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DESCRIPTION 
 
 OF 
 
 ANCIENT TERRACOTTAS 
 
DESCRIPTION 
 
 OF THE COLLECTION OF 
 
 ANCIENT TERRACOTTAS 
 
 IN 
 
 THE ^BRITISH MUSEUM; 
 
 WITH ENGRAVINGS 
 
 LONDON: 
 
 PRINTED BY W. BLLMER AND CO. CLEVELAND-ROW; 
 
 AND SOLD AT THE BRITISH MUSEUM; AND BY G. AND W. NICOL, 
 
 BOOKSELLERS TO HIS MAJESTY, PALL-MALL. 
 
 1810. 
 
INTRODUCTION. 
 
 Nearly the whole of the Terracottas, from which 
 the engravings in this volume are made, were the 
 property of the late Charles Towneley, Esq. and, at 
 his death, were purchased, together with his Marbles, 
 by Parliament, and vested in the Trustees of the Bri- 
 tish Museum, for the use of the Public. 
 
 The foundation of Mr. Towneley's Collection was 
 begun in Italy, where a long residence enabled him 
 to make many valuable acquisitions. After his return 
 to England, the collection of Terracottas, belonging 
 to Mr. Nollekens, was added to that formed by Mr. 
 Towneley. This addition, both in extent and interest, 
 was very considerable, for Mr. Nollekens, when a 
 student at Rome, had paid particular attention to the 
 acquisition of Terracottas, and had met with great 
 success. 
 
 All the statues here engraved, one only excepted, 
 were found about the year 1765, in a well which was 
 
[ vi ] 
 
 completely dry, near the Porta Latina at Rome. A 
 labourer in tlioging red gravel, cnWed pozzo la fia, with 
 Avhich the Italians harden their mortar, broke into 
 the well, and discovered a heap of fragments of 
 Terracotta. These fragments were purchased by Mr. 
 NoUekens, who carefully joined the pieces together, 
 and succeeded in restoring the figures nearly to their 
 original state. 
 
 The bas-reliefs were made use of by the ancients as 
 decorations for their temples, tombs, and other build- 
 ings. They evidently formed the friezes. In the year 
 1761, a subterraneous place, divided into many 
 chambers, was discovered at Scrofano,* which is sup- 
 posed to be the ancient Veii, and is about sixteen 
 miles from Rome. The dome of the largest of these 
 chambers was enriched with paintings, in fresco, re- 
 presenting animals. The whole of the frieze below 
 the dome was ornamented with bas-reliefs in Terra- 
 cotta, which were fastened Jo the wall with leaden 
 nails. Many tombs in the Appian road, as well as 
 the temple, dedicated to Honour and Virtue, near 
 the Circus of Caracalla, were ornamented in a similar 
 manner with Terracottas; and there are several an- 
 cient chambers still visible in the neighbourhood of 
 
 * See Caylus, Recueil d' Antiquit^s, torn. v. p. 200. 
 
[ vii ] 
 
 Rome, in which, though the bas-reliefs have been 
 long since removed, the places which they occupied 
 are perfectly distinguishable. 
 
 The bas-reliefs have been undoubtedly cast in 
 moulds; they were afterwards baked, and perhaps 
 occasionally retouched by the graver. Of the designs, 
 some are of Roman invention, but the greater part of 
 them appear to have been copied from the works of 
 Greek artists. 
 
 A few of the Terracottas here engraved, were 
 originally in the possession of Sir Hans Sloane. In 
 the following description these will be particularly 
 specified. 
 
 TAYLOR COMBE. 
 
 British Museum, May IGt/i, 1810. 
 
The Vignette, in the Title-page, is a fragment of a Bas-relief, which, when perfect, 
 represented Apollo, with his left arm thrown over a l)Te. The lyre is placed upon a 
 table, on which we likewise see a tripod, a raven, and four rolls of manuscripts. The 
 same interesting subject is represented in marble, on a Greek altar in the collection of 
 the British Museum. The latter, though it is in perfect preservation, is very inferior in 
 point of execution to the beautiful fragment here engraved. 
 
ANCIENT TERRACOTTAS. 
 
 No. I. 
 
 A STATUE of a female, probably one of the Muses. The right arm 
 is entirely lost, and the left arm from the elbow is imperfect. The 
 hair of the head is tied in a knot behind, and the eyes and eye- 
 brows retain some traces of the paint, with which they were ori- 
 ginally coloured. The drapery of this figure is well executed. 
 Height 2 feet 2^ inches. 
 
 No. II. 
 
 An amphora ; it has two upright handles, and tapers towards the 
 bottom, which terminates in a blunt point. In a bas-relief,(i) which 
 is described in the present volume, an amphora of the same kind 
 is carried on the shoulder of a Faun, and similar vessels may be seen 
 on coins of the island Chios. The amphora was so called, from having 
 two handles, (2) by either or both of which it might be carried. These 
 
 ■ See No. XXI. 
 
 Aju,piipop£uj xiytTiXi diA(fioTipu^iv x»Tx rx uT» S\>yoi(/.tvo^ ^ific^xi. Athenaei Deip. 
 lib. xi. p. 501. 
 
 TLifa.[t,ioi na-av a.jx^oripu5eii (pspofAevoi, o jfii/ aju.^wTo», ivurot. Schol. Didymi ad 
 Horn. Od. B. 290. 
 
 B 
 
[2] 
 
 vessels were used not only for wine but other liquids, and we learn 
 from Homer (1) that they sometimes contained oil and sometimes 
 honey. The Roman amphora differed in size from the Attic, (2) for 
 the former contained only two urn<e, while the latter contained 
 three of those measures. The Roman amphora ought to contain a 
 cubic foot of wine, which, as their foot was | of an inch shorter 
 than ours, is equal to 44 il ale pints, or 54 -j- wine pints. This 
 amphora, when filled to the brim, held fifty-two ale pints, but 
 some allowance should be made for the suction of the vessel. In 
 the same manner as we keep our standard weights and measures 
 at the Exchequer, so the Romans kept a model of their amphora in 
 the Capitol ;(3) it was dedicated to Jupiter, and called the Amphora 
 Capitolina. The present amphora was found, together with many 
 others, in the baths of Titus, in the year 1772- Height 3 feet 
 91 inches. 
 
 4- 
 
 No. III. 
 
 A terminal head of the Indian, or bearded (4) Bacchus. It is 
 crowned with A-ine leaves M^hich descend on each side of the face, 
 and with a broad ample diadem, hanging loosely over the forehead, 
 in the form of a festoon. Most of the ancient marble terms have 
 a square cavity on each side of them, rather below the height 
 
 'Ek S\ Ti^Jfi fji-iXnog xai ccX(KpxTOs a.fj.(pi(pofnx(;. 
 
 Horn. II. *. 170. 
 * Attica praeterea dicenda est amphora nobis, 
 Seu cadus ; banc facies, nostrse si adjeceris urnam. 
 
 Rhemnius Fannius. 
 
 ' . — ■ quani, ne violarc liceret, 
 
 Sacravere Jovi ^arpeio in monte Quirites. 
 
 Rhemnius Fannius. 
 * Ton a,\nov Si xai xxTdiruyuvx Xiymn, Sim. to tok hSoHq voiJi.t/ji.oii ilvxi f^eXf^ t^j 
 TiXfUTJij i7ri(u,sAwj xvxTf'i(pin riq iruywx^. Died. Sic. lib. iii. p. 232. edit. VVcsseling. 
 
[3] • 
 
 of the shoulders, hut the present term has these cavities filled 
 up hy two square projections, on which the ends of the diadem, 
 brought forward from the back part of the head, are resting. 
 These projections shew the ancient mode of joining a number 
 of terms together by rails or bars, in allusion to the use to which 
 terms were originally applied, namely, as fences or boundaries. 
 This head was found, together with the statues engraved in this 
 volume, near the Porta Latina at Rome. Height 1 foot 3i- inches. 
 
 No. IV. 
 
 A bas-relief, representing a combat between two Amazons and 
 two griffins. Both the Amazons aie on their knees, and one of 
 them has sustained the loss of her shield and battle-axe. It is re- 
 markable, that Herodotus, Pausanias, and every other author, who 
 gives an account of the exploits of these heroines, should be entirely 
 silent on the subject of their warfare with the griffins. The subject, 
 however, was familiar to the ancient artists, and we find it very 
 frequently painted on the Greek vases. The Amazons, when en- 
 gaged in these contests, were most frequently on horseback, though 
 they are here represented on foot. Their arms consist of a buckler 
 in the form of a crescent, called pelta,(i) and a double-edged battle- 
 axe, which last is said by Pliny (2) to have l>een invented by Penthe- 
 silea, the queen of the Amazons. Dimensions 1 foot 5y inches, by 
 
 8 X inches 
 
 4 
 
 No. V. 
 
 A bas-relief, representing the head of a Triton, on each side of 
 which is a Cupid riding on a dolphin. The appearance of 
 
 ■ Ducit Amazonidum lunatis agniina peltis 
 
 Penthesilea furens, mediisque in millibus ardet. — Virg. .Sin. i. 494. 
 
 * Penthesileam Amazonem securim invenisse dieiint. 
 
 Plin. Hist. lib. vii. c. 56. 
 
[4] 
 
 leaves on the lower part of the Triton's face deserves to be noticed. 
 What the ancients intended to represent by this appearance, is a 
 point on which antiquaries have formed different conjectures. Winc- 
 kelmann(i) at one time supposed that they intended to represent the 
 gills of fish, and at another time he thought they meant to 
 signif)' fins. D'Hancarville(2) acknowledges the resemblance to 
 leaves; and M. Radel(3) conceives that the ancients intended to 
 represent the mangled skins of fish. But whatever may have 
 been the intention of the ancients, it is certain, that, in their figures 
 of Tritons and other marine deities, they frequently made use of the 
 same species of ornament, not only on the face, but also on the 
 breast and other parts of the body. In the Villa Albani (4) are two 
 colossal heads of Tritons, characterised in this manner, one of which 
 was formerly in the Villa Medici ; and in the collection at Paris (5) is 
 another example of the same kind, which was brought from the 
 Vatican. In the collection of the king of Naples is a gem, (6) repre- 
 senting a bust of Neptune, on chalcedony, the breast of which 
 exhibits the same appearance of leaves : and in the collection of 
 R. P. Knight, Esq. is a fine bust, (7) in bronze, of a Triton, or of a 
 river god, the face and breast of which are ornamented with 
 leaves, and the head is likewise characterised by dolphins, and 
 the claws of a crab. In all these instances, the appearance of 
 leaves is so decided, that it is matter of surprise that any doubt 
 should have arisen on the subject. The leaves are probably those 
 
 • Winckelmann, Mon. Ant. Ined. Vol. i p. 42. Winckelmann, Hist, de I'Art chez 
 les Anciens, torn. i. p. 388. Edit. Par. 
 
 * D'Hancarvillc, Recherches sur I'Origine des Arts de la Grece, torn. i. p. 374. 
 ' Mus. Nap. torn. ii. p. 97- 
 
 ♦ Winckelmann, Mon. Ant. Ined. Tav. 35. Winckelmann, Hist, de I'Art, &c. torn. i. 
 p.388. 
 
 ' Mus. Nap. torn. ii. pi. 45. 
 
 * Tassie, Collection of Engraved Gems, PI. 31. No. 2fi48. 
 ' D'Hancarvillc, Recherches, &c. tom. i. pi. xvii. B. 
 
[5] 
 
 of some marine plant. Dimensions 1 foot 6-j inches, by 9j 
 inches. 
 
 No. VI. 
 
 A bas-relief, representing a group of Bacchus and Cupid, before 
 whom is a Bacchante dancing and playing upon the tabor. Bacchus 
 appears desirous of detaining Cupid, who, on his part, seems anxious 
 to obtain his release. The former is represented with a beard, a 
 crown of ivy, and a long cloak flowing down his back. With the 
 left arm, which is thrown over the right shoulder of Cupid, he is 
 bending the pinion of one of Cupid's wings. The position of the 
 right hand of Bacchus is very remarkable, the back part of it being- 
 pressed against the side of Cupid. The figures of Bacchus and 
 Cupid are allegorical, and are intended to represent the vinion of 
 wine and love, which union was often expressed by the ancients in 
 their works of art, as well as in the wTitings of their poets. (i) Some- 
 times both Bacchus and Cupid were represented in order to convey 
 this idea, and sometimes only one of them, accompanied by the at- 
 tributes of the other. In the temple of Dionysius, at Athens, was 
 a group of Bacchus and Cupid executed by Thymilus; (2) and on a 
 gem, which formerly belonged to Cardinal Otthoboni, (3) Bacchus and 
 
 "Epurcc. Anac. Od. xvii. 15. 
 
 'O S' EpUJ J^lKTOJ^aiTJlf 
 
 Mira, Ta xoAs Avxla. Anac. Od. vi. 12. 
 
 Saepe illic positi teneris adducta lacertis 
 
 Puqjureus Bacchi cornua pressit Amor. 
 
 Vinaque cum bibulas sparsere Cupidinis alas 
 
 Permanet, et coepto stat gravis ille loco. 
 
 Ov. Art. Am. lib. i. p. 231. 
 * 'EpuT* i' IriixoTfls o'juou x«i AtonKTow ©u^iAoj tTToimc. Pausan. lib. i. c. 20, 
 ' Rossi, Gemme Antiche, tom. iii. tav. 19. 
 
[6] 
 
 Cupid are both represented as boys dancing together, and carrying 
 their respective attributes, namely, the thyrsus, and the bow and 
 quiver. Cupid, when unaccompanied by Bacchus, is often represented 
 on gems, with a goblet or bunch of grapes in his hand. Dimensions 
 1 foot 6 inches, by 1 foot Gy inches. 
 
 No. VII. and VIII. 
 
 Two bas-reliefs, intended by the ancient artist as companions, and 
 to be joined together in the manner in which they are here en- 
 graved. The subject, in each of these bas-reliefs, represents a 
 combat between one of the Arimaspi and a griffin. The Arimaspi 
 are in Scythian dresses, and are armed with shields and battle-axes. 
 Behind each of the griffins is a bust of a very athletic figure; one 
 of them is armed with a battle-axe, and the other with a sword and 
 shield. The heads of these busts differ from those of the other 
 figures; the latter have beards, and are covered with hoods, while 
 the former are without beards, and are covered with helmets, orna- 
 mented with the head and wings of a bird. It is, nevertheless, pro- 
 bable that the Arimaspi alone are here designated, and that the head 
 and wings of a bird are worn as trophies of their victories over the 
 griffins. At least we know that the Amazons, who were also fre- 
 quently engaged in contests with these animals, sometimes decorated 
 their helmets, for a similar reason, with the spoils of a griffin. The 
 Arimaspi were a people who inhabited the northern part of Scythia, 
 and lived in a state of constant warfare with the griffins, (i) fabulous 
 animals, said to have guarded the gold, with which the mountains in 
 that part of the country abounded. As these combats are frequently 
 re|)resented on Greek vases, and in other works of ancient art, it may 
 hv worth while to attempt an explanation of the fable to which 
 
 ' Herodotus, lib. iii. c. IIC. Pausan. lib. i. c. 24. PHn. Hist. lib. vii. c. 2. 
 
 Solin. c. 20. 
 
[7] 
 
 they allude. The Arimaspi, when in search of gold in the more rude 
 and unfrequented tracts of Scythia, were probably often exposed to 
 the attacks of wild beasts. At that early period, when scarcely any 
 part of natural history was imderstood, it is by no means impro- 
 bable, that the Arimaspi should, in their descriptions of the different 
 animals with Avhich they had contended, magnify them into beings 
 of a preternatural appearance. Herodotus and other authors, who 
 speak of the Arimaspi, describe them as having only one eye, 
 whereas they are here represented with two eyes. But this apparent 
 contradiction is easily reconciled on the authority of Eustathius, 
 who, in quoting a passage from Aeschylus, (i) in which the Arimaspi 
 are called " a one-eyed army," informs us, that they are so called, 
 because the army consisted of archers, whose general practice it was, 
 when they took aim with their arrow at any particidar object, to 
 close one eye. (2) Dimensions of No. VII. 1 foot 7 inches, by 9^ inches. 
 Dimensions of No. VIII. 1 foot 7|^ inches, by 9^ inches. 
 
 Repetition of No. VI. 
 
 No. IX. 
 
 No. X. 
 
 A bas-relief, representing a head of Medusa, ornamented with 
 wings; on each side of it an eagle is represented in the act of 
 seizins-, with its talons, one of the snakes, which are entwined 
 in the locks of her hair. The custom of adding wings to the 
 head of Medusa was not always followed by the ancient artists. 
 
 ' Tpvltoi; (puXa^ai, rovrt [axvuttx (TT^octov 
 ApijW.ao'Trov iV7ro|3aj!*oi' ■ 
 
 Aeschyl. Prom. Vinct. v. 803. 
 * AiVyuXo? Si ix-ovuTTX (sic) <t-t(xtIv ovOfAoil^n, iJioTJ TO^ixwraroi ovrtc £7ri^uou(ri rov ircpov 
 l(p^aKiAlv, <Ji« TO TTfoj Tjji- (3oXw 'Umov. Eustath. Comment, ad Dionysii Perieges. v. 31. 
 
[8] 
 
 Aeschylus (i) and Apolh^dorus (2) have both described her as fur- 
 nished with wings, but on coins of the cities of Amisus, Cabira, and 
 Comana in Pontus, and of Amastris, and Sinope in Paphlagonia, 
 the wings are represented not on the head of Medusa, but on her 
 shoulders. Dimensions 1 foot 7 inches, by 9^ inches. 
 
 No. XI. 
 
 A bas-relief, representing a couple of chinieeras lapping water from 
 vessels held to them by two youths, who are attired in Asiatic 
 dresses, and are each kneeling on one knee. Dimensions 1 foot 
 8 inches, by 9 inches. 
 
 No. XII. 
 
 A bas-relief, representing a female in a state of deep alHiction. 
 She is seated, and is resting her head upon her right arm, while 
 the domestics, who are standing around her, appear, from the con- 
 cern which is visible in their countenances, to participate in her 
 sorrow. A similar bas-relief was formerly in the possession of Dr 
 Mead, in the Catalogue (3) of whose collection, it is, with some hesi- 
 tation, described as representing Lucretia, overwhelmed with frief 
 at the injury which she had received from Sextus Tarquinius. The 
 subject, however, rather represents Penelope, dejected at the depar- 
 ture of Ulysses. The incidents connected with the history of 
 Ulysses, formed the subject of many ancient designs; and the 
 
 ApaxovTofxaXXot, Fopyom; (3porosuyt7^, 
 
 Aeschyl. Prom. Vinct. v. 797. 
 
 Eixo" ii «« TofyivK; xiipxXxi /*£!' tsripica-rrtifiufxinic? (poXiVi ipccxivTUv, iSivrx^ Si 
 
 ficyxXovi; (Jf (Tvm, xx\ X"pa5 X*^"*?) "«' ^ripvyxi Xf "»"«?) ^»' "" £t£to^t». Apollodori 
 Bib. lib. ii. c. 4, 2. 
 
 ' Musei Meadiani Part. alt. p. 229. 
 
[9] 
 
 Marquis of Rockingham, who purchased Dr. Mead's bas-rehef, 
 puichased also at the same time another bas-rehef, which repre- 
 sented the return of Ulysses to Ithaca. (i) Dimensions 1 foot 3f 
 inches, by 10^ inches. 
 
 No. XIII. 
 
 A bas-relief, imperfect, representing a fragment of Medusa's head ; 
 on one side of it is a figure of Minerva holding up her shield, on the 
 surface of which Medusa's head is reflected. This bas-relief, when 
 perfect, probably represented the figure of Perseus standing on the 
 other side of Medusa, and in the act of severing her head from her 
 body. Minerva is not only said to have been present,(2) while Per- 
 seus was engaged in this enterprise, but to have held up her shield, 
 as a mirror,(3) in older to direct his aim, and save him from the de- 
 struction, which the sight of Medusa would otherwise have occa- 
 sioned to him. The assistance, which Minerva aftbrded Perseus in 
 this particular instance, is represented on a coin (4) of Caracalla, 
 struck at Sebaste, in Galatia. The head of Medusa in this bas- 
 relief, as well as in that of No. X. is furnished Avith a pair of wings. 
 Dimensions 1 foot 3f inches, by 1 foot ^ an inch. 
 
 ' There is an engraving of it in Winckelmann's Mon. Ant. Ined. Tav. 161. 
 * Ipsa regit trepidum Pallas, dextraque trementem 
 Perseos aversi Cyllenida dirigit harpen, 
 Lata colubriferi rumpens confinia colli. 
 
 Lucan. lib. ix. v. 675. 
 
 rfoi.u.it.iVO<;, xai ^xinuv tif d(nr!Sx ■xjx.Xv.r.v, Si ?f rri)i i'ikovx rrfj Topyovog i (iXivev, ixapxToi/,vi(Teit 
 ^j^;;^_ — Apollodori Bib. lib. ii. c. 4. 2. 
 
 'H 'A%UK J>) iiri T»if aa-Tr/Jof J7roriA|3ouV«j, alcTTrE/i Iwl ii.xrcnnfo\>, ■nxfii<7^ty »utu ISeTv rrv 
 tlxivx T«j MfJouV.)?.— Lucian Dialog. Marin, xiv. 
 
 ♦ See Eckhel Num. Vet. Anec. p. 174. 
 
[10] 
 No. XIV. 
 
 A bas-relief, representing the bearded Bacchus, and a Bacchante, 
 each of them holding a thyrsus. The former is cloathed in a long 
 robe, reaching to his feet, and is distinguished by the accustomed 
 dignity of his deportment, while the latter exhibits the wildness of 
 gesture, so often observable in the attendants on Bacchus. Dimen- 
 sions 1 foot 1 inch, by 1 foot 5^ inches. It fonnerly belonged to 
 Sir Hans Sloane. 
 
 No. XV. 
 
 A bas-relief, imperfect, representing a head of Minerva, and a head 
 of Jupiter. A fragment of another head is still remaining on the 
 broken side of this bas-relief, which appears to have been that of 
 Hercules, covei'ed with the lion's skin. The head of Minerva is 
 properly placed next to that of Jupiter. Among the privileges, which 
 this goddess possessed, was that of taking precedence of all the 
 other children of Jupiter, and of occupying the place nearest to her 
 father.(i) Dimensions 10 inches, by / inches. 
 
 No. XVI. 
 
 Abas-relief, representing the goddess Minerva superintending(2) the 
 construction of the ship Argo. The figure, employed in using a 
 
 ' Proximos illi tamen occupavit 
 
 Pallas honores. — Horat, Carm. lib. i. Od. 12, 19. 
 "H ei Aj>iv« ^aii/£Tai rov irXntrlov oiii ts Aioj tottok i^a!piTcv tvove-x. 
 
 Plutarch. Sympos. lib. i. Quaest. 2. 
 AuTT) yix,^ xai ma ^orii/ xafxt' mi/ it ol Apyof 
 Ttu^CK AfiO-rofiiri^y xcim uiro3'»)joto(rui'«(ri. 
 
 ApoU. Rhod. lib. i. v. 111. 
 
 ipsamque secandis 
 
 Argois trabibus jactent sudasse Minervam. 
 
 Claudian. de Bello Getico, v. 15. 
 
[11] 
 
 chissel and hammer, is Argns,(i) the builder of the ship; and the 
 other figure, assisted by Minerva in fixing the sail to the yard, 
 is Tiphys,(2) the pilot of the vessel. The ship was built at Pa- 
 gasse, a sea port of Magnesia, in Tliessaly, where there was a 
 temple of Apollo ; and the timber, Avith which the vessel was con- 
 structed, was cut from the forest of pines on the top of Mount 
 Pelios. Winckelmann is, therefore, of opinion that the tree and part 
 of the edifice, which are introduced into this bas-rehef, represent both 
 the forest of Pelios and the temple of Apollo This forest, however, 
 could hardly have been represented so close to the toAvn, since they 
 stood at a considerable distance from each other ; and as the temple 
 of Apollo would have no particular connection with the present sub- 
 ject, it is probable that the edifice rather represents part of the walls 
 of the citv of Pagasce, namely, that part which fionted the sea. Tlie 
 stA'le of the building coincides strongly with this supposition. This 
 bas-relief, and two others similar to it, Avere found in an old wall of 
 a vineyard, near the Porta Latina at Rome, where they had been 
 made use of instead of bricks. (3) One of these bas-rehefs was pro- 
 cured for the collection of Cardinal Albani, and is engraved in the 
 frontispiece to the first volume of Winckelmann's Momimenti 
 Antichi Ineditl Dimensions 1 foot 10 inches, by 2 feet 1 inch. 
 
 No. XVII. 
 
 A bas-relief, imperfect, representing Venus on the ocean, riding 
 upon a sea-horse. She supports herself in her seat, by placing one 
 
 I ad carum Tritonia devolat Argum ; 
 
 \ Moliri hunc puppein jubet, et demittere ferro 
 
 Robora. Val. Flac. lib. i. v. 93. 
 
 ' T.>w T 'AynxU SoXi-)^^ '^ivrofo. ►„o'f.— Orphei Argonaut, v. 120. 
 
 quem cursus penes imperiumque carinae 
 
 Tiphyn agit violenta lues. Val. Flac. lib. v. ver. 14. 
 
 ' See Winckelmann, Histoire de I'Art, &c. torn. i. p. 29. 
 
[12] 
 
 arm round the neck of the animal, while she employs the other 
 hand in holding the end of a veil, which is blown over the back part 
 of her head. In this bas-relief, fragments of two Cupids remain, 
 one of whom is flying before the Goddess, and the other is clinging 
 to her knees. Venus is frequently represented crossing the sea, 
 sometimes seated on the back of a Triton, sometimes on the back 
 of a Dolphin, or other marine animal, and generally accompanied 
 by Cupids. Claudian,(i) in his description of this Goddess when 
 she was borne on the back of a Tritcm, particularly mentions 
 that she was followed by a great nimiber of Cupids. On a gold 
 coin of the Bruttii,(2) Venus is represented riding on a sea-horse, 
 nearly in the same manner as in this bas-relief Dimensions 9^ 
 inches, by 87 inches. 
 
 No. XVIII. 
 
 A bas-relief, representing Victory pouring out a libation to 
 Apollo, who is habited in his character of Musagetes, or leader of 
 the Mu§es. This beautiful composition has been fi'equently re- 
 peated by the Greek artists. Four representations, in marble, 
 of the same subject, formerly in Cardinal Albani's villa at Rome, 
 have been since removed to Paris ;( 3) and a fifth, which originally 
 belonged to Sir William Hamilton, is in our own collection. In order 
 to convey a more clear idea of the subject of the bas-relief now 
 under consideration, it will be necessary to say a few words respect- 
 ing some of the above marbles, in which the subject is represented 
 more in detail. In one of them, Diana is introduced standing 
 
 b 
 
 •- hoc navigat ostro 
 
 Fulta Venus, niveae delibant aequora plantae. 
 
 Prosequitur volucrum late comitatus Amorum. 
 
 Claudian. de Nupt. Hon. ct Mar, v. 15 i. 
 ' See Magnan Bruttia Numismatica, tab. 3. 
 ' See Mus. Nap. torn. iv. pi. 7, 8, 9, 10 
 
[ 13] 
 
 behind Apollo, and in two others, Latona is standing behind 
 Diana. A circumstance, too, which is of importance towards the 
 explanation of this subject, is, that in one of the above-mentioned 
 bas-reUefs the figures are represented standing before a mag- 
 nificent temple, near which is a tripod erected on a column. All 
 these circumstances being considered, it will appear highly pro- 
 bable, that the subject of these bas-reliefs relates to some particular 
 part of the ceremony, which took place, in Athens, at the celebra- 
 tion of the Thargelia,(i) a festival instituted in honour of Apollo 
 and Diana. At this festival, it was customary for those, who con- 
 quered in the choir of male singers, to dedicate a tripod in the 
 temple of Apollo, which was called the Pythium.(2) For this reason, 
 the street, in which the temple stood, was called " the Tripods." (3) 
 Tlie tripod erected on the column may be the reward of the Victor 
 in the above-mentioned contest, and the temple may be that called 
 the Pythium, in which the prize was to be dedicated to Apollo. 
 The terracotta, however, contains only the figures of Victory and 
 Apollo ; and it may be here remarked, that it is not unusual to find, 
 among the ancient works of art, particular parts of a composition 
 detached and copied from the original design. Dimensions 1 foot 
 ■| of an inch, by 1 foot 5 inches. It formerly belonged to Sir Hans 
 Sloane. 
 
 ' BapyiiAia, loprri 'AwoXXam xai 'ApTEfAt^"?. Suidas in voce. 
 
 * nu'Siov, fjpou 'ATToXAioKOf 'A'&r'mo-H' uVo neia-io-Tf osTS ysyoKOf, tif o rsi rfinoSa,? iri^iiroiv 
 01 Tu KvuX'm j^opu n>t1)o■a^T£5 ra ©apyijAia- Suidas in voce. 
 
 K«« t/h'tw jKTi^i, ©flspynXi'ojj, nxiio-a? dvSpixa p^opu, <Ji(r;^iAiaj Spxxi*»i. 
 
 Lysise Mun. Accept. Defensio, |). 183. edit. Taylor. 
 ' 'Eri St oioi (Utto t8 ITpuTanfig y.»XisfAivy\ Tplirch^. a.<p a Si xaxScri to ^upiov, vao) ^iwv U 
 tSto jAiyxXoi, KO.) fl-ipiVii/ Eipsa-Twao-J rpiVoJic, p^aAxoi [xiv, f/.]>i\fxrs Si ol^iot, (j.d.Xtr<x. 7r£pi£;^ovT£f 
 upyxa-u.ivx. — Pausan. lib. i. c. 20. 
 
[14] 
 No. XIX. 
 
 A bas-relief, representing a candelabrum liglited for a sacrifice. 
 On each side of it stands a priestess, supporting vinth one hand the 
 sacred fillets which decorate the candelabrum, while A^th the other 
 hand she is raising a small portion of her robe, like the figure of Hope 
 on coins of the Roman Emperors. This latter circumstance is worthy 
 of remark, as it is also observable in other figures of the same kind 
 in this collection. (1) Dimensions 1 foot 3^ inches, by 1 foot 1 inch. 
 
 No. XX. 
 
 A bas-relief, representing Machaon, after he has been wounded. 
 He is seated on a chair in the tent of Nestor, who is administering 
 a potion to him, as described in the Iliad. (2) Machaon was 
 wounded in the right shoulder; (3) his right hand, therefore, which 
 receives the cup, is kindly supported by Nestor, least the Aveight of 
 the cup should press too heavily upon it. The females, who are in 
 attendance, are slaves. The one, who stands behind Machaon, is 
 Hecamede, Avho, according to Homer, (4) mixed the ingredients con- 
 tained in the cup ; she is holding a sort of patera in her hand, on 
 which she presented the cup to Nestor. A fragment of a similar 
 bas-relief, in marble, is engraved in Winckelmann's Moinunenti 
 Antichi Inediti.{5) Dimensions 1 foot 5^^ inches, by 11 inches. 
 
 No. XXI. 
 
 A bas-relief, representing Bacchus and a Faun. The former is 
 crowned with ivy, and is holding a thyrsus in his left hand. Tlie 
 
 ' wSee Nos. L. and LIV. » II. A. 629. 
 
 ' Hccvviv af)ir£uoi<T« Mx^oiovx, woiy.ivx Xauv, 
 
 ]if Toi-yAuj^in (i»Xui> x«T« Ss^iiti u[*ov. — II. A. 506. 
 ♦ II. A. 62S. 5 See Tav. 12/. 
 
[15] 
 
 latter carries a torch in his right hand, and an amphora on his left 
 shoulder. Bacchus is here represented in his youthful character; 
 he stands in a dignified attitude, pointing upwards with his right 
 hand, and appears to be giving some command to the attendant 
 Faun, whose looks are directed towards him. Dimensions 1 foot 
 4| inches, by 1 foot 6^ inches. 
 
 No. XXII. 
 
 A bas-relief, representing two Fauns kneeling, one of them play- 
 ing upon a small tabor, the other accompanying him with musical 
 instrmnents, called crotala. Between the two Fauns, is Ampelus, 
 the lower part of vA^hose figure terminates in branches of the vine. 
 Dimensions 1 foot 6^ inches, by 11^ inches. 
 
 No. XXIII. 
 
 A bas-relief, representing two of the seasons. Spring and Summer. 
 
 The figure of Spring is holding in one hand a basket filled with 
 
 fiuit and flowers, the produce of that season, and with the other 
 
 hand she is dragging a kid by the fore legs. The figure of Summer 
 
 is distinguished by having a garland in one hand, and a bunch of 
 
 corn and poppies in the other hand. Both these figures, as well as 
 
 two others in this collection, Autumn and Winter, (i) have been 
 
 pi^bably copied from a piece of Greek sculpture, which represented 
 
 the nuptials of Peleus and Thetis. A sarcophagus, formerly in the 
 
 Villa Albani, the front of which represents that subject, is engraved 
 
 in Winckelmann's Monumenti Antichi Inediti;[i] and among the 
 
 different persons who are bringing presents to Peleus and Thetis 
 
 on their marriage, the fovu' seasons are introduced with very nearly 
 
 the same characteristics, by which they are distinguished in the terra- 
 
 ' See No. L. * See Tav. cxi. 
 
[16] 
 
 cottas. Dimensions 1 foot 2| inches, by 1 foot 3 inches. It for- 
 merly belonged to Sir Hans Sloane. 
 
 No. XXIV. 
 
 A bas-relief, representing Victory sacrificing a bull before a 
 lighted candelabriun, which is used as an altar. The subject is 
 represented on a coin of Syracuse, (i) and a circumstance Avhich 
 greatly tends towards the explanation of this bas-relief, is, that 
 the subject also occurs on a silver coin (2) of Augustus, struck 
 on his conquest of Armenia, and which has the legend Armenia 
 CAPTA. Hence we may infer that the bas-relief relates to the 
 custom of immolating a bull in honour of a victory. Two other 
 bas-reliefs(3) in terracotta, and two pieces of sculpture in marble, 
 all relating to the same subject, are likewise in the collection of the 
 British Museum. Dimensions 1 foot 3^ inches, by 9^ inches. 
 
 No. XXV. 
 
 A bas-relief, imperfect, representing Perseus cutting off the head 
 of Medusa. It is probable, that this bas-relief, when entire, also 
 contained the figure of Minerva, holding up her shield as a mirror 
 to Perseus. This conjecture will receive some confirmation, if the 
 present bas-relief be compared with No 13. Dimensions 1 foot 
 4 inches, by 1 foot 3 inches. 
 
 No. XXVI. 
 
 A bas-relief, representing Victory sacrificing a bull before a 
 small altar, which is placed upon a tripod table. Tliis bas-relief 
 
 » See D'Ennery Catalog, des Medaillcs Ant. p. 104. 
 
 * See Morell, Comment, in xii priorum Imp. Rom. torn. i. tab. xi. fig. 26. 
 
 » See Nos. XXVI. and LXX. 
 
[17] 
 
 differs from No. XXIV. in having the figures turned the contrary 
 way, as well as in a few other particulars. Dimensions 1 foot 
 3f inches, by 9f inches. 
 
 No. XXVII. 
 
 A bas-relief, imperfect ; it originally represented a Bacchante 
 offering a basket of figs to the goddess Pudicitia. The basket of 
 figs is lost, as is also the greater part of the figure of Pudicitia; a 
 portion of her wings, and a part of her right arm being nearly all 
 that is left. It would be extremely difficult to ascertain the meaning 
 of this fiagment, were it not for the circumstance of the parts, which 
 are here defective, being preserved entire in a fragment of a similar 
 bas-relief, engraved in Winckelmann's work, entitled MoniimeyHi 
 Antichi Inediti,[l] to which book the reader is referred for an ex- 
 planation of the subject. In our fragment a Faun (2) is represented 
 standing behind the Bacchante, but in the fragment, engraved in 
 Winckelmann's work, not a vestige of that figure appears to have 
 been preserved. Dimensions 1 foot 1 inch, by 1 foot 2\ inches. It 
 formerly belonged to Sir Hans Sloane. 
 
 No. XXVIII. 
 
 A bas-relief, representing two Fauns, who are gathering grapes 
 into baskets. The vine (3) consists of a single stem, which stands 
 without any support, and is so low, that the Fauns find it con- 
 
 ■ See Tav. 26. p. 32. 
 
 * Eruditos admonitos volumus, hunc Faunum esse ithyphallicum, nam tabula, ne 
 castis oculis noceat, modestiorem exhibet. Edit. 
 
 Vinese in provinciis multis generibus fiunt : sed optimum genus est, ubi vitis velut 
 arbuscula stat brevi crura fundata. Haec primo calamo juvatur, donee solidetur : sed altior 
 sesquipede esse non debet : ubi robusta fuerit, sola consistet. — Palladius, lib. iii. tit. xi. 
 
 Vinearum provincialium plura genera esse comperi. Sed ex iis, quas ipse cognovi, 
 
 maxime probantur velut arbusculae brevi crure sine adminiculo per se stantes, — Columella, 
 
 lib. V. c. 4. 
 
 D 
 
[18] 
 
 venient to kneel, in order to gather the fruit. The Faun who is 
 kneehng on the right of the vine, is considerably more aged in his 
 appearance than the other. Dimensions 1 foot 4^ inches, by 9|- 
 inches. 
 
 No. XXIX. 
 
 Repetition of No. XXJ. 
 
 No. XXX. 
 
 A bas-relief, representing Bacchus leaning on the shoulders of a 
 Faun, who is bearing an inverted torch in his left hand. At the 
 feet of Bacchus, is a panther holding up its mouth to receive the 
 wine, which is poured from a vase held in the right hand of Bac- 
 chus. (i) Before this group is a Bacchante, holding a thyrsus de- 
 corated with fillets. Bacchus is here represented in his youthful 
 character ; his head is crowned with vine leaves, and he holds some 
 of the fruit and leaves of the vine in his left hand. Dimensions 
 1 foot 5^ inches, by 1 foot 1^^ inch. 
 
 No. XXXI. 
 
 A bas-relief, representing two Fauns leaning over a large open 
 vessel of wine, as if obserring the reflection of their faces on the 
 surface of the liquor. Over the vessel is a lion's head, from which, 
 as a spout, the wine may probably have been drawn. An example 
 of a lion's head being applied to a similar purpose, occurs on the 
 front of a sepulchral cippus in the Collection of the British Musemn, 
 and also on a silver coin of Himera.{2) The other parts of this 
 bas-relief are filled up ^vith arabesque ornaments. Dimensions 
 1 foot 2 inches, by 11^ inches. 
 
 ' lynci praebet cratera bibenti. — Nemesian. Eel. iii. 65. 
 
 * See Combe Nuni. Vet. Pop. et Urb. Tab. xsx. fig. 18. 
 
[ 19 ] 
 No. XXXII. 
 
 A bas-relief, imperfect, representing a trophy erected by Trajan, 
 to commemorate his conquest over Decebalus, the leader of the 
 Dacians. Near the trophy stands a Dacian chief, as a captive, at- 
 tended by one of Trajan's guards, and secured by a chain fas- 
 tened round his right wrist. The dress and character of this cap- 
 tive exactly correspond with the costume of the Dacians, as it is 
 represented on Trajan's column. His head has no covering, his 
 chin is bearded, and his dress consists of a long cloak, and a 
 sort of trowsers which reach to his feet. The trophy, as usual, is 
 erected on the trunk of a tree, over which a Dacian cloak (i) is 
 thrown, while a shield and a standard (2) are suspended fi-om a 
 bough by the side of it. In some of the trophies represented on the 
 coins of Trajan in honour of the above victory, the arms of the 
 Sarmatians, who assisted Decebalus against the Romans, are 
 blended with the arms of the Dacians. Thus, in the present in- 
 stance, the hexagonal shield is a part of the armour of the Sarma- 
 tians ; the shields used by the Dacians were of an oval form, as is 
 ascertained from the bas-reliefs on Trajan's column. The inscrip- 
 tion, SI. ANTON. EPAPHRA, rccords the name of the artist who 
 invented the design. Dimensions lOf inches, by 11^ inches. 
 
 No. XXXIII. 
 
 This bas-relief, which formerly belonged to Sir Hans Sloane, dif- 
 fers in a very slight degree from No. XXVIII. For an engraving 
 of No. XXXIII. the reader is referred to No. LXIX. 
 
 ' See Bartoli Colonna Trajana, p. 58. 
 
 * The Dacian standard here introduced consists of a pole ornamented at the top with 
 the head of a dragon. It is introduced among the warlike instruments of the Dacians, 
 which are engraved round the pedestal of Trajan's column, and it may be seen on a silver 
 coin of Trajanus Decius, which has the legend dacia. 
 
[20] 
 
 No. XXXIV. 
 
 A bas-relief, representing Paris carrying off Helen in a car drawn 
 by four horses. Paris is attired in a Phrygian habit, and his head 
 is covered with the conical bonnet of that country. Helen is repre- 
 sented ^vith a veil thrown over the back part of her head, and she is 
 in the act of drawing it forward on one side, as if to conceal her 
 face. The horses are executed with great spirit. This bas-relief 
 has been published by Winckehnann.(i) Dimensions 1 foot '/^ in- 
 ches, bv 1 foot 1^ inch. 
 
 No. XXXV. 
 
 A bas-relief, representing Egyptian hieroglyphics These hiero- 
 glyphics, however, were neither made in Egypt, nor by an Egyptian 
 artist, but are of Roman workmanship, and executed perhaps about 
 the time of Hadrian. In the reign of that Emperor, the veneration 
 of Egyptian divinities prevailed to a very considerable degree at 
 Rome. Among the splendid buildings which Hadrian erected in 
 the grounds belonging to his villa near Tivoli, was a temple to 
 which he gave the name of Canopus,(2) and which he decorated 
 with such statues as were held in adoration by the ancient Egyp- 
 tians. The example thus set by the Emperor, was very generally 
 followed by the people, and it is owing to this circumstance that so 
 many imitations of Egyptian sculpture are found among the remains 
 of Roman art. Dimensions 1 foot 3j inches, by 1 foot 1^ inch. 
 
 ' Monumenti Antichi Inediti, Tav. 117- 
 
 * Tiburtinam villain mire exaedificavit, ita ut in ea et provinciarum et locorum cele- 
 berrima nomina inscribcret : velut Lyceum, Academiam, Prj'taneum, Canopum, Poecilen, 
 Tempe vocaret : et, ut nihil prietermitteret, etiam inferos fiiixit. — Spartianus in Vita 
 Hadriani. See Winckelmann Histoire de I'Art chcz les Anciens, torn. i. p. 149. edit. 
 Paris. 
 
[21 ] 
 
 No. XXXVI. 
 
 A bas-relief, representing two persons navigating the Nile in 
 a boat. In the fore-ground is an hippopotamus, two crocodiles, 
 some birds, and several plants of the nymphsea lotus. In the dis- 
 tance are two buildings, on which three ibises are seen. The whole 
 of this scenery is viewed through two arches supported by cohunns. 
 The pilaster on the left of these arches probably corresponded with 
 a similar one on the opposite side, but which is now lost. This 
 bas-relief, notwithstanding the subject relates entirely to Eg)'pt, is 
 of Roman workmanship. It is engraved in the Museum Capito- 
 linum.(i) Dimensions 2 feet, by 1 foot 6 inches. 
 
 No. XXXVII. 
 
 A bas-reUef, imperfect, representing a vase with two handles, the 
 bottom parts of which terminate in leaves of the ivy. On the right 
 side of the vase are a panther, a thyrsus, and the letter A. Dimen- 
 sions 1 foot 8 inches, by 11| inches. 
 
 No. XXXVIII. 
 
 A statue of the Muse Urania. Both the hands are wanting, but 
 from the position of the arms, it is probable that the figure held a 
 radius in the right hand, and a celestial globe in the other hand. 
 Tlie position of the arms, however, might equally lead us to con- 
 sider this statue as representing the goddess Salus, who usually 
 holds in one hand a patera, out of which a serpent, held in the 
 other hand, is feeding. But as several statues of the Muses were 
 found in the place where this figure was discovered, it is more pro- 
 bable that Urania is here represented. Height 3 feet 11 inches. 
 
 • See torn. iii. tab. 90. 
 
[22] 
 No. XXXIX. 
 
 A wine vessel, probably the Roman uina,{i) which contained half 
 the quantity of the amphora. It holds twenty-four ale pints. 
 Height 3 feet -j inch. It formerly belonged to Sir Hans. Sloane. 
 
 No. XL. 
 
 A statue of a Muse, the head of which is lost. She is resting her 
 left arm upon a pile of writing tablets, which are placed upon a 
 square column. The right arm is raised towards the neck. The 
 statue, in its present state, is 3 feet 5 inches high. 
 
 No. XLI. 
 
 A wine vessel, which, as well as No. XXXIX. is probably a Roman 
 urna. It holds twenty-six ale pints. Height 2 feet 11 inches. It 
 formerly belonged to Sir Hans Sloane. ' 
 
 No. XLII. 
 
 A bas-relief, representing a short naked human figure, with a 
 beai'd ; he holds in each hand the stem of a plant. On each side 
 of this figure is seated a quadruped, whose head is that of an 
 elderly man, and whose tail terminates in a flower. The subject of 
 this bas-relief, as well as of two others. No. XXXV. and No. 
 XXXVI. which have been already described, is undoubtedly Egyp- 
 tian, although the execution is Roman. The figure holding the 
 stem of a plant in each hand, is Osiris, who, according to the 
 Grecian mythology, was considered as the Egyptian Bacchus. (2) 
 
 ' Hujus dimidium fert uma. — Rhemnius Fannius de Pond, et Mens. 
 * "Oirtpij ii ert Aiovuff-of xar' 'EXXxSx yXui7(r«>.— Herodotus, lib. ii. c. 144. 
 T«» Si Trap' "EAXna-* waAaiMi' iJi.v^oX6yuv tivej rov "Oo-tpii' Aioi/u(rok £7ro»o/*a'^jf(ri. Diod. 
 Sic. lib. i. c. 11. 
 
[23] 
 
 The same figure may be seen among the antiquities of Count 
 Caylus,(i) where it is accompanied by an amphora and two bunches 
 of grapes. The two quadrupeds are sphinxes, not indeed of the 
 usual kind, consisting of a woman's head on a lion's body, but of 
 that species, which is described by Herodotus, (2) as having the body 
 of a lion, and the head of a man. With respect to the figure of 
 Osiris, its identity is confinued by another bas-rehef (3) in this Col- 
 lection, similar in every respect to the present, except that the 
 figure in the centre represents Isis holding a sistrum. Dimensions 
 1 foot 6 inches, by 8 inches. 
 
 No. XLIII. 
 
 A bas-relief, representing three Cupids supporting festoons of 
 fruit on their shoulders. Dimensions 1 foot 6 inches, by 8 inches. 
 
 No. XLIV. 
 
 A bas-relief, representing the infant Bacchus in a cradle, carried by a 
 young Faun and aBacchante, both of whom are dancing in a manner 
 highly expressive of their joy. The Faun is brandishing a thyrsus, 
 and the Bacchante a torch. The cradle, in which the infant re- 
 poses, is decorated with pendent branches of the vine ; it is formed 
 of twigs woven together, and is evidently one of those baskets, in 
 which the corn mixed with chaff was tossed into the air for separa- 
 tion. It was called by the Greeks xUvov, and was not only applied 
 
 ' Caylus, Recueil d'Antiquit^s, torn. iii. pi. iv. fig. 1. 
 
 * T3to Si, xo>o(r(rs? (t.iyxK»i x«i a,vSfo<T(piyya'; TrifufArixioii «i/j9»ixs- Herodot. lib. ii. 
 c. 175. See Hesychius under the word AvSfofmti, and Athenseus, lib. ix. p. 382. et lib. 
 xiv. p. 659. 
 
 ^ The bas-relief here mentioned was in too mutilated a state to be admitted into the 
 present series, but it is preserved among the fragments of terracotta, wliich are exlii- 
 bited in the same room with the Greek vases of Sir William Hamilton. 
 
[24] 
 
 to the purpose of winnowing corn, but was used as a cradle (i) for 
 children. Hence Winckehnann, who has given an engraving of this 
 bas-relief, in his 3Ionumenti Antichi Inediti,{'i.) observes that the 
 proper signification of the epithet XiKvtTvig, as applied to Bacchus, is 
 perfectly ascertained from the present monument. He might, 
 however, have adduced the authority of Hesychius (3) in confirma- 
 tion of this point. Dimensions 1 foot '^^ inches, by 1 foot Si- 
 inches. 
 
 No. XLV. 
 
 A bas-relief, representing the head of Pan, on each side of which is 
 the head of a Satyr. The ferocity, which marks the countenance 
 of Pan, shews that he is here represented as the god that inspires 
 terror. (4) One of the Satyrs is crowned with branches of the pine, 
 and the other with branches of the ivy. The pedum, or pastoral 
 crook, which is seen behind the head of one of these Satyrs, ap- 
 pears, from its direction, to have been held in the right hand. 
 Dimensions 1 foot 8 inches, by 9^^ inches. 
 
 No. XLVI. 
 
 Repetition of No. XLV. 
 
 I »/ 
 
 n 7r«i Of iv Xixvu x«Tax£i«i. Homer. Hymn, in Merc. v. 254. 
 
 E* yxp Aixwtf TO TraAaioK kixtcxo/ju.i^oi' to. (ifitpri, Schol. Vet. ud Callimachi Hymn. 
 in Jovem, v. 4S. 
 
 * See Tav. b3. and p. 6.5. 
 
 AtxnTTif, £7ri3'£T0i/ AioKUfl-a aVo Tuii KmuVf oij T« TTOiiHa, noifAmTat. Hesychius in 
 
 voce. 
 
 4- 
 
 iVTl -yt TTlXpOJ, 
 
 Kai 01 ecu SpifxiTa p^oAa ttoti 'piw xxB'nTat. — Tiieoc. Idyl. i. v. 17. 
 
[25] 
 No. XLVII. 
 
 A bas-relief, representing Bacchus received as a guest by Icarus. (i) 
 Bacchus is represented in the costume of India, with a beard, 
 and a garment reaching to the ground. A Faun is in the act of 
 taking off his sandal, while another Faun is supporting Bacchus 
 during the operation. Icarus is seated on a couch welcoming the 
 arrival of Bacchus. In front of the couch is a table, covered with 
 fruit and other refreshments. Erigone, the daughter of Icarus, is 
 also seated on the couch, at the feet of her father ; her own feet are 
 resting on a footstool. The figure, standing between Icarus and 
 Bacchus, appears to be a servant in attendance, and his looks, 
 which are directed towards Icarus, seem to watch the commands of 
 his master. Behind this group is a curtain, which extends across 
 the back-ground. A bas-relief, representing the same subject, but 
 more amplified, may be seen among the ancient marbles in this 
 Collection. Dimensions 1 foot 5 inches, by 1 foot 6-g- inches. 
 
 No. XLVIII. 
 
 A bas-relief, representing two young Fauns seated on the backs of 
 panthers. The heads of the panthers are directed towards a vase, 
 which is placed between them ; and their bodies from the shoulders 
 downwards are continued in the form of vine leaves. The bridles 
 round the necks of the animals appear to be composed of the stem 
 of the vine. Dimensions 1 foot 8^ inches, by 81 inches. 
 
 ' et cunctis Baccho jucundior hospes 
 
 Icarus. TibuU. lib. iv. Carm. 1. v. 9. 
 
 Cum Liber Pater ad homines esset profectus, ut suorum fructuum juavitatem atque 
 jueunditatem ostenderet, ad Icarium et Erigonem in iiospitium liberale devenit. — 
 Hyginus, lib. i. fab. 130. 
 
[26] 
 
 No. XLIX. 
 
 A bas-relief, representing a bull and a lion, running in contrary 
 directions. Tlie hind legs of both animals are enveloped in foliage. 
 Dimensions 1 foot 7^- inches, by ^2 inches. 
 
 No. L. 
 
 A bas-relief, representing a lighted candelabrum, composed en- 
 tirely of a plant. The flames issue from the flower, which grows 
 upon a long stem. On each side of the candelabrum stands a 
 priestess, holding up wdth one hand a small portion of her robe,(i) 
 and with the other hand plucking one of the buds of the plant. 
 Tliere is an engraving (2) of this bas-relief in the Antiquities of 
 Ionia, published by the Society of Dilettanti. Dimensions 1 foot 
 4 inches, by 1 foot. 
 
 No. LI. 
 
 A bas-relief, representing two of the seasons. Autumn and Winter. 
 Autumn is carrying grapes, apples, and other autumnal fruits; 
 Winter is carrying a crooked stick across her shoulder, on one end 
 of which a hare or rabbit is suspended, and on the other end a couple 
 of ducks ; she is like^nse dragging a boar by one of its hind 
 legs. The seasons here are not only accompanied by their respec- 
 tive symbols, but are also distinguished by their dresses, for while 
 Autumn has no covering on her head or shoulder. Winter is repre- 
 sented with both those parts perfectly defended by drapery. The 
 subject of this bas-relief, as well as that of No. XXIII. representing 
 the other two seasons, Spring and Summer, appears to have been 
 copied fi'om some ancient piece of Greek sculpture, which repre- 
 sented the gods bringing bridal presents to Peleus and Thetis. It is 
 
 ' See Nos. XIX. and LIV. "■ See Part II. p. 40. 
 
[27] 
 
 certain, at least, that similar figures of the four seasons are intro- 
 duced on the front of a sarcophagus, (i) where that subject is re- 
 presented. Dimensions 1 foot 3^ inches, by 1 foot. 
 
 No. LII. 
 
 A bas-relief, imperfect, representing the goddess Salus, feeding a 
 crested serpent (2) out of a patera. The goddess is seated, and the 
 serpent is twined round the trunk of a tree, from a branch of which 
 two cast-off skins of the serpent are suspended. This bas-relief ap- 
 pears to have originally had another figure on the right of the tree, 
 the only remaining part of which figure is one of the hands. 
 Dimensions 11^ inches, by 1 foot 5| inches. 
 
 No. LIII. 
 
 A bas-rehef, representing a warrior consulting the oracle of Apollo. 
 The warrior is seated on a rock, and his attention appears to be 
 deeply engaged. Apollo is standing before him, resting his right arm 
 upon his lyre,(3) which is of an oblong square form. The raven, (4) 
 which often accompanies Apollo, is perched on a quadrangular 
 column immediately behind the lyre. Scarcely any important en- 
 terprises were undertaken by the ancients, until the oracles of the 
 
 ■ See Winckelmann, Monumenti Antichi Inediti, tav. cxi. 
 
 * Ideo ergo simulacris eorum {scilicet ^sculapii et Salutis) ]\xn^r\i\iY figurae draconum, 
 quia priestant, ut liumana corpora, velut infirmitatis pelle deposita, ad pristinum revires- 
 cant virorem, ut virescunt dracones per annos singulos, pelle senectutis exuta. Macrob. 
 
 Sat. lib. i. c. 20. 
 
 3 The form of this lyre is peculiar. Tliere is, however, a lyre, which bears a strong 
 resemblance to it, in the hand of a bronze figure of Apollo, engraved in the « Museum 
 Etruscum" of Gorius. See vol. i. tab. xxxiii. 
 
 ♦ 'O xofocl ifvtv auTOK ipao-n- \tflv, xa\ 'ATroXXwi-of umXx^ov mxi Xiyx^iv. Taura TOi 
 x«) ^«»T.«.j ,ru;^|3oAo.f i-yoAl^ o>oXoyScr. rly dvriv. JEVmn. Hist. Anim. lib. i. c. 48. 
 Comes obscurus tripodum.— Stat. Theb. lib. iii. v. 506. 
 
gods had been consulted, and in no instances were they resorted 
 to with more zeal, than at the commencement, or during the prose- 
 cution of a war. Alexander (i) the Great consulted the Pythian 
 oracle before he waged war against the Persians ; and Pyrrhus (2) 
 did not venture to assist the people of Tarentum against the 
 Romans, until he had received an answer, favourable, as he ima- 
 gined, from the same oracle. The upper part of the warrior's 
 figure, as well as the legs of Apollo, which were originally defective 
 in this bas-relief, were restored by Mr. Nollekens. Dimensions 
 lO^- inches, by 9-^ inches. 
 
 No. LIV. 
 
 A bas-relief, representing a lighted candelabrum, on each side of 
 which stands a priestess with a basket on her head, ready to per- 
 form a sacrifice. A small portion of the robe of each priestess is 
 held up by one hand, in the same manner as in two other bas- 
 reliefs, (3) already described. This bas-relief is engraved in the 
 Monumenti Anticki Inediti,[4] published by Winckelmann, who is 
 of opinion that the priestesses represent the two canephorce,{5) 
 who assisted at Athens, in the festival of Minerva. The sphinxes, 
 introduced in the lower part of the candelabrum, render this con- 
 jecture extremely probable. The sphinx was sacred to Minerva, 
 and was engraved by Phidias, (e) on the helmet of his statue of that 
 
 ' Plutarch, in Vit, Alex. torn. iv. p. 21. edit. Bryan. 
 
 » Ennii Fragm. p. 58. edit. Hesselii. Cic. deDivin. lib. ii. c. 56. 
 
 ' See Nos. XIX. and L. 
 
 ♦ Tav. 182. 
 
 ' IlapS'ti'ot (Juo T8 1/aa Tr)c IloAiaiJof olxxinv i Tropp'w, xaAj;<n SI 'ASjiwici (T^af xavn^opovi, 
 «UT«i y(jioi/ov fA.iv Tiva diaira* ej^ouo'i zrxfx tm S'eu. Trx^xyivofAivrii S\ rJif iopT*if, Sfa<nv Iv 
 vuxTi TOiaJj. «>a3'£i(rai (T^ktik stti raj xtipaXaf, a, ri rrif 'AS'rivaj lifnx SlSu(ri ^ifnv, art n 
 ^»Jou(ra oTraiov t» JiJunv iiS\nx, isre t«i? ^tpouraif iirifKixuivoci^, — Pausan. lib. i. c. 27. 
 MsVw i*iv ouK tTTixfiTflsi 01 Tu Kfxvci (T^iyyof ilxuv. — Pausan. lib. i. c, 24. 
 
[ 29 ] 
 
 deity, which stood in the Parthenon at Athens. Dimensions 1 foot 
 6 inches, by 2 feet 21 inches. , 
 
 No. LV. 
 
 A bas-reUef, representing Theseus slaying one of the Centaurs, in 
 revenge for the insult offered by them to Hippodamia, at the nup- 
 tials of his friend Pirithous.(i) Theseus is, with one hand, seizing 
 the Centaur by the hair of the head, and is aiming to dash out 
 his brains wnth a club, which he holds in the other hand. The 
 Centaur appears to be in extreme agony, his limbs are sinking 
 under him, and he is making a feeble effort to avert his impend- 
 ing fate. Hercules likewise, upon this occasion, distinguished 
 himself against the Centaurs, and as he and Theseus were engaged 
 in so many exploits together, it is sometimes difficult to distinguish 
 between these heroes, more especially as Theseus (2) professedly 
 imitated the character of Hercules, and fought in like manner mth 
 a club. In the present instance, however, we are enabled to dis- 
 tinguish the person of Theseus, because the sword, which he 
 wears by his side, formed no part of the armour of Hercules, 
 but was particularly appropriate to Theseus. The garland of nj 
 leaves, which encircles the body of the Centaiu-, was probably 
 worn upon occasion of the entertainment, at which the quarrel 
 originated, and shews the ancient custom (3) of distributing chaplets 
 to the guests at a festival. This bas-relief is imperfect ; the legs 
 
 • See .Ovid. Met. lib. xii. 210 sqq. Diod. Sic. lib. iv. c. 70. Plutarch, in Vit. Thes. 
 p. 29. edit. Br)an. 
 
 * 'EtteI Si wfpl *Hp«xX«f, xal T«v dTToyiwu aura, Hi^X^ofAB,, olxiTov av ^r, wipl ©»!««; 
 hnuv, S,i ri rSro. ^nX<cr^. y^.'^V^a. r5. 'Hp«.x/«. <»A«..-Diod. Sic. lib. iv. c. 59. 
 
 roK «'«roK, .psVovra r^ ..y^mU .o.«mf.-Isocrat. Helen. Encom. vol. ii. p. 125. ed.t. 
 Eattie. ' See Athensei Deipnosoph. lib. xv. p. 685. 
 
[30] 
 
 of Theseus are broken off, as is also the greater part of his club. 
 Dimensions 10 j inches, by 11 inches. 
 
 Repetition of No. XVIII. 
 
 No LVI. 
 
 No. LVII. 
 
 Repetition of No. XXIII. 
 
 Repetition of No. L. 
 
 No. LVIII. 
 
 No. LIX. 
 
 A bas-relief, representing two Fauns treading out the juice of 
 grapes in a wine-press. On the left is a Faun exhilarating them in 
 their labour by the sounds of the double pipe, and of an instrument 
 called scahelhun,{\) which was either fastened to the foot, as in the 
 statue of a Faun in the Florentine Collection, (2) or was placed, as in 
 the present instance, on the ground, and occasionally struck by the 
 foot. On the right is another Fami, somewhat aged in his appear- 
 ance, and laden with a heavy basket of grapes, which he is carrying 
 to the press. The custom of treading out the juice of the grape, 
 which is still followed in many of the ^A-ine countries, was very 
 generally practised by the ancients. (3) The grapes, however, after 
 great part of their juice had been expressed in this manner, were 
 transferred to another press, (4) which was worked by a lever, and 
 
 ' Magno tibiarum et scabellorum crepitu prosiluit. — Sueton. in Vit. Calig. c. 54. 
 » Mus. Flor. Stat. PI. 58 and 59. 
 
 ' Aurea tunc presses pedibus dedit uva liquores. — Tibull. lib. ii. el. 1. v. 45. 
 ♦ Prela trabes sunt, quibus uva jam calcata premitur. — Servius ad Virg. Geor. lib. ii. 
 V. 241. 
 
[31 ] 
 
 was more powerful in its operation. Dimensions 1 foot 6-^ inches, 
 by 10 inches. 
 
 No. LX. 
 
 A bas-rehef, representing a chariot race in the games of the Circus, 
 which were instituted at Rome, in imitation of the Olympian games 
 in Greece. Only one car is introduced, dra^vn by four horses, 
 which are galloping towards the metce >vith great velocity. The 
 car is already so close to the metae, that the charioteer is on the 
 point of turning his horses round them, which was the most dif- 
 ficult part he had to perform in the race. If he made too short a 
 turn, he endangered the car, which was very frequently dashed to 
 pieces, and if through the impetuosity of the horses, or his own 
 want of skill, he overshot the metae, one of the rival cars immediately 
 following, might, by making a shorter turn, obtain the lead.(i) The 
 instructions of Homer, (2) which direct, that, in turning round the 
 goal, the right hand horse should be urged on with a loose rein, are 
 here exactly followed. The charioteer is dressed in the habit, (3) 
 usually worn on such occasions. On his head is a helmet, (4) and 
 the rest of his dress consists of a short close jacket and trowsers. 
 His body is swathed round with, bands, which have the appearance of 
 
 • See Horn. II. ^. v. 340. sqq. Theoc. Idyl. xxiv. v. II7. sqq. 
 
 KeW«i oiAOKXrKroci, fi^ai t£ ol nvix ^epa-iv. — Horn. II. Y- v. 336. 
 ' 'Ettj Si wxiiriiiv raruv dvafii^rixet TrxiSdpix XITHNAS t^ovrtu HNIOXIKOTZ. 
 
 Athenaei Deipnos. lib, v. p. 200. 
 Postridrie quadrigario habitu, curriculoque bijugi per hunc pontem ultro citro com- 
 meavlt. — Sueton. Calig. c. 19. 
 
 Aurigae habitu currus rexit. — Lamprid. in Vit. Commodi, c. 2. 
 
 ♦ K«i TO jcpavof TO Ji'viop^ixoK T£(ji)t£i'|(*ivo?. — Dion. Cass. lib. Ixiii. p. 7 IS. 
 
 'E> yxf Toi linroSftofAix rm iKirKTuy t5 oi.fft.xroi, t9 t£ xpoe>oj iv ivi tctuith avEp^ivf/c. 
 Dion. Cass. lib. Ixxix. p. 913. 
 
[32] 
 
 ropes. The reins pass entirely round hira,(i) in order that he may 
 not only have more command over them, but that he may be in less 
 danger of being thro«ni out of the car in the event of any accident. 
 At the foot of the metse part of a hmnan figure is seen, but it is in 
 too mutilated a state to be described. An equestrian figure is also 
 introduced into this bas-relief; this figure has nearly cleared the 
 metse, and only the hind part of the horse and of the rider is visible. 
 The inscription, anniae arescvsa, written on a tablet over the 
 heads of the horses, records the name of the artist, who appears to 
 have been a female. Dimensions 1 foot 4 inches, by 1 foot. 
 
 No. LXI. 
 
 Repetition of No. VI. 
 
 No. LXII. 
 
 A bas-relief, representing a mask of Bacchus between those of 
 Silenus, and of a young Faun. The mask of Bacchus is crowned 
 with ivy, and ornamented with ribbands, and the hair is disposed in 
 spiral curls. Between the masks of Bacchus and Silenus, (which 
 latter is bald, and encircled with ivy,) is a thyrsus decorated with 
 ribbands ; and between the masks of Bacchus and the Faun, is 
 a pedum, or pastoral crook, with Pan's pipe suspended from it. 
 Dimensions 1 foot 7+ inches, by 6 inches. 
 
 No. LXIII. 
 
 Repetition of No. LXII 
 
 ruit ilicet exul 
 
 Aonius, nexusque diu per terga volutos 
 Exuit, abripitur longe moderamine liber 
 
 Currus. Stat, Theb. lib. vi. v. 504. 
 
 Ubi Lactantius : sc. habenarum nexu, quo involutus per terga fuerat, liberavit, ne cum 
 loris implicitus traheretur. 
 
Repetition of No. VI. 
 
 [33] 
 
 No. LXIV. 
 No. LXV. 
 
 A bas-relief, representing two captives seated in a car dra\^Ti by 
 two horses. The horses are led, and the car, which consists simply 
 of a raised platform mounted on a carriage, is perfectly open, so as 
 to exliibit the captives in the most conspicuous manner. The cap- 
 tives have chains fastened round their necks and their ankles, and 
 the ends of the chains are held by two guards, one of whom is walk- 
 ing on the right, and the other on the left of the car. From the cha- 
 racter of the countenances, and the particular style of the hair and 
 dress of these captives, it is e>adent that they are Dacians. They are 
 here represented as gracing the triumph of Trajan, who, after the 
 defeat and death of Decebalus, entered Rome in triumph. The re- 
 joicings which succeeded this Aactory are said to have lasted for the 
 space of one hundred and twenty-three days.(i) One of the captives 
 appears to be in a dejected state of mind, and is resting his head 
 upon his left arm ; the other captive seems in the act of making an 
 appeal to the populace, as if to excite their commiseration. A 
 trophy in honour of this victory has been described in a preceding 
 article. (2) Dimensions 1 foot 3|- inches, by 1 foot 1 inch. 
 
 No. LXVI. 
 
 A bas-relief, representing a head of Jupiter Amnion, resting on a 
 tlower. The ends of the fillets, with which the head of Jupiter is 
 crowned, are held on each side by a Faun, who is furnished with 
 wings, and whose fignire terminates below in foliage, which curls in 
 such a manner, as to give the Faun the appearance of a Triton. 
 
 ' Ka,) ^£«j iv TfiKr) xcci 'imoa-i xai ixxroii v[/.ip<xii iTro!r\T£v, Dion. Cass. lib. Ixvlii. 
 p. 777. " See No. XXXII. 
 
 F 
 
[34] 
 
 This bas-relief is engraved in the Aittiquities of Ionia, (.i) pubhshed 
 by the Society of Dilettanti. Dimensions 1 foot 6|- inches, by 1 
 foot 1 inch. 
 
 No. LXVII. 
 
 A bas-relief, representing two Fauns gathering gi-apes into baskets. 
 It differs from two others in this Collection, (2) in the following par- 
 ticulars. Both the Fauns are of an advanced age, whereas only 
 one of them is so represented in the other bas-reliefs ; and in- 
 stead of one vine only, the present terracotta represents two vines, 
 the stems of which are twisted romid each other Dimensions 
 1 foot 6 inches, by 1 foot 1 inch 
 
 No. LXVIII. 
 
 A bas-relief, representing Victory standing upon the root of a 
 plant, the branches of which she supports on each side by her 
 hands. A figure, very much resembling the present, occurs on a 
 capital of the temple of Apollo Didyma"us,(3) near Miletus. Dimen- 
 sions 1 foot 5^ inches, by 1 foot 51 inches. 
 
 No. LXIX. 
 
 Repetition of No. XXXIII. 
 
 No. LXX. 
 
 A bas-relief, representing Victory sacrificing a bull before a small 
 altar, which is placed upon a tripod table. This bas-relief differs 
 from two others of the same subject, namely, Nos. XXIV. and 
 XX^^. which haA'e been already described. In No. XXIV. a can- 
 delabrum stands in the place of an altar, and in No. XXVI. the 
 
 • See Part II. p. 39. * See Nos. XXVIII. XXXIU. 
 
 ' See the Antiquities of Ionia, Part I. chap. iii. p. 27. 
 
[35] 
 
 direction of the figures is reversed. Dimensions 1 foot 4 inches, by 
 1 foot 1 inch. 
 
 No. LXXI. 
 
 A bas-relief, imperfect, representing a warrior riding at full speed, 
 and aiming a blow with his sword at an Amazon, whom he has 
 overtaken, and seized by the hair of her head. The warrior is 
 armed with a shield and helmet, and his legs are defended by greaves. 
 Of the Amazon a very small part only is remaining, but she ap- 
 pears to have been mounted on horseback, according to the usual 
 custom of those heroines. (i) There can be no doubt that the war- 
 rior here represented is Theseus, who joined the Athenians in their 
 war against the Amazons, (2) and defeated them in Attica, at a place 
 which, in consequence of that event, was afterwards called Ama- 
 zonium.(3) This subject was frequently represented by the ancients, 
 and more particularly by the Athenians. Two paintings of it by 
 Micon were at Athens ; one of them was in that Portico, (4) which, 
 from the variety of paintings it contained, was called Poecile, or 
 various, and the other was in the temple of Theseus. (5) This 
 
 fjLix.ofra^ roTi TToAEjai'o.f, EWf oly -n-xp^ivo^ iZ<riv. — Hippoc. de Aeribus, Aquis, et Locis. 
 
 C. XLII. 
 
 * "Ot£ 'Afjt-Ji^ovt? iTT 'A^Jii/aiK; rpxTiva-aa-xt Ji' 'Ai-tio'wjiv 'aipa.rii5n<ra,» Ctto 0»i(r£wf. 
 Pausan. lib. i. c. 41. 
 
 3 'Ajwa^owov, TCTTog IV T« 'Attixij, ivS'a ©ria-cvi rav 'A[^xll,imv Upixrra-cv. — Steplianus. 
 
 * 'Ek Si tu fj-ea-u, tuv roi^m, ^A^WMot xai ©TicTiUf 'A/*«^oV» |i*«p^oi'T«i. Pausan. Att. 
 
 lib. i. c. 15. 
 
 ——— roc; J'' ' Afiocl^ovug (tkottii, 
 
 "Af Mi'xwk 'iypx^ev i(p 'ittttuv /xap^ofA/fa? TOif avSpxffi- 
 
 Aristopli. Lysist. v. 679. 
 ' Ilpof Si TO yun*^«ff•l'u 0»ia-.'wf liiv Itpov. ypoc(poa Si £tVi, zypk 'Ajua^oca? 'A%vaioi 
 lAXXJOf^iw. TlnrolriTai, S\ <r(piViv o 7roA£/*of bto? x«i t»ij 'AS^l^«? etti t« dcwiSt, xai rx 
 'OAu/^ATTia Aioj ettI tm j3«3-pu. Pausan. lib. i. c. 17- 
 
[36] 
 
 subject was also twice executed by Phidias ; namely, on the shield of 
 Minerva, in the Parthenon, (i) and on the base of the statue of Olym- 
 pian Jupiter, at Elis.(2) Dimensions 11 inches, by 9f inches. 
 
 No. LXXII. 
 
 A bas-relief, representing Venus seated upon a swan, which is on 
 the point of flying into the air. The ancient poets frequently de- 
 scribe the car of this goddess as drawn by two swans, (3) but never 
 describe her as actually seated on the bird. There is, however, an 
 example of this kind on a silver coin of Camarina,(4) where a swan is 
 swimming on the sea, and bearing Venus on its back. Another 
 example of the same kind occurs on a bronze patera, (5) where 
 Venus is riding on the back of the swan. In the bas-relief before 
 us, as well as on the coin and the patera, the goddess is represented 
 with a veil, which is blown over her head. Dimensions 1 foot 
 3 inches, by 1 foot 6 inches. 
 
 No. Lxxm. 
 
 A bas-relief, representing Cupid pressing Psyche to his breast. 
 Psyche is here represented in the form of a butterfly. The story 
 
 ' Sed scuto ejus, in quo (Phidias) Amazonum praelium caelavit intumescente ambitu 
 parmae.— ^Plin. Hist. lib. xxxvi. c. 5. 
 
 * To VTToVvl^Ot, ii TO UTTO TS AlOJ TOiJ TCtXTW, uVo tZii III TM 'AtTIJCJJ >tX>iZu.BI/OV BpCinOII, 
 
 XiovTXi T£ j^uo-ou?, xai QniTiui 'nrnfya.<yi/.ivr\v i^u f*aj^*ii' rriv irpo^ 'AJM.a^o^«?. — ■ — Pausan. 
 lib. V. c. xi. 
 
 Vecta levi curru medias Cytherea per auras 
 
 Cypron olorinis nondum pervenerat alis. — Ovid. Met. lib. x. v. 7l 7- 
 
 quae Cnidon 
 
 Fulgentesque tenet Cycladas, et Paphon 
 
 Junctis visit oloribus. Hor. Carm. lib. iii. 28. v. 13. 
 
 ct inolles agitat Venus aurea cycnos. — Stat. Silv. lib. iii. 4. v. 22. 
 
 * Combe, Num. Vet. Pop. et Urb. tab. xiv. fig. 9. 
 
 ' Middleton, Antiquitatis Eruditae Monumenta, tab. xv. 
 
[37] 
 
 of Psyche, as is well known, is an allegorical fable, under which 
 the ancients intended to designate the soul. The word Psyche, (i) 
 signifies in Greek, both the soul and a butterfly, and it was in 
 the simple form of that insect, that Psyche or the soul was 
 personified in the earlier representations of this allegory. The 
 human form was afterwards given to Psyche, but the wings of the 
 butterfly, her original symbol, were affixed to her shoulders. It 
 is remarkable that Apuleius is the first writer who relates the story 
 of Psyche, but it is by no means a fair conclusion that the ancient 
 figures of Psyche have been, therefore, borrowed from his descrip- 
 tion. There are extant many groups of Cupid and Psyche, which 
 are unquestionably of a period anterior to the time in which Apu- 
 leius lived. Of this description are the marble statues of Cupid and 
 Psyche in the Florentine Gallery, (2) as well as those which were 
 formerly in the Capitol, but are now at Paris. (3) The celebrated gem, 
 engraved by Trypho, representing the marriage of Cupid and Psyche, 
 at present in the possession of the Duke of Marlborough, (4) is one 
 of the most beautiful specimens of ancient art, and evinces a degree 
 of excellence in the design and execution, which is far superior to 
 any effort of art in the time of the above-mentioned writer. Dimen- 
 sions 11^ inches, by 10|- inches. 
 
 No. LXXIV. 
 
 A bas-relief, representing Cupid flying with a palm branch in one 
 hand, and a chaplet in the other. In Aristophanes, (5) Cupid is 
 
 'i'uj^r., TTVivfix x«i l^uu(piov ■jrrmviv- — Hesychius. 
 H (pxXxivx ifiv, 71 Trap rifMV Yuj^it — (pxXxivx Si 'Poiiuv sViv ovofAX, ovtu yxp xvto) t» 
 TTtp) T8J Au'p^Ka? TrtTOfAivx S-nptx x«x5ir». — Schol. in Nicand. Theriac. v. 760. 
 
 * Mus. Flor. Stat. Tabb. 43, 44. ^ Mus. Nap. torn. i. pi. 65. 
 
 ♦ Stosch, Pierres Antiques Gravees, tav. Ixx. — Gemmarum Antiquarum Delectus, quae 
 in dactyliothecis Ducis Marlburiensis conservantur. Vol. i. tab. 50. 
 
 ' 'AuTixas N»K>i TTiTxrxt TTTifvyoiv j^puraii', )t«i v^ Ai" Epw? yt. — Aristoph. Aves. v. 575. 
 
[38] 
 
 described as having wings similar to those of Victory, but here he 
 is represented not only with the wings, but also with the customary 
 attributes of that goddess, in reference to his conquests over all the 
 regions of animated nature. In several Greek poets he is styled the 
 universal conqueror, (i) and his triumphs are both fi-equently and 
 variously expressed by the ancient artists, who, in conformity to the 
 attributes Avith which he is accompanied in this bas-relief, have 
 sometimes represented him in the act of erecting a trophy. (2) 
 Dimensions 1 foot 4 inches, by 11^ inches. 
 
 No. LXXV. 
 
 A terminal head of the bearded Bacchus. It is a repetition of 
 No. III. and was found in the same spot. 
 
 No. LXXVI. 
 
 A female statue, the head of which is crowned with i^^. It pro- 
 bably represents Thalia, the pastoral Muse. Both arms are im- 
 perfect. Height 2 feet 2j inches. 
 
 No. LXXVII. 
 
 An amphora, somewhat difterent in its form from the one already 
 described. (3) The former holds fifty-two ale pints, while the present 
 contains sixty-eight pints. It should here be obsened, that 
 though the Athenian and Roman amphorae were both definite 
 measures, yet these vessels have been found to vary very much in 
 
 ■ 'AuTof irxvixixdrup. Musffius, v. 200. 
 naKJ«/*«Twp, ii3xiJi.a.fi, p.oo-a-o'f, (rCyxpo^t xis-fXH.— Nonni Dionysiac, Lib. xxxin. 
 
 V. 109. 
 
 * Mus. Flor. Gem. torn. i. tab. Ixxiv. fig. 9. et tab. Ixxv. fig. 2. et 5. 
 » See No. II. 
 
[39] 
 
 their degrees of capacity. Height 3 feet 4^ inches. It formerly 
 belonged to Sir Hans Sloane. 
 
 No. LXXVIII. 
 
 A female statue, the character of which is unkno\vn. The head 
 and lower arms are modern. Height 1 foot 9 inches. This is the 
 only statue in the present series of engravings which was not found 
 near the Porta Latina. 
 
 No. LXXIX. 
 
 A female statue, probably of the goddess Juno. It is crowned 
 with an indented diadem, similar to one which is seen on a marble 
 head of Juno in the Collection of the British Museum. The lower 
 arms are lost. Height 2 feet 2y inches. 
 
 London : printed by W. Bulmcr and Co. 
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Plate XXV. 
 
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 JiVlliiiffv/^uMurhf^ ^mf l~t&ff.bv tit£ TrttStr, 
 
t,-t.u-l. .^.i,,. 
 
 ^••ri'frf,I^/m^-Ao/.JiMe.2jai0.Iivt/i^,Tru*lre^ortAc£rtiuAJ/a.^a 
 
)a(i- XXTII. 
 
 50. 
 
 -.\ i-uWr .cntip . 
 
 L.n.i.-n /h/-/,../i.:/ /iif>, .-, i.Si.k h v Ih. />,/. Y.-r,.- ,'frA,- Jlrifi.fh Afu.it 
 
riateSXVm. 
 
 s 
 
 im 
 
 ^ ^i 
 
 WiBr m2f\ euJf 
 
Plate XXIX. 
 
 xw» M iwittM miiiiiiuiii iHmTiijiiiin atMM»^^ 
 
 I... a.^n ./. 1/.. ......... 
 
/( >i? idU-ii/ra- -iij 
 
 S^^ndonJiiihjhetiJu/iai^&o.iv the Tj-jj wyy i o/'rAe. Sri/ijcA. 2fiijfnrn 
 
J laic XXXI . 
 
 
 Leniimt Pu^Kfhed JitnduAo.hv tkc TmjitrfjK^Hte British JCt^funt 
 
PlaK- .NXXll. 
 
 ^ 
 
 /.,.„*., [Mi^dJ,.,, .Ml... ty ». ,...-'^ .'"" l'"^* -"■'•" 
 
fKJr.Tn^'V j.-it^. 
 
 r.-r-i.-,, r.ff-/,\/.rJ.r„„^2,i.-i,^fiYfArTrfj-rt.-'..-.^rfA,~ ff^.>,.-A (/■„,- 
 
I' I. lie \X\'1\'. 
 
 Litiitiaft. J^tiUske^ t/uftr J.,' 
 
 ' .'t'thi- 3rHi»h J^iSr^Ji 
 
Plate SXXV: 
 
 
 Zifndo/iI^tSiifA/-^Jun-:iJi^o.6y the/TrtuU£^ iff tlticSruish,Musaim^. 
 
I'lat.- XXXTI. 
 
 
 
 ;":«<IL. 
 
 XtVuid'n PiihlLArd Jiav:. ju6u>. In' M< Thd.iTr^^ or" tAc Sndth Mujnun . 
 
I'l.ili- XXX\I1. 
 
 75. 
 
 J.'-1^nP,Mi,/,^J^^jjj^^^ a^rru,^^, ..ftiUJritUAlU^c^^ 
 
I'la(i> XXXV1I1. 
 
 76. 
 
 Loruien. Fuhli^ked ^/uji^ j-j.9jo. 6v tAr_ Trti^tv^ or't/te Bii'i 
 
HateXXaX. 
 
 78. 
 
 ■^■'"'^'^r^'i^,d.,,^^.,.6yauT^tc^„fa.jiri>i^3n^^ 
 
Plate XL. 
 
 79. 
 
 / ...i,. r„hlijl,^iLJim-ullu,.tvtkt TnuuciftltJIiuidtilK^ 
 
hit. 
 

 
 
 iiffimhi 
 
 ii 
 
 ■:niii! 
 
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