 
 
 33. Cav. Calabrese. St. Niccolo da Bari borne by 
 angels. Canvas. 
 
 34. PiNTURiccHio. The Assumption of the Virgin. P. 
 
 35. Beccafumi. Descent from the Cross. Panel. 
 
 36. Titian. The Magdalen weeping. Canvas. 
 
 37. Parmigianino. The death of Lucretia. Panel. 
 
 38. Mazzolino. The Father surrounded by seraphim. 
 Panel. 
 
 39. Giordano. St. Domenic, St. Clara, and other saints 
 adoring the Madonna of the Rosary. Canvas. 
 
 40. Il Bassano. Pojtrait of a Farnese prince. Canvas. 
 
 41. Parmigianino. His wife's portrait. Canvas. 
 
 42. Albani. St. Rose of Viterbo in glory. Panel. 
 
 43. GuERCiNO. Head of St. Francis. Canvas. 
 
 44. Sabbatini da Salerno. St. Benoit on a throne, with 
 St. Placide and St. Maure. Below, four doctors of the 
 church. Panel. 
 
 45. CoRTESE (il Borgognone). Battlepiece. Canvas. 
 
 46. LucA Cambiase (?). Venus and Adonis. Canvas. 
 
 47. Guido Reni. I'he race of Atalanta. Canvas. 
 
 48. Lombard School. Landscape, with architecture. G» 
 
PICTURES— VARIOUS SCHOOLS. 199 
 
 49. BoRGOGNONE. Battle-piecG. Canvas. 
 
 50. Cambiase (?). Diana and Endymion. Canvas. 
 
 51. Il Bassano. The raising of Lazarus. Canvas. 
 
 52. PiETRO MiGNARD. Head of a priest. Canvas. 
 
 53. Andrea del Sarto (School of). An old man giving 
 lessons in architecture to a youth. Panel. 
 
 54. Cav. d'Arpino. Three bishops. Canvas. 
 
 55. Salvator Kosa. Battle-piece. Canvas. 
 
 56. Sebastiano del Piombo. Pope Alexander VI. C. 
 
 57. Palm A (the younger). The dispute of the sacraments. 
 Panel. 
 
 58. Tintoretto. Portrait of Giovanni d' Austria. C. 
 t59. Lo Spagnoletto. Silenus, drunken, and surrounded 
 
 by Satyrs and Fauns. Canvas. 
 
 60. Annibal Carracci. A Satyr giving grapes to a 
 naked Bacchante. Canvas. 
 
 61. Era Bartolommeo. The Assumption of the Virgin; 
 the Baptist and St. Barbara in the foreground. Panel. 
 
 NINTH HALL. 
 
 SALOON OF THE VENUSES AND MYTHOLOGICAL 
 SUBJECTS. 
 
 VARIOUS SCHOOLS. 
 
 1. French School. Bivouac of officers and soldiers in 
 seventeenth century uniform. Canvas. 
 
 2. DoMENico Gargiulo (Micco Spadaro). Battle of 
 Hebrews and Amalekites. Canvas. 
 
 3. Hyacint Rigaud. Portrait of a cardinal. Canvas. 
 
 4. Seville (School of). The drinkers. After a picture 
 by Velasquez, at Madrid. Canvas. 
 
 5. Francis Yolaire. Eruption of Vesuvius in 1767. C. 
 
 6. French School. Bivouac of officers and soldiers. C. 
 
 7. Micco Spadaro. Moses striking the rock. Canvas. 
 
 8. Neapolitan School (16th century). A martyr. C. 
 to. Santafede. The Virgin and Child ; St. Jerome and 
 
 Pietro da Pisa in adoration. Arched panel. 
 
 10. Henri Flamand. A monk at prayer. Canvas. 
 
 11. GuiDO Eenl The four seasons. Canvas. 
 
200 UPPER FLOOR— RIGHT. 
 
 12. DoMENico Brandi. a herd at rest. Canvas. 
 
 13. Cerquozzi. Gamblers by a tavern. Canvas. 
 
 14. Flemish School. Gamblers playing at cards. Copper. 
 
 15. Neapolitan School. Landscape with figures. 
 3Iarhle. 
 
 16. GiACOMO Locatelli. Group of Armenian merchants 
 near the sea-shore. Canvas. 
 
 17. Joseph Vernet. A wreck. Canvas. 
 
 18. Spanish School. Landscape with figures. Canvas. 
 
 19. Copy after the original by Eaphael in the Vatican. 
 An allegory of the Church militant. Canvas. 
 
 20. Giordano. Venus and Cupid asleep. Canvas. 
 
 21. Flemish School. The vengeance of Venus upon the 
 nymphs. Panel. 
 
 22. GuARiNi da Solofra. Susanna and the elders. C. 
 
 23. Tintoretto. Venus, Cupid, and the Graces. C. 
 
 24. Bronzino. Cupid kissing a nude Bacchante. After 
 a cartoon by Michelangelo. Panel. 
 
 25. Tintoretto (^School of). Danae. Canvas. 
 
 26. Copy after Eaphael. Faith, Hope, and Charity. C. 
 
 27. Carlo Coppola. Spanish cavaliers. Canvas. 
 
 28. LucA Forte. Grapes and pomegranates. Canvas. 
 
 29. Neapolitan School. The Virgin and Child. Canvas. 
 
 30. Vaccaro. The disciples at Emmaus. Canvas. 
 
 31. LucA Forte. Still life. Canvas. 
 
 32. Neapolitan School. St. Eosa of Lima. Canvas. 
 
 33. Micco Spadaro. The adoration of the shepherds 
 and a glory of angels. . Canvas. 
 
 34. Lombard School. The Baptism of Jesus. Panel. 
 
 35. Neapolitan School. Lute-player. Canvas^ 
 
 36. Herman Swanevelt. Diana and Endymion. C. 
 
 37. Old Lombard School. The Entombment. Panel. 
 
 38. Francis Volaire. Vesuvius in 1794. Canvas. 
 
 39. Micco Spadaro. St. Sebastian. Canvas. 
 
 40. Old Lombard School. Uncertain. Panel. 
 
 41. After Holbein. Portrait of Erasmus. Canvas. 
 
 42. BoLOGNESE School. St. Francis. Canvas. 
 
APPENDIX. 
 
 HISTOEICAL AND DESCRIPTIVE SKETCH OF 
 POMPEII AND HERCULANEUM. 
 
 POMPEII. 
 
 Pompeii was built at the foot of Vesuvius, about four- 
 teen miles from Naples. It spread, in elliptical form, over 
 a space of nearly two miles in circuit, dominating a vast 
 plain, extending to the port of Stabia at the mouth of the 
 river Sarno. 
 
 The city had eight gates, known as the Herculanean, 
 the Vesuvian, the Capuan, the Nolan, the Sarnean, the 
 Noceran, the Stabian, and the Sea gates. Those of Hercu- 
 laneum and of Nola, the first of which had three openings, 
 were closed by a portcallis, and were the main gates of 
 the city. The latter is also known as the gate of Isis, 
 because her head is carved upon it. 
 
 Two Roman roads traversed the city — the Popidian, 
 which led to Nola ; and the Domitian, which passed by 
 Herculaneum and Oplonte (now Tori-e Annunziata) in one 
 direction, and in the other continued to Nocera and 
 Salerno. 
 
 The fortifications of Pompeii were double, with a 
 terrace above, sustained by walls fourteen feet thick and 
 twenty-five high — the buttresses being eight feet higher. 
 
 The streets are among the finest works left us by the 
 Romans. They were laid in three strata, of which the 
 upper was formed of flat, irregular blocks of lava. The 
 foot pavements were raised ten inches above the level of 
 the street. Nearly every street had its fountain, and 
 water was supplied to the public buildings by lead pipes. 
 The houses were decorated with frescoes and mosaics. 
 
202 APPENDIX. 
 
 which gave the city a noble aspect ; and the Pompeians 
 made a great point of this, because their lives were passed 
 to a great extent out of doors. 
 
 The houses were usually built upon one plan, and had 
 two stories, although in rare instances (as in the House of 
 Diomede) a third was added. Every house had its men's 
 apartment, with a central court — generally open; while 
 for the women a separate suite was provided, opening into 
 the garden and colonnade. The second story contained 
 store-closets and wardrobes. The exterior of these houses 
 had nothing monumental about it, and the smallness of 
 the rooms was compensated for by their number. As a 
 separate room was assigned for every domestic purpose, 
 had they been large, a house would have spread out to the 
 proportions of a village. 
 
 The public portion of the houses was composed of the 
 vestibule or atrium, including the cavsedium or court, the 
 tahlinum or muniment room, with an ante-room at each 
 side ; and a little shrine for the lares (lararium) or house- 
 hold gods. Between the peristyle and reception rooms 
 was a passage leading to the women's apartments. The 
 private portion of the house contained the women's sleep- 
 ing-rooms (^cuhicula). Other bedrooms with alcoves served 
 for the master of the house, and for the freedmen. There 
 were also a dining-room, study, picture gallery, and hall 
 with triclinium, for the winter repasts, and, beyond these, 
 the kitchen and of&ces. In the remoter portion of the 
 building was the bath, and in a second garden, surrounded 
 by colonnades, the summer dining-room, and the rooms 
 for music and dancing. The various apartments were 
 in charge of slaves, who occupied adjacent rooms. 
 
 The excavations show that there were few stables and 
 coach-houses, which may have been provided in the 
 suburbs. In like manner, fire-places were wanting, and 
 only five chimneys have been found. 
 
 The houses were not indicated by numbers, but by the 
 name of the occupier. The Pompeians were also in the 
 habit of painting upon the walls of their houses and shops 
 the names of the magistrates whose protection they 
 desired, with the words rogat ut faveat {Favour is 
 besoughty 
 
 The favourable situation of the city, and the activity 
 
APPENDIX. 203 
 
 and industry of its twenty-five thousand inhabitants, 
 together with its secure harbour, soon rendered Pompeii 
 the centre of a rich and flourishing commerce, whence it 
 would seem to have merited its Greek name, Pompeia, 
 which answers to " emporium." Pompeii was the centre 
 of trade with Nola, Nocera, and Atella. Its inhabitants 
 dealt in wine, grain, flour, oil, fruit, and vegetables. The 
 business transacted in any particular house was indicated 
 by pictures on the walls — as, for instance, an ox at a 
 butcher's, a serpent at a druggist's, or a Bacchus with 
 bunches of grapes at a vintner's. 
 
 The Pompeians held the fine arts in high esteem, and 
 extended hospitality to the renowned artists of Greece. 
 The masterpieces of bronze and marble, and the thousand 
 little treasures of artistic workmanship which the excava- 
 tions are constantly bringing to light, all go to show that 
 the arts then held a position such as they can scarcely 
 now boast. 
 
 Pompeii had already reached a considerable age, its 
 busy streets were crowded with a population instinct with 
 the varied life of a high civilization, when the neigh- 
 bouring volcano buried it beneath alternating layers 
 of ashes, pumice-stone, and scoriae, to the depth of about 
 nineteen feet. 
 
 The city dates back to Oscan times, and was successively 
 occupied by Etrurians, Pelasgians, and Samnites, until 
 finally it became Roman. It formed one of the Etruscan 
 cities of which Capua was the metropolis. When 
 Hannibal came, it submitted to him ; but it had no in- 
 dividual importance in history until in the civil war, 
 B.C. 91, Sylla, after having sacked Stabia, met with valo- 
 rous resistance from Pompeii, and was obliged to con- 
 cede various privileges to her ; after which she became a 
 military colony. During the reign of Augustus the city 
 was declared a Eoman municipality, and a colony was 
 sent thither, which built a suburb called Pagus Augustus 
 Felix, under the patronage of Marcus Arrius Diomede, 
 whose villa and tombs were situated in it ; later, in the 
 reign of Nero it became a Roman colony, and continued 
 so for twenty-four years, until the terrible earthquake 
 of A.D. 63 overthrew it, together with Herculaneum and 
 many other neighbouring cities. That earthquake had 
 
204 APPENDIX. 
 
 already destroyed the Basilica and the Forum, when the 
 eruption of a.d. 79 — the first on record — buried in ashes, 
 cinders, and liquid mud, Pompeii, Stabia {Castellamare)^ 
 Oplonte, Eesina, and Herculaneum. 
 
 The eruption lasted one day ; the darkness three. Dion 
 Cassius describes the agony of the wretches who perished 
 in the torrent of burning scoriae and the rain of volcanic 
 matter. The elder Pliny, then in command of the Eoman 
 fleet at Misenum, hurried to aid his marines, and at the 
 same time to study the spectacle that Vesuvius afforded. 
 He took up his quarters at Stabia, with his friend Pom- 
 ponianus, refreshed himself with a bath, supped quietly, 
 and retired to sleep. In the meantime the court from 
 which his chamber opened filled with ashes ; the houses 
 were shaken with such violence by the earthquakes that 
 it seemed as though they were torn from their foundations 
 and thrust back again. The sea was tempestuous ; people 
 were roused from sleep, and fled to the open country. 
 Pliny went down to the beach to contemplate the spectacle, 
 and was involved in a whirlwind of fire and sulphur 
 which suffocated him. 
 
 Pliny the younger, who had remained at Misenum, has 
 left two letters about the horrible catastrophe, written to 
 Tacitus, who had asked him for particulars to be inserted 
 in his Annals. The following extract describes his flight 
 with his mother : — " It was seven o'clock in the morning, 
 and yet the light was faint, like twilight. The buildings 
 were so shaken that there was safety nowhere. We 
 resolved to abandon the city. The terrified people fol- 
 lowed us in a great mass, crowding, pushing, and panic- 
 stricken. Arrived without the city, we paused ; here 
 were new phenomena and fresh alarms : our vehicles were 
 so shaken, although we were in the open country, that it 
 was not possible to keep them steady, even though blocked 
 with great stones. The sea seemed to be turned back 
 upon itself and to retreat. The shore lay dry, and was 
 covered with fish stranded upon the sand. Over against 
 us, a black and awful cloud, crinkled with darting wavy 
 fire, opened and showed great flames like thunderbolts. . . 
 In an instant this cloud fell to earth, covering the sea, 
 hiding the island of Capri, and cutting off from our sight 
 the promontory of Misenum. My mother entreated me to 
 
APPENDIX. 205 
 
 save myself, saying that it was easy at my age to do so, 
 while for her, old and stout as she was, it was impossible. 
 I refused to fly alone, and seizing her hands forced her to 
 accompany me, as the ashes were already falling upon us. 
 Turning my head, I percived a dense smoke, following us 
 and spreading like a torrent. While we could still see, I 
 advised my mother to leave the main road, lest the crowd 
 should crush us in the darkness. We had hardly left it 
 when total obscurity supervened, pierced by the agonised 
 shrieks of men, women, and children. One bewailed his 
 own fate, another his neighbour's, while another prayed 
 for death, though fearing it. Many besought aid of the 
 gods ; others believed this to be the last and eternal night, 
 when the world was to disappear into its grave." (Pliny, 
 Jun., Lib. vi., Epist. xx.) 
 
 Titus came to the relief of the cities and displayed great 
 energy. He appointed consuls to relieve the country 
 districts, and assigned unclaimed property to the re- 
 building of the town ; he granted exemption from taxation, 
 and personally assisted the destitute. A village, bearing 
 the same name, was built near the site of Pompeii, and 
 was in its turn destroyed by the volcano in 471 a.d., and 
 it seems likely that the inhabitants of this village pillaged 
 the old town as far as they were able. Be this as it may, 
 the destruction saved from the vandalism of the earlier 
 Christian centuries an immense number of works of ait, 
 and other articles which have served to initiate us into 
 the secrets of the life of the Ancients, and to explain many 
 allusions of Classic writers. 
 
 Such was the fate of Pompeii, which remained buried 
 thus for seventeen centuries. Nations have passed away ; 
 but its monuments remain to testify to the advanced 
 civilization of ancient Kome. 
 
 The excavations were begun in 1748. By mere chance 
 some peasants found some specimens in a vineyard near 
 the Sarno. Then Charles III., king of Naples, caused 
 these discoveries to be followed up. Later, when the ex- 
 cavation had been carried on about a mile, some inscrip- 
 tions were found in the Street of the Tombs, in which 
 mention was made of Pompeii. 
 
206 APPENDIX. 
 
 HERCULANEUM. 
 
 This city derives its name from the worship of Hercules. 
 The date of its foundation is unknown. It was inhabited 
 by the Oscans, occupied by the Tyrrhenians, and included 
 among the twelve cities of which Capua stood at the 
 head. In 567 B.C. the Eoman Consul Carvilius took it by 
 assault, after being twice repulsed. In the year 80 b.c, 
 the inhabitants of Herculaneum, having taken up arms 
 against Rome, with the confederate peoples of Italy, 
 were again conquered by the Romans, who however 
 accorded them the right of citizenship and municipal 
 institutions. 
 
 Just as the city was beginning to recover from the wars, 
 its walls were thrown down by violent earthquakes ; and 
 on November 23, a.d. 79, this place, so famous for its 
 commerce, its riches, and its monuments — so great a 
 favourite with the Romans for the fertility of its soil and 
 its enchanting scenery — disappeared almost in an instant. 
 
 The theory that Herculaneum was destroyed by molten 
 lava has been refuted over and over again by those best 
 qualified to judge of these matters; though it is still 
 industriously asserted by the guides, and by many writers 
 who might be expected to exercise greater care in their 
 statements. Had molten lava poured into the town, it 
 must have flowed in at such a temperature as would 
 inevitably have calcined marble, fused silver, and utterly 
 consumed such inflammable vegetable matter as papyrus. 
 
 The fact is beyond doubt that the town was filled up 
 with a fine hot ash in the condition of impalpable powder, 
 similar to the ash which was blown into every crevice of 
 the houses at Naples in the eruption of 1872, but of course 
 in far greater quantities and at an incomparably higher 
 temperature. The heat of this substance was sufiicient 
 to char all the woodwork and reduce the papyri to tinder, 
 but it was not sufficiently hot to damage either stone, 
 marble, or metal. 
 
 Immediately after the eruption, torrents of rain poured 
 in upon this mass of ashes, forming it into a cement, 
 which hardened into the consistency of stone, and safely 
 preserved the art treasures that were imbedded in it. 
 
APPENDIX. 207 
 
 There is no evidence that any lava at all flowed from 
 the mountain in the eruption of a.d. 79, and the records 
 of Vesuvius show that the first fluid lava which flowed 
 down its sides into the sea in historic times was in 
 A.D. 1036. Till then, the eruptions had produced ashes, 
 pumice-stone, and various kinds of scoriae, but no fluid 
 lava ; but since that time, red-hot lava, like a stream 
 of molten iron, has flowed over the site of Herculaneum 
 no less than eleven times. 
 
 The pressure of this enormous mass still further solidified 
 the cement beneath it, and not only added to the diffi- 
 culties of excavation, but caused the ignorant to jump to 
 the conclusion that what is in reality tufa of surprising 
 hardness was once molten lava, which to have come there 
 at all must have flowed at such a temperature as to have 
 utterly destroyed everything that came in its way. 
 
 Herculaneum remained buried and forgotten for many 
 centuries, and then a fortunate chance led to its discovery. 
 The Prince of Elboeuf, in building a country-house near 
 the Alcanterine monastery in Portici in 1720, noticed 
 some pieces of rare marble which the peasants of Eesina 
 had taken out of a well. He immediately caused excava- 
 tions to be made, and found many statues and columns of 
 temples. In the course of five years be recovered relics of 
 all sorts, which he sent to Prince Eugenic of Savoy and to 
 Louis XIV., king of France. 
 
 In 1738, Charles III. of Naples forbade excavations by 
 private persons, and began systematic investigations, 
 sending all articles which were discovered to the Museum 
 at Portici. These articles were subsequently transferred 
 to Naples, and became the foundation of the Bourbon 
 Museum. It is to this king that is due the discovery of 
 the theatre, the basilica, several temples, the papyri, and 
 many of the most precious treasures of art in bronze 
 and marble that now enrich the Neapolitan Museum. 
 
 The excavations were interrupted for many years, but 
 they were resumed in 1828 by order of Francesco I., and 
 they have since been continued as means and opportunity 
 have permitted. 
 
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