i 
 
 FROM 
 
 '■ 
 
 I 
 
 i ' 
 i' . 
 
 i ■ 
 

 
 1 
 
 /■•I 
 
 I v.; 
 
 brf^ 
 
 \ 
 
 '/y 
 
 
 >: 
 
 H- 
 
 J.- 
 
 f / 
 
 1 
 
 Vl 
 
 ^r^^±H 
 
 V 
 
 ^>c 
 
 .H' 
 
 
 
 -V^. 
 
 ■% 
 
 sC^i^^j 
 
 >- 
 
 v^ 
 
 ^^ 
 
 ■> 
 
 ^- 
 
 "■^ 
 
 >^^t 
 
 tO 
 
 X.. 
 
 V 
 
 '-■^ 
 
A 
 
 ^y^^ 
 
 rt^^*5M 
 
 '4- 
 
 i- 
 
 ^M 
 
 -^4 
 
 
 :M\ 
 
 %^:. 
 
 
 
 «'*'5''^'*^ ■■'^^ 
 
 ""s. 
 
 
 ;r": 
 
 A 
 
 ^C '( 
 
 >-: 
 
 >jr" 
 
 F*i. 
 
 .^''^ >■ 
 
 5.i^^ 
 
 ifTT' 
 
 n 
 
 Z-' 
 
 :^i 
 
 
 i^llti 
 
SPECIMENS 
 
 FROM 
 
 THE NAPLES MUSEUM. 
 
SPECIMENS 
 
 FROM 
 
 THE NAPLES MUSEUM 
 
 ONE HUNDRED AND SIXTY-EIGHT PLATES 
 
 EXCRAVED O.V COPPER BY THE BEST ITALI.\.\ ARTISTS, 
 ILLUSTRATING 
 
 FOUR HUNDRED AND SIXTY- SIX OBJECTS FROJr EVERY BRANCH OF 
 
 ART AND ARCHAEOLOGY. 
 
 BY 
 
 D O M E N I C MONACO, 
 
 CURATOR OF THE NAPLES MUSEUM. 
 
 WITH DESCRIPTIVE LETTERPRESS, CAREFULLY REVISED AND AMPLIFIED 
 FROM THE BEST AUTHORITIES. 
 
 BY 
 
 E. NEVILLE llOLFE, ESQ., B.A., 
 
 HEACHAM HALL, ENGLAND. 
 
 N A P Ij E S : 
 1889. 
 
NAPLES: 
 
 PRINTED BV E. IMETUOCOI.\. 
 
 
Contents, 
 
 l"LATES 
 
 Viicw OF THE Museum 1 
 
 Ancient FaEscoES 2-31 
 
 Mosaics 3i-38 
 
 Marble Sculptures 39-73 
 
 Bronze Statues 74-yy 
 
 Glass and Terra-Cotta 10U-1U4 
 
 Gems, gold and silver 103-114 
 
 Small Bronzes 115-144 
 
 Italo-Gueek Vases 145-153 
 
 Facsimile of Papyrus lo4 
 
 Miscellanea, — Oil paintings ....:.. 155-168 
 
PRICE 35 FRANCS (postage extra) 
 From D. MONACO , 21 Arena Sanita Naples. 
 
NTRODUCTION. 
 
 In offering a New Edition of my illustrated Album of the finest Specimens in 
 the Naples Museum, 1 desire to thank mj- patrons for the success which I have 
 achieved in the former Editions, and to assure them that nothing shall be 
 wanting on mj part to secure a continuance of their kind patronage. 
 
 The letterpress to this Edition has been carefully revised for me by 
 Mr. Neville Rolfe, who so kindly prepared the last English Edition of my 
 Handbook to the Museum, and at his suggestion I have inserted from the best 
 authorities a summary of the various legends and historical facts connected with 
 tlie plates, which cannot but make the work instructive as well as entertaining. 
 
 I desire especially to acknowledge the valuable assistance received in 
 compiling the letterpress from the works of Dr. Smith, Lempriere, Ramsay, 
 and Quaranta. 
 
 DOMENICO MONACO, 
 
 Cdrator of the Naples Museum. 
 
 '21, Arena Sanita, 
 
 Naples. 
 

 THE NAPLES MUSEUM. 
 
 E.-C &<S'<$JtS>'^!^>^^'-~^ 
 
 I. The Museum. South Front. — The build- 
 ing which is now known as the National 
 Museum of Naples has passed through many 
 vicissitudes. It was originally intended for 
 a stable, and was begun in 1586; but owing 
 to the deficiency of the water supply it 
 was left unfinished till 1610, when it was 
 prepared for the use of the University. 
 Subsequently the Law Courts held their 
 sittings there, and in the revolution of 1701 
 it was turned into a barrack. It was not 
 till 1790 that the upper floor and the 
 grand staircase were built by Ferdinand IV, 
 who then made a museum of the building 
 and placed in it all the specimens found 
 in the various excavations of the neigh- 
 bourhood, as well as the splendid collection 
 of antiquities which had been inherited 
 from the Faruese family by Elizabeth, the 
 mother of the Bourbon King, Charles III. 
 The Bourbons of Naples were generous 
 
 benefactors of the Museum , which they 
 declared to be their private property under 
 the name of the Real Museo Borbonico. 
 
 General Garibaldi, when Dictator in 1860, 
 proclaimed the Museum and the excava- 
 tions generally , to be national property , 
 and caused the latter to bs more actively 
 carried on. 
 
 On the accession of King Victor Emma- 
 nuel II, the Museum was reorganised, and 
 important additions were made to its con- 
 tents , which were then classified by the 
 accomplished archaeologist, Professor Fio- 
 relli , who for many years has occupied 
 the important position of head of the Royal 
 Commission for arranging and superintend- 
 ing all the excavations of antiquities in Italy. 
 
 The Museum contains about a hundred 
 and twelve thousand specimens, which are 
 being daily added to , and ranks among 
 the first of the world. 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 Ancient 
 
 Frescoes. 
 
 
 These pictures represent various historical 
 scenes and mythological legends and per- 
 sonages , gathered from the writings of 
 ancient historians and poets , and though 
 they are frequently deficient in technical 
 skill, are of admirable artistic merit. 
 
 The Pompeian painters had the great 
 power of bringing out the essential points 
 of their subject, the tout ensemble of the 
 idea they desired to convey , by free 
 execution, harmonious grouping, and ease 
 of pose, so that we look over their errors 
 of ]Derspective and hardly notice them. 
 The familiarity which their gladiatorial 
 contests gave them with the human form 
 and the human face in circumstances of 
 extreme emotion, is clearly seen in their 
 paintings , which thus had every chance 
 of being superior to those of our own 
 artists, whose experience is mainly derived 
 from professional models. 
 
 Again , the draperies worn by the an- 
 cients were much more graceful than those 
 of modern Europeans, which accounts for 
 the success with which the Greeks could 
 paint a waving garment, a thing with wliich 
 they came in contact in everyday life , 
 and we seldom or never see. The same 
 argument does not apply to landscape 
 painting , in which they were never suc- 
 cessful. They used it to decorate their 
 smaller rooms, to a limited extent, but the 
 want of persjjective was fatal to success. 
 
 These pictures served to a great extent 
 the purpose of our books in recording the 
 myths with which every educated Roman 
 
 was expected to be familiar. The Museum 
 contains upwards of a thousand of them , 
 some of Avhich have retained their colours 
 admirably, though they have lain buried 
 in volcanic ash for eighteen hundred years. 
 
 These colours, some of which were found 
 unused at Pompeii , were subjected to an 
 analysis by Sir Humphry Davy at the 
 request of the Bourbon Government, and 
 were found to be composed of the same 
 materials as the pigments we use in the 
 present day. 
 
 Our plates will revive the recollection 
 of some of the best of these paintings in 
 the minds of those of our readers who 
 have visited the Museum, and the letter- 
 press gives , besides a description of the 
 picture, a summaiy of the legend which 
 it represents. 
 
 2. (Official No: 9098). Telei'hus fed by 
 THE Hind. He is sucking the hind, who 
 turns her head to caress him. His father 
 Hercules, with his attributes and crowned 
 with ivy, stands on the right. A winged 
 Fame alights beside him, her head crowned 
 with olive, and points ouL Telephus to his 
 father. On a rock sits a majestic woman 
 crowned with fruits, the protecting goddess 
 of the forsaken boy. Near her is a basket 
 of grapes and pomegranates : a merry Faun 
 is behind her, holding a panpipe in his 
 hand. Hercules has at his side an eagle 
 and a lion. (7 ft. X 6 ft.) {Hercnianeum.) 
 
 Telephus was the legendary King of Mj'sia and a 
 son of Hercules. He was exposed in his infancy 
 on Mount Parnassus, but his life was preserved by 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 a doe which suckled him. He married Laodice, a 
 daughter of Priam ; fought against the Greeks, and 
 was mortally wounded by Achilles, who cured him 
 with the rust of his spear at the request of Ulysses, 
 who knew that Troy could not be taken without the 
 assistance of one of the sons of Hercules. From 
 motives of gratitude Telephus joined the Greeks, 
 and fought against his own father-in-law. 
 
 3. (OflP: No: 9043). Theseus in Crete. 
 A very fine picture in composition and 
 execution. In the centre , Theseus with 
 his knotted stick ; around him, the young 
 Athenians who had been sent to be de- 
 voured by the monster , expressing their 
 gratitude to their deliverer. One kisses 
 his hands , another his feet ; while the 
 bull-headed Minotaur lies dead at the 
 entrance of the labyrinth. Ariadne is 
 seated on a rock in the background. (6 ft. 
 () in. X 3 ft. 28 in.) (1739. Herculaneum.) 
 
 Theseus, King of Athens and son of .lEgeus, was one 
 of the most celebrated heroes of antiquity, and the 
 legends of his prowess are very numerous. 
 
 He was sent to Crete among the seven youths whom 
 the Athenians contributed annually to be devoured 
 by the Minotaur. 
 
 By the assistance of Ariadne (who gave him a clue 
 to the labyrinth) be slew the monster, and sailed 
 from Crete with Ariadne and the youths he had 
 rescued. He was driven by the winds to Naxos, 
 where he basely abandoned Ariadne, and returned 
 to Athens, which he entered with black sails, thus 
 causing the suicide of ./Egeus , who thought the 
 expedition had been unsuccessful. 
 
 4. (Off: No; 9110). Achilles detected. 
 Achilles in the palace of Lycomedes , 
 detected by Ulysses. Achilles with his 
 right hand grasps the sword , and with 
 the left the shield. On the ground , a 
 iielmet, mirror , and vase. Ulysses , who 
 wears a long beard, stays the young man's 
 arm. On the other side of Achilles , the 
 young Ajax, or Diomede , seizes his arm. 
 The pretty Deidamia is seen behind. On 
 the other side, Lycomedes looking severely 
 at his daughter. In the background, two 
 warriors. (4 ft. 7 in. X 3 ft.) (Pompeii.) 
 
 Thetis, to prevent Achilles from going to the Trojan 
 war, where she knew he would be slain, sent him 
 to the court of Lycomedes, where he was disguised 
 as a girl. Ulysses, desiring to find him out, went 
 to the court as a pedlar , and exposed jewels and 
 
 arms for sale. Achilles at once chose the arms , 
 which discovered him to Ulysses. 
 
 5. (Off: No: 9109). Chiron and Achilles. 
 The Centaur, seated on his hind legs and 
 wearing a skin over his shoulders , is 
 teaching his youthful pupil to play the 
 lyre. The details of this picture are 
 admirably executed , and it is esteemed 
 one of the finest of the collection. (4 ft. 
 1 in. X ^ ft' 4 in.) (1729. Herculaneum.) 
 
 6. (Off: No: 9071). Ariadne and Bacchus. 
 This picture represents Ariadne, after her 
 desertion in Naxos by Theseus, being found 
 by Bacchus and his retinue. She is sleeping 
 gently on a soft bed. Cupid, seizing the 
 opportunity of the flight of Theseus, leads 
 Bacchus to the sleeper. Fauns, Silenus, 
 and other figures make up the jaicture. 
 (3 ft. 11 in. X 3 ft. 6 in.) (1748. Here.) 
 
 7. Galatea seated on the back of a 
 Triton , who is playing the lyre. Her 
 dress is held up by two Cupids , and in 
 the background are two figures personifying 
 the Zephyrs. On the tail of the Triton 
 sits a Cupid playing the tibia, and a nymph 
 bearing an amphora accompanies the group. 
 {House of Ariadne, Pompeii.) 
 
 Galatea was a sea-nymph who was passionately 
 loved by the Cyclops Polyphemus, whose addresses 
 she rejected in favour of those of Acis , a Sicilian 
 shepherd, whom she loved devotedly. 
 
 8. (Off: No: 9112). The Sacrifice of 
 Iphigenia. This is the most important 
 and the best preserved picture of the 
 collection. It represents Agamemnon, with 
 his face covered , weeping by a statue of 
 Diana, and Iphigenia being dragged off to 
 sacrifice. On the right , Chalcas , at the 
 altar , holding a sacrificial knife , and a 
 tourniquet to bind the victim. In the sky, 
 Diana appears with her bow ; nnd on the 
 left, one of her virgins holding a stag , 
 which the goddess caused to be substituted 
 for the maiden. (4 ft. 8 in. X 4 ft. 6 in.) 
 {House of the Tragic Poet, Pompeii.) 
 
 The legend ran, that the Greek fleet having been 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 *» 
 
 detained by a storm on its way to Troy, Chalcas 
 ordered Agamemnon to sacrifice his daughter. She 
 was accordingly taken to Aulis {Negropont) on 
 pretence of marrying her to Achilles , and at the 
 moment of sacrifice was saved by Diana, who took 
 her to Tauris, where she became one of her virgin 
 priestesses. 
 
 This picture has a special historical interest. Parrha- 
 sius and Timanthes , two very celebrated Greek 
 painters (b.c. 400) , had a competition at Athens , 
 which was decided in favour of Timanthes , who 
 chose for his subject the sacrifice of Iphigenia,and 
 expressed the agony of Agamemnon by concealing 
 it, just as the Pompeian painter has done in the 
 picture before us. The judges awarded him the 
 prize, not because he had executed a skilful piece 
 of artistic legerdemain, but because he had followed 
 the true principle of Greek art , that nothing but 
 the beautiful should be painted, and the agony of 
 a father was beyond dignity of expression. The 
 picture shows us that this story was known to the 
 Pompeian artist. - 
 
 It seems possible that the story of Iphigenia may 
 have been a corruption of the sacrifice of Isaac 
 (Gen. xxii. 13), and of the story of Jephthah's 
 daughter (Judges xi. 34-37). See, too, yEschylus , 
 ' Agamemnon,' 104, and Racine's ' Iphiginie.' 
 
 9. (Off: No: 9010). Carita Greca. This 
 picture represents the life of Cimon being 
 saved by the devotion of his daughter 
 Perone. It has proved a favourite subject 
 to the painters of all ages , and is often 
 known as the " Carita Romana.''^ (3ft. X 
 2 ft.) {Pompeii.) 
 
 10. (Off: No: 8898). The Three Parts 
 OF THE Ancient AVorld. Europe (without 
 attributes) is seated on a throne as mistress 
 of the world, covered with a conical canopy, 
 held up hj a female figure standing behind 
 her, who is thought to represent the fourth 
 continent, of which, perhaps , the Greeks 
 suspected the existence. On the right , 
 Africa is represented, as a negress holding 
 a tusk. On the other side, Asia , having 
 a head-dress of elephant scalp. In the 
 background is a ship in full sail , typical 
 of the means whereby the different conti- 
 nents were united. (3 ft. 7 in. X 4 ft. 2 in.) 
 {Pompeii.) 
 
 il. Helen and Paris seated together. 
 Beside them two Cupids , one of whom 
 holds the apple of discord. {Pompeii.) 
 
 12. (Off: No: 9546). Leda and the Swan. 
 This is a picture of remarkable expression, 
 showing the courtship of Jupiter (assisted 
 by Eros) and Leda. (1 ft-Xl ft.6 in.) {Stabice.) 
 
 Jupiter assumed the form of a swan , and persuaded 
 Venus to assume that of an eagle, and to pursue 
 him. He took refuge in the arms of Leda , who 
 was bathing in the Eurotas, and who subsequently 
 became the mother of the twins Castor and Pollux . 
 
 13. (Off: No: 8977). Medea meditating 
 the murder of her two children , holding 
 a drawn sword. The children, unconscious 
 of their impending fate , are playing at 
 knucklebones. An old man in a doorway 
 looking on. A very famous picture^ display- 
 ing the hesitation of the mother at the 
 prospect of the crime. The colours are 
 wonderfully vivid, and the artist has hit 
 off the grouping with great dexterity. 
 (4 ft. X 3 ft. 3 in.) {Pompeii.) 
 
 s. Medea was a celebrated magician , who married 
 Jason, after assisting him to obtain the golden 
 fleece. She subsequently became jealous of the 
 love of Jason for Glauce , and to revenge herself 
 slew his two sons before his eyes , and escaped 
 from him through the air on a chariot drawn by 
 winged dragons. 
 
 14. (Off: No: 9774). A Pillar, from the 
 fountain of the shop of the Fuller. (4 ft. 
 6 in. X 3 ft.) {Pompeii.) 
 
 On two sides of this pillar are four 
 separate paintings, representing the diffe- 
 rent operations of the fuller's craft. On 
 the right, a young man bearing a large 
 cage for drying cloth, upon which an owl 
 is perched , bears a brazier in his right 
 hand. An apparatus of this kind is used 
 to this day in Italy. The brazier {scaldino) 
 is lighted and hung from a hook at the 
 top of the cage, over which the damp cloth 
 is spread. 
 
 The picture to the left represents a young 
 man scrubbing a piece of cloth which is 
 hung on a pole , and the mistress of the 
 establishment, wearing fine bracelets and 
 necklace , and having her hair bound up 
 in a golden net, is receiving a piece of 
 cloth from a eirl : while in a row below 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 are four lads fulling cloth with their feet, 
 
 iu metal vats. 
 
 It is conjectured that the washing of Pompeii was all 
 done by the Fullers. They seem at any rate to 
 have been a wealthy and powerful community. It 
 will be remembered that they erected the statue of 
 Eumachia in the Exchange at Pompeii. 
 
 15. (Off: No: 9176). Sporting Genii , 
 gracefully painted. The upper picture 
 represents a game of hide and seek ; and 
 the lower, two Cupids fishing. (1 ft. 3 in. X 
 9 in.) {Herculaneum.) 
 
 16. (Off: No: 9171). Caricature. A parrot 
 drawing a go-cart driven by a grasshopper. 
 A satire on the stronger «being driven by 
 the weaker. Some have referred this to 
 the influence of Seneca over Nero ; others, 
 with more reason, have seen in the grass- 
 hopper the famous witch "Locusta," who 
 provided Nero with the poison to murder 
 Britannicus, and supplied the Roman ladies 
 with the means of getting rid of their 
 husbands. (1 ft. 5 in. X 8 i^-) {Here.) 
 
 (Off: No: 9118). Rope-dancers. The 
 upper part of this plate represents two 
 rope-dancers — figures selected from several 
 found iu the Ilouae of Frugi at Pompeii. 
 It would appear that the ajjt of rope- dancing 
 was carried to great perfection in those 
 times, as^ the dancers represented are per- 
 forming a variety of feats and are posed 
 in numerous graceful attitudes. Our plate 
 shows one playing the lyre , and another 
 bearing the thyrsus of Bacchus, which may 
 have served as a balancing pole. (1 ft. 
 7 in. X 9 in.) {House of Frugi, Pomjieii.) 
 
 17. (Off: No: 9231). The Three Graces. 
 A good example of this favourite subject 
 of ancient painters and sculptors. (1 ft. 
 10in.Xlft.9in.) (July 28, 1814. Pompeii.) 
 
 The three Graces, Aglaia , Thal:a, and Euphrosyne, 
 were daughters of Vetius and Jupiter. They were 
 looked upon as emblems of kindness and innocence, 
 and were worshipped in common with the Muses. 
 
 18 to 21. (Off. No: 9295). Four pictures 
 selected from the thirteen famous dancing 
 
 girls of Pompeii. The artistic merit of 
 these pictures is incontestable. They are 
 exact in execution , complete in finish , 
 graceful in movement , and perfect in 
 design. It seems probable from their 
 attributes that they were intended for 
 Bacchantes. 
 
 The first is playing the tambourine, still 
 the favourite instrument of the Neapolitan 
 people ; the second is gracefully striking 
 the small , or harmonious cymbals ; the 
 third is dancing; and the fourth is holding 
 a dish in a graceful attitude. (9 in. X 7 in.) 
 {House of Crassus Frugi, Pompeii.) 
 
 22 to 24. Three Monochromes, or pictures 
 painted in a fine red line on marble. They 
 are believed to be unique specimens of 
 this style of ancient art. 
 
 (Off: No: 9562). Our first plate represents 
 the most perfect and the most important 
 of them. An inscription on it shows that 
 it was painted by Alexander of Athens , 
 and it represents the five daughters of 
 Niobe, each one bearing her name in Greek: 
 Latona , Niobe , Hilearia , Phoebe , and 
 Aglaia — • Hilearia and Aglaia are playing 
 at knucklebones. (1 ft. 5 in. X 1 ft- ^-^ 
 {Herculaneum.) 
 
 (Off: No: 9560). The next plate shows 
 the Centaur Euristheus, who, having been 
 invited with his companions to the wedding 
 of Pirithous, attempted to carry off Hippo- 
 damia ; when Theseus , who was present 
 at the nuptial banquet, punished his attempt 
 by killing him. (1 ft. 8 in. X 1 ft- 1 in-) 
 {Herculaneum.) 
 
 (Off: No: 9563). Our third plate repre- 
 sents three female actors wearing tragic 
 masks, and is, no doubt, a scene from one 
 of the ancient Greek plays. (1 ft. 6 in. X 
 1 ft. 1 in.) {Herculaneum.) 
 
 25. (Off: No: 9180). A Woman selling 
 CopiDS. The beauty of the composition 
 of this picture and its subject have always 
 attracted much attention from good judges 
 of art. 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 Tlie scene is an interior. On the right 
 is a woman seated on an ottoman, dressed 
 in yellow, having her head covered with 
 a reddish hood. This woman is Penia , 
 the goddess of Poverty , the mother and 
 nurse of Love ; her three qualities are 
 expressed in the picture. 
 
 She is holding a little Cupid by the 
 wings, just taken out of a cage. The Cupid 
 is stretching out his arms towards the 
 woman opposite to him. This may be 
 interpreted Desire. "Within this cage another 
 little Cupid begins to move and fret ; 
 perhaps Desire still confined, which begins 
 to get a glance at the beautiful and to 
 long after it. This may be interpreted 
 Appetite. A third Cupid , quite naked , 
 stands by the knees of the handsome Venus 
 wrapjDed in a sky-blue mantle, gazing on 
 her intently : this would signify Possession. 
 Behind her , Peitho (Persuasion) placing 
 her hand on the shoulder of the goddess. 
 (8 in. X 11 in-) (1758. Stabice.) 
 
 26. (Off: No: 8870). Nereid. A nymph 
 lying on a sea-panther with a fish's tail, 
 and pouring him some water to drink as 
 
 he bears her along : her figure is sym- 
 metrical, and the whole composition is 
 skilful. (3 ft. X 2 ft.) (April 1870. Stabice.) 
 
 27. (Off: No: 8859). A similar picture, 
 drawn with equal grace and good taste. 
 It represents a Nereid on a sea-horse , 
 which she holds with a single rein. She 
 wears a bracelet and a gold chain. (2 ft. 
 6 in. X 1 ft. 7 in.) (April 1760. Stabice.) 
 
 28 to 31. (Off: No: 9130). Four groups 
 of Centaurs of great beauty. (12 in. X 9-) 
 {House of Crassus Frugi, Pompeii.) 
 
 The first plate represents a Centaur with 
 his hands tied ,♦ bearing a beautiful nude 
 Bacchante , who urges him to full speed 
 with her thyrsus. 
 
 The second, a Centaur bearing a thyrsus 
 with cymbals , and teaching a youth to 
 play the lyre. 
 
 The third, a female Centaur of surprising 
 beauty , playing the lyre and striking a 
 cymbal against another held by a young 
 man who clings to her. 
 
 The fourth, a female Centaur embracing 
 the young man whom she carries, giving 
 him a thyrsus and garlands. 
 
 — <S'^N^^^^3v-,;«i^^ — — 
 
 M 
 
 OSAICS. 
 
 -9'=j@^::^i^gjL5ris»=*- 
 
 The pictorial mosaics exhibited in the 
 Museum are about fifty in number, besides 
 the mosaic pavements which are laid down 
 in many of the galleries upstairs. 
 
 They represent a very high class of art, 
 and it may be said of many of them that 
 they have never been equalled. 
 
 They are composed of very small cubes 
 of marble and glass, and their colouring 
 and execution excite universal admiration. 
 
 32. (Off: No: 10020). The Battle of 
 IssDS (B.C. 333.) This fine work is com- 
 posed of small pieces of marble of different 
 colours. The subject of this mosaic , the 
 only one of such dimensions, is admirable 
 in point of composition and in the arran- 
 gement of its figures. It represents the 
 battle of Issus , between the Greeks and 
 Persians. The combatants are 26, with 16 
 horses. One of the chief figures is Alexan- 
 
SPECIMENS FROM TttE NAPLES MUSEUM. 
 
 der, on horseback, bareheaded, transfixing 
 an enemy with his long lance. On the 
 right, in a magnificent chariot, is Darius, 
 king of Persia, who, raising himself higher 
 than the driver, is urging on the soldiers. 
 The ground is strewn with lances, wounded 
 men dying near their horses: pikes, helmets, 
 a poignard, &c. There is no glass in this 
 mosaic. (18 ft. 6 in. X 10 ft. 6 in.) {House 
 of the Faun, Pompeii, 1831.) 
 
 The part filled up with plaster on the left was pre- 
 pared by the ancients themselves for a restoration, 
 and the lines of their proposed drawing may still 
 be seen upon it. 
 
 33. (Off: No: 10002). A dog chained, with 
 the motto " Cave cauem " {Beware of the 
 dog). This celebrated mosaic was found 
 at the entrance of the house of the Tragic 
 Poet Pompeii, 1824. (5ft. 4in. X 4ft.5in.) 
 
 The same plate shows two other small 
 mosaics — the one , a francolin partridge 
 stealing some jewels out of a basket 
 (10 in. X 10)i ti^° other, three birds holding 
 a chain in their beaks. {Pompeii.) 
 
 34. (Off: No: 9982). After the Cock- 
 fight. In the centre of this picture are 
 two game cocks , one bleeding and van- 
 quished, the other victorious. The owner 
 of the vanquished bird and his attendant 
 are weeping, while the owner of the winner 
 and his servant bear a garland and palm- 
 branch for the victorious bird. (1 ft. 6 in. X 
 1 ft. 5 in.) {Pomjjeii.) 
 
 35. (Off: No: 9985). A Comic Scene , 
 signed by the renowned artist Dioscorides 
 of Samos, representing three actors playing 
 the tibia, cj'mbals, and tambourine, with 
 
 a dwarf to form a contrast and give the 
 idea of their size. (1 ft. 5 in. X 1 ft- !•) 
 {House of Crassus Frugi, Pompeii.) 
 
 36. (Off: No: 9997). Fishes. A large 
 panel representing various kinds of fish , 
 all caught to this day in the Bay of Naples. 
 The central group shows an octopus fighting 
 a crawfish. The large fish in the fore- 
 ground is known by the name of " Spinola," 
 and is one of the best of the local fish. 
 The red mullet, lamprey, prawn, shrimp, 
 and the delicious bivalve known by the 
 name "■ Vongola," are represented among 
 many others, while a kingfisher on the left 
 is darting from a rock upon his prey. 
 The border of this mosaic is of surpassing 
 beauty. It consists of flowers and leaves, 
 among which hide birds, snails, and gra- 
 ceful Cupids. (3 ft. 10 in. X 3 ft. 10 in.) 
 {House of the Faun, Pompeii.) 
 
 37. (Off: No: 9993). A Kitten killing 
 A Chicken. Below, a stream upon which 
 are two ducks eating lotus flowers , and 
 upon the near bank a group of water- 
 wagtails and shell-fish , and some small 
 fish hung by the gills upon a reed. This 
 mosaic is much admired for the style of 
 its work and its bright colouring. (1 ft. 
 10 in. X 1 ft. 10 in.) {House of the Faun, 
 Pompeii.) 
 
 38. (Off: No: 9994). A long festoon of 
 flowers , fruits , and leaves , tastefully 
 designed , and wreathed upon two comic 
 masks. (9 ft. 6 in. X 1 ft. 9 in.) This superb 
 mosaic formed the threshold of the House 
 of the Faun, Pompeii. 
 
SPECIMENS FROM Trffe NAPLES MUSEUM. 
 
 The 
 
 •TATUARY. 
 
 The examples we select from the large 
 collection of ancient statuary are calculated 
 to show the great variety of purposes to 
 which the art of marble sculpture was piit 
 in the ancient times. Not only was it 
 used for the purpose of portraiture and 
 worship , but we find it devoted to such 
 domestic uses as the making of a calendar, 
 which displayed to the public a great deal 
 of useful information, and a sun-dial, which 
 served the purpose of the town clock of 
 our own day. 
 
 The richer houses were also adorned 
 with elegant bas-reliefs , and the genius 
 of the artist was even carried into the 
 decoration of large vats, which, from the 
 designs upon them, seem to have been used 
 for purposes connected with the vintage. 
 
 39. (Off: No: 2632). (a). A rustic Ca- 
 lendar of cubical form , each face being 
 2 ft. 2 inches in height by 1 ft. 3 inches 
 wide , and divided vertically into three 
 columns. Reading these columns down- 
 wards, we find on the top the sign of the 
 Zodiac, below this the name of the month 
 and the number of the days in it, the day 
 upon which the Nones fell , the number 
 of hours of daylight and of dark , the 
 constellation through which the sun is 
 passing , the tutelary deity of the month, 
 the proper agricultural operations to be 
 performed in it, and the religious rites to 
 be celebrated. [Rome.) 
 
 (Off: No: 2541). (b). A Sun-dial in the 
 form of a concave hemisphere. The hours 
 are marked on it by radiating lines , and 
 in the centre is the hole for the gnomon, 
 
 which is no longer extant , the present 
 gnomon being a restoration. Beneath the 
 dial is an Oscan inscription , stating that 
 Mara Atinius , the son of Mara . Qua9stor 
 by decree of the senate, had this sun-dial 
 erected with public money. [Stabian baths, 
 Pompeii. ) 
 
 The first recorded sun-dial at Rome was said to have 
 been brought from Southern Italy by Papirius Cursor 
 about B.C. 29.3, but as it was not set for the latitude 
 of Rome it gave the time incorrectly. The use of 
 the sun-dial must have spread very rapidly , as 
 many have been found in various parts of Italy. 
 
 40. The Farnese Bull. This celebrated 
 group represents the punishment of.Dirce. 
 It is the work of the two famous sculptors 
 of Rhodes, Apollonius and Tauriscus, who 
 flourished before the reign of Augustus. The 
 sons of Antiope are struggling to cast the 
 bull and tie the ill-fated Dirce to his horns. 
 Antiope stands by encouraging them. On 
 the base, in fine bas relief, a lyre against 
 a tree, a syrinx, a thyrsus, a mystical ba- 
 sket, and other symbols. This magnificent 
 group was found with the Farnese Hercules 
 by Paul III in the baths of Caracalla, hav- 
 ing been brought, according to Pliny, from 
 Rhodes to Rome. It has been much resto- 
 red. (Base, 10 ft. X 10 ft-) 
 
 Antiope, the wife of Lycus, king of Thebes, was of 
 such surpassing beauty that Jupiter became her 
 lover. She was repudiated by her husband , who 
 took Dirce as his second wife. She, from motives 
 of jealousy, shut Antiope up in a tower, and ex- 
 posed her new-born offspring (twins) in the forest 
 of Citheron. They were found by a shepherd, who 
 named them Zetus and Amphion. After several 
 years Antiope escaped, and accident led her to the 
 cottage of the shepherd who had cherished her 
 children. She recognised them, and remained with 
 them panting for revenge. One day Dirce went to 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 the forest with her retinue to celebrate the orgies 
 of Bacchus. She met Antiope, and with the assis- 
 tance of her women dragged her into the jungle ; 
 but their mother's cries reached the ears of Amphion 
 and Zetus , who put the women to flight, rescued 
 Antiope, made Dlrce prisoner, and bound her to 
 the horns of a wild bull which dragged her over rocks 
 and precipices, until the gods, pitying her, changed 
 her into a fountain, and the twins killed Lycus and 
 took his kingdom. 
 
 41. The Farnese Hercdles. This colossal 
 statue, of deservedly high reputation, is 
 perhaps the most celebrated of antiquity. 
 It was sculptured in Athens by Glycon, 
 according to the inscription under the club, 
 •' rATK.QN A0HN.UOC EHOiEi. " The god is ill 
 an attitude of repose; his figure is quiet and 
 his aspect serious; his muscular and athletic 
 limbs are nobly proportioned; his club rests 
 upon the rock and forms a support for his 
 left shoulder; the lion skin covers the club; 
 his right hand holds behind him the three 
 apples of the Hesperides. According to the 
 style of sculptors of the best Grecian epoch, 
 his head is small, but it is thought that by 
 this the artist meant to imply the super- 
 iority of the physical over the intellectual 
 in the nature of Hercules. This statue was 
 found in 1540 inCaracalla's Thermss at Rome, 
 and, Y.'ith the inheritance of the Farnese 
 family, it was in 1786 carried to Naples. 
 It was without legs, and Cardinal Alexan- 
 der Farnese had them restored by Gugliel- 
 mo della Porta. It is said that the com- 
 mission to restore this statue was offered 
 to Michelangelo, who declined it, saying, 
 " I could not make, nor would I wish to 
 make, so much as a finger for such a noble 
 statue. " In 1560 the ancient legs were 
 found in a well of the Villa Borghese, three 
 miles from the place where the statue had 
 been discovered, and were then restored to 
 the statue, while the legs made by Delia 
 Porta were placed in the museum of the 
 Villa Borghese. One half of the fore-arm, 
 the left hand, and eyes are in plaster. 
 (Height, 9 ft. 9 in.) 
 
 42. (Off: No: 6409). Flora Farnese. A 
 colossal statue attributed to Praxiteles. It 
 
 is one of the most interesting of ancient 
 statues. The attitude is so natural, that 
 Flora seems about to advance; a light robe, 
 so transparent as not to look like marble, 
 covers her fine figure. She has a bunch of 
 flowers in her left hand, and holds up her 
 dress with the right. The head, the left 
 arm with the flowers, and the feet are 
 modern. (Baths of Caracalla, Rome.) 
 
 The worship of Flora was established at Rome from 
 the very earliest times, and the last days of April 
 were consecrated to her festival, which was a scene 
 of great revel and debauchery. 
 
 43. (Off: No: 6211). Marcus Noniu.'^ 
 Balbds, Senior, according to the inscrip- 
 tion found on the pedestal. This equestrian 
 statue is as fine as that of his .son, oppo- 
 site to which it stood in the Basilica of 
 Herculaneum. It was found without the 
 head and one hand, which were replaced 
 by Canardi, and modelled from the statue 
 of Balbus as proconsul which was found 
 in the theatre. (Life size.) 
 
 44. (Off: No: 6104). Marcus Nonius 
 Balbus, Junior. He rides after the Greek 
 fashion, without saddle or stirrups. He 
 holds the reins in his left hand which has 
 a ring on one of its fingers, and raises up 
 the right as if to thank the inhabitants of 
 Herculaneum cheering their patron. He 
 wears sandals, a short tunic, and a breast- 
 plate that leaves his belt visible. He seems 
 in the act of stopping his steed. This 
 statue was kept in the Museum of Portici; 
 and in 1799, during the riots, a cannon ball 
 carried off the head. The fragments weri! 
 collected, a cast taken, and the head as now 
 seen was modelled hy Brunelli. (Life size.) 
 (1739. Herculaneum.) 
 
 45. (Off: No: 6017). Venus Victrix. An 
 admirable work, much praised by Wiuckel- 
 mann. The limbs are supple, the attitude 
 elegant, and the whole composition abso- 
 lutely life-like. She treads under foot 
 Minerva's helmet, and bears on her brow 
 Juno's diadem. The arms are a restoration 
 
 2 
 
10 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 by BrunelU, and probably not like the 
 original ones , for the inclination of the 
 body and the fragments of the ancient 
 arms make it probable that the figure 
 originally held up a shield, and this is 
 the more likely because when Oapua (which 
 was destroyed in the Second Punic "War) 
 was rebuilt by Julius Ccesar, Venus Victrix 
 became her tutelary deity, and was no 
 doubt represented by this exquisite statue, 
 which was found in the Amphitheatre of 
 Capua in the seventeenth century. It is 
 very much in the stj'le of the " Venus de 
 Milo " in the Louvre. (Height 6 ft. 8 in.) 
 
 46. (Oil: No: 6022). Faon and Bacchus. 
 A charming group in Greek style, but 
 considered to be of Hadrian's time. It 
 was found in the Campagna of Rome, with 
 the Faun's head wanting. (Height 5 ft.) 
 
 47. (Off: No: 6018). ..Eschines (some say 
 Aristides). This is a very remarkable statue 
 of this celebrated man. He is represented 
 dressed in a cloak, with his right hand 
 on his breast as if delivering an oration; 
 his face is calm and his expression natural, 
 while the bald head and the closely-cut 
 beard are in through harmony with the 
 character of the statue. It is very much 
 admired. (Height 5 ft. 6 in.) [Theatre of 
 Hercidaneum.) 
 
 ^schines was a celebrated Athenian orator who 
 flourished about 342 b.c, and distinguished himself 
 as the rival of Demosthenes. He died at Rhodes. 
 
 Aristides (surnamed '• the Just ") was also an Athenian 
 and a rival of Themistocles, by whose influence he 
 was banished b.c. 484. He fought at Marathon 
 B.C. 490, and was made Archon in the followingyear. 
 
 48. (Off: No: 5978). Flora. A colossal 
 statue with elegant drapery. (Height 1 1 ft.) 
 {Farnese.) 
 
 49. (Off: No: 6081). Locins Verds. A 
 statue, considered one of the best portraits 
 extant of this Emperor. (Height 2 ft. 9 in.) 
 
 arnese.) 
 
 He was a successful general and subsequently Emperor 
 for about eight years, a.d. 161. He died of apoplexy 
 in Germany. He was an inveterate glutton , fond 
 of the lowest company, and is said to have spent 
 on one banquet to twelve guests L. 32,200. 
 
 50. (Off: No: 5960). Urania, the Muse 
 of Astronomy, daughter of Jupiter and 
 Mnemosyne. A colossal statue from Pom- 
 pey's Theatre at Rome. (Height 12 ft. 4 in,) 
 (Farnese.) 
 
 51. (Off: No: 5993). Alexander Severus. 
 A colossal statue. (Height 13ft.) {Farnese.) 
 
 He was a native of Phoenicia, adopted by Helioga- 
 balus, whom he succeeded , and was called Alex- 
 ander because he was born in a temple sacred to 
 Alexander the Great. He was a man of great 
 virtue, but so strict a disciplinarian that he was 
 murdered in his tent by Maximinus, after a reign 
 of 13 years, on the 18th of March, a.d. 235. 
 
 52. (Off: No: 5975 . Genius op the 
 Roman People. A fine colossal statue. 
 (Height 13 ft.) [Farnese:) 
 
 53. (Off: No: 6030). Antinods, A favourite 
 of Roman, whose statue in various cha- 
 racters is familiar to every student of 
 Grecian art in Italy. ( Height 6 ft. ) 
 [Farnese.) 
 
 When he was drowned in the Nile, Hadrian caused 
 temples to be erected to him in Bithynia (where 
 he was born) as well as in Italy and Greece, and 
 wished it to be believed that he had taken a place 
 among the constellations. His statues are interesting 
 as showing the high perfection of sculptors in the 
 time of Hadrian. 
 
 54. (Off: No: 6297). Venus and Cupid. 
 A Roman group , much admired for the 
 purity of its style and its careful execution. 
 (Height 4 ft.) [Farnese.) 
 
 55. (Off: No: 6020). Venus Callipygus. 
 A partly draped statue , attributed to 
 Praxiteles. The attitude is graceful, and 
 the statue has many warm admirers, though 
 Winckelmann and some other excellent 
 critics disparage it. The head and left 
 arm are modern, and the right leg has 
 been restored, (Height 5 ft. 5 in.) [Golden 
 House of Nero, Rome.) 
 
 56. A side view of the same statue. 
 
 57. (Off: No: 6035). Torso of Venus. 
 This is held to be an original Greek work 
 executed about the time of the Cnidian 
 Venus of Praxiteles. (Height 3 ft.) [Rome.) 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 H 
 
 58. (Off: No: 6283). Ven0s. A Eoman 
 Veuus in the same pose as that of the 
 Venus de' Medici at Florence, (Height 
 4 ft, 10 in.) (Far^nese.) 
 
 59. (Off: No: 976). Isis. A charming 
 small statue in marble, of Roman work- 
 manship, in imitation of Egyptian style. 
 She holds in her left hand the key of the 
 Nile, and in her right the sistrum, a 
 jingling bronze rattle, which was used in 
 the rites of her temjDle. She is girt with 
 a marble waistband, the clasp of which is 
 formed of the heads of two crocodiles. 
 There are some traces of gilding about 
 the hair and the dress , and on the right 
 arm is a remnant of gold that seems to 
 have represented a double bracelet. The 
 eyes and eyebrows were painted red, 
 (Height .3 ft. without the plinth.) (Pompeii.) 
 
 This statue was found in the temple of Isis upon 
 a plinth bearing an inscription stating that it 
 was placed in the temple by Lucius Cecilius Phce- 
 bus, in compliance with a decree of the Decurions. 
 
 60. (Off: No: 6008). Diana. A small 
 archaic statue, of awkward execution, but 
 full of movement, and much admired. It 
 bears traces of gilding. (Height 3 ft. 6 in.) 
 It was found in 1760 in a casual excava- 
 tion made between Torre deW Annunziata 
 and Torre del Greco. 
 
 61. (Off: No: 6276). Diana the Huntress. 
 In the act of drawing the bow. (Height 
 3 ft. 11 in.) {Farnese.) 
 
 62. (Off: No: 0019). Psyche. A frag- 
 ment. This pure Grecian sculpture, which 
 is esteemed by many the gem of this col- 
 lection , may well belong to the time of 
 Praxiteles. 
 
 The idea conveyed by her name, which 
 signifies " the soul," has been embodied by 
 the sculptor in this charming work, which 
 combines grace of form and beauty of 
 feature with pensive melancholy and sweet- 
 ness of expression. 
 
 She was represented with the wings of 
 
 a butterfly , of which the traces remain ; 
 but the statue has unfortunately been much 
 mutilated, and has evidently at some time 
 been restored, and the restoration subse- 
 quently removed. (Height 2 ft. 8 in.) 
 (Capua.) 
 
 It is from this statue that the writer of The L.tst 
 Days of Pompeii studied his ideal of his heroine 
 lone. 
 
 63. (Off: No: 6.375), Cupid and the Dol- 
 phin. A much admired group, which, 
 however, has suffered a good deal from 
 injudicious restoration. (Height 5 ft.) 
 {Ca2iua.) 
 
 64. (Off: No: 6026). Nereid, A nymph, 
 gracefully holding up her drapery. She 
 is seated on a marine monster. It is a 
 master piece of Grreek sculpture , sadly 
 damaged by restorations. (Height 3 ft. 3 in. 
 X 3 ft, 3 in.) (Villa of Lucidhis, Posilipo.) 
 
 65. (Off: No: 6728). Bacchus seated, and 
 holding out his cantharus to be filled by 
 a figure, of which scarcely a trace remains. 
 Bas-relief. (4 ft. X 3 ft.) (Hercidaneum.) 
 
 66. (Off: No: 6682). The Persuasion 
 OF Helen. A beautiful Greek bas-relief, 
 displaying Alexander or Paris, accompanied 
 by Eros, paying his court to Helen, v^hora 
 he beckons to follow him. Peitho , the 
 goddess of Persuasion, and Aphrodite, the 
 goddess of Love, assist him in his suit. 
 The expression of indecision on the face 
 of Helen is admirably rendered. (2 ft. X 2ft.) 
 (Noia Collection.) 
 
 Venus had promised Paris the most beautiful woman 
 in the world for his wife, as a reward for having 
 selected her as the fairest of the goddesses. She 
 accordingly persuaded Helen, the wife of Menelaus, 
 king of Sparta, to desert her husband and to fly 
 with Paris to Troy, an abduction which caused the 
 Trojan war. 
 
 67. (Off: No: 6781). Candelabrum in 
 marble, adorned with arabesques and three 
 storks perched on rams' heads. The trian- 
 gular base is supported by three sphinxes, 
 and the whole is of exquisite workmanship. 
 (Height 8 ft.) (Farnese.) 
 
12 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 68. (Off: No: 6673). (a). The "Gaeta" 
 Vase^ around which, in bas-relief, Mercury 
 giving the infant Bacchus to the nymph 
 Nisa, who stretches out her arms to take 
 him. These figures are followed by Fauns 
 and Bacchantes, playing on the flute and 
 cymbals. This work belongs to the hap- 
 piest epoch of Greece. On the upper part 
 of it in Greek — the Athenian Salpion made 
 this. (Height 4 ft. 6 in.) 
 
 This vase was found at Gaeta, where it was used to 
 moor boats to, as is seen by the marks made by 
 the ropes. Before being taken to the Museum , it 
 was used in the Cathedral of the town as a bap- 
 tismal font. 
 
 (Off: No: 6670). {b). Large Vat, adorned 
 with bas-reliefs of the following divinities: 
 Jupiter with his eagle ; Mars with lance 
 and girdle ; Apollo, with the lyre ; .^scu- 
 lapius, with his staff and serpent ; Bacchus, 
 with thyrsus and cantharus ; Hercules, with 
 his club ; and Mercury, with his caduceus. 
 (Height 3 ft. 6 in. , diameter 3 ft.) (Farnese.) 
 
 69. (Off: No: 6177). Cicero (b.c. 106). 
 A bust showing, a remarkable mole on the 
 left cheek. (Height 3 ft.) (Farnese.) 
 
 70. (Off: No: 6153). Demosthenes (b.c. 385). 
 A fine bust, with a realistic expression on 
 
 the lips indicating the defect of speech 
 from which he suffered. (Height 1 ft.) 
 [Herculaneiim.) 
 
 71. (Off: No: 6079). Marcus Adrelids 
 (a.d. 121). A fine bust, clad in the ohlamys. 
 (Height 2 ft. 6 in.) {Farnese.) 
 
 72. (Off: No: 6033). Caracalla (a.d. 188). 
 The frowning expression and thin lips of 
 this expressive bust testify to the relentless 
 cruelty of this savage Emperor. It is a 
 work full of diabolical expression and 
 wonderful realism. ( Height 2 ft. 2 in. ) 
 [Farnese.) 
 
 73. (Off. No: 6038). (a). Jdlius C^sar 
 (B.C. 100). Colossal bust. (Height 3 ft.) 
 This is considered one of the most authentic 
 portraits of this Emperor, and was copied 
 by Napoleon III, for the frontispiece of 
 his 'Life of CsBsar.' (Fa^-nese.) 
 
 (Off: No: 110892). (6). Titus (a.d. 40). A 
 colossal bust. (Height 6 ft. 6 in.) (Rome.) 
 
 This Emperor succeeded Vespasian, after having 
 distinguished himself at the siege of Jerusalem. 
 He was on the throne at the time of the destruc- 
 tion of Pompeii and Herculaneum, and came with 
 great energy to the assistence of the suffering 
 population of those towns. He was an excellent 
 Emperor. He died a.d. 81, deeply regretted by 
 the Roman people. 
 
 St^fe;gaKV:^i g? O--* 
 
 The 
 
 .ARGE 
 
 B 
 
 RONZES. 
 
 :g=>;J5Bl=«?- 
 
 Porapei and Herculaneum have supplied 
 us with nearly all the high-class specimens 
 of Greek bronze which exist in the world. 
 It is clear that the principal bronzes of this 
 collection were made in a golden age of 
 the art of casting, and it is incontestable 
 that at no subsequent period has the per- 
 fection of the ancient Greeks been attained. 
 
 Pliny tells us that the ancients put gold 
 and silver into their bronze, the metal 
 itself being a mixture of copper and tin , 
 cast and tempered , and used for a great 
 variety of purposes besides the making of 
 statues. "We find every kind of household 
 implement and ornament made of it, and 
 it served to adorn chariots and galleys, as 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 13 
 
 well as to make bracelets and chains for 
 the Roman ladies. 
 
 74. (Off: No: 5618). (a). Plato. This is 
 reputed the finest bronze head in the world. 
 He looks down as if in meditation, and 
 every detail of the hair and beard has 
 been most elaborately worked out. (Height 
 1 ft. 8 iu.) (1759. Herculaneimi.) 
 
 The likeness to the head of Our Saviour is 'often 
 noticed ; and when we consider how temperate his 
 life was, and how near his teaching approached to 
 the Ethics of Christianity, we feel able to account 
 for the similarity of expression between the portrait 
 of the philosopher and the ideal likeness _of our 
 Lord. He died B.C. 34", 
 
 (Off: No: 5607). {b). Archytas. This too 
 is an admirable bust. The head is sur- 
 rounded by a turban , the badge of great 
 philosophers. (Height 1 ft. 9 in.) (1753. 
 Herculanemn.) 
 
 Archytas was the successor of Pythagoras and an 
 able geometrician. He redeemed his master Plato 
 from the hands of the tyrant Dionysius, and was 
 made governor of Tarentum. He died about 394, B.C. 
 
 75. (Off: No: 5616). (a). Seneca. Ahead 
 of great merit, and presumably a portrait 
 from life. He was tutor to Nero, who 
 murdered him a.d. 65. (Height 13 V2 in-) 
 1724. Herculaneum.) 
 
 (Off: No: 5614). {b). M. Claudius Marcel- 
 Lcs, the unfortunate nephew of Augustus, 
 who died in his twentieth year. A very 
 fine passage in the sixth ^neid (v. 883) 
 was written in praise of him. (Height 
 16 in.) (1751. Herculaneum.) 
 
 76. (Off: No: 5001). Silenus. A very 
 famous statuette of the inebriate tutor of 
 Bacchus. He is crowned with ivy and 
 clothed in a short tunic, his body staggers 
 under the influence of drink. The left 
 arm is raised above the head, and a serpent 
 twined round it served to support a vessel 
 of some kind, which is lost to us. The 
 base is inlaid with silver in a design of 
 grapes and vine-leaves. (Height 21 in.) 
 (Pompeii.) 
 
 77. (Off: No: 5003). Narcissus. This 
 statuette vies with that of the dancing 
 Faun for the first place among the smaller 
 specimens of this gallery. He is repre- 
 sented naked, and standing up. His feet 
 are covered with elegant sandals, and a 
 roeskin is thrown over his left shoulder. 
 The inclination of his head, and the uplifted 
 finger of his right hand, show that he is 
 represented as listening to the whisperings 
 of the nymph Echo. The eyes are hol- 
 low. ( Height 25 in. ) It was found in 
 1862, in a small house at Pompeii. 
 
 78. (Off: No: 5002). The Dancing Facn. 
 This exquisite statuette combines all the 
 distinguishing features of the purest period 
 of Greek art. The figure is slightly poised 
 on tiptoe , and represents the beau-ideal 
 of grace and easy movement. The hands 
 are uplifted, and the face, full of anima- 
 tion, is in charming harmony with the 
 pose of the body. The head wears a garland 
 of oak-leaves, and the eyes are of silver. 
 Beneath the plinth are the letters P.C.L., 
 which have been rendered " Pondus cen- 
 turn quinquaginta.^^ (Height 32 in.) This 
 statuette gave the name to the " House 
 of the Faun," Pompeii. It was found in 
 the centre of the impluvium. 
 
 79. (Off: No: 5624). The Sleeping Fadn. 
 This casting represents the personification 
 of placid sleep. Upon the forehead are 
 two diminutive horns, and upon the neck, 
 two glands such as are found upon goats. 
 (Height 5 ft.) (1756. Herculaneum.) 
 
 80. (Off: No: 5628). The Drunken Faun. 
 He is stretched on a half-empty wineskin, 
 and leans against a rock. He snaps the 
 fingers of his right hand, and his whole 
 pose is that of rollicking inebriety. Like 
 the sleeping Faun, he has small horns and 
 glands. The statue is iu excellent preser- 
 vation, though the body has been slightly 
 flattened. (Life size). {\1G\. Herculaneum.) 
 
 81. (Off: No: 5625). Mercury in repose. 
 
14 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 This is esteemed the finest bronze statue 
 extant. The herald of the gods is seated 
 on Mount Ida, reposing after a long flight, 
 and awaiting further orders. The bronze 
 seems almost to breathe, so vividly does 
 it convey the impression of panting. The 
 feet are winged, and the whole composition 
 is esteemed unique for grace of form and 
 power of expression. (Height 5 ft.) (1758. 
 Herculaneum.) 
 
 82. (Off: No: 4995). Bacchus and Ampelds. 
 A small group of great beauty representing 
 a young man and a boy, naked, and crowned 
 with laurel. (Height 2 ft. 9 in.) {House 
 of Pansa, Pompeii.) 
 
 83. (Off: No: 5597). Marcus Oalatorids. 
 Statue of a Roman magistrate, which bore 
 the inscription, " To M. Calatorius, son 
 of Quartius, the citizens and inhabitants 
 contributing the money. (Height 6 ft. 10 
 in.) (1743. Herculaneum.) 
 
 84. (Off: No: 5591). Mamjiids Maximus. 
 He wears the toga. Upon the plinth was 
 the following inscription : " To Lucius 
 Mammius Maximus, A^igustal, the inha- 
 bitants and the Municipality contributing 
 the money.'' (Height 6 ft. 10 in.) (1743. 
 Herculaneum.) 
 
 This Mammius erected at [his own cost, statues to 
 Livia, to Germanicus, to Antonia the mother, and 
 fo Agrippina the wife of Claudius, which leads one 
 to infer that he lived in the reign of Claudius. He 
 also built the market. His father, Lucius Mammius, 
 was Decurion at Nuceria. 
 
 85. (Off: No: 5595). Augdstus as Jupiter. 
 A colossal statue. He holds a long spear 
 in his right hand, and in his left the 
 thunderbolts of Jove. (Height 6 ft. 8 in.) 
 (1714. Herculaneum.) 
 
 86. (Off: No: 5613). Apollo holding the 
 lyre and the plectrum. The eyes and the 
 strings of the lyre were of silver, but are 
 
 (Height 2 ft. 3 in.) {Pompeii.) 
 
 wanting. 
 
 87. (Off: No: 5619). An Actress. She 
 is fastening her cloak with a brooch on 
 
 the right shoulder. A fillet inlaid with 
 silver binds her hair , and her eyes are 
 of enamel. This statue is one of six which 
 decorated the proscenium of the theatre 
 of Herculaneum. (Height 4 ft. 11 in.) 
 
 88. (Off: No: 5626). Discobolus. This 
 casting is full of life. The eyes are of 
 enamel. The body leans forward, and he 
 a^Dpears to be watching the quoit which 
 he has just thrown. (Height 3 ft. 9 in.) 
 
 This statue was found on a small island in the centre 
 of the piscin.i of a villa at Herculaneum, and hence 
 some good authorities have argued that it was in- 
 tended to represent a youth in the act of plunging 
 head-first into the water. 
 
 89. (Off: No: 4996). Alexander on hor- 
 seback. This little equestrian statuette is 
 richly decorated with silver, and is much 
 admired for its movement. He is repre- 
 sented mounted on Bucephalus, without a 
 helmet, and in rich armour, raising his 
 sword to slay an enemy. (Height 1 ft. 5 in.) 
 (1761. Herculaneum.) 
 
 90. (Off: No: 4999). A mounted Amazon. 
 She is dressed in a tunic and wears a 
 helmet raising her lance in her right hand. 
 It is seldom that the Amazons are found 
 represented on horseback, which has given 
 an additional value to this little bronze. 
 (Height 1 ft. 7 in.) {Herculaneum.) 
 
 91. (Off: No: 5629). Apollo drawing his 
 bow. (Height 4 ft. 7 in.) 
 
 This statue was found in a well in the Forum of 
 Pompeii in 1817, where it had been thrown by 
 thieves who had tried to carry it away on the night 
 of the destruction. They succeeded in wrenching 
 off one arm and one leg, whieh were found with 
 their skeletons near the city wall in 1818. 
 
 92. (Off: No: 5024). Diana drawing the 
 bow. A small statue in perfect preserva- 
 tion. ( Height 1 ft. ) ( 1747. Hercula- 
 neum.) 
 
 93. (Off: No- 4997). Victory. A charming 
 statuette poised upon a globe, and having 
 a jewelled bracelet on the left arm. The 
 wings and the waving garment are espe- 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 15 
 
 cially well executed. (Height 1 ft. 3 in.) 
 (Po>n2:)eii.) 
 
 94. (Off. No. 5010). Fortune ou the 
 Globe. A statuette like the former, re- 
 markable for its elegant pose, and the 
 graceful execution of the drapery. Her 
 neck is adorned with an elegant silver 
 necklace. (Height 18 in.) {Herculaneum.) 
 
 95. (Off: No: 5313). Abdndance. A sta- 
 tuette of great merit. She is wrapped in 
 a cloak, and wears on her head the lotus 
 bud, an attribute of Isis. In her right 
 she holds the horn of abundance, and in 
 her left the rudder, an attribute usual to 
 her. The base is decorated with a pretty 
 design of foliage ia silver. (Height 1 ft. 
 6 in.) {Herculaneum.) 
 
 96. (Off; No: 4994). The Angler. A seated 
 statue for a fountain. In his left he holds 
 a basket in which was found a small bronze 
 fish. His eye is fixed upon the point of 
 his rod, showing that he knew this secret 
 of the gentle craft. (Height 1 ft. 8 in.) 
 {Pomjjeii.) 
 
 97. (Off: No: 4886 and 4888). Two Ga- 
 
 zelles. Life size and of excellent execution. 
 (Height to shoulder, 2 ft.) {Herculaneum.) 
 
 98. (Off: No: 4887). Colossal head of 
 A Horse. Presented to the Museum by 
 the Santangelo family. This is one of the 
 finest specimens of spirited colossal castings; 
 was cast, no doubt, just as we see it, and 
 never formed part of a complete horse. 
 (Height 5 ft. 7 X 3 ft.) 
 
 An attempt has been made to show that this head 
 belonged to the colossal horse, emblem of Naples, 
 which stood in the Piazza del Duomo, and was 
 supposed to cure other horses of diseases. 
 
 This latter horse was, however, broken up by Cardinal 
 Fi/omariiio to put an end to this superstition, and 
 the metal was used for casting the Cathedral bell. 
 
 99. (Off: No: 4904). Bronze Horse. (Life 
 size, 15 hands.) This fine horse formed 
 one of the team attached to Nero's quadriga 
 which was found at a short distance from 
 the Herculaneum theatre. The following 
 inscription, which was compiled by the 
 Abbe Mazzocchi, may be read in Latin on 
 the pedestal. " Of this splendid bronze 
 quadriga loith its horses, broken to atoms 
 and dispersed, I alone remain, tJianks to 
 the King loho joined together the six 
 hundred fragments into ichich, like the 
 limbs of Absyrtus, Vesuvius had rent me.'"' 
 
 -^^S<Cgi^:3^^^-M^ 
 
16 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 Glass 
 
 AN 
 
 D T ERRA-CoTTA FROM 
 
 jPoyvi] 
 
 .PEII. 
 
 The collection of glass and terra-cotta from 
 Pompeii is very large and varied, and the 
 resemblance of the specimens to our own 
 articles of domestic use makes it an espe- 
 cially interesting department. As might 
 naturally be expected, the Naples Museum 
 is very rich in Roman glass and terra- 
 cotta, and the excavations at Pompeii are 
 bringing new specimens to light every 
 day. The prismatic colours, and bright 
 iridescence on the glass, is the result of 
 centuries of burial, for no doubt this glass 
 when new was as tronsparent as our own. 
 The Greeks and Romans got glass-making 
 from Egypt, and the pictures on the tomb 
 of Beni Hassan show every detail o£ the 
 Egyptian manufactiire, at a period jjrobably 
 three thousand years before the time of 
 Christ. 
 
 100. (Off: No: 13521). Amphora of blue 
 glass, found in the Street of the Tombs, 
 near the house of Frugi, Pompeii. It was 
 full of human ashes. This priceless spe - 
 cimen is covered with a bas-relief in white 
 glass cut like a cameo, and represents 
 in the midst of incomparably graceful 
 arabesques the Genii of the Vintage. Some 
 are occupied in gathering grapes, others 
 are playing with their companions. Among 
 the groups are two beautiful Fauns' heads, 
 from the brows of which sjiriug vines which 
 encircle the whole body of the vase. Below 
 
 is a superb bas-relief of animals. The 
 precision of the workmanship, the correct- 
 ness of the drawing, and the elegance of 
 the composition, give this vase the highest 
 importance. (Height 1 ft.) 
 
 It is of the same material as the Portland vase which 
 is exhibited in the Gem-room of the British Museum. 
 The Portland vase is of purer style and much more 
 severe design, and represents legends of Peleus and 
 Thetis, but it is worth observing how similar the 
 Eros on the Portland vase is to some of the Genii 
 on the blue Amphora. It is possible they were by 
 the same artist, as the one was found at Rome and 
 the other at Pompeii. 
 
 101. Vases used in funeral rites, (a, g, f) 
 Lachrymatories or tear bottles to collect 
 the tears of the mourners, and to be placed 
 on the breast of the corpse, [b, c, d, h, i) 
 Amphoras, {g, k, I) Glass cinerary urns of 
 the Roman period, still containing ashes 
 of the dead. 
 
 102. Glass and Terra-cotta Vessels, 
 for household purposes. (Off: No: 12895). 
 (fl) An oil cruet in a leaden stand, {b, c, d) 
 Glass cups and a saucer. 
 fume, (f) A strainer, 
 (/j, i) Bottles. {I. m, n) 
 
 (e) Jar for per- 
 (g) A funnel. 
 Glass tumblers. 
 
 103. Terra-cotta cups richly decorated. 
 
 104. Two similar cups. {Pompeii.) 
 
 These cups were used for drinking, as is known by 
 the fact that a similar one was found in Arezzo, 
 bearing the inscription, "Bite, amice de meo,'' 
 " Drink, friend, of my wine." 
 
 <aag^=iS=r;i--5^^^=Sis^?t3 - 
 
SPECIMENS FUOJl THE NAPLES MUSEU.M. 
 
 17 
 
 The pE/vis. 
 
 There are few departments of archeology 
 more interesting tlian the history of jewelry. 
 A taste for personal adornment is found in 
 the lowest tribes of the human race, and 
 as surely as a race has progressed, so surely 
 has lis jewelry progressed with it. "We 
 can trace the precious metals through all 
 the pages of the Bible, from the signet 
 which Judah gave to Tamar, to the costly 
 stones of the Apocalypse; and the ornaments 
 exhibited in the collection of the Naples 
 Museum are striking as showing how this 
 particular art had developed hand in hand 
 with Greek culture and Greek taste. 
 
 In our age, jewelry has ceased to be 
 artistic, and has become, like everything 
 else we have, more or less mechanical, 
 and this makes it the more interesting to 
 look back upon a time when artists carried 
 out their own designs, and the skilful 
 engraver and goldsmith was the designer 
 of his own handiwork. 
 
 CAMEOS. 
 
 105. (Off: No: 27611). Cup of Orieis-tal 
 S.^RDONYx, known as the Tazza Farnese. 
 (Diameter 8 in.). The intrinsic value of 
 this tazza is inestimable, and its artistic 
 merit renders it unique. It is said to have 
 been found at Rome in the Mausoleum 
 of Hadrian, now called the Castel Sant^ An- 
 gela ; but it seems more probable that 
 it was found in the ruins of Hadrian's villa 
 by a soldier, who gave it to the Duke 
 Charles of Bourbon when he was besieging 
 Rome. Unfortunately, prior to its reaching 
 the Farnese Collection, its owner caused 
 
 a hole to be bored in the centre, that a 
 foot might be fitted to it. 
 
 This incomparable relic has been the 
 subject of many discussions among savants, 
 and articles have been published about it 
 by Maffei, AVinckelmann, and others. 
 
 It is the only known cameo of its size 
 which presents a composition on each side. 
 On the reverse is a magnificent Medusa's 
 head, which covers it completely, and on 
 the inside are eight figures in relief which 
 stand out against the dark background. 
 
 Archffiologists are not agreed as to their 
 explanation of the subject. The interpre- 
 tation which seems to us the most probable 
 is that of Comm. Quarauta, who explains 
 it as Ptolemy PliUadelplius consecrating 
 the harvest festival instituted by Alexander 
 the Great, after the foundation of Alexan- 
 dria. 
 
 Egypt is represented by the Sphinx, on 
 whose back sits Isis holding an ear of corn. 
 The old man in the upper section, with 
 his back against a fig-tree, is probably 
 the Nile, holding an empty cornucopia, 
 the symbol of great rivers ; and below the 
 Nile hover two youths, who personify the 
 Etesian winds, whose breath arrests the 
 course of the Nile and fertilises Egypt. 
 
 The two nymphs seated on the right, one 
 holding an empty horn and the other a 
 cup, are Nymphs of the Nile, protectresses 
 of Egypt. 
 
 And, finally, the figure which occupies 
 the centre of the composition is one of the 
 Ptolemies, with the attributes of Horus- 
 Apollo, a chief Egyptian divinity and son 
 of Isis , holding an hydraulic instrument 
 
 3 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 for measuring the inuucTation of the Nile, 
 and a dagger. 
 
 106. (Off: No: 6). (a). Onyx , antique. 
 DsBdalus fitting wings to Icarus, with two 
 women looking on, probably Pasiphiie and 
 Diana Dictynua, representing the Cretan 
 city. (Width 1 ^-/^ X 1 '-s iu-) 
 
 (Off: No: 209). (&). Carnelian. Ajax; 
 and Cassandra clinging to the Palladium. 
 (Width ','3 X 1 '/»•) 
 
 (Off: No: 1298). (c). Intaglio in carnelian, 
 ant. Apollo with the signs of the Zodiac. 
 (Width ^/, X 1 in.) 
 
 (Off: No: 29). (d). Onyx, ant. lole, asleep 
 on the club of Hercules. (Width '/j X 
 1 Vs iu.) 
 
 (Off: No: 65). (e). Agate, ant. A fragment 
 representing the Farnese bull. (Width 'jg X 
 1 '/s in.) 
 
 (Off: No: 232). (f). Intaglio Amethyst, 
 antique, Diana the huntress. Inscribed 
 '' ApoUonius." A gem of great celebrity. 
 (Width ^U X 1 in.) 
 
 (Off: No: 60). (g). Oriental onyx, ant. 
 Sculptor chiselling a vase. (Width '/e X 1 in-) 
 
 (Off: No: 30). (/(). Agate, ant. Fine high 
 relief of Jupiter Serapis. (Width 'jsX i '/lin.) 
 
 (Off: No: 32). (i). Agate, ant. Fine head 
 of Medusa. (Width '/, X '/4-) 
 
 107. (Off: No: 16). Onyx, ant. Jupiter 
 overwhelming the Titans — bearing the 
 inscription AeiiNinN — an exquisite gem. 
 
 (Width 1 \ X 1 'u.) 
 
 108. (Off: No: 63). Niccolo, ant. Silenus 
 seated. (Width '/g in. X 1 in.) 
 
 109. (Off: No: 41). {a). Sardonyx, ant. 
 Dancing Faun. A fragment. (Width 1 '/s X 
 
 1 '/.•) 
 
 (Off: No: 48). {b). Oriental onyx, ant. 
 Faun bearing Bacchus — -a fine cameo. 
 (AVidth '/3 X 1 \ in.) 
 
 GOLD ORNAMENTS. 
 
 110. (Off: No: 24812). (a). Earring of gold 
 representing a segment of an apple. [Pomp.) 
 
 (Off: No: 24867). [b). Safety brooch in 
 
 gold, richly decorated and ending in a 
 ram's head. (Length 3 \/j in.) 
 
 (Off: No: 24963). (c). Earring of gold in 
 the form of a Panpipe. [Canosa.) 
 
 (Off: No: 2482.3). {d). Bracelet formed of 
 linked hemispheres. (Length 9 '/^ in.) (P.) 
 
 (Off: No: 24842). (c). Bracelet in the form 
 of two horns ending in lions' heads, con- 
 nected by a small chain. (Diameter 3 '/2 in.) 
 {Herculaneum.) 
 
 (Off: No: 24858). (f). Necklace of gold 
 lace with elegant pendants. (Length 14 in.) 
 [Pompeii.) 
 
 111. (Off: No: 24824). [a). Gold bracelet 
 in the form of a serpent. This is the 
 largest as yet found in Pompeii. It weighs 
 one pound. (Diameter of the blade 4 in.) 
 
 (Off: No: 24875). [b). Another serpentine 
 bracelet. (Diameter 2 ^'4 in.) [Pompeii.) 
 
 (Off: No: 25040) (c). Ring in the form 
 of a serpent. (Diameter 27 in.) [Pompeii.) 
 
 (Off: No: 25042). [d). Ring in the form 
 ofa serpent. (Dlam 1 '/i in-) [Herculaneum.) 
 
 [e). Another ring. (/"). Precious stone, 
 representing a head wearing a helmet, set 
 in the ring marked e. 
 
 [g, g, g). Earring with pearl pendants. 
 [Pompeii.) 
 
 (Off: No: 24715). [h). A hairpin sur- 
 mounted by a genius. (Length 2 in.) 
 
 (Off: No: 24805). (/). Earring in the form 
 of a segment of an apple. (Height 1 in.) 
 [Pompeii.) 
 
 112. (Off: No: 24883). (a). Splendid neck- 
 lace formed of twenty- one Silenus masks 
 and fifty-eight acorns and fleurs-de-lys, 
 interwoven with chains. Found in a tomb 
 in the italo-Greek vase of Triptolemus at 
 Armento, Basilicata. (Length 1 ft. 8 in.) 
 
 (Off: No: 111114). [b). Vine-leaf neck- 
 lace of forty-six leaves. (1877, Pompeii.) 
 
 (Off: No: 24857). (c). Lion and Sphinx 
 brooch. (Length 3 in.) [Herculaneum.) 
 
 (Off. No: 25108). (rf). Ring. (Diam.l '/sin.) 
 
 [e). Jacynlh. Portrait of a woman. It 
 was set in the ring marked d. 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 19 
 
 SILVER VASES AND CUPS. 
 
 fl3. (OfiP: No: 25287). (a). Silver drinking- 
 cup encircled by a vine garland. (Dia- 
 meter 6 in.). {Pompeii.) 
 
 (Off: No: 25300). (6). Silver mortar, 
 decorated with lovely sprays of foliage. 
 (Diameter 5 in.) 
 
 114. (Off:. No: 25376). (a). Silver vase 
 for sacrifice, in the shape of a chalice, 
 
 adorned with bas-reliefs of genii of Bac- 
 chus. This vase has a lining to prevent 
 sediment from resting in the concavities. 
 Beneath the fool is the inscription sosiNir 
 LAPir. (Height 5 in. Diameter 4 '/a in-) 
 {Pompeii.) 
 
 (Off: No: 2.5367). (6). Silver cup with 
 bas-relief representing Minerva fully armed, 
 on a chariot drawn by two horses. (Height 
 2 '/a ill.: diameter .5 in.) {Pompeii.) 
 
 The jSyvLALL J3i\onzes. 
 
 We present to our readers several plates 
 illustrating this department of the Naples 
 Museum, because no other museum in the 
 world is so rich as this one in the everyday 
 articles of domestic use among the Romans, 
 and also because the specimens are of a 
 kind not readily photographed , and it is 
 difficult to take away a memento of them 
 without the purchase of such a work as 
 ours. The specimens in the Museum are 
 some thirteen thousand in number, but 
 among these there are numerous examples 
 of the same stamp, though there are hardlj- 
 any actual duplicates. These articles were 
 all hand-made, and not sent out by the 
 hundred dozen from large manufacturing 
 establishments, as our household chattels 
 are in the present day. The consequence 
 of this is that the most ordinary articles 
 of household use were stamped with an 
 artistic merit — an intrinsic individuality 
 which it would never be worth while to 
 obtain in our day, even if we could attain 
 to it ; and however much schools of art 
 may do to improve our artificers , and 
 better our designs — and they will doubtless 
 do very much indeed — they can never get 
 
 over the difficulty that the artistic merit 
 of a design must certainly vanish when 
 it is applied by a purely mechanical medium, 
 and repeated over and over again either by 
 machineiy, or by artisans who become in 
 course of time little better than machines. 
 
 115. (Off: No: 73000). The Candelabrum 
 OF DioMEDE. This beautiful work of art 
 is formed of a decorated Corinthian column 
 bearing on the obverse a tragic mask, and 
 on the reverse a " bucranium,^' or bull's 
 skull. Four branches issue from the top 
 of the column; from which four handsome 
 double-wick lamps hang by four-stranded 
 chains. These lamps were not found with 
 the candelabrum, and do not belong to it, 
 but they are of fine workmanship, and ■ 
 there can be no doubt that some such 
 lamps hung on it originally, many similar 
 examples having been found in the exca- 
 vations. The lamp decorated with the head 
 of an elephant, and suspended by two dol- 
 phins is unique. Standing upon the left 
 angle of the base, i^pon the elaborate 
 clusters of vine-leaves inlaid in silver, we 
 observe a fine group composed of Acratus 
 
20 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 (a genius of Bacchus) mounted on a pan- 
 ther, the rhrjton in his hand, and, opposite 
 to him, a small altar npon which burns the 
 sacred fire. (Height 4 ft. 1 in.) {House of 
 Diomede, Pompeii.) 
 
 116. (Off: No: 4993). Double L.^mp, repre- 
 senting Cupid holding a lamp like a comic 
 mask and a lamp hook. Beside him, on a 
 bronze column, another lamp, in the shape 
 of a human head with Mercury's winged 
 cap for a lid ; the flame issued from the 
 mouth. [Herculaneum.) 
 
 117. (Off: No: 72254). (a). Treble-wick 
 Lamp surmounted by a youth wearing a 
 Phrygian cap, who dances gracefully, and 
 holds in his hand a chain from which a 
 lajnp-hook is suspended. (Height 4 in. ; 
 diam. S'/a)- Herculaneum.) 
 
 (Off: No: 72287). (6). Dodble-wick Lamp 
 of ornate designof vine-leaves and sprays, 
 surmounted by a Silenus. (Height 3 '/a • 
 diara. 5 '/J. (Pompeii.) 
 
 118. (Off: No: 72172). (a). Lamp adapted 
 to be hung or carried, fitted with a chain 
 to carry the extinguisher. A mouse is 
 represented as gnawing the wick; and this 
 creature being sacred to Vulcan , it has 
 been argued that this lamp hung before his 
 shrine. (Height 1 '/jidiam. 1 ^li.) [Pompeii.) 
 
 (Off: No: 72180). ib). Treble-wick 
 Hanging Lamp. The chains of this lamp are 
 beautifully worked in a double plait : a 
 third chain holds the stopper of the re- 
 servoir. This lamp is adorned with three 
 heads issuing from garlands. (Height 3 ^U\ 
 diameter 4 in. From one wick to the other 
 1 fc. 1 in.) (Theatre of Herculaneum.) 
 
 (Off:No: 72i!67). (c). Circular Lantern, 
 glazed with talc , bearing the inscription 
 " Tiburti Caius 5.," perhaps the name of 
 the maker. (Height with chain 22 in.; 
 diam. 7 •/, in.) Figures (d, e, f) represent 
 {d) pliers used for raising the wick, [e) a 
 lamp-hook, and (/") an extinguisher for- 
 
 med of a small hemisphere with a curved 
 handle. (Hercidaneum.) 
 
 119. (Off: No: 73096). (a) This candela- 
 brum though remarkable for its fine exe- 
 cution and artistic simplicity, does not come 
 up to many in the Museum for elaboration 
 of design. "What it lacks in this respect, 
 it makes up for by the ingenuity of its 
 mechanism ; for in the first place it is 
 telescopic, thus enabling the user of it to 
 place the light at any height be pleased; 
 further, by a very ingenious contrivance, 
 the foot (see b) could easily be removed, 
 and this again was constructed to fold 
 together, so that the object could be easily 
 packed for travelling. (Height of the can- 
 delabrum when extended 4 ft. 6 in.) 
 (c) Small chain with two wedges intended 
 to secure the candelabrum. (Hercidaneum.) 
 
 (OR: No: 73052). (d). Another candela- 
 BRU.M. The disc upon which the lamp was 
 set, is fixed above the figure of a sphinx 
 seated upon a Corinthian capital. The foot 
 of the candelabrum is formed of the paws 
 of three lions, with foliage and egg orna- 
 ment. (Height 4 ft.) (Pompeii.) 
 
 120. (Off: No: 72995). Sacrificial Tripod, 
 of beautiful execution. Its three lion-footed 
 legs are capped by a seated Sphinx, and 
 adorned with beautiful arabesques , and 
 bearded heads of Jupiter Ammon. The 
 legs are braced together by elegant sprays 
 of lotus , and centre in the conventional 
 device of the pensile lotus bud, an emblem 
 which probably came from India to Egypt, 
 and from thence, with the worship of Isis, 
 to Italy. The basin is adorned with fes- 
 toons and '^ bucrania," emblems which 
 remind us that it was intended to receive 
 the blood of sacrifices. (Height 3 ft. Side 
 of tripod 21 '/a in- Height of basin 3 '/, in- 
 
 The tripod is usually called the tripod ofthe Temple 
 of Isis , and no doubt it was consecrated to the 
 worship of that goddess, but it was, in fact, found 
 in a private house at Herculaneum. 
 
 121. (Off:No:73152).(a).CuRULECHAiR,made 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 21 
 
 to fold, with remains of gilding still discer- 
 nible. It was originally decorated witli 
 ivory carvings, which are exhibited in the 
 Museum. The ivory was so much damaged 
 that it has been replaced by wood. (P.) 
 
 The sella curiilis was the ancient Roman emblem 
 of the kingly power, but under the republic the 
 privilege of its use was extended to high officials. 
 It was displayed on all great occasions, notably in 
 the circus and the theatre, the statueof the reigning 
 emperor being often placed upon it; and it was the 
 seat of the praetor when he administered justices. 
 The legs of the specimen before us are of bronze, 
 but originally they were made of ivory, of which 
 we see a survival in their shape which resemble 
 an elephant's tusk. (See Smith , ' Diet, of Ant, 
 Sella Curulis.) 
 
 (Off: No: 72988). (5). Bisellidm. A 
 bronze seat , adorned with superb orna- 
 mentation. The obverse is decorated with 
 two finely executed horses' heads, and two 
 human heads with beards. The reverse 
 bears the heads of two swans aud tv/o 
 Medusas. (3 ft. 4 in. X ^ ft- 4 in.) [Pompeii.) 
 
 The right of using this seat was granted as a mark 
 of honour to distinguished persons, by the magis- 
 trates and people in provincial towns. 
 
 122. (Off: No: 72992). (a). Bisellidm 
 adorned with tlie heads of asses and of 
 men, aud elegant designs in silver and 
 red mastic. The reverse (5) is decorated 
 with the heads of swans and two masks. 
 Figure (c) give details of the ornamentation 
 (Ht. 2ft. Width 18 in. Length. 3 ft. 4 V^) [P.) 
 
 It has been conjectured that this specimen is not a 
 Usellium but a pulvinar . a seat or couch used at 
 the lectisternia, festivals of great importance in 
 Roman times, when the gods were placed upon the 
 pulvinar. as if they partook of the sacrifice. 
 
 (Off: No: 73946). (d). Folding tripod with 
 movable basin for sacrificial purposes. 
 (Height 23 in). (Pompeii.) 
 
 123. (Off: No: 78614). (a). Couch found in 
 January 1868 in a room to the right of the 
 tabliniDH of the house of Yibius at Pom- 
 peii. A strong box was found alongside it, 
 showing, perhaps, that this was the bed- 
 room of the master of the house. The bed 
 rests upon four bronze supports with rect- 
 
 angular bases richly inlaid with silver. It 
 has a head, much like a modern bed; de- 
 corated on one side with a bust of Ampe- 
 lus, in the round, squeezing a bunch of 
 grapes. Below this a Cupid holding a 
 rabbit. On the other side is a swan. These 
 emblems are all symbolical; the wine de- 
 noting luxurj^; the rabbit fecundity ; and 
 the swan comfort. There can thus be little 
 doubt that this specimen is a bed proper, 
 and not a couch for use at meals. Figures 
 [b, c, d) give details of the ornamen- 
 tation. It was made of walnut wood. 
 (Ht. 18 in.; length 7 ft. 7 in.; width 4ft.) 
 
 124. (Off: No: 73021). Strong-Box made 
 of iron, its obverse is adorned with bronze 
 nails , and two busts of Diana in relief; 
 between them the head of a wild boar. 
 Beneath , two genii of Bacchus and the 
 mask of a Bacchante. The elegant handle 
 at the top served to raise the lid of this 
 beautiful safe. (Height 36 in.; length 41 in.; 
 Yi'idth 23 in.) Found with the couches in 
 the house of Yibius, Pompeii. 
 
 DOOR FURNITURE. 
 
 125. Off: No: 71621-30). (a, b). Two 
 hinges exactly similar to our own. (Length 
 13X27 in.) {Pompeii.) 
 
 (Off: No: 71643). (c). Door pivot con- 
 structed to allow the door to fold back. 
 (Height 32 in. Diam. 3 '/».) [Pompeii.) 
 
 (Off: No: 71402). [d). Key of a very 
 complicated nature hanging by a chain. 
 (Length 30 in.) [Pompeii.) 
 
 (Off: No: 72738). [e). Lion-headed door 
 ring. (Diam. 5 in.) [Pompeii.) 
 
 (Off: No: 72966 . (/"). Door ring repre- 
 senting a fine head of Medusa with eyes 
 and teeth in silver. (Diam. 5 in.) [Pomp).) 
 
 (Off:;No: 71198). [g). Hook to fasten back 
 a door. (Length 5 'z, in.) [Pompeii.) 
 
 (Off: No: 71400 and 71401). [h, i). Door 
 keys, the latter (length 5 in.) richly inlaid 
 with silver was found with the skeletons 
 in the cellar of Diomede's house. [Pompeii.) 
 
92 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 (Off: No: 71375). 0"). The bolt of a lock 
 (Off: No: 714S4). (k). A bolt. {Pompeii.) 
 (Off: No: 71238). (/). Lockplate and key. 
 (m, n). Hook for a door , and a bronze 
 nail. {Pomjieii.) 
 
 SADDLERY. 
 
 126. (Off: No: 75571 and 7.5561). (a, c). 
 Bit similar to a modern one. (5 'j, in.X6in.) 
 
 (Off: No: 75558). (b). Modifications of the 
 nose-band still in use in Naples. (7 '|j in.) 
 
 (Off: No: 5718). {d). Ornament of brow- 
 band. (Pompeii.) 
 
 (Off: No: 7.5436). (e). Ornament for breast- 
 plate, inlaid with designs in silver. (P.) 
 
 (Off: No- 75379). {f). Ornament for breast- 
 plate. {Pompeii.) 
 
 (Off: No: 75854). {g). A buckle. (2 in.) 
 
 (Off: No: 75714), {h). Ornament of breast- 
 strap, still bearing the threads which origi- 
 nally attached it to the leather. {Pompeii.) 
 
 (Off: No: 109510). (i). A stirrup. (?) 
 (Height 5 in. Diam. 5 »/„ in.) Great doubt 
 exists as to this specimen , since neither 
 the paintings nor the mosaics ever show 
 a stirrup , and it is never mentioned by 
 the ancient writers. {Pom^ieii.) 
 
 (Off: No: 75535). (j). A curb-chain. 
 (Length 8 in. X 8 in.) 
 
 (Off: No: 7.5533). (&).An iron spur. (Length 
 4 '/j in.) {Pompeii.) 
 
 MUSICAL INSTRUMENTS. 
 
 127. {a, c). Cattle bells. {Pompeii.) 
 (Off: No: 78623). {h). Circular bronze 
 
 gong, with its striker hanging by a chain 
 
 beside it. It has a beautiful tone. (Diam. 
 
 10 in. Length of striker 4 '/a-) {Pompeii.) 
 
 (Off: No: 76941). (rf). Cymbals. (Diam. 4 in.) 
 
 (Off; No: 76945). {e). Sistrum bearing a 
 
 high relief {f) of a cat, a sacred animal 
 
 among the Egyptians. This was a bronze 
 
 rattle used in the worship of Isis. (8'/2 in.) 
 
 Off: No: 76891). {g, h). Flageolets. Length 
 
 1 ft. 9 in. These were the most important 
 
 of Komau musical instruments , and were 
 
 used on occasions of all kinds in the 
 temples, the games, and at funerals. 
 
 Cantafaat fanis, cantabat tibia ludis, 
 Cantabat maestis, tibia funeribus. 
 
 Ov. Fast. vi. 679. 
 
 (Off: No: 76890). {i), Fragment of an 
 instrument in bronze and ivory, thought 
 to be part of a bagpipe. It was found in 
 the barracks. 
 
 {j, k). Fragments of two trumpets. {Pom- 
 peii and Herculaneum.) 
 
 CHECKS FOR THEATRES, — INKSTANDS. 
 
 128. (Off: No: 77070 et seg.). {a to n). 
 Fourteen ivory checks, thought to have 
 been used for admission to the theatres. 
 The birds {i, j) are of terra-cotta, and are 
 supposed to have given admission to the 
 upper seats. {Pompeii and Here.) 
 
 (Off: No: 109880). {n). A numbered 
 deaths-head , bearing the number in pos- 
 sibly a free-ticket. {P.) 
 
 (Off: No: 76983). (0). A knucklebone. 
 
 (Off: No: 76998) {p). A die exactly si- 
 milar to our own ; (p') a die intended to 
 be loaded so that it might always throw 
 alike, (g, r]. Fish-hooks, (s). Netting 
 needle. {Pompeii.) 
 
 {t). Stylus for writing on the waxed 
 tablets. The pointed end served for writing, 
 and the blunt end for effacing what was 
 written. {Pompeii.) 
 
 (Off: No: 75091). {u). Bronze octagonal 
 inkstand found in a tomb at Terlizzi near 
 Kuvo. Martorelli, who has written upon 
 it, thinks it belonged to an astronomer 
 of the time of Trajan. It is adorned with 
 seven figures, inlaid with silver, represen- 
 ting the divinities which preside over the 
 seven days of the week. 
 
 (Off: No: 75095). {v). Eeed pen found 
 near a papyrus. (Length 4 '/2 i^^-) {Here). 
 
 (Off: No: 75090). {x). Double inkstand. 
 (Height 2 '/^ in. X 1 V2 in.) {Pompeii.) 
 
 (Off: No: 110672). (t/). Bronze pen in the 
 shape of a modern one. (Length 5 in.) (P.) 
 
 (Off: No: 75082). {z). Inkstand adorned 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 23 
 
 with pretty silver sj^rays. (Height 1 '/a in. 
 X 1 '/* in.) {Pompeii.) 
 
 LADY' S TOILET ARTICLES. 
 
 129. (OfiF: No: 77442, 77391-2, 77403). 
 {a, c, e, h). Pins for securing the hair, 
 made in bone, and surmounted by pretty 
 designs. (Length 4 in.) [Pompeii.) 
 
 (Off: No: 77370). {b). Ear-picker. (Length 
 
 3 ';„ in.) {Pompeii.) 
 
 (Off. No: 77214). {d). Mirror made of 
 metal. (Diameter 4 in.) {Pompeii.) 
 
 (Off: No: 69951). {f). Alabaster vase for 
 perfume. (Height 9 X 2 '/2 in.) {Here.) 
 
 (Off: No: 77354). {g, I). Bronze combs. 
 (Height 3 '/i X 2 in.) {Pompeii.) 
 
 (Off: No: 77358-9). {i, k). Ivory combs. 
 (Height 2 ■/„ X V, in.) {Pompeii.) 
 
 (Off: No: 69923"). {j). Bronze ointment 
 vase, hung by a chain wrought in a double 
 plait. (Height 2 ''/^ X 2 % in.) {Pompeii.) 
 
 (Off: No: 77363). (m). Bronze thimble. 
 (Height 'L X '/a in.) {Pompeii.) 
 
 (Off: No: 77569). (n, P)- Small ivory pots 
 for cosmetics. (Height 1 ^^, X 1 ','2 in.) (P.) 
 
 (Off: No: 77570). (0). Small rock crystal 
 pot {cri&ta.llo di montc) , found with the 
 " rouge" in it , which it still contains. 
 (Height 1 '/2 in. Diameter 1 V2 in.) (P.) 
 
 BATHING UTENSILS. 
 
 130. (Off: No: 69962-3). {a, b). Two 
 strigils with busts of Diana and Hercules 
 on the handles. (Length 7 '/^ in. each.) (P.) 
 
 The strigil was used after the vapour bath or 
 gymnastic exercises, to scrape off the perspiration 
 and the ointments with which the body was habi- 
 tually rubbed at such times. 
 
 (Off. No. 69947-42). (c, g, h). Pots for 
 containing ointment. The vase {letter g) is 
 
 4 ^'4 X 2 in. in height, and the vase {letter 
 ii) 2';5 X '/s in.) {Pompieii.) 
 
 (Off: No: 73765). {d). Small ladle for 
 drawing out ointment. 
 
 (Off: No: 69883). (c). Patera in which | 
 the ointments were mixed. Length 11 '/a in. 
 (Diameter 6 'I2 in.) 
 
 (Off: No: 68826). {f). Vase for the same 
 purpose. (Height '/s in. Diameter '/^ in.) 
 
 (Off: No: 73007). {i). Bronze bath similar 
 to those of our day, with four handles, and 
 a plug-hole to let off the water. (Length 
 4 ft. 6 in. Depth 18 in. Diameter 20 in.) 
 [Pompeii and Hercidaneum.) 
 
 SURGICAL INSTRUMENTS. 
 
 Most of the following surgical instru- 
 ments were found in the " House of the 
 Surgeon " at Pompeii. 
 
 131. (Off: No: 78034). {a). Actual cautery. 
 (Length 10 in.) 
 
 (Off: No: 78031). {h). A bivalvular specu- 
 lum working on a central pivot. It has 
 been the model of modern specula, (Length 
 6 in. Width when open 2 '/a in.) 
 
 (Off: No: 78005). {r). Scissors with a 
 spring like shears. (Length 4 in.) 
 
 (Off: No: 78026). {d). A male catheter 
 made in the same form as was re-invented 
 in the last century by the celebrated 
 French surgeon J. L. Petit. It is open 
 at one end, and closed at the other. At 
 the closed end is an eye, as in the modern 
 instrument. (Lerigth 10 '/2 in. 
 
 (Off: No: 78056). (e). Hook. (Length 6 in.) 
 
 Off: No: 78235). {f). An injection probe, 
 with eight small Jioles arranged like 
 wreaths as in the best modern instruments. 
 The other end was no doubt fitted with 
 a syringe. (Length. 6 in.) 
 
 Off: No' 78029). {g). Pompeian Forceps, 
 formed of two branches crossing and 
 working on a pivot. Each branch is fitted 
 with an engine-turned handle , and a 
 spoon-shaped blade. The length of the 
 handles gives great power to the operator. 
 (Length 8 in.) 
 
 Off: No: 7S032). {h). Forceps. (Length 
 
 4 '/o in-) 
 
 (Off; No: 77991). (/)* Capping instrument 
 of bronze. (Height 6 in. Diameter 3 in.) 
 
 (Off: No: 78199). [j). Medicine box with 
 medicines. (5 X 3 in.) 
 
2i 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 132. (Off: No: 77726). y'l). Spatula for 
 mixing ointments. (Length 7 in.) 
 
 (Off: No: 78003). {I). Lancet for bleeding 
 (Length 5 in.) (Borgia.) 
 
 (Off: No: 78007). {m). Fleam for bleeding 
 horses. (Length 5 '/^ in.) 
 
 (Off: No: 779S2). (n). Forceps. (Length 
 
 4 ■/, in.) 
 
 (Off: No: 77974). (o). Digitated forceps 
 with name of maker. (Length 7 '■j^ in.) 
 
 (Off: No: 78008). (p). Trocar for tapping 
 in dropsical cases, with a hole at the top 
 for the passage of the liquid. (Length 5 in.) 
 
 Off: No: 7801J0). (g). Small spoon with 
 bone handle, ending iit the head of a ram. 
 (Length 5 '/^ in.) 
 
 (Off: No: 78027). (r). Female catheter. 
 (Length -1 in.) 
 
 (Off No: 77637). (s). Bistoury or surgical 
 knife ; the blade oxidised and the handle 
 in bronze. (Length 5 '/^ in.) 
 
 (Off: No: 7S030). (t). A trivalvular 
 SPECULUM , an instrument which has been 
 very much discussed by archseologists and 
 professional men generally. It is composed 
 of three valves, standing at right angles 
 to the rest of the instrument, and jointly 
 dependent on one another in the expan- 
 sion transmitted only to one of them. By 
 turning the screw , one valve is drawn 
 nearer to the operator, and this forces the 
 other two to open iu a sidelong direction. 
 The instrument can be held by the two 
 curved handles with the left hand, while 
 the right hand turns the screw. (Length 
 8 '/^ in.; widest expansion of the valves 
 
 (Off: No: 77733). {u). Aspatula. (Length 
 7 in.) 
 
 (Off: No: 78144). (v). A case containing 
 surgical instruments. (Length. 8 X "/i in.) 
 
 ARMOUR. 
 
 This armour is Mghly decorated and 
 was only used for processions and shows. 
 
 133. (Off: No: 5664, 5675). (a, b). Gaun- 
 tlets {ocrect). (Length 18 in. X 18 in.) 
 
 (Off: No; 5637). (c). Epaulette. (Length 
 14X14 in.) 
 
 (Off: No: 5665, 5668). {d, d). Greaves. 
 (Length 22 X 8 in.) 
 
 (Off; No: 5735). (e). Cuirass adorned with 
 head of Medusa. (Length 44 X H in.) 
 [Ruto.) 
 
 (Off: No: 5686(. (/"). A belt. [g). A plate 
 showing the whole design of the belt. 
 (Length 3 ft. X 4 in). [Pompeii and Here.) 
 
 134. (Off: No: 5650, 5643). (a, b). Two, 
 helmets (galea) with vizor. (Length 16X12 
 in. and 17 X 14 in.) 
 
 (Off: No: 5669). (c). Circular shield with 
 head of Medusa, and an olive garland 
 inlaid with silver. (Diameter 15 in.) 
 
 (d). Quiver with arrows. 
 
 (Off: No: 5756). (e). Dagger in sheath. 
 The handle adorned with a fine eagle' s 
 head. 
 
 (Off: No: 9679 et seq:). (f , f, f, f). 
 Four lances of different shapes. 
 
 (Off; No; 5815 et seq:). (g, g, g). Three 
 battle axes. (Length 8 X 3 '/^ in.) 
 
 (Off: No: 5844). (h). A leaden sling bolt 
 with the inscription fir. This is one of 
 many found on the battle field of Cannse. 
 
 (Off: No; 72040). (i). Bronze axe-head 
 without a handle , to which a cord was 
 fastened, by which it could be slung and 
 then withdrawn by striker. 
 
 (Off: No: 73937). (I). A bronze collar, 
 meant to be worn by a slave, bearing the 
 inscription, ^^Servus sum tcne quia fugio" 
 I am a slave, arrest me because I am 
 escaping. (Diameter o in.) 
 
 (Off: No: 72998). (m). Stocks made of 
 iron, found in the barracks at Pompeii, 
 with the skeletons of four men fixed in 
 them, who were thus buried alive when 
 the city was destroyed. They were nailed 
 to the iloor of the gaol, so that the pri- 
 soners were obliged to remain stretched 
 on the ground. (Length 8 ft.) It was 
 probably in such stocks as these that Paul 
 and Silas were secured at Philippi. (Acts 
 xvi. 24.) (Pompeii and Herculanciim.) 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 25 
 
 AGRICULTURAL IMPLEMENTS. 
 
 135. (Off: No: 7 1764). (a). A spade. (Length 
 
 15'/, inX 11 '/.in.) 
 
 (Off: No: 71751-53-54). (&, b, b). Hoes. 
 (Length 15 in. X 14. The second 11 '/, in. 
 X 7. The third 13 in. X 8-) 
 
 (Off: No: 71731-34). (c, c). Heavy rakes. 
 (Length 12 Vj in., and lO'^ in.) 
 
 (Off: No: "71739). {d).' A pitchfork. 
 (Length 8 '/, in.) 
 
 (Off: No: 71813). {e). Clipping shears. 
 (Length 6 '/, in.) 
 
 (Off: No: 71700). {(). Reaping-hook. 
 (Length 14'/, in.) 
 
 (Off. No: 71969). [g). Scythe. (Length 
 12X3 in.) 
 
 (Off: No: 71705). {h). A pruning knife. 
 (Length 9 in.) 
 
 (Off: No: 71935). (i). An axe. (Length 
 Sin.) 
 
 (Ofi: No: 71964). (j). A plane. (Length 
 4 '/, X 2 '/, in.) (Height 2 in.) 
 
 (Off: No: 71969). (&). A saw. (Length. 
 11'/, X 3 in.) 
 
 (Off: No: 72030). (/). A mallet. (Length 
 3'/, X2'/, in.) 
 
 (Off: No: 71821-24-25-37.) (/w, m, m, m). 
 Chisels. (Length 9 \ in.) 
 
 lOff: No: 71876). (n). Mason's trowel. 
 (Length 10X3 '/, in.) 
 
 (Off: No: 71806). (o). Smith's pincers. 
 (Length 10 X 3'/, in.) 
 
 (Off: No: 72027). (p). Hard chisel. (Length 
 6X3'/. in.) 
 
 (Off: No: 71954-56). (g, s). Stone mason's 
 chisels. (Length 6X3'/, in.) 
 
 (Off: No: 71970). (r). Soldering iron. 
 (Length 2 '/, X 1 ^ in.) 
 
 (Off: No: 71962). [t). An anvil. (Heigth 
 5X4 '/, in.) 
 
 (Off: No: 71990). {u). A lever. (Length 
 29 X 2 in.) 
 
 (Off: No: 71993). {o). A claw. (Length 
 21 'i, X 1 \ in.) 
 
 STEELYARDS, W^EIGHTS, COMPASSES. 
 
 136. (Off; No: 76686). [a). Compass. 
 (Length 7 in.) 
 
 (Off: No: 76684). (c). Proportional com- 
 pass. (Length 6 in.) 
 
 (Off: No: 74390). [h). A weight in the 
 shape of a pig , marked P. C. (100 lbs). 
 (Length 6 in. X H in-) 
 
 (Off: No: 76665). [d). A plummet. (Heigth 
 1 '/= in. X 1 '/, in.) 
 
 (Off: No: 76690). (e). A linear measure. 
 
 The Roman foot was divided into si.xteen equal parts 
 which were e.xpressed by equidistant dots about "j 
 an inch apart; so that their foot was about !0 
 inches. 
 
 (Off: No: 74058). (/"). Steelyard graduated 
 from 1 to VII on the one side, and from x 
 to xxxin on the other , the pan being 
 supported by very elegant chains and 
 the weight representing a Satyr. (Length 
 of staff 1 ft. Diameter of pan 5 '/j in.) 
 
 (Off; No: 740S9). {g). A steelyard with 
 hooks to hang the object to be weighed. 
 
 (Off: No: 74518). (/i). Leaden weights 
 beariug the inscription " erne habebis." 
 " Buy and you shall have." (Length 2 '/^ 
 
 X 1 '/.in.) 
 
 (Off: No: 74594). (i). Liquid measure for 
 oil with an olive on the handle. (Length 
 4X2'/, in.) 
 
 (Off: No: 74165). (j). An ingenious ma- 
 chine for weighing liquids , which were 
 put into the pan, and the equilibrium was 
 adjusted by means of weights fastened to 
 the riug beneath, and by shifting the 
 position of the hook-chain along the gra- 
 duated slot in the handle. (Length 3X5 in.) 
 
 (Off: No: 74392). (&). A weight in the 
 shape of a knucklebone. (Length 6 X 10 in.) 
 
 (Off: No: 74393). {I). A weight in the 
 shape of a cheese. (Length 5X9 in.) 
 
 (Off: No: 74060). {m). A pair of scales. 
 (Length of staff 24 in. Diam. of pan 3 in.) 
 
 (Off: No:. 74601). (n). A measure for 
 
-26 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 grain, with triangular cross-pieces to de- 
 termicetlie capacity of the measure. (Length 
 10 X 11 in-) {Pompeii.) 
 
 KITCHEN UTENSILS. 
 
 137. (Off: No: 72983). (a). Kitchener or 
 BRAZIER in the shape of quadrangular for- 
 tress with four towers at the angles. In 
 the centre is a pan, in which the embers 
 were laid, the fire being surrounded by a 
 jacket of water contained in the square 
 conduit which flows round the battlements, 
 and could be drawn off by a tap. (Height 
 12 in. X 25 broad). [Herculaneum.) 
 
 (Off: No: 72986). [b). Economic kitchener 
 consisting of a covered cylindrical boiler, 
 communicating with a hollow semicircle, 
 provided with a tap to draw off the hot 
 water. The fire within the semicircle 
 heated the boiler , and the three swans 
 upon it are constructed to carry a trivet. 
 * (Height of boiler 18 in.: diameter 7 in. 
 Brazier 18 in. square). (Slabiae.) 
 
 138. (Off: No: 69167). Mlk jdg of beau- 
 tiful shape. The two goats on the edge 
 seem to indicate the use for which this 
 jug was intended. (Height 6 X 4 Va in.) 
 (Poiupeii.) 
 
 139. (Off: No: 73880). Bronze vases, (a). 
 Urn with two handles and lions' feet. 
 Inside a vertical cylinder for live charcoal, 
 round which lay the hot spiced wine , 
 which was drawn off by a tap in the 
 front, placed high up to prevent the sedi- 
 ment choking it. (Height with the cover 
 19 in. Diameter 12 '/a in.) {Herculaneuni.) 
 
 (Off: No: 68875-6). (6, cl). Two small 
 pails. (Height 10X9 in.) 
 
 (Off: No: 68984). (c). A small jug of 
 elegant design. (Height 5X5 in.) 
 
 (Off: No: 69079). (e). Libation cup of 
 exquisite workmanship and beautiful form. 
 (Height 8X4 \ in.) 
 
 (Off: No: 69087). (/"). Another libation 
 cup of very beautiful execution. The edge 
 
 is surmounted by an eagle. Height 7 "/a 
 X 4 in.) {Nocera.) 
 
 140. (Off: No: 76578). (a). Frying pan. 
 (Height 2 in. Diameter 10 Vs in.) 
 
 (Off: No: 76543). (6). Frame for cooking 
 twenty-nine eggs or tartlets at once. 
 (Diameter 19 in.) 
 
 (Off: No: 76544.) (c). Frame for four eggs. 
 
 (Off: No: 76581). {d). Stew pan. (Height 
 2X9'/, in.) 
 
 (Off: No: 74764, 74806, 74779, 74770, 
 73246-7). Four stockpots and two sauce- 
 pans. (Pompeii and Herculaneitm.) 
 
 141. Shapes for pastry representing. 
 (Off: No: 76355). (a). A hare. 
 
 (Off: No: 76352). {b). A sucking pig. 
 
 (Off: No: 76353). (c). Half a fowl. 
 
 (Off: No: 76354). (d). A ham. 
 
 (Off: No: 76299). (e). A mould like a 
 shell, with a head of Medusa in the centre. 
 
 (Off: No: 76275). (/"). A shell. 
 
 (Off: No: 76346 and 76335). {g, It). Paste 
 cutter. 
 
 (Off: No: 76313). {i). A spoon. 
 
 (Off: No: 73782). [j). A ladle. 
 
 (Off: No: 76349). (ft). A grater. 
 
 (Off: No: 76304). \l). A bronze knife. 
 
 (Off: No: 76614). (m). A gridiron. 
 
 (Off: No: 76533). {n). A spit. 
 {Pompeii and Herculaneiun.) 
 
 142. (Off: No: 72990.) Layer for lustral 
 water, richly a^lorned with elegant designs, 
 and inlaid with silver and red mastic. In 
 this laver was found a whisk for sprinkling 
 the holy water. (Diameter 2 ft. 10 in.) 
 {Temple of Isis, Pompeii.) 
 
 143. (Off: No: 73018). Bronze Stove of 
 cylindrical shape and beautiful workman- 
 ship. It stands on three lions' feet , and 
 has four handles, of which two are fastened 
 to the sides by models of human hands. 
 On the upper part are two handles each 
 formed of two wrestlers, whose exertions 
 are portrayed with wonderful realism. The 
 lid is surmounted by a Cupid astride on a 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 27 
 
 dolphin holding a lyre in his right hand. 
 The upper part of this stove forms a boiler, 
 which communicates with the fire bars 
 beneath , which are hollow. The comic 
 masks at the back of the stove form up- 
 takes for the fire, while the one over the 
 stove door communicates with the boiler, 
 and may once have been furnished with 
 
 a tap. (Height 3 ft. 6 in.; diam. 14 in.) (P.) 
 
 144. (Off: No: 68854). Pail richly em- 
 bossed and inlaid with silver. The two 
 handles fall back, and form a rim to the 
 pail. On one of the handles is the 
 inscription " Cornelke S. Chelidonis. " 
 (Height 17 in., diam. 12 '/s in.) {Here.} 
 
 «e=3::;5ig54=^:>^s^ 
 
 TALO-GREEK YaSES. 
 
 The Naples Museum contains a collection 
 of something over four thousand vases, 
 found in ancient tombs in the neighbour- 
 hood of the Old Greek colonies , and 
 dating from the period when this part of 
 Italy was called " Magna Grecia." Some 
 of these vases were brought from Greece, 
 but by far the greater number were 
 made in Italy several centuries before the 
 destruction of Pompeii. They are divisible 
 into five great periods, namely, the Ar- 
 chaic, the Panathenaic, the Grand, the 
 Transition, and the Decadence, and they 
 date over the four hundred years from B.C. 
 600 to B.C. 200. It is desirable to remark 
 that these vases are commonly but er- 
 roneously called *' Etruscan." The Etrus- 
 cans made no painted vases at all that 
 deserve the name, whereas the Greeks 
 excelled in this branch of art and produced 
 exquisite models decorated with a skill 
 that we have never been able to equal. 
 The method of painting them was as fol- 
 lows. "When the vase came from the lathe 
 it was covered with a coat of red j^aint. 
 The ornaments were then drawn in black 
 and afterwards the figures were delineated 
 with a stylus. The black background was 
 then painted in, and the finishing touches 
 put in by the artist before the final baking. 
 
 They were mostly found in tombs, some 
 of them containing ashes of the dead and 
 jewelry, and others empty. 
 
 We give two ^^lates showing the forms 
 of the types most usually found , and 
 illustrations of the most celebrated vases 
 of the collection. 
 
 These two plates (145 and 146) show 
 the various forms of Italo-Greek vases, and 
 will be very useful to students of this 
 branch of Archasology. These vases are 
 generally known in commerce and in books 
 by their Italian names. 
 
 145. (a) A rotellc, from the curved tops 
 of the handles, (b) A j)iascheroni, from 
 the masks upon the handles, (c) A girelle, 
 from the globes on the handles, [d] La- 
 gena. {e) Bacchic Amphora, (f) A tre 
 manichi , because it has three handles. 
 [g] Rython. (h) A campana, because it is 
 of the shape of an inverted bell, (i) Bal- 
 samnrium. (k) Lepaste. (l) Lehane. (m) 
 Cylix. (n) Skyphos. (o) Askos. {p) A lamp, 
 (q) Askos. (r) Cantharus. 
 
 146. (a). A ?iodi, that is having a kuot 
 in the handles, {b) A incensiere, the neck 
 and mouth being trumpet-shaped, (c) A 
 colonnette, from the small columns that 
 
"28 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 support the rims, (d) Amphora, {e) Ca- 
 Uce, being in the shape of a chalice. (/") 
 Urna, or funeral urn. [g) Rhijton, in the 
 shape of a horse's head, from which liba- 
 tions were poured through a small hole in 
 the mouth. These vessels were also used 
 to drink from, as we learn from many 
 frescoes, the vessel being held up in the 
 p.ir and the wine allowed to pour into the 
 mouth of the holder, (h) Lacrimatoio. 
 (i) Prochous. (h) A 2:)roefe7'iculwn. (/) Can- 
 tharus. (m, n, o) Paterae, and the remain- 
 der balsamarii , small vessels used for 
 ointments and perfumes. 
 
 147. Ehytons of grotesque shapes. These 
 vases were used for pouring libations and 
 also for drinking. They have a small 
 hole at the extremity, through which the 
 wine could be sucked, and besides this we 
 see in the frescoes many examples of their 
 use at sacrifices. They were found at Nola 
 and in the province of Basilicata. 
 
 148. (Jellow No: 2882j. The Vase of 
 Darius, {Transition Period). A colossal 
 vase on a tripod, a inascheroni, with sixty 
 figures of exquisite execution. It is one of 
 the few historical vases in the collection, 
 and represents Darius in the centre, seated 
 upon an elegant throne , holding the 
 golden sceptre of the Persian monarchy , 
 meditating an expedition against Greece. 
 Behind him, a sentry, who was commanded 
 to repeat to him daily, "Remember, 
 king, to punish the Athenians," and 
 two councillors in earnest conversation. 
 Before him, his prime minister, represen- 
 ting the Persian nation (nEfiWi), holding 
 up two fingers , and informing the king 
 that the success of the enterprise depends 
 upon two things: first, the goodwill of the 
 provinces ; and secondly, the contribution 
 of money. Behind him, two councillors 
 repeating his gesture, and an old peda- 
 gogue. In the bottom order, the treasu- 
 rer, with a dissatisfied countenance, is 
 seated at a table, collecting the contribu- 
 
 tions from the provinces, which, from the 
 inscription on the tablets, seems to have 
 amounted to eight talents, or L1600. 
 
 One province is paying, the others are 
 begging for more time, while one behind 
 the treasurer brings an offering of gold 
 plate. 
 
 The upper order represents Greece backed 
 up by Athena, with segis and shield, who 
 pats her on the back as she introduces 
 her to Zeus, who, with Hera and Ar- 
 temis, make up the picture on the left. 
 Behind Minerva, Apata (the Goddess of 
 craft), with lighted torches, and, beneath a 
 hermes of Artemis, the Asiatic provinces 
 of Greece holding a sceptre. 
 
 The neck represents the battle. This 
 has been mistaken for a battle of Amazons, 
 but it represents the Greeks fighting the 
 same Persian provinces as are seen at the 
 bottom of the principal picture. 
 
 Reverse; Greece mounted on Pegasus, 
 crowned by Victory. (Height to top of 
 handles 4 ft. 6 in.) (Canosa.) 
 
 149. Side view of the same vase showing 
 the lotus bud ornament , which was so 
 much adopted for decoration in the Tran- 
 sition period of vase-making. 
 
 150. (Jellow No : 2357). Vase of the 
 shape technically c,iiX\&A.0lla{Gra7id period.) 
 This beautiful vase represents the festival 
 of the Vinalia, or end of the vintage, a 
 festival answering to our harvest home. 
 On the left is the priestess Dione about 
 to pour a libation before an image of 
 Bacchus. On the right stands Mainos, and 
 on each side a Bacchante with lighted 
 torches. The ladle {simpnluni) by the side 
 of the vase was found inside it, and is similar 
 to the one in the hands of Dione. 
 
 On the reverse of the vase are four 
 female figures. The first playing the tibia. 
 The second, Thalia with the Bacchic thyr- 
 sus and a lighted torch. The third Koreia, 
 clad in a goatskin and striking a tambou 
 rine, and the fourth a Bacchante with the 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 29 
 
 thyrsus. This vase is alike remarkable for 
 its beautiful design and its wonderful 
 varnish. (Height 1 ft. 10 in.) {Nocera clei 
 Pagani.) 
 
 151. (Jellow No : 777). [a). Incensiere. 
 This form of vase is called by this name , 
 because it is supposed to have been used for 
 containing perfumes. It is very beau- 
 tiful in form and from the paintings upon 
 it, it ■n-Quld appear to have been dedicated 
 to a young \&Ay. On the obverse of it 
 is a shrine in which appears a girl with a 
 
 dove in one hand, and a mirror in the 
 other. (6, c). Two ProcAo/ of elegant shape 
 with winged Cupids and Bacchanalian 
 emblems. 
 
 152. Olla (of the best period of the 
 Transition), representing a gymnasiarch, by 
 name Pylades, with two women. 
 
 153. The reverse of the same vase re- 
 presenting Hercules delivering Dejanira 
 from the centaur Nessus in the presence- 
 of Oineus. (Found at Nolo). 
 
 -^C!&'<ti~<^^^^i« 
 
 The Papyri. 
 
 Thi.s collection is as interesting as it is 
 unique. It consists of some eighteen 
 hundred charred rolls of Papyrus found in 
 January 1752, in a house 100 feet beneath 
 the garden of the convent of St. Augu- 
 stine at Resina (Herculaneum), in which the 
 Mercury in repose , the Drunken Faun , 
 the two Discoboli, the sleeping Faun , 
 the busts of Plato , Seiieca , Scipio Afri- 
 canus, Epicurus, Demosthenes, and Zeno, 
 as well as the monochrome paintings were 
 also discovered. They were mistaken for 
 charcoal , when first found , but it was 
 subsequently discovered that they were 
 books, and the Rev. Abbot Piaggi invented 
 
 an ingenious plan by which they might be 
 unrolled and read. They are written in 
 G-reek or Latin, and consist of about one 
 hundred pages. Some five hundred have 
 been published. Nothing of great impor- 
 tance has hitherto been found, but as the 
 research continues, it is hoped that_some 
 gre.nt literary treasure may yet come to 
 light. 
 
 154. Fac-simile of a portion of a Greek 
 papyrus by Philodemus. It treats o£ 
 liberty of speech, of its utility, and of the 
 different ways of correcting the vices of 
 humanity, {Herculaneum.) 
 
30 
 
 SPECIMENS FROM THE NAPLES MUSEUM. 
 
 EDIyEYAL, 
 
 -p 
 
 IL PAINTINGS. 
 
 e~0(S>^xS¥?>-®^ -^^^ 
 
 155. (Off: No: 10516). Dante. A bronze 
 head bearing his name. (Height 1 ft.) 
 
 This is a work of the 16th century, and 
 is thought to have been cast from a mask 
 of the poet's face taken after death. 
 
 (56. (Off: No: 10520). The infant Her- 
 cules strangling the serpents. This is a 
 fine work of the 16th century. (Height 3ft.) 
 
 157. (Off: No: 5). Life-size cartoon by 
 Raphael, painted for one of the rooms of 
 the Vatican, representing Moses on Horeh 
 hiding his face at the sight of Jehovah. 
 
 It is composed of small sheets of paper 
 fastened together. (Height 4 ft. 6 in. X 
 3 ft. 8 in.) 
 
 158. (Off: No: 5). Giulio Romano. The 
 Holy Family with Elizabeth and St. John. 
 This "picture is known as the ^^ Madonna 
 del Gattor (Height 5 ft. 5 in.X4 ft. 5 in.) 
 {Panel.) 
 
 159. (Off: No: 22). Raphael. Holy Family, 
 known "as la Benedizione, or la Madonna 
 del Divino Aniore." A very fine example. 
 (Height i ft. 6 in. X 3 ft. 6 in.) [Panel.) 
 
 160. (Off: No: 19). Raphael, after An- 
 drea del Sarto. The Pope Leon X seated 
 between the Cardinals Luigi de Rossi, and 
 Giulio dei Medici. A celebrated picture. 
 (Height 5 ft. 3 in. X 3 ft. 11 in.) {Panel.) 
 
 161. (Off: No: 7). Correggio. The mystic 
 marriage of Saint Catherine. (Height 10 '|j 
 in. X 8 '/j in.) {Panel.) 
 
 162. (Off: No: 15). Leonardo da Vinci. 
 The Virgin and Child. Purchased at Rome 
 by Ferdinand the First. (Height 34 in.X 
 23 in.) {Panel.) 
 
 (63. (Off: No: 3). Correggio. The Virgin 
 and Child, known as '■' la Zingarella.''^ 
 (Height 19 in. X 16 in.) {Panel.) 
 
 164. (Off: No: 12). Parmigianino. The 
 Virgin and Child. (Heigth 34 in. X27 in.) 
 
 [Canvas.) 
 
 165. (Off: No: 1). Anniral Carracci. 
 " La PiekV (Height 4 ft. 3 in. X 4 ft. 
 11 in.) {Canvas.) 
 
 166. (Off: No: 21). Schidone. Love. (Height 
 3 ft. 32 in.) {Cajivas.) 
 
 167. (Off: No: 11). Titian. Portrait of 
 Philip II of Spain. (Height 5 ft. 3 in.X 
 3 ft. 3 in.) {Canvas.) 
 
 Philip II was wounded by the refusal of Queen 
 Elizabeth to marry him , and was smarting under 
 the loss of many treasure-ships. Actuated by these 
 feelings, and by a strong desire to suppress Pro- 
 testantism, he equipped the invincible Armada and 
 a large army to conquer England. The Armada was 
 destroyed by lord Howard of Effingham, A.D. 1588. 
 Philip was King of Spain in 1586. when the Spanish 
 Viceroy, the Ducke d' Ossuna , laid the foundation 
 of the Musenm building. 
 
 168. (Off: No: 5). Titien. A superb life- 
 size picture executed about the year 1545, 
 and representing Jupiter in the form of 
 a shower of gold, entering the chamber of 
 Danae. It is justly considered one of Ti- 
 tian' s best works , and the galleries of 
 Vienua and St. Petersburg both contain 
 
SPECIMENS FROM THE NAPLES MUSEUM. 
 
 31 
 
 a picture of this subject by the same master. 
 (Height 3 ft. 10 iu. X 5 ft. (3 in.) 
 
 Danae was daughter of Acrisius, King of Argos, hv 
 Euridice. An oracle having told Acrisius that his 
 daughter 's son would put him to death he con- 
 fined Danae in a brazen tower , to which Jupiter 
 
 obtained access as above explained. Some suppose 
 that the shower of gold indicates a bribe paid to 
 the servants of Acrisius by Jupiter to admit him to 
 the tower. Danae became the mother of Perseus, 
 who slew Medusa, and was one of the great legen- 
 dary heroes of Greece. 
 
 THE END. 
 
■ 
 

 4' 
 
 .^ 
 
 .^« 
 
 mm^m. ^ 
 
 )^^. 
 
 
 V. Mollame d 
 
 GFusaro inc 
 
 TELEPHE NOrRRI PAR LA BICHE 
 
THESEE DEliI^^4IfT I.ES ENFANT S ATHBRIBNS 
 
ACHILLE RECOMILT 
 
PAmendola 
 
 L^ 
 
 •:iJITCATI©W D'ACHIIiliE 
 
K^ 
 
 P AmenflDlamc. 
 
 BAt:CHUS ET ABIANE 
 

 1 
 
I 
 
 I ': 
 
 V Moll.^e cJ.s 
 
 G- Fus 
 
 LE SAf KIPIfE D IPHIGEME 
 
•^»tntiiie, truii^Lt' 
 
 €QIJ] 
 
V'Mollanie-tlis 
 
 PAmenclola inc 
 
 MS TMOIS E41ITIES DU MOMIE AWTIQUE 
 

 RM.dis. 
 
 
 r. Ajaenclola inc 
 
MBA 
 
 C.Jfmffra 
 
V: MoUsTne Jis 
 
 G. Fv. 
 
 ^y ^f/tfuif. ^ Vuiaie 
 
 MEDEE ET HES ENFANT S 
 
IJES TEINTUBIBaS 
 
r. Am«niola li 
 
 BIVEHTISSEMBNTS BE iT EWFANCl 
 
LA CABICATf BE BE SENBtUE 
 
OFusaic ,„c 
 
 ;S THOIS GRACES 
 
P.AmendoIa 
 
 ^''e/rUtire iiii/rMf 
 
 BACCHANTE 
 
P j^mpyilola inc 
 
 BACCHANTE 
 
- IC- 
 
 P.Ab. i.jnia 
 
 .tl'i'i'iiliiri' iiiiiivl'c 
 BAC THAME 
 
r,Aii...Tia,iir. ii.c 
 
 lATCHANTE 
 
•^z. 
 
 AOHNAIOZ 
 
 ErPAiEN 
 
 liES WIOBIDES 
 

 
 T^ 
 
 f^ 
 
^ 
 
 M 
 
 ^ 
 
 'K 
 
 
 
 
 < 
 
 Xr 
 
 p4B( 
 
 *L, 
 
 H 
 
 
 
 
 
 ^ 
 
 ^ 
 
 '~^ 
 
 e 
 
 
 >m 
 
 
 « 
 
 
 T// 
 
*5 flIMII j 
 
 . SI 
 
 ^^>^ 
 
; Q 
 
 -a"- 
 
< 
 
< 
 
 H 
 
I- 
 
 K 
 
w 
 
 •Ji 
 
 Ml 
 Ui 
 eS 
 
 < 
 6- 
 
I 
 
 
 *» 
 
3?> 
 
 
 
 ^i 
 
 ^ 
 
 
 
 s 
 
 ^ 
 
 
 
 o 
 
 ~7 
 
 
 
 
 
 1 
 
 c 
 
 <> 
 
 '^ 
 
 0, 
 
 
 
 1/ 
 
 
 
 0^ 
 
 u 
 
 
 
 <> 
 
 /) 
 
 o 
 
 (^A^V 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 e 
 
 
 
 
 
 
 
 
 
 
 
 c 
 
 
 
 
 
 
 
 
 
 'M 
 
 
 
 I'Am-Tirlnl,, 
 
 
3^ 
 
 * ! ) 
 
 ^f 
 
 ': y 
 
 \-^ 
 
 * 
 
 ■I 'J 
 
 i J- 
 
 
 «*N5 
 
 F Ivlori dis 
 
 G Fusa 
 
 [BAT BIB cogs 
 
SCENE C 
 
36 
 
 ^ 
 
 1', XLinoiaiia (ts.ed ill 
 
 y'iyCrrUxA, 
 
 miVIEBS 
 
37 
 
 P. M;irtoiaiia rlis t> jno 
 
 ty)L 
 
 xKifJU-d^u-e^ 
 

 
 
 4m3 
 
 
 "^.r. 
 
 
 
 
 <.3. a 
 
 a^ ; z 
 
 ■1 1-' 
 
 s;eHK< 
 
 
 
 
 IF; 
 
 
 
 
 1^1 
 
 /- *^ s: ^ -rj •-* — 
 
 «^ -^ 
 
 •A ^ t- = 
 
 w i? M 2 e 
 
 -; ui K 
 
 < IC < 
 
 CI UJ »- 
 
 _§pa|3 
 
 si 
 
 UJ < 
 
 :z s>=-' 
 
 
 '^1 
 
 ii Jj X w : 
 
 a<5 
 
 O > -1 
 
 2 s 
 
 <i cd§< 
 
 < crt o- 01 < *3; 
 
 -. ^ Lj < «^ :z s 
 
 
 ■2'^x 
 
 S2- p 
 
 i. 
 
 !-= — X 
 
 . > = T J W 
 
 r^ ~ c c= 1-1 5^ u4 
 
 a ■-'- !^ -i e i ^ 
 
 a Q g .7, ■'-^ 
 
 - V. g ; 2'S 
 
 UJ ^ ^ ^ 9 >■ ^. 
 
 ? ]; ■* •i t; '^ ti 
 
 g s g -'■ e a ^ 
 
 P ^ u 
 
 LM UJ > 
 
 Hi ^ " 
 
 u* <a: w O oc 
 ■=: c^ X u- p 
 
 
 i; i hq 
 
 Sg3 
 
 ^ > o S 
 
 > t. 5 E <= 
 
 < •■i S S 2 
 
 ^ ^ ^.' ~ fi. 
 
 ■^ a ? u 
 
 55. 
 
 w 2; -^ '•* = 
 
 C- 7- — ^' ^ 2l t: 
 
 
 is " J "• 
 
 s> ^ S, S! 
 
 < ^ tt u < 
 
 5 < S - 5 
 
 
 ^. :e <^ 2- >- ' 
 
 
 
 ^ J-, q, >- c- ^ r 
 
 I i £ s :^ I g 
 g E ?■ a > •'■ ,;; 
 
 = s S 
 
 HIP" 
 
 Ld ^ a:: j£ ,< 
 
 g^5 
 
 ■ g ~, 5 ' 5 'J i; 
 
 r t; r at; 
 i 2 c i; --, fc 
 
 ^ r< 
 
 5li 
 
 W iC > 
 
 ^ rr T- 
 
 
 urn 
 
 25>: 
 
 ij 5 to 
 
 ^ — ^ 
 
 
 §Si i 
 
 a. ^^ 
 
 :^ < Itj 3 
 
 5 ?< .^ u 
 
 
 O 
 
 ■^ 
 ^ 
 ^ 
 
 
 piuj 
 
 
M. 
 
 
 LE TAIREAU PARNEsE 
 
1.' HEMCTI^B FABimSB 
 
F Mori dis e iiiL- 
 
 FLOB^ FAHWES] 
 
F-Mon d 
 
 ty/uz-rSre. 
 
F.Mori Jij e in£. 
 
 BA1,IBFS FI1( 
 
r.Mondis e mc. 
 
 YBriWS YICTOaiEWSE 
 
V: Monl cl 
 
 FAUINl 1 T B AC C IH;S 
 
47 
 
 r. Mori dis e inc. 
 
 AMISTIBE 
 
i 
 
F.Mori dis- einc. 
 
 ^^/uy^/yr-t 
 
V M.'i'i .lis ^ 1 inM - _ 
 
 
IJRANIE 
 
r.Moi-i del 
 
 F Ammeiiflolfi mr 
 
 AlfEXARDIiS -SETSBE 
 
LI GS^ll Bl HOME 
 
■53 
 
 F-Mwidis 
 
 ANTIWOUS 
 
 0.Mar1OT-ana iiir. 
 
5i, 
 
 V. MoUame dis 
 
 GTiisa 
 
 TKNUS AG CM 
 
F Mur> a,.. ,, ,,,. 
 
 » Z^T^e 
 
C.M.dis 
 
 TENUS CAIjLiIPTfiE 
 
F.Moi'i ^is. e ir^c 
 
 
MENTIS BE MEDICI 
 
59. 
 
 ISIS 
 
 GKisaro dis e inc 
 
m 
 
 V MolUrr.e dia 
 
 BIAWE 
 
1.^ , .J 
 
 MANE 
 
(7. dr Cant mr. 
 
 PSYCHE 
 
6. 
 
 
 7(a.r6^i 
 
 ^/UitS^c 
 
 AMOUR IT BATTPHIN 
 
fA 
 
 G-ius- Cavisrretta dis 
 
 'j!ov;Fu4dro 
 
 t^/Ca^&Z-^ 
 
65 
 
 f. -VTon dir c 1 
 
 

 
a. 
 
 68 
 
 
 /?t t?;'')i^^:y!y.;^ r\^. h%y mo^nm s 
 
 
 \\ Radente inc 
 
G r\tsAro 
 
 , It a r ore 
 
 CICERON 
 
10 
 
 *~jr Fusaro dis e inc 
 
 ^/a rare^ 
 
AlCUS.Al'BELU'S 
 
12 
 
 K.Mori ai 
 
 lACALLA 
 
 G. I'u-iaro iiir . 
 

 ^ 
 
 
 

 rf;^ 
 
 
 
 
 
76 
 
 Jii!'a!ii::maigjiiflni!t! mi:!in:iiu 
 
 E PisauH <iis.e inc. 
 
 tOTl/l^^ 
 
 SYLENE 
 
77 
 
 
 

■FMoi-i dis. 
 
 ?Ameticlulf\ inc. 
 
 EMJNS BOHMANT 
 
f-(7 
 
 qitSEiiiii.aTpii 
 
 _%^"«|,/^,,^-^22^^^| 
 
 iliii 
 
 f 
 
 F Mori dt; 
 
 f^Ut^TZ'Z/' - 
 
 Rl 1^1 
 
G- Fu'^aro d\s e inc 
 
 MEMCVRE All REPOS 
 
82 
 
 t^z 
 
 t^o^T/Le-- 
 
 BACCHUS BT AMPSLUS 
 
F.Mori del. 
 
 

GFi 
 
 usaro inc. 
 
 ]ESAIl AUGUST! 
 
V Mollame di 
 
 
^7 
 
 (j Fus aro cli? 
 
 . 'Kjft^/i\r 
 
 At TRICE 
 
Viri MolUme di 
 
 
Fus tvr o dis e 1 
 
 ALEXANDRE IE GrJlAND 
 
36\ 
 
 G" Y usar o dis, e mc 
 
 AMAZOPS'E 
 
Ci. Fi-[soro inc. 
 
PAmenfioU inc. 
 
 DIANE 
 
"3 
 
 4'' 
 
 F, AmendoU iTir 
 
 
^^kJ^ 
 
 "^Sa^ 
 
 f.Am^dola.n,.. 
 
 LA F O R T ir N E 
 
r.Amen.lr,! 
 
 L ABONDAKCE 
 
T\j^£iro mc 
 
 . Olt^riif- 
 
 STATUETTE POUR FONTAINE 
 
9? 
 
 FM-iri dn f till 
 
 ^^ 
 
 ^t(?7t/Z£^ 
 
F.Mori dis. 
 
 'yOto^ny^ 
 
 P. Annnen^oLa i 
 
 111 cei^AlL BU ^UADBIGl BE I^lllON 
 
100 
 
 l.Mr^S OriSBMl^l BIN ^VIKBIE-BI^IV 
 
P.Martoir-ano 3i£ 
 
 SSS FUPJEMAIMES 
 
 A.Oliieriinc. 
 
102 
 
 P.Martorans dis 
 
 VASIS BOMBSTII 
 
 A 01>ieni 
 
103 
 
 COUPES 
 
iOf, 
 
 mmmm^mfwWi 
 
 COUPES 
 
IG^ 
 
 F Mui'i del. e \wc . 
 
 Ca, 
 
 '.,a/n.&e^ 
 
 liATASSB FAanSSS 
 
W6 
 
 Ca?n^i 
 
 ^^€4 
 
 L-.Fus 
 
rffx 
 
 ^3 
 
i08 
 
 Cctm. 
 
 ^£^<i 
 
io:'/ 
 
 La7}i 
 
i;^ 
 
 ^^il)il#' 
 
 ?,An„„a..i. .1., ,.1 ,-„, 
 
 iklji't} (7/ or 
 I'CILLIER AOIIAFE eXc 
 
f. Marlorana. dis 
 
 
 R. Ra-detvte inc. 
 
ii3 
 
 P. Mario rona dis . 
 
 COITB 'MOS.TI1M 
 
 Pl Radttvtf, vixc . 
 
^.'A S E S EN ARGENT 
 
I'S 
 
 GFu 
 
 5aro inc. 
 
 CANBELABBE DE DIOMEBE 
 
f.AmendoIa inc. 
 
 LAMPE 
 
//7 
 
 P.AmenQola mc. 
 
 liAMPES 
 
/v^- 
 
 .MTSS etL ANTE1\?'E 
 
di9 
 
 
 y 
 
 Vin MolUrn. i,. 
 
 G.Fus 
 
 CANDELABRES 
 
^i^%0mj^i 
 
 
 IMnrt ti; 
 
 IS. e irir 
 
 TBBMED P©UB SJ 
 
-''''■'!' " ' 'wiii'dlt'-'-'i'-li^ ft^^K 
 
 PAmmilJa i 
 
 THAis'E rrpaaE _ o iiseuhtm 
 


 
 
 
 9 
 
 
 
 
 ^ , 
 
 
 
 
 o 
 
 
 o 
 
 
 
 
 
 a 
 
 ^ 
 
 a 
 
 ], ' , 
 
 a 
 
 1- ^ 
 
 « 
 
 l.;l - 
 
 
 
 ~' 
 
 a 
 
 K:' 
 
 '^ 
 
 - .* 
 
 -5 
 
 ; ' 
 
 o 
 
 9 
 
 g 
 
 o 
 
 f5 
 
 O 
 Q 
 
 n 
 
 o 
 
 (5 
 OH—" 
 
 >-^p 
 
 9 ft % 
 ©O '30 
 
 © 
 o 
 o 
 o 
 
 o 
 © 
 
 e 
 
 a 
 
 go '5"? 
 
 >l 
 
 o o o *> "5 "» g ■? °> .3 '5 9 a?' 5 -3 '^ g "^ 3 ;? o 
 a Q 
 
 O 9 
 
 h 
 
 -'s 
 
 oooo aoaoo aots 
 
 a®" 
 aoa 
 
 e a o o <5©o 
 
 i!3 (5 o o eoo 
 o I, — ^ lis 00 
 
 aao 
 aao 
 
 9 <5 a ® o o <5 o o a "^ <3 
 Qflo^oia ao c3 f^as 
 
 ©isaogoono oao 
 
 oao<3 ooqqo oqo 
 apo oar; o o o o q^ 
 a OS" ~ 
 
 o oa 
 a ae 
 o o© 
 
 ooes 
 o ao 
 
 0O9 
 
 aao 
 aoo 
 
 ao<9 
 ©ao 
 
 a0(?o'30'300ocso 
 
 , 
 
 — ' J"— ■--->--- — =-> *J ji ^^ 
 
 
 
 
/^y 
 
 V MolUrr.a dl5 
 
 C-F- 
 
 s*iro iiic 
 
 ^,'/C /ti,G- 
 
 OBIETS DE POETES 
 
■:(S.5 
 
 HABNAIS POUIFl 1.1 S tHSTMIX 
 
1'A.nc.u)ol.. \n< 
 
 -iS 
 
 V XoU.ime dis 
 
 {^yjfyy//yX-e. 
 
 INSTRUMEI^TS BE MUSIOl'E 
 
] FERNIX 
 
 A RPA X 
 
 /2^. 
 
 '^'"^ ^ 
 
 y 1 X 
 
 
 T1 
 
 
 
 
 yiri 
 If 
 
 ^UA'^ 
 
 ^^ 
 
 tfjiiiet-s- cu' tAe^itri 
 
 'e. e^i^yr^^rs ek. 
 
i29 
 
 '"Moll a me ji; 
 
 ARTICLE ^ BE TOILETTE 
 
■I'icy 
 
 V. McHawift- ii'i. 
 
 AOawrt inr,. 
 
 *S FOUBLBS BAINS 
 
VMoll 
 
 IWSTftUMlNTSBE CHIRVR&IB 
 
 P.AmeniiulA liu 
 
i'jl. 
 
 V MoUaine Ss 
 
 A.Ollien iiv 
 
 t^y?Z/Z£^ 
 
 iWSTIiUMlKTSDB CHIEUMGH 
 
i33 
 
 >i/ . 
 
 ^^./v^AA^^A A^ ^AA^/^ A^A^A AA,A /v^A^A A^ /. /. A /• A 
 
 o 
 
 /:/- r r AA.A^, AA/, A.>\ A.AAAAAAAA/V.AA A A A A AA AA AA A AA AAAA 
 
 V; Mollame dis 
 
 .ARTS, BIiyi.SSARTS ETC. 
 
 G.F 
 
 'vj". r usaro \nc 
 
V Moll^me J. 5 
 
 G. Fu-. 
 
 AR[v|lRES, I'ASQUES ETC. 
 
/J./- 
 
 ©ITTILS D AGSiriULTUIiE BE MENWIgllllS ^2r 
 
136 
 
 t*.AmendDla inc 
 
 
137 
 
 
POT-AU-liAlT 
 
f.J.,r,,nJulj ..ic 
 
 i'y'a^i^'d- cy/^ /jro/i'/./^ 
 
H,cy 
 
 ilETg BE CUISINE 
 
HaI 
 
 iJETS BE CUISINE 
 
/ii 
 
 imw mnr^rr TTinnirEiini^^^ 
 
 P..l.T.Si-.i,U 
 
 
 iASSIN POUR L* EAU LUST RALE 
 
/i,3 
 
 ^ 
 
 e^ 
 
 V Mollame iis 
 
 34^ 
 
 l/^rt^ni^. 
 
 ■ riA 
 
 ■J- riAsaro mc- . 
 
 FdJlUBNIEAF I Ca^/^u,^ 
 
if.4 
 
 PAmmdoU aii. 
 
 ■^■ronzf 
 
 HYBHIA 
 
//,' 
 
 A. RuJio Aii 
 
 FOBMSS DE VA^^.BS 
 
 A-OBiera:-.. 
 
f/.<- 
 
 ,\ u 
 
 A Pcttsso dis . A.OlHeri mc . 
 
-/^' 
 
 V-MoiUn^e ciis 
 
 BHYTOHS 
 
 R Rddenfe mc - 
 
■li.^ 
 
 G/Fusaro i 
 
 JARIIJS JVJEDlf ANT L ASSIFJSTTISSEMENT BE LA SilECE 
 
/^i* 
 
 F- Anenilola inc. 
 
 VASE ITALO-G 
 
iSC 
 
 G Fusaro dts e iac 
 
 BACCHANALE 
 
i5l 
 
 ^iSi?>>^\i^m^^iK^^K:^^!^S>!^^^ 
 
 
yfil 
 
 m 
 
 
 r 
 

 K>l j- I A )A-J] 
 
 
 6p 
 

 ^:^^ 
 
 
 -^-'^ii 
 
 HEE€IIIil ENFANT 
 
• ;. ' ^vr^? ' ^Li-- ' .'?w '' ;j ,'-j --_4' L- i !' ;w.^. Tr /tf '' .v--}r."?-v ' v ■^v j ^re ' m:- - 'i 
 
 
 
 MOISB 
 
(<>$ 
 
 KAmendule im 
 
 (^ct'o/eoM ae^ tY(Muo- c^y 
 
 c^^f^z'/w- 
 
 1,A STS, FAMll^IiE 
 

 F. Mori del-einc. 
 
 
160 
 
 
.'61 
 
 
 --ie I 
 
 " J, 
 
 ^-H)^>^V';l \\ 
 
 
 F. Mori ael» mc. 
 
 IjE MAlIAIsS BB STS. €ATBSI 
 
tC-"- 
 
 l.r.,.,3ra.. .l.V..-, ilif 
 
 1.A S'Fl. YllMGE 
 
16'b 
 
 
 
 'mm 
 
 ill tiip. T' Mtu'i tlu-^ c iiii 
 
 1.A aiWGAIISliI.A 
 
 Ani Allegri da Cor rcjij^niiiip. 
 
ariKf: yi'jiinitj tli] 
 
 liAgTl.Ylll-"'' 
 
Aimifc, C.iracri rfip 
 
 
 F.T^Idtj dis e int. 
 
B. SoliuUiUc dii 
 
 Ua^Hean m L/cJiidi 
 
 F. MoriiiiV.e iric.iSj, 
 
 one. 
 
PHIWPPE II 
 
GETTY RESEARCH INSTITUTE 
 
 3 3125 01032 7399 
 
''^^^'M? 
 
 W^-*""^ 
 
 
 ^"^^^^^^^^ 
 
 ^^ 
 
 ;v 
 
 .^ii 
 
 n^'J 
 
 
 
 
 U'l 
 
 ^^ 
 
 T-*, 
 
 /^N-^ 
 
 •*^ 
 
 
 T< 
 
 fe 
 
 ^ 
 
 7^. 
 
 ^>. 
 
 
 •'To 
 
 h^^^P^^