CATALOGUE OF THE CASTS OE STATUES, BUSTS, AND BAS-BELIEFS IN THE cPur^uw of %\i AT THE MELBOURNE PUBLIC LIBRARY. PRICE THREEPENCE. Bfi autljortti): JOHN FEKEES, GOVERNMENT PRINTER, MELBOUKNE. r CASTS OF STATUES, BUSTS, AND BAS-KELIEFS IN THE MELBOURNE PUBLIC LIBRARY. PRICE THREEPENCE. $S 3t!tf)Cr(tP: JOHN FERRES, GOVERNMENT PBINTEE, MELBOURNE. PREFACE TO THE COLLECTION OF CASTS OF STATUES, BUSTS, AND BAS-RELIEFS IN THE MUSEUM OF ART. What tho' no marble breathes, no canvas glows, From ev'ry point a ray of genius flows ! Be mine to bless the more mechanic skill That stamps, renews, and multiplies at will ; And cheaply circulates thro' distant climes The fairest relics of the purest times. Here from the mould to conscious being start Those living forms, the miracles of Art ; Here chosen gems imprest on sulphur shine, That slept for ages in a second mine. Rogers. The religious thought and feeling of the inhabitants of Greece exercised a powerful effect on Sculpture. Greece may be considered the country in which the art achieved its highest perfection. The rude* block of' stone, the distorted trunk of a tree, the composite monsters polluted by pagan rites, claimed no reverence from a people endowed with a fancy so rich, an imagination so fertile. To adore the elements or the vivifying powers of nature in their abstract vagueness, however suited to those con- tent with the illusory contemplation of what they were * Jupiter was worshipped at Emesa, in Syria, under the form of an aerolite. A 2 iv unable to define, did not satisfy the sensibility of a' nation gifted with a genius so active. In the development of the exponents of their belief, the Greeks lent to tradition a graceful and engaging credulity. By interweaving the fictions handed down to them from their ancestors, their mythological system became extremely complicated. Heroes and heroines, associated with different alleged manifestations of the Gods, renowned for acts of valor, for having introduced civilising arts, wise laws, or useful inventions, were raised above the rank of mere mortals to celestial honors. At an early period the Greeks gave form to the great divinities to which they ascribed the government of the universe, also to the subordinate powers believed to super- intend and direct the particular affairs of mankind. These forms were at first invested with attributes, physical and intellectual, superior to those conferred on man ; next, with a majesty and dignity emblematical of the Divine nature ; lastly, in them was embodied the perfec- tion of human symmetry, to which was imparted an ideal grace and beauty. Exhibited in temples, halls, and public places, or en- shrined in private sanctuaries, they warmed the beholder to a sense of devotion more intelligible than could have been aroused by the mysterious relics of a barbarous antiquity. Inspired by her handmaidens, Poetry and Painting, and chastened by the enlightened criticism of successive gene- rations, who, by familiarity from infancy with such sublime works, had been schooled to a correct judgment, Sculpture eventually, as it were, breathed life into the marble figure, and touched into motion the complex group. V The history of Greek Sculpture may be divided into three periods : — The Daedalian. That of Pericles ; or, the Heroic. That of Alexander the Great. The First ranged over several centuries, from B.C. 1200 to B.C. 550. Deities and heroes were the subjects which chiefly engaged the attention of the Sculptor. Opening the eyes, separating the feet, liberating the arms, and extending the limbs, marked the works of this age as different from those of the primitive Egyptian stiff and formal style, according to which the eyes were closed, the feet placed together, and the arms held by the sides, indicating a representation of the dead rather than of the living person.* The names of some Statuaries distinguished in this era have been preserved. For what is known respecting them and the others alluded to, the reader is referred to the numerous writings upon Art, ancient and modern, collected in the Library. Amongst the Sculptors are Daedalus the Athenian ; Smilis of Crete ; Eugrammus, who, with Euchir and Diopus, followed the fortunes of Demaratus (father of Tarquin, eventually King of Rome) in his flight from Corinth to Etruria, b.c. 664, and gave a new direction to Etruscan art.f Theodorus, son of Rhoecus, and brother of * Materials used were clay, stone, marble, metals of various kinds, and wood — the fig, sycamore, cedar, olive, and ebony. — Isaiah, chap. xlv. 20; Herod., ii. 130; Winckelmann, i. 31. ( Ev ypacpio, good draughtsman, t The names < En %£ip, neat hand, nimble fingers, ( Aia onrofiai, keen sighted, may have been given to them for their skill, as Theophrastus ; or, In more modern days, Beauclerc. vi Telecles, to whom credit is given for the invention, b.c. 600, of casting in moulds, although as it had been practised long before by the Phoenicians,* all justly due to him may be the honor of having introduced the practice into Greece. Malas, his son Micciades, his grandson Anthermus, with Bupalus and Athenis, his sons, sustained for nearly a century the reputation of the Isle of Chios. Dipoenus and Scyllis, Cretans, who, according to Pliny, were the first to distinguish themselves as Sculptors in marble, left their native land and were established, about B.C. 590, at Sicyon, a town near Corinth, for ages the resort of artists. Endceus of Athens was their pupil. Glaucus, about B.C. 570, made the important discovery of the mode of soldering metals, at which time Theodorus, grandson of him above named, obtained renown as a Statuary in bronze. About b.c. 565 Perillus fabricated for Phalaris of Agrigentum, in Sicily, a brazen bull, the well-known instrument of torture used by that tyrant, of which the inventor was the first victim.f * B.C. 1005. — 1 Kings, vii. 46. B.C. 71a. — Isaiah, xl. 19. t Diod. Sic, xiii. 90. Polyb., xii. 25. It is of this and the ear of Dionysius that Horace says — Invidia Siculi non invenere Tyranni Majus tormentum. Ep. 1, z, 58. And Ovid attests the fate of the Statuary — Et Phalaris tauro violenti membra Perilli Torruit ; infelix imbuit auctor opus. Justus uterque fuit ; neque enim lex aequior ulla Quam necis artifices arte perire sua. Ars. Amat. lib. I. 653 ; Propert. 1. z, 11, 2J.; Paus. Another, a golden bull, brought from Pergamus to Constantinople, and used for a similar purpose, in which the martyr Antipas was burned, is Vll This, or one assumed to be the same, was taken by Himilco at the sack of Agrigentum, b.c. 406, and trans- ported to Carthage, where it was found by Scipio, B.C. 146. He restored it* to the citizens of Agrigentum. Tectseus and Angelion nourished about B.C. 548. Doryclidas and Medon, his brother, were of Sparta. The works of these artists were distributed through Greece and its islands, and found their way to the colonies on the continent Of Asia, and eventually to Italy. j Pliny states that Augustus placed in the Temple of the Palatine Apollo, at Kome, some statues by Bupalus and Athenis, adding that they wrought in Parian marble called lychnites, because quarried by the light of Xvxvoc, a link or torch. It is not probable that many productions of this school are now in existence, at least in a perfect state. No representatives of the period are in this collection. ar " mentioned by Cedrenus (Byz. Hist. , i. 566.) It is doubtful whether, in the horrible autos da fe held at Seville, a.d. 1481, the unhappy victims were enclosed in or bound to the statues of the four prophets placed at the corners of the spacious stone scaffold erected for the purpose in the suburbs of that city.— Prescott, Ferd. & Isab., i. %6z. * Scipio also restored to the Segestians the statue of Diana taken from them by the Carthaginians— Cic. in Verr. V. cap. 33. 39- The statues of Harmodius and Aristogeiton, made by Antenor, b.c. 509, were carried away from Athens by Xerxes and placed in the city of Susa, b.c. 480; they were restored to the Athenians by Alexander the Great, b.c 331.— Arrian, iii. 16, vii. 19; Paus., i. 8, 5; Pliny, 34, 9. 19. *°- Tne statue of Apollo, taken by the Carthaginians from Gela, in Sicily, and by them to Tyre, their parent city, was also captured by Alexander.— Q. Curt., iv. 3, m; Diod. Sic, xvii. 42.. -See the account of the removal of the statues of Damia and Auxesia, or Ceres and Proserpine, by the Eginetans from the people of Epidaurus (Herod., v. 83.), and the curious relation of the Tyrrhenians having carried away the statue of Juno from Samos, told by Athenaus, xv. iz. viii The Second combined with the grosser figures invented in the time of fable, as well as with the loveliness of female grace, the stateliness of heroic proportion developed into sublimity in gods and demigods. It extended from B.C. 550 to B.C. 390, and rose to the highest eminence after the memorable repulse of the Persian Xerxes, b.c 480. Pericles, being established in power at Athens, about b.c 460, "undertook to reconstruct the temples destroyed ^by the invader, and to embellish the capital of his con- templated confederation of the States of Greece— a bond to unite which would have been the religion professed by all. With the illustrious Phidias (pupil of Ageladas) as his director of works, he built the Parthenon, the Temple of the virgin goddess Athene— Minerva of the Komans— of which the architects were Callicrates and Ictinus ; the Propylaea of the Acropolis, of which Mnesicles was the architect ; the Odeum, a theatre for musical performances, and the Temple of Eleusis, on which Coroebus, Metagenes, and Xenocles were employed. These buildings were adorned by Alcamenes and Agoracritus, instructed by Phidias, and others of the same school. To the Statuaries already named may be added Polyclitus, Calamis, and Myron ; Chrysothemis and Eutel- idas, of Argos ; Amphicrates, Agasias or Hegesias, Menaechmus, and Soidas, of Naupactus. The impetus given to Art by these extensive operations was much stimulated by the refinement thus produced, and materially influenced by the scientific study of Homer, whose poems had been collected by Pisistratus. The fre- quent representations of the tragedies of JEschylus, Sopho- cles, and Euripides, who flourished at this time, gave also ix to the community an elevation of sentiment reflected in the severe and simple grandeur of design, the majesty of conception, the force, power, and delicacy of execution, which form the characteristics of the first division of this period. Amongst the cotemporaries and immediate successors of the above-named artists, were Ctesilaus, Naucydes of Argos, Pythagoras* of Bhegium, in Italy, successful in a contest with Myron ;f Calamis, Phradmon, and Callima- chus, inventor of the Corinthian column ; Theocosmus, Dinomenes, Lycius, Canachus, and Patrocles, who, with others of greater or lesser fame, followed in the course of time.f The Thikd Period may he extended so as to include from b.c. 390 to b.c. 146. Moved by the success of the celebrated painters, Pam- * Pythagoras, whose Philoctetes the Limper is known from two gems, one at Berlin, one at Bonn, also represented the Wrestlers Lentiscus, Protolaus, Eutimus, and Dromaeus.— Vide Overbeck. t The Heifer of Myron was of singular beauty. — Vide Ausonius Epig., 58 to 68 inclusive. His Apollo is mentioned by Cicero, in Verr., iv. 43. t Gold, ivory, silver, many varieties of bronze and mixed metals, and the finest kinds of marble were employed. Statues made of the first two, when used in combination, were called chrys-elephantine ; when various marbles were used for the purpose of producing variety of color, either to represent the hair, drapery, or ornaments, they were called polylithic; when that effect was accomplished by painting they were called poly- chromic. Eyes made of silver, crystal, glass, and paste, were not unfre- quently inserted, and this singular practice, so strangely at variance with our notions of pure taste, prevailed during the meridian splendour of the art. Wax, plaster, pitch, amber, aromatics, and costly perishable and combustible substances, were also employed, according to the caprice of the artist or the extravagance or ostentation of the person for whom he wrought. The working of metals with sharp instruments, beating out, and embossing them with punches after they had been partially cast, was styled the Toreutic art. philus, Zeuxis, Parrhasius, add Apelles, impressed by the subtle disquisitions of the Philosophers, and acted on directly by the increase of national wealth and luxury, Sculptors now bestowed more attention on the graceful flow of outline, on the skilful arrangement of the hair, on the becoming disposition of drapery. The ideal of human beauty was now produced in its perfection. To the study of boldness and grandeur, to the heroic spirit and religious earnestness of the preceding age, suc- ceeded the imitation of Nature, heightened by the charms of animated expression, enriched by the excellence and highly-wrought finish of execution. The great works of the early part of this period were the Temple of Minerva at Tegea, in Arcadia — the largest and most magnificent in the Peloponnesus— and the Mausoleum. The former was built under the direction of Scopas of Paros, whose Venus — removed subsequently to the Temple of Mars, in Eome, dedicated by Brutus Callaicus — was pronounced by Pliny to have surpassed in excellence even that of Praxiteles. The latter, a Sepulchre, reared b.c. 352, at Halicarnassus (the modern Budrum), by Artemisia, Queen of Caria, in honor of her husband, was decorated by the same Scopas, and by Bryaxis, Timotheus, and Leochares, Athenians, each ^f whom, as it is supposed, undertook the execution of the bas-reliefs on one side of the frieze of the peristyle, some of which were added, in 1 846, to the vast collection in the British Museum. Next in order of time and repute came Lysippus,* * Edicto vetuit, ne quis se prater Apellem Pingeret, aut alius Lysippo duceret a?ra Fortis Alexandra vultum simulantia. Hor., Ep. ii. 1, 239. xi respecting whom Alexander the Great published an edict that no other person should represent him in bronze, as he had also directed in fayor of Apelles, the painter, with regard to his portrait, and of Pyrgoteles * the lapidary, with respect to engraving his figure on gems. The school of Lysippus, at Sicyon, was continued under Euthycrates, Daippus and Bedas, his sons; Lysistratus, his brother; Chares, Phoenix, Eutychides, Phanis, and Tisicrates, his pupils; while at Athens flourished Praxiteles, with his sons, Cephisodotus and Timarchus; Euphranor, skilled also as a painter, and memorable as a writer upon Art; and Apollodorus, father of Cleomenes, to whom the Venus de Medici was for some time attributed. They were followed by Pyromachus, to whom com- mentators on Pliny give the credit of being the author, in bronze, of the figure known as the Dying Gladiator; and Silanion, whose statue of Sappho, styled by Cicero "so perfect, so elegant, so elaborate," is enumerated amongst the spoils of Verres.f The intestine troubles which continued to distract Greece after the death of Alexander, drove many distin- guished artists forth to seek protection and encouragement from the Ptolemies of Egypt, the Seleucidae of Asia, and the kings and people of Sicily. "When Carthage fell beneath the arms of Scipio, and Corinth was destroyed by Mummius, the Art treasures of both cities were trans- * Pliny, vii. 37; xxxvii. 1-4. t Extorted through the instrumentality of his dependents, Tlepolemus and Hiero, who were called by Cicero his hunting dogs. Canes venaticos diceres ita odorahantur omnia et pervestigabunt, ut, ubi quidque esset, aliqua ratione invenirent. — Cic. in Ver.,z, 4, c. 13. XII ferred to Kome, which began to absorb the wealth and attract the talent of other countries.* With these important events this period may be said to have closed. Statues in the Museum assigned to this era are Nos. 6 and 7, Apollos ; No. 12, The Boxers ; No. 14, The Boy and Goose ; Nos. 33 and 34, Fauns ; and Nos. 62, 63, 64, 65, 66, Venuses. The history of Sculpture under the Romans may, for convenience, be made to embrace from b.c. 146 to a.d. 180. Architecture, the construction of roads to enable them to extend and retain their conquests, aqueducts, theatres, and vast arenas for the exhibition of their cruel sports, instituted to amuse, and finally employed to enthrall the people, engrossed this warlike race. They may be re- garded as admirers of art, rather than as a nation produc- ing artists from amongst themselves. Unlike the Greeks, who forbade the practice of Sculpture by any but persons of gentle birth, and who annexed to the study of its rules a protracted and expensive training, the Romans consi- * Pliny, xxxvi. 17.— The removal of statues was practised in very early times. The Samothracian images, brought by Dardanus to Troy, were carried away into Italy by jEneas, with that of Pallas.— Plutarch, Camil- lus. Diomedes stole the Palladium from Troy. The statue of Juno was brought to Kome from Veii by Camillus ; that of Jupiter Imperator from Prseneste by T. Q. Cincinnatus, of Venus Victrix from the Samnites by P. Fabricianus, of Hercules by Fabius Maximus. Scaurus brought from Sicyon 3,000 bronze statues, and put them up in a theatre which he built at Kome. Conquered states, and those which paid a fixed tribute or on which an income-tax was imposed, were allowed to retain their works of Art for a time. — Cic. in Verr., v. 69. Ut haberent hasc oblectamenta et solatia Servitutis. xm dered the arts of war and government* their chief pursuit. They esteemed most highly the military distinctions which led to the principal civil preferments, and they willingly surrendered to others the supremacy in those accomplish- ments which required more finely-organized perceptions, more discriminating habit of thought, more cultivated and polished manners than they themselves could boast. Thus it was that they delegated the practice of most of the fine arts, as well as the allied employments, to captives brought from abroad to swell the pomp of successive triumphs, or to slaves expressly educated for the purpose. Genius, repressed in this servile condition, refused to display itself in such vigor as when, in the full enjoyment of liberty, it had been courted and honored by the great; accordingly, it has been observed that the Romans seem to have contented themselves at first with copies of those remarkable statues which had not been transported to the capital. These were not in all instances rendered with strict fidelity to the originals, and a trifling deviation from the model was accepted as a compensation for the absence of the inventive faculty. As taste ripened a more generous spirit grew up, and the enfranchisement of the artist led to the emancipation of the intellect, and a consequent improvement in the style of Art. * Excudent alii spirantia mollius ajra, Credo equidem, vivos ducent de marmore vultus; Orabunt causas melius, ccelique meatus Describent radio, et surgentia sidera dicent. Tu regere imperio populos, Romane memento ; Hae tibi erunt artes ; pacisque imponere morem, Parcere subjectis et debellare superbos. Virg., .IA Prov. viii. Codinus, Byz. Scrip. Ex. 8. This was four times built. The first by Constantine, a.d. 326. The second by Constantius, a.d. 360, who united with it the church of Irene or Peace, erected by his father. This, which had resounded with the eloquent denunciations of St. Chrysostom, was destroyed by fire, a.d. 404. The third, built by Theodosius, a.d. 415, was burned during the tumults of the blue and green factions, a.d. 53a. Justinian erected the fourth, which continues to the present day, having been converted into a mosque on the taking of Constantinople by the Turks under Mahomet II., 29th May, a.d. 1453. On the Phiale or Fountain in the Exonarthex, or outer porch of the church of Justinian, was inscribed the Palindromic line, which, read backwards or forwards, has the like signification : — viipov av6fj.t]fj.ara fit] fiovav oipiv. Wash your sins not only your face. B xvm of secondary dignity, became a prey to successive wild invaders, whose only regard for works of Art was a superstitious dread of injuring such as their ignorance invested with a power of enchantment or sorcery.* For more than 600 years — from the time of Hannibal — no foreign enemy had insulted the walls of Rome. Alaric was the first who in her hour of weakness dared to aspire to the conquest of the Eternal City. He led his Visigoths from his conquests in Macedonia and Illyria, besieged thrice, and finally, a.d. 410, took and sacked the city, 11 63 years after its foundation. Genseric, a.d. 455, crossed with his Vandals from Africa, and for fourteen days plundered Rome of what had been left after or accumulated since the former pil- lage ; and an avenging Nemesis gave to Carthage, at the hands of a barbarian, born on the shores of the Baltic, the spoils of her ancient and remorseless foe. In his heroic resistance to the furious assaults of Vitiges, a.d. 537 — [who broke down the aqueducts, and thereby cut off the supply of water and rendered useless the vast baths] — pent within the sepulchre of Hadrian, which, in his extremity, he converted into a fortress — Belisarius hurled upon the heads of the besiegers the statues with which that remarkable structure had been ornamented ; and the defenders of the capital thus reluc- tantly became the destroyers of its choicest and most esteemed decorations, f * The singularity of this exception was not admitted by the Icono- clasts at a later period, under Leo. III., the" Isaurian, about a.d. 730, and his successors. t When the ditch of the mole of Hadrian, now the castle of St. Angelo, was cleared, by order of Pope Urban VIII., The Sleeping Faun of Praxi- teles, called the Barberini, was found in it. A leg, a thigh, and the right arm were broken. XIX Under such rude shocks as these the arts succumbed. They suffered still more, however, from the utter exhaus- tion of the human mind in the regions where they had for- merly flourished, from the obliteration of all refined senti- ment and the destruction of the whole spiritual and ideal world of antiquity to which they had been so much beholden.* Then closed on them the obscurity of that long and dreary interval of many hundred years, during which the Sculptor rarely showed his skill, except when associated with the Architect. The Sculptor's hand produced on such occasions the accessory embellishments for those vast and elegant struc- tures which remain monuments of the architectural ability and the exquisite taste of ecclesiastics, the only deposi- taries of learning in a rude and uncouth age. The feudal system and the increasing power of the Church in Northern Europe gave an impulse to Archi- tecture, civil and ecclesiastical. In the thirteenth century, the struggle between the Imperialand Papal powers — with, on the one side, Frederic EL and Ezzelino of Padua, who demanded palaces, fortresses, and castles ; on the other, Innocent IV., Urban IV., who restored old, and called for new churches and cathedrals — engaged the attention of distinct classes of architects, secular and ecclesiastical ; * The degeneration of the social condition of the world is well expressed in the lines— The last drear mood Of envious sloth and proud decrepitude ; No Faith, no Art, no King, no Priest, no God — While round the freezing points of life in snarling ring, Crouch'd on the barren sod, Babbling about the unrcturning spring, And whining for dead gods who cannot save The toothless systems shiver'd to their grave.— Hypatia. XX while the growth of the monastic orders in numbers, wealth, and influence, rendered necessary the erection of spacious monasteries, nunneries, with their abbey and con- ventual churches, the decoration of which evoked the energies of the Sculptor, and brought into new existence the long neglected art of painting. About the fifteenth century a fresh life was infused into the Arts, and birth was given to the Eenaissance. The recovery of manuscripts of many of the classical authors ; the circulation and study of these, facilitated by the invention of printing ; the exhumation of some of the noble statues, buried for centuries beneath ruins ; the im- proved condition of society in the principal states of Europe ; the increase of wealth, and the enlightened patron- age of men of letters and of artists, contributed to a development of the human intellect in literature, science, and the fine arts, as. rapid as it was remarkable and brilliant. An enumeration of the great masters preceding, and of the time of, the Medici family is needless. Their world- renowned names are imperishable ; they live in their works. These combine the vigor of the pagan era and the spirituality of the new belief, which displaced the old merely human ideal. Statues and reliefs which belong to this period are — No. 20, Cupid ; No. 45, Julian de Medici ; and Holy Family, relief, by Michael Angelo Buonarotti; No. 48, Mercury, by John of Bologna; Boys, in relief, by Fiamingo and Donatelli; with panels of the Gates of the Baptistry at Florence, by Ghiberti. From that period to the present the transition has been gradual. Temporary fluctuations have occurred, according as the eminence or success of some particular master has xxi captivated the public and directed the course of his ad- mirers or imitators. Comment upon the work of the contemporary Sculptor it is not proposed to submit. A decision upon it involves not only an acquaintance with the history of his art in its former phases, but of that of Architecture, with which it has so often acted in unison, and that of Painting, to which it is closely allied. It demands that a just allowance should be made for the embarrassments which impede attempts to render in the spirit of the antique, yet without slavish copying, subjects taken from the remote history of people whose manners, customs, habits, were so different from ours ; or those drawn from an extinct mythology, the mysterious origin of which is in so many of its recesses unknown, forgotten, or misunderstood. It requires, also, that con- sideration should be shown on account of the obstacles which encumber efforts to impersonate Christian virtues or abstract ideas, the rendering of which is completely arbitrary. It enjoins, moreover, an insight, thorough and exact, into the influences which so frequently fetter genius and confine the Sculptor to the duty of pourtraying the com- mon-places of living human passion, and the unpicturesque incidents of modern days. Kegarding the Sculptor as the expositor of man's thought and belief, the visitor to this collection, small and rudimentary though it be, may form his own opinion as to what has been in different ages esteemed the faithful ren- dering of the grand, the sublime, the beautiful, the true. Statues and reliefs in the Museum by Sculptors of modern times are — Nos. 18, Cupid; 24, Diana; 28, Dorothea, XXU 29, Eve at the Fountain ; 38, Graces ; 39, Greek Slave ; 40, Hercules and Omphale (as the restorations and a'ddi- tional figure entitle Flaxman to the merit of having con- verted a mutilated torso into a complete group) ; 43, Inno- cence ; 47, Mercury; 50, Mother and Child ; 5i,Musidora; 52, Narcissus; 53, Perseus; 58, Saint George and the Dragon ; 59, Tambourine Girl ; 60, Terpsichore ; 67, 68, 69, Venuses ; 70, Venus and Cupid ; and reliefs by Flax- man, Gibson, and Thorwaldsen. The foregoing observations are presented with a diffi- dence much increased in consequence of the difficulty which has been experienced in the endeavors to reconcile conflicting chronological statements advanced, and the con- trariety of view entertained by the learned writers con- sulted during the preparation of the Catalogue. The authorities referred to have been verified, so that errors, which a more abundant leisure might have escaped, may be corrected ; and omissions, necessary to avoid pro- lixity, or which the absence of means of obtaining infor- mation has caused,* may be supplied by the diligent and indulgent reader. It would be ungracious to conclude without adverting to the fact that the Trustees owe to the generosity of friends formerly resident here, as well as of others but incidentally connected with the country, many of the inte- resting objects which the Museum contains. * One may well exclaim, with the polished scholar and learned anti- quarian, that " it is pity there is not something like a public register to preserve the memory of such statues as have been found from time to time, and to mark the particular places where they have been taken up, which would not only prevent many fruitless searches for the future, but might often give a considerable light into the quality of the place, or the design of the statue." — Addison, Travels in Italy. XXU1 These represent more than £800 expended in the pur- chase ; but, as furnishing means of enlightened gratifica- tion and material instruction in the practical branches of Art manufacture and design, and also as affording testi- mony of the kind support of the givers, they possess an enduring worth much exceeding their mere money value. The pleasure originally afforded to the donors in pre- senting them to the institution for the benefit of the com- munity, will doubtless be enhanced by the knowledge that the usefulness of their well-directed liberality is thoroughly appreciated by the public of Victoria. dj/afatopn. CASTS OF STATUES. 1. ACHILLES. Original in the Louvre, Paris. Found at Sculptor Height, 6 feet 1 1 inches. Restorations : fingers of right hand, left forearm, extremities of toes. Son of Peleus (King of the Myrmidons in Thessaly) and of Thetis. Killed at the siege of Troy, B.C. 1184, by Paris, son of Priam and Hecuba, whose elopement with Helen, wife of Menelaus, King of Sparta, led to the Trojan war. — See Homer, Iliad; Virgil, ^Eneid, vi. 57; Ovid. Metam., 12. 2. ADONIS. Original in the Vatican, Rome. Found a.d. 1780, on the Via Labicana. Sculptor Height, 5 feet 8 inches. Restorations : both arms, right leg, top of nose ; by Albracini. Different accounts of the parentage of this j r outh are given by ancient writers. He was beloved by Venus, who accompanied him in hunting ; he was killed by a wild boar. He is identified with the Syrian Thammuz of Ezekiel, viii. 14. "While smooth Adonis from his native rock Ran purple to the Sea, supposed with blood Of Thammuz yearly wounded. Milton, Par. Lost, i. 450. See Hesiod; Apollodorus, iii. 14; Ovid Met., x. ; Hyginus Fab. ; Theocritus, Id., xv. xxx.; Bion, Id. i. ; Lucian de Dea, Syria ; Shakespeare, Venus and Adonis. 3. AMAZON. Presented to the Trustees by John Werge Howey, Esq. Original in the Vatican. Found at the Villa Mattei, Rome. Sculptor, Polyclitus ; flourished B.C. 4.50. Height, 6 feet 2 inches. Restorations : the arms. The Amazons were a race of warrior women who inhabited the terri- 2 tory of the Caucasus. Some believe that the name means that they were not nursed at the breast, or were without breasts, or because each had her right breast cut off that it might not impede the drawing of the bow ; others that it is derived from the Caucasian word for Artemis, the Moon, of which Deity they were the priestesses, and suggest that the injury to the breast may be accounted for by the laceration of the body in the paroxysms of their religious orgies. This is supposed to be a copy from one of the bronze statues placed in the Temple of Diana at Ephesus, spoken of by Pliny. In order of merit they stood thus: that of Poly- clitus, first ; of Phidias, second ; of Ctesilaus, third ; of Cydon, fourth ; of Phradmon, fifth. See Diodorus Sic, ii. 45, iii. 5^ ; Plutarch, Theseus ; Pliny, xxxiv. 19 ; Winckelmann, ii. 2,41, 4. ANATOMICAL STATUE. Sculptor, Houdon. 5. ANTINOUS. Original in Capitol at Eome. Found at Hadrian's Villa, Tivoli. Presented by Cardinal Albani to Pope Clement XII. Sculptor Height, 6 feet 6 inches. Restorations : the head, right leg from below the knee, left foot, two fingers of right hand, left forearm. A Bithynian youth, page of the Emperor Hadrian, drowned In the Nile, a.d. 131. The Emperor, inconsolable for his loss, rebuilt the city of Besa, and called it Antino-opolis. He caused him to be enrolled amongst the gods, gave his name to a star, erected temples for his honor in Egypt, Greece, and at his Tiburtine villa, and set up statues of him in many places. /SfeeSpartian Hadrian, 14; DlonCassius,lxix. 11 ; Pausanias,viii.9; U Vaticano, iv. 74 ; Merivale, vii. 6. APOLLO (The Belvidere). Original in the Vatican. Found, a.d. 1503, at Capo dAnzio, the ancient Antium, birthplace of Nepo, embellished by him at vast expense. Sculptor, probably Calamis, b.c. 440, or Praxite- les, B.C. 364. — II Vaticano, iv. 252. Height, 7 feet 2 inches. Restorations : left hand, or arm according to Perkins, vol. ii. 98, by Giovann-Angelo Mon- torsoli, born a.d. 1507. The right arm and leg are antique, but have been attached (as Winckelmann remarks, vol. ii., p. 427) not too skilfully ; also i. 485. A celebrated statue of Apollo, by Myron, was taken away from Agrl- gentum by Verres. — Cic. in Ver., v. 43, Son of Jupiter and Latona, one of the great divinities of the Greeks. 3 Or view the Lord of the unerring bow, The God of life, and poesy, and light ; The Sun in human limbs arrayed, and brow All radiant from his triumph in the fight, The shaft hath just been shot, the arrow bright With an immortal's vengeance ; in his eye And nostril beautiful disdain, and might And majesty, flash their full lightnings by, Developing in that one glance the Deity. Byron, Childe Harold, Iv, 161. I turn my glance, and lo ! The Archer- God speeds vengeance from his bow : Not as when oft, amid his Delian glade, The Lord of Beauty knelt to mortal maid ; Not as when winds were hush'd and waves lay mute, Listing and lull'd beneath his silver lute ; But like the terrors of an angry sky — Clouds on Lis brow and lightning in his eye. The foot advanced, the haughty lips apart, The voice just issuing from the swelling heart, The breathing scorn, yet 'mid that scorn appear No earthlier passions mix'd with human fear — The god speaks from the marble not the less Than when heav'n brightens with his loveliness ; And o'er each limb th' enamor'd Graces play, Leave wrath its pride, but steal its gloom away. Bulwer. God of the silver bow, from thee The race of hapless Niobe Received just punishment, to teach The sin of proud and impious speech : Thine arrows quell'd huge Tityos' lust And stern Achilles laid in dust Beneath the battlemented town Of yet unconquered Ilion. Horace, lib. iv. ode 6. By Lord Eavensworth. See Homer, iii. i ; Hesiod, Theog. ; Herodotus, ii. 156; Cicero de Nat. Deor., iii. 29, inVerr. v. 17; MUller Dorians; Flaxman. 7. APOLLO SAUROKTONOS (the Lizard Killer). Original in the Louvre. Found, a.d. 1770, in the Palace of Csesars, Rome. Sculptor, Praxiteles. Original probably in bronze. Height, 5 feet i£ inches. Eestorations : right hand from above wrist. Supposed to represent the God when, in his early youth, banished from heaven for having slain the Cyclop Steropes, one of the companions of Vulcan, he passed some time in the service of Admetus, King of Sicily. Valerius Flaccus, Argon., v. 445 ; Pliny, xxxiv. 19, to ; Martial, xiv. 170 ; Winckelmann, ii. 167, 338. 4 8. APOLLINO ; or the Lycian. Original in the Royal Gallery, Florence. Found at Sculptor, probably Philiscus of Rhodes, b.c. 160. — Pliny, xxxvi. 5, 4. Height, 4 feet 6 inches. Restorations : this statue was broken in pieces some years since by the fall upon it of Vandyke's portrait of the Emperor Charles V. of Spain ; restored by Bartolini. Lo, a youth was seen my floor to tread, Chaste laurels nodding round his wreathed head ; No form so fair adorn'd the age of gold, No form so fair could spring from human mould. Loose o'er his tapering neck the ringlets flew, That breathing myrtle dropp'd with Tyrian dew ; White as the moon did his complexion show, And tinting crimson flush'd his skin of snow, As girls with purple amaranths lilies thread, As apples pale catch Autumn's streaky red. Tibullus, iii. 394. By Elton. See Lucian, Anacharsis ; Galerie de Firenze, ii. 154, 9. ARIADNE. Presented to the Trustees by George James, Esq. Original in the British Museum. Found at Sculptor Height, 4 feet 10 inches. Restorations Daughter of Minos, King of Crete. For her adventures with Theseus and Bacchus, see Hesiod, Theog., 949; Plutarch, Theseus : Ovid, Metam., viii. 178, Heroides, 10 ; Catullus Epithal. of Peleus and Thetis. 10. ARISTEDES. Original at Naples, in the Barberini Museum. Found at Herculaneum, in the Villa of the Papyri. Sculptor Height, 6 feet 8 inches. Restorations An Athenian general and statesman, called the Just ; banished from Athens through the envy of the Democratic party. Herodotus, lib. viii. 79 ; Plato, Gorgias. ; Plutarch ; Museo Borbonico, 1. 50. 5 n. BACCHUS and AMPELUS. Presented to the Trus- tees by Lachlan Mackinnon, Esq. Original in the British Museum. Found, a.d. 1772, at La Storta, eight miles from Rome. Sculptor Height, 4 feet io£ inches, including the plinth, 3§ inches. Restorations : the whole of the right arm of Bacchus. Bacchus, the god of wine, son of Jupiter and Semele. Ampelus, his companion, a Phrygian youth, thrown from the back of a bull and lulled. His body was changed into a vine. See Homer, Hymn v. ; Cicero de Nat. Deor., iii. 23. ; Ovid, Fasti, iii. 409. 12. BOXERS (The), or Lottatori, or Wrestlers, or Pan- cratiasts. Original in the Royal Gallery, Florence. Found, a.d. 1535 or 1583, near the Lateran, at Rome. Sculptor, Praxiteles or Scopas — if either. Height, 2 feet n£ inches. Restorations : the head of each ; left arm, right leg from knee, left foot of uppermost figure ; right arm, right leg from above knee of lowermost. Supposed to represent Phocdimus and Tantalus, sons of Niobe, slain by Apollo, and to have formed part of the group cf Niobe and her children, which occupied the tympanum of the pediment cf the temple of Apollo, at Rome, in which was set up by Sosius, about b.c. 60, the statue of Apollo, In wood, brought from Seleucia, and called the Apollo Sosianus. Mengs is of opinion that these are imitations of statues made at a period when taste was brought to the greatest perfection amongst the Greeks. One of the proofs adduc d to displace the idea that these are boxers is, that in the statues of professional pugilists the cartilage inside the ear is generally crushed and flattened as if by blows. The ears of these figures are perfect. See Anthol. Gr. ; Ausonius, Her. Ep., 17, 28, 29 ; Ovid, Metam., vi., the Story of Niobe ; Pliny, xiii. 5, xxxvi. 4 ; and the account by Propertius, Elegy, ii. 31, of the opening of the Portico of the Temple ; Winckelmann, ii. 237. 1 3. BOY (extracting a thorn). Original in Villa Albani, Rome. A repetition is in the Royal Gallery, Florence. Found at Sculptor Height, 2 feet 4 inches. Restorations 6 14. BOY and GOOSE. Original in the Capitol of Rome. Found, a.d. 1789, at Roma Vecchia, the ancient Pagus Lemonius, on the Via Appia. Sculptor, Boethus, a Carthaginian. — See Virgil, Culex, 66 ; Cicero in Verr., v. 14 ; Pliny, xxxiii. 55, xxxiv. 19. Height, 2 feet 9 inches. Restorations 15. BUDDHA; orSakya. From Rangoon, Burmah. Carved in wood. 16. CANEPHORA. 1. Presented to the Trustees by Mrs. General Barry. 11. By Sir William A'Beckett. Original in the British Museum. Found, a.d. 1766, at the Villa Strozzi, near Rome, close to the tomb of Cecilia Metella, wife of Crassus. Sculptors, Criton and Mcolaus of Athens. They flourished in the time of Cicero, about b.c. 60 (Winckelmann, ii. 377) ; or, in the time of the Antonines, about a.d. 150 (Muller, 204). Height, 7 feet 3 J inches, including the modius or basket on the head. Restorations : the lower right arm, left foot, and a small portion of the upper part of the modius. The Canephora? were maidens of the highest rank at Athens, who assisted at the sacred festivals held in honor of Pallas Athene (Minerva), and bore upon their heads baskets containing offerings to the Goddess ; two of these, of " marvellous beauty," the work of Polyclitus, are enumerated by Cicero amongst the art treasures of which Verres des- poiled the city of Messana in Sicily. — Cicero, Oration against Verres, v. 3. In the description of the ancient marbles in the British Museum, Part I., it is said that "this is evidently an architectural statue, one of the Caryatides, which supported the portico of an ancient building," probably a tomb. The Caryatides were intended to represent either the virgins who celebrated the worship of Diana Caryatis, or females of Carya?, a town in the Peloponnesus, which took the part of the Persians at the time of the invasion of Xerxes, b.c. 480. It was taken after a protracted seige ; the men were put to the sword, the women reduced to slavery. To commemorate the victory buildings were erected, the columns of which were in the form of women robed in the style of the captives. 7 Moore playfully alludes to them in his fifth fable for the Holy Alliance : — 'Tis like that sort of painful wonder Which slender columns, laboring under Enormous arches, give beholders ; Or those poor Caryatides, Compelled to smile and stand at ease With a whole house upon their shoulders. Male figures used for similar purposes were called by the Greeks Atlantes, from Atlas, who, according to the early mythology, supported the heavens upon his shoulders, and was metamorphosed by Perseus, by means of the head of Medusa, into the mountain chain of North Africa, which still bears his name. — Pliny, xxxvi. 4; Ovid, Metam., iv. 630. The Romans called them Telamones from Telamon, another name given to Atlas.— Vitruvius, 6, 9. 17. CASTOR AND POLLUX. Original in Rome. Found at Sculptor Height, 4 feet 1 1 inches. Restorations Called the Dioscuri, sons of Jupiter and Leda, twin-brothers of Helen and Clytemnestra. See Homer, Hymn xiii. ; Theocritus, Idyll xxii. ; Horace, Od. i.iz ; Cic. de Nat. I)eor. iii. zi ; Statius Thebais, v. 440; Macau- lay's Lays, Lake Eegillus ; Max. Miiller's Lectures, ii. 399. 18. CUPID (in bronze). Presented to the Trustees by John Airey, Esq. Height, 2 feet. Son of Venus. Lucian, Dial. Deor., xii. xix. ; Virgil, Ciris, 133; Cicero in Verrem, v. 11. 19. CUPID AND PSYCHE. Original in the Capitol, Rome. Found on the Aventine Hill, Rome. Sculptor Height, 4 feet 1 inch. Restorations : nose, chin, right hand, left foot of Cupid. But far above in spangled sheen Celestial Cupid her fam'd son advanc'd, Holds his dear Psyche sweet entranc'd, After her wandering labors long Till free consent the Gods among Make her his eternal bride. Milton, Comus. See Apuleius Metam. ; Mrs. Tighe, Cupid and Psyche, of which Moore sings — Tell me the witching tale again, For never has my heart or ear Hung on so sweet, so pure a strain ; So pure to feel, so sweet to hear. 8 ao. CUPID. Original made for Signor Galli, a.d. 1499. From Rome it was sent to Florence, and stood in the Valfonda gardens of the Riccardi, which passed to the Marq. Strozzi, who sold it to Mons. Gigli, from whom it was purchased for the Kensington Museum. Sculptor, Michael Angelo, a.d. 1499. Height, 3 feet. Grimm, Life of M. Angelo, ii. 12,8. Ausonius, Cupido Cruci affixus. 21. CYPARISSUS. Presented to the Trustees by James Malcolm, Esq. Original in St. Petersburgh. Found at Sculptor Height, 4 feet 8 inches. Restorations A youth of the isle of Cea, one of the Cyclades. He inadvertently killed his favorite fawn. Overwhelmed with grief he was transformed into a cypress-tree. 'Twas when the summer sun at noon of day, Through glowing Cancer shot his burning ray ; 'Twas then the fav'rite stag in cool retreat Had sought a shelter from the scorching heat. Along the grass his weary limbs he laid, Inhaling freshness from the breezy shade ; When Cyparissus, with his pointed dart, Unknowing pierced him to the panting heart. Ovid, Metam., x. 10, 6. 22. DEMOSTHENES. Presented to the Trustees by Molesworth Greene, Esq. Original in Vatican. Found near Villa Aldobrandini, at Frascati. Sculptor Height, 6 feet 5 inches. Restorations : the hands and the scroll. A renowned orator and statesman, born about B.C. 385. His most splendid orations were delivered to excite his countrymen, the Athenians', against the encroachments of the Macedonians under Philip, Alexander, and Antipater. To prevent falling into the hands of the latter, he took poison and died, b.c. See Lucian, Encomium Dem. ; Plutarch ; II Vaticano. 9 This statue appears to embody the ideas conveyed by the lines of Milton describing Satan — As when of old some orator renowned In Athens or free Kome, where eloquence Flourished — since mute — to some great cause address'd, Stood in himself collected ; while each part, Motion, each act, won audience ere the tongue ; Sometimes In highth began, as no delay Of preface brooking, through his zeal of right — So standing, moving on to highth up grown, The tempter, all impassioned, thus began. Paradise Lost, ix. 670. To Demosthenes, as well as to Pericles, Hyperides, and others, allusion is made in the lines — Thence to the famous orators repair Those ancient, whose resistless eloquence "Wielded at will that fierce democratic. Shook the arsenal, and fulmincd over Greece, To Macedon and Artaxerxes' throne. Milton, Paradise Regained, iv. Z7o. 23. DIANA. Called " a la Biche." Original in Louvre, Paris ; formerly at Versailles ; brought from Italy by Primaticcio, in the reign of Francis I. Pound at Sculptor Height, 6 feet 5 inches. Restorations : part of right arm and both hands ; by Giovann-Angelo Montorsoli. Sister of Apollo ; identified with the Greek Artemis, the Egyptian Bubastes, the Phoenician Astarte, the Moon. Cicero in Verr., v. 33, 34. This Huntress Diana is very different from the Goddess worshipped at Ephesus (Acts, xix. 2,8 ; Montfaucon), who was a supposed personifi- cation of nature. With these in troop Came Astoreth, whom the Phoenicians called Astarte, Queen of Heaven, with crescent horns. Milton, Par. Lost, i. 437; Jeremiah, vii., 18; 1 Kings, xi., 5. See Homer, Hymn. xxv. ; Hesiod, Theog. ; Callimachus ; Herodotus, ii. 137, 156; Ovid, Met, ix. 687. 24. DIANA. Presented to the Trustees by M. C. E. Labilliere, Esq. Original in Sculptor, G. M. Benzoni. Height, 4 feet io£ inches. Chaste Goddess, guardian of the woods And Lycia's mountain solitudes, In threefold power adored. Hor., lib. iii. ode zz. Catullus, 34. C lO 25. DIANA (robing"). Original in Louvre. Found at Gabii. Sculptor Height, 5 feet 4 inches. Restorations : nose, right hand, left sleeve, left elbow, right foot to ankle, half of left leg. But mild the beauties of Diana were, And all her charms serene and sweetly fair ; Her brother's looks adorn her radiant face, Her cheeks and sparkling eyes express his grace. The same she were, did not her sex alone A difference cause and make the virgin known : Her arms are naked to th' admiring eye, And in the wind her careless tresses fly. Claudian, Kape of Proserpine. 26. DISCOBOLUS (standing). Original in Vatican. Found at Colombaro, on the Appian Way, eight miles from Rome, at a villa, supposed that of the Emperor Gallienus. Sculptor, Naucydes, born at Argos ; nourished B.C. 400. Height, 5 feet 6 inches. Restorations : none. Lucian ; Pliny, xxxiv. 19. 27. DISCOBOLUS (throwing quoit). Original in the British Museum. Found, a.d. 1 79 1, in the grounds of the Conte Fede, in that portion of Hadrian's Villa, Tivoli, called the Pinacotheca. Sculptor: supposed to be an ancient copy, in marble, from the work in brass by Myron, born at Eleutherae, in Greece, b.c. 480. Height -. to top of head, 4 feet 4^ inches ; to top of quoit, 5 feet 2^ inches. Restorations : left hand, by Albani ; head, broken off and rejoined. Other representations of this figure, in somewhat differing attitudes, are in the Massimi collection at Rome, in the Vatican, in the Louvre, and in the Feversham collection in England. It is objected that the head has not been correctly readjusted. In the other reproductions it is turned back as described by Lucian The statue is known to all.' 'What statue ' said I, "do you mean?' 'That beautiful one which you see as you enter the hall, made by Demetrius.' 'The Discobolus, I suppose, bending as if about to cast the discus, and looking back at the person who gives it to him, with one leg bent as if about to raise himself erect in the act of throwing.' ' No,' said he, ' that is one of the works of Myron.' " See Cicero ad Heren., iv. 6; Quintilian, lib. ii. 13; Statins, vi. 645; Pliny, xxxiv. 19; Lucian, Philopseud., 18; Barry, Lectures, vol. i. 479; Flaxman, Lectures, 90. 1 1 28. DOKOTHEA. Presented to the Trustees by Henry- Moor, Esq. Original in the collection of the Marquis of Lans- downe. Sculptor, John Bell. Height, 3 feet 11 inches. This exclamation was distinctly overheard by the priest and his company, who, concluding that the person who spoke must be hard by, arose to make further enquiry, and had not gone twenty paces when, behind the fragment of a rock, they perceived a boy sitting under an ash- tree, in the habit of a peasant, whose face, as he stooped to wash his feet in a brook that murmured by him, they could not then survey. Their approach they managed with softness and silence, while his whole attention was employed in bathing his legs, which seemed two crystal pillars produced among the pebbles in the rill. They were surprised at the whiteness and beauty of his feet, which they could not believe had been formed to tread the clods and follow the cattle or plough, as his dress would have seemed to indicate ; and the curate, who went foremost, finding himself still unperceived by the youth, made signs to the rest to crouch down or hide themselves behind a neighboring rock. This being done, all three stood gazing attentively at the apparition, which was clad in a double-skirted grey jacket, girt about the middle with a white napkin, and wore breeches and hose of the same cloth, with a grey hunting cap on his head, the hose being pulled up to the middle of the leg, which actually seemed of white alabaster. Having washed his delicate feet, he wiped them with a handkerchief, which he took out of his cap, and in so doing lifted up his head, showing to the bystanders a face of such exquisite beauty, that Cardenio said, in a whisper to the curate, " Since that is not Lueinda, it can be no earthly, but some celestial being." The youth taking off his cap and shaking his head, a large quantity of hair, that Apollo himself might envy, flowed down his shoulders, and discovered to the spectators that the supposed peasant was no other than a woman, the most delicate and handsome that the curate and the barber had ever beheld. Don Quixote, Part I., Book IV., chap. i. 29. EVE (at the fountain). Original at the Bristol Museum. Sculptor, Edward H. Baily. Height, 2 feet 7 inches. But Eve, Undecked save with herself ; more lovely fair Than wood nymph or the fairest goddess feigned Of three that in Mount Ida naked strove, Stood to entertain her guest from Heaven ; no veil She needed, virtue proof ; no thought infirm Altered her cheek. Milton, Paradise Lost, v. 380. C 2 12 That day I oft remember, when from sleep I first awak'd and found myself repos'd Under a shade on flowers, much wondering where And what I was, whence thither brought, and how. Not distant far from thence a murmuring sound Of waters issued from a cave, and spread Into a liquid plain, then stood unmov'd Pure as the expanse of Heaven ; I thither went "With unexperienced thought, and laid me down On the green bank, to look Into the clear Smooth lake, that to me seemed another sky. As I bent down to look, just opposite A shape within the watery gleam appear'd, Bending to. look on me : I started back, It started back ; but pleased I soon return'd ; Pleased it return'd as soon with answering looks Of sympathy and love. There I had fix'd Mine eyes till now, and pin'd with vain desire, Had not a voice thus warned me : What thou seest, What there thou seest, fair creature, is thyself ; With thee it came and goes : but follow me, And I will bring thee where no shadow stays Thy coming, and thy soft embraces, he Whose image thou art ; him thou shalt enjoy Inseparably thine, to him shalt bear Multitudes like thyself, and thence be called Mother of human race. Paradise Lost, iv. 449. 30. EUTERPE. Original in the Vatican. Found in the Gardens of the Quirinal, Home. Sculptor Height, 4 feet 6 inches. Restorations One of the nine Muses, daughters of Jupiter and Mnemosyne — Calliope, who presided over Epic poetry. Clio, „ History. Erato, „ Love poetry. Euterpe, „ Lyric poetry. Melpomene, „ Tragedy. Polyhymnia, „ The sublime hymn. Terpsichore, „ Dance and song. Thalia, „ Comedy. Urania, ,, Astronomy. See Hesiod, Theog., 77. 31. FLORA. Original in the Capitol. Found, a.d. 1744, in the ruins of Hadrian's Villa, at Tivoli. Sculptor Height Restorations : left hand. The Latin Goddess of Spring and Flowers, identified with the Greek nymph Chloris, wife of Zephyrus. 13 32. FATES (The). Original in the British Museum. Found at Athens. Sculptor of the school of Phidias. Height of two, 3 feet 1 1 inches ; one, 4 feet 5 inches. Restorations : none. These, with Nos. 41, 42, and 62, are taken from the Elgin marbles, brought from Athens by Lord Elgin, who obtained them while Ambas- sador at Constantinople, in the beginning of the present century. His collection was purchased for the use of the public, a.d. 1815. These figures formed portion of the majestic composition in the eastern pedi- ment of the Parthenon, the temple erected in honor of (Athene) Minerva, intended to represent the birth of the goddess when she sprung full grown, and completely armed, from the brain of (Zeus) Jupiter. — Paus., i. 2,4. In the centre was seated the ruler of Olympus; on his left hand, likewise seated, was (Here) Juno; on his right stood (Hephaistos) Vulcan, leaning on the axe with which he had opened the head of Jupiter. Close to him stood the Virgin Goddess ; opposed to her was (Poseidon) Neptune; on the extreme right is (Hyperion or Helios), the Sun, the heads of the horses of his chariot appear rising impetuous above the sea; close to him is the figure of Theseus, No. 62; a name accepted in the description of the ancient marbles in the British Museum, iii, 3, though it is there said that — " Some authorities of great weight are never- theless disposed to consider it as Hercules. The lion's skin on which he reposes, and his position immediately above some of his labors in the Metopes, warrant this." On the extreme left is the chariot of Night descending into the western ocean, the horses' heads visible, one of which, supposed to have been touched by the master-stroke of Phidias himself, is No. 41. Next in order are these figures, No. 32. According to the authority cited above, an adjustment of them forms a group supposed with great proba- bility to represent (Moirai) the Fates, accustomed to attend upon the occasion of a birth. They are Clotho, sitting apart, expressive of vigorous youth, Lachesis, supporting another, of sedate middle age, Atropos, in repose, of the langour of declining life. The winged Victory at their side is balanced by Iris, messenger of the gods, who conveys intelligence of the birth to (Demeter) Ceres and (Persephone) Proserpine, seated by Theseus on the confines of Olympus. Conjecture supplies the remaining objects. No. 42 is called Ilissus, the deified impersonation of the river which ran through the southern plain of Attica. This figure stood on the extreme right of the western pediment of the same temple in which was represented the victory of the goddess over Neptune in their contest for the sovereignty of the soil of Athens. Those who favor the opinion that No. 62 is meant for Hercules, suggest that this figure is with more probability that of Theseus than of the river god. An account of the remainder of the Elgin marbles, of which the Trustees possess a complete series, is postponed until it can be arranged In a manner which will render the description intelligible. 33. FAUN (The Dancing). Two copies. Original in the Royal Gallery, Florence. Found at Sculptor, attributed to Praxiteles. Height, 4 feet 6 inches. Restorations: the head and arms; by Michael Angelo Buonarotti. 34. FAUN. Usually called the Rondinini Faun, because placed in the Rondinini Palace, in the Corso, at Rome. Original in the British Museum, entered in the Catalogue as statue of a satyr, playing on the crotala, or cymbals. Found at Sculptor Restorations (attributed to Michael Angelo) : the 'torso is the only portion really antique. Height, 5 feet 8 inches. 35. GERMANICUS. By some supposed to be a figure of Mercury Original in the Louvre. Found Sculptor, probably Chimarus. Height, 5 feet 1 1 inches. Restorations : thumb and forefinger of right hand. Son of Nero Claudius Drusus, nephew of the Emperor Tiberius, brother of the Emperor Claudius, father of the Emperor Caligula and of Agrippina, mother of the Emperor Nero. A distinguished general; born b.c. IS, died a.d. 19. Clarac, Winckel., ii. 405. 36. GLADIATOR (Dying). Original in the Capitol, Rome. Pound in Collis Hortulorum, on the Pincian Hill, near the tomb of the Domitii, where Nero's body was burned by Acte, his freedwoman, and Ecloge and Alexandra, his nurses, in the gardens of Sallust, at Rome. Sculptor, supposed to be Ctesilaus, cotemporary of Phidias, b.c. 440 ; or by Pyromachus, b.c. 240, in bronze, of which the original is a copy. Height, 2 feet 8 inches. Restorations : right hand; said to be by Michael Angelo Buonarotti. »5 Behold! where, in his nerv'd and naked might, Rushes the circus champion to the fight; Stretches the gaunt arm in its sweeping length; Starts from each limb the eloquence of strength; On the bent brow pride, power, and conquest reign; From the curved lip the spirit breathes disdain ; And all the savage, in his sternest mood, Speaks from the form unawed and unsubdued. Where, 'mid yon puny race of courts can be, Son of the woods! the champion meet for thee? The strife is o'er. Ev'n as a broken bow, Nerveless and spent, the Terrible lies low! He leans upon his hand — the lion crest Bows to the dust ; and from the untam'd breast Falls drop by drop, life's tide; the eye is dim; And o'er the buckler droops the giant limb; And death is on the might}'. Aye, thou proud And guilty city, let thy ruthless crowd Four o'er their prey the mockery of their mirth ; Blood with those echoes calls forth from the earth; And Heav'n full soon shall answer. Bulwer. I see before me the Gladiator lie : He leans upon his hand — his manly brow Consents to death, but conquers agony, And his drooped head sinks gradually low — And through his side the last drops, ebbing slow From the red gash, fall heavy, one by one, Like the first of a thunder shower; and now The arena swims around him — he is gone Ere ceased the inhuman shout which hailed the wretch who won. - He heard it, but he heeded not— his eyes Were with his heart, and that was far away: He recked not of the life he lost, nor prize. But where his rude hut by the Danube lay, There were his young barbarians all at play, There was their ]>acian mother — he, their sire, Butchered to make a Soman holiday — All this rushed with his blood. Shall he expire And unavenged?— Arise, ye Goths, and glut your ire. Byron, Childe Harold, iv. 140. Supported on his shorten'd arm he leans, Prone, agonizing ; with incumbent fate Heavy declines his head ; yet, dark beneath The suffering feature, sullen vengeance lowers, Shame, indignation, unaccomplished rage; And still the cheated eye expects his fall. Thomson, Liberty, iv. 1S7. Single combat at funerals was common. — Horn., iii. 2.3. This statue, although usually known as that of a gladiator, and invested accordingly with many charming poetical associations, is sup- posed to be that of a herald. Ingenious conjectures suggest Polyphontes, herald of Laius King of Thebes, killed by ffidipus, with his master ; or Copreas, herald of Eurystheus, massacred by the Athenians (Horn., iii. xv. 639; Apollod., 1, J, 1; Eurip. Heraclidae); or, Anthemocritus, an i6 Athenian herald, killed by the Megareans (Paus. i. 9). Men who engaged in single combat are mentioned in Athenams, iv. 41, as known in early times in Greece ; but they do not appear to be of the class known in Italy as gladiators, first composed of captives in war, slaves and condemned malefactors (Cicero, Letters to Atticus, iv. 4; Livy, xxiii. 30, xxix. 46; Bio. Cassius, xxxvii. 8; Pliny, Nat. Hist., xxxiii. 3; Val. Max., ii. 4, 7; Suetonius Cajsar, 10). Reasons adduced in support of this view are, that the Greeks wore the beard until the age of Alexander the Great, who suggested that his Macedonian soldiers should shave (Ov. Fas., ii. 30; Athcnoeus, xiii. 18 ; Plutarch; Apoph., 180). In Homer 10, Nestor talks of a razor's edge; but Dolon in the same book tries to touch the beard of Diomede when entreating that his life may be spared. This figure is represented beardless. Gladiators did not carry a trumpet nor wear a cord round the neck, as heralds in the Olympic games were used to do. There is, however, more probability in the suggestion that it represents a Celtic or barbarian soldier or messenger wearing the Torques, or collar. Gladiators were first exhibited in Rome, a.u.c. 490, b.c. 164. Ctesilaus flourished about 176 years before that time. If this statue be his work it cannot represent a Roman gladiator. Val. Max., iii. 4, 7; Winck., ii. 141, note to French ed. 37. GLADIATOR (The Fighting, or Borghese). Original in the Louvre, Paris. Tound, a.d. 1503, at Capo d'Anzio the ancient Antium. Sculptor, Agasias, or Hegesias, son of Dositheus ofEphesus; nourished 490 B.C. Height from left foot to head, 5 feet. Restorations : right arm and right ear. Of raging aspect, rushed impetuous forth The Gladiator. Pitiless his look, And each keen sinew braced, the storm of war, Ruffling o'er all his nervous body frowns. Thomson, Liberty, iv. ijz. Notwithstanding the commonly received opinion that this figure represents a gladiator, it has been suggested that it should rather be con- sidered to be that of a foot soldier contending with a horseman. A conjecture is offered that it is intended for Achilles fighting with Penthe- silea, Queen of the Amazons, who assisted the Trojans, and was slain by him. See Winckelmann, ii. 434. Thiersch. 38. GRACES. Aglaia, Euphrosyne, and Thalia. Original in the collection of the Duke of Bed- ford (?). Sculptor, Canova; born at Passagno, in Italy, a.d. 1757; died a.d. 1822. Height, 5 feet ^\ inches. Eurynome, from ocean sprung, to Jove The beauteous Graces bore, inspiring love, Aglaia and Euphrosyne the fair, And thou, Thalia, of a graceful air. Hesiod, Theog. 17 Daughters of Jove. From them flow all the decencies of life. Without them nothing pleases. Virtue's self Admired not loved : and those on whom they smile, Great though they be, and wise, and beautiful, Shine forth with double lustre. t Rogers. See Pindar, Olymp. xiv. ; Horace, Od. i. 4, iii. 21. 39. GREEK SLAVE. Presented to the Trustees by Major-General Valiant. Original in possession of Grant, Esq., Albion street, Hyde Park. Sculptor, Hiram Power. Height, 5 feet 2 inches. 40. HERCULES and OMPHALE. Presented to the Trustees by Charles Hotson Ebden, Esq. Original in the London University. Sculptor: the torso of Hercules was restored by Flaxman ; he added the figure of Omphale. Height: Hercules, 6 feet \ inch ; Omphale, 6 feet 1 inch. The history and labors of the demigod, Hercules, are known. Om- phale was Queen of Lydia; to her Hercules submitted himself as a slave for three years, in order to expiate his crime of having murdered Iphitus. Plu., Theseus; Lucian Dial., Deor., xiii. ; Horn. Od., xxvi. 14.; Propertius, lib. iv. xi. 41. HORSE'S HEAD. School of Phidias, Athens.— -See No. 32. 42. ILISSUS. School of Phidias, Athens.— See No. 32. 43. INNOCENCE. Presented to the Trustees by Henry Arthur Smith, Esq. Original in collection of — Pearce, Esq. Sculptor, John Henry Foley. Height, 5 feet. 44. JASON. Original in the Louvre. For some time known as Cincinnatus. Found, a.d. 1 8 14, at Tivoli. Sculptor Height, 4 feet 8^ inches. Restorations : right hand and part of arm, left arm. The bead is not of the same marble as the rest of the figure, probably supplied from another statue. It is said, also, that the ploughshare was added. i8 Son of ./Eson, descendant of jEolus. Pelias, brother of jEson, ruled in Iolcus. He was warned by an oracle that one of the iEolidse would kill him. He ordered their destruction. Jason alone escaped. The oracle again warned Pelias to beware of a man with but one sandal. On the invitation of Pelias, Jason attended a sacrifice to Neptune. In cross- ing the Eiver Amaurus, on the bank of which he lived as a husbandman, he lost one of his sandals. Pelias, alarmed, sefit him 6n an expedition to Colchis, to bring the golden fleece. He sailed in the ship Argo. His success and ultimate return with Medea, and the death of Pelias, are described differently by the numerous authors who treat of this uncertain portion of history. Apollodorus, i. 9; Ovid. Met., vii.; Winckel., ii. 390. 45. JULIAN DE MEDICI. Presented to the Trustees by John Fitzgerald Leslie Foster, Esq. Original placed on the mausoleum erected to his memory by Pope Clement VII., in the Church of St. Lorenzo, Florence. Sculptor, Michael Angelo. Height, 5 feet -]\ inches. Duke of Nemours, youngest son of Lorenzo the Magnificent and brother of Leo X. Born, 1478; died, 1516. 46. LAOCOON. Original in the Vatican. Found, a.d. 1 506, near the baths of Titus, Rome. Sculptors, Agesander of Rhodes, Athenodorus, his son, and Polydorus, supposed also to be his son. They flourished, according to Winckelmann, vol. ii. 289, in the time of Alexander the Great, about b.c. 330; ac- cording to Lessing and Thiersch, in the time of Titus, about a.d. 76, Height of Laocoon, 5 feet 9! inches, to top of hand 6 feet 10^ inches; of elder son, 3 feet 10^ inches ; younger son, 3 feet ~j\ inches. Restorations : the right arm, in terra cotta, by Bernini ; right arm by Montorsoli, Perkins ; the arms and hands of each of the sons by Cornacchini. A head of the principal figure is in the collection of the Due d'Arem- berg, at Brussels, said by some to have belonged to the original. See Pliny, Hist. N., xxxvi. 4; II Vaticano, iv. 214; Goethe; Spence Polymetis. The first restoration of this was by Bandinelli, in wax. He was ordered by Pope Clement VII. to make a copy of the group for Francis the First of France. The Pope was so much pleased with it, that he kept it and placed it in his family palace at Florence. »9 The group was injured in a.d. 15*7 by the Germans and Spaniards, so that probably Bernini's or Bandinelli's restoration was undone, and Montorsoli's renovation became necessary. _ Grimm, Life of M. Angelo, U. 6; Appendix II. Laocoon, Neptune's priest by lot that year, With solemn pomp then sacrificed a steer ; When, dreadful to behold, from sea we spy'd"J Two serpents, rank'd abreast, the seas divide > And smoothly sweep along the swelling tide. ) Their naming crests above the waves they show, Their bellies seem to burn the seas below ; Their speckled tails advance to steer their course, And on the sounding shore the flying billows force. And now the strand and now the plain they held, Their ardent eyes with bloody streaks were filled ; Their nimble tongues they brandished as they came, And lick'd their hissing jaws that sputtered flame. We fled amazed. Their destin'd way they take, And to Laocoon and his children make. And first around the tender boys they wind, Then with their sharpen'd fangs their limbs and bodies grind, The wretched father, running to their aid With pious haste but vain, they next invade ; Twice round his waist their winding volumes roll'd And twice about his gasping throat they fold ; The priest thus doubly chok'd their crests divide, And towering o'er his head in triumph ride. With both his hands he labors at the knots, His holy fillets the blue venom blots ; His roaring fills the flitting air around. Thus when an ox receives a glancing wound He breaks his bands, the fatal altar flies, And with loud bellowings breaks the yielding skies. Virgil, Mn., lib. ii. ioo. By Dryden. Terrible! Mark and Tremble!— Fold by fold See round the writhing sire the enormous serpents roll'd; Mark the stern pang— the clench'd despairing clasp— The wild limbs struggling with that fatal grasp, The deep convulsion of the laboring breath — The intense and gathering agony of death. Yet 'mid the mortal's suffering still is view'd The haughty spirit ■shaken— not subdued : Tho' nature faint, tho' every fibre burst, Scath'd, stifled, crush'd, let vengeance wreak its worst ; Fate— terror— Hell— let loose your powers of ill, Wring the rack'd form— the soul can scorn you still. Bulwer. At last her utmost masterpiece she found That Maro fired. The miserable sire Wrapt with his sons in Fate's severest grasp ; The serpents, twisting round, their stringent folds Inextricable tie. Such passion here, Such agonies, such bitterness of pain, Seem so to tremble through the tortured stone That the touch'd heart engrosses all the view. 20 Almost unmark'd the best proportions pass That ever Greece beheld; and seen alone, On the rapt eye the imperious passions seize : The father's double pangs, both for himself And sons convuls'd; to Heaven his rueful look, Imploring aid and half accusing, cast; His fell despair, with indignation mix'd, As the strong curling monsters from his side His full extended fury cannot tear. More tender touched, with varied art, his sons All the soft rage of younger passions show : In a boy's helpless fate one sinks oppressed! While, yet unpierced, the frighted other tries His foot to steal out of the horrid twine. Thomson, Liberty, iv., 185. Or, turning to the Vatican, go see Laocoon's torture dignifying pain — A father's love and mortal's agony With an immortal's patience blending : vain The struggle ; vain, against the coiling strain And gripe, and deepening of the dragon's grasp, The old man's clench ; the long-envenom'd chain Rivets the living links — the enormous asp Enforces pang on pang, and stifles gasp on gasp. MERCURY Byron, Childe Harold, iv. l6 o. Original in the collection of the Prince of Augus- tenberg. A second was executed for Lord Ashburton. Sculptor, Thorwaldsen; born at Copenhagen, a.d. 1770; worked for many years at Rome; died at his birthplace, a.d. 1844. Height, 5 feet 5! inches. 0 Mercury, great Atlas' son Skill'd with persuasive voice to tame Fierce men from savage nature won To learn th' arena's graceful game : 1 sing thee, messenger of Jove, Inventor of the tuneful lyre, Cunning to hide whate'er thy love Of theft and frolic may acquire. Hor., lib. i., ode 10; see lib. iii., ode 11. Homer, Hymn, by Shelley; Apollodorus, 310. MERCURY. Presented to the Trustees by Mrs. Williams. Original in the Royal Gallery, Florence. Sculptor, John of Bologna; born at Douay, a.d. 1524; died at Florence, a.d. 1608. Height, 4 feet 3 inches. Maia of Atlas born and mighty Jove, Join'd in the sacred bands of mutual love, From whom behold the glorious Hermes rise A god renown'd, the herald of the skies. Hesiod, Theog., 938. 2 I 49. MINERVA GIUSTINIANI. Presented to the Trustees by Major-General Sir Edward Macarthur, C.B. Original in the Vatican. Eound at Rome, near the ruin on the Esquiline, called Minerva Medica. Sculptor Height Restorations It was purchased by Lucien Bonaparte, who sold it to the Pope; but it still retains the name of the family of the first possessors. 50. MOTHER and CHILD ; or Maternal Affection. Pre- sented to the Trustees by William Fletcher, Esq. Original in the collection of Joseph Neeld, Esq. Sculptor, Edward H. Baily. Height, 2 feet 1 1 inches. 51. MUSIDORA. Presented to the Trustees by Mrs. Moor. Original in the Exhibition of 1850. Sculptor, James Legrew. Height, 5 feet. An imaginary person introduced by Thomson in his poem of the Seasons. Lo, conducted by the laughing Loves, This cool retreat his Musidora sought. Warm in her cheek the sultry season glowed ; And, rob'd in loose array, she came to bathe Her fervent limbs in the refreshing stream. Summer, 1286. 52. NARCISSUS. Presented to the Trustees by Mrs. Westby. Original in the collection of Her Majesty the Queen, at Osborne. Sculptor, William Theed. Height, 4 feet 1 1 inches. This youth, son of Cephissus and the nymph Liriope, fell in love with his image reflected in a fountain, pined, and died. His body was trans- formed into the flower which bears his name. For him the Naiads and the Dryads mourn, Whom the sad echo answers In her turn ; And now the sister nymphs prepare his urn, When, looking for his corpse, they only found A rising stalk with yellow blossoms crown'd. Ovid, Met. iii. 508. 22 53. PERSEUS. Original in Vatican. Sculptor, Canova; born at Passagno, in Italy, a.d. 1757 ; died, a.b. 1822. Height, 7 feet 6 inches. Son of Jupiter and Danae. Banished from and afterwards regained the kingdom of Argos. He undertook to bring to Polydeotes, King of Seriphus, the head of Medusa, which possessed the property of converting into stone whosoever looked upon it. Medusa was the only mortal of the three Gorgons, daughters of Phorcys and Ceto ; their names were, Stheno, Euryale, and Medusa. See Hesiod, Theog., 276; Ovid, Metam., iv. 617. 54. POLYHYMNIA. Presented to the Trustees by Wil- liam Kaye, Esq. Original in Vatican. Found at Sculptor Height, 5 feet 10 inches. Restorations See Euterpe. 55. PUDICITIA. Presented to the Trustees by Miss Barry. Original in Vatican, Rome. Found Sculptor Height, 6 feet 5 inches. Restorations An impersonation of modesty deified and worshipped in Greece and at Rome, where she had two sanctuaries — one erected to Pudicitia, in the Forum Boarium, near the temple of Hercules; the other to Pudicitia Plebeia, in the Vicus Longus. This figure has been supposed to represent Livia, wife of Augustus, died a.d. 29 ; or Sabina, wife of Hadrian, died a.d. 137 ; but there is no sufficient authority for either position. Spence, in his Polymetis, assumes that it is intended for Juno Matrona. Winckel- mann asserts that it resembles the Muse Melpomene, as is displayed by the cothurnus. Winckelmann, ii. 392 ; Paus, i. 17 ; Livy, x. 23. 56. SLAVE (The Listening). Known as the Arrotino or Remoleur, or the Whetter ; also, as the Spy. Original in the Royal Gallery, Florence. Found at Sculptor Height, 3 feet. Restorations : fingers of each hand, and the por- tion of the knife between the right hand and the whetstone. 23 The conjectures respecting this statue are various. By some it is supposed to represent the soothsayer Accius or Attus Navius, who carried into execution the idea in the mind of King Tarquin, and severed, by command of the King, the whetstone on which he was sharpening his razor.— Livy, i. 36. By others, the slave who overheard the plot into which the two sons of Junius Brutus entered for the restoration of Tarquin. Some suggest that it is meant for the slave who overheard the conspiracy of Catiline ; others, for the Scythian slave, commanded by Apollo to flay Marsyas when vanquished by the god in a musical contest— See Hobhouse ; notes to 4th canto of Childe Harold. While Lanzi asserts that the man is no other than Licinus, the celebrated barber of Julius Caesar. The instrument in his hands does not seem very suitable for either operation. , Cicero de Nat., Deor., 11. 3, 111. 6. 57 SOPHOCLES. Presented to the Trustees by Colonel Barry, R.A., OB. Original in the Lateran, Rome. Pound at Terracina. Sculptor Height, 6 feet 8 inches. Restorations Greek Tragic Poet ; born at Colonus, close to Athens, B.C. 495 ; died, b.c. 405. He wrote 113, or, according to other accounts, 130 plays, of which seven only are extant. They are " Antigone," " Electra," " Trachiniaj," " (Edipus Tyrannus," " Ajax," " Philoctetes," " (Edipus Coloneus." 58. ST. GEORGE AND THE DRAGON (in bronze). Presented to the Trustees by Alexander Mollison, Esq. Height, 3 feet 4 inches. 59. TAMBOURINE GIRL. Presented to the Trustees by James Purves, Esq. Original at Sculptor, Danton. Height, 4. feet 8£ inches. 60. TERPSICHORE. (The Muse of Dance and Song.) Original in Gallery of Count Sommariva, at Paris. Sculptor, Canova. Height, s feet 6\ inches. See Euterpe. 61. THESEUS. Son of ^Egeus, King of Athens. School of Phidias, Athens— See No. 32. 2 4 62. VENUS ANADYOMENE (rising from the sea). Pre- sented to the Trustees by Edward William Jeffreys, Esq. Original in Vatican, Rome. Pound at Salone, by the Spring of Aqua Virgine, about eight miles from Rome. Sculptor Height, 2 feet j% inches. Restorations The Goddess of Beauty, mother of Cupid, identified with the Aphro- dite of the Greeks, Mylitta of the Babylonians, Alitta of the Arabians, and Mitra of the Persians. See Homer, Hymn; Herod., i. 131 ; Lucretius, i. ; Ovid. Fasti, iv. 15, 62, 143. Till now swift circling a white foam arose From that immortal substance, and a nymph Was quicken'd in the midst, the trifling waves First bore her to Cythera's heavenly coast ; Then reach'd she Cyprus girt with flowing seas, And forth elnerg'd a goddess in the charms Of awful beauty. Where her delicate feet Had press'd the sands, green herbage flow'ring sprang. Her Aphrodite gods and mortals name The foam-born goddess, and her name is known As Cytherca with the blooming wreath, For that she touch'd Cythera's flowery coast ; And Cypris, for that on the Cyprian shore She rose amidst the multitude of waves, And Philomedea from the source of life. Hesiod, Theog., 190. Orta Salo, Suscepta Solo, patre edita Ccelo < iEneadum genitrix hie habito alma Venus. Ausonius, Epig., xxxiii. Emersam pclagi nuper genitalibus undas, Cyprin Apellei cerne laboris opus, Ut complexa manu madidos sales a:quora crines Humidulis spumas stringet utraque comis. Iam tibi nos Cypris Juno inquit et innuba Pallas Cedimus et formae prxmia deferimus. Epig., cvi. 63. VENUS DE MEDICI (two copies'). Original in the Royal Gallery, Florence, to which place it was transferred from the Villa Me- dici, 1680. Eound at Hadrian's Villa, Tibur. Sculptor : said to be Praxiteles. The name Cleo- menes on the pedestal is generally supposed to be a forgery. Height, 5 feet. Restorations : right arm, the whole left arm from the elbow downward. 25 The original, of which that in the Florentine Gallery mat be a copy, was sold by the sculptor to the people of Cnidus, in Caria. It stood with a Venus by Phidias, a Cupid by Praxiteles, a Diana by Cephisodotus, and a group of Mars and Cupid, now in the Villa Ludovisi, in the Portico of Octavia, dedicated by Augustus to his sister. It was removed with the statues of Minerva of Lindus, in Khodes, and of Juno of Samos, to Con- stantinople. All three, with other works of art of inestimable value, were destroyed by fire in the reign of Justinian, on the occasion of the riots between the BivsTOi. or the Blue faction, and the Ylpaaivoi, or Green faction, a.d. 532. The figures on the Dolphin at the base are (Eros and Anteros) Cupids, sons of Venus. Hes., Theog., 201 ; Pliny, xxxvi. 4 ; Gibbon, Dec. and Fall, xl., and authorities there cited; Hor., Odes, iv. 1,5; Cicero de Nat. Deor., ft. Epw£ and 'Ifispog or the Cupids Celestial and TeiTestrial of Plato. The Romans gave to Venus Cupido and Jocus. Hor., Carm., 2, 33. Eros and Anteros. Cic, Nat. D., 23. Ovid, Fas. iv. 1, alludes to the twin sons of Venus, but does not name them. The Queen of Love arose, as from the deep She sprung, in all the melting pomp of charms. Bashful she bends, her well-taught look aside Turns in enchanting guise; where dubious mix Vain, conscious beauty, a dissembled sense Of modest shame and slippery looks of love. The gazer grows enamored ; and the stone, As if exulting in its conquest, smiles. Thomson, Liberty, iv. 175. There, too, the goddess loves in stone, and fills The air around with beauty ; we inhale The ambrosial aspect, which, beheld, instils Part of its immortality : the veil Of heaven is half undrawn; within the pale We stand, and in that form and face behold What mind can make, when Nature's self would fail; And to the fond idolaters of old Envy the innate flash which such a soul could mould: We gaze and turn away, and know not where, Dazzled and drunk with beauty, till the heart Keels with its fulness ; there — for ever there — Cliain'd to the chariot of triumphal art, We stand as captives, and would not depart. Away 1 there need no words, nor terms precise, The paltry jargon of the marble mart, Where pedantry gulls folly — we have eyes : Blood — pulse — and breast, confirm the Dardan shepherd's prize. Byron, Childe Harold, iv. 49, 50. D 26 64. VENUS or DIONE. Original in the British Museum. Found, a.d. 1776, at baths of Claudius, at Ostia, by Mr. Gavin Hamilton. Sculptor Height, 6 feet u£ inches, including the plinth, 4§ inches. Restorations : left arm, right hand, tip of nose. It has not been determined whether this be the statue of Venus or oi the female Titan Dione, daughter of Tethys, who, according to various ■writers, was the mother of Venus by Jupiter. See Hesiod, Theog., 353; Homer, II., v. 370. 65. VENUS GENETRIX. (Cesar's Venus.) Original in the Louvre. Found at Sculptor, Praxiteles (?). This is supposed to be the draped Venus of Cos, which the inhabitants purchased from him. Height, 5 feet 4 inches. Restorations Ausonius, Epig., xci. xcii. 66. VENUS VICTRIX. Called "Venus of Milo." Original in the Louvre, Paris, presented by the Marquis de Riviere. Found, a.d. 1820, at Milo, an island in the iEgean Sea, the ancient Melos. Sculptor, Scopas. Height, 6 feet 8 inches. She received from Paris the prize for her superior loveliness in her contention with Juno and Minerva on Mount Ida. Euripides, Iph. in Aul., 1190; Lucian, Dial. Deor., xx.- Idalian Aphrodite beautiful, Fresh as the foam new bathed in Paphian wells, With rosy slender fingers backward drew, From her warm brows and bosom her deep hair Ambrosial, golden round her lucid throat And shoulder ; from the violets her light foot Shone rosy- white, and o'er her rounded form, Between the shadows of the vine-bunches, Floated the glowing sunlights, as she moved. Tennyson, ^Enone. 27 67. VENUS. Original in the Pitti Palace, Florence. Sculptor, Canova ; born at Passagno in Italy, a.d. 1757 ; died, a.d. 1822. Height, 5 feet 6 inches. 68. VENUS. Presented to the Trustees by Charles Ed- ward Bright, Esq. Original in possession of Mr. Eobert Berthon Preston, of Liverpool. Sculptor, Gibson. Height, 5 feet 6% inches. 69. VENUS. Presented to the Trustees by William Mitchell, Esq., E. Thompson, Esq., J. Richard- son, Esq. Original executed for Lord Lucan, 1824. Sculptor, Thorwaldsen; born at Copenhagen, a.d. 1770 ; worked for many years at Kome ; died at his birthplace, a.d. i 844. Height, 5 feet 5 \ inches. 70. VENUS and CUPID (in Parian marble). Art Union Prize. Presented to the Trustees by the Kev. W. Wade. 71. YOUTH invoking the Celestial Gods. Original in Berlin. Found in the Kiver Tiber at Rome. Sculptor Height, 4 feet 3^ inches. Restorations The invocation of the infernal Deities was performed with the palms of the hands turned down, and other ceremonies were conducted in the like inverted order. Virgil, JEn., ii. 153, 688; ix. 16; vi. 235-Z45. D 2 28 CHRONOLOGICAL ARRANGEMENT OF THE CASTS OF STATUES. Of the Heroic period, from b.c. 550 to b.c. 390. No. 3, The Amazon; 26, 27, the Discoboli; 36, 37, the Gladiators; 32, 41, 42, 61, Elgin marbles. Of the period Alexander the Great, from b.c. 390 TO B.C. 146. Nos. 6, 7, Apollos; 12, the Boxers; 14, Boy and Goose; 33, 34, Fauns; 62, 63, 64, 65, 66, Venuses. Of the Roman period, from b.c. 186 to a.d. 180. No. 5, Antinous; 16, Canephora; 17, Castor and Pollux; 19, Cupid and Psyche; 31, Flora; 35, Germanicus; 46, Laocoon; 55, Pudicitia. Antiques, though of uncertain date. No. 1, Achilles; 2, Adonis; 8, Apollino; 9, Ariadne; 10, Aristides; 11, Bacchus and Ampelus; 13, Boy Ex- tracting Thorn; 21, Cyparissus; 22, Demosthenes; 23, Diana a la Biche ; 25, Diana Robing; 30, Euterpe; 44, Jason; 49, Minerva Giustiniani; 54, Polyhymnia; 56, Listening Slave; 57, Sophocles; 71, Youth invok- ing Gods. Of the Fifteenth and Sixteenth Centuries. No. 20, Cupid; 45, Julian de Medici; 48, Mercury. Reliefs. Holy Family of the Baptistry at Florence; Boys; Gates. Of Modern Times. N0.18, Cupid; 24, Diana; 28, Dorothea; 29, Eve at the Foun- tain; 38, Graces; 39, Greek Slave; 40, Hercules and Omphale; 43, Innocence; 47, Mercury; 50, Mother andChild; 5i,Musidora; 52,Narcissus; 53, Perseus; 58, St. George and the Dragon ; 59, Tambourine Girl ; 60, Terpsichore; 67, 68, 69, Venuses; 70, Venus and Cupid. Beliefs. Flaxman, Gibson, Thorwaldsen. 2 9 MARBLE BUSTS. i. SEASONS. Four busts, in marble, representing Spring, Summer, Autumn, Winter, on pe- destals of Portuguese marble. Sculptor, Benzoni. Presented to the Trustees by Peter Davis, Esq. CASTS OF BUSTS. 1. ALBERT (Prince). The illustrious Prince Consort, husband of Her Most Gracious Majesty Queen Victoria. Born at Rosenau, 26th August, 18 19. Died at Windsor, 14th December, 1861. 2. ANGELO (Buonarotti Michel). Architect, sculptor, painter. Born at Castel Caprese, Tuscany, 6th March, 1474. Died at Rome, 17th February, 1564. 3. APOLLO. Original in the British Museum. This bust was ob- tained by Mr. Townley, from Cardinal Alexander Albani, in the year 1773. 4. ARISTOTLE. Philosopher; Preceptor of Alexander the Great. Born at Stagira, Thrace, B.C. 384. Died at Chalcis, Eubcea, B.C. 322. 5. AUGUSTUS (Caius Julius C^sar Octavianus, the young). First Roman Emperor. Born at Velitrae (Consulate of Cicero), b.c. 63. Died at Nola, 19th August, a.d. 14. Presented to the Trustees by Master Jeffreys. 3° 6. BACON (Francis, Lord Verulam; Viscount St. Albans). Lawyer, statesman, philosopher ; Lord High Chancellor of England in the reign of James I. Born in London, 22nd January, 1561. Died in the Earl of Arundel's house, at Highgate, April, 1626. 7. BARRY (Sir Redmond, Knt.). One of the Judges of the Supreme Court, Victoria. By Charles Summers, Esq. In Carrara Marble. 8. BROUGHAM (Henry, Lord). British statesman. Born at Edinburgh, September, 1778. 9. BRUNEL (Sir Marc Isambard, Knt.). Engineer ; in- vented block-making machinery in Ports- mouth Dockyard ; designed and executed the Thames Tunnel, and many other works of great ingenuity and usefulness. Born at Hacqueville, in Normandy, a.d. 1769. Died, a.d. 1849. 10. BUFEON (George Louis le Clerc, Comte de). Naturalist. Born at Montbard, in Burgundy, 7th September, 1707. Died, 1 6th April, 1788. 11. BURKE (Edmund). Philosopher, statesman, and orator. Born at Dublin, January, a.d. 1730. Died at Beaconsfield, 9th July, 1797. 12. BURNS (Robert). Poet. Born at Ayr, 25th January, a.d. 1759. Died at Dumfries, 21st July, 1796. 13. BYRON (George Gordon, Lord). Poet. Born at London, 22nd January, 1788. Died at Missolonghi, 19th April, 1824. Sculptor, Baily. 14. OESAR (Caius Julius). Born at Rome, 12th July, b.c. 100. Assassinated in Senate House, Rome, 1 5th March, b.c. 44. Original in British Museum; purchased in 18 18. In Luni marble. 3i 15- CHARLES I. King of England and Scotland. Born at Dumfermline, 19th November, 1600. Beheaded, 30th January, 1649. 16. CHATHAM (William Pitt, Earl of). Statesman and orator. Born in Cornwall, 15th November, 1708. Died at London, nth May, 1778. 17. CICERO (Marcus Tullius). Roman statesman and orator. Born at Arpinum, b.c. 106. Assassinated near Formise, B.C. 42. 18. CLYTIE (The bust of). From the antique in the British Museum, in Parian. Presented by William Taylor Copeland, Esq., Alder- man, M.P., of London. 19. COWPER (William). Poet. Born at Berkhamstead, Herts.,26th November, 1 7 3 1 . Died at Dereham, in Norfolk, 25th April, 1800. 20. CROMWELL (Oliver). Protector of England. Born at Huntingdon, 25th April, 1599. Died at London, 3rd September, 1658. 21. CUVIER (Georges Leopold Chretien Frederic Dagobert). Naturalist. Born at Montbeliard, 1769. Died at Paris, 1832. 22. DEMOSTHENES. Greek orator. Born at Athens, b.c. 382. Died in the Temple of Neptune, at Calauria, b.c. 3 22. Original in the British Museum ; purchased in 18 18. 23. DIANA (robing). 24. DIOGENES. Cynic philosopher. Born at Sinope, in Pontus, b.c. 412. Died at Corinth, b.c. 323. This bust was bequeathed to the British Museum by the late R. Payne Knight, Esq. It is in Pentelic marble. 25. DRYDEN (John). Poet. Born at Aldwinckle, 9th August, 163 1. Died at London, 1st May, 1700. 3 2 26. ELD ON (John Scott, Earl of). Lord Chancellor of England from 1801 to 1806, and from 1807 to 1827. Born at Newcastle, 4th June, 1751. Died at London, 13th January, 1838. 27. ELAXMAN (John). Sculptor. Born at York, 6th July, 1755. Died at London, 7th December, 1826. 28. EOX (Charles James). Statesman and orator. Born at London, 24th January, 1749. Died at Chiswick, 13th September, 1806. 29. EEANKLIN (Benjamin). American philosopher and statesman. Born at Boston, Massachusetts, 6th January, 1706. Died at Philadelphia, 17th April, 1790. 30. GOETHE (Johann Wolfgang Von). Poet. Born at Erankfort-on-the-Maine, 28th August, 1749- Died at Weimar, 22nd March, 1832. 31. HANDEL (George Erederic). Musical composer. Born at Halle, in the Duchy of Magdeburg, Lower Saxony, 24th Eebruary, 1684. Died at London, 13th April, 1759. 32. HADEIANUS (P. JElius). Fourteenth Eoman Em- peror. Born at Home., a.b. 76. Reigned, a.d. 117 to a.d. 138. Original in the British Museum. Pound at Hadrian's Villa, near Tivoli. 33. HARVEY (William). Physician. Born at Folkstone, Kent, 2nd April, 1 578. Died at London, 3rd June, 1658. 34. HEALES (Hon. Richard). Born at London, 1822. Died at Melbourne, 1864. 35. HOMER. Poet. Elourished, b.c. 1019 to b.c. 984. Original found at Baise, a.d. 1780. 33 36. HUNTER (John). Anatomist. Born at Calderwood, 1728. . Died at London, in St. George's Hospital, 16th October, 1793* Original by Chantrey. 37. INNOCENCE (Bust of). In Parian. Presented to the Trustees by Captain Lonsdale. 38. JOHNSON (Samuel, LL.D.). Lexicographer. Born at Lichfield, 1709. Died at London, 1784. 39. JONES (Inigo). Architect. Born at London, 1572. Died at London, 21st July, 1652. 40 LINNAEUS (Carl von Linne). Naturalist. Born at Rashult, Province of Smaland, Sweden, 13th May, 1707. Died at Hammarby, near Upsal, nth January, 1778. 41. LOCKE (John). Philosopher. Born at Wrington, in Somersetshire, 29th August, 1632. Died at Oates, in Essex, 28th October, 1704. 42. MALE HEAD. Name unknown, probably one of the Homeric heroes. Pound in that part of Hadrian's Villa called the Pantanella, by Gavin Hamilton, 1771. 43 MACAULAY (Lord). Historian and Essayist. Born at Rothley Temple, Leicestershire, 1800. Died at London, i860. 44. MILTON (John). Poet. Born in London, 9th December, 1608.. Died in London, 8th November, 1674. 4c. MIRANDA. In Parian marble. Sculptor, W. G. Marshall, R.A. 46. NAPOLEON BONAPARTE (the First). Emperor of France. Born at Ajaccio in Corsica, 15th August, 1769. Died at St. Helena, 5th May, 1821. 34 47- NELSON (Horatio). Admiral. Born at Burnhani Thorpe, Norfolk, 29th Sep- tember, 1758. Killed at the Battle of Trafalgar, 21st October, 1805. 48. NERO (Lucius Domititjs Nero Claudius Oesar). Fifth Roman Emperor. Born at Antium, a.d. 37. Killed at Rome, a.d. 68. The original was brought from Athens by Dr. Askew, 1740- 49- NEWTON (Isaac). Philosopher and astronomer. Born at Woolsthorpe, Lincolnshire, 25th Decem- ber, 1642. Died at Kensington, London, 20th March, 1727. 50. PALLADIO (Andrea). Architect. Born at Vicenza, a.d. 1518. Died at Vicenza, a.d. 1580. 51. PEEL (Sir Robert). Statesman. Born at Bury, 5th February, 1788. Died at London, 2nd July, 1850. 52. PERICLES. Athenian statesman. Born, (supposed) early part of fifth century b.c. Died at Athens, b.c. 429. Original found about a mile from Tivoli, in the Pianelli di Cassio, 1781. 53. PITT (William). Statesman. Born at Hayes, Kent, 28th May, 1759. Died at Putney, 23rd January, 1806. 54. PLATO. Grecian philosopher. Born at iEgina, b.c. 430. Died at Athens, b.c. 348. 55- RAFFAELLE or RAPHAEL (Raffaello Sanzio da Urbino). Painter. Born at Urbino, in the Contrada del Monte, 6th April, 1483. Died at Rome (on his birthday), 6th April, 1520. 35 56. EOBINSON (G. A.). Protector of the Aborigines, Victoria. Born 57. BUSSELL (Earl). Statesman. Born in London, 18th August, 1792. 58. SCHILLER (Eriedrich). German poet. Born at Marbach, in Wurtemberg, 10th November, 1759- Died at Weimar, 9th May, 1805. 59. SCOTT (Sir Walter). Poet and novelist. Born at Edinburgh, 15th August, 1771. Died at Abbotsford, 21st September, 1832. 60. SENECA (Lucius Ann^us). Roman philosopher and statesman. Born at Cordova, in Spain, a.d. 2. Put to death at Rome, by order of Nero, a.d. 65. 61. SEVERUS (M. Aurelius Alexander). Imperator. Born at Arce, a.d. 205. Died, a.d. 235. 62. SHAKSPEARE (William). Poet. Born at Stratford-upon-Avon, 23rd April, 1564. Died at Stratford-upon-Avon (on his birthday), 23rd April, 1616. 63. SOCRATES. Grecian philosopher. Born at Athens, b.c. 468. Put to death by poison at Athens, B.C. 398. 64. SOPHOCLES. Greek tragic poet. Born at Colonos, near Athens, B.C. 495. Died at Athens, b.c. 405. Original in the British Museum. Eound at Gensano, 17 miles from Rome, 1775. 65. STEPHENSON (George). Civil engineer. Born at Wylam, Northumberland, April, 1781. Died at Tapton House, Chesterfield, 12th August, 1848. 66. THOMSON (James). Poet. Born at Ednam, Roxburghshire, 1700. Died at Kew, 1748. 36 67. TRAJANUS (M. Ulpius). Eoraan Emperor. Born in Italica, in the Spanish province of Boetica, a.d. 53. Died at Selinus, in Cilicia, a.d. 117. Original in the British Museum. Found in the Cam- pagna of Rome, in the year 1776. 68. VERUS (Lucres Aurelius). Roman Emperor. Born at Rome, a.d. 130. Died at Altinum, a.d. 169. Sold by Mr. Lyde Brown to the Empress Catherine II. of Russia.— Notes and Queries, 1st series, x. 364.. 69. VICTORIA (Her Most Gracious Majesty the Queen). Born at Kensington Palace, 24th May, 18 19. 70. VICTORIA (Her Most Gracious Majesty the Queen). In Parian. Presented to the Trustees by Captain Lonsdale. 71. VIRGIL (Publius Virgilius Maro). Roman poet. Born at Andes, near Mantua, 15th October, b.c. 70. Died at Brundusium, 22nd September, b.c. 19. 72. VOLTAIRE (Francois Marie Arouet de). Born at Chatenay, near Paris, 1694. Died at Paris, 30th May, 1778. 73. WASHINGTON (George). President of the United States. Born in Westmoreland, Virginia, 22nd Feb., 1732. Died at Mount Veruon, 14th December, 1799. 74. WATT (James). Engineer. Born at Greenock, 19th January, 1736. Died at Heathfield, 19th August, 1819. Original by Chantrey. 75- WELLINGTON (Arthur Wellesley, Duke of). Soldier and statesman. Born at Dangan Castle, Ireland, 1st May, 1769. DiedatWalmer Castle, 14th September, 1852. 76. WREN (Sir Christopher). Architect. Born at East Knoyle, Wilts, 20th October, 1632. Died at Hampton Court, 25th February, 1723. 77. XENOPHON. Greek soldier and philosopher. Born at Athens, b.c. 450. Died at Elis, near Olympia, b.c. 360. 37 LIST OF PAINTINGS. 1. BUFFALO RANGES (OVENS DISTRICT). By- Chevalier. 2. BUNYAN IN PRISON. By Folingsby. Bunyan, John, born at Elstow, near Bedford, in 1628, was in- dicted and committed to Bedford gaol, November 12th, 1660, as a " common upholder of several unlawful meetings and conventicles, to the great disturbance and distraction Of the good subjects cf this kingdom." He had by his wife four children, one of whom, named Mary, was blind. This daughter, he said, lay nearer his heart whilst he was in prison than all the rest ; and that the thought of her enduring hardship would be sometimes almost sufficient to break his heart. He is here represented with bis daughter Mary by his side, preaching to his fellow-prisoners. He might have had his liberty if he would have engaged net to preach any mere; but Bunyan was too sincere in his purpose, and too deeply impressed with the reality of his call to the work, to enter into any such en- gagement. He remained, in consequence, a prisoner, as he expressed it, for conscience sake till 1672. Prisons were then very different places, and prisoners very differently treated to what they are now ; hut Bunyan seems, on the whole, to have met with as much con- sideration as was compatible with imprisonment at all. Frcm the first he used to preach in the gaol, then crowded with persons in custody for attending at a conventicle. For the maintenance of his family he was allowed to make tagged thread-laces; he had the free use of his "prison library," the Bible and the Book of Martyrs, and of writing materials. Buring the later years Paris, and two others. Folio, 1 vol. 1. Finding the Cup in Benjamin's Sack. Pen and ink drawing. 2. Passage of the Bed Sea. In the Loggie of the Vatican. 3. Moses on Mount Sinai receiving the Tables. In the Loggie of the Vatican. 4. Salutation of the Virgin. 5. Virgin and Child. 6. Virgin and the Three Marys lamenting over the Body of Christ, accompanied by St. John and St. Joseph of Arimathea. 7. Christ's Charge to Peter. 8. Christ Seated in Glory, with the Virgin Mary, St. John, and two others. 9. St. Catherine of Alexandria. Original drawing for the * picture now in the National Gallery. 10. Battle of Constantine against Maxentius. 11. Kepulse of Attila. 78 South Kensington Museum. 12. Pope Julius II. borne in his chair. 1 3. Denunciation of Apelles'. 14. Mother and Child, and the Head of an Old Man. 1 5. Studies for figure of Bramante, in the "Dispute of the Sacrament." 16. Study of Male Model. 17. Head of a Man, by Michael Angelo. 18. Head of a Child. Photographs from Specimens lent by the Queen and private persons. Folio, 1 vol. 1. National Art Competition Medallion, by A. Vechte. 2. Carved ivory Book cover, from the Louvre. 3. Carved oak Chest, front, French gothic work, circa 1480. 4. Carved oak Chest, French gothic work, circa 1480. 5. Wrought-iron Lock, French flamboyant gothic work, circa 1490. 6. Limoges enamel plaque "Entombment," circa 1520. 7. Triptych in Limoges enamel, by Pierre Raymond, 1543. 8. The same. 9. The same. 10. Limoges enamel Ewer, circa 1550. 11. Buhl Cabinet, or Knee-hole Table. French, circa 1700. 12. Vase, in ivory and ormolu. Period, Louis XVI. 13. Boxwood Carving. 14. Burettes. Sacramental Ewers. Flemish, 15th century. 15. Chimney-piece, from Antwerp, circa 1550. 16. Hercules and Cacus ; model in wax, by Michael Angelo. 17. The same. 18. The same. 1 9. Hand, in terra cotta ; model by Michael Angelo. 20. The same. 21. The same. 22. Italian enamelled Pix, 15th century. 23. Majolica Ewer, circa 1490. 24. Enamelled Terra Cotta, attributed to Lucca della Robbia, circa 1 500. 25. Ewer. Venetian enamelled, circa 1500. 26. Lavello or Fountain, in Istrian marble, circa 1500. 27. Wood Engraving, from " Songe de Poliphile," 1546. 79 South Kensington Museum. 28. Another. 29. Vase, in rock crystal. Italian cinque-cento work. 30. Cup, ditto. 31. Tazza, ditto. 32. Vase, ditto. 33. Spoons and Forks, in rock crystal, mounted in gold, and set with rubies. Italian cinque-cento. 34. Stirrup, gilt bronze. Italian cinque-cento. 35. Italian Cassone, or Marriage Coffer, circa 1550. 36. Another. 37. Chalice, in silver gilt, with enamelled plaques, 16th century. 38. Portable Altar, side. German, 13th century. 39. ». t0 P» »' » 40. Medal, in bronze. Pope Adrian VI. German work. 41. Horn, in carved ivory. German work, 1520. 42. Statuette, in ivory. 43. „ Virgin and Child, 14th century. 44. Ivory Coffer, top, circa 1330. 45. Ivory Casket, front, 1350. 4.6. " „ back, 1350. 47. „ front. 48. ,, back. 49. „ side. 50. Carved ivory Cofferet, 14th century. 51. Chinese Mirror. Two Albums. Portraits of Illustrious Personages. Photographs, Unbound. Wilkie Photographs, with duplicates 4 2 Hogarth 9 West 6 Guichiacio 2 Gerard Douw 1 Photographs of Six of the Cartoons of Raffaelle at Hampton Court. Christ's Charge to Peter. Paul Preaching at Athens. Elymas the Sorcerer struck with Blindness. The Death of Ananias. Peter and John at the Beautiful Gate of the Temple. The Sacrifice at Lystra. Photograph Group. May Queen, by Kichardson, of Leamington, England. 8o MISCELLANEOUS ENGRAVINGS Skeleton of a Man and Male Gorilla . Soulages Chimney Piece Holoptychius Nobilissimus, Fossil Fish Dinornis Elephantopus Women of the Bible Oxford Celebrities. One hundred and eighty Portraits of Eminent Men connected with the University of Oxford, from Alfred down to Wellington (with key) ... i Eminent Scots. One hundred and fifty-seven authentic portraits. Published for the Centenary Com- memoration of Robert Burns' birth, January 25th, 1859 (with key) L j Munich (Photographs in) ... ..." "* P 5 Mary Stuart, Queen of France and Scotland, and Henry, Lord Darnley, her husband, from a rare engraving i Water Nymphs .1 i Florence (Views in) ' \ „ Florence — Sculpture — Eape of the Sabines. John of Bologna \ Alexander Dying 1 Niobe. Uffizi "* jA Perseus. Benvenuto Cellini .." A St. David. Michael Angelo ... i Mercury, by John of Bologna x Venus de Medici t Venice (Buildings, &c, in) ... 8 London Stereoscopic and Photographic Company. International Exhibition, 1862 — Views of the Interior (marked I) 36 Views of the Sculpture (marked S) '. 51 PHOTOGRAPHIC VIEWS. Barwon River, Fyansford, Geelong. Dryden Rocks, Woodend Lal-Lal Falls. Lerderberg Creek, Bacchus Marsh. Moorabool Falls, near Ballan. Natives' Camp, on the Yarra. Native Women, old. „ young. 8i PHOTOGRAPHIC VIEWS. Natives, group of. Oriental Bank, Queen-street, Melbourne. Tree, gum. „ tea. Werribee Eiver, Maddingley, Bacchus Marsh. „ gorge of. You Yangs, a view of rocks near. „ a view of cave near. VOLUNTEER ENCAMPMENT, SUNBURT, EASTER, 1 864, General view of Encampment. Group, Officers of the Staff. „ Officers of the Staff, &c, &c. „ Officers and Non-Commissioned Officers. „ Royal Artillery. Group, Volunteers. Guard, Camp. Jackson's Creek. Mallam and King's Store and Canteen Tents. Ballarat West Station. Barker's Creek Viaduct. Castlemaine Station. Coliban Viaduct. Harcourt Station. Jackson's Creek Viaduct. Kyneton Station. Moorabool Viaduct. Sandhurst Station. Taradale Viaduct (2 copies). FRAMED. 6 Dryden Rocks. i Exterior of the Melbourne Public Library. i Interior of the Melbourne Public Library. 1 1 Views of Neckinger Mills, Bermondsey, Bevington's. i View of Volunteer in Uniform. SHELLS, ETC. Geological specimens. Shells. ( ) 10. 82 PORTRAITS. Presented to the Trustees. 1. Abercrombie (The Hon. A.). Engraving, framed. By 2. Earkly (Sir Henry). Photograph, framed. By Augustus Tulk, Esq. 3. Franklin (Sir John). Engraving. By C. B. "Wild, Esq. 4. Hume (David). Engraving, framed. By 5. Robinson (G. A., Protector of the Aborigines). En- graving, framed. 6. Landor (W. S.). Photograph. 7. Cobden (Richard). Photograph. STEREOSCOPIC VIEWS. 1864. ENGLAND. Berkshire — Eton (College, &c.)... 1-4 Maidenhead (Boyne Hill Church) ... 5 Reading Abbey ... 6 Windsor 7-1 3 Cambridgeshire — Cambridge 1-7 Ely Cathedral ... 1-14 Chester 1-16 Cumberland — Borrowdale 1 Bowder Stone ... 2 Buttermere 3, 4 Calder Abbey ... 5-12 Cockermouth Castle 13-17 Keswick (Cros- thwaite Church) 18, 19 Lodore (Inn and Cas- cade) 20, 2 1 Ulleswater (Lyulph's Tower) 22 Derbyshire — Bakewell Road ... 1 Buxton 2-5 Castleton (Peak Cavern) 6 Darley Church ... 7 Dovedale 8-14 Haddon Hall ... 15-19 Hardwicke Hall ... 20-23 Malvern 24 Matlock 25-28 Monsal Dale 29 Tissington Hall ... 30 Wingfield Manor House Chats worth House... 31 Devonshire — Exeter (Cathedral, &c.) 2-7 Lyndale ... ... 8-10 Lynmouth n, 12 Lynton (Castle Rock) 1 3 Pomeroy Castle ... 14, 15 83 ENGLAND. Durham — Durham Castle ... i, 2 Durham Cathedral... 3-7 Essex — Chingford Church ... 1 Gloucestershire — Bristol (Cathedral, &c.) 1-15 Clifton 16, 17 Cheltenham 18-20 Hampshire — Netley Abbey ... 1-5 New Forest (Rufus' Stone) 6-7 Southampton ... 8-10 Winchester (Cathe- dral, &c.) ... 11-16 Kent— Barfreston Church ... 1 Broadstairs 2 Canterbury (Cathe- dral, &c.) ... 3-23 Charlton House ...24,25 Cobham 26, 27 Dover (Castle, &c.) 28-31 Greenwich (Hospital, &c) 32-38 He ver Castle ... 39,40 Ightham Moat-house 41 Margate 42, 43 Penshurst Place ... 44-46 Pounds Bridge ... 47 Ramsgate ... ... 48, 49 Tunbridge Wells ... 50-54 Lancashire — Furness Abbey ... 1-7 Lytham (St. Cuth- bert's Church) 8 Lincolnshire — Croyl.md Abbey and Bridge... ... 1-3 Boston Church ... 4-6 Lincoln ... ... 7-10 Lincoln Cathedral ... 1 1-24 London and West- minster ... 1-66 Monmouthshire — Raglan Castle ... 1-6 Tintern Abbey ... 7-35 Viaduct at Great Crumlin ... 36, 37 Norfolk — Norwich ... ... 1-23 Norwich Cathedral . . . 24-36 Oxburgh Hall ... 37 Somerleyton Hall ... 38 North amp t on shire — Peterborough Cathe- dral ... ... 7 Northumberland — Kirkstone Pass ... 1 Oxfordshire — Henley-on-Thames... 1, 2 Oxford (Colleges, &c.) 3-68 Shropshire — Tong Church ... 1 Somersetshire — Bath (Abbey Church, &c.) ... ... 1-3 Bathampton Church 4 Cheddar ... ... 5,6 Claverton Church ... 7 Wells (Cathedral, &c.) 8-1 1 W idcombe Old Church 1 2 Staffordshire — Alton Towers ... 1-10 84 ENGLAND. Lichfield Cathedral... 11-16 Tutbury Castle and Church ... 17, 18 Wootton Lodge ... 19 Suffolk- Bury St. Edmunds (Abbey, &c.) ... 1-4 Lowestoft (St. John's Church) ... 5 Surrey — Guildford ... ... 1,2 Waverley Abbey ... 3,4 Sussex — Battle Abbey ... 1-4 Bay ham Abbey ... 5 Bodiam Castle ... 6-10 Brighton ... ... n-14 Fair-light (The Lover's Seat) ... ... 15 Hastings ... ... 16-25 Hurstmonceux Castle 26-29 Pevensey Castle ... 30,31 St. Leonard's on the Sea ... ... 32 Winchelsea ... 33-37 "Warwickshire — Charlecote House ... 1 Compton Winy ate ... 2, 3 Coventry ... ... 4-6 Kenilworth (Castle, &c.) ... ... 7-16 Stratford (Church, Shakspeare's house, &c.) ... ... 17-23 Sutton Coldfield Church... ... 24 Warwickshire — Tachbrook Church .. . 25 Warwick (Castle, &c.) 26-31 Westmoreland — Ambleside ... 1-5 Brathay ... ... 6, 7 Grasmere... ... 8, 9 Great Langdale and the Pikes ... 10 Rydal (Mount, &c.) 11-14 Windermere (Low- wood Inn) ... 15 Wiltshire — Devizes (Church, Castle, &c.) ... 1-4 Old Sarum ... 5 Potterne ... ... 6, 7 Stonehenge ... 8-10 Yorkshire — Beverley (Minster, &c.) ... ... 1-10 Bolton (Abbey, &c.) 11-30 Brimham (Rocks, &c.) ... ... 31-34 Byland Abbey ... 35-37 Easby Abbey ... 38-42 Fountains Abbey ... 43-66 Helmsley Castle ... 67,68 Hull (Trinity Church) 69 Kirkstall Abbey ... 70-77 Knaresborough Castle... ... 78-81 Richmond (Castle, &g.) ... ... 82,83 Riveaulx Abbey ... 84-98 Tatter shall Castle ... 99 York (Minster, &c.) 100-109 ISLANDS. Isle of Man ... 1-13 | Isle of Wight ... 1-22 85 Avoca (Vale of) ... i Carrig-a-Druid Castle... ... 2 Carrick-a-Rede (The Rope Bridge) ... 3 Cashel (Ruins of) ... 4 Drogheda (Viaduct over the Boyne)... 5 Dublin ... ... 6-8 Dangan Castle ... 9 Giant's Causeway ... 10, n Glengariff, near Killarney ... 12, 13 Holy Cross Abbey ... 14. Howth Castle ... 15 Jerpoint Abbey Kilcrea Kilkenny Castle Kingstown Maynooth Castle ... Monasterboice (Ruins of) Monasterboice (St. Boyne's Cross) ... Muckross Abbey ... Queenstown and Cork Harbour . . . The Scalp, (County of Wicklow) 16, 17 18 19, 20 21 22 23 24 25-29 30 3i 2-5 Dean (Lord Jeffery's Monument) Dryburgh Abbey ... Edinburgh,Craigleith Quarry ... 6 Jedburgh Abbey, &c. 7-1 3 Kelso Abbey ... 14,15 SCOTLAND. Lincluden... ... 16 Melrose Abbey ... 17-26 New or Sweetheart Abbey. . . ... 27 Realities of the Waverley Novels 102 Aberglaslyn 1,2 Glen Lledr 29 Beaumaris Castle ... 3,+ Menai and Britannia Beddgelert Bridge ... 5 Bridge... 30-33 Carnarvon Castle ... ' 6,7 Penrhyn Park (En- Chepstow Castle ... 8 -12 trance) 34 Conway (Castle, &c.) 13 -26 Snowdon (Summit). . . 35. 36 Denbigh Castle 27 Vale Crueis Abbey 37 Dolbadern Tower ... 28 Welsh Village (A)... 38 MISCELLANEOUS. Miscellaneous Portraits — 1. Brewster (Sir David). 2. Brougham (Lord). 3. Gladstone (Rt. Hon. W. E.) 4. Gough (J. B.) 5. Kossuth (Louis). 14 6. Mackay (Charles). 7. Piccolomini. Crystal Palace (Views in) ... 93 Exhibition (Inter- national, 1862) ... 152 Great Eastern. The (Views of) ... 19 86 Germany and Switzer- land — Views on the Upper Rhine, &c, ... 97 Hungary — View of Prague ... 1 Italy— Como. Florence, Milan, Padua, Pavia ... 11 Naples ... ... 21 Pisa ... ... 7 Rome ... ... 115 CONTINENTAL, ETC. Italy- Sicily Verona Venice Greece — Athens Turkey — Constantinople Holy Land Egypt and Nubia China ... Japan ... Canada... Victoria — Sunbury Encamp- ment (View of)... Sunbury, View in Jackson's Creek Sunbury, The Camp Kitchen New South Wales — Botany Bay (South Head of) Botany Bay, La Perouse's Monu- ment ... COLONIAL, ETC. 12 i-3 4,5 New South Wales — Botany Bay, Captain Cook's Monument Cockatoo Island, &c. Darling Harbor Hungry Flat, Wol- lombi ... Nepean River (Views on) Sydney (Views in)... Various Views America — United States 32 5 27 18 44 83 4i 16 3-6 7 10-16 17-21 22-25 42 PHOTOGRAPHIC VIEWS. t. Caversham. 2. Cherry Farm. Clutha Ferry. Cromwell (Township of). Dunedin. 9. Hartley's Beach. 10. Hill's Bridge. 11. Manorburn. NEW ZEALAND. 1 2. Maori Kaik. 13. Matukituki. 14. Natural Bridge over the Kawarau. 15. Taieri Plain, Saddle Hill. 16. Taieri West Bridge. 17. Roaring Meg (Township of). 18. Roaring Meg. 19. WanakaLake. 20. WanakaLake. 87 MELBOURNE. 1. The Willows. 2. Melbourne from the Bo- tanic Gardens. 3. Bourke street. 4.. Collins street. 5. Treasury. 6. Printing Office. 7. ScotchKirk (Dr. Cairns'). 8. Saint Patrick's Church. 9. Saint Peter's Church. 10. Albert street. 11. Model School. 12. Bird's-eye View of Mel- bourne. SOUTH AUSTRALIA. National Bank of Australasia. Photograph of an Engraving of the Head of the Saviour, by Melloni, French Artist, a.d. 1669. Presented to the Trustees by Fredk. Bedford, Esq. ALETHOSCOPE. 1 card with description. | 8 flat views of Venice. 4 curved views. liy Authority : John FebkEs, Government Printer, Melbourne.