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A COMPLETE HANDBOOK
TO THE
NATIONAL MUSEUM
IN NAPLES
ACCORDING TO
THE NEW ARRANGEMENT
WITH HISTORICAL SKETCH OF THE BUILDING AND
AN APPENDIX RELATIVE TO POMPEII AND
. HERCULANEUM.
The originai work by
pOMENICO M.ONACO
CURATOR OF THE ANTIQUITY MUSEUMS
Aulhor of the illustrxted hook entitled " Spocimens front
thS U^aples éMuseum "
ENGLISH editor:
E. NEVILLE-ROLFE ESQ.
B.A.
H. B. M. CONSUL GENERAL
Author oj " 'Pompeii Popuiar and Practical " and other works.
lOth EDITION.
NAPLES i
Santa Maria a Lanzati a Foria, 84
1905.
^WW/WVVyV W/WW <'^ WA\ WW/W W .<^> W/V» W\\VViVN W O \VW W V\ \V\\ W W 'y
{Ali righls of RepfOduclion and Translation rcserved).
THE GETTY RESEARCH INSTITUTE LIBRARY
Halsted VanderPoel Campanian Collection
A COMPLETE HANDBOOK
TO THE
NATTONAL MUSEUM
IN NAPLES
OPINIONS OF THE PRESS
THE ATHENMU(M, Aoo. 35, «883,
" I BEG however , at this season of the year, when people are
beginningto spread over the Continent to recommend "A Complete
Handbook" (and the best handbook we bave ever had) " of the
National Museum of Naples " The originai work is by the Curator
of the Museum; but an Engiish edition, which has rapidly run
through three editions, has been prepared by Mr. E. Neville Rolfe,
B.A With Mr. Rolfe it has been purely a labour of love. He spe»
the whole of last summer in Naples in order to complete it, and
the additions and expianations he has given are so clear and usefut
that with this hook in his band, the Engiish reader may wander
over the Museum alone, without the necessity of Consulting any-
one on the spot. " — H. W.
" This new Guide is the best ever published on the subject.'" —
American Register
" Mr, Rolfe's excellent handbook*' — Daily Telegraph.
Sold by EMILE PRASS hiternational Bookseller
59 and 60 Piazza dei Martiri, near Mess»
Thos. Cook and Son's offices.
8tab. Tip. Lanciano k VKRAi.r.i. — Napoli, Strada S. Sebanliano, 3.
A COMPLETE HANDBOOK
TO THE
NATIONAL MUSEUM
IN NAPLES
ACCORDI NG TO
THE NEW ARRANGEMENT
WITH HISTORICAL SKETCH OF THE BUILDING AND
AN APPENDIX RELATIVE TO POMPEII AND
HERCULANEUM.
The originai work hy
Domenico M.onaco
COBÀTOR OF THE ANTIQUIT7 MUSEUMS
Author of the illustntei book entitled " Spocimens front
the U^aples tMuseum "
BNGLISH editor:
E. NEVILLE-ROLFE ESQ. B.A.
H. B. M. CONSUL GENERAL
Author of '^ 'Pompeii Popular and Practical " and other viorks
lOth EDITION.
NAFLES
Santa Maria a Lanzati a Feria, t-|
1905.
é
e 0 N T E N T S.
page
HisTORiCAL Sketch . . . ,
»
V
Regulations
»
VII
NOTICE
»
IX
Index
»
XI
Description of Collections
»
2
g.o™»k,.ooh{|e;::, :;■■«) : :
7
30
E-eso., \^i,z^ : :
»
49
Upper Floor (East wiiig)
»
63
Third Floor (East)
s«;
IHE GETTY CENTER
UBRARY
PREFACE
Having been miich encouraged by the success
that has atterided the several editions of this
Handbook, I have decided, on account especially
of the re-arrangement of the Museum, to bring
out a new edition, which should give more ampie
assistance to the student without being too
scientific for thè use of the tourist. In this work
I have been cordially assisted by E. Neville
Rolfe, Esq. M. V, O. H. B. M. Consul - General
in Naples, who, for the benefit of his fellow-coun-
trymen, has kindly assisted me, and whose va-
ried reading and indefatigable perseverance
have added very material ly to the vaiue of the
Handbook.
Domenico Monaco
Naples.
HISTGRICAL SKETCH.
The building which is now known as the Naples
Museum was erected to order of the Viceroy Duke
d'Ossuni by Cavaliere Fontana. It was originally
intended for a stable , and was begun in 1686.
The water supply proving insufhcient, the buil-
ding was left unfinished 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
i4th of June , 161 6, after which time it "was
known as the Regi 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 Ferdinand IV, desiring to transform
it into an Archaeological Museum, commissioned
the architects Fuga and Schiantarelli to build the
principal staircase, a work which was completed
by Maresca and Bonucci. It was then he trans-
ported to it ali the specimens now in the upper
story, and others from the excavations at Pompei i,
Herculaneum, and Stabise, as well as antiquities
from the Museum at Capodimonte , which had
been coUected in the main by the Farnese Pope
vili HISTORICAL SKETCH
Paul III, and inherited by Elizabeth, second wife
of Philip V of Spain, the last representative of
the Farnese Family and mother of Charles III
de Boitrbon.
The Bourbons of Naples enriched this magnifl-
cent store of antiquities by purchases , and the
addition of such collections as those of Noja^
Albani , Vivenzio , Arditi , Poli , &c. They also
declared the Museum to be their private property,
independently of the Crown, and gave it the name
of the Real Museo Borbonico.
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 activoly
prosecuted.
Lastly , Victor Emmanuel II , reorganised the
National Museum, and included in it the Cumaean
Collection of the Count of Syracuse presented by
Prince Carignano of Savoy, the Palatina engra-
vings , the tapestries bequeated by the Marquis
del Vasto, together with the medals and dies of
the Neapolitan Royal Mint.
The Museum contains more than one hundred
and twenty thousand specimens, from an inspec-
tion of which the most casual visitor may derive
a clear idea of the manners and customs of the
ancients, as well as of the high civilisation and
luxury to which they had attained.
EEGULATIONS
The Musenin is open to the public.
WINTER SEASON.
From 10 a. m, to 4 p. m. on week-days from Noverabei*
Ist to Aprii 30tb.
SUMMER SEASON.
From 9 a, m. to 3 p. m. from May Ist to October 31 st.
Entrance, 1 frane; children half-price.
Free on Sundays from 9 to 1.
THE MUSEUM IS CLOSED ON THE FOLLOWING
DAYS: —
January Ist,— iNew Years' Day.
January 6tb,— The Ephipany.
January 8th, — The Qneen's Birthday.
Movable feasts — Easter Day.
— — — Ascension Day.
— — — The Festival of Corpus-Christi.
The first Sunday in June (National statate holiday).
June 29, — Feast of SS. Peter and Paul.
August l5th,— The Assuinption.
September 8th,— The Nativity of the Virgin.
September l9th, — Feast of St. Januarius, Patron of
Naples.
September 2jth, — The entry of the Italian troops
into Rome.
November Ist,— Ali Saints'Day.
November llth,— The King's Birthday.
December 8th, — The Immacnlate Conception.
December 25tb, — Christmas-Day.
NOTICE
On the first flloor is a sale-ioom where catalogues,
illustrateci albums, photographs, and copies of the pictu-
res are sold at fixed and moderate price.
The plaster casts are officially made by the Museum,
and are ali made from piecemoulds taken off the ori-
ginals.
The following abbreviations are occasionally adopted: —
F. Farnese Collection.
H. Herculaneum.
P. Pompeii.
Specimens marked with an asterisk (*) are illustrated
in Mr. Monaco's large work entitled « Specimens from
the Naples Museum, » price 35 francs. See advertise-
ment on back of cover.
Other specially remarkable specimens are marked with
a daggcr (f).
INDEX
The building consists of Ground-floor with Basement,
Entresol, the Second Story, and the third Floor.
The great hall — Vestibolo
1. The centre Hall page 2
2. Left aisle of the Vestibule ...» 4
3. Right aisle of the Vestibule . . » 5
Ground-floor. — Eaìst Wing
4. First Portico — Marble sculptures . » 7
5. Inner Halls » 9
6. Mosaics » 10
7. Second Portico— Marble sculptures (Hall of
Flora) ........ 15
8. The Farnese Bull and Hercules . . » 18
9. Third Portico — Marble sculptures {Hall of
Venus Callipygus and Diana of Ephesus » 21
10. Inner Halls — Marble bas-reliefs and frag-
ments > 23
11. Eg.yptian CoUection — Mummies. . » 26
Gkound-floor — West Wing.
12. First Portico— Busts-Greck and Roman O-
rators ........ 30
13. Second Portico — Emperors . . > 32
14. Inner Halls — Busts {continued) . , » 35
XII
INDEX
»
38
»
39
»
40
»
41
»
42
»
45
ING
»
49
)
61
15. Hall of the Great Mosaic .
16. Hall of Apollo .
17. Hall of Isis ....
18. The Large bronzes sculptures
19. The Pompelan bronzes
20. The Herculaneum bronzes .
Entresol — East Wing
21. Ancient frescoes .
22. Reserved cabinet (Oggetti osceni)
Entres(>l — East Wing
The Direction of the Museum . . »
23. Fullers pillar and Pompeian colours . » 63
24. Articles of food from Pompeii . . » 65
25. Small Bronzes. (Utensili domestici) . ». 66
Third floor
26. Terra-cotta vitrified, and pompeian glass » 86
27. Tazza Farnese — Gold ornaments and Silver » 89
28. Roman and Greek armour . . . ^^ ft ^^^
29. Papjrus Collection . . . . » v- 97
30. Cameos and intaglios .... » iQO
31. Coins and Medals » 109
32. Santangelo Collection . . . . » 111
33. Italo-Greek Vases . ...» 112
34. The Cumasan Collection ...» 122
So. Appendix — Sketch of Pompeii and Her-
culaneum « 125
A COMPLETE HANDBOOK
TO THE
NAPLES MUSEUM
THE GREAT HALL — vestibolo
INTRODUCTION TO THE STATUARY.
To attempi to compress a historj of the art of sculpture
which covers many centuries into a few lines , is to
take in band an impossible task. Its rise was very
graduai, and its origin probably religious. In the earliest
times a block of wood or stono was worshipped as the
symbol of the divinity. Later an attempt was made to
carve the human head upon the block, and the limbs
followed in course of time. But it was probably many
centuries before there was anything like precision of
execution , or correct anatomy such as we see in the
Golden Age of Greek statuary , of which Phidias and
Praxiteles were the exponents. These artists conceived
ideal types for the representation of the special chara-
cteristics of gods and heroes, and spoke as much to the
mind of the beholder as to bis eye. To understand their
statues we must follow the mind of the artist and trace
the idea he meant to convey. We must centrasi the
4 THE GREAT HALL , '
dignity of Hera with the gravity of Pallas , the easte
sprightliness of the maiden Artemis with the insinua-
ting attractiveness of Aphrodite, the beauty of the young
Apollo with the effeminacy of the young Dionysius, the
manliness of Ares with the power of Zeus, the joviality
of Silenus with the mischief of Eros.
The scuipture in the galleries before us is mainly of
'the Roman period and was either colleeted by the Far-
nese Pope Paul III and brought bere from Rome , or
found in the buried cities, Roman Art was purely imi-
tative, and its characteristics consequently were inferior
te the creative art of the Greeks. Their work however
is not uninteresting to the student and some of the
Archaistic specimens which survive to us are no doubt
survivals, perhaps even copies of genuine Archaie
statuary.
CENTRE HALL OF THE VESTIBOLO
MARBLE SCULPTURES
A LiON in marble, full of life. (Farnese).
On the righi and ,on the left,
2400-1. Two lofty columns of cipollino with pseudo-
archaic inscriptions, found near the tomb of Ccecilia
Metella, in Via Appia atRome and carried to the Far-
nese gardens in the sixteenth century.
On two pedestals of the centre of the great ball are:
two large statues, representing (6122 and 6116) a Da-
cian King downcast at being compelled to grace a Roman
triumph. (Farnese).
5965-66-69-70. Four statues of Roman Consuls. (H.)
(On the left). 6780. A pkdestal in honour of Tibe-
rius erected by the fourteen towns of Asia Miilor, which
VE STI HO LO Ó
he had rebuilt after an earthquake. (a. d. 17). Tac. An.
2-47. The towns are personified with thelr names writ-
ten below tlie figures — Philadelphia, Imolus, Cibyra,
Myrina, Ephesos, <&c. [Pozzuoli).
(Opposiie). 2608. Another pedestal in honour of Ve-
■spasian with arabesques.
{On the right). 6232. Eumachia. This pleasing statue
stood at the upper end of the Exchange at Pompeii. Ac-
cording to the inscription on the plinth it -uas erected
by the Fullers of Pompeii to Eumachia, daughter of
Lucius, public priestess.
(Oppostte). 6233. Marcus Holconius Rufus. A statue
in a tunic adorned with fine bas-reliefs. Finely sculptured.
On the plinth is inserì bed « m. holconio m. e. rufo
TRIB. MIL. A POPUL. II VIR. I D. V. QUINQUIN. ITER AUGUST.
caf:saris sacerd. patrono coloniae» To Marcus Hol"
coniiis Rufus, son of Marcus, a duumvir and magi-
strate for the fifth time ; for the second time quin-
quennalis ^ a military Tribune elected by the people,
a priest of Au^ustus, a chief of the Colony. {Pompeii).
{On the left). 6235. Svedius Clemens. A small statue.
On the plinth is inscribed « ex auctoritatìe imp. oaesaris
VESPASIANI AUG. LOCA PUBLICA A PRIVATIS POSSKSSA SVEDIUS
CLEMENS TRIBUNUS CAUSIS COGNITIS ET MENSURIS FACTIS
REiPUBLiCAE POMPEIANORUM RESTiTUiT. » By the uuthority
of the Einperor Coesar Vespasian Augustus, Svedius
Clemens the Tribune having heard the causes and made
the measurements restored to the Republic of Pompeii
the public lands vohich had been taken possession of
by private persons. »
... A statue of a Roman Consul. {Pompeii).
{On the left). 2609. Large pedestal erected to cele-
brate the peace and the Victory of Vespasian. {Rome).
4 THE GREAT HALL
2610. Large rectangular pedestal upon which are eight
columns of one hundred names of the tribes ; and on
the other side the names of the Consuls in whose time
the monument was erected to celebrate the peace of
Vespasian. (Rome).
5983-84-87-88. Four statues of Roman Consu's.(iZerc.)
LEFT AISLE OF THE VESTIBULE
Begìnning front the entrance
*5960. Urania. Colossal statue. (Pompet/'s Th. Rome).
On the toall,
Fiom 6788 to 6791. Ornament of the door of the
Exchange at Pompeii, — arabosques; birds, insects, and
difFerent reptiles admirably designed. (Pompeii).
(In the sides). Two Roman tombstones.
5965-66-69-70. Four staiues of Roman Consuls. {H.)
{In the centre). 68(56. Marble lustrai basin supported
of three Sphinxes. {Pompeii).
Four statues of Roman Consuls. {Herculaneum).
{On theleft). 6776. Sarcophagus. Triumphof Bacchus.
6168. VioiRi^ Archas, the mother of Bai bus, identified
by the inscription found upon the plinth. {Herculaneum).
6244. Daughter of M. Nonius Balbus. A statue. {H.)
{In the centre). *6211. Marcus Nonius Baluus the
elder, identified by the inscription found upon the plinth.
This equestrian statue is as fine as that of bis son opposite
to which it stood in the Basilica {not the Theatre of
Herculaneum). It was found without the head and one
band, which were replaced by Canardi , and modelled
from the statue of Balbus (6167) in the right aisle of
the Vesti buio.
VE»T,HOLO 5
{On the righi). 6248. Daughter of M. Nonius Balbus.
{Herculaneum).
{Opposite). 6246. M. Nonius Balbus, the son. A statue.
(^Herculaneum).
6605. A sarcophagus. On the chief surface are the
portraifs of a man and his wife. {Farnese).
6394. Clio, the Muse of history. Statue. {H.)
6398. Euterpe. A statue with a finte. {H.)
... Unknown. Statue. A ring on the left finger bears
the lituus the emblem of the Augurs.
6870. Lustrai basin. (Pompeii).
5975. Genius of the Roman people. Colossal statue. (F.)
RIGHT AISLE OF THE VESTIBULE
Beginning from the entrance
5993. Alexander-Severus. Colossal statue. {F.)
{On the sides). Two Roman tombstones.
6252. Sulla. A fine statue holding a papyrus. (P.)
{In the centre). A fine « Tazza » in « rosso antico »
supported upon a Siren whose tail is twisted round a
column. *
6705. A SARCOPHAGUS representi ng Prometheus, having
created a man, in the presence of Jupiter Juno, Mereury,
and Neptune, with their attributes. {Pozzuoli).
{In the right). 6167. M. Nonius Balbus, the father.
Statue. [H.)
{Opposite). 6242. Daughter of M. Balbus, Statue. {H.)
{In the cew^re). 6105. Marcus Nonius Balbus, ywneor
He rides after the Greek fashion, without saddle or stir-
rups. This statue was 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
6 THE GREAT HALL
as now seen was modelled by Brunelli. It is probably
the fìnest marble borse of ant'quitj. (Herculaneum).
{In the right). 6240. Chastity. A statue finely veiled.
{Herculaneum).
{Opposite). 6249. Daugbter of Nonius Balbus. A sta-
tue. {H.)
111070. Sarcophagus representing Diana and Endj-
mion found in a house at Sant' Antimo, near Naples,
where it was used a water-trough. Roman sculpture.
6047. Livia. A well-draped statue. (Pompeii).
{In the right). Two statues of priestesses , holding
a small perfume vase. {Pompeii)
6083 and 6250. Two Roman ladies beautifully draped
statues. (Herculaneum).
(In the centre). Lustrai basin \n paonazzetto marble.
5978. Flora. A colossal statue gracefully draped. (F.)
(On the sides). Two Roman tombstones with inscrip-
tions.
On the staircase
5976. The Ocean, seated statue. (Farnese).
5977. The Nile. (Farnese).
6267. JuPiTER. A colossal demi-figure. {Cuma-).
MARBLE SCULPTURES 7
GROUND-FLOOR — East wing
MARBLE SCULPTURES
FIRST PORTICO
We (lescribe the sculptures in this gallery not in
arithmetical sequence, but as tliey are arranged.
6536. A MAN with his dog. An Archaic sculpture
from Asia Minor. [Farnese).
6256-7-8. Apollo. Busts. (Pompeu).
*6007. Pallas. An archaie statue considered one of
the finest extant. She wears a helmet adorned with a
fierce gryplv^n, like that of her statue in the Parthenon.
[Herculaneum ) .
(/n the cent re). 6009-10. Harmodius and Aristogeiton.
Two celebrated friends who delivered Athens from the
tyrannj of the PisistratidtC (b. c. 510). They are repre-
sented in the act of killing the tyrant Hipparchus. (F.)
{In the centre). 6416. The farnese gladiator. A statue
in true Grecian style. Faint with agonj, his trembling
knees hardly support him. He has received his death-
wound in the heart , and staggers under it. The half-
opeii lips show the difficulty with which he draws his
little remaining breath, and the eyes bespeek the depth
of his agony. This statue seems as if the unfortunate
victim were about to fall at our feet. (Farnese).
[In the centre). 6006. Orestes and Electra. A group
remarkable for its style, the simplieity of its attitude,
and the likeness between brother and sister. Electra is
instigating Orestes to murder Clytemnestra. (Herc.)
*6008. Artemis. a small statue sh'iwing traces of
8 GROUND FLOOR — EAST
gilding. [Torre Annunziata, near Pompeii).
6408. A gladiator. A statue. {Farnese),
109621. Unknown female bust with remarkable liead-
dress. {Pompeii).
6373. Indian Bacchus. A Term. {Farnese).
6324. Indian Bacchus. A Term. [Stabicc).
Continuing straight on^ tee come to an adjoining hall,
119917. (In the centre). Very fine statue of a young
BOXER in repose wearing the coistus , or Ioaded boxing
giove. Beside him is a small Term. On the plinth is the
Greek iuscription, A^POàlIlErE KQBANOS EIPPA-
SATO. (1889, Sorrento).
{In the righi, on a columti). 6417. Indian Bacchus. A
Term. [H.)
6410. A gladiator. A statue. {Farnese).
6419. Indian Bacchus. A Term. [Herculaneum).
6411. Protesilaus. Wounded in the thigh. {H.)
6270 and 6272. Two fne heads of Bacchus with ti
fìllet. (F.)
6310. Indian Bacchus. A bust. {Pozzuoli).
Beturning to the first corridor, we euter the
MARBLE SCULPTURES 9
INNER HALLS
FIRST HALL
{On two pedestals). 6282 and 6322. Two fine heads
of Pallas. {Herculaneum).
... Female statue beautifiiUy draped.
(In the window). 111387 and... Two female statues
with seent bottles in their hands.
SECOND HALL (Left side)
In this hall are marble objects of the first importance
on' account of their antiquity. They were found at the
ancient town of Locris. Observe in the centre:
Two DioscuRi on horseback in terra cotta. Found in
the Ten)ple of Castor and Pollux to Locris.
In two cases supported on Griflins in the Pompeian
style, are statuettes, heads, terra-cotta objects and some
Corinthian vases.
Fine Corinthian column from Locris.
THIRD HALL
(On the Wall). 6727. Orpheus, Eurydice, and Mercuri:-
(Names in Greek.ì The expression of Eurydice is
charmi ng. Bas-relief. {Noja Collcction).
[On the left). 6121. A priestess. A statue. (Pompeii).
{On tioo columns). 6303-4. Pallas. Busts, (Pompeii).
6396. A priestess. Statue. (Herculaneum).
6261. Apcllo seated on the Omphalos. (H.)
{On a columns) Fine head of Apollo
{In the centre). 6369. Venus, or an ideal head.
6024. Pallas. A fine statue wearing a doublé mantle.
The helmetariorn- d wiih two Pegasi and a Sphinx. (F.)
6395. Euterpe. A statue with a flute. {Herc.)
6123. A PRIESTESS. A statue. (Pompeii).
Meturning ihrough the thìrfi and fourth Hall we reacit the
10 GBOUNb FLOOR — INNER HALLS
FOURTH HALL
HALL OF JUNO
(Next to the hall of the Mosaics)
(In the centre). 6005. Hera. This archaic bust is ac-
cepted as the best embodiment of the earnestness, dignity
and grace that characterized the celebrated Hera of Ar-
gos, Poljcletus best work. (Farnese).
6107. A PRiESTESs. A small statue. (Roma).
{On the sìdes). Two female terms.
{On the left wall). 6715. Pedestal representing three
Caryatids. At the foot of a tree is seated a woman clad
in the Dorian fashion, leaning on her right arni, and
in evident grief. On each side is a Carjatid wearing a
tunic. Altorilievo. (Avellino).
On the right wall, oj^posite
6725 Seven girls hand-in-hand in bas-relief. (Nanie*
in Greek). [Herculaneum) .
6011. DoRYPHORUS, or picked lancer from the body-
guard of the king of Persia. Statue. [Herc.)
6412. DoRYPHORus OF Polycletus. A Term. (P.)
6164. Agathocles? Bust. (Farnese).
At the further end of the hall ice find the
MOSAICS.
Mosaic pavement was first introduced into Italy by
Sulla about n. e. 80 , and he ordere i the fioor of the
Tempie of Fortune at Proeneste to be made of mosaic.
In the centre (on the floor).
...Strengthconquered I5V love, a mag lificent mosaic
of a lion chained to a rock, witli two Cupids deriding
h:m. On each side, a woman seated. The border is an
elaborate cable pattern in several colours. (House of
the Centaur, Pompeii).
MOSAICg 11
To the left of the window ,
9977. Faun and Bacchante dancing. Yellow and
blaek raarble. (Pompeii).
9978. Skeleton, with a vase in each band. (H.)
9979. Spirited Bacchio sacrifice inlaid in marble.
109679. A comic Mask. (Pompeii).
*9980. A Francolin partridge stealing a jewel from
an open basket. (10 in. X 1 in-) {Pompeii).
9981. Harpy represented from the waist upwards
as a woman with wings; ber legs are those of a bird.
She carries a vase in ber right band, and wiib ber left
steadies a basket whicb she carries on ber head. A
Cupid carrying a cup flies after ber, and she is preceded
hy a bird flying towards a tree. {Herculaneum).
109982. Allegory of Human Life, found in the ta-
blinum of the House of the Tanners at Pompeii. The
square placed in the form of the letter A indicates the
Greek « Alpha » the beginning of ali tbings, as in Rev.
i. 11. Tbis is supported hy a spear and purple drapery
to signify youth on the one side, and a staff and wallet
to indicate age on the otber; wbile the skull represents
deatb, the butterfly the soni, and the wheel the changes
and cbances of human life. (Pompeii).
*9982. After the Cock-fight. In the centre of this
mosaie are two game-cocks, one bleeding and vanquisbed.
the otber victorious. The owner of the vanquisbed bird
and bis atteiidant are weeping, while the owner of the
winner and bis servaiit bear a garland and palm-brancb
for ilie victorious bird. (1 ft. 6x1 ft. 5). {Pompeii).
109687. Mask of Silenus. (1873, Pompeii).
9983. DucKS plucking lotus flowers. {Pompeii).
9984. A Mountain Deity. A youthful god seated on
a rock, holding a sceptre in bis left band, pours water
12 GROUND FLOOR INNER HALLS
from a vase, in the centre of the picture, with his right.
Two companions are with hitn. (fferculaneum).
9986. Choragium, the « Green-rooin » of the ancient
stage. An elderlj Choragus is seated and is posing two
actors. One of tlie masks not yet in use is intended for
Silenus, the other (a beardless one) for Bacchus. In the
background an attendant is putti ng a loose robe upon
an actor, whose mask lies on the table. An ivy-crowned
figure is playing the doublé tibia and an attendant stands
behind. (1826, House of the Tragic Poet, Pompeiì).
9887. A Comic Scene by Dioscorides. Signed in the
left corner. Masked actors at table. (1747, Pompeiì).
9988. Lygurgus flying from a pan the r who defends
a Bacchante. An attendant of Bacchus in the background
is threatening bini. (Herculaneum).
.... Two largo mosaics representi ng various kinds of
ducks, and lotus flowers, found in Pompeii.
Neor the wìndow,
114281. Fine mosaic of six doves hovering around a
bowl of water. The birds are of life size, and the border
is of various fruits beautifully grouped, (1885, Pompeiì).
129619. Quadriga. A fragment. (Pompeiì).
9989. Bacchus. The god is represented leaning against
a rock, with his thyrsus and cantharus. {Here.)
9990. The Nile. A magnificent mosaic, representing
ihe sacred Ibis, a hippopotamus, a crocodile, ducks, lotus
llowers, and (in the left corner) a mongoose fighting a
cobra. {House of the Faun, Pompeii).
114282. A LioN. (Pompeii).
9991. AcRATUS ON a Pantheu. Group representing a
panther in a graceful attitude, covered with a small
chlainys, wearing a garland of vine leaves and grapes,
treading a thyrsus under his feet, and ridden by a
MOSAICS 13
charming winged Genius crowned with ivy, holding a
red cord as a bridle-rein in his left band, and a cup
to his lips with his right. Around is a mosaic border
of fruits and flowers intertwined with eight tragic masks.
This again is surrounded by anotber border. One ean
hardly believe that this beautiful work of art was made
to be walked upon, and formed part of a pavement.
[House of the Faun, Pompeii).
*9985. A Comic Scene, representing tliree actors
playing on the tambourine, cymbals , and doublé tibia.
A dwarf behind holds a horn in his band. The two
fìgures on the right are dancing. This is one of the
fìnest pieces in the collection, being full of action and
life. In the left corner is the inscriptionAIO^KOYPI^HS
SAMlOi EnOlHSP], made by Dioseorides of Samos.
9992. Thkee Parrots perched on the edgc of a bowl
with water in it watcbed by a cat. [Pompeii).
124666. Beautiful portrait of a youug girl. (1899, P.)
*9993 A KiTTEN KiLLiNG A Chicken. Tbls niosaic is
mudi adniirel l'or the style of its work and its bright
colouring. {House of the Faun, Pompeii).
9994. A Festoon of fiowers , fruits , and leaves,
wreathed upon two comic masks. This superb mosaic
formed the thieshold of the House of the Faun. [P.)
9995-6. CoLUMNS made of concrete and covered with,
designs and fìgures in glass mosaic. The bases and
capitals are adorned with shells, and the execntion of
the mosaic is much admired. (1838, House in tUc Street of
the Tombs, Pompeii).
120177. FisHEs. A large panel represenriny varicus
kind of fìsh, ali caught to this day in the bay of Naples.
The border of this mos ne is of surpassing beauty. (P.)-
124545. The mosaic of the philosophers. One iS seated
14 GROUND FLOOR — INNER HALLS
with a papyrus, and around him six bearded philosophers
in discussioii. The Areopagus of Athens in the distance.
This is one of the most important mosaics in the collec-
tion. (1898, Pompeii).
9998-9 Water Birds. (Pompeii)-
10000-1. Two columns in glass mosaic. (Pompeii).
.... White and black mosaic, in the centre is a cir-
<>uUir design around which four ducks with outspread
wings forni a franie. (Pompeii).
9997. FisHES. A mosaic similar to 120177.
10003. DwARF feeJ.ng two game-cocks anJ holding a
paini branch out to one of them. [Pompeii).
The Wall opposite the window,
10004. The Three Graces. (Baiae).
10005. Phryxus and Helle, the latter falli ng from the
ram into the water. The colouring is splendid. (H).
10006. Spirited mosaic representing Achilles drawing
his sword to attack Agamemnon, who is seated before
him. Athene seizes Achilles by the hair. {Pompeii).
10007. Wedding of Neptune and Amphitrite. They
are seated in a car drawn by Tritons playing the tibia
■and the lyre. (1870, Pompeii).
110666. Black dog on a chain. {House ofVesonius,P.)
10008. Large niche for a fountain. {fferculaneum).
1122S4. Large black and white Mosaic, with head
of Medusa in the centie. (1879, Pompeii).
Nexl wall,
10009 and lOOll. Two Tritons. {Pompeii}.
10010. A Boxer armed with the « c.estus » a loaded
boxing giove or « knuckle-duster », used in Roman prlze-
iìghts. {Herculaneum).
10012-13. Two Candelaura on a blue ground. (P.)
10014. Niche for a fountain; beneath , a cock and
pomegranates. ( Herculaneum).
MARHLE SCULPTURES 15
Last Wall,
10015. Two ducks. (Pompeii).
10016-17-18. Theseus and the Minotaur. {Pompeii).
106678. Female figure with bangles on her arins, lea-
ning against a coluinn in giallo antico. (1873, Pompeii).
Beturning to the corridor^the passaye onthe righi leads to the
SECOND PORTICO
HALL OF FLORA
MARBLE SCULPTURES (continued)
(In a niche). 6360. ^sculapius. A colossal statue. {F.)
{In the centre). 5999. Neoptolemus hearing Astyanax.
Oolossal statue. {Rome).
{On the righi). 6269. Cere?. A richly draped statue.
{Farnese).
{Opposite). 6077. Domitian (a. d. 96), the last of tiie
Cnesars. {Farnese).
6271. Neptune Avith a dolphin. A statue. (Pces/wm).
{On the right). 6399. Thalia. A statue. The Muse of
comedy, {F.)
6378. Mnemosyne. The niotlier of the Muses. {H.)
6404. PoLHYMNiA. A statue. The Muse of rhetorie. ( H.)
{Opposite) 6273. Ceres holding a torch and an ear of
coni. A statue, {l'arnese).
6356-7. Ariadne. Terms. {Stabiae).
{On the right). 6288. Venus in the attitude of the « Ve-
nere dei Medici ».
(Opposite). 6358. Paris with a dog. (Farnese).
{On the right). 6295. Venus parti y draped. Besìde her,
Cupid. {Pozzuoli).
In the centre
6409. Flora Farnese. Colossal, attributed to Praxi-
teles, one of the most interesting of ancient statues. The
attitude is so naturai that she seems to move; a trans-
10
GROUND FLOOR
parent robe covers ber. The head, the left arm , and
the feet are modem. {Baths of Caracalla, Rome).
(On the righi). 6301. Venus with dolphin. A statue. (F.)
iOpposite). 6351. Ganymede and the eagle. A group. F.
6196. Female bust. {Farnese).
6316. Bacchus with a panther. A statue. {Farnese).
6311. Bacchus with a panther. A statue. (Farnese).
6328 and 6330. Two laughing fauns. Busts. (P.)
{In the centre). 6276. Diana the huntress. A statue.
A hind pursued bj a greyhound is beside ber. (F.)
Beturning from the centre of this Portico we enter the
GREAT HALL
{In the centre). 6027. Juno. One of the finest statue»
of this goddess. She is robed in a flowing mantle. (F.)
{On the rtght). 62ÒÒ. Apollo with lyre and plectrum.
A statue. (Farnese).
{Opposite). 6391. Niobe's daughter. A draped statue.//.
{In the window). 6353. Cupid. Like the Cupid of the
Vatican. (Farnese)
6308. Indian Bicchns. Beautiful hn&t. (Farnese).
{On the leali). 67X3. Feast of Icarius. A very fine
bas-reli«f, (Capri).
HALL rV VENUS VICTRIX
Lert side
{On the left). 6350. A Satyr crowned with ivy. (F.)
(Opposite). 6361. Venus. A head. {Farnese).
*6017. Venus Victrix. An admirable work , much
praised by Winckelinann. The limbs are supple , the
attitude elegant, and the whole composition lifelike. She
treads under foot Minerva's helinet, and bears on ber
brow Juno's diadem. The arms are a restoration by
Brunelli. It is in tho style of the « Venus de Milo » in
the Louvre. (Capua),
MARBLE SCULPTURES 17
6016. Adonis. a fine statue much restored. (Capua).
*60I9. PsYCHE. A fragment attributed to Praxiteles.
The idea eonveyed bj ber name, wbieh signifies. «The
Soul » has been embodied in this cliarming work which
combines grace of forni and beauty of feauture, with pen-
sive melancholy and sweetness of expression. (Capua),
{On the left loall). *6682. The Persuasion of Helen.
The fignres are ali named, and the work is considered of
great merit. [Noja Collection).
{On column in cipollino marblé) 6274. Jupiter Ammon.
A bust. His hair waves round the horns that sprout
from bis head. (Herculaneum).
(On column in cipollino marble) 6320.Pallas. Bust. H.
On the left, in the centre).* \iQ22 Faun. earrying the
infant Bacchus. Fine group found in the Agro Romano.
{Farnese).
6329. Pan teaching Olympus to play panpipes. (F.)
[On a yellow column) 6333. A Satyr crowned with
ivy. Bust. {Farnese).
6318. Bacchus. This magnifieent statue of the time
of Hadrian is known as » the Farnese Bacchus ». {F.)
6332. Satyr holding grapes. A sinall statue. {F.)
6325. Satyr as Bacchus with a panther. A statue. (P.)
6331. Satyr holding grapes. A statue. {F.)
6313. Ariadne. a head. (Farnese).
6326. A smiling Faun, full of expression. (P.)
6307. Bacchus and Cupio. A fine group. {F.)
6254. Apollo seated with lyre. A statue (jP.)
6392. Hercules. A Term. (Farnese).
6393. Term of a woman. Without head. {F.)
18 GROUND-FLOOR
THE FARNESE BULL
*6002. This celebrateci groiip represents Dirce's pun-
ishment. It is the work of two famous sculptors of Ionia,
Apollonius and Tliauriscus , who flourished before the
reign of Augustus. The sons of Antiope are striiggling
to cast the bull and tie the ill-fated Dirce to bis horns.
Antiope stands by, encouraging them. On the base, in fine
bas-reliefs, a shepherd's scrip against a tree, a syrinx,
a basket, and several wild animals. This group was found
Avith the Hercules by Paul III in the baths of Caracalla;
it had been brought from Rhodes to Rome by Asinius
Pollio who died. a. d. 4 , (PHny xxxvi iv. 10). It has
been much restored. (Base 10 ft.xlO ft.).
Opposite at the other end, (right side)
HALL OF THE FARNESE HERCULES
{On a colwnn in cipollino marhle). 6260. Jupiter. A
head. {Farnese).
( On a column in cipollino marbìe). 6138. Unknown;
possibly Virgil. Bust. [Farnese).
6001. Farnese Hercules. The School of Polycletus, of
which Lysippus was an exponent followed the physical
style of their master and sought to portray bodily sym-
metry and athletic strength. Glycon wasadisciple of this
School, and was the artist of the sculpture before us, w^hich
is signed «rAYKQX AOHNAIOC ElIOlEl. » According
to Muller, he did net devote himself to originai work,
but was a copyist of importantstatues, like tlie celebrated
Hercules before US. The Demigod is resting on bis club,
after taking the apples of the Hesperides, which he holds
in his right band behind liis back. One halfof the fore-arm,
the left band, and the eyes are in plaster.
Tlie statue was brought by Caracalla from Athens to
Rome, was found in his baths in 1540, and brought to
MARBLE SCULPTURES 19
Naples in 1786, When found it was without legs, and
Cardinal Farnese liad them restored by Della Porta:
Michael-Angelo having declined the commission, saying
he was not wortly to make so much as a finger for so
noble a statue. In 1560 the ancient legs were placed
in the Museum of the Villa. (Height 9 ft. 9 in). \f.)
{On the righi). 6034. Torso of Bacchus. A celebrated
fragment identified by bis curlj loocks. {Farnese).
*6035. Torso of Venus. An originai Greek work exe-
cuted about the time of the Cnidian Venus of Praxite-
les. (Roms).
...Torso of Mars from the Villa Ludovisi at Rome.
Copy of a Greek originai of the first Century b.c.
{In the toindow]. 6355. Ganymede and the eagle. A
fine group. (F.)
{In the window). *6026. Nekeid. The nymph, seated
on sea-monster, is gracefully holding up ber band. A
masterpiece of Greeian , sculpture, but much restored.
(^Posillipo).
{On the sides of the Hercules on columns). 6359'
^.sculapius? Bust, and 6275. Bust of Neptune. (F.)
HALL OF THE GAETA VASE
124325. Marble Sarcophagus representi ng Achilles
in Scyros dressed as a girl , and the centaur Chiron
seated at bis side. Inscrìbed MetIlia Torquata. (Atella).
(On the Wall). 6728. Bacchus seated. Bas-relief. (H)
6670. A Pnteal with reliefs of Jupiter, Mars, Apollo
y^ilsculapius, Bacchus, Hercules and Mercury. (F.)
6675. A Puteal representi ng a bearded Silenus pre-
siding over the vintage performed by Satyrs , one of
whom is putting grapes into the winepress, others are
working the lever and carrying grapes in baskets. {Fran-
cavilla's garden).
20 GROUND- FLOOH
{On the Wall). 6724. A Bacchante struggling wlth a
Faun. Bas-relief. (Herculaneum).
{In the centre). *6673. The «.Gaeta Vase-» a first-rate
work, executed according to its inscription by Salpion
of Athens , an artist of whom nothing is known. The
bas-reliefs on it represent Mercury giving the infant
Bacchus to the nymph Nysa, wlio stretches out her arms
to receive him. These figures are followed by Fauns
and Bacchantes playing on the fiageolet and cymbals.
{Gaeta).
6778. Marble vase with spirai handles representing
the return of Proserpine from Hades, with Bacchus^
Mercury and Ceres. {Farnese).
6779. A fine vase representing a Bacchanal. {Stabiae).
(On the Wall). 6726. Bacchus with a Faun going be-
fore him, and playing on the doublé tibia, while a Bac-
chante dances to the music of a tambourine Avhich she
holds aloi't. Bas-relief. (Farnese).
The passage to the two adjoinirg small rooms.
6296. Venus. A small statue. At her side Cupid. {F.}
6218. Realistic group representing two men scalding
a hog over a tub. {Farnese).
6406. Hercules and Omphale. An allegory of strength
conquered by love. (Farnese).
Small room
6012 to 6015. (In the centre). An Amazon, and round
the room, Typhaeus, a Persian, and a Gaul. Four small
recumbont statues on pedestals, which formed part of
the gifts sent by Attalus, king of Pergamos to the
Athenians. (Farnese).
6405. Mounted Amazon. An expressive statue. (F.)
MARIU.E SrULPTURES 21
6407. MouNTED Warrior. Parrying the blows of his
enemy. {Farnese).
Next small room.
HALL OF VENUS CALLIPYGUS
[In the cent re). *6020. Venus Callipygus. A partly
draped statue representing a legendarj Siciliaii love
story. It has many admirers, but the severer school of
accademical criticism handles it rather roughly. It has
been much restored by Albaceini. (Heigt 4 ft. 4 in.)
(Golden House of Nero, Rome).
Round the room
6289. Venus. Head. (Pompeii).
*6286. Venus. In the attitude of the « Venere dei
Medici* (Farnese).
6339. Sleeping Cupid. A small statue. {F.)
*6293. Venus crouching, \\'\i\\ Cupid behind ber. (F.)
6297. Venus crouching. She holds a scent-bottle. [F.)
6284-5. Venus. Heads. (Pompeii).
6283. Venus leaving the bath. A statue. (F.)
lieturnhuj ih rotigli the Hall of the Hercules we turn to the
right in the portico which leads to the Vestibule
THIRD PORTICO
HALL OF DIANA OF EPHESUS
0385. Meleager, in rosso antico. A small statue. (F.)
6262. Apollo Musagetes, in green basalt. Colossal
statue. (Farnese).
... A fllying figure of Venus without head in grey
marble.
6118. A young Phrygian on his knees. A small co-
loured marble statue. (Farnese).
6280. Diana Lucifera. A statue. Slie holds a torch.
(Capua).
22 GROUND-FLOOR
(On the riijht wall). 6723-6764. Vow to Mithras.
Sacrifice of a bull, Bas-reliefs. {Capri).
*678l-2. Two largemarble candelabra with triangolar
bases snpported on chimferas. {Farnese).
6115-6117. Phrygians in paonazzetto marble. Two
colossal statues. The extremities are in black marble
called paragone. {Farnese).
In the centre
6278. Diana of Ephesus. A statue of Orientai alaba-
ster with bronze extremities. The goddess wears a tower
on her head and an aureole decorate J with eiglit
griffins. Round her neck a collar of cereals fringed with
acorns, and female figures in bas-relief. Three lions are
upon each arm , and between the arms the numerous
breasts sjmbolical of her nourishing the world. Her skirt
is covered with mjthical animals. (F.)
Two Cinerary urns with inscriptions.
6370. Isis. A statue ia grey marble. She holds the
systrum. {!• arnese).
6368. Ceres, in variegated marble. A statue. (Naples).
6372. Isis in grej marble, holding a bronze systrum
{Farnese).
981. AisuBiswith the head of a jackal. Marble statue;
mutilated. {Pozzuoli),
975. Serapis. Marble statue seated and clad in a tunic
with his band on the head of Cerberus. {Pozzuoli).
2929. Sepulchral tombstone with bas-relief represen-
ting Isis holding in her band the Systrum.
... Cinerary urn with bucrania aiid arabesques.
... Sarcophagus with bis-relief of two Satyrs holding
a medallion wiih portraif, of a woman.
{In the centre). 6281. Apoll<». A colossal seated statue
in porphyry.
From the centre of tliix l'ortica, ire enter the
MARBLE SCULPTURES 23
INNER HALLS
Marble Scuiptures, Bas-reliefs and fragmenis.
FIRST ROOM
(In the centre). 6672. Trapezophora representing a
Centaur earrying Cupid and playing a pan-pipe , and
Scylla with the remains of a human victini entwined
in her tail. [Villa Madama, Roma).
6676. and... Four Puteals with winegarlands and iw-
crania. [Farnese).
{In the four corners). 6363-4-6-7. Four colosssl busts
open-mouthed. {Farnese).
On the right wall, in the window
6687. Comic scene. Freni an ancient play. The stage
and scenery are interesting. Bas-relief. (Pompeii).
6688. Apollo and the Three Ghaces. {Alto rilievo).
On the left Apollo with his lyre near a female figure
playing the cymbals, On a bed two other Graces one
seizing the lyre, the other kneeling. This sculpture is
a gem. (Found at Ischia).
...Reversible discs or medallions which were suspended
by chains between the colunins of the Pompeian houses.
Opposi te Wall,
6690. A woman feeding a parrot. Bas-relief. {P.)
6691. TiBERius and his mistress on horseback. A
slave leads them towards a statue. Bas-relief. (Capri).
6679. ^Dipus and Antigone ofFering a sacrifice at the
groves of the Eumenides. On the right a bearded priest
pouring a libation upon the sacred fire. Bas-relief. (F.)
SECOND ROOM (On the left)
{In the eentre). 6374. Atlas Hekneels under the globe,
upon which forty-two out of the forty-seven constella-
24 GROUND-FLOOR
tions knowu to the Romans are sjmbolised. A particu-
larly fine Roman work. {Farnese).
(On the Wall facing the windoio). 6704. A large
pediment of a sarcophagus , representing in bas-relief
and in three circles the life and exploits of a glidiator.
{J'ompen).
6302. Mercury holding a purse in bis right band. (F.)
{On the right loall) 6601... Two ancient galleys with
figures in relief. (Pompeii and Pozzuoli).
... Sarcophagus with baccanalian relief.
{Opposite on the left wall). 6693. Sarcophagus por-
traying a bacchanal. Baccbus standing on bis chariot
drawn by Centaurs and Silenus drunk, lying on anotber
chariot drawn by asses, whicb bave fallen. At the end
of the Sarcophagus, Ariadno asleep. [Farnese).
6681. Diana with a dog. Bas-relief. (Pompeii).
6685, SiLENUS drunk on an ass, whicb is about to lie
down with bim. He is resting bis arms on the necks of
two Fauns. Pan leads the animai. A grotesque bas-relief,
but very well executed. [Ponipni).
6712. A pediment of a sarcophagus of a child , re-
presenting four chariots racin?, driven by children. The
boy Meeping is remar kably fine. Bas relief. (F.)
THIRD ROOM
6124 Pyrrhus. a fine statue. {Herculaneum).
{In the windoio) 6119. A Hunteu. A finely executed
statue, thougb probably of a late peiod. He wears a
large hat and a sbejpskin mantle, and holds a cord by
whicb a living bare is tied. Two doves bang from his
belt. (Farnese).
10833. Ferdinanuoiv. Colossal marble statue represen-
ting the B)nrl)on King as Minerva. This statue was
designeJ by Canova for the principalstaircaseof the Mu-
seo m.
MARBLE SCULPTURES '>5
Eeturning through the second and third Hall we have
examined, we reach the
FOURTH ROOM
(In the centre). *6375. Gupid and the Dolphin. A
Koman group in Greek stjle. [Capua).
(On the ivall facing the window) 6224. Marble frag-
ment which was long thought to represent the head
and part of the right arm of a Roman copy of the
eelebrated Laocoon, but is now generally accepted as a
fragment of a statue of Atlas holding up the globe. It
is in the style of the Pergamene school. (Rome).
(On the Wall). 6689. Orestes seeking refuge in ApoUo's
tempie after having murdered bis mother. Apollo's statue
the tripod, the corpse of Clytemnestra and the serpent
Python are visible. Bas-relief. {Herculaneum).
Opposite, on the wall,
6680. YouNG Hercules. Bas-relief. (Herculaneum).
(On the right wall, in the window). 6684. Bacchus
drunk, supported by a Faun, Bacchantesand other figures.
Bas-relief. (Farnese).
(Opposite wall). 6686. Perseus and Andromeda. Bas-
relief. [Farnese).
[In the window) 6390. Ajax. A bust with h Iniet. F.
[In the window) 6379. A young Hercules. A eolossal
head. (Farnese).
FIFTH ROOM
[In the centre). Minerva ^vith shield. Statue.
6319. Pallas. a snake at ber feet. Colossal. (F.)
... Statue of Jupiter with thunderbolts.
[In the window) 6371. Cybele seated on ber throne.
At the sides two lions. (Farnese).
26 GROUND-FLOOR
EGYPTIAN COLLECTION
Olì the upper landing of the basement
An interpretation of the hieroglyphics of this collection
has been kindly communicated by the eminent Egyptologist
D,r Schmidt of Danemark.
Upon the wall,
Plaster casts of Egyptian Stelae, (the originals are in
the Turin Museum).
Round the room,
(In the centre). 2317. Fragment (.f a granite obelisk
with hieroglyphics recording its erection by Africanus.
(Palestrtna).
982, Egyptian Priest in basalt. An amulet on the neck.
Bust.
1070. Sarcophagus of granite in which « Pa-ar, boni
of Her Neith » was buried. He \vas head of the Scribos.
On the outside, the boat of the sun symbolised by a
scarabaeus, surrounded by a serpent. Inside , a M'inged
Isis with a throne on her head, and tbe hawk and jackal
headed gods of Amenti, the abode of the dead. By the
surrounding hieroglyphics we read that this monument
was erected to pei-ri-shop. (b.c. 350). [Memphis).
999. Rectangular granite aitar delicated to Isis.
1069. Sepulchral monument in granite. The twenty-
two fìgures upon it represent priest and Scribes of Ammon.
{Upon the toalls). Several ealcareous stones. Note:
No: 1016 is a tablet of the Scribe Hori, about 1500
B. e, and is dividei into throe subjects; the upper line
representing Isis, Horus, and Osiris, with their attribu-
tes. The second and third rows represent ofFerings of
fruits to the deceaseJ by bis relatives. {Ahydo^ , now
Madfunè).
EGYPTIAN COLLECTION 27
1036. Sepulchral tablet with hierogljphics in three
subjects in painted calcareous stone representing deities
receiving offerings.
In the centre of the window
1068. Kneeling statue of Ra-ab-nab , — a nobleman
intrusted with the seals, and first Minister to the king.
An ainulet on the neck, and a small shrine between the
knees exibiting bas-ralief of Osiris, with bis attributes
of a whip and a crook.
978. Two cohimns of Egyptian breccia. {Pompeii),
THE BASEMENT
MUMMIES
Pive MuMMiES in sycamore cases. The best preserved
one has ber hands crossed upon ber breast. She wore
a collar of amulets, among tbem a mystic eje, a small
vase, shaped like a pear, some beetles, a Nilometer in
carnelian, and a fragment of papyrus. The hair, teeth
and nails are perfect (b. c. 3500).
— An embalmed Crocodile. [Thebes).
In the icindow,
Plaster cast of the Egyptian Trinity; Isis, Osiris, and
Horus. The last is joined to the figure of the bull «Apis».
(In a glazed gabinet). IO6I. Statuette in calcareous
marble , perhaps Isis, having on its head an Ibis and
a lyre.
1065. Torso in black basalt; inscribed ali round with
small hieroglyphics of admirable execution.
In a small adjoining room — over the wall-casi s.
2318. Papyrus in Greek, nearly illegible, aijout 250 a. d.
found in a subterranean passage, Mith more than forty
others in a sycamore case. The others were tiiken by
28 GROUND-FLOOR
the Turks who, finding them perfumed , smoked thein
in their pipes. This one was bought by a merchant,
and passed to the Borgia collection. Ittreats of aqueducts
from the Nile, and dykes to prevents floods ; for the
fertilisation produced bj the Nile is dependent on a
proper distribution of the water. The document gives
the name and parentage of the people employed on the
Works. {See Mystagogue published by B. Quaranta).
[Memphis).
2322. Fragment of the hook of the Dead in good pre-
servation, dating about 1500 n. e. It was found at Don-
kol in Nubia, in the coffin whicli contained the centre
mummy who was priest of Jupiter Ammon, and a giant.
In a small wall-cases,
Amulets. — Necklaces in blue glaze.
Sandals of papyrus, or palm-leaf and Straw.
Heiurning we reach the
FIRST ROOM
In a glass-case, several busts and statuettes. Note:
176. Toad in nero antico found in Egypt but probably
of Greek manufacture. (Borgia).
In a glass-case in the windoio^
1048 et seq. Fourteen Sepulchral vases (canopi) in
serpentine marble and Orientai alabaster. Theso Vases
were used to preserve entrails of the dead , and the
name of the deceased is found upon them.
765-6. Tmo Ibises , sacred birds among the ancient
Egyptians, and protected hy the law. They scavenged
the country by consumi ng noxious insects. (Pompeii).
< )n the toall iti the passoye to the second room,
1035. IsiAC tab'e in alabastrine stone. The upper row
js of thirteen fijjuros worshipping Osiri.^, who is repre-
EGYPTIAN COLLECTION 29
sented with his attributes. Under them are hieroglyphics
"which Chanipollion reads thus: This is a public comme-
moration of the priest of Horus, and of the other divi-
nities of the upper and lotcer regions , regulator of
the light, that torch that illurnines the world, august,
gracious eie. {Tempie of Isis, Pompeii).
SECOND and THIRI) ROOM
In the cent7'e,
Three Cork models of the tempie of Neptune and the
tempie of Vesta or Ceres at Poestum, and the Basilica.
In the cases,
Terra-cotta gutter pipes from Pompeiiand Metaponto.
In the cases on the left of the window,
Small frames contajning the fr.igments of the cele-
brated Volscian bas-relief, fuund in the church of Santa
Maria Maggiore atVelletri. (Sé"-" Museo Borbonico,vol.\n.\
In the ce ni re,
Atlas supportiiig a table. Terra-cotta.
A puteal, and terra-cotta statues of actors.
(In the windoio). Four covers of Etruscan Sarchopagi
repreijeriting recumbent female figures. ( Vulci,near Flo-
rence).
Ascend the stairs and turn to the righi. This will lead to
the foot of the grand staircase. Cross the Vestibolo and
ice reach the
30 GROUND-FLOOR
GROUND FLOOR— West-wing.
MARBLE SCULPTURES (continued)
FIRST PORTICO
BUSTS.-THE GREEK and ROMAN ORATORS.
(In the centré). 6210. Valerius Publicola. Found
with Aristides and Homer opposite the stage of the Thea-
tre of Herculaneum.
{On the right). 6l88. A Vestal Virgin. Bust. [H.)
6156. Archimedes. Bust. (Herculaneum).
6126. Homer. An interesting statue. Tlie face lias a
nohle expression, and the attitude givesthe appearance
of earnest reflection, {Theatre of Herculaneum),
6149. Alexander the Great. Bust. (Herculaneum),
[Opposite). 6148. Attilius Regulus? Bust. {Herc.)
6158. Ptolemy Soter. Bust. [Herculaneum).
6151. Unknown ^vith helmet. Bust. [Herculaneum),
6105. A young man gesticulating. Statuette. [H.)
[On the right), 6150. A head of warrior \vith helmet.
6135. EuRiPiBES. (Named in Greek). Bust. [H.)
*6018. yfi'sCHiNES an Athenian orator. The older writers
cali this statue Aristides. It is considered a companion
statue to that of Sophoclcs in the Lateran Museum.
Canova is said to have esteemed this statue as one of
the finest of antiquity. {Theatre of Herculaneum),
6154. JuBA in second cliildhood. Bust. {Herculaneum),
{Opposite). G147. Lysias. Bust. (Herculaneum),
*6153. Demosthenes. A bust remarkahle forthe expres-
sion of thelips, indicating thedefect inspeechfrom "which
he sufFered. {Farnese),
6152. Zeno Citiacus. The founder of the Stoics. Bust.
{Herculaneum),
(On the right), 6162. Anacreon. [Farnese).
MARBLE SCULPTURES 31
6238. MoscHiON. A small seated statue of this •vvell-
known tragic poet with a papyrus in his hand. Named
in Greek. (Farnese).
(In the centre). 6236. Terentius (latin) and Menan-
der (greek) the latter bearded. Two comic poets. Dou-
blé Term. {Farnese).
{In the centre, on a colur'nn). '*^6023. Homer. The finest
bust of the great blind poet. {Farnese).
(Opposite) 6157. Themistocles. Bust. (Herculaneum).
{On the r/^A<).6237.Unknown. A seated statuette. (F.)
( Opposite). 6146. Herodotus. (Named in Greek). Bust.
{Farnese).
(In the centre). 6239. Herodotus and Thucidydes.
Doublé Term. (Named in Greek). {Farnese).
(On the right). 6414. Euripides. Term. (Farnese).
(Opposite). ...Head of a Philosopher on ancient term.
The nose broken.
(On the right). 6135. Euripides. (Named in Greek),
Bust {Farnese).
... Unknown. Bust. {Hereidaneum).
(Opposite). 6160-1. Euripides. Bust. (Farnese).
6134. SoPHOCLEs. Bust. (Farnese).
6129. SocRATES. Bust. (Farnese).
(On the right). 6415. Socrates. Term, full of expres-
sìon. The Greek motto berieath adds much to its inte-
rest: « Nat only noto, bui always, it has been my habit
to follovo only the dictates of my jndgement. Mature
reflection I fìnd after strici examination, te bethebest
of ali things ». {Farnese).
(Opposite). 6413. Homer. Term. {Farnese).
{Opposite). 6163. Unknown. Bust. (Hercidaneum).
6131. Carneades (?) Bust. (Farnese).
6130. Li'siAs. (Named in Greek). Bust. (Farnese).
t'^ GROL'XD-FLOOR
6159. Anthistenes. Founcler of the Cynics. [F.)
(In the centre) . . . Statue of aii orator in toga and
sandals, without head.
(On the righi). 6143. Solon. Bust. {Farnese).
6136. Lygurgus. Bust. {Farnese).
6132. Lygurgus. Bust. {Vivenzio Collection).
6139. SopHOCLEs. Bust. {F.)
SECOND PORTICO
EMPERORS and BUSTS OF ORATORS
In the centre
6057. Antonia, wife of the younger Drusus. Statue. F.
{On the righi), 6231. Cicero. A very expressive sta-
tue. {Pompeiì).
1037. Ptolemy V. Named in Latin. Bust.
6180-6-7. Seneca, or Calpurnius Fiso. Busts. F.
6127. Unknown. Bust. (F.)
6128. Zeno. (Named in Greek). Bust. {F.)
{In the centre). Remains of a nearly nude statue
without hands and feet.
{In the centre). Bustof philosopher on an ancient term.
6142. PosiDONius. (Named in Greek). Bust, {F.)
6141. Aratus the astronomer, contemplating the hea-
vens. Bust.
6028. Pompey the Great. A tìne head. {Pompeiì).
6025.BRUTUS- This bustis admirablj executed and quite
perfect, but the expression is that of an assassin. (A)
In a small glass-case, some busts of philosopliers. Note:
111389. Seneca and 111390 Demosthenes.
6179-6182. Unknown. Busts, (F.)
6194. A Vestal virgin known as tlie « Zingarella »
Bust. (F.)
111385. PoMPEY THE GkeaT. Bust. (1870, Pompeii).
6202. Sum.a (?) Bu^^t (//.)
MARBLE SCULPTURES 33
6245. Terentius. A head. Bust. {H.)
6204. Lucius Cornelius Lentulus (?) Bust. {F.)
6180. Caius MARius. Bust. (F.)
6205. Unknown. Bust. [F.)
6181. Brutus. Bust. {F).
6184. Claudius Marcellus. Bust. {F.)
6201. Unknown. Bust. {F.)
6125. Sibjl. A well draped statue. {F.)
In the same Portico, on the righi,
6070. Marcus Aurelius. Bust. ( Capua).
6056. Claudius. (a. d. 54). A seated statue. Colossal. H.
t6079. Marcus Aurelius. A fine bust with a cloak. F.
6081. Lucius Verus.. A fine statue in a tunic. {F).
6031. Antoninus Pius. Perfect bust. The curly hair
and head are very well exeeuted. (Batae).
6092. Marcus Aurelius. A statue. (F.)
6075. Adrian, a bust with a cloak. (F.)
(In the centre). *6030. Antinoììs. A favourite of Ha-
drian, whose statue in various characters is familiar to
everj student of Grecian art in Italy. This statue,
though inferior to many in the Vatican , is in good
style. (Farnese).
In the centre, on a column.
*6033. Caracalla. A bust full' of cxpression with its
frowning brows, thin lips, an.d wrinkled forehead, ali
displayiijg bis cruel disposiiion. (F.)
6029. ^In the centre). Agrippina, the younger, mother
of Nero. She is seated on a chair, with ber head gently
inclined. Great authorities give unqualified praise to this
statue. {Farnese}.
{In the centre). 120424. Bust of a woman with curly
hair. {Pompeii).
J{4 GROUND-FLOOR
Qn the right,
6058. Nero. (a. d. 68). A crowned bust. {F.)
6059. ViTELLius (some say Titus). a. d. 60. Statue. {H.)
6060. Galea, (a. d 69), or perhaps Claudius. Bust. (F.)
6046, Galigula (a. d. 41). This statue with its sunken
eyes is the most authentic of this infamous man, {Min-
turno).
{In the centre). 6055. Drusus son of Tiberius Statue.
{Herculaneum).
6043. Tiberius (a. d. 37). A bust. {F.)
6040. AuGUSTUs (a. d. 14). Colossal statue. Head mo-
dem. [Herculaneum).
6052. Tiberius. A head. {F.)
(Opposite) 6054. Bust of Agrippina. Junior (F.)
109516. AuGusTus. {Pompeii).
6192. A Female bust with painted hair.
... Brutus as a youth. Bust, [Pompeii).
{On a column). 6063. Nerva. A bust. (F.)
6195. Unknown. Bust.
6062. Julia, wife of Titus. An excellent bust. The
high head-dress is curious. [F.)
6080. Faustina, wife of Marcus Aurelius. [F.)
6074. Plotina with singular head-dress. (F.)
6088. Caracalla. Assassinated after an infamous life '
{K. D. 217). {F.)
Jìeturniuf/ to the end of this Portico, tre reach the
MARBLE SCULPTURES 35
INNER HALLS
MARBLE SCULPTURES and BUSTS (continued)
FIRST ROOM
{On column in the centre). 6176. Gallienus. [H.)
{On the right). 6169. Unknown.
This bust Ì8 a very realistic one, and if the reader will
put a liat over the brow of it , he will observe a
remarkable likeness to the Great Duke of Wel-
lington.
6145-6165-6209-6241-6l66-6175-6268.Unknown.Busts.
{On a column in the cenire). 6097. Lucius Verus.
Bust. {Farnese).
{In the ioindoio). 6200. Unknown. Bust.
FIRST ROW
6098. Heliogabalus. A fine bust, {F.)
6178. Lucius Junius Bbutus. A fine head. {F)
6106. A Daeian King. A colossal bust. {F.)
6101. Unknown. A bust in porpliyry. (F.)
6042. Marcellus. A bust in a e oak. (F.)
6065. Britannicus. A bust. {F,)
SECOND ROW
6172. Unknown. Bust. {Farnese).
6207. PosTUMius Albinus. Busts. (F.)
6177. Cicero. The mole in the left cheek is remar-
kable. Bust. {Farnese).
6174-6203-6206.-6174. Unknown. Busts. (Farnese).
{On a coluìTin). 6103. Julia-Moesa, called Augusta,
sister of Domna Moesa. Bust. (F.)
6085. MA>fLiA ScANTiLLA. A head on an alabaster
bust. [Farnese).
3(3 GIIOUND-FLOOR
FIRST ROW
61OO. Probus. a bust with a cloack. {F",)
6099. PupiENUs. A fine bust. (F.)
... UnknoAvn. Bust. (F.)
6086.SEPTiMiusSEVEaus, father ofCaracalla. A bust. Fi
SECOND ROW
6197. Unknown. Bust.
6199. Llnkiiown. Bust.
6247. Terentia. Bust.
6196. Unknown. Bust.
{On a pedt'-'^tal}. 6089. Plautilla, wife ofCaracalla a.ndl
murdered hy him. Bust. (F.)
(On a pedestal). 6087. Julia Pia, wife of Severus. A
fine head on alabaster bust. (F.)
(Last corner) FIRST ROW
6243. Unknown. Bust. (ff.)
61.39. SopiiocLES. Bust. (F.)
6183. M. Arrius Secundus. Bust. (F.)
6147. Lysiaì^. Bust. (F.)
SECOND ROW
6170-7171-6172. Unknown. Bust. (F.)
6173. A boy wearing on the neék the bulla patricia^
(Pompei i).
SECOND ROOM
Enterinij by the door furthest front the windoìv
(On tìii' lefl). 6091. Marcus Aurelius. Bust. (F.)
63l4. Antinoììs as Bacchus. A colossal statue. (F.)
6084. Commodus. A very interesting head, the likenes-
ses of this Kinperor being rare. (Farnese).
6753-57-63. Three pedestals representi ng conquered
Provinces, in Phrygian Ci.'Stume. (/''arnese).
MARBLE SCULPTURES 37
6603. High-relief. A marriage scene. Thirteen standing
ligures.
6095. Lucius Verus. Bust. {F.)
6093. Marcus Aurelius. Bust. (F.)
6102. MAxmitsVs. A stsitue v,'\ih the paludamenfiim. (F.)
6082. Annius Verus. A very fine boj's head. {F.)
6090. Marcus Aurelius in his youth. A head on an
alabaster bust.
6077. DoMiTiAN. The last of the Caesars. (A. D. 96).
Statue. {Farnese).
In the cenire
6072. Trajan. a statue with a mantle. {Farnese).
6032. Faustina, wife of Antoninus. An excellent bust.
{BaioB).
6076. ViBiA Sabina wife of Hadrian. A bust, someti-
mes miscalled Julia Sabina. Fine head-dress. {F.)
6095. Lucius Verus. Statue. {Favnese).
6291. Venus and the dolphin in the attitude of Ve-
nere dei Medici with an elegant bracelet. (F.)
6299. Marciana, sister of Trajan, as Venus. Statue. F.
6078. Antoninus-Pius. A fine colossal bust. (F.)
6067. Hadrian. A bust with arniour; adorned with
Medusa's head. {Farnese).
6069. Hadrian. A bust. (Farnese).
6071. Antoninus Pius. A bust.
(On the Wall)
Three mNjallions representing Consuls. Half-figure
life-size. [F.)
6738-9. Two trophies, one of armour. lance and flag;
the other of a tunic with a dragon. [Farnese). j
Round the room are eleven capitais of eolumns.
THIRD ROOM
110892. TiTUS. A fine colossal head. (F.)
38 GROUND-FLOOR
6051 TiBERius erowned. A colossal bust. (Pozz.)
(In the centre, on a column in giallo antico). 6193»
Unknown. Female bust.
6000. TiBERius. A colossal statue. {F.)
FOURTH ROOM
HALL OF THE GREAT MOS Aie
In the centre
*10020. The great mosaic representi ng the battle of
Issus (b. c.) between the Greeks and Persians. There are
twenty-six combatants and 16 borse?. One of the chief
figures is Alexander, on horseback bareheaded, transfixing
an enemy with his lance. On the right Darius, king o^
Persia; flying in bis chariot. (H. of the Faun^ Pompeii).
{On the right). 6053. Tiberius as a youth holding a
cornucopia. Statue. (F.)
{On a pedestal). 6190. Unknown. Bust. (P.)
6362. Fortune with a cornucopia. Colossal. (P.)
6050. Tiberius as a youth. A head. (II.)
6049. Tiberius. A statue with parazonium. (F.)
{On a column, in the centre). *6038. Julius Cassar,
(b.c. 44). A celebrated bust, selected by Napoleon III
for the frontespiece of his « Life of Caesar ». Portrait»
of Julius Ciesar are very rare. (F.)
6044. Drusus brother to Tiberius, with a sword and
a mantle in his left band. (Macellum, Pompeii).
{Opposite). 6041. Livia asa priestess. She was wife
of Augustus and mother of Tiberius. Tbis bust is so-
inetimes named Octavia. (Macellum, Pompeii).
6048. Augustus as a youth. Bust. (F.)
6045. AoKiPPiNA senior, Bust. (H.)
MARULE SCULPTURES 39
FIFTH ROOM
(On the left). 6064. Britannicus? Bust. (F.)
... TiTU-s. A fine colossal bust.
6229. Britannicus as a jouth. A stnall statue. {Telese).
... Vespasien. Colossal head.
(0» a yelloto column in the centre). 6066. VespAsian.
A fine head. (Pompeii).
6061. Otho. a bust with a cloak. (F.)
6039. Julius Caesar. A statue in a mantle with a
sword and breast piate. (F.)
6230. A jouth with papyrus in his left band. A small
statue. (Telese).
SIXTH ROOM
Here is a collection of fragments of statues
(In the centre). A Silver bust of the Emperor Galba
mach injured. (fferculaneum, 1874).
SEVENTH ROOM
HALL OF APOLLO
(In the centre). 4895. Diana. A bronze half-figure
Witti glass eyes.
It is said that theancients used it for oracles, speaking
through the hole in the back of the head. (P.)
*5962. Apollo hermaphroditus represented as drawing
the bow. Bronze statue fouud in the tempie of Apollo,
Pompeii.
... A Term repi^esenting the nymph maja mother of
Mercury, found in the tempie of Apollo. (Pompeii).
6352. A small marble statue of hermaphroditus. (P.)
6294. A small marble statue of Venus. (F.)
(In a niehe). 6266. A marble bust of Jupiter of rare
perfection, found in 1818 at Pompeii.
40 GROUND-FLOOR
Beloic on the same pedestal
A inarble bas-relief of Jupiter seated.
Two large terra-cotta statues of Jove and Juno found
in Pompeit, and a bust of Minerva in terra-cotta.
EIGHT ROOM
HALL OF ISIS
Collectìon of objects taken from the Tempie
of Isìs at Pompei!.
(In the centre). *976. Isis. A charming small marble
statue of Egyptian sfyle and Roman workmanship, hol-
ding in ber left band tbe « lat > , or symbol of sta-
bility, and in ber, rigbt tbe Sistrum, or bronze rattle
which was used in ber rites. Her girdle is clasped by
the beads of two crocodiles, a doublé bracelet was on
her rigbt wrist , ber bair and tunic show traces of
gilding, and ber eyes of red paint. (Pompeii).
4991. C. NoRBANUs SoREx, A bronze head with bol-
low eyes. On tbe plinth tbe following inscription, in
Latin: — Caius Norbanus Sorex , second magistrate of
the suburb August Felirr, tho whom the place has been
assigned by decree of the Dzcurion^. (P.)
6312. Bacchus. a small marble statue. Tbe inscrip-
tion States tbat it was presented by Popidius. (Tempie
of Isis, Pompeii).
6298. Venus dressing. Small marble statue.
(In the centre). 6290. Venus. Marble head. (P.)
6868. Two Lustrai Basins in marble. (P.)
{In (he window). Two bandled bronze aitar adorned
with four masks.
{In a glass-case). 72192-3. Small bronzo candelabra
like modem candlesticks, the top representing a lotus-
flower. (Pompeii).
LARGE URONZES 41
76304. Bronze knife for sacrifices. (P.)
2397-2392. Sistra, jingling bronze rattles used in the
■worship of Isis, and terra-cotta lamps.
On walls
Several frescoes representing rites of Isis and Osiris,
and other paintings relating to the Egjptian cult as
introduced into Italy.
9558. A larga fresco representing Io taken to Egypt.
She has horns on her forehead and is borne by the
Nile personifìed. She is welcomed by Isis , who has a
serpent round her arm. Mercury and another figure in
the background. On the left Harpocrates with a snake
{Naia coluher) and in the foreground a crocodile. A
sphinx is seen on a pedestal.
LARGE BRONZES
It will be noticed that the bronzes from Pompeii are
Ycry much discoloured in green, while those from Her-
•culaneum are uninjured.
Pliny tells us that the ancients put gold and Silver
into their bronze, the base of it being copper «nd tin.
The metal when cast and tempered was put to a great
variety of uses. We see in this wonderful Museum spe-
cimens of it for household and urban ornament of every
k.ind. It was also used for braeelets , rings , seals and
tools. There is no other collection such as that now
before us, and whe shall be able to realise to a small
extent what the glories of the great period of art must
liave been, if seoond-rate provincial cities could, in an
age of decadence, contai n such marvels of artistic ex-
cellence.
Jn the recess of the second Portico of marbles
42 GROUND-ELOOR
POMPEIAN BRONZE-SCULPTURES
{In the centre). 5635. Nero, or perhaps Caligula. An
equestrian statue found on the top of a triumplial arch
in the Forum of Pompeii. It was in eighty pieces, and
has heen restored.
{In the centre on a column)... Ephekus , a bronze
statue silvered over, one third of life size. A better
name for it would be €Lychnophorusy> or «Liglitbearer,»
because whe.i it was fouud it had in the lefD hand,.
which was partly stretched out, an instrument intended
to carry two lanips.
In style the statue recalls the famous « Idolino» of
the Uffizi Gallery at Florence, which was discovered at
Pesalo in 1530. Many competent judges consider the
Pompei an statue is posed on both feet and does not bear
the weight of the body mainly on one ieg, resting the
toes only of the foot on the pedestal, as is common in
later works of the kind.
The form of the head , and the treatment of the
hair belong to the Peloponesian school. The eyes are of
enamelandadd muchlife and expression tothis excellent
bronze. {Pompeii 1901).
(On a pedestal, ax found). 1106(>3. Lucius C.«cilius
.TucuNDUS. A bronze head with a Latin inscription
€ Felix Liberfus io the genius of our Lucius* (1875, P.)
This portrait represents a niau of about fifty years of age,
Avho is evidently pleased with himself, and views life
from a contented standpoint.
Many deal tablets fouud iu liis house sIioav tliJit he Avas a
usurer who ient money at 2 per ceut per moutli, whicli
fell due a nionth after tlie date of the transactioue. ,
LARGE BRONZES 43
50l4. Caligula? a sniall statue. Nice armour inlaid
with Silver, and a sword. (Pompeit).
{On a column). 4992. Brutus. A bustmuch oxidised..
{Pompeii).
{On a column). 4990. Agrippina. A bust. (P.)
56l7. TiBERius. Bust. (F.)
4989. Unknown. Bust. (P,)
FIRST ROOM
POMPEIAN BRONZES Ccontinuedj
Masterpieces (In the window)
5002. A DANCING FAUN. This muscular figure is a.
very beau-ideal of athletic grace , ihough the general
expression is of inebriety. (Heiglit 32 in.) House of the
Faun, Pompeii 1830).
*111495. A DRUNKEN Faun for a fountain. He is
staggering. In bis left arm he holds a wine-skin, froin
which the water flowed. (Ht: 22 in.) (1880, Pompeii).
*500l. SiLENUs crowned with Ivy and girt with a
cloth. The base is adorned with vines and inlaid with
Silver. (Height 21 in.) May 1864, Pompeii).
{On a column). *d{)03. Narcissus. Wears sandals and
a roe-skin , and with bis right band raised and head
gently inclined seems absorbed in the subdued whispe-
rings of the nympb Echo, who for love of him wasted
away and filled bili and dale with ber amorous laraen-
tations. The eyes are hollow, but were once of Silver.
(Height. 25 in.) (1862, Pompeii).
*4994. An angler. Small statue for a fountain. (P.)
6509. Marble infant for a fountain. He lies on the
ground wrapped in a cloak. The water flowed from a
vase near bis head.
5000. Two small statues of Cupids for fountains, one
44 GROUND-FLOOR
oarrjing a charming dolphin, and the other clasping a
goose, [Pompeii).
(On pedestal). 4897 to 4902. A boar attached by dogt —
Aserpent — Alion andstag. Agronpfora fountain. {House
of the Citharista, Pompeii).
(On pedestal opposite). 4S90 a bull. 4891. A crow.
^Stabiffi). 4902. Gazelle, and 4903. Stag for fountain.
SECOND ROOM
POMPEIAN BRONZES [continued)
(On a column in the centre). *5630. Apollo with the
pleclrum. A very interesting archaic statue. {House of
the Citharista, Pompeii).
{In the. ?<7mrfo«?). *4995.Bacchus and Ampelus. Group.
An archaic sculpture. {House of the ^Aile Pansa, P.)
{Opposite). 4892. A seated Mercury. {Stabioe).
{On same pedestal)). *4997. Victory. Poised on a globe
•with two large wings. On the left arm is a gold
tìracelet. [Pompeii).
4998. Venus at ber foilet. A charming statuette.
(On a column) */)613. Apollo. The eyes are in Silver.
A small statue. {Pompeii).
(On a column).... Statuette recently found at Pom-
peii. It is one fifth of life size and represents Perseus,
or perhaps Mercury. He is naked but for a chlamys
thrown over bis left shoulder. His feet are winged. The
pureness of line and the treatment of the hair make
this work remarkable, and establish its Greek origin.
Jt was a good deal damaged when discove red. (P.)
{On walls). Paintings in fresco found in the dining
room of Diomede House. (Pompeii).
LARGE BRONZES 45
HERCULANEUM BRONZES
THIRD ROOM
In the centre
The centre of this hall is occupied bj the finest
bronze works of antiquity.
*5625. Mercury en repose. The moet celebrated
bronze of antiquity. He is seated , and clearly reposing
after a rapid flight. The left band holds a small piece
of bronze rod which perhaps formed part of a caduceus^
The detail of the muscles and every line of the com-
position is exquisite. It is worthy of note that the
buckle of the sandals of the figure are placed by the ar-
tist directly beneath the instep, so that walking is ren-
dered absolutely impossible. This shows that he iiitended
to represent a figure, which could only touch the ground
on tiptoe, as Mercury is always represented botli in ancient
and mediceval art. (1758, (Herculaneum).
*5624. The sleeping Faun. The figure is seated and
the general expression is of a deep and peacefuj sleep. {Il.y
In the centre on a marble pedestal.
5604 and seq. Five actresses. These statues deco-
rated the peristyle of a villa near the theatre of Herc.
They are dressed in the iunico pallium which is tought
to indicate water carriers and their eyes are enamelled,-
{liehindy on a column). 5594. Ptolemy Philadelphus.
A bust. (1769, Herculaneum).
{On a column): 15592. Berenice? An admirable
bust. {Herculaneum).
{On a pedestal). ■|'4885. Doryphorus of Polycletus..
This bust is sometimes known as Augustut. Inscribed
* AnOAAQNIOS APXIOr AeHNA10>: EnOIH^E )^
46 GROUND-FLOOR
Apollonius^son of Archias the Athenian made me. The
onJj signed bronze of antiquitj. (1753, H.)
4889. Amazon. Once called « Livia » {Herc.)
5610. An ideal head. Bust. {Pompeii).
(On acolumn). *5618. Dionysius, usually called Plato.
This ir.agnificent scuipture is reputed the finest bronze
extant. He looks down as if in meditation, and every
-detail has been most elaborately worked out. {H.)
{On a column). 5608. An archaic Apollo. This bust
was once called Speusippe. {Herc.)
(On a pedestal). 5633. An ideal head with curly
hair, formerly called Apollo. {Pompeii).
5603. Actress. {Herculaneum) .
5614. Ephebus. An ideal head. (1754, Herc.)
HERCULANEUM BRONZES {continued)
FOURTH ROOM
*5628. The Drunken Faun. Life size. He is oxtended
on a half-empfy wine-shine, whieh yields to bis weight.
He snaps the fingers of bis right band and has a merry
look which shows bis state of inebrie'y. (i^.)
♦4886 and 4888. Two elegant gazelles. (1715, H.)
♦5626-7. The Discoboli. Two nude youths with hands
and arms extended. Eminent authorities consider these
sculptures of great merit. {H.)
JRound the wall on three marhle tahles
Ten statuettes of boys for fountains. Some of them
carry amphor» , others cornucopia? ,' froin which the
water flowed, and five Silenus for fountain- {H.)
4893. {^On a column). A pig fora fountain.
LARGE RRONZES 47
HERCULANEUM BRONZES
FIFTH ROOM
{In the window). *5616. Calpurnius Piso Cesoninus,
■usually called « Seneca », A head of great artistic
merit. (fferculaneum).
*5607. Archytas. Bust. The head adorned with the
turban peculiar to great philosophers. (1753, IT.)
{Opposite). 4896. Sappho. A bust of rare perfection. ^.
5623. Hebaclitus. A bust. His aspect is gloomy. He
pretended to universal knowledge. (H.)
5602. Democritus. (500 b. c. Bust. (ff.)
5634. PuBLius CoRNKLius Scipio. A perfect bust with
xwo seara on the head. (II.)
5598. AuLUS Gabinius, formerly called Ptolemy Apion.
See La Villa Ercolanese hy de Petra). Bust. (House
of the Papyn\ Herculaneum).
5588. Unknown. Bust on a pillar. (Pompeù).
5622 and 5631. Unknown. Busts. (Farnese).
5596. PToLemy Alexander. A bust. (1759 II.)
5600. Ptolemy Lathyrus. Bust. (1717 H.)
5590. Ptolemy Soter the First. A statue. (1755 II.)
■(In the windoic. in two wall-cases, are
{Hanging from top shelf). 25494. Bronze sun-dial
faced with silvor, in the shape of a ham. The hours are
indicated by radiatiog lines, across which run irregular
horizontal lines. Below these are the names of the months.
The tail served as gnomon, and a ring througli the knuckle
allowed of the instrument being suspended, perhaps from
the belt of the wearer. It appears to bave been set for
the meridian of Rome. [Herculaneurn).
5296. A Faun playing the doublé tibia. Observe the
movement of his lips. (ZT.)
48 GROUND-FLOOR
5292. A dancing Faun with thyrsus. {FI.)
5465-6-7-8. Epicurus, Hermarcus, Demosthenes, Zeno.
(Named in Greek). (H.)
5459-70-1. Demosthenes, Epicurus, Metrodorus. {H.)
(Opposite). 69762. et seq. Ten tiger heads for foun-
te,ins. (He re.)
Meturn to the entrance of the Great Hall
HERCULANEUM BRONZES (continaed)
LAST PORTICO
5595. AuGUSTUs deified. A colossal statue. (JI.)
115390. Two horses' heads.
5615. Nero Drusus, as a priest. A statue. (1754, II.)
5593. TiBERius Claudi US Drusus. A colossal stitue. (II.)
55SG. Unknown. Bust. (Heì'culaneum).
560l. Unknown. An admirable head. (Farnese).
5589. ViciRiA Archas. Mother of Balbus. Statue. (P.)
5609. Antonia, wiie of Drusus. A statue. (1741, B.)
5004-5005-5013-5016. Small male and female statues
belonging to the chariot of Nero,
in the centre
4904. One of the four horses of Nero's quadriga found
in 17.59 near the Theatre of Herculaneiwi. The horse
is considered of great merit. (Height 15 liands).
*5591. Mammius Maximus. A statue. (1743, II)
5599. Unknown. A colossal statue, (Ilèrc.)
5406. Unknown. A head. (Farnese).
5587. Unknown. Bust. (Farnese).
*5597. Marcus Calatorils. A Roman magistrate. II.
5612. Faustina. Covered by a mantle. A statue. (II.}
ANCIENT FRESCOES 49
THE ENTRESOL— East.
ANCIENT FRESCOES
This fine collection of upwards of one thousand
paintings taken from the walls of Pompeii, Herculaneum
and Stabise forms one of the chief attractions of the
Museum.
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 Romans, and though they are frequenti^ incorrect
in drawing, the freedom of their execution, the harmony
of the grouping , the ease of pose , and the power of
expression, are scarcely surpassed by the best painters
of our own day.
N. B. — The panels are numbered in large red numerala
at the top.
The frescoes are exMhited in a doublé row of rootns. We take
the large rooms first, returning through the smaller ones.
FIRST ROOM
LECENDS OF ACHILLES
9008. Thelephus fed by the hind. He is sucking the
hind, who turns ber head to caress him. Hercules looks
at hiin frowningly. A winged Genius alights beside him
ber head crowned with olive, and points out Telephus
to bis father. On a rock Ceres crowned with flowers.
Near ber a basket of grapes and pomegranates; a merry
4
50 THE ENTRESOL — EAST
Faun is b^hind lier , holding a panpipe in his band.
Hercules has atWs side an eagle and lion. (Herc.)
*9110. AcHiLLES in the palace of Lj'comedes detected
by Uljsses, who, disguised as a padlar, offers arms for
sale. Achilles, though dressed as a girl, seizes the arms
and thus discloses his identity to Ulysses. (Pompeii).
t9l04. Achilles drawing his sword. A fragment. (P.)
9105. Briseis. Achilles on a luxurious chair before
his tent, with sword and sceptre , addresses the two
herald^ of Aganiennon (Talthybius and Eurybates) who
bave come to deinand Briseis, one of whom wears a
helmet and bears a spear: the other a steel cap , and
the caduceus of peace. Achilles looks prontand passionate.
His friend Patroclus leads out the girl, who is weeping
bitterly and drying ber tears with ber veil. (House of
the Tragic Poet, Pompeii).
*9112. Iphigenia. The Greekfleet havingbeen detained
by a storm. Chalcas ordered Agamemnon to sacrifice his
daugther. (1815, Hou^e of the Tragic Poet, Pompeii).
9109. Chiron and Achilles. The Centaur Cbiron
seated on his bind legs. He wears a beard, his sboulders
are covered with a skin, and bis left band is stretched
out to touch the lyre of Achilles, who is looking affec-
tionately at his master. {Hercidanetim).
9559. Theweddingof Jupiter and Juno. A fine pie-
ture boldly executed. [ff. of the Tragic Poet, Pompeii),
116085. Achilles detected by Ulysses. Beautiful pain-
ting. (Pompeii).
9249. Mars and Venus. (Pompeii).
9257. Venus and Urania. Venus on the left has just
punisbéd the Cupid at ber side and loaded bim with
fetters. Another Cupid bebind Urania's cbair in a derisive
ANCIENT FRESCOES 51
•attitudf». « Il lui fait Ics corneaìt Very charming. (/\)
309751. Theft of the Palladium. The painting re-
presents two groups of figures. The left, group shows
Odysseus. He bears the Palladium in his left, and
Avith his right , makes a gesture of silenee, Diomede
•with a lion's skin on his head is behind hini. Helen
points toAvards the group on the right. Behind her,
^^thra. The group on the right represents a Priestess
with a torch and dishevelled hair raising the alarm. A
jouth in Trojan costume seizes her by the waist. (R)
111220. The death of Laocoòn. (1875, Po/>2jt)é^»).
111476. Cassandra predicting the fall of Troy. (P.)
9001. Hercules delivering Dejanira from the Centaur
iNessus. Observe the methodof harnessing tho borse?. (P.)
111474. Hercules delivering Dejanira. She is in a
biga. (Pompeit).
9042. Dirce's punishement. (/ ompeii).
111475. Europa and the bull. 1877, Pompeii).
111473. Pan and the Nymphs. Admirably executed
and generally considered the finest specimen of this
gallery. {Pompeii).
8980. MELEAGERand Atalanta, the former soated with
two hounds and two spears, and his feet upon a stone,
near wich l.es the Calydonian boar. Atalanta charmingly
painted, and two youths lire hard by, Behind Meleager
a statue of Diana {Pompeii].
*9049. Theseus in Crete. Very fine picture. In the
centre Theseus with his knotted stick; around him the
young Athenians who had been sent to be devoured
by the Minotaur, expressing gratitude for their rescue.
One kisses his hands, another his feet; while the bull-
52 THE ENTRESOL — EAST
heated raonster lies dead at the entranee ot the labyrinth.
{Herculaneum).
In the centre
PAINTIN6S ON MARBLE (Monocromi)
The paintings are believed to be unique.
*9560. Theseus slaying theCentaur Eurytion, who is
endeavouring to carry off Hippodamia from the nuptial
banquet. (Herculaneum).
9561. (Very much obliterated). In the centre, a small
figure of a goddess on a column. On the right, a seated
male figure; behind him a female figure, with her left
band on his shoulder, pointingwith her right to a young
Bacchus who leans against an ass on the left. A tree
in the background. {Herculaneum).
*9562. A beautiful little painting, representing the five
daughters of Niobe playing at knuekle-bones, each girl
having her name painted beside her: AHTQ Latona.
NIOBH Niobe, OOIBH PhtBbe, ArAAIH Aglaia, and
lAAEIPA Hilaeira, (1 ft. 5x1 ft. 3). {Herc.)
*9563. Three actors with mask. (1 ft. 6xft. 1). {H.)
9564. A Quadriga at full gallop. {Herc.)
109370. Niobe clasping her youngest child to her
bosom, the child having been already wounded in the
left thigh. On the right the old nurse raising the lifeless
body of another child. A handsome Doric tempie in the
background. (Pompeii).
In the corners of the room are^ small marble pillar»
surmounted by doublé headed bust which were used by
the Romans to indicato boundaries.
A N CI E NT FRESCOES 53
SECOND ROOM
{In the centre). 109608. Marble Venus holding the
appiè in her hand, leaning her left arm on the head
of a smaller figure of Archaic style. She is dressed in
a long tunic. Interesting for the painting of the dress.
(1873, Pompeii).
Round the room are double-headed terms of Bacchan-
tes and Cupids. (Pompeii).
{On (he left). 112282. Mars and Venus. A large
pieture. (18(33, P.)
112283. Bacchante asleep. {Pompeii).
fi 11439. IpHiGENiA as priestess of Diana at Tauris. (P.)
9111. Orestes and Pvlades. Their hands are tied
bchind them. A female figure in the background. In the
centre a lighted aitar and large vase, and on the right,
king Thoas interrogating his prisoners. (1740, Herc.)
9539. Apollo and Marsyas. Apollo wearing the crown
of a conqueror, is seated with a Muse at his side. Mar-
syas, coudemned to he flayed alive, is bound to a tree;
his flutes bave been thrown at his feet. A minion of
Apollo is approaching, holding in is hand a knife to
execute the sentence. Small painting. {Herc.)
t8976. Medea with a sheathed sword. A pieture re-
markable for the expression of the face, and its admi-
rable preservation. {Pompeii).
8992. Hercules and Omphale. A large piotare. The
hero leans playfu ly on the neck of a bearded man,
while a Cupid blows a flageolet in his face. On the left,
among other figures, Omphale, looking on severely, with
a club in her hand. {House of M. Lucretius, Pompeii),
54 THE ENTRESOL — EAST
111441. Orion, with the help of Ciipid, wooing Diana.
(Pompeii).
9286. Bacchus crowned, watching Cupid who unveils
the sleep'ng Ariadne. A largo painting of fine compo-
sition and twelve figures.
111437. Venus adorned with bracelets, seated, near
Adonis- holding a nest, which contains Castor and Poi-
lux, just hatched fi'om the egg of Leda. (1803, Pompeii}.
THIRD ROOM
(In the centre upon a circular table).
6533. Marble Cupid for fountain. {Pompeii).
{Round the room. Teruis in marble).
{On the left). 9528. Vulcan preparing arm for Achil-
les. (Pompeii).
9529. Thetis preparino arms for Achilles. Thetis is
seated, and ber likeness retìected in the shield which
is held up by two men. On the left, Vulcan embossing
a helmet. (Pompeii).
*9231 and 9236. The Three Graces. Two small bui
tasteful pictures. (I8l4, Pompeii).
9044. Eurytion the Centaur, kissing the band of
Pirithoiis, who holds a sceptre in bis left. In antici-
pation of the marriage of HippoJamia, the Centaur Eu-
rytioii tried to carry of Hippodaniia froin the wedding
feast, and was slain by Pirithoiis. (Herculaneum).
*8898. The three parts of the ancient world
Europe, Asia, and Africa. (House of Meleager P.)
9036-7. Admetus and Alcestis. On the day of bis
marriage with Alcestis , Admetus negleeted to ofFer a
sacrifice to Arthemis, but Apollo reconceiled the goddess.
to him and induced the Fates to irt'ant to Admetus de-
J^'
ANCIENT FRESCOES 55
llverance from deatli, if when his time carne his father,
mother, or wife would die fot* him. Alcestis died in his
stead, but, was brought back by Hercules from the lower
world. The picture represents his fa-ikt/ and mother
refusing to die for him, and Alcestis offering herself in
his place. {Herculaneum).
9012. Hercules strangling the serpents. (Herc.)
9246-7. Diana and Endymion. (Herculaneum).
*8v»77. Medea meditating the murder of ber two
children, and drawìng a sword. The children uncon-
gcious of their impending fate, are playing at knuekle-
bones. Old man in a doorway looking on. (P.)
9248. Mars and Venus. Two Cupids at play with the
sword and helmet of the god, occupy the foreground. (P.)
8998. Perseus and Andromeda. This fine painting
shows Perseus refusing to show Andromeda the head of
the Gorgon. On the left, the sea monster from which
Perseus delivered Andromeda. (Pompeii).
9106. A isLiND BEGGAR, led by dog, asking alms of a
lady. Thought to represent Ulysses and Penelope. (P.)
FOURTH ROOM
6292. Venus. Her hair and dress are palnted red. A
small marble statue. (Pompeii).
(Round the room). Terms. Marble.
(On the left). 8846. Apollo, Chiron and oscula pi us.
The artist has brought together in this picture the
three inventors of medicine. The Centaur Chiron is in
the middle. Apollo his pupil is on the left, and on the
right ^sculapius seated by the tripod reflecting upon
the science of his predecessors. (1807, Pompeii)
*9040. Carità Greca. Cimon in prison saved from
fetaivation by his daughter Perone. (Pompeii).
56 THE ENTRESOL — EAST
*9278, Arianne and Bacchus. Ariadne asleep , her
head on the knee of a winged Genius, Cupid seizing the
opportunityof the flight of Theseus, leads Bacchus to the
sleeper. On the left, a Faun puiling Silenus up the hill.
The retinue of Bacchus in the background. (1748, Herc.)
9262. Pan and Cupid flghting. Silenus stands over
theni holding a paini branch for the Victor. Bacchus
seated on a rock with his thjrssus is looking on. Behind
him Venus (much obliterated). (1747, Herculaneum) .
111481. Bacchus and Ariadne. (l^lì^ Pompeii).-
9270. Bacchus in the arms of Silenus, Mho is seated
and holds up the infant towanis a bunch of grapes held
out to him by a njmph. Two girls bj a tree in the
background. Mercury seated playing a lyre on the right.
A leopaid tearing a tanibourine and a crauched ass in
the foieground. {Herculaneum).
8984. The Cyclops Poltphemus wiih three eyes sitting
by the sea-shore upon a roch, receiviug a tablet brought
from Galatea by a Cupid on a tlolphin. {Herc.)
9383. Narcissus admiring his reflection in the water.
111442. Neptune and a Nereid. (1878, Pompeii).
8896 and 8889. Phryxus and Helle. The latter fal-
li ng into the waves. froni the raui which carried her,
is ra'sing her arms imploring assistance from her bro-
ther Phryxus, who is exerting himself to save her. (P.)
27695. Leda aud the swan. {Pompeii).
FIFTH ROOM.
CENTAURS-THE SALE OF LOVES
{In the centra). Four pictures on a blue-ground. Note:
9243, Diana drawing her bow. Small painting. Much
admired. {Stabiae).
ANCIENT FRESCOES 57
8834. Flora. A small painting of a giri picking
ilowers. Mudi admired. (Stabiae).
{On the left). *9295 and seq. These ihirteen figures
are really Bacchantes. Their execution is admirable.
{1749, House of Crassus Frugi Pompeii).
*9l33 and seq. A Female Centaur embracing the
joung man whom she carries , giving him a thjrsus
with gjirlands.
*A Centaur bearing a thjrsus with a tambourine,
teachjng a youth to play the Ijre.
*A Female Centaur playing the lyre and striking a
cymbal againstanoiher held by a young man who clings
to her.
*A Centaur, with bis hands tied, bearing a beautiful
iiude Bacchante, who ui-f;es him with the thyrsus.
Nothing can exced tlie vigour with which these
groups are painted. {House of Frugi, Pompeii).
9097. SiLENCE. A girl with her finger to her lips. {St.)
[On the left of the window). *9l80. The sale of
LOVES. A celebrated little painting representing Penia,
the nurse of love, who has just taken a Cupid from
the cage, and holds him by the wings. He stretches
out his arms to Venus who sits opposite to him , and
who already has a liberated Cupid betM*een her kne«s.
A third Cupid frets in the cage. Behind Venus is Peitho
(Persuasion) touehing the shoubjer of the goddes^ to
influence her choiee. (8x11 in. (1758, Stabiae).
9195. CupiD and Psyche kissing. {House of Paquius
Proculus, Pompeii).
*9178 et seq. Sporting Genii , gracefully jainted,
hunting, fishing, playing and working. Perhaps allego-
58 THE ENTRESOL — EAST
rical of Love, whicli finds its way into ali the pursuits
oi" li fé. {Herculaneum).
|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, Flora asleep with her head in the lap of a
winged Genius. A Cupid is uncovering her. (1827, P.)
DOMESTIC SCE^!E$ and PORTRAITS
*8859. Nereid. A nymph borile by a sea-horse. (St.)
*8870. Nereid. A nymph lying on a sea-panther with
a tìsh tail. (Aprii 1760, Stabiae).
Sundry small paintings, representing domestic seenes.
9018. A lady sketching a Bacchus, with a boy and
iwo women in the room, -a very graccful picture. {P.)
9021. Musical Concert. {Herculaneum).
9022. The tirino of the ìjride, A maid dressing the
hair of a fashionable lady. Two young ladies looking
on. {Herculaneum).
9023. A lady tuning a lyre to the sanie pitch as another
that lies beside her. Other ladies listening. (P.)
9024. Man and woman seated on a coueh. Before
them, an elegant tripod with drinking vessels. The man
drinking wine from a rhyton. Two woman wears her
hair in a net. {Herculaneum).
In the passage to the last room^
*911S to 9121. RoPE Danoers {funambuli). These cele-
brated p ctures exhibit a great variety of feats on the
tight rope, performed by Satyrs. (1749, H. of Fruyi, P.)«
ANCIENT FRESCOES 59
LAST ROOM
Several pretty landscapes of pagodas, lakes, tempie»
villas, etc. [Pompeii and Herculaneum).
I9084, Sappho (?). She is in an attitude of meditation
with stjlus and tablets. (fiere.)
(On the ?v'<7^^). 9058. Paquius Proculus and bis wìfc,
in the same frame. An inscription in the house of Pro-
culus tells US that he was a baker, and that thanks to
his popularitj with the Pompeians, he was raised to the
dignity of Magistrate. [Duumvir juri dicundo). (/■*.)
In the centre in two smail glass-cases
Bronzes. Lagenae. Nasiterna. Basins. Idols.
Glass. Bottles. Drinking-glass-Bowls. Unguentariums-
GoLD. Four rings from the latest excavations of P.
Passing to the bacie rooms^ we indicate the principal ohjects
of interest
BACK R00M3
In the second small back room
112222. Amphitheatre of Pompeii on the oecasion of
the tight between the Noucerines and Pompeians Mhieh
caused Nero to stop ali theatrical performances at Pom-
peii for ten years. {Tao. Ann.XlV, 17). This inferdict
expired only eight years before the destruction of the
cities. {Pompeii).
{On the top). 113197. The Judgement of Solomon (?)
The subject is disputed. If its origin is Biblical , it is
the only trace of Holy Writ as yet discovered in Pompeii.
The picture represents a woman imploring three
judges (one of whom holds a sceptre) to save the life
60 THE ENTRESOL — EAST
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 which was doubtless intended as a ca-
ricature of the iiicident. (June 1882, Pompeii).
« Then spake the woman whose the living child
was unto the King, for her bowels yearned upon her
son, Jind she said: 0 my Lord; give her tlie living child
and in no wise slay it. But the other said «Let it be
neither mine nor thine, but divide it» (1 Kings iii, 26)
In the last bacK room reach the staircase^
9009. ^NEAS wouNDED. This picture represents the
scene described bj Virgil (.'En. XII, 383), where, the
surgeon lapyx lasides tried in vain to pulì an arrowtiead
out of the wound, when Venus appeared hearing a Cretan
herb called « dictamnum » or dittamy, which overcame
the diflìculty, the arrowhead dropping out of itself. (P.)
9010. The trojan horse gailj caparisoued is being
dragged through the city walls. Laocoon and Cassandra
on the Jeft , and in the background the Tr jans with
lighted torches. (Apì'il 1701, Pompeii).
Beturnhiff to the back roomx tre ha ve exainined ih ere will be
seen at the end the
RESERVED CAIUNET 61
RESERVED CABINET {Oggetti osceni)
The Beserved Cabinet contohis objects noi suitahle for
general ExMhition. Admission can only he óbtmned hy
special permission.
In the centre
27709. Marble satyr and goat of fine execution. (H.)
27710. Sarcophagus with Bacchanalian bas-relief. (F.)
27729. Bronze statuette of a n emaciated man upon a
kermes. {Pompeii).
27874. Tripod supported hy young Satyrs of surpri-
sing rixpression. {Hovse of Julia Felix, Pompeii).
Class- case
Grotesque figures of dancing dwarfs , sundrj beli?,
hermes, lanps, and amnlets, bronze mirrors. (P. and //.)
{On the tcalls) .-'RESCOES
27683. VicTORY ciowning an ass , wlio lias conquered
a lion. (Pompeii).
2768'. Galatea and Polyphemus with a ram. (P.)
27690. Painting with inscription. {P.)
27692. Bacchus and Ariadne. (A)
27695. Leda and the swan. {Herculaneum).
27700. Satyr, flying from an hermaphrodite. {H.)
27701. Pan and Olympus. {Herc.)
27741. Sign of a house in stone, hearing the inscrip-
tion « Hic habitat felicitas * found on the door of a
baker's shop. ( P.)
27875. Satyr discovering an hermaphrodite. (P.)
27705. Two figures in capital preservation. (P.)
113196. Symposium on the banks of the Nile. (P.)
62 THE ENTRESOL — EAST
27707. Mosaic: two seated figures.
27708. Satyr advancing towards a nympli , who is
•changed into a tree. Mosaic. {Noja collection).
27711. Comic marble bas-reliefs. (P.)
27712. Pan on a mule. Marble bas-relief. (P.)
27713. Bas-relief representing eocks. Marble.
27714. Two figures with traces of gilding. Marble. P.
FULLERS PILLAR AND COLOURS 63
UPPER FLOOR— East.
The door on the righi of the visitor ai the top of the
stairs leads to the
POMPEIAN COLOURS
Two table cases coiifaining pigments in pots as found
in a colourmansat Pompeii. Specimens of these colours
were analjsed by Sir Humphrj Davy, who pronounced
them in ali respects similar to modem pigments.
FULLERS PILLAR
*9774. A PilIar,from the shop of the Fullers at Pompeii.
On the right, a young man hearing a large cage for
daying cloth, upon which an o\vl is perched,and a brazier.
An apparatus of this kind is used to this day in Italy.
The brazier (scaldino) is hung from a hook at tiie top
of the cage over which the damp cloth isspread.
. The pictnre to the left lepresents a young man
scrubbing a piece of cloth which is hung ou a pole?
and the mistress of the establishment, wearing fine
bracelets and nekiace , and her hair in a golden net,
is receiving a piece of cloth from a girl : while in a
row below, are four lads fuUing cloth with their feet,
in metal vats.
On the other side is a press with a doublé screw;
beneath it some cloths hung up to dry; and three figures
one seated, the others standing, engaged in an animated
conversatio/i about a piece of cloth they hold between
them.
(On the walls). A large number of small pictures
represonting game, fish, and stili life. (Pompeii and
Herculaneum).
64 UPPER FLOOR — EAST
111482. A fresco in four divisions representing sce-
nes in tavern life. One player is made to exclaim
« Six n The otlier « No » it isfiree and ttoo. (P.)
120029-30-31. Symposium. These three iinportant
paintings were ali found in one roomand represent three
scenes of a Roman banquet , perhaps the beginning,
middle, and end of the feast. We notice the guests^
one of whom, being the master of the feast, has a red
garland round his shqulder. In the foreground is a table
covered with wine glasses, a slave with two cups, in the
left corner two tibicines, or fiageolet players, piping to
a nude woman who is dancing in the foreground. The
master of the fé st is clappir'g his band.
The sec.md picture shows the proposing of the toasts.
FaCITIS VOBIS SUAVITER « Good luck to yOU » EGO CANTO
« / sing » Est ita valeas , « So be it and may you
prospei'».
The third picture represents the breaking up of the
party. One of the guests is having his shoes put on,
whileanother on the right has taken so miich wine that
he is being led away supported by his slave. (P.)
ARTICLES OF FOOD 65
ARTICLES OF FOOD FROM POMPEII
In the centre^ in an ùpright glazed cabinet^
84839. Meat in a doublé saucepan.
... Figs, Olives, and dried grapes.
84834. Barley and oil in ancien! bottles.
84846. Glass jar containing wine.
84847. Flour in a jar.
84849. Glass tubs, containing olives preserved in oil
and cariare.
Round the room in glazed tables,
Carbonised fruits of every kind each having the in-
dication: Grain. — Millet. — Lenti Is. — Barley.— Pepper.—
Beans. — Pine-nuts. — Walnuts. — Figs. — Pears. — Onions.
Eggs. — Chestnuts. — Rafeins. — Bones of a fowl. — Loaves. —
A small ring-cake like the Neapolitan « Taì'allo».
Cloth. — Linen. — Silk wound in a ball. — Cords. — Pig-
ments. — Asphalte for roofing. — Sulphur.
Sandal soles made of grass — Sheli of snails. — Welks. —
Oysters. — A tortoiseshell.
66 UPPER FLOOR — EAST
SMALL BRONZES (utensili domestici)
This coUection of small bronzes numbering some
thii'teen thousand specimens, nearly ali found in Pompeii
and Herculaneum, is the unique feature of the Naples
Museum.
This department never fails to interest the passing
visitor, while it is a mine of wealtli to the antiquarj',
as it contains many perfect specimens of the everj-da.y
articles of personal use and ornament wliich eighteen
centuries ago weie connected with the public and pri-
vate life of the Roman citizens.
Ali these articles from the elaborate Curale 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 suf-
ficient to stock seveial Museums, and such is the ele-
gance of their form and the perfection of their exeou-
tion that they are no doubt correctly attributed to Greek
artists, who alone would be likely to carry their taste
for ornament into such minute details.
The difference between the work of tliese 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 band 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 admi-
rably, 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 tho artist.
SMALL URONZES 67
Besides a great number of vases relating to the
kitchen and to religious worship, this gallery contains
a large quantity of small articles of every description.
Before we beging describing this most important col-
lectioii , we think it our duty to give a general sum-
mary, and shall range in three classes the objects there
is included.
Household goods for private use.
Tables — Candlesticks — Lamps — Lanterns.
Bathivg requisitesi such as — Vases for perfume {un-
(juentarium) — Scrapers {strigilis\
Toilet requisitesi such as, — Hairpins — Clasps — Combs
— Vases for perfumes.
Surgical instruments^such as. — Speculum uteri — Pin-
cers — Hooks — Scissors — Forceps— Bistouries — Trocars
— Lancet.
Harness for horses , such as. — Bridles — Spurs —
Buckles.
Tools for husbandmen, and workmen, such as, — Pick-
axes — Spades — An vils — Hammers — Planes etc. — Scales
— Balances — Weights — Compasses — Plumb-lines — Door
ornaments — Keys — Locke— Hinges.
Economie Kitchener — Stoves witha bronze vase to get
hot water — Soup-ladles — Spoons — Shovels — Pans for em-
bers — Egg-cups — Saucepans — Tongs — Mortars — Vases
for liquids — Colanders — F'unneis — Paiis — Small cups etc
Household goods for public use.
Bisellium, or seat of honour for Proconsuls — Curule
chairs — Braziersused in public bathing-places. — Tiekets
for theatres and gladiators — Bells.
68
UPPER FLOOR — EAST
Lustrai font — Tripods for sacrifices — Altars — Haruspi-
ces altars — Vases to contain the entrails inspected hy
the haruspices — Tables on whieh the intestines were
dressed before they were placed on the aitar. — Kni-
ves to slaughter the victims — Lustrai water sprinkler
— Censers and spoons — Vases used in the worship of
Deities — Craters or cups — Votive artieles (ex-voto) —
Lectisternium upon which were laid the images of the
gods withthesacred vases — A rhyton, ordrinking-vessel.
The asterisk (*) denotes the specimens ìllustrated in
Signor Monaco'» large work, and the digger (f) otlier
noteworthy objects. The readeris particularly requested
to follow the direction contained in the hook to avoid
confusion in this departement.
FIRST ROOM
{In the centre). 6542. Venus. Marble head. (Pompeii).
In an upright glass-case,
A strip of ashetos cloth found in 1835 by some peasants
in the Abruzzi. Being incombustible it was used by the
ancient to collect the ashes of the de-id after cremation:
and the finders, who used it to clean out their ovens,
could not imagi ne how it was that it come out clean^
and uninjured by the fire.
73152-3. TwocuRULECHAiRs. These were the emblema
of the supreme power, and were placed in the principal
seat on important occasions to represent the Emperor. It
was only in later times that the use of them was ac-
corded to Provincial owns. They were originally made
SMALL BRONZES 69
of ivory, a survival of which ancient use will be no-
ticed in their supports which are made to represent
elephants tusks, the lower end being cast so as to ca-
ricature the head of 8n elephant. {Pompeii).
*72988. BisELLiUM with ornamentation in copper. {P.)
In three vvall-cases round the room
Marble bearded heads sourrounded by columns and
small lìgures for fountains, in marble.
Pompeian paintings
SCENES FROM THE FORUM and THE SCHOOL
{Upon the toalls). Some sketches of Pompeian Street
life, roughly drawn but extiemly interesting.
9069. The Forum. A woman buyiug cloth. On the
left, a seller of tools, and bronze vases. {Pompeii).
9071. A Baker's Shop. {Pompeii).
9066. A SCH00LMASTER flogging his pupil , who is
«horsed» on the back of another boy, while a ihird holds
lus feet. Three others are studying tablets placed on
tlieir knees, and others lean against the columns. (jP.)
SECOND EOOM
(/« the centre). Bronze tripod for sacrif ces. (P.)
... A marble sphinx for table. (P).
{In the centre). *73020-l-2. Three safes (arcae),
ali found empty. The centre one, which is of iron, is
the finest. Its observe is adorned with bronze nails and
two busts of Diana in relief. Between them , the head
of a wi'd boar. Beneaih, two busts of Genii of Bacchus
and the mask of a Bacchante. (P.)
70 UPPER FLOOR— EAST
*72998. Stocks found in the barracks at Pompeii.
Fuur skeletons were fouiid in this terrible instrument,
the suddenness of the calamity not permitting of their
release. These stocks would secure twenty prisouers and
the exiremity of the sliding bar Avas fastened with a
lock.
THIRD ROOM
(On a Pompeian mosaic table). *72995. Sacrificial
TRiPOi) , of exquisite execution adorued with beautiful
arabesques and small bearded heads of Jupiter Ammon.
The legs are braced together by elegant sprays of lo-
tus-flowers. The basin is adorned with festoons and the
skulls of bulls, {H.)
In three wall-cases
[On theleft).... Terms with doublé heads. These are
of very fine execution, and were ornamentai boundaries
placed at the corners of tìower beds. Similar landmarks
on a larger scale, were used for estates , and in very
early times the festival called «.Tennìnatia* in honour
ofthegod of Bouiidaries, was establislaed at Rome.
6025. A MAN in Dacian costume lying on his back.
(Wall-cases opposite). 111697. Abundance seated on
a throne. She holds a Silver piate and a cornucopia.
(1880, Pompeii).
5024. Diana drawing her bow. Small statue. (P.)
113247. Apollo with Silver tìllet, and Silver strings
t-o his lyre. Very fine. Small statue. (1882, Pompeii).
♦5010. Fortune on a globe. Statuette. (Herc.)
*5313. AnuNDANCE with rudder sind cornucopia. The
base Ì8 inlaid with Silver, {fferc.)
SMALL BRONZES 71
FOURTH ROOM {righi side)
{In the cantre) Fourmovabletripods forsacrifices. (P.)
{On a marble tabìe). 114594. Marble statuette of
Silenus. (Pompeii).
73146. A very fine bronze vase, demi-ovai, the handles
of which represent a combat of gladiators. (II.)
64494. Lagena with handle inlaid in Silver. (P.)
On the right and apposite on columns,
68954. Pail. {Hydria) inlaid with arabesques and ani-
mais. On the handles are engraved the words ^Cornelia
S. Chelidonis. > {H.)
68866. Pail {Hydria) riehlj inlaid with arabesques
in Silver and copper, and with two liandles whieh when
at rest form a rim to the pail. {H.)
In the right wail-cases
LiBATION CUPS
69174. LiBATION CUP {rhyton), representing the head
of a stag with Silver eyes. The mouth boing partly open,
allowed the liquid to flow out.
69086. Proefericulum in the shape of a beautiful' fe-
male head, with tiara , eyes and necklace in Silver.
{Borgia Collection).
09087. 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).
*69167. MiLK-JUG of elegant form. This jug is known
72 UPPER FLOOR — EAST
as a milk-jug, an account of the two goats on its rim.
{Herculaneum).
69169. Similar jug, having a panther for its handle. P.
... Large number of vases, lagenae, pots, basins, which,
to judge bj the ornainents of their haiidles were used
for household purposes. The handles are speciallj beau-
tiful and an endless varietj of elegant form is displayed
in their construction. (P. and H.)
68763 et seq. Baskets of very elegant form with two
movable handles. (Pompeii).
7351 1 . Basin with bas relief representing ^]tra showing
her son Theseus the sword that his father ^geus had
hidden under a rock. [Herc.)
Front Wall
Handles for vases and door knockeis.
73983 et seq. Censers {tiiribula) , with chains and
spoon for incense. (Pompeii and Herculaneum).
74002. Handle of sprinkler or whisk for scattering
lustrai water. The liair is modem. (P.)
Side right wall-cases
CANOELABRUMS and Li\MPS
72255.Double lamp with garland and sun flower handle.
The cover represents a child witli a gooso. (H.)
72287. DouBLE-wicK lamp (dimyxos) beautifully ador-
nedwith acanthusleaves. Thelid beardsa Silenus standing
"pright, {Pompeii).
72331. DouHLE-wiCK LAMP. A bat upon the handle. P.
722r)0 and 72246. Treble-wick lamps hanging by a
SMALL BRONZES 73
well-wrought chain, and decorateci with a nude dancer
with pileus on the head, {Pompeii).
t72206. Lamp-stand. Sileniis , seated , pouring wine
from a wineskin. Behind him , a stump to carry two
lamps. {Pompeii).
72284. DouBLE-wiCK lamp. The handle is ornamented
with an acanthus. The lid representing aSatyr seated
on a stump holding a pan-pipe in the left hand. (1S68 P.)
72291. Handsome small Candelabrum. It represents
Cupid astride on a dolphin, which is about to devour
a polypus issuing from a shell. A wonderful work of
art. (Ilouae of Marcus Lucretins^ Pompeii).
72199. SiLENUS. His movement and the gestures of
his hands lead us to infer thtt he proposes to dance.
Behind him a parrot ou a hough which carries two
lamps. (P.)
FIFTH ROOM
Round the room, Pompeian freseoes with decoration.
(On a marhle table from Pompeii). *73000. Cande-
labrum formed of a decorated Corinthian column. Four
branehes issue from the top of the column, from which
double-wick lamps bang by four stranded chains. Upon
the left angle of the base, which is inlaid in Silver, we
observe a fine group of Acratus (a Genius of Bacchus)
mounted on a panther, the rhyton in his hand, opposite
to him a small aitar, upon which burns the sacred fire,
{House of Diomede, Pompeii).
*4993. A Cupid holding a lamp like a comic mask
and a lamp-hook. Beside, on a bronzo column, another
lamp in the shape of a human head: the flame issued
from the mouth. (l'ompeii).
74 UPPER FLOOR — EAST
73115. {On a table). A bronze ewer , the handle of
which repiesent a winged figure standing on a Cupid
wlio clasps a swan. Very fine. (Pompeii).
{On a mosaic table). Small statue of Silenus for foun-
taiu, in inarble. {P.)
73098. Crater, or vaso a calice. 69489. Lagena, and
(73545) small tripod for sacrifices. (P.)
On the right in the wall-cases.
Rings and bracelets in bronze — Ornamentai small fi-
gures iu bronze — Circular and quadrangular mirrors.
DICE, and TiOKETo FOR THEATRES
77087 et seq. Sundry checks, tesserae, made of ivory^
hitherto always called lickets for theatres , but now
shown to be counters for a game like lotto. Observe
the small numbered birds madeof terra-cotia. (P. and H.j^
*109880. Six numbered death's-heads (use unknown./
(Pompeii).
*7(j950 et seq. Knucklebones and dice; some construc-
ted that they might be loaded. (Pompeii).
Front Wall
DOOR ORNAMENTS
Collection of handles of bronze vases which have the
appearance of door-knockers. The designs on some of
ihem are particularly fine.
Side Wall
72823. Bas-reliefs from the front of strong boxes re-
presenting Silenus, Venus, and other figures.
sm'all ukonzes 75
72637. Handle. Apollo holding the lyre and the-
plectrum. Below, a swan with spreading wings. (P.)
t72600. SuPERB HANDLE, the geiTi of the collection^
adorned with arabesques and inlaid in Silver, with head
of Medusa. (Herc.)
73145. (On a table). Splendid wase with four handles
deeorated with female bust and richly inlaid with Silver^
{Herculaneum).
SIXTH ROOM
72231. Candelabrum in the form of a tree, the bougha
supporting live double-wick lamps, {Herc.)
72994. FoLDiNG Table. These legs bave acanthus^
leaves, on the upper parts, from which young Satyrs-
are emerging , each one holding a rabbit under his
arm. {Pompeit).
Upon this table is,
5017. A CuPiD in the act of running. Observe the
pig-tail which adorns its head. (P.)
111047. Folding table in bronzo, with « semisanto >
marble top.The edge of this table is inlaid with siIver.(P.)
Upon the table is a,
5008. Genius with a flower in bis band, which ma^r
bave served as a lamp. (Pompeii).
78613. A small round table. The three legs represent
greyhounds jumping up. Upon the table is a small mar-
ble aitar. [Pompeii).
(On a marble table). 72191. Candelabrum formed of
a fluted column. (Sfabia).
{On a marble table). 69484. Lagena. 73003. Cratere
o** « vaso a campana ».
76 UPPER FLOOR — EAST
... Marble small statue for a fountain.
Ow two small marble tahles,
Two Satjrs for fountains. {Pompm).
Wall-cases
LANTERNS-LAMPS-CANDELABR\
72226. Candelabrum in the form of the trunk of a
tree, the boughs supporting three lamps of which two
are in the shape of snails. (Pompeii).
In the window
73005. Great brazier found in the Tepidarium of
the baths, near the Tempie of Fortune at Pompeii.
J.ehind the brazier^
73017. Four-legged bench from tlie public baths. (P.)
SEVENTH ROOM
KITCHEN UTENSILS
*72983. EcoNOMic Kitchener in the shape of a rectan-
^ular fortress, with towers at the angles. The embers
were laid in the centro and the fire was surrounded by
a jacket of a water contained in the conduit beneath the
battlements. Tiie water could he drawn off 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 ali other culinary purposes as well,
as for beati ng a room: while the steam from the water
jneutralised the noxious gases from the charcoal. (H.)
(On a table). 111048. Urn intended for beati ng water.
{On a table). *73018. Cylindrical Stove [Calidarium)
SMALL BRONZES 77
of exquisite beauty. It stands on three lions' feet and
has four handles, of which two are fastened to the side»
by models of human hands. On the upper part are two
liandles, each of them formed by two spirited wrestlers»
The lid is of very peculiar construction, the upper part
being a boiler which comunicates with the firebars be-
neath, which are hollow.
*72986. (Upon a table). Ecoììomic Kitchener con-
sisting of a covered cylindrieal boiler , comunicating
with a hollow seniicircle, provided with a tap. The fire
within the semicircle heated the boiler, and the three
swans upon it are constructed to carry a saucepan.(*S'^6fème)
*73880. Urn (authepsa) with two handles and ììom^
feet. This beautiful urn is decorated with designs, and
is similar to the Russian samovar And the old-fashijned
English tea-urn. [Herculaneum).
78673. Two-handled ewer of very remarkable con-
struction supported of three Sphinxes with lion's claws
and intended for beati ng water. {Pompeii).
Side wall-cases
SURGICAL INSTRUMENTS (Chirurgia)
Most of these istruments were found in the « House of
the Surgeon » at Pompeii, and diflfer but little from
those in use at the present day.
*78029. PoMPEiAN FORCEPS, formed of two branches
crossing, and working on a pivot. It wasused for crushing
small calculi. (Length 8 inches).
*78030. Speculum uteri. It is a tri-valvular dilator;
the thr^e valves , standing at right angles to the rest
78 UPPER FLOOR — EAST
of the instrument, are jointlj dependent on each other
in the expansion transmitted only to one of them.
f78031. Speculvm A>fi. A bi-valvular dilator, probably
«sed also for the uterus before the other one was known.
*78032. Dentated forceps of elegant construction.
78121. Sound wi'h fiattened extremitj, bifurcated for
cutting the frenum of the tongue: as used in modem
surgery.
78034 et seq. Actual cauteries.
*78071. Surgieal needle.
78026. A MALE CATHETER (aenea fìsiula).
78027. A FEMALE CATHETER, (3 Yj ìnches in length).
*78008. Trochar for tapping for dropsy. A hole in
the end gives en exit to the water.
78012. An elevator (or instrument for raising de-
pressed portions of the skull) made of bronze.
77982. Small curved dentated forceps, for removing
foreign substances from cavities.
*77986 et seq. Fourteen bronze cupping vessels of
modem shape, such as are now niade of glass.
WEIGHTS and SCALES
Eighteen steelyards and scales, complete.
74039. This scale bears the inscription (in dotted li-
nes): « ti. claud. oaes. ae 1111 vitel. hi. cos exactaIII
tic: cura aedil », meaningthat this balance wasstamped
at the Capitol in the reign of the Emperor Claudius. (P.)
*t74056. Under the hook from which this specimen
hangs we read the inscription, « imp. vesp. aug. iix. t.
IMP. aug. F. vi. COS. EXAOTA iN CAPITO (IÌ0)\ that ÌS tO
say, that it was stamped in the Capitol under the eighth
SMALL BRONZES 79
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. (Stabiae).
Sundry round weights in black basalt (nefritica),
marked in Roman figures,
74280 to 74290. Eleven round weights in bronze,
marked with silver numerala. X, V , III , II, I, S. or
< semis » (haif) for the pound, and :: .: :. S. for frac-
tions of pound.
74308 to 74313. Six bronze weights, in the shape of
goats. These marked P. X, P. V, III, P. II, P. I.
*74390 to 74393. Four large weights, — a pig hearing
initials P. C. (one hundred pounds); a cheese, and two
KNrcKLE-BONES. (Pompeit).
74599. Measure for liquids of the weight of ten pounds,
the Congius spoken of by Pliny. (Borgia Colleetion).
74600. Dry measure.
MUSICAL INSTRUMENTS-SYSTRA
*76890. Bagpipes found in the barracks. The dulci-
iner » of Dan. iii. 5. Nero was fond of this instrument,
and is said to bave played it in public. It is the favourita
instrument of the S. Italian peasantry. (P.)
76887-8 Cymbals of two kinds. (Pompeii).
t76945 e^ se//. Systra — jingling bronze rattles used in
the worship of Isis. (Pompeii),
111055. A bronze Syrinx. It was fitted with a chain
apparently to be carried round the neck. {Pompeii).
80 UPER FLOOR— EAST
WRITING MATERIALS
Inkstands, pens, metal mirrors, serpentine braeelets. P.
75080. Inkstand stili containing '\\\\i,{atramentum). P.
*110672. Bronzo pen, nibbed like a modem one. (P.)
In a tube of modem glass,
*75095. Pen of reed, found in a papyrus. (ff.)
MATHEMATICAL INSTRUMENTS
*76657 to 76667. Plummets. {Pompeii and Herc.)
*76670 et seq. Sundry pairs of compasses. (P. and H.)
*76684. Reducing compass. {Pompeii).
*115630. Callipers. This handsome specimen is
exactly like the instrument used by modem sculptors.
(1887, Pompeii).
*66890. Square. {Pompeii).
76690 et seq. Linear measures corresponding to 0,29
of our metre. (Pompeii).
LAST ROOM — GREAT SALOON .
in the centre
CORK MODEL OF POMPEI!
In the centre of this room is a cork model of the
excavation of Pompeii, on the scale of 1 to 100. It is
extremely accurate, and well worthy of attention.
The wooden balustrade represents the outline of the
ancient ramparts, while the part painted green shows
what yet remai ns to be excavated.
The amphitheatre , which was capable of holding
SMALL BRONZES 81
12800 people was, situated at the extremity of the
town as a shown on the model.
The extent of the city is estimated at about one
hundred and forty acres, and the part excavated may
be taken at about fiffy acres, leaving ninety acres stili
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 por-
tion is about six hundred yards, and the circuit of the
city two miles.
The House of Diomede and the Street of the Tombs
being outside the walls , are not represented on the
model.
KITCHEN UTENSILS
... Many basins.
*76542-3. Large egg frame, capable of cooking
twenty nine eggs at once, and a small egg frame for
cooking four eggs. (Pompeii).
76540. Two very handsome andirons and live spits.
Tongs,— artistic shovels,— gridirons,— iron trivets.
Pastry moulds in the shape of shells. (P. and ff.)
*76352 etseq.Fonv shape s representing a bare, a
pig, a barn and half a fowl. (Pompeii).
Bronze knives. — Spoons. — Implements for making
pastry.— Pastry cutters.— Cheese-graters. (P. and H.)
Saucepans, of which many are lined with Silver. P,
73231. A SAUCEPAN as found at Herculaneum, comple-
tely full of lava and encrusted with ash.
In front of the toindow.
6
82 UPPER FLOOR — EAST
COLANDERS
Colanders perforateci in graceful designs.
Note^ the colander (77609) having in the centre a
bas-relief of Venus with Silver bracelets holding out her
hand to a small Cupid. (P. and H.)
IRONTOOLS
*71700 et seq. Scythes , sickles , bill-hooks , knives,
rakes and forks, four ploughshares, spades as used in
Naples now, and trowels for gardening. [P. and H.)
71746. Small pocket-knife with bone handle. (P.)
71789 to 91 et seq. Carding combs, long shovel, large
spring shears: shears of this form stili used in silk facto-
ries. Sundry smaller shears, blacksmith's cutter and
pincers, axes, hatchets, soldering iron, claws for drawing
nails, pickaxes, wedges, and hammers for chipping pa-
vements. (P. and. H.)
t71875 et seq. Key for raising heavy blocks of stone
(as used now). *Hammers for carpenters and masons.
Compasses , callipers , masons trowels , turnery tools,
centrebits, sealpels, planes, saws, anvils, a large whet-
stone. (Pompeii).
GATTLE-BELLS
*Cattle-bells. Large number of bells for cattle.
... Bronze letters frora inscriptions. (Ilerculaneum).
Pails (Hydriìe) — Jugs for oil — Praefericula, or libation
cups — Liquid measures.
SMALL BRONZES 83
BEDS
*78614. Three beds. Two bave heads to them. The
wooden part, painted red, is a restoration. The originai
wood Avas walnut. [House of Vibìus. Pompeìi).
Bronze and iron grating {claustrum) found before a
window in Pompeii.
73016. Iron stove covered with lapilli. It has places
for two saucepans, and the bottom is of fire-brick, (P.)
Hanging up against the wali
78622. A bronze beli , shaped like a gong. It has a
beautiful tone.
Glass-tabie
FISHING-TACKLE
*76840 et seq. Nettine needles , quadruple fish-hook
weighted. — Four hundred fìsh-hooks. [Pompeii).
109703. A RUDDER , belonging probably to a bronze
statue of « Abundance ». {Pompeii).
112845. Small iron anchor; the only one yet found. (P.)
74578. A wiRE ROPE formed of fifteen strands layed
up like modem wire rope. Uniquc specimen.
LOCKS and KEYS
*71232 et seq. Locks in bronze and iron. Some bave
keys. (Pompeii and Herculaneum).
Sundry keys of ali sizes , some of which are very
complicated. {Pompeii and Herculaneum).
71283. Padlock, very curious. [Pompeii).
*71392 et seq. Bolts of locks. Sundry hinges. (P. and H.)
84 UPPER FLOOR — EAST
*7l40l. Iron key, carefuly made and inlaid with
Silver. It was found upon one of the skeletons of the
family of Diomede, in the celiar of his house at Pompeii.
74578. Small model a quadriga of very great interest»
SAODLERY
*Harness por horses, consisting of scrolls, sprays^
bits, nosebands, pole-heads, curb-chains, spurs, a stir-
rup (?), buckles, and other objects which can be rea-
dily identified.
*73003. Two baths, the only bronzo ones yet disco-
vered. {Pompeii).
Betuì ning through these rooms, we reach the loinding stair-'
case to the third floor.
NINTH HALL {near the stairs leading to the third floor).
In the window on a table,
4996. Alexander. A beautiful small equestrian sta-
tuette. {Herculaneum).
4999. Amazon. Mounted and liurling a lance. [Herc.)
4894. A HORSE. The bridle inlaid with Silver. {H.).
Lustrai marble basin. {Pompeii).
72989. Brazier damascened in copper. (P.)
72991. Brazier. The obverse and reverse are adorned
with Genii, head of Medusa and the lion's mask. (P.)
in the wall-cases
LARES and PENATES
A large number of statuettes of Jupiter , Minerva
Apollo, Hercules, Bacchus, and other divinities, repre-
sented with their attributes.
SMALL BRONZES
85
These were the bousehold goda of the Romana, appoìnted
to watch over the building. They were frequently
placed in a shrine, and on the coming of age of the Ro-
man boys at the age of seventeen, the Bulla (a trinket
worn in boyhood) was deposited with the Pènates to
whom sacrifices were made on important family occa-
sions.
Side wall-cases
The contents of these cases are very interesting. They
show some of the very earliest attemp s of the ancient
Etruscans at casting the human figure in bronze.
5534. An Idol in bronze, of primitive style. {Elba).
òdi>7 to 5571. Paterae and mirrors, of primitive style.
72981. Vase handle with winged Genii in bas-relief
having their heads pillowed on their entwined arms
and on the sides two Tritons with cuirass in a striking
attitiide. In Etruscan style. Duplicate in the British
Museum. (Borgia collection.)
86 THIRD FLOOR
THIRD FLOOR
ENAWELS-GLA88— SJLVER and GOLD OBJECTS— ARMS
PaPYRI— CAME03-C0INS— ITALO-GREEK VASES—
At the top of the winding staircases;
IVORY ARTICLES and TERRA-COTTA YITRIFIED
FIRST ROOM
In two table-cases,
78493. Ivory handles for knives, and bone spoons. (P.)
114lQ. Ivory fragments from dressing-eases. These
bave been dove-tailed. Bone-spoons. (Pompeii).
78437 et seq. Scoops for takingointment outof narrow-
necked bottles. Fragments from the curule chair. (P.).
110924. Statuette of Venus with dolphin. (P.)
78379. Statuette of boy wearing the abulia patricia>
Atlas — Farnese Hercules [and fragments of the Far-
nese Bull.
109905 and-5. {bis). Two ivory panels (frame modem)
carved on both sides, used as ornaments for forniture.
TERRA-COTTA VITRIFIED
(In the centre). 72990. Laver in bronza for lustrai
water.
In six wall-cases,
BowLS — Two groups of the « Carità Romana ». —
Lampo — Egyptian Idols.
GLASS 87
SECOND ROOM
TOILET REQUISITES
(Table-case in the centre) .77355 et seq. ìvory dLììàhvonze
combs. Observe especially; No: 118719.Ivory come recently
found in Pompeii. On the top will be seen an Ibis and
a basket full of fruits.
*77363. Bronze thimble. (Pompeii).
77386 et seq. Hairpins in bone and bronze, adorned
"with statuettes and busts.
77364. Tooth-picks and ear-pickers. (P. and B.)
74318 et seq. Bone buttons and bronze studs. (P.)
*77570. Pot of roek-crystal , stili containing rouge,
and small flagons in alabaster and ivory, for perfunaes.
*77522. Spindle fitted with a bronze hook. (P.)
6USS
In the windoto on a column,
... Cratere or vaso a campana in glass paste with two
voluta handles twined over the lips of the vase.
In ten wall-cases,
Bottles — Bowls — Drinking vessels — Chemist's bottles—
Jugs shaped like the breasts of a duck.
In the corners of the rooms^
Many marble statuettes for fountains.
88 THIRD FLOOR
THIRD ROOM
GLASS (continued)
In the window
*18521. CiNERARY AMPHORA on a modem Silver stand,
found full of human ashes in 1837 in one of the buil-
dings near the Street of tombs at Pompeii, It is of blue
glass covered with a bas-relief of opaque white glass
figures, and foliage.
The design represents vinesloadedwith grapes, twining
gracefully round the body of the vase. Among them
are several Cupids, three of whom are playing upon
musical instruments , while the others are engaged in
the various operations of the vintage. There is besides
a great variety of scroll-work, birds , flowers , fruits,
acorns and other beautiful decorations, At the base are
two faun's heads, and in the lower band a-iimals of various
kinds pasturing beneath some trees. Nothing can exceed
the grace and beauty of the composition and execution
of this design. The vase is in the sanie material as the
Portland Vase, which may he seen in the Gem Room
of the British Museum.
In the centre
GLAZED WALL-CASES
13522. Glass piate chequered with lapislazuli , and
gold-coloured frugments. This is Greek work dating
probably 300 b. c. (Ruvo).
13(388. Blue patera M'ith handle ending in a ram's
head. The bowl is decorated with a mask of a Silenus
encircled by a garland of vines in bas-relief made of
opaque white glass. [House of Tragic Poet, Pompeii).
TAZZA FARNESE — GOLD ORNAMKNTS 89
Cup in rock-crystal.
{Another glazed case in the centre). Paterae in glass,
and necklaces in rock crystal.
{In the centre). 6365. A najad seated. Marble statue
for fountain. {Pompeii).
In the glazed wall-cases,
Bottles— Cups — Bowls.
FOURTH ROOM
TAZZA FARNESE
(In the windatv). *276ll. Cup of oriental sardonyx
(diam. 234 mill.) of inestimable merit and value, found ei-
ther totheCastle of Sant'AtìgeloAt Rome, orinHadrian's
villa atTivoli.lt carne into the possession of Duke Charles
of Bourbon when he was besieging Rome, and was already
disfigured by a hole in the centre, which had been bored
through it with the view, no doubt, of fixing it on a stando
It is the onlj known carneo of its slze which has a
composition engraved on both sides of it. qiì the outer
side is a magnificent Medusa , and on the inner eight
figures in relief representing Ptolemy Philadelphus
consecrating the harvest festival institued by Alexander-
the-Great after the foundation of Alexandria.
GOLD ORNAMENTS
In the centre in tteo table-cases,
RINGS
Gold rings most of them set with fine stones.
Among these are several serpentine rings, doublé rings
90 THIRD FLOOR
hearing an anchor and palm, which bave been thought
to bave been wedding rings. Note:
fin the second row no: 25181 is a ring hearing a
mask engraved on niccolo» wbicb was found at Pompeii
by king Charles III, \\ho wore it for many years.
When this King inherited the throne of Spain, he
handed over the ring to the Museum.
t25l36. Garnet ring, upon which a very small figure
and the inscription « Cassia » are engraved. This ring
was found with the massive gold bracelets below, upon
a skeleton in the house of the Faun.
25218. Large ring in onyx with Hercules, and the
inscription COAQNOC.
Large ring in niccolo, with discobulus standing.
24732-3-4. Three rings with the finger-bones of their
owners. {Pompeii).
25085. Very large head of Brutus engraved on gold,
gram. 350. Inscr. AXA2IAAS EIIOIEI ^Anaxilas fecit,>
{Santa Maria di Capua).
In the centre on a colwnns,
6277. Apollo hermaphroditus. A small tnarble sta-
tue. (Pompeii).
I wall-case (Bound the room)
GOLD OF ROMAN PERIOD
Bracelets of various kinds. Note:
•24824. Two large serpentine bracelets , weighing
two pounds (the largest yet found). {House of the Faun.
Pompeii).
25260. Long gold chain, beautifully worked. This
GOLD ORNAMENTS 91
chain was found in 1874 together with several of the
gold ornaments (see nos. 25257-8) on the first floor of
a house at Pompeii where eleven persons (whose skeleton»
were found) had taken refuge. (Length, y^ yards).
'24842. Bracelet of two cornucopiae with lions' heads»
(Herculaneum).
109587. Bracelet of gold wire twisted into figure»
of 8. Small heads in relief on the clasp. Unique. (1873.
(Fompeii).
tlllll4. Two vine-leaf necklaces one of forty-eight
and the other of forty-six leaves. (Pompeii).
II wall-case
Necklaces of various kinds and a purse made of
gold network.
Ili wall-case
Bracelets of various kinds.
IV wall-case
110834. Lady's hair-net of gold wire in perfect pre-
servation.
V wall-case
Bracelets and earrings in the shape of almonds , of
a segment of an appiè and others representing Genii.
VI wall-case
Handsome crown worked with foliage. Bracelets and
necklaces.
92 THIRD FLOOR
VII and Vili wall-case
GREEK and ETRUSCAN PERIOD
t25235. A pair of very large earring of pyramidal
shape, decorateci in filagree , and hearing a head of
Medusa. — A ring (the setting modem) , with an agate
intaglio representing an Amazon. — A gold coin of Syracuse
representing Hercules. (C/e// of Baron d'Arbou Castllon,
1364, found ina toinh at Taranto).
24826. KiD in massive gold , of vel-y fine execution.
Found at Edessa in Mesopotamia, {Borgia collection).
24844. Fillet with a head of Medusa, in relief. {Toro).
24852. Massive gold bull with Poeuician and Greek
inscription. {Syracuse).
24876-8. Two perfume vases in blue glass mounted
on gold stands with wide border, upon wliich are some
tragic masks in bas-relief. {Venosa).
24883. Splendid necklace formed of twenty-one Si-
lenus masks and fifty-eight acorns and fleurs-de-lys.
{Armento).
IX wall-case {Opposite)
24650. BuLL^ Patricia. These trinkets were worn
round the necks of patrician boys in Roman times, and
were dedicated to the gods when the boys arrived at
man's estate. They were called ^bullae* bubbles(from
tlieir shape) and are represented on the statuettes of
boys of noble birth. {Herc.)
24845-6. Two handsome brooches, to which two gold
pomegranates bave been suspended.
24893. Gold Tiara formed of a curved spray with
\
SILVER OBJECTS 93
leaves and flowers set with garnets , and srnall gold
buttfrflies. {Fasano, the ancient Gnatiae).
... Marble statuette of Venus dressing adorned with
gold necklace and bracelet.
X wall-case
25000. Large gold lamp {Roman period), weighing
nearly two pounds, and having its handle formed of a
leaf. It is the only gold lamp yet found in Pompeii. It
was found in the Street near a shrine dedicated to Mi-
nerva, which has given rise to the improbable assum-
'ption that it was a votive offering to this goddess, (1863,
Pompeii).
*113576. Remarkable necklace of ribbon wire set
with eight large pearls and nine emeralds. At one end
of it is a gold disc set with an emerald, at the other
end is a hook. This is one of the richest necklaces of
antiquity. (Length, 14 in) {Found near Pompeii, 1884).
FIFTH ROOM
SILVER
On a coliimn in the windotc,
*25283. Silver pail with bronzo handle. Round it,
in bas-relief a nude lady seated , and being attended
after ber bat, by female slaves. {Herculaneum).
In tico glazed cases in the centre,
t25376-77-80-81. The four famous CE^TAUR cups,
executed in magnifìcent high-relief representing Cen-
taurs and Genii. (Pompeii).
25492-3. Diana and Apollo. Two medallions in high
relief.
94 UPPER FLOOR — EAST
25383. statuette of a Camillus. (Pompeii).
25495. Circular pl^aque. Satyr seated on a rock playing
the lyre before a term. {Herculaneum) .
25489. Abundance. Circular plaque of perfect pre-
«ervation. (Pompeii).
t7509l. Octagonal inkstand (found in a tomb at Ter-
lizzi) of bronze , decorated in Silver , with the seven
divinities who presided over the seven days of the
week, — namely Apollo, Diana, Mars, Mercury, Jupiter,
Tenus and Saturn.
Martorellì, the archaeologist thinks tliat it belonged to
some astronomer of the tinie of Trajan.
{In the centre). 6279. Diana drawing the bow. A
marble statue. {Farnese).
In Uco ylazed-cases,
25301. MoRTAR representing the apotheosis of Homer.
•One of the most famous speeimens of ancient Silver work.
In the centre is the poet draped and veiled , borne
heavenwards by an eagle. On the right a female figure
representing the Odyssey, ber head resting on ber right
band. {Herculaneum).
*25300. MoRTAR-SHAPED CUP, adomed with beautlifu
leaves and spray s. {Herculaneum).
25699. A man ad woman conversing. Silver inlaid
in copper.
In the wall-cases,
70991 et seq. Long borders inlaid with Silver serving
-as horizontals for bedsteads.
SILVER OBJECTS 95
CUPS and VASES
Cups, among which two chased cups. Pastrj-moulds
n the shape of a shell and spoons of various shapes.
Silver bracelets of various kinds.
Sixteen saucepans, the handles engraved with designs.
One of them bears the make'r name. (P. and li.)
Sauce-ladles. {Pompeiì and Herculaneum) .
111768-9. Two LARGE piTCHERs, wlth two haodles.
Each weighs about 10 Ibs* (Pompeii).
25695. Reclangular Silver trajs. (IT.)
Beneath two delicate Silver colander (116353 and
25496) are suspended. (Herculaneum).
t25490. The death of Cleopatra. A very fine bas-
relief on the reverse of a circular mirror. The queen
is seated, having already been bitten by the asp, and
her head is supported by an attendant. Below her chair
is the basket of figs in which her attendants, Charmion
and Eiras, concealed the asp. (Heroulaneum).
SIXTH ROOM
In the centre,
69089. Libation cup of oblong shape. This is quite a
unique specimen, {Ruvó).
In the tvindow under glass,
5673. Helmet (galea) with bas-relief representing the
last night of Troy. {H.)
5674. Helmet with bas-relief representing a martial
trophy. (fferc.)
In the centre under glass,
Four greaves with rich ornaments.
' 96 THIRD FLOOR
In six wail-cases {on the right)
GRECIAN ARMOUR
Helmets — Cuirasses and gauntlets of the Greek period
Poestum and Ruvo).
Lances — 5745. A flag-staff with a cock on the top
used as a military standard. [Pietr abbondante).
72987. Bronze pedestal of a table formed of a rec-
tangular column surmounted by a bearded head of
Bacchus hearing a cup. In front of the column a char-
ming Victory holding a martial trophy in her right band
rests ber feet upon a globe.
ROMAN ARMOUR
Helmets — Greaves — Gauntlets— Spear heads of the
Roman Period — Paiazoniums.
In the windoto in two table-cases,
5844 et seq. Leaden sling-bolts {ghiande missili)
with inscriptions, from the battle-field of Cannae.
Upon the walls
Five Trumpets for gladiators.
SAMNITE PAINTINGS (Frescoes)
{On the Wall) These paintings of great interest for
the antiquity represent warriors returning from an
expedition , and were probably painted net later than
600 B. e. {Poestum).
Jn the room tohich folloìcs^ is the
PAPYRUS COLLECTION 97
PAPYRUS COLLECTION
The papyri were found in January 1752, in a house a
hundred feet beneath the garden of the convent of St.Au-
gustine, at Resina.
The library of this house was furnished with shelves
against the walls, and a bookcase in the middle of the
room, containing together some three thousand charred
papyri, inkstands, and reeds for writting. When first
discovered tliey were taken for pieces of charcoal: about
half of them were destroyed, 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
deciphering them , and many were destroyed in the
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.
Eaeh papyrus consists of about one hundred pages, and
about Ave hundred bave unrolled.
The walls of this room, as well as the cases against
the Wall are full of unrolled papyri, and specimens are
shown of those in the originai condition, as found. Two
of the machines used for unrolling the papyri are
exhibited in this room, as well as the portrait of Piaggi
of whom we bave spoken above.
The following bave been published: —
Philodemus. On Music — Life and Manners abridged
from Zeno on Freedom of Reason. lib. ix.) — On Vice.
7
98 THIRD FLOOR
lib. X. — On Rhetoric 4 — Life and Religion. On what
is useful to the people, aecording to Homer — On Viees
and their opposite Virtues — On Phenomena — On Ani-
mais — On Poems ; and lastly a paper of questionable
moralit}'.
Epicurus: de Natura. Books ii., — xi., and two others.
PoLYSTRATUs: On Pride, Chrtsippus: de Providentia.
Metrodorus (?): On Sensations.
Fragment of a Latin poem, perhaps referring to t}ie
battle of Actium; and a few other writings of uncertain
authorship.
(In the centre) WAXEO TAELETS (Tabulae cerataej.
Ttiin pieces of wood covered with wax on the inner
side, and folding hook wise on a hinge (Hom. IL 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
exterifr. Tlie manuscript was scratched upon the wax
with a pointed stylus, and could be erased with the blunt
end of the sanie instrument.
In 1875 a large box was found in the « House of Lu-
cius Coecilius Jucundusff at Pompeii, containing a num-
ber of these tablets hearing Latin and (one, ortwoof them)
Greek inscriptions, interpreted by Professor de Petra to
be contracts, bonds, and reeeipts. The name of Jucundus
appears upon them ali , and in the house was a most
beautiful bronze bust (see Large Bronzes, No. 111063,
p.42) hearing the inscription €Genio L. Nostri Felix L..,*
being no doubtthe portrait of the usurer Lucius Csecilius
Jucundus, who tiansactod loansat the rate of 2 per cent,
per month, the term of payment being one month.
PAPyRL'S COLLECTION 99
The threefold tablets were 120x107 millimetres. Thej
were written upon on both sides, excepting the two whose
other side formed the cover of the instrument. Thus
surfaces one and six were blank, and formed the outside
when the triptych was fclded up. Surface two, gives us
the contraet. Surfaces three and four the names and seals
of the parties and the witnessess and surface five an
abridgement of the transaction.
In the room ìchere the Papyri are exhihited are three
tahle-cases containing Cameos and Intagli of minor
importanee , and in the next room where coins are
exhibited is in three other tahle-cases a collection of Ca-
meos of the first order.
•lOO THIRD FLOOR
C AMEOS AND INTAGIOS.
This collection comprises about a thousand cameos
and five hundred intaglios, many of which bear the na-
me of Lorenzo dei Medici , and carne from the Far-
nese Collection. The remainder are from Pompeii and
Herculaneum.
The ancient specimens are marked « Ani., » and the me-
diceval ones « xv. » (fi/teenth century).
First table. — First compartment (25833 to 25899.)
First roto,
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 bis dog. Ant.
3. Onyx. A NEREiDona Triton, playing cymbals. Ant.
4. Sardonyx. Venus surprised at ber bath. Ant.
5. Onyx. Neptune and Pallas. Inscribed IIY. Pyr-
gotele. Ant.
6. Onyx. Daedalus and Icarus and two females. Ant.
7. Onyx. Venus on a lion led by Cupid. Ani.
8. Orientai Onyx. Triumph of Bacchus and Sile-
Nus. Ant.
9. Onyx. Bear-hunt. Inscribed «Gneius. > ^n<.
Second roto,
10. Sardonya. Two Female heads. Ant.
12. Onyx. Chariot driven by Victory. Legenda
SOSTPATOY. Ant.
13. Agate. Helle on a ram, and Cupid. xv.
16. Onyx. Jupitek overwhelming the Titans. Legend,
ABHNKiN. Ant.
17. Onyx. Cock-fiqht, in presence of two Cupide, on»
CAMKOS ]01 •
lamenting his defeat, the other victorious. Ant.
18. Onyjc. Hercules and Omphale. Ant.
20. Onyx. Bacchus finding Ariadne. Ant.
Third row,
23. Agate. Ultsses at rest. xv.
25. Sardonyx. Homer; name on the mantle. Ant.
28. Agate. Aurora in a biga. Ant.
29. Onyx. Omphale with the club of Hercules. Ant.
t30. Agate. Jupiter Serapis, in high relief. Ant.
31. Onyx. Hercules hearing Cupid. Ant.
32. Agate. Head of Medusa. Ant.
33. Agate. Satyr kneeling. A fragment. Ant.
35. Onyx. Bacchante plajing the tibia. Ant.
Fourth row,
38. Agate. Othrtades dylng. Ant.
39. Sardonyx on glass. Head of Medusa. Ant.
t4l. Sardonyx. Satyr dancing. A fragment. Ant.
42. Agate. Minerva with helmet and quiver. Ant.
t44. Sardonyx. Augustus. Attributed to Dioscorides.
47. Onyx. Aurora in her chariot. Ant.
t48. Orientai Onyx. A Faun carrying th« infant
Bacchus. Ant.
Fifth roto,
52. Onyx. A fine head, perhaps Cicero. Ant.
53. Onyx. Victory, on a biga. xv.
58. Sardonyx. Bellerophon killing a lion. Ant.
59. Sardonyx. Venus sitting with Cupid. xv.
■|"60. Orientai Onyx. Sculptor chiselling a vas«. Ant.
61. Orientai Onyx. Nereid on hippocampus. Ant.
Sixth row,
65. Agate. Dirce's punishment, Fragment.
Seventh roto,
10'^ THIRD FI.OOR
40, 1 857. Onyx enamelled. Vestal, a superb head , Ani,
SECOND COMPARTMENT (25900 to 26042).
First row,
68. Sardonyx. A man's head perhaps Maecenas. Ani.
69. Agate. Ariobarzanus III., king of Cappadocia. Ant.
77. Sardonyx. Domitian, laurel-cfowned. xv.
78. Agate. Faustinla the younger (?). Ant,
79. Sardonyx. Cupio and Psyche. Ant.
85. Sardonyx. Bust of Minerva. Anf.
87. Agate. Cassandra at the Palladium. xv.
Second roto,
90. Sapphire. Veiled head of Livia, xv.
97. Agate. Ajax d raggi ng Cassandra from the Pal-
ladium. Ant.
99. Lapis-lazuli. Tiberius crowned with laurei, xv.
100. Agate. Victory, in a biga. ^Ant.
105. Emerald. Bust of Jupiter Serapis. Ant.
108. Chry solite. Harpocrates. xv.
Third row,
123. Jacinth. Cleopatra, xv.
124. Onyx. Marsyas bound and Mercury. Ant.
130. Agate. Juba IL, king of Mauritania. Ant.
134. Onyx. Leda and the Swan.
Fourth row,
138. Onyx. Sacrifice to Priapus. Ant.
147. Sardonyx. Hercules and the lion xv.
154. Onyx. Ganymede and the eagle. xv.
156. Agate. Hercules ^vith the lion's skin. xv.
Fifth roìc,
160. Onyx. Venus and Mars. Ant..
CAMEOS WS '
161. Orientai Onyx. Livia as Juno Ant.
167. Garnet. Samson, with legend. iv.
171. A^ate. Domitian. xv.
172. Agate. Head of Julia M.esa. Ant.
175. Onyx. Bust of Aquilia Severa? Ant.
176. Agate. Bust of Julia Soemis? Ant.
Sixth rote,
185. Onyx. Head of Agrippina. Ant.
tl88. Sardony.x. Aurora on a quadriga. The artist
knew how to make the most of the differfnt strata of
the stone to give each horse a distinet colour. Accor-
ding to Winckelmann, their colours indicate dawn, day,
twilight, and night. Ant.
190. Onyx. Erato playing the lyre. Ant.
193. Onyx. Cupid; legend — OIAQ, / love. Ant.
196. Jacinth Chrysopath. C^sar. xv.
197. Onyx. Hand pulling an ear; MXHEMONEYE
remember. Ant.
198. Onyx. Hand-in-hand; OMONOIA, concord. 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
SECOND TABLE — FIRST C0MPARTMENT (26043 tO 26209).
First 7~0W,
205. Amethyst. Old man, with cloak. Ant.
206. Garnet. Vesta l. Ant.
t209. Cornelian. Ajax and Cassandra at the Palla-
dium. Ant.
104 THIRD FLOOR
210. Chalcedony. Head of infant Hercules, xv.
212. Emerald Plasma. Orpheus playing the lyre Ani.
t2l4. Chrysolite. Pallas. xv.
215. Chalcedony. Antoninus Pius (?). xv.
216. Sardonyx. Bust of Julia, xv.
219. Cornelian. Perseus with the head of Medusa.
Legend — AIOSK... Dioscorides. Ant.
221. Cornelian. Solon. Legend— SOAQNOS. Ant.
Second roto,
228. Amethyst. Jole; a fine head. xv.
229. Cornelian. Thetis and a Triton. Ant.
230. Sapphire. Fine bust of Juno. Ant.
*232. Amethyst. Diana, with Apollonius inscribed in
Greek. A gem of great celebrity. Ant,
238. Cornelian. Head of Antinoììs. Ant.
Third row,
244. Beryl. Head of Sergius Galba. xv.
250. Amethyst. Antoninus Pius Ant.
251. Sardonyx. Trajan and bis wife Plotina, Mar-
ciana bis sister, and his niece Matidia. Group. Ant.
254. Cornelian. Perseus with Medusa's head. Inacribed
Dioscorides. Ant.
Fourth row,
268. Cornelian. Fine head of Plato, xv.
276. Cornelian. Julius Caesar. xv.
Fifth row,
287. Garnet. Bust of Cleopatra. Ant.
Sixth row.
The first stone, without a number. Cornelian. Hand-
some bust of Juno. (Pompeii).
Seventh row,
CAMEOS 105
329. Sardonyx. Mars crowned by Victory. Ant.
Ninth row,
362. Green Plasma. Marcus Aurelius. Ant.
SECOND COMPARTMENT (26210 tO 26389).
Second row,
t390. Cornelian. Sacrifice. Group of 18 figures. xv.
393. Agate. Plotina, a fine head. xv.
404. Heliotrope Jasper. ^sculapius. xv.
408. Cornelian. Silenus upon an ass. Group, xv.
Third row,
413. Cornelian. Pescennius, with inserì ption. xv.
417. Sanguine Jasper. Sacrifice. xv.
419. Cornelian. Livia and Tiberius. G.'oup. xv.
Fourth rou\
428. Cornelian. Julia, daughter of Titus. xv.
439. Cornelian. Strength conquered by Beauty. A
TToman seated on a lion , with two Cupids. Legend —
AAESAN... » Alexander ». xv.
Fifth row,
451. Emerald Plasma. Jupiter, Juno, and Minerva.
Ant.
Sixth row,
473. Chalcedony. Africa personified. Engraved with
unintelligible characters. Ant.
AIA. Agate. Galba crowned with laurei, xv.
Seventh roto,
490. Chalcedony. Victory. ^nt.
Eight rowt
524. Jade. A handsome female head. Ant.
106 THIED FLOOR
OTHER INTAGLIOS and CAMEOS.
third table— first compartment (26390 to 26766).
(Intaglios.)
First rote,
573. Cornelian. Head of Cybele. Ant.
Secand row,
584. Chalcedony. Jupiter enthroned. xv.
Third row,
617. Cornelian. Protesilaus and L addami a (?) Ant.
620. Sardonyx. Victory on a chariot, Ant.
Fourth roio,
644, Green Jasper. Jupiter Serapis and Jung. Ant..
Eight row,
llQ. Cornelian. Mimerva crowned by Viotory. Ant.
Ninth row^
905. Emerald Plasma. Satyre personified. Ant.
SECOND COMPARTMENT (26767 to 26965).
(Cameos.)
First row,
933. Turquoise. Sabina; bust, with head of Medusa. Ant.
Second row,
946. Agate. Pretty portrait of a woman. xv.
Third row,
976. Onyx. Aurora in ber chariot. Ant.
Fourth row.
CAMEOS lOT
988. Onyx. The Three Graces. xv.
Fifih row,
1003. Onyx. Minerva, xv.
Sixth row,
fi 024. Onyx. Alexander the Great. xv.
Seventh roto,
1046. Agate. Socrates. xv.
FOURTH TABLE
1129. Agate. Thetis on a Triton. Ani.
1162. Agate. Head of Cicero. KI-KE-PO. Ani.
1217. Large scarabseus. Ant.
A necklace of scarabsei.
1375. Green Jasper. Aurora, xv.
*|"1452. Cornelian. A bulla mounted Avith gold wire to-
bang round the neck, representing a man and bis wife—
probably portraits of the wearer's parents. Ant.
FIFTH TABLE (27349 to 27610).
Portraits in intaglio, designed as ornaments for
necklaces.
1520. Sardonyx. Jupiter. Bust. xv.
1540. Sheel-fìsh. 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 Cardinale of the Farnese
family. They are silver-gilt.
Last TABLE (Poiupeian cameos)
The following selection includes the most interesting
of them.
108 THIRD FLOOR
27615. Cornelian. Diana seated.
27617. Corndian. Diana with quiver.
27653. Amethyst. Apollo and Cupio.
27660. Nine emeralds for a necklace.
27667. Cornelian. Genius and trophy.
111783. Emerald. Victory driving two horses.
113741. Jasper. A Faun.
113742. Cornelian. Diana with bow.
114427. TopAz. Fortune.
114562. Sardonyx. Dancing girl.
114564. Cornelian. Diomede seated on an aitar.
114570. Cornelian. Victory and Minerva.
114571. Cornelian. Jupiter enthroned.
114573. Jasper. Caius.
114575. Emerald. Victory.
114578. Ouyx. Victory crowning a warrior.
114983. Amethyst. Mercury.
114586. Purpurine. Diana.
114587. Carnet. Mercury.
115332. Jasper. Minerva and Victory.
115335. Emerald. Venus.
115475. Emerald. Emperor crowned.
COLLECTION OF COINS 109
COLLECTION OF COINS {Medagliere)
Herodotus ascribes the first coining of monej to the
Lydians, but thej divide the honour with Pheidon, king
of Argos, who coined drachmse with a tortoise upon
them. Homer speaks of the « talent, » but does not
state whether it bore a stamp, and it is probable that
it was long after his day that the Greeks accepted the
talent as their unit , and originated their nionetary
system, which was partly decimai and partly duodeci-
ma!. The Greek system , which commenced about 770
B. e, spread to Sicily and Southern Italy, and there
probably became blended with the purely duodecimal
system of the Efruscans.
The important evidence that coins bave given us as
to the dates of the difFerent eras of art in ali periods
of history need hardly be mentioned; and besides this,
we bave learnt from them the identity of many statues
and the use of many relics of ant quity.
This coli ection comprises the Farnese, Poli, Arditi,
Genova, and De Tuzii coUections, as well as coins found
in Pompeii and other excavations. It includes also some
rare Arabie, Cuphic , Indian , and Persian coins, and
numbers 80,000 specimens arranged in glazed cases.
The First corner, on the left contai ns Grcek coins
of the I, II, III, IV and V Period and Greek coins of
South Italy.
The Second corner contains Greek coins hearing the
name Roma and Roman coins of the Republic-
The Third corner contains Medioeval and modem
coins.
no THIRD FLOOR
Principalities of South Italy. Kingdom of the two
Sicilies, Foreign Kings and Princes, Italian Princes.
Savoyard Kings.
The fourth corner Medals of foreign Kings and Princes
-and of Kings and Princes of Naples.
On the left,
A LARGE ROOM
Containing Greek , Roman and Medioeval coins in
«losed cabinets not exhibited to the Publio. The busts
•on the cabine ts are portraits of celebrated numismatists.
THK SANTANGELO COLLECTION 111
THE SANTANGELO COLLECTION
The Santangelo collection was purchased from that
familj bj the Municipality of Naples in 1865 for eight
thousand six hundred pounds sterling. The specimens
■carne from Campania and the region of Bruttium.
This collection is noi yet numbered,
FIRST ROOM
{In the centre). Two glass-tables containing medals
and Roman coins and Roman assi.
The icall-cases conta in some eups , jugs and lamps,
Idols in terra-cotta and bronze. Some helmets and a
few specimens of Egyptian figures, fibulse ete.
Upon the walls are,
A fine mosaic of a cock-fìght from Canosa and another
mosaic representing a panther from Canino.
SECOND ROOM
{In the centre). A case containing Archaic vases and
admirable specimens of the Transition and Decadence
Peri od.
In the wall-cases
Vases with black and red figures : lagenae , tazze,
patera?, skyphos , rhytons , urns proefericula , vases a
campana (in the shape of a beli) from Puglia an Ba-
silicata).
112 THIRD FLOOR
ITALO-GREEK VASES
The collection of vases , has been lately classified
having regard to style, painting and date, and includer
about four thonsand vases found in Greek tombs, where
they where originallv deposited with the perfume vases,
armourand jewellery which the deceased had most prized
in bis life-time; for the Greeks buried with their dead
the ehattels most associated with their habits , in the
belief that they would use them in the other world.
FIRST ROOM'
On a column^ under a glass-bell,
1206-7-8. Three balsamaria with figures in relief.
The largest one represents the punishment of Marsyas.
an other mounted figures and mythical animals. Vases
of this kind are extremely rare in Italy. Many such
have been found in the Crimea.
SIX MASTERPIECES
Glass-case in the centre
1480. Hydria a tre manichi. The Sack of Troy.
This is often quoted as the finest vase in the world.
The composition consist of nineteen figures , and is
thought to he a tradition of the painting of Polygnotus
in the Stoa of Delphi. In the centre; Priam, seated on
the aitar of Jove beneath a palm-tree , clasping his
wounded head and holding on his knees the bloodycorpse
of the boy Astyanax, just despatched by Neoptolemus,
who stands before the kiog in a threatening attitude.
ITAl.O-GRECK VAS-ES 113
At tlie foot of the aitar Polytes , son of Priam , lies
dead. On the right behind Pyrrhus , Andromache at-
tackiiig Menelaus who stoops to spoil the body of Deipho-
bus whom he has just slain. The weapon in lier band is
a pestle. Above the next handle , an Attic legend re-
presentingDemophonand Akamas,two Athenianwarriors
recognising ^thra, seated, among the slaves of Helen.
Behind them a female figure weeping, seated on a stone,
probably Electra.
The other side of the vase (beginning again from the
aitar in the centre) shows two female figures probably
Hecuba and Helen tearing their hair by an image of
Pallas, to which Cassandra is clinging. Ajaxseizing the
prophetess by the hair, drags ber from the Sanctuary,
Beneath, Ajax, Coretus, the suitor of Cassandra dead,
and behind him, .Eneas hearing Anchises, and leading
Ascanius.
This magnificent vase is marked «KAAOS» beautiful,
in two plaees, and was found in a tomb inside a large
earfhenware vase. It was valued to the Bourbon Gov-
ernment for one thousand-six-hundred pounds ster-
ling. (Nola).
1482. Vase with voluta handles. Thracians hunting
wild boar and stags. A very spirited hunting scene,
with many tìgures on foot and one on horse-back.
Re verse. The triumphal return. (Ruvo).
1483. Amphora with voluta handles. Battle of
Greeks and Amazons. Penthesilea on liorse-back. An
Amazon begging herlife from Theseus. The large size
of the figures renders this vase unique, and its preser-
vation and painting are excellent. On the neck; Peleus
114 THIRD FLOOR
wrestling M'ith Thetis in the presence of Cheiron and
the Nereids. [Ruvo).
1484. Vase with voluta handles.BACCHUS and Ariadne,
Thisvase representsthe preparation forthe representatiou
of a Satyric drama. Hereules is among the characters
and the figure playing the flageolet hears the inserì ption
nPONOMOS, Reverse. Bacchus and his bride, hearing
the torch of Hjmen lead off, other groups dance with
grace and vigour. {Ruvo).
*1485. Urna with cover, A splendid vase of the fourth
Centurj, representing a priestess Eone officiating before
an image of Bacchus which is a block of wood with a
head dressed up.
On the reverse: A Bacch;inaliau dance. {Nocera).
1209. Hydria a tre manichi. {Vaso bruciato). Vase
of the acrobats, or dei saltimbanchi . A perfect gem in
the highest stjle of art , representing ten persons of
eithersexbeing instructed in acrobaticfeats.(5eesaZ<a<2'o,
Smith^s Dict. of Ant.) (No/a).
In the wall-cases
ATTIC TAZZAS and VASES
On the left,
]212. Hydria a ire manichi. Marsyas MAP^VAÌj
listening to Olympus OAlMlIO^ who plays the lyre'
sourrounded by the muses Thalia BAAEA , Urania
OPANIA,, Clio KA... and the Sa^yr Tliirbas TYPIìA,
Reverse. The theft of the Palladium by Diomede in the
presence of Ulysses and Helon.
1382. Tue titans scalino olympus. Fragment of tlie
base of a cylindrical vase. It is of special interest for
ITALO-GRECK VASES 115
its grouping drawing and the graduation of the tints.
Inscr. ENKEAAàOS. {Ruvo).
1213. Amphora. Dionysus leaning on the shoulder of
Vulcan.Before him a Satyr plajing on the tibia. A female
with lighted torches and Satyr with a wase upon his
shoulder make up the composition. Above, the heads,
of Baechus and Hephaistos. {Sicily).
1214. Amphora. Symposium. Several figures on
couches. (Apulia).
1210. Amphora. Tvo Centaurs fighting the Lapithae.
Reverse; Dionysus and Ariadiie in a quadriga.
1077. Oenochoè. a smalljugrepresenting a lady seated
with a mirror in her band and a slave approaching
ber with a tray. Inscr. AAKIMAXOS KAAOI.
In the succeeding rìght wall-cases
CORINTHiAN, lOMAM and PANATHENAIC V^^SES
1113 e; seq. Panathenaic vases. Many of these Am-
phorctì bear the inscription TOX ABENEBEN AOAON
showing they were given as prizes in the Athenian
games. The inscription quoted above is written in the
pre-Euclidian alphabet of the early fifth Century b. c.
in which there was neither « H » nor «Q» (Taranto)'
Tn the passage which leads io the Campanian vases are
Some beautiful terra-cotta cups known as « Coppe
Aretine ».
CAMPANIAN VASES
SEGONI) ROOM
Contains vases (Indigeni) of the earliest Italian pe-
riod (about 600 b. c.) and black vases Buccheri without
artificial colouring.
116 THIRD PLOOR
These obtained the namc of Bucchero from their
likeness to vasés, of that name macie in Portugal. They
are true Etruscan vases.
On a tripod,
2073. Amphora with voluta handles. Colossal vase
with fifty-four figures and twenty-three animals in five
bands. In the cantre, a youth about to sacrifice a goat,
Minerva and Zeus seated, and some warr ors. At the
top, Athena and another person in a quadriga. On the
right Zeus and Ceres. On the loft, Mars and Hercules»
Belo^^, winged man near an aitar, Himeros and three
warriors. On the neck of the vase , a battle between
Greeks and Amazons.
Reveì'se: Hercules placing a wreath upon an aitar,
Athene and other warriors. In the middle many persona
with Hercules seated on the right. In the upper band.
Zeus seated, Ceres with a torch and other personages.
On the neck of the vase: Battle fought by warriors»
{Canosa).
THIRD ROOM
The wpll-cases contain vases From Apulia
On a tripode
2072. Amphora a masche>oni.CoìossH,\ vase, important
for fhe terra-cotta bas-reliefs on its neck and handles.
The body of the vase represents Artemis in a chariot
drawn liy stags driving over a prostrate warrior and a
couple in a biga drawn by four horses. Beneath, Jason
mastering the Colchian bull in the presence of Medea
who gazes at him from a richly decoratod })alcony. On
one side a tree with a snake climbing it ; a monster
beneath it. (Ruvo).
ITAl.O-GREfK VAiJES
117
On a tripod,
1204. Amphora, a mascheroni. Thevaseof Patroklos,
The painting represents Aehilles sacritìcing four jouiig
Trojans at the tomb of Patroklos which is shown as
a funeral pjre of logs with the armour of Hector on
top of them, andtheworLls«IIATPOKAOV TAOOi:».
Jieneath Ai:amemnoii is poiiring a libation, and Thetis
followed by a slave; who is fanning Jier approaches.
Jielow; the body of Hector tied to the chariot, and Iphis
followed by a maid-servant, giving drink to the horses.
On the neck of the vase (Edipus consulting the Sphinx
in the presence of a Fury. (1851, Canosa).
FOURTH ROOM
The wall-cases contain vascs from Apulia
On a tripod,
1478. Amphora. Vase of the amazons. The largest
vase in the coUection, much damaged. It has thirty-fìve
horses and sixty-nine human figures in three bands. The
principal snbject is Penthesilea and her Amazons fìghting
the Greeks in the presence of the Gods. Round the neck
Selene (the Moon), Eos (Dawn) and Helios (Sun); the
race between Pelops andHippodamia dcfeating ffinomaus
and ÌMyrtilus. Reverse: a doubtful scene perhaps connected
\vith the story of Demeter and Persephone. {Ruvo).
On a coliimn,
1759. Amphora, a mascheroni. Perseus after behea-
ding Medusa from whose severed neck Pegasus is rising,
tlying away pursued by the two remaining Gorgons.
Reverse: Daedalus fixing the second wing to Icarus.
118 THIRD FLnOR '
On the right, Athene, the protecting Goddess of Art, and
behind Dsedalus , seated wonien , probablj simbolising
Crete: and lastly Viciory seated en a eolumn. Below;
Proteus attacked by two warriors:. {Basilicata}.
FIFTH ROOM
{In the wall-cases). Vases from Luca ria- Anzi
and Poestum
On a tripode
1477. Amphora. a colossal vase with twenty-two
figures, iiearly ali iiamed. lu the centra , Pliito and
Proserpine seated on a shrine; on the right of the shrine
is Myrtilus and Pelops and Hippodamia. In the upper
part the three Internai judges, Tripfolemus, fficus and
Rhadamantus are represented. On the left of the shrine^
Megara and the Heraclidae , then , Orpheus and two
Furies. Under the sedicula the river Lethe and Hercu-
les holding Cerberus. Over the Lethe, Demeter, or Par-
thenope on a hippocampus taking her annual flight ta
earth. On the right , the Danaides \vith their empty
pitchers. On the left , Mercury , and Sisiphus who is
rolling his stono up the hill.
Reverse. Apollo seated with lyre between several
personages, and on the neck, Eos, Pliosphorus and He-
lios. (Ruvo).-
1TAL()-(;KECK vases 119
SIXTH ROOM
{In the wall-cases). Vases fpom Lucania, Poestum
and S. Agata dei Goti.
On a tripod,
1758. Amphora a mascheroni. The vase of Darius.
An allegorj of the Persian wai. A colossal vase painted
wiih sixty figures of exquisite executioii. It is one of the
verj few historical vases in the eollection, and repre-
sents Darius, AAPEIOS, in the centro seated upon his
throne, liolding the golden sceptre of the Persian mo-
narchj, and meditating his disastrous expedition against
Greece. Behind him stands the sentry whose duty it
was to repeat to him daily, «Remember o King topunish
the Athenians.-» and two Councillors in an attitude of
earnestattention.Before him, his Prime Minister,IlP]P^AI
representing the Persian nation; holding up two fiiigers
as if to assure the king that the success of the enterprise
depended upon two things; the good-will of the provin-
ces, and the contribution of money. Behind the Prime
Minister three figures, one in Persian dress, the other
two (one of whom has white hair) in Gieek cosi urne.
These latter have been explained as Damaratus, Darius
Greek physician , and Hippias the banished tyrant of
Aihens. In the lower picture the treasurer, with a dis-
satisfìed eountenance, is seated at a table upon which
are the letters MWHAIIO <;T, which comprise ali the
numerical symbols in use from m which stood l'or a
hundred thousand to <; which was equivalent to half
an oboi, whiie t.lie inscription on tho labuloe in ilie
120 THIRD FLOOR
treasurer's band reads clearly TAAANTA: h, standing
for a hundred talents. One province is paying, others
are bagging for more time, wbile one bebind rbe tre-
asurer brings a contribution of gold piate.
The upper picture represents Atliena with ^gis and
shield patting Greece tEAAAS on tlie back as she in-
troduces ber to Zeus, who, with, Hera and Artemis,
make up the picture on the left. Bebind Athena, Apata
AITA... (the goddess of craft), m ith lighted torches, and
(liefore an image of Artemis) A^IA a personification
of the Asiatic provinces of Greece, holding a sceptre.
The neck of the vase represents the battle. This has
been often mistaken for a battle of Amazons , but it
represents the Greeks, fighting the same Persian prov-
inces as are seen at the bottom of the principal picture.
Reverse. Bellerophon on Pegasus and crowned by Victorj
aided bj Amazons slaying the Chim?era in the presence
of Poseidon, Apollo and others. {Canosa).
2219. Amphora with mask of Medusa in relief on
the handles. Two youths in a shrine holding a wreath
and a patera in bis band. At the sides of the shrine four
wonien. Reverse: /Eà\c\\\di.
SEVENTH ROOM
{In the icall-cases). Vases from Cuma and Campania
On a tripode
1205. Amphora a mascheroni. The vase of arche-
MORUS. In a shrine on the body of the vase bis mother
EYPIAIKH Eurydice, bis nurse EYUIIIVAH Epsypile,
and AM<I>lAPAOS, Amphiarus, who, with Hippomedon,
Kapaneus, Parthonop.eus. Polynices, Tydeus and Adra-
ITALO-GRECK VASES l2l
;<tus, compose the celebrateci expedition of seven against
Thebes. Ali seven heroes were probably represented on
this vase, but only KAIIANEYS and llAPeENOIIAIOS
r-emain, the other named figuies being AIONYSOi,EY-
NEQ:ì:, ZEVS, and NEMEA. Beneath; APXEMOPOi:
dead upon a couch, being crowued hy one woman, while
another holds an umbrella over him to prevent the Bun
from being polluted by the sight of a corpse and IIAI-
AArQr02] hearing the lyre which Archemorus had
used in bis life-time and will he buried with him, ap-
proaches. Oii the right, two slaves hearing vases aad
bathing implements to he placeJ in the tomb.
On the neck , Pelops and Hippodamia in a ehariot
Ibllowed hy ffinomaus and Myrtilus.
Reverse: Hercules in the garden of the Hespei'ides.
{1834, Ruvo).
Qlass-case in the centre,
Bronze vases — Silver fihulae- -Silver cinerary urns —
Terracotta vases from the excavations of Cuma.
In a smali adjoining room
Two Model of Greek tombs. These are models of
Greek tombs, found the one at Poestum, the other at
^. Agata dei Goti. The skeletons are of terra-cotta. One
of the deceased is buried in bis atmour and duel with
dart and javelin is painted on the vvall of the tomb in-
.side. Observe the money or «.Obolus Acherontisyt in the
mouth four the passage of the Styx.
For a fourther account of the collection, the reader
is leferred to « De Jorio, Galleria dei vasi, 1825 •». The
only autoritative catalogne is in German by Psofessor
l22 THIRD Fl.OOK
Hejdemann « Die Vasensammlungen von Neapel Ber-
lin, 1872')^.
THE CUM/EAN COLLECTION
(Presented to the Museuin by Principe Carignano in 1861).
FIRST ROOM
{In the centre). Assyrian vases, which belong to the
remotest epoch. The monotonous clrawing indicates au
early forni of ait.
In two table-cases
Etrusean idols in bronze — Mirrors— Handles for va-
ses— Bronze belt — Lachrymatoria and unguentaria in
culoured glass.
Glass-case
Black vases without figures, of the earliest perioil.
and vases with black figures on a red ground, conHiioniy,
but erroneously, called Etrusean.
SECOND ROOM
Two Sinai 1 fiat glas.s-cases containing a few Silver
trinkets, fibulae , armillae , unguentaria and beautiful
small amphorae in coloured glass.
Wali-cases
Bronze strigils — Unguentaria — Praefericuia.
CUM.EN OOLLECTION l23
THIRD ROOM
in the window
75885. Dressing-case with cover , ornamented with
bas-reliefs in ivory, with lock and small key. It con-
tains a round metal mirror, an ivory pomatvm pot, a
bone comb, a ring, a pair of gold earrìngs, and some
bobins. The wood-work has been restored after the
remains of the old wood.
In the centre
*86496. A SUPERE Italo-Greek balsamarium of the
Grand Epoch, representing a battle between Greeks and
Trojans, with names in Greek.
V^all cases
Panathenaic Vases — Amphorae with black fìgures on
red ground. They were given as prizes in the Athenian
games.
On the top oF wall-cases
Bronze vases from Cumae.
FOURTH ROOM
In the centre
Wax mask with glass eyes, found in 1853 with four
headless skeletons in a tomb at Cumoe. Supposed to be
bodies of Christians decapitated in the persecution.
TJie face is that of a man, and a sliglit distortion of
the nose and lips proves that the mould was taken
from the face dnring life. {King).
l24 THIRD FLOOR
Wall cases
Terra-cotta vases of better period and vases with black
figures.
Marble bust of Principe di Carignano by the celebra-
ted sculptor Angelini.
N. B. We are as yet unahle to give
any account of the Picture Gallery^
but as soon as the re-arrangement of
it is completed ^ it ivill he added to the
booh, j^
/^The same remark applies to the
/Preistorie collection^ ivhich fri/' ultima-
tely he exhihited in the hasement.
THE KXD
APPENDIX
HISTORICAL AND DESCRIPTIVE SKETCH OF
POMPEII AND HERCULANEUM.
H?-'^.,
;«■
POMPEII
Poni peli was bu It at th? font of Vesuvius, about fuur-
teen iniles from Naples. It spread , in elliptical form,
over a space of nearly two iniles in circuit, dominatine
a vast plain, extending to the port of Stabia at the
niouth of the river Sarno.
The citj 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
Herculaneum and of Nola, the first of Mhich had three
opuiings, were closed hy a portcuUis, and were tlie
luain gates of the city. The latter is a'so known as the
gate of Isis, because ber head is carved upon it.
Two Roman roads traversed the city — the Popidian,
which led to Nola; and the Domitian, which passed bv
Herculaneum and Oploiite (now Torre Annunziata) in
one direction, and in the other continued to Nocera
and Salerno.
The fortifications of Pompeii were doublé, with a
terrace above , sus.ained by walls fourteen feet thick
and twenty-five high — the buttre sses 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 offlat, irregular blocks of lava. The
foot pavements were raised ten inches above the lavel
!28 APPENDIX
of the Street. Nearly every Street had its fountain, and
water was supplied to the public buildings bj lead pipes»
The houses were deeorated with frescoes and mosaics,
which gave the city a noble aspeet; 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 pian , 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 centrai court — generally
open ; while for the woinen a separate suite was pro-
vided, opening into the garden and colonnade. The se-
cond story contained store-closets and wardrobes. The
exterior of these houses had nothing monumentai 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
hnuse would bave spread out to the proportions of a
village.
' The public portion of the houses was ijomposed of
the vestibule or utrivm , including the cavcedium or
court, the tablinum or muniment-room, with an ante-
room at each side ; and a little shrine for the lares
(larartvm) or house-hnld 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 sleeping-rooms (cubicula). Oihev
bedrooms with alcoves served for the master of tho
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, tho kitchen
and oflìces. In the remoter portion of the building -was
APPENDIX 129
the bath, and in a second garden, surrounded bj colon-
nades , the summer dining-roora , 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 bave been provided in
the suburbs. In like manner, fire-places were wan-
ting, and only five chimneys bave 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 tJie names of the magistrates whose protection
they desired, with the words « rogat ut faveat » {Fa-
vour is besought).
The favourable situation of the city, and the activity
and industry of its twenty-five thousand inhabitants,
^gether with its secure harbour, soon rendered Pompeii
the centre of a rich and flourishing commerce, whence
it would seem to bave merited its Greek name, Fompeia,
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 thou-
sand little treasures of artistic workmanship which
the excavations are constantly bringing to light, ali go
130 APPENDIX
t^ show that the arts then held a position such as they
can scareelj now bcast.
Pompeii had already reached a censiderable age, if-
busy streets were crowded with a population instin-ct
Avith the varied life of a high civilization , when the
neigh-bouring volcano buricd it beneath alternati ng
layers of ashes, pumice-stone, and scorise, to the depth
of about nineteen feet.
The city dates back to Osean times, and was succes-
sively occupied by Etrui'ians, Pelasgian, and Samnitos,
until finally it became Roman. It formed one of the
Etrusean cities of Mhich Capua was the metropolis.
When Hannibal carne, it submitted to hira; but it had
no individuai importance in history .until in the civil
war, B. e. 91, Sylla, after having sacked Stabia, met
with valorous resistance from Pompeii, and was obliged
to concede various privileges to ber; after which slie
became a military colony. During the reign of Augustus
the city was declared a Roman muiiicipality, and a co-
lony was sent thither, which built a suburb called
Pagus Augustus Felix, under the patronage of Marcus
Arrius Diomede, whore 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 ma'.y other neighbouring ciies.
That eai'thquake had alrendy destroyed the Basilica and
the Forum, when tlie eruption of a. d. 79 — the first on
record — Imried inasho-, cindeis, and liquid mud, Pompeii
Sfabia (C«s<e//amare), Oplonte, Resina, and Herculaneum.
The eruption lasted one day ; the darkne^s three.
Dion Cassius describes the agony of the wretches who
APPENDiX 131
perislied in the torrent of burning scorile and the lain of
volcanic matter. The elder Pliny, then in command of
tlie Roman fieet at Misenum, hurried to aid his marines,
iRnd at the same time to study the spectacle that Ve-
suvius afForded. He took up his quarters at Stabia, with
his friend Pomponianus, refreshed himself with a bath,
Siipped quietly , and retired to sleep. In the meantime
tlie 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
t.a was tempestuous , people were r, used 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 fìre 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
doscribes his flight with his mother: — « It was seven
o'clock in the morning , and yèt 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 foli» wed us in a great mass,
crowding, pushing, and panic-stricken. Arrived without
the city , we paused; bere 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
jetreat. The shore lay dry, and was eovered with fish
st"anded upon the sand. Over against us, a black and
132 APPENDIX
awful cloud, crinkled with darting wavj fire oponed and
showed great flames like tliunderbolts... In an instant
this cloud fell to earth , covering ihe sea, hiding the
island of Capri , and cutting off from our sight the
promontory of Miseuuni. Mj mother entreaterl me to
save mjself, sajing that it was easy at my age to do so,
while for her, old »nd 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 pereived a dense smoke,
following US and spreading like a torrent. While we
could stili see, I advised my mother to leave the main
road, lest the crowd should erush 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 bis own fate, another bis
neighbour's, while anotherprayed fordeath,thoughfearing
H. Many besought aid of the gods; other believed this
to be the last and eternai night, when the world was
to disappear into its grave ». CPliny , Jan. , Lib. vi.,
p]pist. XX.)
Titus carne to the relief of the cities and displayed
great energy. He appointed coiisuls to relieve the country
districts, and assigned unclaimed property to the re-
building of the town; he granted exemption from
taxation, and personally assisled the destitute. A village,
hearing the sanie name , was built near the site of
Pompei i, and was in its turn destroyed by the volcano
in 471 A. D., and it seems likely that the inabitants of
this village pillaged the old town as far as they were
able. Be this as it may, the desiruction saved from the
vandalism of the earlier Christian centuries an immense
APPENDIX 133
number of works of art, and other articles which bave
served to initiate us into tbe seerets of tbe 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 bave passed away;
but its monuments remai n to testify to the advanced
civilization of ancient Rome.
The excavations were begun in 1748. Bj 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
excavation had been earried on about a mile , some
inscriptions were found in the Street of the Tombs,
in which mention was made of Pompeii.
134 APPKNDIX
HERCULANEUM.
Thiscitj derives its naine from the worshipof 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 Roman Consul Carvilius took it by
assault, after being twice repulsed. In the year 80 n. e,
the inhabitants of Herculaneum, liaving taken up armt*
against Rome, with the confederate peoples of Italy,
were again conquered by the Romans , who however
accorded them the right of citizenship and municipal
iiistitutions.
Just as the city was beginning to reeover from the
wars, itswallswere thrown downby violent earthquakes;
and on November 23, a. d. 79, this place, so famous for
its commerce, its riches, and its monumenta — so great
a favourite with the Romans for the fertility of its
soil and its enchanting scenery — disappeared almostin
an instant.
The theory that Herculaneum was destroyed by molten
lava has been refuted over and over again by those best
quali fied to judge of these matters; though it is stili
industriously asserted by the guides, and by many writers
who might be expected to exercis:^ greater care in their
statements. Had molten lava poured into tho tow n , it
must bave liovved in at a sudi a temperature us would
inevitably bave calci ned maible, fused silver, and utterly
APPENDIX 13")
consumed sudi inllammable vegetable matter as papyrus.
The fact is bejond doubt th;it the town was fil ed up
%vith 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 beat of this substance was
sufficient tochar ali the woodwork and reduce the papyri
to tinder , but is 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,
wli'ch hardened into the consistency of stone, and safely
preserved the art treasures that were imbedded in it.
There is no evidenee Ihat any lava at ali flowed fro:n
the mountain in the eruption of a. d. 79, and the records
of Vesuvius show that the first fiuid lava which flowed
down its sides into the sea in historic times was in
A. u. I03d. Till then, the eruptions had produced ashes
pumice-stone, and various kiiids of scoriae, but no fiuid
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 stili further soli_
ditìed the cement beneath it , and not only added to
the dirticulties of excavation, but caused the ignorant to
jump to the conciusion that what is in reality tufaoi
surprising hardness was once molten lava, which to bave
come there at ali must bave flowed at such a tempe-
rature as to bave utterly destroyed everything that
-came in its way.
Herculaneum remained buried and forgotten for many
136 APPENDIX '■'
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 Resina had taken out of a well He immediately
caused excavati ons to be made, and found many statues
and columns of temples. In the course of five years he
recovered relics of ali sorts, which he sent to Prince
Eugenio of Savoy and to Louis XIV., king of Prance.
In 1738 , Charles III. of Naples forbade excavations
by private persons, and began systematic investigatioiis,
sending ali articles were subsequently tvansferred 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 brouze
and marble that now enrich the Neapolitan Museum.
The excavations vv^ere interrupted for many years,
but they were resumed in 1828 by order of Francesco I.,
and they bave since been continued as means and
opportunity bave permitted.
THE END.
"^^n
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