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He has conceived that a better idea of this Department, as a whole, may be conveyed by a careful selection of the objects most worthy of notice than by a mere enumeration of every article contained in the several rooms. It has therefore been his aim to dwell only on the more important features of the collection ; feeling, that to do fiill justice to all the treasures of Ancient Art, and to the many Historical Monuments preserved in the British Museum, would far exceed the plan and limits of the present work. Considerable difficulty has been experienced in deter- mining the order of arrangement, as, on account of the numerous changes at present taking place, arising from the recent alterations and rebuilding of the rooms, it has been found impossible to present in strict chronological order each successive period of Ancient Art. On the whole, it has been thought best to begin with the Greek Collection, as that directly tending to form and elevate the Public Taste : the work, therefore, commences with a brief outline of the progress of Greek art, passing in re- iv PREFACE. view the sculptures from Phlgaleia, as among its earliest remaining specimens ; and then the valuable contents of the Elgin, Towneley, and Lycian Eooms. The curious and interesting remains recently brought to light by the Discoveries of Mr. Layard will then be examined, and the monuments in the Egyptian Saloon, and the mummies and smaller objects in the Egyptian Room, described, together with the exquisite remains of Greek art in the Bronze and Vase Rooms : the only collections omitted are those known by the names of British or Anglo-Roman Anti- quities, together with the ancient Coins preserved in the Medal Room : the former being as yet too insufficiently arranged to admit of classification and description; and the latter embracing too wide a compass for the present work. The aim of the Author will be accomplished, if he shall have succeeded in combining some instruction with an hour's passing amusement among the numerous and valuable collections of the British Museum. t/wwe, 1851. CONTENTS. PAOK Table of Greek and Roman Artists ix GREEK ANTIQUITIES. Sketch of the Progress of Greek Art i J. Period to Olymp. 50— B.C. 580 1 II. Period between Olymp. 50—80, B.C. 580 — 460 .... 3 III. Period between Olymp. 80—111, B.C. 460—366 .... 4 IV. Period between Olymp. 111—158, B.C. 3;'.G— 140 ... 6 V. Period from B.C. 146 to Fall of Kome 7 Pjiigaleian Saloon 11 I. Casts of Metopes from Selinus 11 II. Casts from the Tympana of the Temple of Athene in yEgina . 12 III. Bas-reliefs from the Temple of Apollo at Pliigaleia in Arcadia 14 IV. Bas-reliefs from the Mausoleimi at Halicaruassus (Budrun) . 32 Elgin Room 36 I, The Sculptures from the Parthenon 36 1. Sculptures from the Eastern and Western Pediments . 38 2. Alti-Rilievi, or Metopes 49 3. Bassi-Rilievi, or Frieze 58 1. Slabs from the Eastern side '^l 2. Slabs from the Northern side 68 3. Slabs from the Western side 70 4. Slabs from the Southern side 82 II. Frieze from the Temple of Nike' Apteros 91 III. The Sigean Bas-relief 98 IV. Casts from the Theseion 99 V. Casts from the Choragic Monument of Lysicrates . . . .10 VI. Miscellaneous Statues, &c 113 1. Detached Statues, and Fragments of Statues . . .114 2. Miscellaneous Bas-reliefs 120 3. Votive Memorials 125 vi CONTENTS. Elgin Room — Miscellaneous Statues, &c., continued. 4. Altars 127 5. Sepulchral Memorials, Stela;, Urns, &c 127 6. Miscellaneous Objects 136 7. Inscriptions relating to Temples, Decrees, &c. • . . 137 8. Architectural Fragments and Ornaments of Roofs, &c. . 140 LYCIAN ANTIQUITIES. Lycian Room ■ l'^3 ■ I. Sculptures from the Ionic Trophy Monument 146 II. Miscellaneous Reliefs 150 III. Tombs 151 IV. Inscriptions •• 161 V. Miscellaneous Fragments of Sculpture 162 VI. Architectural Fragments 163 TOWNELEY SCULPTURES. TOWNELEY AND MISCELLANEOUS SCULPTURES 165 I. Statues and Bas-reliefs 167 II. Busts of Mythological Personages 186 III. Portrait Busts of Greek Personages 199 IV. Finest Statues of the Roman Period 203 V. Statues of the late Roman Period 221 VI. Busts of Roman Emperors 229 VII. Sepulchral Monuments, Greek, Etruscan, and Roman. . . 233 VIII. Roman Altars 251 IX. Miscellaneous Bas-reliefs, &c. . 253 ASSYRIAN ANTIQUITIES. NiMRuD Sculptures 263 I. Those from the N. W. Palace 265 II. Those from the Central Palace 278 III. Those from the S.W. Palace 280 Inscriptions 281 Khorsabad . 284 Koyunjik 286 Kalah Sherghat 286 CONTENTS. vii EGYPTIAJ^^ ANTIQUITIES. PAOE Introduction 289 Egyptian Saloon 297 I. Statues and Fragments of Kings 297 II. Statues and Fragments of Deities 313 III. Representations of Animals 317 IV. Sarcophagi 318 V. The Obelisks 320 VI. Inscribed Slabs 321 VII. Sepulchral Tablets, Architectural Fragments, &c 329 Table of Egyptian Chronology, &c 334 Egyptian Room 345 I. Divinities, Royal Personages, and Sacred Animals .... 348 Sacred Animals, Birds, and Reptiles 365 II. Sepulchral Remains, Mummies, &c 369 1. Sepulchral Tablets 379 2. Sepulchral Scarabosi and Amulets 379 3. Rings, Necklaces, Bracelets, &c 382 4. Miscellaneous Ornaments from Mummies .... 382 BRONZE ROOM. Egyptian Antiquities 393 Greek and Roman Antiquities 403 VASE ROOM. I, Early Italian Ware 440 II. Black Etruscan Ware 440 III. Red Etruscan Ware 441 IV. Miscellaneous Varnished Ware 442 V, Italian Vases of the Archaic Greek .'^tyle 442 VI. Vases of the Transition Style 446 VII. Vases in the finest Greek Style 452 VIII. Basiiicata and Vases of a late Tiuie 459 ( ix ) TABLE OF GREEK AND ROMAN ARTISTS. The following list and dates of eminent artists of Ancient Greece and Italy has been taken from Julius Sillig's Dictionary of the Artists of Antiquity. Olymp. I. xvm. L. LIV. LV. B.C. XXV. 680 XXIX. 664 XXX. 660 XXXV. 640 XLII. 612 XLVIII. 588 776 708 580 564 560 Names of Artists, &c. Daedalus of Athens. Smilis of iEgina. Eucheir I. discovers the art of painting. Dibutades of Corinth, and his daughter Core, first make plaster-casts. Philocles the Egyptian, or Cleanthes tlie Corinthian, in- vent painting in outline. Their contemporaries are Arego, Crato of Sicyon, and Saurias of Samos. Ardices the Corinthian, and Telephanes I. the Sicyonian, exercise the art of painting. (The precise dates of the above facts are uncertain.) About this period flourished Chersiphro of Cnossus, the architect, and Telecles and Theodorus I., sons of Rhcecus. In a rather later period Metagenes I., son of Chersiphro, Paonius I. of Ephesus, and Learchus of Rhegium. Shortly before this time Bularchus, the painter, appeared in Asia. Glaucus I. invents the soldering of iron. Eucheir II. and Eugrammus, Corinthian modellers, exercise their art in Italy. Cleophantus, the Corinthian, flourishes. Malas of Chios appears as a sculptor. Micciades, the Chian, practises sculpture. Mnesarchus the Etrurian, the father of Pythagoras, be- comes eminent as an engraver of precious stones. Dipsenus and Scyllis, natives of Crete, attain great emi- nence in sculpturing marble. About this period flou- rished also Anthcrmus or Archeneus of Chins, Byres of Naxos, and Endoeus the Athenian. Aristocles, the Cydonian, flourishes. Perillus, probably of Agrigentum, flourishes. TABLE OF GKEEK AND ROMAN ARTISTS. Olymp. B.C. Names of Artists, &c. LVIII. 548 Tectfeus and Angelio make the statue of tlie Delian Apollo. About this time flourished also Bupalus and Athenis of Chios, and Theocles the Laconian, sculptors ; Dontas, Doryclidas, and Medo, all of Laconia, statuaries ; an(i Theodoinis II., the Samian, an engraver. LIX. 544 Syadras and Chartas, Lacedaemonian statuaries, flourish probably about this period. LX. 540 Bathycles the Magnesian, a statuary, and Spintharus, an architect of Corinth, flourish. About this time Antistates, Callseschrus, Antimachides, and Porinus, architects, lay the foundation of the Temple of Jupiter Olympius at Athens. LXI. 536 Cleoetas, of Sicyon, the statuary. LXII. 532 Demeas I. of Crotona, statuary, flourishes. LXV. 520 Ageladas of Argos, statuary, makes a statue of Anochus, a victor in the Olympic games. LXVI. 516 Ageladas makes a chariot in honour of the victory of Cleosthenes at Olympia, and about the same period ennobles a victory obtained by Timasitheus. Callo I. of ^gina, Chrysothemis and Eutelidas of Argos, and Gitiadas the Lacedaimonian, flourish as statuaries. LXVIII. 508 Amphicrates, the statuary, makes the figure of a lioness. Antenor makes statues of Harmodius and Aristogeiton. Aristocles 11. and his brother Canachus I., both of Sicyon, flourish as statuaries. This was the age also of Clearchus of Rhegium. LXX. 500 Hegesias and Hegias of Athens, Mensechmus and Soidas of Naupactus, Telephanes II. of Phocis, and Arcesilaus I. flourish as statuaries. Aglaopho I. of Thasos, father of POLYGNOTUS and Aristopho, exercises the art of painting. Sillax of Rhegium, the painter, flourishes. LXXI. 4. 493 Demophilus I. and Gorgasus practise the arts of painting and making plaster-casts at Rome. LXXII. 492 Stomius, statuary, flourishes. LXXin. 488 Glaucias of jEgina, statuary, flourishes. Pythagoras I. of Rhegium begins to exercise the art of statuary. About this time Pheidias is bom. LXXIV. 484 Ascarus, the Theban, forms for the Thessalians a statue of Jupiter out of the spoils of the Phocians. Amy- clseus, Diyllus, and Chionis prepare several statues out of the spoils taken from the Thessalians by the Pho- cians, which are dedicated by the latter at Delphi. Aristomedo is also engaged in this undertaking. TABLE OF GREEK AND ROMAN ARTISTS. XI Olymp. LXXV. LXXVI. LXXVIII. LXXIX. LXXX. LXXXI. LXXXII. LXXXIII. LXXXIV. LXXXV. 3. 480 47G 468 464 460 456 452 448 444 438 Names of Artists, &c. Synnoo of JEs;ina, statuary, flourishes. Aristomedes and Socrates, two Theban statuaries, flourish. Critias Ne- siota makes statues of Harmodius and Aristogeiton, which are almost immediately erected. Anaxagoras of yEgina makes a statue of Jupiter at the request of several states of Greece, which had partici- pated in the victory over Xerxes at Salamis. Dion ysius 1 . and Glaucus of Argos, and Simo of ^Egina, flourish. Hippodamus, an architect of Miletus, fortifies the Peira;eus at Athens. Onatas of .Egina and Calamis make a chariot in honour of Hiero, lately deceased, which is afterwards dedicated at Olympia. Their contemporaries are Ageladas of Argos, Hegias of Athens, Calliteles, Calynthus, Hippias, So- phroniscus, and Pasiteles I. Ageladas and Hippias here mentioned were instructors of Pheidias. Demophilus II. of Himera, and Neseas of Thasos, flourish as painters. Sostratus I., statuary ; Mico I. of Athens, statuary and painter; and probably Olympus, statuary, flourish. To this period likewise belong POLYGNOTUS and Aristopho, painters of Thasos, and Dionysius of Colopho, a painter, and probably Cimo of Cleona;, together with Arcesilaus II. and Nicanor of Paros, who practised the same art. Ptolichus of Corcyra, statuary, flourishes. Soon after this year Ageladas II. of Argos prepares a statue of Jupiter for the Messenians occupying Naupactus. Acestor of Cnossus, and Ptolichus of ^Egina, flourish as .statuaries ; ScjTnnus as a statuary and engraver, and Eucadmus as a sculptor. PiiEiDiAS, of Athens, attains gi-eat eminence. Alcamenes, an Athenian, and Agoracritus the Parian, both pupils of PiiKiniAS, flourisli as statuaries and sculptors. In this period likewise Critias Nesiota is still living, and the following artists are engaged in their several pro- fessions : Cydo and Diodotus as statuaries; Xenocles the Athenian, a statuary ; Panaenus the Athenian, cousin of PllioiDiAS by the father's side ; Plista?netus, the brother of Pheidias, and Timagoras of Chalcis — painters. Libo, the Elaan, builds the Temple of Zeus Olympius. Mys, the engraver, flourishes. Pheiptas dedicates his statue of Athene, made of irory atui gold, in the Parthenon. The Vestibule of the Acropolis commenced. Xll TABLE OF GEEEK AND ROMAN ARTISTS. Olymp. LXXXV. 4. LXXXVI. LXXXVII. LXXXVIII. LXXXIX. XC. 437 436 433 432 430 428 424 420 XCII. XCIII, XCIV. XCV. 3. 412 408 404 Names of Artists, &c. 398 PiiKiDiAS commences his statue of Zeus Olympius, with the assistance of Colotes of Paros. About this time flourish Ictinus, Callicrates, Metagenes II. of Athens, Stypax of Cyprus, architects, and, probably, Carpio. Coroebus and Mnesicles, architects ; Ctesilaus, a statuary, and probably Demetrius III., a statuary, flourish. This appears to have been the period wken Socrates, the phi- losopher, bestowed attention on sculpture. Pheidias dedicates his statue of Zeus Olympius. Pheidias dies. Myro of Eleuthera, and Poltcletds I. of Argos, attain great eminence as statuaries. About this time flourished also the following statuaries : Callo I. of Elis, Gor- gias of Laconia, Phradmo of Argos, Scopas of Elis, and Theocosmus of Megara. Calamis makes his statue of Apollo, the Averter of evil. Amphio of Cnossus, statuary, and Pasonius II. of Mende in Thrace, statuary and sculptor, flourish. Sostratus of Rhegium flourished as a statuary. POLYCLETUS I. of Argos makes his statue of Here. Apellas, Dionysiodorus, Niceratus of Athens, Nicodamus of Msenalus, Pericletus and Sostratus of Chios, flourish as statuaries. Praxias and Androsthenes, two Athenian sculptors, decorate with their productions the temple at Delphi. Cleisthenes, the architect, flourishes. Eu- palamus, the Argive, rebuilds the Hercemn near My- cense. To this period we should in all probability refer Callima- chus KKTaTfi^iTexvos. Lycius, the son of Myro, flourishes as a statuary. To this period we should probably refer Thericles. Phryno, the statuary, flourishes. Antiphanes of Argos and Aristander of Paros flourish as statuaries. A large group of statues is dedicated at Delphi by the Lacedemonians, in commemoration of their victory at iEgos-potamos, made by the following aiiists : Alypus, Patrocles I. and Canachus II. of Sicyon, Demeas II. of Clitor, Piso of Calaurea, Samolas of Arcadia, Theocosmus of Megara, and Pisander. Alcamenes makes statues of Athene and Heracles, which are dedicated in acknowledgment of the overthrow of the Thirty Tyrants. Aristocles IV. flourishes as a sculptor. TABLE OF GREEK AND ROMAN ARTISTS. xiu Olymp. XCV. 4. XCVI. XCVII. XCVIII. ClI. cm. CIV. cv. cvi. cvii. 397 396 392 388 380 372 368 364 360 35G 352 Names of Artists, &c. Xeuxis of Heraclea, the distinguished painter, flourishes. To this period we must refer, also, Androcydus of Cyzicus, and Eupompus of Sicyon, painters ; Naucydes the Argive, brother and instnictor of I'olycletus II., who was also engaged as an artist about this time ; Dino- menes, Callicles of Megara, and Daedalus II. of Sicyon, all statuaries. Parrhasil'S of Ephesus, Timanthes of Sicyon, Pauso, and Colotes II. flourish as painters. Pantias of Chios, a statuary, flourishes. ScOPAS, the celebrated Parian sculptor, builds the temple of Pallas at Tegea. Aristodemus I., a painter, flouiishes. To this period belong Ctesidemus, the painter, and the following statuaries, all of whom were pupils of Polf- CLETUS I. ; Alexis, Asopodorus, Aristides, Phryno, Dino, Athenodorus, and Demeas II. Polycletus II. of Argos, Cleo I. of Sicyon, Democritus I. of Sicyon, flourish as statuaries, and Pamphilus I. of Amphipolis, and Euxenidas, as painters. The following statuaries flourish ; Aristogito of Thebes, Cephisodotus I. of Athens, Djedalus II. of Sicyon, Hy- patodorus, Pausanias I. of ApoUonia, Polycles I., Xeno- phon the Athenian, Callistonicus the Theban, and pro- bably Olyrapiosthenes and Strongylio. Demophon the Messenian, and Eucleides II. the Athenian, practise sculpture ; and Jliccio, and Ephorus the Ephesian, the instructor of Apelles, flourish as painters. LYSirpus, the Sicyonian, first appears as an artist. Euphranor, the distinguished statuary and painter, and Praxiteles, eminent in the arts ofstatuary and sculpture, flourish. To thi.s period, also, belong Euphronides, and Herodotus the Olynthian, statuaries, Cydias of Cythnos, and Nicias I., painters. The last of these artists assisted Praxiteles in the decoration of his statues. Nicomachus I., a Theban painter, flourishes. ScoPAS, the Parian, engaged with other artists in building the Temple of Diana at Ephesus. Brietes of Sicyon, the father of Pausias, flourishes as a painter. Pamphilus I., of Amphipolis, is still living. Apelles just appears as a painter. Aristides II. of Thebes, Echio, and Therimachus, all painters, now flourish. The MnusoUmm at ILilicAinnKsm, built by Phiteus and Saty- rus, is about this time decorated with figures by Scoi'AS, Praxiteles, Leochares, Timotheas, Bryaxis, and Pythis. This was probably the age of the statuaiy Cha^eas. XIV TABLE OF GREEK AND ROMAN ARTISTS. Olymp. CVIII. 348 CIX. 344 ex. 340 CXI. 336 CXII. 332 CXIII. CXIV. CXV. CXVII. CXVIII. CXIX. 1. CXX. CXXIl. 528 324 320 312 308 304 300 292 Names of Artists, &c. Corybas, the painter, flourishes. Philochares, the Athenian, appears as a painter. Antcrides and Leontion flourish as painters. Leochares is still living. Antidotus the pupil of Euphranor, Carmanidas, and Leo- nides of Anthedon, flourish as painters. Apelles flourishes. The painters cotemporary with him, are, Amphio, Antiphilus the Egyptian, Nicophanes, Asclepiodorus, Theo of Samos, Melanthus, Pausias of Sicyon, Theomnestus, Nicias II. of Athens, and Ctesilo- chus, the pupil and perhaps the brother of Apelles. Pyrgoteles, the engraver on precious stones, flourishes. To this period also belong Philo the statuary, Pamphilus II. the sculptor, and Dinocrates, an architect of Mace- donia. Alcimachus, Aristocles V,, and Philoxenus (the last two inhabitants of Eretria), flourish as painters ; and Amphi- stratus as a statuary and sculptor. Lysippus still living. In this period the subjoined artists flourish : Lysistratus the brother of Lysippus, Apollo- dorus, lo, Polyeuctus, Silanio the Athenian, Sostratus III., and Sthenis the Athenian, statuaries ; Glaucio the Corinthian, Gryllo, Ismenia^ of Chalcis, Aristo and his brother Niceros, both of Thebes, painters ; and probably Menestratus II. sculptor. Dajtondas, the Sicyonian, flourishes as a statuary. Bryaxis still exercises the arts of statuary and sculpture. Apelles and Nicias II. the Athenian, still living. Dio- genes, Perseus, and Aristolaus son of Pausias, flourish as painters, and Callias of Aradus as an architect. To this period we should also refer Menaechmus the Sicyonian. Protogenes of Caunus paints in the island of Rhodes his figure of lalysus. Fabius Pictor decorates with his paintings the Temple of the Goddess Salus at Rome. This was probably the age of Praxiteles II. the engraver. Cephisodotus II., a statuaiy, sculptor, and painter, and Timarchus a statuary, both sons of Praxiteles, now flourish. Daippus, Euthycrates, Eutychides of Sicyon, Phffinix, Pyromachus, and Tisicrates of Sicyon, flourish as statuaries ; and Athenio of Maronea and Mechopanes as painters. Bedas, son of Lysippus, Chares of Lindus, and Xeuxiades, flourish as statuaries. TABLE OF GREEK AND ROMAN ARTISTS. XV Olymp. B.C. Names of Artists, &c. cxxv. 280 Omphalio, a painter, flourishes. CXXVI. 276 Piste and Xenocrates flourish as statuanes. CXXVIII. 2G8 Cantharus, the Sicyonian, practises the art of statuary ; and Mydo of ydi, and Arcesilaus III., probably of Sicyon, that of painting. CXXXIII. 248 Nealces and An'gonus flourish as painters. CXXXV. 240 Timanthes II., painter, flourishes. CXXXVI. 236 Isigonus, Pyromachus, Stratonicus, and Antigonus, flourisli as statuaries, and Leontiscus as a painter. CXL. 22u Anaxandra, the daughter of Nealces, practises the art of painting. /Egineta, a modeller, and his brother Pasias, a painter, flourish. CXLII. 216 Mico III., of Syracuse, flourishes as a statuary. CXLVII. 192 Stadieus, Athenian statuary, flourishes. CLI.' 180 Cossutius, Roman architect, flourishes. CLIII. 176 Heraclides I., a Macedonian, and Metrodorus, probably an .\thenian, flourish as painters. CLV. 1G8 Antheus, Polycles II., Callistratus, Callixenus, Pythias, Pythocles, Timocles, and Timarchides, flourish as statu- aries and sculptors. To this period we should probably refer Philo of Byzantium. CLVir. 152 Pacuvius, the tragic poet and painter, flourishes. CLXXVI. 3. 74 Arcesilaus IV., sculptor, the intimate fiiend of L. Lucul- lus, flourishes. CLXXIX. 2. 6;i Valerius of Ostia flourishes as an architect. The following artists flouiished about this period : P.asiteles, statuary, sculptor, and engraver ; Timomachus of Byzantium, ami Arellius, painters ; Cyrus, architect ; Posidonius of Ephesus, statuary and engraver ; Leostratides, and Pytheas I., engravers ; Coponius, Roman sculptor ; and Epitynchanus, engraver on precious stones. CLXXXVII. 3. 30 In this period Pasiteles still practises the arts of sculpture and engraving, ;uid the following artists also floui'ish : Saurus, Batrachus, Diogenes, Lysias, and, probably, Stephanus, sculptors ; Aulanius Evander, Athenian sculptor and engraver; Dionysiiis, Sopolis, Ludius, Pedius, a youth, and Lala, a female born at Cyzicus, painters ; Dioscuridcs and Admo, engravers on gems ; and Posis, a Koman modeller. XVI TABLE OF GREEK AND ROMAN ARTISTS. A.D. Names of Artists, &c. Chimarus, a statuary, flourishes ; probably, Menelaus, a sculptor. Dorotheus and Fabullus flourish as painters ; Meno, the Athenian, as a statuary and sculptor ; and Xenodorus as a statuary, Agesander, Athenodorus his son, and Polydorus make for Titus, who afterwards became emperor, the celebrated group of the Laocoon. To this pei'iod also belong, Ci'atenis, the two Pythadori, Polydectes, Hermolaus, Artemo, and Aphrodisias of Tralles, sculptors ; Cornelius Pinus, Attius Priscus, Turpilius the Venetian, and Artemidorus, painters ; and Euhodus, an engraver on precious stones. GREEK ANTIQUITIES. SKETCH OF THE PROGRESS OF GREEK ART. Akt is the faculty of representation ; the laws of art, those condi- tions, under which external forms create in the mind sensations of pleasure and satisfaction, such forms being necessarily subject to some general laws, and determined by some fixed rules, so that each representation may be adequate to the things it represents. Thus by the comparison of styles, we may obtain a knowledge of the period during which each work was executed, the art of the older times being generally more rude and incomplete than the productions of later ages. On this principle, we propose to give a broad sketch of the Pro- gress of Greek Art, as a fitting introduction to the examination of the specimens of it preserved in the National Collection, and to select the illustrations of the canons we shall lay down from exam- ples which may there be found : premising, however, that no more than an outline can here be given of a subject so extensive — a skele- ton which the student himself may invest with the muscles and flesh from his own subsequent observations. The Art of Ancient Greece may be divided broadly into Five Periods. I. Period to Ol. 50— b.c. 580. During the Fikst period Art was in its infancy, and Sculpture in its germ : the artistic genius of the people being devoted to the orna- menting and embossing of metal objects, whether weajwns of war or vessels of domestic furniture, or to the manufacture of idols for the 2 SKETCH OF THE PROGRESS OF GREEK ART. service of Religion. The descriptions of Homer show the value attached to the rich and elegant workmanship of furniture and vessels ; and the story of the shield made by Hephaestus for Achilles indicates that the use of metal was extensively known. In the manu- facture of metallic works, it appears that the metal was first softened and hammered out into thin plates, and then subsequently worked up by sharp instruments, as the earliest bronzes which have been pre- served show marks of having been hammered out ((T<^upr)AaTo), a fashion which long prevailed in the case of the more precious metals. The invention of casting in metal (attributed to a Samian), and that of soldering, the discovery of a Chian artist, were of great value for the mechanical' advancement of the arts, which were still further promoted by the use of pottery, in remote ages an extensive trade at Corinth, ^Egina, Samos, and Athens, and to which may probably be attributed the first real commencement of the sculptural art. The art of pottery directly called forth an exercise of the skill of the individual workman, in that its success depended on a reliance on the artist's own resources rather than on copies or models. In the ornaments and the reliefs which were placed on the handles of vases the potter's wheel could not be used, and a free exercise of the hand was the natural and immediate result. In the earliest period of Greek art, we must not suppose that the images of the Gods were like the statues of later times : such images were simply rude symbolical forms, whose value depended solely on their consecration. Thas rude stones, pillars, wooden statues, and the like were set up as religious idols, and served to re- mind the worshippers of some attribute of the Deity to whom they were dedicated. In some cases, arms, legs, heads, &c., were carved in separate pieces and subsequently attached to the central block, itself not unfrequently of a different material. Of this, the most ancient age, no specimens exist in the Museum, except perhaps some of the earliest Etruscan vases in coarse black ware, apparently copies of similar works in wood, and to which no certain chrono- logical era can be assigned. > We mean by mechanical the use of moulds in reproductions of the archetype. The free use of the hand is recalled in the phrase common in English potteries, " the rule of thximb"— applied perhaps with some differ- ence, yet in opposition to the merely mechanical. SKETCH OF THE PROGRESS OF GREEK ART. II, Period between Olymp. 50 — 80, b.c. 580 — 460. The earliest works of the Second period appear to have been a con- tinuation of those we have mentioned in the last, viz., those peculiar representations which were called Acroliths (aKp6\i8oi), figures in which the kernel or central block was of wood, and the hands, head, and feet of stone, or some other materials. The character of the art of this period appears to denote, in the Gods, majesty, tran- quillity of posture, and great strength of limbs : in the Athletes, bodily energy and an attempt at portraiture, so far as tiie positions in which they are placed recall the posture and action of individual combatants. To this period belong the earliest Greek monuments preserved in the National Collection, viz., 1. The casts of the sculptures of Selinus, from the Metopes of the Temple on the Acropolis at that place. 2. The casts of the sculptures Irom the Tymjuma of the Temple of Pallas at -^gina. 3. The Ilarpy Tomb from Xanthus. 4. Some of the native Lycian sculptures, as for instance the two lions in alto rilievo, which are probably older than the sculptures of the Ilarpy Tomb. The style of art on these sculptures exhibits the following peculiarities: — The forms of the bodies are very muscular; the joints and sinews prominent ; the proportions generally compact ; the gestures, when the figures are in action, are vehement. The drapery of the statues is arranged in regular and almost geometrical folds ; the hair is braided symmetrically on each side the lace ; and the figures themselves walk buoyantly, leaning forward on the fore part of the foot ; the physiognomy has a marked and distinct treat- ment, in that the forehead is slightly retreating, the nose and chin sharp and angular, the eyes flat and elongated, and the cheeks lank and hollow. The coins demonstrate the same characteristic treatment as th« tculpture : the figures represented on them are often doubtless copies of statues dedicated in the cities or localities to which they belong. The incuse coins of the Graeco- Italian cities of Sybaris, Siris, Posidonia (Ptestum), Taras (Tarentuin), Caulonia, and Mcta- pontuui recall the angular countenances of the ^t'.^inctan sculjitures ; 4 SKETCH OF THE PROGRESS OF GREEK ART. and the earliest coins of Athens exhibit the symmetrical arrangement of the hair. III. Pbriod between Olymp. 80—111, b.c. 460—366. The Third Period is the golden age of Greek art, and to it all the finest works of ancient times are referable. During this period arose a spirit of sculpture which combined grace and majesty in the happiest manner, and, by emancipating the plastic art from the fetters of antique stiffness, attained, under the direction of Pericles and by the hand of Pheidias, its culminating point. It is curious to remark the gradual progress of the arts, for it is clear that it was slowly and not per saltum that the gravity of tlie elder school was changed to the perfect style of the age of Pheidias: indeed, even in his time a slight severity of manner prevailed — a relic of the rigidity which characterised the art of the earlier ages. In the same way the true character of the style of Pheidias was maintained but for a little while after the death of the Master himself: on his death, nay even towards the close of his life, its partial decay had- commenced ; and though remarkable beauty and softness may be observed in the works of his successors. Art never recovered the spiritual height she had reached under Pheidias himself. In the rebuilding of the Parthenon, which was the chief seat of the labours of Pheidias, he is believed to have filled the office of master of the works, and to have had under him a large body of artists. He, himself, worked chiefly at colossal statues in gold and ivory (chryselephantine), of which the two most celebrated were, the colossal statue of Pallas Parthenos in the Parthenon, and that of Zeus Olympius. No portion of these statues now remains. These figures were remarkable for the richness of decoration with which all the details of the costume, throne, pedestal, &c., were elaborated, while at the same time the grandeur of the general conception was not impaired. The finest remains of this period of art are, — 1. The Sculptures of the Elgin collection, which consist of six- teen out of ninety-two sculptures which once adorned the Metopes of the Parthenon ; of fifty-three original slabs, and many casts, of those which were placed in the cella of that temple ; and of fourteen fragments, more or less perfect, of the large statues which once SKETCH OF THE PROGRESS OF GREEK ART. 5 adorned its pediments. Of these, some are doubtless the handiwork of PnEiDiAS himself. 2. The Reliefs from the Temple of the Wingless Victory (Nike Apteros), which, though somewhat later, show considerable analogy with the sculptures of the Parthenon in their workmanship and the treatment of the subjects represented. 3. The Sculptures from the Temple of x\pollo P^picurius at IMii- galeia, the date of which is determinable w ithin a few years. In all these works the same style of art prevails : the traces of the elder school are not quite effaced, and the design is therefore occasionally less flowing and round, especially in the Friezes, which were to some extent limited by the architectural spaces allottod to them, and by the still prevailing law of synmietry. In the treat- ment of individual figures we observe a great general truthfulness ; vivacity of gesture where the subject demands it ; repose and ease where, as in the representations of the Gods, it appears most fitting; and in the arrangement of the drapery a peculiar lightness and elegance. It is probable, that the age of the finest Art was not synchronous in all parts of the Greek world, and that Archaie forms remained longer in some places than in others : as in other things so here, we may suppose that the supply and the demand were mutually dependent one on the other ; and that w here, as at Athens, the demand for great artistic works was pressing, there the highest ex- cellence would be earliest attained. Again, the character of the material in which different works of art were executed had its own advantage and disadvantage, and no doubt produced considerable effect upon the progress of art. It has been well said, '■ Let Pheidias have rude and obstinate stuff" to carve : though his art do that it should, his work will lack somewhat of the beauty which otherwise in fitter matter it might have had." To the elder period belong many coins of Athens, of Corinth, of Argos, of 8icyon, that with the type of the Chimaera, and the magnificent coin of Naxos with the head of the bearded Dionysus, and those of Agrigentum with two eagles and the hare.' These, of w liicli the Mujeum pos- ' Coins have evjrywhere this peculiar value, that they belon;^ to the actual period they represent. Many of them are reduced copies of some of the greatest designs of the contemporary sculptors, and of which they represent the spirit much more faithfully tluin the copies executed in marble by sculptors of the Uomaa period. 6 SKETCH OF THE PROGRESS OF GREEK ART. ^ sesses excellent specimens, may be considered to have been struck before the termination of the Peloponnesian war ; and convey to us, though on a small scale, admirable illustrations of the period to which they refer. Subsequently to the age of Pheidias the use of bronze for statues became very general, especially in the Peloponnesus, which in the numerous representations of celebrated Athletes led directly to the individualizing of particular statues, and to the bringing out into more prominent relief those peculiarities which are individual to the man whom they represent rather than characteristic of the whole human race. After the Peloponnesian war, a new rare of artists arose, who have been generally called the Later Attic school. Of these, Scopas of Paros and Praxiteles of Athens were the most celebrated. The mythical cycles of Aphrodite and Dionysus formed their chief subjects ; and the representations of the ideal Apollo, under the graceful form of the Pythian Citharoedus, and of the group of the Niobe, are the most celebrated works which have proceeded from their hands. Of the productions of the Later Attic school, the Museum pos- sesses — 1. The Eros of the Elgin collection, which belongs to the age of Praxiteles, or is possibly a little later than his time ; 2. The sculptures from the tombs of Maussolus, if indeed the marbles lately acquired from Budrun are works of Scopas and Leochares ; 3. The Choragic Monument of Lysicrates and some portions of the marbles procured by Sir Charles Fellows, from Xanthus in Lycia ; together with coins innumerable, specimens in excellent workmanship from the Greek cities of Southern Italy, especially Thurii, Tarentum, Velia, Heracleia, and Metapontum — from the masterpieces of the Sicilian engravers at Syracuse and Panormus — and from Greece Proper, those of Pheneus and Stymph^lus in Arcadia, of Opus, Thessalia, Cos, Crete, and Lesbos. IV. Oltmp. 111—158, B.C. 336—146. The Fourth Period extends from the time of Alexander the Great to the destruction of Corinth. The character of its Art is a witness to the state of society during this period, which exhibits a decadence in harmony with the decay of freedom in the formerly republican states. Heeren has well shown how in the earlier times Art was in SKETCH OF THE PROGRESS OF GREEK ART. intimate communion with the system and the Religion of the state. When these decayed, and extrinsic influences became intrinsic, Art. thou2-h still surviving in a few great minds, ceased to be the product of the mind of the people. The Schools of Art which flourished during this period exhibit a perpetual striving after eflPect, which ancient critics particularly remarked in the productions of the Rhodian and Sicyonian schools. The great theatres of the Art of the Fourth Period were those cities where the Macedonian Princes resided, whose custom of repre- senting the Kings, their ancestors, in the character either of Deities or of mythical Heroes afforded great scope for the display of artistic [)0wer. The works of Art of this period now remaining arc {)robably more numerous than those of the earlier ages, but are at the same time difficult of assignment. The coins are especially abundant, and of these the Museum possesses a large collection ; and those of the Kings of Macedon, of the Seleucidae in Syria, of the Ptolemies in Egypt, and of the Tyrants in Sicily, deserve attention as excellent illustrations of the style prevalent under those rulers respectively. Though in many instances remarkable for dexterous treatment, none of these coins exhibit the grandeur and simplicity of the Art of Pheidias or Lysippus. At the same time it is right to bear in mind that, with few and rare exceptions, the best coins and monu- ments are all genuinely Greek, little of extraneous influence appcar- in, who is piercing him with a poignard. The Cen- taur is striking with his hind hoofs the shield held up in defence by another Lapith. The Third represents a female who has fallen into the power of a Centaur, from whose grasp she is trying to extricate herself. She is carrying in her left arm a child. On the right of the marble 3, 18 GREEK ANTIQUITIES, PHIGALEIAN SALOON. 19 another Centaur is trampling to the ground a Lapith, who has fallen upon the left knee. The Fourth represents two Centaurs engaged in crushing with heavy stones the Lapith Casneus, who has fallen upon both knees, and is holding his shield over his head with his left arm. The same group occurs on the frieze of the posticum of the Temple of Theseus. On the right of the slab are two figures, one of a Lapith, who has seized the head of one of the Centaurs by the hair ; the other, a female, who is escaping from the fray. The Fifth has for its subject two single combats of two Lapithae and two Centaurs. In the first, the attack of the Centaur is checked by a Lapith, who has seized his off fore-leg, as he is in the act of striking with it. In the second, the Centaur is pressed to the ground by the left knee and arm of his opponent, who has entwined his right hand in his hair. This is one of the best pre- served slabs, the forms of both of the Lapithae being nearly perfect. The Sixth has been considerably injured, and nearly the whole of the figure on the left of the scene is lost. From what remains, the subject appears to represent a female in a defenceless position, firmly grasped by the left arm of a Centaur, who has forced back a Lapith who had come to her assistance, and is preventing him by main strength from striking with his uplifted arm. The broken fragment to the left has probably been a Centaur whose back is turned to the other figures. c2 20 GREEK ANTIQUITIES. The Seventh represents a female who is forcibly borne away by a Centaur, and implores the aid of a Lapith, himself struggling to escape from the grasp of another Centaur, who has followed and seized him. It has been thought that the female is Hippodamcia, and the man struggling with the Centaur Peirithous, who is hasten- ing to the protection of his bride. Pans. (v. 10) states that the same subject was sculptured by Alcamenes, a contemjwrary with Phcidias, on the back Pediment of the temple of Zeus at Olympia. The Eighth represents a Centaur hurling with both hands some heavy object (probably a rock) at a Lapith, who is protecting him- self with his shield from his fore hoofs. To the right is a female with her cliild flying from the attack of another Centaur on an adjoin- ing relief. The Ninth contains two single combats between a Lapith and a Centaur, in both of which the Lapith is victorious. In that to the right, the Lapith is pulling back the Centaur by the hair of his head, and striking him with his right arm. In that to the left, the Lapith has the head of his enemy under his arm, and is strangling him. The Tenth represents a Lapith springing: upon the back of a Cen- taur, who has disrobed a female who clings for aid to a Sacred image in the back ground. The Lapith has caught the Centaur round the neck with his left arm, and is striking him with his right. Before the naked female is another with her arms extended in the attitude of supplication ; and behind the man to the extreme right is a tree from which a lion's skin is hanging. It has been supposed that the PHIGALEIAN SALOON. 21 22 GREEK ANTIQUITIES. man is Theseus taking vengeance on the Centaur Eurytion for disrob- ing Hippodameia ; but there is nothing on the slab itself to confirm this attribution. The Eleventh represents two figures, the one in, and the other preparing to ascend, a chariot drawn by stags. As the upper part of this marble has been injured, it is not quite certain what the subject represents ; but it has been supposed that the figures are Artemis and Apollo respectively, the former of whom holds the reins, while the latter bends his bow. This is the last of the slabs referring to the7?/-.s^ 'subject, the Battle 11. PHIGALEIAN SALOON. 23 of the Centaurs and Lapithas, at present arranged consecutively on the left hand side of the Phigaleian Room, and in order of numbers from right to left. We now proceed to describe slab by slab the second subject, the Contest between the Greeks (Athenians) and the Amazons. The Twelfth slab, t\\c Jirst of the series of the Battle between the (ireeks and the Amazcns, comprises four figures, one Greek and three Amazons. To the left, a fallen Amazon is strugsjling with a Greek, who has seized her (apparently) by the hair of the head. To the right, another Amazon is protecting with her shield one who is on the ground, and unarmed. The Thirteenth represents a Greek in the act of striking, as it would 24 GREEK ANTIQUITIES. seem, the Amazon on the adjoining slab, who is protected by her shield. In the middle of the slab is a single combat between a Greek and an Amazon ; and to the right another Amazon, who is sinking lifeless to the ground. The Fourteenth contains a representation of a Greek carrying off on his shoulders one of his companions who had fallen ; an Amazon in the centre seizing the dead man's shield, and a Greek supporting and leading from the field a wounded and fainting comrade. The Fifteenth contains single combats of a Greek and an Amazon. In that to the right, the Greek on his knees is defending himself by means of his shield from the attack of his enemy. In that to the left, the Greek has the advantage, having dragged down the Amazon by the hair of her head by main strength. The Sixteenth contains, on the right, a single combat between a Greek and an Amazon, of doubtful result ; and on the left, a wounded or dving Greek, who is reclining on the ground, and rests his head and left shoulder against the thigh of a comrade, who, standing a little behind, holds his shield over him for protection. A perpendicular groove to the left of the fallen warrior indicates where another slab has been fitted on at right angles to this one. This was one of the corners of the frieze. The Seventeenth represents a Greek in the act of unhorsing an Amazon, by dragging her from her horse by main force. To the right is another Amazon with her shield raised, defending herself from some enemy who is not represented. 17. PHIGALEIAN SALOON. 25 26 GREEK ANTIQUITIES. The Eighteenth and longest slab in the series contains no less than six figures and two horses. To the right, a Greek, on whose coun- tenance the emotion of pity is finely expressed, removes from a fallen horse the lifeless body of an Amazon. In the centre, a warrior, over whose right arm and thigh a lion's skin is thrown, is striking a mounted Amazon who had trampled under her feet a helmeted warrior while attempting to draw his sword from the scabbard. Another Amazon is rushing forward, as it would seem, with the wish to ward off from her mounted comrade the blow of the prin- cipal figure, who is probably intended for Theseus, as, like Hercules, iie is armed with a club, and clad in a lion's skin. The Nineteenth contains two single combats of a Greek and Amazon, in which the two foes alternately obtain the mastery. In that to the right, the Amazon conquers, in that to the left the Greek. 19. The Twentieth, the lowei' portion ot which has been considerably mutilated, represents an even contest between a Greek and an Amazon, and a wounded or dying Amazon supported by one of her fellow-combatants. The Twenty-first represents two Greeks and two Amazons in ooiiibat. To the right an Amazon is striking at a Greek, who is about to slay her companion who has fallen, and with outstretched arm is imploring mercy. Behind the Greek another naked warrior is following, apparently to aid his comrade. PHIGALEIAN SALOON. 27 28 GREEK ANTIQUITIES. PHIGALEIAN SALOON. 29 The TuerUy-Second represents two different scenes. That to the right is a single combat between a Greek and an Amazon. That to the left is a scene ofa Greek dragging away another Amazon, behind whom is a square-shaped object, possibly an altar to which she had fled for refuge. The Twenty-third^ and last slab of the series, represents on the right an Amazon supporting a dying friend, and on the left another, who is apparently interceding with one of her comrades for a Greek who has fallen wounded on the ground. 30 GREEK ANTIQUITIES. Besides the Sculptures of the Frieze which we have just described, there are some other fragments from the same Temple, which are preserved in the Phigaleian Room : of these the three most important, Nos. 28, 29, 30, arc portions of the Metopes from the portico of the Pronaos, which was originally enriched with Triglyphs. The sub- jects they represent have not been ascertained. There are also in this room some of the architectural details of the same Temple ; of these. No. 1 is the ornamental termination of one of the tiles which covered the joints of the greater tiles along the flanks of the Temple. No. 2 is a continuation of the same covering tile, with its ornamental termination on the ridge. No. 3 is one of the volutes of the Ionic semicolumns of the Cella. One of the eyes of the volute is lost, and the other is loose ; they were both originally secured in their sockets by leaden plugs. No. 4 is a portion of a Doric capital, be- longing to the exterior peristyle. The following details observable in the execution of these sculptures are worthy of note : — 1. The weapons of the Centaurs are generally stones, or branches of trees : thus, in Nos. 6 and 8, they are evidently hurling heavy masses, probably rocks; while in No. 5, the fragment in the hand of one ot the Centaurs is either a club or the branch of a tree. In other ancient works of art, they are frequently represented with bows and arrows ; — the Sagittarius, in the signs of the Zodiac, was thus depicted.' On one or two of the Metopes in the Elgin collection, the wine-jars of the feast are their instruments of attack. 2. Their dress is the lion's skin, which either hangs loosely behind them or floats in the air ; or, when used as a shield, covers the left arm, as in No. 6. On the other hand, the weapons of the Lapithse are short swords, as in No. 2 ; their defensive armour the shield, the helmet, the cuirass, or the chiton, which descends to the knees, and protects the thighs : their only drapery consisting of a cloak fastened round the neck by a fibula or button, and frequently altogether thrown aside. In many cases it will be observed that the combatants have changed arms, the Centaurs having the shields, and the Lapithae using the stones of their opponents. In the contest between the Greeks and Amazons, the Amazons are represented with a great diversity in the forms and treatment of their drapery. Sometimes they appear in long tunics, reaching to the ground, sometimes in a short vest, which barely covers the knees ; on one slab (No. 18) an equestrian Amazon has her arms ' Manil. Astron. i. 269. PHIGALEIAN SALOON. 31 .•j2 GREEK ANTIQUITIES. covered with long sleeves, and her lower limbs clothed in a sort of trowsers. Their heads are either undefended, or covered by a close-fitting helmet. Their legs are protected by boots, which reach nearly to the knees ; their robes confined by a zone, with one or two belts passing over their shoulders and crossing in front between their breasts. The marbles do not preserve the weapons with which they fought, but the use of the sword is indicated by a scabbard, which is attached to one of the figures (in Wo. 23). Many of them carried the Pelta, or Amazonian buckler — :an oval shield, with a semi-circular portion cut out at the top. The weapons of the Greeks appear to have been swords ; and in the instance of the figure which has been called Theseus, the club, with the lion's skin as a shield. They are sometimes represented with helmets and shields, and sometimes without. Their dress is generally a short cloak or robe, which, covering the left shoulder, leaves the right bare : it is fastened round the waist by a belt, and reaches no lower than the knee. The style of the bas-reliefs representing these two subjects is by no means uniform ; and though many of the compositions are excellent, the just proportions of the human body have not been always pre- served. They are inferior to the Frieze of the Parthenon in execu- tion and finish, and were probably sculptured by common provincial workmen fi-om the designs of Ictinus. 4. Bas-reliefs from the 3Iausoleum at Halicarnassus {Budrun). The Sculptures from Budrun, the presumed site of the ancient Halicarnassus, are arranged round the sides of the Phigaleian Room, under the marbles which we have just described. They are believed to have been part of the celebrated Mausoleum at that place, and were found inserted in the walls of the citadel at the entrance of the harbour, having been used as building materials by the Knights of Rhodes, either when they constructed that fortress in a.d. 1400, or in the beginning of the sixteenth century, when they repaired it. The existence of these marbles has been long known. Thevenot, in the middle of the sixteenth century, notices them as "bas-reliefs fort bien tailles." They were drawn by Dalton, and published in his "Views in Greece and Egypt, 1751-81." They have been de- scribed by Choiseul Gouffier, Mr. Moritt, M. Prokesch von Osten, and Mr. W. J. Hamilton ; and a sketch of the slabs inserted in the interior walls of the fortress is given in the 2nd vol. of the " Ionian Antiquities," published by the Dilettanti Society. At length, after a strong wish had been expressed that these Sculp- PHIGALEIAN SALOON. 33 tures should be removed to Europe, Sir Stratford Canning, H. M. ambassador at Constantinople, aj)plied himself zealously to procure them; and, when at length the scruples of the Turks had been over- come, generously presented them to the British nation. They arrived in England in February, 1846. The date of the construction of the Mausoleum being known, these marbles must be regarded with the greatest interest, as works executed in the school of art of Praxiteles and Scopas, or the two other contempoi'ary sculptors employed in the decoration of this edifice. Mausolus, the eldest of the three sons of Hecatomnus, the wealthiest sovereign of the Carian dynasty, died ii.c. 353, after a reign of twenty-four years. His widow and his sister Artemisia ce- lebrated his memory by all the honours which the art and literature of the period could bestow. Tiie Mausoleum under which his body was deposited was probably commenced during his life-time — its form being pyramidal, its height above 100 feet, and its base sur- rounded by 3o columns. To adorn its sides with sculpture, Arte- misia employed four of the most celebrated artists of antiquity, Bryaxis, Timotheus, Leochares, and Scopas, or Praxiteles. Arte- misia's short reign of only two years did not enable her to see the great design completely carried into execution ; but such was the emulation of the artists, that they are said to have finished the work after her death, for their own honour and the glory of art ; and such it long remained, being called for many subsequent centuries one of the seven wonders of the world, and repeatedly mentioned under this designation till a period comparatively modern. Thus Strabo in the First, Pausanias in the Second, Gregory of Nazianzus in the Fourth, Constantinus Porphyrogenitus in the Tenth, and Eudocia in the Eleventh centuries, respectively s]jeak of it in terms which impiv that it was still existing during those periods ; while Fontanus, the historian of the Siege of Rhodes, states that a German knight named Henry Schlegelholt constructed the citadel at Budrun out of the Mausoleum. It a])pears to have been still only partially de- stroyed in 1472, when Ccpio visited Budrun, as he speaks of having seen its remains among the ruins of the ancient town. During the possession ol' Rhodes and Halicarnassus by the Knights, the newly-built citadel of Budrun was twice repaired, in 1480 and 15"2-2, on the latter of which occasions the masonry of the sub- structure of the Mausoleum was removed to erect the citadel walls.' ' As is shown by the narrative of Guicharil. cited in Mr. Newton's paper on these marbU>s, in the Classical Museum. 34 GREEK ANTIQUITIES. That the bas-reliefs now in the Museum were inserted in these walls by the Knights of Rhodes is proved by the escutcheons, Latin sentences, and date of 1510, which Thevenot observed in the same building ; and by an inscription, now indeed scarcely deciphei-able, which is found on a shield borne by one of the figures : whether, however, the slabs themselves were inserted at the time of its first erection, or on its subsequent repair, cannot now be determined. It has been thought that the peculiar pyramidal form of this building has been the prototype of two other ruined structures at Mylasa and Xanthus respectively, in the adjoining provinces of Caria and Lycia. The building at Mylasa, the architectural details of which indicate the Roman period for its construction, certainly has considerable resemblance to the Mausoleum, as it has been described by ancient authors. The marbles themselves, consisting of eleven slabs, have for their subject a battle between the Greeks and Amazons — Heracles, too, appearing among the combatants. They are much injured, and pre- sent the style of at least two artists. They were originally sunk in the solid block, on the bottom of which still remains the upper mould- ing of the architrave of the building, and on the top the fillet and Greek bead of the cornice. The whole length preserved is 64 feet 11 inches. The bas-reliefs cannot be considered as forming any one complete side of the building ; nor is it now possible to arrange them so as to form one continuous subject. The idea which these reliefs suggest is that of works executed rather in the decline of Greek sculpture than in its finest period ; made rather for subordinate architectural decoration than as the chefs-d'ceuvre of great artists. The general composition, indeed, is not deficient in that symmetry of arrangement which characterises Greek art ; but the action of the groups is theatrical, the attitudes of the figures strained, and the forms meagre and unnaturally slender. On com- paring them with the Choragic Monument of Lysicrates, the date of which we know to have been about b.c. 334, we may perceive a considerable resemblance in style. In both, the extreme elongation of the forms, and the spareness, not to say meagreness, of the muscu- lar development, are characteristics which at once strike the eye. It is possible that the portions which remain of the sculptures of the Mausoleum are only the subordinate part of the whole design, and that Scopas and Praxiteles executed larger bas-reliefs, which have perished in the demolition of the edifice. The myth which forms the subject of these bas-reliefs is one of PHIGALEIAN SALOON'. 35 which we find many traces in Asia Minor. (See the Imperial coins of Smyrna and Ephesus — the frieze of a temple from Magnesia, now at Paris — the coins of Plarasa. Nysa, Mylasa, and Tripolis in Caria — and those of Mausolus and other kings of Caria, where Zeus Labrandenus, or Zeus bearing the Labra, or Amazonian bipennis, is represented.) It is possible that this myth of the Amazons may contain a real vestige of history, and may relate to the invasion of Asia Minor b}' some Scythian nation, among whom, as in the case of the Massagetae in the time of Cyrus, women had the right of sovereignty. Besides the marbles just described, there are some other objects which are ranged near them in the same room, as having been found within the precinct of the ancient walls of Halicarnassus, These are, a circular altar, with a subject in bas-relief, which formerly stood on the sea-shore of Halicarnassus ; a draped female statue, wanting the head, which was inserted into the walls of the Budriin fortress ; two bas-reliefs, representing gladiatorial combats; and two others, votive offerings to Pluto or iTlsculapius. d2 ( 36 ) ELGIN R M. This Room contains : — I. The Sculptures from the Parthenon at Athens. II. Frieze from the Temple of Nike Apteros at Athens. III. The Sigban Bas-Relief. IV. Casts from theTheseion at Athens. V. Casts from the Choragic Monument of Lysicrates at Athens. VI. Miscellaneous Statues, Reliefs, &c., arranged UNDER Eight Heads. I. The Sculptures from the Parthenon. 1. The Statues which decorated the Eastern and Western Pedi- ments. 2. The Alti-rilievi which were placed in the Metopes, alter- nating with the Triglyphs. 3. The Bassi-rilievi, arranged round the exterior of the Cella, as a frieze. Before we describe the sculptures of the Parthenon, it may be as well to give some account of the Temple for which they were designed. The Parthenon, or Hecatompedon as it was sometimes called, was erected by Ictinus on the site of an older and smaller Sacred build- ing, between the years b. c. 448-442. It was constructed entirely of white marble from Mount Pentelicus, and consisted of a cell, sur- rounded by a peristyle, with eight Doric columns at the two ends, and seventeen on each of the sides. The height of the temple above the platform on which it stood was about 65 feet. Within the peristyle, or outer range of columns, was placed an interior range of six columns, at each end of the cella, so as to form a vestibule to its ELGIN ROOM. 37 door : there was an ascent of two steps into these vestibules from the Peristyle. The cell, which was 62^ feet broad within, was divided into two chambers ; the Eastern 98 feet 7 inches, and the Western 43 feet 10 inches long. The Western was called the Opisthodomos, or back chamber, and served as a kind of Treasury, where various articles of value were dedicated or left in deposit. Sir George Wheler and Dr. Spon visited and described the Par- thenon in the year 1G76, two years previous to which the Marquis de Nointel had had drawings made of the sculptures with which it was adorned. These sketches, which were made by an artist named Jacques Carrey, arc preserved in the Royal Library at Paris, and have been of the greatest value in the restoration of the composi- tions which once filled the two pediments. In 167G the main structure of the edifice was still entire all but the roof. A few years subsequently it sustained irreparable injury from the siege of Athens by the Venetian forces under Morosini and Coningsmark in 1687, and from the attempts sub- sequently made by Morosini to detach portions of the pedimentai statues as spoils for his republic. During the siege, a shell fired from the opposite hill destroyed nearly half the fabric, the walls of the celia before the opisthodomos being almost wholly levelled, together with six columns of the Northern and five of the Southern peristyle. The Eastern portico itself appears to have escaped its influence, but the sculptures it contained were almost entirely de- btroyed. Tiie Parthenon was, as is well known, dedicated to Pallas Athene, the tutelary Goddess of the Athenian State. In the Greek and the ancient idolatries generally, the Temple of a Deity was considered as his dwelling-place ; his statue within the cella, the symbol, and more than the symbol, of his bodily presence. Thus the name Parthenon means literally, the house of the Virgin Goddess. Within the cella stood the matchless statue of Pallas Athene, in gold and ivory, one of the two greatest works of Pheidias. The whole of the decorations of the building formed, as we shall show, one great design or sculptured poem in her honour, tracing out her connection with the soil of Attica, celebrating her chief exploits, and indirectly blending her glory with that of the people of whom she was the tutelary Deity. We now proceed to describe the first of the three classes of sculptures mentioned above ; those, namely, which belonged to the Eastern and Western Pedimentai Compositions. It has liPCM supposed that iliere wore originally no less than forty- four statues on these pediments; of these, thirteen fragments are 38 GREEK ANTIQUITIES. now in the Museum, and two occupy their ancient position on the temple. The sculptures which decorated the Pediments of Greek temples generally had reference either to the Deity to whom the temple was dedicated, or to the State by whom it was erected. In the whole composition, a certain symmetry was observed, the chaiacter of the design being in some degree modified by the neces- sities of the architectural structure which formed its frame. Thus the number of figures introduced upon the Pediments appears to have depended on the numbei" of columns which formed the front of the edifice, and was proportioned to the size of the order to which the Temple itself belonged. In the Parthenon, which was Octostyle (i.e., had eight columns in front), from twenty to twenty -five figures were inserted : in the Temple of Jupiter at Olympia, which was Hexastyle (i.e., had six columns in front), the number was from eleven to fifteen : the same rule had been pre- viously adopted in the Temple of Zens Panhellenios at JEg'm&, which belonged to the same order, and was erected about a hun- dred years before the Parthenon. The principal figures in the design were placed under the apex of the pediment : here was the culminating point of the action, to which all other parts of the composition converged. The subordinate figures were ranged on each side of this group, in a standing, sitting, or reclining atti- tude, according as the slope of the pediment permitted. Colour was doubtless employed both in the architecture and the sculpture of Greek temples generally, so as to draw attention to the main lines of the structure, to detach more clearly the whole composition from its back-ground, and to distinguish figui-e from figure in the groups, and flesh from drapery in single figures. The weapons, the reins of the horses, and other accessories were of metal, and the eyes of some of the principal figures were inlaid. 1. Sculptures from the Eastern and Western Pediments. The Sculptures of the Pediments of the Parthenon were not quite perfect, even when Carrey drew them, before the Venetian siege ; the middle portion of the Eastern was altogether lost, and a portion of the right of the centre of the Western. A large group near the principal figure in this Pediment had fallen, and, with several of the statues near it, had for security's sake been built up with later masonry. Many, too, of the heads and of the accessory symbols had either perished, or are so imperfectly rendered in his drawings that the identification of many of the figures and the restoration of the missing portions of the compositions must necessarily be conjectural, ELGIN ROOM. 39 the more so as the only description of the designs left us by the ancients is the scanty and cursory notice of Pausanias, who contents himself with giving the titles of the two conij)ositions, and with telling us that in the Eastern Pediment all had reference to the birth of Athene, while in the Western the subject was the contest of Poseidon with Athene for the soil of Attica. This passage must be regarded as the key to the various systems of interpretation which the ingenuity of Archaeologists, from Visconti downwards, has applied to the illustration of these sculptures. Want of space will of course preclude us from stating these theories at length: in the explanation therefore of the several figures the most probable con- jecture will be adopted. We will now proceed to describe the Sculptures from the Eastern pediment. The subject of these being the birth of Athene, and the scene Olympus, we must suppose this mythic heaven to be contained within the triangular area of the pediment, and to be bounded by figurative representations of Day on the one hand, and of Night on the other. These two figures were placed by Pheidias in opposite angles, and, according to the symmetrical arrangement which go- verned pedimental composition, made to balance each other. In the Pediment of the Temple of Zeus at Elis, another of the works of Pheidias, the same arrangement was observed. If we commence with the angle at the left, the first figure to be described is No. 91, Hyperion, or the God of Day, who is repre- sented rising from the ocean ; his head, arms, and shoulders have emerged from the waves, M'hich are conventionally sculptured upon the plinth, in parallel rows like overlapping tiles. His arms are stretched forward to guide the reins of his coursers, but the hands are gone ; his head also has perished. The surface of this figure having been protected by the cornice above, has preserved its ori- ginal polish, from which we may form a judgment of the execution No. 'M. 40 GREEK ANTIQUITIES. No. 94. ELGIN ROOM. 41 of these sculptures, which, though tlieir exquisite finish could not have been appreciated by the spectator below, were all elaborately wrought. No. 92 are the heads of the two horses of Hyperion represented rising from the sea, which was under the chariot of the Sun. It has been conjectured by Mr. Cockerell, from a careful examina- tion of the figures, as well as from Carrey's drawings, that origi- nally two other heads in low relief were attached ; and that the car of Hyperion was drawn by four horses. No. 92. No. 93 is a youthful male figure, reclining on a lion's siiin, in the attitude of Heracles on the silver coins of Crotona. It has been called Theseus, Heracles, Cephalus, Cecrops, Dionysos (Bacchus), and Hermes (Mercury). The name Theseus, whereby it is most generally known, is perhaps the best that has been given to this statue. It has sustained less injury than any of the other figures in the pedi- ments, having only lost the hands, feet, and a j)ortion of the nose. It is remarkable for the easy grace of the attitude and for the com- bination of strength and suppleness in the form. No. 94 represents two seated figures, which have been usually called Ceres and Proserpine; the latter is leaning upon the shoulder of the other. These (Joddesses are seated on low, square seats with- out backs, but covered with iblded carpets for cushions. Their heads and hands arc gone, but tiie rest of the figures are well jjroscrved, and, like the Heracles, arc finished as coniplotcly at the back which is withdrawn from the view, as in front. 42 GREEK ANTIQUITIES. No. 05 represents Iris, the messenger of the Olympian deities, and especially of Juno, on her way to announce to mortals the birth of Athene. The mass of stone behind her back, is her mantle, which is distended by the wind ; such a disposition of her drapery being the usual characteristic of her tyi)e. Xi). 95. No. 96 represents the Wi7iged Yictory. There can be but little doubt about this attribution, the holes still remaining at the back of her shoulders into which the wings have been inserted ; the wings themselves were doubtless of metal, probably of bronze gilded. This figure was probably placed on the right of the central group, so as to balance the figure of Tris on the left. ELGIN ROOM. 4."^ No. 96. No. 97 is a group consisting of three female figures, the one to the left seated nearly upright and the other two reclining. They have been usually called the Fates, an attribution which is in harmony witli the rest of the myth. According to the Greek legends, the Fates were present, as companions of Eileithyia, at the birth of children, and sang the destiny of new-born infants. Hence the appropriateness of their appearance in a subject recording the Birth of Minerva. The drapery of these figures is remarkably fine, and the whole treatment of this composition places it in the first rank among the Elgin sculptures. These figures, as appears from Carrey's drawing, were placed on the left of the central grou|), behind the Victory. No. 98 represents the head of one of the horses of the chariot of Night, which was placed in tlie right-hand angle of the Pedi- ment, and corresponded to the chariot of the Sun at its opposite end. The horses of Night are supposed to be plunging into the sea, just as those of the Sun or Day are rising out of it. The head of one of the horses projects over the cornice, thus break- mg the line and giving relief to thr whole composition. Such are 44 GREEK ANTIQUITIES, /^. ELGIN ROOM. 45 No. 98. all the remains at present known to have belonged to the Eastern Pediment. The subject ot the Western Pediment was the Contest between Athene and Poseidon for the honour of giving a name to the city of Athens. This contest took place on the Acropolis itself. The Pediment must, therefore, be taken as a representation of the scene of the action, which was bounded on one side by the Cephisus, on the other by the Ilissus and Calirrhoe. These rivers were figura- tively represented in the composition of this pediment, just as the boundaries of Olympus, Night and Day, were figured in either angle of the Eastern pediment. Beginning from the left angle, the first figure is No. 99, com- monly called the Ilissus. The reclining attitude of this figure, and the flowing lines of the drapery at his back, leave no doubt that it represents a river-god. Visconti has been generally followed in calling this figure the Ilissus ; but Mr. W. Lloyd has recently shown (Classical Museum, No. xviii., p. 426) that it should rather be called the Cephisus, and his attribution has been adopted here. This statue is a master- piece of execution, and remarkable for the extraordinary preservation of the surface in places. Tiie skin and muscles seem to have all the elasticity of real life. Traces of paint may bo observed on different parts of the figure. No. 100 is a torso, which has been called Cecrops, Ares, and also Erectheus. Though very much mutilated, the grand character of the outline is still preserved. In the drawings of Carrey this figure may be recognised near the figure of Athene, guiding and controlling the horses of the car of Victory. A fragment repre- 46 GREEK ANTIQUITIES. ELGIN ROOM. 47 seuting the feet of a statue in a striding position and the trunic of a tree, may have belonged to this figure, though it has been formerly assigned to the Pallas of the Eastern Pediment. No. 101 is a small fragment of the upper part of a female head. As it was discovered among the ruins near the Temple, and as the size corresponds, it has been generally supposed to be the head of Athene. The sockets of the eyes have been filled by precious stones or metal, and a furrow, which forms the line of contact with the forehead, and holes for fastening the bronze to the marble, prove that the head was originally surmounted by a helmet. No. 102 belongs to the same statue with the head just described. No. 102. It represents a portion of the left breast of Athene, covered as usual with the ^gis. Holes are apparent on the surface of the marble, probably denoting the places where the bronze serpents and heail of Medusa were formerly attached. No. 103 represents the torso of the figure of Poseidon. When Spon and Wheler were at Athens it was nearly entire. It ap- pears from Carrey's drawing that this figure and that of Pallas Athene occupied the centre of this Pediment, the strife of the two Deities being expressed by the opposite direction of their move- ments. Both are moving hastily towards their respective chariots, which stand behind each. That of Posoidon was probably drawn by winged horses. 48 GREEK ANTIQUITIES, No. lUo. No. 105 represents the torso of Amphitrite, who was repre- sented driving the chariot of Poseidon. In Carrey's drawing the position of this torso and of the statue of Athene is very clear. When perfect the posture of this figure was a little inclined forwards, as though holding the reins, which were probably, as in many other instances, of metal. This statue stood in that part of the Pediment which was most exposed to the action of the weather : the surface has in con- sequence been greatly injured. No. 106 is all that remains of a group which, judging from Carrey's drawings, appears as a female figure with a boy at her right side, perhaps Ino and Me- licertes. It has been called La- tona, on the supposition that another youthful figure, who ap- No. 105. pears in Carrey on the left .'iile ELGIN ROOM. 49 of this figure, belonged to the same group. The Goddess would thus be seated between her two children ; but the figure on the left evidently belongs to the next group in the comi)osition. All that now remains is this fragment of the lap of the female figure, with a portion of the youthful figure attached to her right side. Arranged with and between the original marbles are casts of some fragments which liave been discovered since Lord Elgin removed the statues of the Pedimi-nts. These are as follows : — Between the Uissus (No. 99) and the Cecrops (No. 100), a cast (99*) of a mutilated group supj)Osed to represent Heracles and Hebe. No. 104*. Cast of a head, ])rcserved in the Bibliotheque Royale at Paris, supposed to liave belonged to one of the statues of the Western Pediment: it was presented to the Museum by M. Charles Lenormant. No. 105*. Cast of a head, believed to be that of the Nike who appears in Carrey's drawing as the charioteer of Athene : presented in 1846 by the Count de Laborde, by whom it was discovered at Venice. No. 106*. Cast of a female head discovered in excavating a building in Athens, between the Theseion and the ancient gate of the Peloponnesus. There is no reason for supposing that this head belonged to any of the Elgin figures : it^seems to be a later exami)le of the same school of art. 2. Alti'RiUevi, or Metopes. The Metopes of the Parthenon were a series of groups in alto- rilievo placed round the outside ot the Tcmjjle in the spaces (MetopcB) between the Trigly])hs ; whence their name, Metopes. They were 92 in number, and comprised a great number of subjects, all probably relating to the exploits of Athene herself, or to those of the indigenous heroes of Attica. The Metopes at the East and West ends are now very much mutilated, and their subjects are difficult to make out. They have been restored by Mr. Cockerell, Museum Marbles, VI., PI. 21, 2. Those at the East end seem many of them to commemorate the deeds of Athene herself ; those at the West to represent combats of horsemen and foot soldiers, perhaps Greeks and Amazons. On the North side many of the Metopes have perished, but some of them certainly represented combats of Greeks and Amazons. On the South side a number of Metojjes related to the contest^: of the Greeks and Centaurs. Of these the Museum possesses IG. The remainder have been most learnedly elucidatetl by the Chevalier Brbndsted in his ' Voyages dans la Grece.' The sub- E so GREEK ANTIQUITIES. jects of these are not combats, but probably scenes connected with the Eleusinian and other Attic rituals. The subject of the sixteen Metopes in the Elgin Room was one naturally congenial to the Athenian mind, because their great hero, Theseus, took, an active part in it.' No. 1 represents a Greek contending successfully with a Centaur, and pressing him to the ground by the force of his left knee ; his right arm grasps him round the neck. When Carrey made his drawings this metope was more perfect, and had lost only the left arm of the centaur and the right of the Greek ; and since his time each successive drawing that has been made has recorded further mutilations. It was the second metope on the south side of the temple. No. 1. No. 2 represents, like the last, the success of a Greek over his opponent. The Greek wears the chlamys, which falls behind him in light and graceful folds, and his legs are inclosed in cothurni, which fit close to the leg and reach as high as the calf. The head ' All these marbles are engraved in ' Museum Marbles,' part viii. ELGIN KOOM. 51 {So. 2. No. 3. E '2 52 GREEK ANTIQUITIES. of the centaur existed when Carrey saw this monument ; it was the third metope on the South side of the temple. Wo. 3 is a scene wherein a Centaur is victorious over a Greek. It is finely designed, and the action of the figures in the group is spirited and effective. The centaur is heaving at the head of his fallen opponent a large amphora — probably one of the large and massive vessels which decorated the nuptial feast of Peirithous, on which occasion this quarrel is said to have arisen. This metope was much more perfect when seen by Carrey. The two human heads are plaster casts of originals preserved in the Royal Museum at Copen- hagen. They were detected by Chevalier Brondsted us they lay there unobserved and unnoticed. It is said that the originals were brought from Greece by a Captain Hartmand, who served at the Venetian siege of 1687, to which period, therefore, we may attribute the chief injuries done to this metope. Wo. 4. This metope is now so much injured that its original motive could hardly be conjectured from its present state. In Carrey's drawings, however, the Athenian was still on the monu- ment, and the subject was a single combat, the result of which was still doubtful. The loss of some portions of this metope is the more to be regretted, as it would seem to be one of the very best in com- position and execution. Wo. 5. This metope, like the last, represents a contest which is yet doubtful, and, like Wo. 4, has been nnich injured since Carrey's visit. The treatment of the figures is, however, far inferior to the last ; the body of the Greek, though fairly executed, wants force and expression, while that of the centaur is weak and inanimate. Wo. 6 is one of the most beautiful pieces of workmanship in the whole collection of these metopes. It represents a combat between a Greek and a Centaur, in which the former is successful. The execution is perhaps the finest which the Museum possesses. When Carrey's drawing was made, every part of this metope was entire and apparently in good preservation, with the exception of the right hand of the Greek. The centaur is clothed, not as usual, with the skin of an animal, biSt with drapery. Wo. 7 has considerable resemblance to Wo. 3, both in design and execution : in i)oth the centaur seems about to be victorious, in the same manner, and by the same means. This group is well executed, though hard in style and retaining some of the charac- teristics of manner which appear on the Phigaleian Marbles, and from which Grecian art had not, in the age of Pericles, entirely ELGIN KUUM. 53 No. 6. No. 8. 54 GREEK ANTIQUITIES. emancipated itself. The horse is rather heavy and clumsy, but the action of the Greek is beautiful and natural. It was much more per- fect when seen by Carrey. No. 8. In this metope the Centaur has seized, by the ankle of his left leg, a Greek in the act of falling backwards over a large nine vessel, in order to prevent his recovery. The Greek, to save his fall, has seized his opponent by his hair. This is one of the most beautiful of the metopes. The composition is elegant, light, and spirited, gracefully enriched by the folds of drapery which fall over the left arm of the warrior. Like most of the metopes, this is in a much less perfect state than when Carrey drew it. Wo. 9 is a cast from the solitary metope now in the Louvre at Paris, and originally in the collection of the Count de Choiseul Gouffier. The subject is different from that in the preceding metopes, and is evidently a struggle between a centaur and a female — not impossibly the attempt of the centaur Eurytion to carry off the bride Hippodameia, which led to the conflict. The design of the metope is good, but it does not appear to have been executed with the same skill and taste as some of the others. No. 10 represents a still doubtful contest between a Greek and a Centaur. The latter is striking at his opponent with both hands, but it is not possible to determine with what kind of weapon. This is one of the least effective of the whole series; at first view, indeed, it appears full of animation and spirit, but a closer view dissipates the illusion, and shows an evident want of power in the execution. There are holes on the surface of the marble whereby portions of drapery have probably been attached. This and the following metopes are from the Eastern end of the South side of the Temple. No. 11 is one of the finest metopes in the collection ; the com- position is beautifully arranged, the vigour and power of the Greek are strongly displayed in the position of the figure, and the distinct, though delicate, marking of the muscles. The whole weight of his body rests upon his left arm and leg. The expression of the figure of the centaur is equally admirable. The Greek is represented of more than the natural size. In Carrey's time this metope was nearly perfect. No. 12 exhibits the complete overthrow of a Greek by his an- tagonist, who seems to be rushing forwards to seek a new victim to his prowess. The arrangement and contrast in this group is very admirable. Below, the beautiful form of the fallen warrior, the repose of all the muscles, the stillness and tranquillity of death ; ELGIN ROOM. 55 No. 9. No. 11. 56 GREEK ANTIQUITIES. above, the impetuosity of the centaur, who, exulting in his success, erects himself upon his hind legs and spreads abroad his arms, dis- playing the lion's skin over his left, at once his ornament and his defence. No. 13 represents a Centaur carrying oft" a young female ; the disposition of the folds of drapery round her legs and the unconfined ])ortion which floats behind the animal indicate the speed with which he is rushing on. This is the least effective group in the whole collection. There is a want of spirit and vigour in the centaur, the human part of his body being smaller in proportion than in others of his race, with very little of muscular development. The Ibrm of the female is beautiful, but the disposition of the lower limbs is neither graceful nor pleasing. On the other hand, the drapery has been executed with great skill, and shows considerable elegance and knowledge. No. 14 resembles in design, composition, and style N"o. 7. A Centaur has just overpowered a Greek, and his hoof presses upon the thigh of the Greek to prevent his recovering his position. The Greek has been forced down upon his left knee, which does not, however, quite touch the ground. The style of this metope, like that of Nos. 3 and 7, which it also resembles in its subject, is rather hard, but the composition is well arranged and the story well told. The body of the centaur indicates less muscular motion than we find on some of the other metopes, but the figure of the Greek is well conceived and expressed. This metope appears to be as perfect as when Carrey saw and drew it. Wo. 15 is a well preserved metope, the issue of the contest being as yet doubtful. The whole, which is well designed and well balanced in the grouping, shows great confidence of the artist in his powers, and in his knowledge of the naked form ; it is also skilfully executed in the peculiar style of art of which it is a specimen. It exhibits the progressive advance of art from the hardness of the iEginetan school, which, while retaining the decision of the elder school in the marking of the muscles and bones, adopted the more accurate proportions and the more graceful forms of the improved school of Pheidias. No. 16 bears a great similarity to the last we have described ; but though further from the explosion of the siege of 1687, to which we must attribute the shattered state of many of the metopes, has suffered considerable mutilation. The figure of the Greek is re- markably slight, and would seem ill adapted to contend with the robust form of his antagonist ; the prominence, hoMever, of certain ELGIN KOOM, 57 No. 12. No. 13. ,58 GREEK ANTIQUITIES. muscles shows its adaptation to activity and alertness. This group is, on the whole, more agreeable than the preceding, both from the gracefulness of the composition and from its superiority of execution. 3. Bassi-Rilievi, or Frieze. The Frieze representing the Greater Panathenaic Festival at Athens, which we now proceed to describe, occupied originally about 524 feet in length of the outside of the cella of the Par- thenon within the external columns which on all sides surrounded that building. The base of this line of sculpture was about 40 feet from the pavement of the platform, and the space between the cella and the vestibules was 15 feet; hence the spectator who wished toView the frieze in its original position must have stood at a distance of about 12 feet from the external wall of the cella, and must have seen the slabs themselves under an acute angle of 42° 45'. The position of the Frieze close under the ceiling of the colonnade prevented its receiving any direct light from the rays of the sun ; hence it was necessary for it to be in low relief, else the shadows would have been so broad and strong that the upper portions would have been obscured, and the relative proportions of the parts de- ranged and distorted. To obviate these difficulties, the artists placed the objects in bas-relief, with a strong and well defined outline, pro- ducing thereby great richness of effect. This Frieze was, indeed, subordinate to the more important sculptures of the Pediments and Metopes, but was in harmony with the repose of the architectural arrangements of the part of the building it adorned. The Panathenaic festival, which was one of great antiquity, was celebrated in honour of Athene, and derived its name from the custom that every freeborn inhabitant of Attica was entitled to assist at it. There were two festivals of the name ; the lesser, celebrated every year ; the greater, only once in four years, in the third year of each Olympiad. On the frieze, even in its present mutilated state, the general character of the Panathenaic procession may be easily made out, though it must not be sup- posed that every incident which occurred at the festival is depicted on the marbles. Thus for instance, the Lampadephoria and gym- nastic exercises are omitted. The whole mass of the people are re- presented conveying in solemn pomp the irenAos (Peplus) or Sacred Veil, which had been previously worked in the Acropolis by young virgins (technically 'Epyaffrlyai) selected from the best families in ELGIN KOOM. 59 No. 14. No. 15. 60 GREEK ANTIQUITIES. Athens,' to the Temple of Athene Polias, where it was placed pro- baljly on the knees of the statue of the Goddess. On this peplus was oniI)roidered the Battle of the Gods and the Giants ; Zeus hiirlingf his thunderbolts against the rebels, and Athene seated in her chariot as the vanquisher of Typhon or Enceladus. The arrangement of the procession on the frieze was as follows : — On the West side were to be seen the preparations for the cavalcade ; then South and North in the first half, the horsemen of Athens galloping in files. Next, a number of chariots, probably those which had gained the victories in previous Panathenaic festivals. Then further on, to the South, old men and women of the city ; and on the North, choruses with Auletae, and Citharistas, and the bearers of various shaped vessels,* and close to the Eastern corners on both sides, the bulls and other victims with their attendants. On the East side, surrounded by the virgins who bring up the conse- crated gifts, and the presiding magistrates, are seated Twelve Deities, Zeus, Hera, with Hebe, Hephaestus, Demeter, the Dioscuri, Hygieia, Asclepius, Poseidon, Erectheus? Peitho, Aphrodite with Eros, between whom, a priestess and a priest or magistrate, who receives the peplos from a boy, form the central group. Such was the frieze when originally perfect. The British Museum possesses in slabs and fragments of marble about 249 feet, with 76 feet in plastei'. Of these last the greater jiart are from slabs which have not been removed from the Temple, together with one formerly in the possession of Count de Choiseul- Gouffier, and now in the Louvre at Paris. The arrangement which has been adopted for the portions now in the Elgin Room, is that which they originally occupied upon the outer wall of the cella of the I A passage in Euripides in which the captive Trojans mourn tlieir fate evidently refers to the working of the sacred Peplus. — "H TTaWdSos fv noAet ras KaAAiSlcppoi a6a- valas ev KpoK^ai ireirAo) ^4v^0fJ.aL hp/J^UTl TTwXovs €V SapSaAe aifft Troi/ciA.- Kovcr' avOoKp6Koicn irrjvais Tj rnavavv •yiveav TW Zfhs afxcpi TTVpo} KOtfii^ei (pKojiJLifi Kpovihas. Eurip. Hoc. 1. 464, Ed. Pors. * Askoi, scaphai, and hydriai. ELGIN ROOM. (il Parthenon, and we shall describe them accordingly under the follow- ing heads : — 1 . Slabs from the Eastern side. 2. Slabs from the Northern side. 3. Slabs from the Western side. 4. Slabs from the Sotithern side. 1 . The Slabs from the Eastern side. ' The Eastern portico was the great entrance to the Temple. In the Pediment above it was placed the most important scene in the whole design of Pheidias, the birth of Athene herself; and we may, therefore, presume that the portion of the frieze ranged under this pediment embodied the most impressive moment of the whole action represented by the procession. Here, accordingly, we find a series of groups which, without doubt, when complete, represented Twelve Deities seated on their thrones. These Divine figures are arranged in pairs, six on one side, and six on the other of a group of standing figures, who from their position exactly in the centre of this front, and also between groups of the assembled Divinities, we cannot but suppose to be engaged in the jjrincipal action of the whole piece. The illustrious personages, who are seated on either side of the central group, are turned from the centre and towards the pro- cession, the columns of which are approaching in opposite directions. From their ))()sition in relation to the rest of the Frieze, we may suppose that they formed two opposite groups or lines on the Acro- polis, and that the head of the procession defiled between them. It is probable that the Twelve Deities here represented were the 0eo( TToXwuxoi of the Acropolis, but their individual identification is exceeiliiigly ditiicult. No. 18, the two young men seated back to back are the Dioscuri, Castor and Pollux, who were often called Anakes, and had temples to their honour at Athens. The nearer one has indeed been con- jectured to represent Mercury, and the other Heracles, on the ground that the figures are apparently of dificrent litres ; while the Dioscuri on the other hand were twins. Tiieir dress too is also ditl'ereiit. ' The slabs belonpnK to the eastern frieze are arranged in the present Elgin Room from No. 17 to No. 24, inclusive, in order from left to right, on the left hand of the visitor who enters the room. 62 GREEK ANTIQUITIES. ELGIN ROOM, 63 The next two figures on the same marble are almost certainly Demeter (Ceres) and Triptolemus ; the former bearing her usual symbol, the torch. On the next slab, No. 19, are two groups, consisting of two seated personages and one standing figure. With regard to the one to the right, there can be no doubt that he represents Zeus ; and that the Goddess seated by his side is Juno. The standing figure has been called a Victory, as traces of something like the outline of awing are visible above the left arm. It is, however, more probably Hebe. Beyond, is a male figure, either a priest or the Archon Basileus, w ho receives from the hands of a boy the sacred peplus, which has been woven and folded in a square form in several folds. Behind these groups is a female figure, probably a priestess, before whom stand two maidens bearing on their heads unascertained objects, ap- parently stools, which the priestess is receiving from them. In the procession, certain maidens carried folding-stools (5i(ppoi), and were hence called Diphrophoroi ; but these were the daughters of the Metoikoi, and occupied a subordinate position in the ])rocession. We should rather expect here to find the Cynephoroi — maidens chosen from among the daughters of the citizens to carry the sacred vessels and offerings of the procession. At the end of this slab are two seated Deities, a male and a female, who it is most usual to call, after Visconti, Asclepios (^sculapius) and Hygieia. Stuart, when he saw them from below, and had not had the opportunity of examining them closely, supposed them to be Poseidon and Demeter ; while others have identified them with He- phaestos (Vulcan) and Aphrodite. Such is the difficulty and the un- certainty which must exist wherever the surface of tiie marble has been so much injured, that the characteristic attributes of the Divine personages are lost. Immediately beyond the group above described were two others, which balanced those on the other side the avenue. These had disappeared when Stuart was at Athens, but have since been re-discovered in the late excavations on the Acropolis. They consist of two male and two female figures, all seated, beyond which, the last figure on the right is a boy looking at the advancing proces- sion, and leaning against one of the female figures. Of this boy the Museum possesses a cast, No. 20, obtained by Choiseul Gouffier during the last Century. Visconti has conjectured that the figures on this slab were Poseidon and Theseus, and the daughters of Cecrops, Pandrosos and Aglauros. The naked boy he calls Ericthonius. The subject of the central slabs is continued further on in Nos. 21, 22; which were originally on one piece of stone, but have been G4 GREEK ANTIQUITIES. ELGIN ROOM. 65 66 GREEK ANTIQUITIES. ELGIN ROOM. barbarously cut in two at some former period, to the great injury and defacement of the figures. There were originally six figures upon it, representing in all probability the persons to whom was entrusted the office of marshalling the procession, and who are, therefore, most likely the chief Archons or magistrates of Athens; with whom, per- haj)s, were associated the Noniophylakes, or conservators of the esta- blished rites and ceremonies. Of these six, four seem to be waiting without any esj)ccial or indicated occupation ; the other two are in action, one turning from the procession towards the centre of the picture, the other walking towards it, and about to give some instruc- tions. The central figure, which has been ruined by the division of the slab to which we have alluded, is now supplied by a cast placed below it, and marked Wo. 20* ; the mould, taken before the slab was mutilated, being preserved at Paris, whence this cast was obtained by Sir Francis Chantrey. Nos. 23 and 24 continue the subject of the approach of the Pro- cession to the seated figures. The first is a plaster-cast, taken from a mould once the property of the Count de Choiseul Gouffier, and now in the Louvre at Paris. It shows the course of the procession. To the extreme left, is one of the magistrates, presenting some object, probably a sacrificial kaneon or a phiale, to two females, who stand before him ; then a more youthful male figure pointing with the fore finger of his left hand towards four females who are approaching him, bearing sacrificial vessels, and whom he is apparently instructing in their duties. The second Slab, No. 24, represents five females walking in order of procession, the foremost one of whom carries a censer such as is often borne by Victories. The top of the object (as may be observed on some of the painted Vases) consisted of a cup, with a conical covering perforated with holes to permit the smoke of the incense to pass through it; the lower part had a trian- gular termination, resembling the feet of Tripods. The next two figures each hold in the right hand an Oinochoe, or jug, and the next two a phiale. In Carrey's drawings it appears that there were two other females similarly occupied in carrying oenochoae and phialie. These two females were at the extreme end of the Eastern Frieze, and were sculptured upc^n the corner-stone ; the other face of which, to the North, bore representations of an ox and his conductor, and ter- minated the Northern side of the Frieze. There have been lately discovered in Athens portions of this Northern Frieze, of which the Museum has now obtained casts. One of them represents three young men bearing liydriae or pitchers 1- 'J 68 GREEK ANTIQUITIES. on their shoulders ; and a fourth figure, who is stooping down to lift up one of the pitchers from the ground. These young men belonged to the class of the metoikoi, who were called Hydriaphoroi, from their carrying hydriae in the procession. We see this slab in Carrey's drawing placed next to another, representing a number of male figures carrying trays. These were no doubt another class of metoikoi, who were called Scaphephoroi, from the scaphse or trays which they carried. No. 25 is a fragment representing one of these Scaphephoroi. Next to these we find in Carrey's drawing a slab, which has since disappeared, representing a series of men playing on different instruments of music. 2. Slabs from the Northern Side. The Northern side of the Temple has been very much injured, no less than nineteen Metopes and a large portion of the Northern Frieze having fallen when the Venetians besieged the Acropolis in 1687. Its present remains, in the Elgin Room, commence with No. 26. This and the five following slabs, Nos. 27 — 31, all represent chariots and charioteers, who have probably partaken in the races which formed part of the honours of the great festival. Most of the groups represented on these marbles have been sadly mutilated since the times of Carrey and Stuart, and in many cases (though there are some slabs which he had not copied) would, without the No. 28. ELGIN ROOM. 69 o CO d 70 GREEK ANTIQUITIES. aid of the drawings of the former artist, be wholly unintelligible- The peculiarities belonging to each group, which it is not necessary here to detail, are fully examined by Mr. Hawkins in ' Ancient Marbles of British Museum, Part viii. London : 4to. 1839 ' — wherein are excellent plates of all these marbles from drawings by the late Mr. Corbould. " No. 25* is a plaster-cast of a slab which has been discovered at Athens within the last few years. From the plate in Stuart it would appear to have been originally before 1^0.27 ; in which, how- ever, he is at variance with Carrey. Following the chariots, N"os. 32-45, is an assemblage of horsemen on the Frieze as at present arranged ; in all probability this was their place on the Temple : though this point we are unable to determine, the drawing which Carrey made previous to the explosion, and which refers to this portion of the Frieze, having also been lost. This eques- trian procession extended to the end of the north side of the building. The utmost taste and skill are shown by the sculptor in this part of the work. Great variety is thrown into the individual forms and attitudes of the animals and their riders by infinite modifications of the same action, by the playfulness of the lines, and by the intricacy and multi- plicity of the limbs intersecting each other. Xenophon, in his Treatise '^repl 'Wtiktjs (on Horsemanship), has described the points which an Athenian considered essential to a good horse, and his remarks on the true character of the attitudes of that noble animal will illustrate the different motions on this Frieze. It is not necessary here to describe each slab seriatim ; but it may be remarked that in No. 39 the head and shoulders of the second figure and the head of the third horse, having fallen from their original position, were brought to England in 1744, and after having been deposited with the Society of Dilettanti, and presented by them subsequently to the Royal Academy, were sent to the British Museum in 1817, and united to the slab from which they had been so long divorced. On No. 46, which is the last slab on this side of the temple, we see a young man preparing to mount his horse and to follow in the pro- cession. Behind him stands another youth and his horse, with a third figure who is probably attendant on him. The repose of this group is in beautiful contrast with the bustle and activity of the cavalcade. 3. Slabs from the Western Side. The Museum possesses only one slab. No. 47, in marble, of the Frieze which adorned the Western side of the Temple ; but it has casts fourteen in number of those which still remain upon the Temple. From these the subject of this portion of the work can easily be made ELGIN ROOM, 71 No. 36. ( / /^^ ''^ \ A .-^^^^J^ / ' ' ' ' ^ { ^^?V V. k»^^^M C\ 1^,/ yw^r' %J^'yrr-^:i-^^ttJ H^£v^^ / ^' /m [' ^^t\ ^ 'IKMm y'-^'^ '^^^^^^Ki \h%'^^^i'r'^f^^ ■^ •.^ V^'^jiTPsTx ^^^«C>^ -^1 I /^^^l nil ( / /^ / !^>*^9*x^v-^''^ ^-^/ // Engr. 'Museum Marbles,' Part ix. pi. xl. p. 182. * Ibid., p. 183. ELGIN ROOM. 121 No. 193' is a very curious bas-relief, commonly called a Bac- chanalian subject from the Odeion of Regilla. This bas-relief was found among the ruins of a building: which Colonel Leake has shown was built by llerodes, the son of Attious, and named, after his deceased wife, the Odeion of Regilla. When first discovered, the building was conjectured to have been that of the Temple of Dionysus. The subject is a Dionysiac revel, in which Dionysus himself is holding out a cup, into which a female, probably Methe, is ])0uring wine, taken from a large vase which stands behind her. At each extremity of the scene is a naked Satyr commencing the dance — each in the same attitude as the other, but in opposite directions, so as to maintain the symmetry of the representation. Each figure carries a thyrsus. Dionysus appears here under that form in which he is usually represented when personating the character of the Indian Dionysus. The sculpture, in which there is an imitation of the Archaic style, belongs, beyond a doubt, to the imitative period of Hadrian, the date of the building of the Odeion itself. No. 189'^ represents part of a procession, of which only four figures now remain, with the upper portion of a fifth. The figures are a male and female adult, with two children, followed by an attend- ant, who carried a large flat sacrificial vessel. This relief probably relates to some sacrifice. No. 190^ is a fragment representing a subject which is not uncommon in antiquity. The most perfect specimen was at Paris, and is described in the Musee Napoleon, tom. iv. pi. 7, 8, 9, 10. It is now restored to Cardinal Albani's villa. Two similar subjects exist in the Mu- seum : one on a terra cotta. No. x viii. (see Museum Terra Cottas, pi. xi. fig. 18), and another on one of the Towneley collection of marbles (see Museum Marbles, part ii. pi. xiii.) It has been conjectured by Mr. Combe that the subject refers to the festival of the Thargelia at Athens ; and by Zoega to the worship of Apollo at Delphi, the celebrated temple at which place is, he imagines, indicated by the structure behind the figures on this bas-relief. On this relief, the figure to the left represents Apollo in his character of Musegetes, or leader of the Choruses of the Muses ; the one in front of him is Artemis (Diana Lucifera), bearing in her hand a long torch. On the other relief in the Museum, to which we have alluded, Apollo is met by a figure of Victory, who appears to have just alighted on the ground. ' Engr. ' IVIuscum Marbles,' Part ix. pi. xxviii. p. 121. ' Ibid., pi. xxxvi. No. 3, p. 165. ^ Jbid., fig. 2, p. 157 122 GREEK ANTIQUITIES. ELGIN ROOM. 123 The character of the workmanship of these monuments indicates the imitative stylo of the period of Hadrian. Wos. 176, 376, 380, and 383 are all bas-reliefs, with figures within distylc (two-columned) temples. The first (No. 176) ' con- tains the remains of only one figure, probably that of Dionysus, car- rying in his hand what has, perhaps, been the thyrsus. The second (No. 376)* represents Zeus seated, with Ilera standing before him, in nearly the same attitudes as on the northern frieze of the Parthenon. The third (No. 380) represents two persons approaching an altar — one unclothed and young ; the other old, and wearing the same drapery as the magistrates in the Panathenaic pro- cession. The third figure on the other side of the altar holds a patera in his hand, but so little remains of him that we can only con- jecture that he is about to make a libation. The fourth (No. 383)' represents three divinities — the central and seated one, doubtless, Zeus. The female behind him may be Ilera, and the one in front Athene ; but the marble has been much injured, so that it is not safe to indulge in speculations. No. 197 ^ is a remarkable bas-relief, containing a quadriga with No. 197. ' Engr. 'Museum Marbles,' Part ix. pi. xxxviii. fig. 1. * Ibi[useuin Marbles,' Part ix. pi. xlii. figs. 1, 2, 3, 4. ^ Ibid., pi. xliii. 138 GREEK ANTIQUITIES, viously by Chishull and Chandler, and subsequently with a learned Commentary by the late Rev. Hugh James Rose, in his ' Insorip- tiones Grseese.' It is written in the most ancient Grecian letters, and in the style called Boustrophedon, that is, the lines follow each other from left to right and from right to left alternately, as an ox passes from one furrow to another. The purport of the inscription is to record the presentation of three vessels, a cup, a saucer or stand, and a strainer, for the use of the Prytaneion at Sigeum. The name of the donor was Phanodicus, son of Hermocrates, a native of Proconnesus. To proceed with the other inscriptions according to the proposed order. 1. Inscriptions which relate to Temples. No. 165 is an inscription stating that certain gifts had been con- secrated to a goddess, probably Aphrodite, by a female who held the office of lighter of lamps and interpreter of dreams in the temple of that Goddess. No. 167* is a very ancient inscription, known by the name of the "Marmor Atheniense," relating to a survey of some temple, probably the Erectheion. Nos. 267, 276, 282 contain inventories of the valuable articles deposited in the Opisthodomos of the Parthenon, which appears to have served as a " Mont de Piete." The characters on the second, No. 276, are anterior to the archonship of Eucleides, b.c. 403. Nos. 168, 185, 223, 269, 379 are also, probably, inventories, though the name of the temple in which the treasures were pre- served is not specified. 2. Inscriptions which relate to Treaties. No. 206 is a fragment in very ancient characters, relating to a treaty made between the Athenians and the inhabitants of Rhegium, in Magna Graecia, in the archonship of Apseudes, b.c. 433. Thucy- dides, iii. c. 86, mentions a fleet sent by the Athenians to aid the people of Rhegium on the ground that they were of Ionian origin. No. 346 refers to a treaty between the Athenians and Ery- thraeans, conjectured to have been as early as b.c. 477. No. 377 is a treaty between Orchomenos in Boeotia and Elataca in Phocis, in the iEolic dialect of Boeotia, imperfect, but containing fifty lines. The inscription appears to record three separate deeds : the two first, authentications of payments from the treasurers of Or- chomenos ; the third, the renewal of a treaty of pasturage granted by the citizens of Elatsea. No. 167, which is very imperfect, appears to relate to a treaty. ELGIN ROOM. 139 3. Inscriptions which relate to the Athenian Tribes. No. 162 is a fragment containing a list of citizens at Athens, with the names of the Demi to which they were attached. No. 173 is a similar list, conjectured by Visconti to be that of the warriors who lost their lives under the walls of Delium in Boeotia b.c. 424, but by Osann to be a record of those who fell at Potidaea. No. 285 is a fragment containing a list of Athenian citizens belonging to twelve Demi — Sunium, lonidsE, Alopece, Paliene, Halae, Ericea, Colonus, Sphettus, Ceriadae, Thoricus, Hephaesti, and Bate. 4. Inscriptions which relate to the Public Games (agonistic). No. 166 is an inscription recording the names of those who had conquered in the foot-race of the Stadium and double Stadium, in wrestling, boxing, the pancratium, and the pentathla. No. 171 is a fragment of an ancient inscription from the Acro- polis, containing an accoun; of the expenses defrayed by the trium- virs of the public spectacles. The name of the archon is effaced, but Visconti conjectures that its date is b.c. 424, No. 335 ought perhaps to be placed under the head of bas-reliefs, as there is the representation of a half-draped figure upon it. It bears, however, an agonistic inscription, with the names of some of the superintendents of the gymnasia. 5. Inscriptions relating to Decrees. No. 172 is a fragment of a decree, imperfect at the top, but bearing at its conclusion an order that the people of Ilierapytna, in Crete, should affix to it the public seal. No. 187 is a decree of the people of Athens in honour of Hosa- charus, the son of Agathon, a Macedonian. It was passed in the archonsbip of Nicodorus, in the third year of the 116th Olymp., b.c. 344. No. 203 is a decree of the people of Tenos in honour of their benefactor Ammonius. It is ordered to be set up in the Temple of Poseidon and Amphitrite. No. 235 is a decree made by a society, apparently composed of musicians, in honour of Dionysus and Antoninus Pius. No. 347 is a fragment of a decree of the Athenians, engraven on a large piece of marble, in honour of Spartacus IV., son of Eumelus, King of Bosphorus. Nos. 363, 364 arc fragments of public acts of the Athenians, the former relating to the people of Athens and My- 140 GREEK ANTIQUITIES. rina, the latter to the repair of the roads and pavements in tlie n(!iirhboiirhood of Athens. No. 378 is a decree of the Boule of the Boeotians, ordaining the election of three extraordinary magistrates to take charge of the recasting some articles of gold and silver belonging to the Temple of Amphiaraus. The back of the tablet records the plate then recast. Visconti considered the tablet to belong to the period of the successors of Alexander, but not to be later than B.C. 171. H"os. 205, 225, 226, 287, 294, 350, 362, 370, 386, appear to be all fragments of decrees. 6. Miscellaneous Fragments of Inscriptions. The following numbers contain portions of inscriptions with one or more names legible upon them, but which do not appear to be of sufficient interest to deserve separate notice — !N"os. 163, 185, 261, 273, 284, 288, 291, 296, 299, 333, 334, 346, 368, 369, 377, 381, 382, 385, 387, 388, 401, 421, 425. VIII. — Architbctukal Fragments. It will not be necessary to describe at length any of the fragments of temples and other buildings which may be found in the Elgin Room. We propose only to give the numbers of each subject in order, so that the student of Greek Architecture may be able to pursue his studies with some regard to logical sequence. With this view we shall subdivide this main genus into several species, so as to comprehend as far as possible all objects relating to architecture which are at present in the Elgin Room. 1 . Ornaments of roofs. a Fleuron, No. 169 (from Temple of Demeter at Eleusis). No. 418, from Athens. No, 437 (cast from a sepulchral monument). j8 Antefixal ornaments, No. 389 (from Parthenon) ; No. 390 (cast) ; No. 411 (Temple of Aphrodite) ; Nos. 412, 413, 414, 417 (Athens). 7 Tile, No. 297, in terra cotta, used to cover the joints of the larger tiles, bearing in front a fleuron and the name of its maker, Athenaeus. S Lion's head from roof of the Parthenon, No. 393, and fragments, Nos. 365 and 367. ELGIN ROOM. 141 2. Ceiling, from the Erectheion at Athens, No. 108. 3. Coffer, from Erectheion at Athens, No. 117. 4. Entablature. a Doric, from Propylaea at Athens, No. 131. originally painted. No. 260. 3 Frieze, from Erectheion at Athens, Nos. 252-255. from Tomb of Agamemnon atMycense, a most inte- resting and curious fragment of early Greek archi- tecture, and probably of the heroic age, Nos. 177-180. 5. Architrave, from Erectheion at Athens, Nos. 219, 220. painted Mseandcr from the peristyle of the Par- thenon, No. 399. 6. Columns and parts of Columns. a Doric, capital and shaft from Parthenon, No. 112. ;8 Ionic, capital. No. 187*. from Erectheion, No. 125. from Temple of Artemis at Daphne, Nos. 133, 231, 264. from Temple of Artemis Eucleia, No. 398. Column, from Erectheion, No. 110 and No. 125. Shafts, Nos. 232, 265 ; from Temple at Daphne, No. 134. from Erectheion, No. 114. Base, from Temple at Daj)hnc, No. 135. Shaft and base, from Erectheion, Nos. 126-7. Volute, from Temple of Nike Apteros, No. 404. y Corinthian capitals, Nos. 233, 268. column (cast from Choragic Monument of Lysi- crates, No. 360*.) capital from the interior of the Parthenon, No. 400. 7. Jainh of a door, from Erectheion, No. 115. 142 GREEK ANTIQUITIES. 8. Mouldings. o Leaf moulding, from Erectheion, No, 116. 3 Egg and tongue moulding from ditto, No. 118. 7 Astragal, eg^, and tongue moulding. No. 403. Jfote. — The above numbers are taken for the present from the last edition of the " Synopsis of the Contents of the British Museum, London, 1851," some of the objects not being as yet marked. ( 143 ) LYCIAN ANTIQUITIES. LYCIAN ROO M. The monuments in the Lycian Room, like those we have described in other parts of the Museum, admit of being grouped under a certain number of general heads, which will facilitate the descrip- tion of these antiquities, and will enable the student to pursue his investigations in a more connected manner. We therefore propose the following general heads as useful for general reference, without, as we have previously stated in the case of the collections in the Elgin Room, pretending to any scientific arrangement. The pre- sent arrangement, indeed, of the room itself precludes a regular and orderly description of the objects contained in it, no one subject or structure being together, and fragments of different ages being placed in inharmonious connection the one with the other: some, too, of the sculptures (as, for instance, those on the tops of the rock- tombs) are indistinctly seen, owing to their height above the base- ment-floor. We propose the following heads as a rough division of the objects in the Lycian Room : — I. Sculptures from and connected with the Xanthian Monument. II. MiSCELXANEOUS ReLIEFS. III. Tombs and Sarcophagi. IV. Inscriptions. V. Miscellaneous Fragments or Sculpture. VI. Architectural Fragments. Previous, however, to our giving a description of the monuments themselves, we must say a few words on the subject of their dis- coverv. 144 LYCIAN ANTIQUITIES. The sculptures in the Lycian Room, the very large proportion of which came from one town — Xanthus, together with casts from some other places, as Myra, Cadyanda, and Antiphellus, were discovered by Sir Charles Fellows, during a tour he made through the S.W. of Asia Minor in the year 1838. On his return to England, his repre- sentations induced the English Government to fit out two exjieditions in the years 1841-2, and 1843-4, over both of which Sir Charles Fellows presided ; the first time assisted by Mr. G. Scharf, jun. ; and the second time by Mr. Scharf and Mr. Rohde Hawkins. The sculptures in this room are the results of those expeditions. They consist of monuments of various date, from the earliest Greek period down to that of the Byzantine Empire, and are of great value as links in the chain of the history of Greek art. Xanthus, the city from which they have nearly all been procured, appears in ancient times to have undergone great vicissitudes of fortune, and the subjects of the sculptures, no less than the cha- racter of their workmanship, indicate certain distinct periods of its history. It may not be uninteresting to mention briefly what we know of this ancient place, as such a notice may tend to put more vividly before the eye of the spectator the course of the monu- mental records he is inspecting. The real history of Xanthus is much intermixed with the Mythic legends. It would seem to have been originally founded by a Cretan colony, and to have been subsequently augmented by one from Attica. In the Iliad, Sarpe- don and Glaucus appear as leaders of the Lycians in the Trojan army, and the former is slain by Patroclus, and his body conveyed by Sleep and Death to Lycia, to be honoured with a stele and tomb. Pandarus, too, the celebrated archer, is believed to have led a tribe of Lycians to the same celebrated contest. From the Trojan War to the time of Croesus, the Lycians were probably independent, and their people chiefly aborigines, with the addition of some Greek settlers : the Lydian monarch is stated to have brought them, as well as the other nations West of the Halys, under his dominion. On the advance of Cyrus into Western Asia, Sardis fell, and with it the empire of Croesus ; and a division of the Persian army was sent, under Harpagus, to conquer Lycia, his force consisting of Persians, Dorians, and lonians. The lonians had, in their contest with Cyrus, chosen the Glaucidae, or Royal family of Lycia, for their leaders, and hence Lycia became in an especial manner the object of the hostility of that conqueror. The expedition of Harpagus happened about b.c. 546. The resistance of the natives of the S. W. part of Asia Minor was not of long endurance ; the people of Pidarus and Xanthus alone LYCIAN KOOM. 1^3 held out for any time ; the former were reduced by blockade, the latter made a memorable defence of the city. It is said that, when driven from the plain by the united forces of the allied enemy, the Xanthians took refuge in their citadel, collected in it their wives, children, and treasure, and then burnt themselves, preferring this fate to submission to the invaders. Of the whole population, eighty families alone, whom chance had placed beyond the limits of the city, escaped this calamity, and hence, though Xanthus recovered soon after some portion of its original consequence and power, the majority of the subsequent inhabitants were new comers, settlers perhaps implanted by the Persians, who most likely distributed the lands among their .ffiolian and Ionian subjects. During the Persian invasion of Greece, about sixty years later, we find that the Xanthians sent fifty ships to aid Xerxes against the Greeks, and continued to pay an animal tax, the amount of which proves that they formed one of the wealthiest divisions of the Per- sian empire, while they retained the free government for which they had devoted their lives, and had their own Monarchs for Satraps. During the contest between Alexander and Dareius, Alexander descended into Lycia in the depth of winter, and, having taken Patara, is said to have met with an obstinate though unsuccessful resistance from the Xanthians. In the wars of Alexander's suc- cessors, the Lycians appear to have taken the j)art of Antigonus ; hence the assault and capture by Ptolemy of the city, as a garrison- town manned by the forces of his rival. During the Civil War between Brutus and the Triumvirs, the former entered Lycia with the intention of levying a contribution, and a bloody attack "and siege of Xanthus was the consequence. The Roman general, aided by the people of ^Enanda, laid siege to it in a regular manner. By the stratagem of feigning a careless watch, he induced the Xan- thians to make a sortie, and the besiegers rushed in along with the besieged, who had been driven back i'rom the Roman lines; the gates were then lowered, and a large body of Romans were shut up in the town and seized the Sarpedonion ; their comrades from with- out, urged on by the people of .Luanda, scaled the walls, and the Xanthians then gave a third instance of their love of liberty, destroy- ing themselves, their wives, and their children, and few surviving the capture. From that time the people of Xanthus appear to have followed the destinies of the Roman empire, but to have suffered severely in two earthquakes which happened in the reigns of Tiberius and Antoninus Pius, respectively. 146 LYCIAN ANTIQUITIES. The town itself was seated on the left bank of the Silres or Silrus (called Xanthus, or the Yellow, by the Greeks), at about seventy stadia from the sea, on a plateau of elevated ground about 200 feet above the river, and in form was nearly rectangular. On its highest point was an Acropolis, within the Roman walls of which were dis- covered many of the most ancient remains, the seats and ornamental chairs of the Greek Theatre having been used in their construction. On the brow of the Acropolis stood the Harpy Tomb, and a very ancient theatre of Greek construction ; while in another part of the city, to the Eastward, and farther from the river, was a miscellaneous collection of Greek and Roman buildings. With this slight sketch of the history of the city of Xanthus we shall proceed to describe the sculptures themselves. I. SCULPTUEES FROM THE loNIC TrOPHY MoNUMENT, OR CONNECTED WITH IT. The position of this monument was on the brow of the heights on the Eastern side of the city, in which locality the greater number of the works of fine Greek art were found. There can be no doubt that this part of the town, which was separated by a ravine from the Acropolis, was due to the colonists who settled at Xanthus subse- quently to the Persian attack. The remains of statues and friezes discovered here are valuable materials for the history of Art, and exhibit marked peculiarities of style. There has been some difference of opinion as to the purpose and the character of the original monument to which these sculptures belonged. Sir Charles Fellows has shown great ingenuity in con- structing a model of what he believes it to have been when perfect, and has called it an " Ionic Trophy Monument." We think that on the whole he has succeeded in his endeavour, and that his restoration serves admirably for the purpose of bringing clearly before the eye the whole of the sculptures which have been found. Above all, it is an arrangement, and at present the only complete one which has been proposed. Whatever then the original building was. Sir Charles Fellows dis- covered, in 1838, that it had been constructed of white marble upon a basement of solid blocks of gray Lycian marble ; and that it had been completely thrown down, no doubt by the earthquakes we have mentioned. The whole of the separate pieces now in this room, and belonging to this monument, and from the study of which Sir Charles Fellows has made his model, were discovered during the LYCIAN KOOM. 14"; expeditions of 1841-2 and 1843-4, around the base of the monument itself, or below tlie cliff on wliicli it had stood. The sculptures may be arranged as follows: — 1. — Thone of the Broader Frieze, — Nos. 34-49, which are be- lieved to have been placed around its base. They represent a series of contests between warriors armed in the Greek manner, with crested helmets, Argolic bucklers, thornces, and greaves ; and others more lightly armed, being simply clad in tunics, or naked, and wear- ing helmets. Sir C. Fellows recognises in many of the figures the loose-robed, bearded Lycians, with their peculiar arms, their bov\ - cases, and their leaders or heralds with curtained shields. These scenes, he conceives, represent the brave resistance in the plains recorded by Herodotus, the; Lycians being generally the vanquishetl l)arty. On Nos. 39 and 46 it is certain that Asiatics are depicted ; they wear the |)ointed cap called Cidaris, and are fighting against Greeks. On No. 45 is a warrior, to whose shield is attached the appendage or curtain called by Homer Aaiariiov (laiseion), and used to protect the legs against missiles. 2. Those of the Narrow Frieze, Nos. 50-68, which is supposed to iiave encircled the upjjcr part of the base of the monument. Nos. 50, 51, 52, 53, indicate the attack upon the main gate of a city which may fairly be presumed to be that of Xanthus. The gate is defended by a low flanking-tower, with windows ; the besiegers have planted a scaling-ladder, which two warriors hold firmly by their weight against the wall. Three armed warriors, who have taken oti their sandals, are seen ascending the ladder ; a fourth has already marched into the tower; while other troops, in the back-ground, advance rapidly to the attack. Nos. 55-59 represent a general combat, some of the warriors wearing heavy armour, and some only tunics. Nos. 60, 61, a walled city, within which are tombs ami temples, and the heads of the besieged looking over the vfalls. On No. 62 is the Persian Satrap, seated, attended by his guards, and a sla\e holding over his head the umbrella, or symbol of sovereignty, receiving a deputation from the besieged city. On Nos. 65, 66, is apparently a sortie from the city, the garrison appearing on the walls, and the women throwing up their arms in despair. No. 67, no doubt, indicates the retreat of the sortie, who have been driven back into the city. Sir Charles Fellows has, we think, justly estimated the nature of this frieze, and we agree with him in thinking that the buildings represented on it must refer to the town oi Xanthus. The walls and battlements of a Lycian fortification are still recognisable, and within the walls is a stele, one of those 148 LYCIAN ANTIQUITIES. monuments so peculiar to Xanthus, and of which four are still stand- ing. On the stele, as seen over the walls, is placed an emblem, a sphinx seated between two lions. It is an interesting coincidence that at the foot of one of these stelae, No. 141a, Sir C. Fellows found a square block, No. 33, terminating in the fore parts of two lions: the tenon under it, corresponding with the mortise upon the capstone of the stele, proved that it had fallen from this monument. The walls of the city seem to surround a rock. One of the most interesting individual groups is that of a wounded warrior who is led away by a young man ; several figures are seen pointing with the hand, as if giving commands, and the combatants are turned and engaged in different directions, and not advancing in order, as upon the other sides. One figure is carrying a stool, or throne, and another an umbrella inclined over his shoulder. Upon this square base, which the friezes we have just described surround and decorate, stood the building itself; according to Sir Charles Fellows's reslorationa peripteral tclrastyle temple, containing, as decorations peculiar to itself, statues as acroteria on the angles of the roof, figures in the pediments, bas reliefs round the outside of the cella and architraves, and statues in the intercolumniations. The fragments on the acroteria were placed, like those in the intercolum- niations, londtudinally, and have been too much nmtilated to admit of any satisfactory assignment. On the eastern pediment, No. 125, we have a male and female deity seated opposite to each other, with attendants standing by them, and in the angle a dog crouching down. Of the western pediment, No. 126, only one half remains, containino- a representation of six warriors on foot, one of whom has fallen, sustaining the charge of horsemen ; the fore-leg of the horse may be noticed crossing the shield of the foremost figure. On the sculptured architrave, Nob. 100-123, are represented, at one end, a procession carrying the ofi'erings usually made by the Greeks, and at the other a procession, clad in the looser dress of the Persians, and carrying the oftering peculiar to that nation. On one of the long sides we have a hunting-scene, the pursuit of the wild boar and bear ; on the other, a battle betw een two bodies of horsemen. The frieze round the cella has for its subject an entertainment, in which the guests recline upon couches, and are served with wine and attended by female singers, and musicians. Preparations are also being made for a sacrifice of rams, bulls, and goats. The statues Nos. 75-84, which Sir Charles P'ellows has placed in the intercolumniations of his restoration, are among the most interesting remains of this monument. They all represent Nereids LYCIAN ROOM. 149 in rapid motions. Each statue is supported by some marine emblem under her feet. Tlie acroterial statues are too mua.«tem pediment. Nob. 127-130, upper corner stones of the Eastern pediment ; No. 127 l>eine the key-stone, and demonstrating the manner in which they were fastened into the roof. 150 LYCIAN ANTIQUITIES. We may add, in concludinfi: this notice of the Ionic Trophy Monu- ment, that Sir Charles Fellows has shown, we think very clearly, that the marble of which it is composed is Greek (probably Parian), and not Lycian ; and that the character of its art is also foreign to the country. The massive pedestal surmounted by a temple-form structure belonars to Caria, and examples of it may be seen at Alinda, and a very remarkable one at Mylassa, reminding us of the tyj)c of the Mausoleum at Halicarnassus. The architecture is that of Ionia. II. MlSCKLLANEOUS ReLIEFS. Of these, the whole were found in and about the Acropolis, the greater part having served as materials for its walls. They are the most archaic of the monuments discovered by Sir Charles Fellows, and manifestly the relics of an older building, in ruins at the time when the Romans built the wall of circumvallation, if not pulled down by them for that purpose. They are chiefly distinguished by their being executed in the hard, untractable stone of the country. They bear considerable resemblance to the early Greek school, such as is found on the doors of the so-called Treasury of Atreus at Mycense, and on the vases intermediate between the Nolano- Egyptian or Phoenician and the early Etruscan styles. Their subjects, !N"os. 2-16, are, a lion devouring a deer, a frieze with fowls, spiritedly executed, and a satyr, nearly the size of life, running along the ground, and holding in both hands the branch of a tree. On comparing these with the remains on a Doric temple at Assos, the frieze of which is a succession of animals, and whose metopes contain centaurs, it is clear that the fragments above enumerated have formed part of the frieze of a similar temple. Nos. 27-21 is a curious frieze, not impossibly from a tomb, and certainly ranks next, in point of art, to those last described. The slabs form a continuous frieze of five pieces, and, from the re- turn piece at one end, most likely that of an inner and hypaethral court. The equestrian part of the procession commences with a chariot of two horses, in which is seated an old and bearded figure, draped in a tunic and peplos, while a youthful charioteer, standing up, leans over the chariot and holds the reins of the horses, which resemble those on the staircase at Persepolis. The f;hariot is followed by a horse, attended on its near-side by a groom, who holds the bridle and R short knotted whip. A second chariot follows, similar to the first. LYCIAN ROOM. 151 and behind is a man on horseback, who is apparently descending a step. With this frieze must be classed a slab containing a procession of draped figures, several of which remain more or less perfect, and are either Divinities of the highest order, advancing at the head of the previous procession, or priests and sacerdotal functionaries. This slab has been much injured by the weather. The Frieze has a Persian character, and reminds us of that described in the ' Cyro- paedeia.' The character of the dresses is, however, Lycian, and not Persian, and therefore probably represents the Satrap of Lycia, attended by the usual personages in a Perso-Grecian procession in honour of the local Divinities. None of these monuments are probably older than the Persian conquest in b.c. 545, while individual speci- mens may be much more modern, the difficulty of handling the hard Lycian stone, in which they are carved, of itself tending to give an archaic character to the workmanship. No. 22 is a bas relief of two draped females wearing sandals, one of whom raises with her left hand the border of her tunic. No. 141 u is a fragment of a bas relief representing two figures, one armed and advancing, the other fallen. It was found at the l>ase of the inscribed stele at Xanthus ; but it does not ap|)ear cer- tain to what structure it belonged. III. — Tombs. • Sir Charles Fellows has examined with great care the different Tombs, many hundred of which still exist in the S. W. part of Asia Minor, and has determined that they present three principal forms. These he calls the Obelisk, the Gothic, and the P^lizabethan forms. The first, as its name implies, consists of a square block surmounted by a cap and cornice ; the second and the third resemble those styles of Architecture in their lancet-headed tops, and in the deep, mullioned recesses carved on the structure. Of these the Museum possesses admirable specimens of the two first; the third, or so- called Elizabethan, appears to have been generally restricted to such cai'vings as were on the face of the solid rock. In each of these classes, but more especially in the Gothic and Elizabethan, the peculiarities of the architectural details are very curious. They indi- cate distinctly the imitation of wooden structure, and by the nature of the joints, ties, and mouldings (copied in the stone) give a perfect insight into the construction of the ancient buildings of Lycia. The l)anclled doors, with bossed nails on the styles, knockers suspended 152 LYCIAN ANTIQUITIES. from lions' mouths, and other ornaments in the panels, show much taste and accuracy of execution. The most remarkable of these singular monuments is that which has been called, from the figures which appear at its four corners, the Harpy Tomb, Wo. 1. No. 1. It consists of a square stele or column, about ITs feet high, in one piece of stone, surmounted by a series of has reliefs. It stood on the N.E. side of the Acropolis, near the theatre, and was placed upon a square pedestal. The bas reliefs formed the. walls of a square chamber, which measured 7 feet each way. In the in- terior of this chamber are representations of wood-work with its beams and sunken soffits ; and an ancient door still exists on the W. side. The shaft has been shifted on its base by an earth- quake, and two of the slabs have been thrown to the ground. The N. and S. sides each have respectively three slabs, and contain re- presentations of the Harpies, between whom, in each case, is a group consisting of one seated and one standing figure, so that the sculptures on these two sides balance ; on the E. and W. sides are also three slabs, but no Harpies. It is not impossible, therefore, that though the whole of the slabs may refer to local myths, the subjects on the N. and S. friezes may not be directly connected with those on the E. and W. Many different opinions have been put forth as to the meaning of the bas reliefs upon this monument, but it is impossible to do justice to these different theories within the limited space allotted to us. Generally, it may be presumed that a local myth is represented ; LYCIAN ROOM. ISiJ and as Pandarus was one of" the Lycian heroos, and as his daughters are said to have been carried off by IIar|)ies, as a punishment for his having perjured himselK, we may believe that some part of this legend is indicated upon the monument before us. 'J'he Harpies are generally described with the faces, bosoms, and hands of females, their hair bound round by the sphondone, and their bodies and feet those of vultures. From the time of Homer they were considered to represent the storm winds (whence their names of Ocypete, Aello, Celaeno, and Thyella), and to have been placed in Hades along with the Eumenides, or Furies. They are here depicted winding their way rapidly through the air, and holding in their arms one of the unhappy daughters of Pandarus, dressed in the same Lycian attire which appears upon the other figures. Of the individual figures in the frieze, the older bearded and seated figure, with a helmet in his hand, is probably Zeus. On the opposite side, the seated man, with a female standing before him, holding a pigeon by its wings, probably represent Pluto and Persephone. The seated female to the left of the door appears certainly to be Hera. The corresponding seated female may be Aphrodite, and the three inter- mediate and standing females the Charites or Graces. The corre- sponding seated male figure may be Poseidon, and Amymone and Amphitrite standing behind his chair; but we confess we see no certainty in any of the mythological speculations about this portion of the frieze. There can be no reasonable doubt, on the other hand, that this stele, whatever be the true interpretation of its bas reliefs, marked the site of the deposit of some of the Princes or Moiiarchs of the Royal family of Lycia, descended from the mythical hero Pandarus, the whole story having a relation to death, and that too premature. The monument was originally enriched with colour, portions of which were still observable when it was first brought to England : there was blue on the background, and scarlet on the crest of the warrior ; the lower moulding had also a coloured pattern of the egg-and-tongue ornaments, and the chair of the figure on the northern side had a pattern of rosettes, and the helix or antefixal ornament. The style of the monument may be compared to the bas relief called that of Leucothea and Dionysus, in the Villa Albani, of which there is a cast in the Museum. The Harpy Tomb was never completely finished, the sides being polished only halfway up from the base, and the projections whereby it was originally raised being left in their original state, and not, as was usually the case, carved into lions' heads. 154 LYCIAN ANTIQUITIES. The bas-reliefs of this tomb are among the most interesting ex- amples of archaic Greek art which remain to us. They are probably about a century earlier than the .S^ginetan marbles. The friezes which we have already referred to from Assos are much inferior. Four other similar tombs have been discovered : one placed on a pedestal of three steps with sepulchral chambers excavated in the rock beneath it ; another bearing a Lycian inscription ; a smaller one, discovered by Mr. Forbes and the Rev. Mr. Daniell, at the foot of the Cragus ; and another, smaller than those at Xanthus, with the remains of a Lycian inscription, found by Sir Charles Fellows, and seen by M. Schijnbrunn to the north of Cadyanda. It is probable that these pillars were surmounted by some sculpture, from the discovery of the fragment with the two lions found at the base of that bearing the Lycian inscription, and the appearance of a sphinx and two lions on the monument represented in one of the besieged cities in the narrow frieze. The next important tomb, to which we shall call attention, is KTo. 142 — the sarcophagus of a Satrap whose name is said to be Paiafa, resembling a wooden coffin or roofed house, with beams issuing forth from the gables. This is one of the structures which Sir Charles Fellows has called Gothic. It may be remarked that the top of the sarcophagus is very peculiar in form, and resembles very much an inverted boat, with its curved sides and high ridge running along the top like a keel. At the end of the top of the ridge, above the arch, is a groove, which was probably intended to contain a terminal ornament. Sir Charles Fellows observed a rock at Pinara, on which a representation of a similar sarcophagus had been carved. In the groove at the top of the ridge is inserted an ornament, consisting of two bulls' horns, serving for its crest. These crests are of historical interest, Herodotus relating, in his account of the nations who served under Xerxes, that the people of Bithynia carried two Lycian spears and had helmets of brass, on the summits of which were the ears and horns of an ox. On each side of the roof is an armed figure, perhaps Glaucus or Sarpedon, in a chariot of four horses ; and along the ridge, or hog's mane, is a combat of warriors on horseback, and a Lycian inscription recording (it is said) that the tomb was made for Paiafa. At the E. end, in the tympanum of the arched por- tion, are two naked figures and sphinxes ; at the W. two sphinxes, and a small door for the purpose of introducing the corpse. On the N. side, below, is a combat of warriors, on foot and on horseback, and the Satrap, seated, attended by four figures ; above him are the remains of two lines of Lycian inscription. The Oriental chief sits LYCIAN EOOM. 155 on his throne, and appears in the capacity of a judge ; his head- dress resembling those on the sculptures from Persepolis, on the Babylonian cylinders, and on the figures of the Persians in the great mosaic at Pompeii, called the battle of Issus. The same dress may also be observed in the figure of Ilarpagus on the Trophy Monument, On the E. side are other figures of men or gods, and another Lycian inscription. On each side the roof are two water-spouts, in the form of a lion's hea" 170 TOWXELEY SCULPTURES. UTos. 33 and 43 represent the same subject — a statue of a Satyr entirely naked — and the work not improbably of the same artist. The forms of these statues are remarkably elegant and grace- ful, almost effeminate, and show- ing none of that hard and muscular appearance which usually charac- terizes the Satyr. They have the pointed ears and horns, but not the tail of the goat, and might easily be mistaken at first sight for statues of the young Dionysus. It has been usual, hitherto, to call these figures Fauns, but the name Satyr is more justly appropriated to them. The Satyr was the name of the usual attendants on Dionysus. In early Greek works, they are always repre- sented with tails, goats' ears, and horns ; in later times, the tail ceases to be evident. The Faun, on the other hand, was an Italian Sylvan Deity, and as such became identified by the Romans with the Greek Pan, when the Mythology of this latter people was transj)lanted to the Roman soil. The figures with goats' legs are always to be considered as types ol Pan. The head of No. 33 has been broken off, but replaced ; the arms, however, and the legs, are modern. It bears a name, Marcus Cossutius Cerdo, perhaps that of the artist, written in Greek characters on the piece of marble which supports the statue. It was found by Mr. Gavin Hamilton in 1775, near Civita Lavinia, in the ruins of a villa of Antoninus Pius. No. 43 was found in the same place, and is more entire than the former one, having lost only the left foot, and part of the right. The inscription on it is slightly different, and may perhaps imply that it is the workmanship of a freedmaa or pupil of the artist who executed the former. TOWXELEY SCULFrURES. 171 No. 2* is a statue of Apollo, of the size of Kfe, naked, and no doubt a copy from an early Greek work. The head is surrounded by a plaited diadem, and the hair falls in curls upon the fore- head. Thf lower part of the right arm, the left hand, and wrist are lost. The veins are strongly marked in this statue, and the muscles are full and prominent. The stem of a tree forms the support to the figure. As both hands are gone, it is impossible to be sure what has been their occupation; but it has been conjectured that the right arm may have rested on a quiver, while the left held a bow. The head is very small, and much resembles in type the head of Apollo on an archaic coin of Methymna in Lesbos, in the Museum col- lection. This statue was pur- chased at the sale of the Count de Choiseul GouflBer's collection in 1818, and has been engraved among the specimens of ancient sculp- ture published by the Dilet- tanti Society in 1835. No. 20 is a Torso of a very beautiful small statue of Venus, placed on a black wooden and modern pedestal, which is hi- deous in itself, and inappro- ])riafe to the apparent action of the figure. There can be little doubt, on comparing this torso with several other exist- ing figures, that the original «fatur, when perfect, represented Venus stooping down and lacing lnM- «andal. A similar figure is in the Odcschalchi collection, and 172 TOWNELEY SCULPTURES. there are three others in the British Museum which are identical with it in their attitude. In all of these, the Goddess appears stand- ing on one leg, and raising the foot of the other. The head, which is lost, appears to have been carved out of a separate piece of marble, and to have been mortised into the bust. Mr. Towneley purchased this torso from a Roman sculptor named Cavaceppi. No. 20. Richmond Venus. The next is a torso of Venus in fine workmanship, the fragment of a statue which was formerly preserved at Richmond House, and was broken by a fire there in 1791. It was purchased for the Museum in 1821. There is no record whence it was originally obtained, but there can be little doubt that it is the work of a Greek artist in the Roman times. T. 19 is a small statue representing Cupid bending his bow ; the quiver, which serves as a support to the figure, being covered with a lion's skin. It was found by Mr. Gavin Hamilton in 1776, at Castello di Guido, the ancient Lorium, where Antoninus Pius died, on the road to Civita Vecchia. The wings were detached from the shoulders, and the feet, quiver, and pedestal were discovered at a short distance from the other parts. The body and wings were enclosed within a small amphora, and owing to that circumstance have retained their ori- TOWNELEY SCULPTURES. 173 ginal polish, while those parts which were not so preserved have undergone corrosion. It has been supposed that this statue, and some others which bear a resemblance to it, are copies of a celebrated work in marble, attributed by the ancients to the hand of Praxiteles ; the accounts, however, transmitted to us of that artist's work are so vague and general, that they would apply equally well to almost any of the numerous statues now existing which represent Cupid in the act of bending his bow. The lion's skin is not an unusual accom- paniment of the statues of this Divinity, alluding probably either to his influence over the brute creation, or over Heracles, of whom the lion's skin is a type. Thus, in ancient works of art, we find Cupid playing with, or riding on the back of a lion, domineering over Heracles, and playing with his attributes. No. 40* has been called a torso of Heracles, though, being No. 40*. 174 TOWNELEY SCULPTURES. entirely naked, there are no symbols remaining whereby the form of that hero can be with certainty identified. The great muscular development, however, renders it probable that this attribution is correct. The surface of the marble is in good preservation — its length about twelve inches and a half. It is not known where it was found. T, 7 is a statue of a youth seated on the ground, with one leg T. 7. bent under him, and the other stretched out : he holds with both hands a part of an arm, and is biting it: his countenance, the mean- while, admirably expressing the malice and revenge with which he is actuated. This statue probably belonged to a group composed of two boys who had quarrelled at the game of osselets, one of the bones, astragali, remaining in the hand of the lost figure. It was found in the baths of Titus, at Rome, during the Pontificate of Urban VIII., and was placed by Cardinal Francesco Barberini, the nephew of that Pope, in the Barberini Palace, whence it was pro- cured for Mr. Towneley, in 1768. TOWNELEV SCULPTURES. 175 Pliny mentions a bronze group by Polycletus, with a similar subject, in which, however, the figures were entirely naked. But i'or this circumstance, it would be reasonable to imagine that this sculp- ture was copied from that group, since it was discovered in the same place where the bronze work is said to have been preserved. The left arm, the wrist of the right arm, both the feet, and the whole of the plinth, except the portion immediately under the body, are modern. The only antique part of the lost figure is one of the hands, which holds the astragalus, and is firmly grasped by the right hand of the other figure. Wo. 35 is a terminal statue of Pan playing upon a pipe, with a diadem round his head, and long flowing drapery. This terminus, which is evidently a copy from some archaic Greek work, was found by Mr. Gavin Hamilton, near Civita Lavinia, in the ruins of a villa of Antoninus Pius. Terminal figures of this kind were not unusual in the archaic period. T. 37 is a terminal statue of a female, over the back of whose head a veil is thrown covering the body and enveloping the arms. The right arm is raised to the breasts, and holds the ends of the veil. Mr. Payne Knight imagined that this figure had a mythological interpretation, and represented the Venus .\rchitis of the Syrians and Phoenicians, who appeared in her ancient temple on Mount Libanus, according to Macrobius, in an attitude and dress considerably resembling this figure. We do not, however, think that, in the absence of any determinative symbols, it is safe to adopt such a conjecture. This marble was found in 1775, about si.\ miles from Tivoli, near the road to Praeneste, by Nicolo la Picolo, who, with Prince Altieri, caused an excavation to be made in some extensive ruins on that spot. Many other valuable marbles were at the same time discovered. No. 18 is a statue of a satyr which used to be called the Rondinini Faun, because it was originally one of the chief ornaments of that palace in th^ Corso at Rome. It was brought to England in 1826, and was purchased during the same year for the British JNIiiseum. This figure as now represented is playing on cymbals, but as only the torso is antique, it may be doubted whether the restoration is correct. A statue of a satyr, of the same size and character, is de- scribed in the " Galeria Giustiniana," fol., Rom. 1631, Part I. PI. To this class, also, belong three small statues of Poseidon, Ceres, and Fortune, presented to the Museum, in 1836, by J. S. Gaskoin. 176 TOWNELEY SCULPTURES. No. 35. T. 37. TOWNELEY SCULPTURES. 17' ^SSiS|-' -^^^ Xo 18. 178 TOWNELEY SCULPTURES. T. 123, the Apotheosis of Homer. This bas-relief is one of the most interesting that has been preserved to us from antiquity. It contains four tiers of figures, and from the cir- cumstance that their names are written under each, we arc en- abled to trace out the meaning of the whole composition much more completely than is generally possible in the case of ancient monuments. On the top of a rock, in the upper compartment, is seated Zeus, leaning back, with a sceptre in his right hand and the eagle at his feet. He is apparently listening to one of the Muses, who is addressing him and supplicating the concession of Divine honours to the poet. Upon the rock, immediately under Zeus, is an inscription declaring that the sculpture is the work of Archelaus, the son of ApoUonius, a native of Priene. On the range below Zeus are six of the Muses. The first to the left is Calliope, known by her tablets ; then Clio ; Thalia ; Euterpe, holding out two flutes, or pipes; Melpomene, veiled, and addressing Zeus; and Erato, the Muse of Lyric Poetry. On the next lower range, we find Terpsichore with her lyre, Urania placing her hand on a sphere, and Polymnia wrapped in her mantle. In the same range appears also Apollo Musegetes (leader of the choir of the Muses), clothed in feminine attire, a plectrum in his right and a lyre in his left hand : the Delphic cortina, or tripod-cover, with his bow and quiver, are at his feet ; and the Pythia, who is offering a libation from a patera, stands by his side. These two figures are repre- sented as though within the Corycian or Nymphaean cave. At the end of the row stands a bare-footed man on a pedestal, with a tripod before him ; about whom, though there are endless conjec- tures, nothing, we think, has been satisfactorily made out. He wears a tunic, which is wrapped about him, and holds a scroll or book in his right hand. In the lowest range of all, is represented the ceremony of Deification ; the bas-relief indicating the interior of a temple, the enclosure being denoted by square pilasters, from which a veil continued the whole length is suspended. Behind the chair on which Homer is seated stand Earth (Oikoumene) and Time (Chronos). The former, with a modius on her head, is crowning the poet with a garland ; the latter, w^hose wings extend to the edge of the marble, holds in his hands the poems of Homer. At the sides of Homer's chair are two females kneeling. The one, bearing a sword, repre- sents the Iliad ; the other, who represents the Odyssey, holds in her hand the aplustre or flagstaflP of a ship, as indicating the adven- tures of Odysseus (Ulysses). At the feet of Homer are two small TOWNELEY SCULPTURES, 179 ummMM;&mmmMm T. 123. animals (a mouse and a frog), which have been supposed by some to refer to the Batrachomyomachia (the Battle of the Frogs and Mice), a poem which has been attributed to him, though on no sufficient grounds. In front of the poet, stands a youth about to offer a libation, and bearing the name of Mythus, or Fable; and close to him is a bull, ready to be sacrificed to the new God. Behind the young man is a train of female figures, representing respectively History, Poesy, Tragedy, Comedy, Virtue, Memory, Faith, and Wisdom. The names of all the figures are inscribed under them upon the face of the marble. The heads of nearly all the Muses, N 2 180 TO^VNELEY SCULPTURES. with the arm of one of them, the head of the figure in front of the tripod, one head in the lowest range, and the patera in the hand of the youth who stands before Homer, "are modern, together with the moulding of the border. This most interesting bas-relief is probably the copy of a larger design executed in the period of the Ptolemies, or may itself be a work of that period, as is the opinion of Dr. Emil Braun. who has recently published a description and V 0Jl^ ' J ' '.i1^WlHVW/MWJMNMil\ff^f r W T. 1:37. TOWNELEY SCULPTURES. 181 electrotype facsimile of it. The marble itself was found about the middle of the seventeenth century, at Frattocchi, the ancient Bo- villa;, on the Appian Road, about ten miles from Rome, at a spot where the Emperor Claudius had a villa. It was subsequently preserved in the Colonna Palace at Rome, and finally added to the Museum collections in 1819. T. 137, Ilerycles securing the Masnalian stag, which, according to the legend, had golden horns and brazen feet, and was celebrated for its extraordinary swiftness. It is said that Heracles was occupied for a whole year in the pursuit of this stag, and that at last he over- took it as it was crossing the river Ladon. This bas-relief is an imitation of an archaic Greek work. The hair of the hero is in small curls, and the beard formal, stiff, and pointed. The subject is common on other works of ancient art. Thus it may be seen on an altar in the Museo Capitolino, on a marble vase in the Villa Albani, on a frieze found at Pragneste, and on many of the Greek coins struck during the times of the Roman emperors. It is also described in an epigram in the Anthologia. T. 121, Castor, one of the Dioscuri, managing a horse, imitated, like the last, from an archaic Greek work. Castor appears as a young man with a diadem round his head, holding in his right hand the reins of a horse, and about to strike the animal with a stick which he holds in his left hand. The rein, which, like those of the horses in the Elgin frieze, was made of metal, is now lost; but the holes, into which it was formerly inserted, remain, one in the mouth of the horse and the other in the right hand of Castor. The dog which accompanies him is introduced in allusion to hunting, the favourite pursuit of Castor ; or to Laconia, w here he was born, which was celebrated for its breed of dogs. A j)articular species of this animal is said to have derived its name from this demi-god, and to have been presented by him to Apollo. This bas-relief wa*: found by Mr. Gavin Hamilton, in the ruins of Hadrian's villa, on the banks of the Tiber, in 17G9. No. 12 contains three figures, part of a iJaccliic thiasus. The first is a Bacchante, playing on the tympanum or tambourine, her head thrown back and her hair streaming loosely behind it. The second is a Satyr playing on the double-flutes, with the skin of a panther thrown over his left shoulder. The third is likewise a Satyr, ap- parently in a state of intoxication, his head falling forwards, and his eyes half-closed. In his right hand he holds a thyrsus, and his left arm is stretched out holding the skin of a panther in the manner of a shield. These figures are all in a dancing attitude, 182 TOWNELEY SCULPTURES. the usual mode in which the followers of Dionysus are repre- sented. Several repetitions of this group are extant. This bas-relief was discovered by Mr. Gavin Hamilton, at Civita Vecchia, in 1776. No. 13, Victory pouring out a libation to Apollo, who appears in his character of Musegetes, and supports a lyre on his left arm, striking the strings of it with the fingers of the same hand. He wears a tiara, armlets, and chiton. Victory wears a chiton, over which fulls a short upper-garment. Her right hand, which is raised above her head, pours the libation from an oenochoe, and the phiale, which receives it, is held by Apollo and herself. By the side of the figure of Victory is a small altar, ornamented with festoons of flowers supported by winged figures. The whole TO^VNELEY SCULPTURES. 183 •^, XJ o / subject is contained within a colonnade supported by Corinthian pillars. The lower part of this marble is not antique, but has been restored from a more perfect specimen in the Villa Albani. A nearly similar representation occurs on a terra-cotta preserved in the Museum, the subject of which has been supposed to relate to the celebration of the Thargelia, a festival instituted in honour of Apollo and Artemis. Zoega, in his description of five marbles in the Villa Albani which refer to this subject, has conjectured that the structure boliiiul the figures is intended for a representation of the Temple of Apollo at Delphi. This sculpture came to the Mu- seum w ith Sir William Hamilton's collection. T. 131 is a bas-relief representing a Bacchante dressed in thin floating drapery, through which the beautiful forms of her body arc 184 TOWNELEY SCULPTURES. apparent. Her right hand is raised above her head, and clasps a knife : in her left hand she carries the hind-quarters of a kid. Her feet are bare. The dress of this figure corresponds with the descrip- tion in the Bacchae of Euripides, where Pentheus is instructed to conceal his hair beneath a niitra or species of turban, and to clothe himself in a tunic descending to his ankles and fastened by a girdle round his waist, that he may escape the revengeful fury of the Bac- chantes by being disguised like one of themselves. Upon a vase in the Museum, Dionysus himself appears in a frantic mood, waving in his hands the limbs of a kid which he had torn asunder. It has been supposed that this piece of sculpture originally ornamented one of the sides of the triangular base of a candelabrum. This design is probably copied from the celebrated work by Scopas, called Bacche Chimairophonos (kid-slaying Bacchante). In this class we may also include two friezes presented by Colonel Leake in 1839: the first, a fragment representing combats of Greeks and Amazons — probably the death of Penthesilea — found at Bryseae, in Laconia: the second, part of a frieze from a temple at Palseocastro, ten miles from Joannina, in Epirus, supposed by some to represent the site of the celebrated Temple of Zeus at Dodona. No. 13. TOWxVELEY SCULPTURES. 185 T. IHl. 186 TOWNELEY SCULPTURES. II. — Busts of Mythological Personages. Of" these, many of which are probably copies or studies from fine Greek originals, and one or two perhaps themselves of Greek work- manship, the British Museum possesses a fair collection. No. 1 is a colossal bust of Athene (Minerva) helmeted, her hair, which is drawn back from her temples to the hinder part of her head, disposed in a spiral twist. At the top of the helmet is a serpent, which was sacred to this Goddess, and one of her most usual attri- butes. The expression of countenance is that usually given to Athene : the full forehead, the long and finely-shaped nose, the somewhat stern cast of the mouth and cheeks, the large and often almost angular chin, the eyes not fully opened and rather downcast, the hair artlessly shaped back along the brow, and flowing down upon the neck, are the general marks of the ideal Athene, or Minerva. The workmanship of this head is good, but it has been much re- stored. The chin, the nose, the upper part of the helmet, and great part of the serpent are modern. Another bust of Athene, No. 7*, which has perhaps formed part of a statue: a bronze helmet and breast have been placed upon it in modern times, and do not at ail improve its ap- No. 1. TOWNELEY SCULPTURES. 187 pearance. The sockets of the eyes are now filled with plaster, but formerly were probably filled with onyx, or some similar ma- terial, in imitation of the natural eye. The expression of the coun- tenance is pleasing, and not so stern as in the last head. The work, however, is of a late time, though perhaps a copy of a fine original. This head was found, in 1784, in the villa Casali, among ruins said to have been those of the villa of Olympio- dorus, and was procured from Mr. Gavin Hamilton. A head of the same goddess, the size of small life, with a plain unornamented helmet. The neck was anciently inserted into the body of the statue to which it belonged. No. 16 is a colossal bust of Athene, with a close-fitting helmet, ornamented on each side by a small owl. The sockets of the eyes are, like those of the last but one we have described, hollow, and have once been filled by some other material, to represent the natu- ral appearance of the eye. The face, with the exception of the tip of the nose which has been restored, is in the highest preservation, and retains some of its original polish. The helmet may be distinguished from that on the preceding bust as representing the close Attic hel- met, while the others are of the high Corinthian type : its crest is modem. In the general type and treatment there is a largeness of man- ner which makes it probable that this bust is copied from some work in the school of Pheidias. We now mention several heads to which no numbers are as yet at- tached : of these, we take first, three heads of Artemis or Diana, one of them originally in the collection of Sir William Hamilton, the second procured at Rome l)y Mr. Gavin Hamilton, and the third bequeathed by Mr. Payne Knight. In the two former the hair is represented drawn up from the sides and fastened in a knot i\\wn the crown of the head. These heads have little about tlicni cliarafteristic, and no symbols by which they can be determinatcly assigned to Artemis i 188 TOWNELEY SCULPTURES, they express simply serenity and sweetness. Generally, the cha- racter of the countenance of Artemis, in ancient works of art, is that of her brother Apollo, only with less prominent forms, more tender and more rounded, the hair hound up over the forehead in a corymbos, but still more frequently gathered together into a bow at the back or on the crown of the head. The bow and the torch, the symbol of light and life, were her usual attributes. — A head of Hera or Juno, wearing a metallic tiara or s[)hendone, brought from Rome in 1774, and expressive of considerable majesty, agreeably with -vhat we find was the established mode of representing the countenance of this Goddess subsequent to the era of Polycletus. Her counte- nance presents forms of unfading bloom and ripened beauty, softly round, but not fat ; awe-inspiring, but free from ruggedness or roughness. The forehead, encompassed by hair, which flows down obliquely, forms a gently-arched triangle ; the rounded and open eyes look straight forward ; the neck is generally bare and un- covered. — A head of Zeus or Jupiter, in Pentelic marble, the neck and nose modern, but the rest in excellent preservation. The work- manship is excellent, and the flesh and play of the muscles, especially about the mouth, are beautifully represented. This head, from the softness of the outline and general expression of the features, has been considered a copy of the Zeus Meilichios of Polycletus : it was purchased by Mr. Towneley at the Duke of St. Alban's sale ; but it is not known whence it came originally. Another head, sometimes called Jupiter and sometimes Jupiter Serapis, discovered among the ruins of Hadrian's villa, and presented by Mr. Barber Beaumont. This bust is colossal, and exhibits well the peculiarities of the type of Zeus. It may be noticed, that in the re- presentations of Zeus Serapis, the hair is generally made to fall over the face. — A head of Zeus Serapis, of fine workmanship, surmounted by a modius, adorned with olive branches in low relief. The body is clothed in a tunic, and part of the peplos falls over the shoulders. Serapis, as one of the Deities of the nether world, is always repre- sented of a dark, gloomy, severe countenance. He was essentially an Egyptian deity, and was not probably known to the Greeks be- fore the time of Alexander the Great. Serapis was to the Egyptians what Pluto or Dis (known to the Greeks by the name of Hades) was to the Greeks themselves. When first discovered, the face was tinted with a deep-red colour ; but one Cavaceppi, a sculptor, into whose hands it fell, considering this an accidental blemish, removed it as far as he was able. — Another head of Serapis, procured by the Museum from the Earl of Belmore, which still retains marks of a red tint. — Two other heads of Serapis. The first, T. 52, in dark green TOWNELEY SCULPTURES. 189 Two Heads of Serapis. basalt, was brought from Constantinoj)lc by Sir Robert Ainslio, formerly Ambassador to the Ottoman Court ; the second, in dark marble, was once in the possession of Sir William Hamilton. IJoth these heads carry modii, and exhibit the normal type of Serapis. T. 60, a head of Ajiollo, brought from Rome by the first Lord Cawdor, and supposed to be an ancient copy from an early Greek sculpture in brass ; ring- lets hang over the forehead and down the neck, and a narrow vitta surrounds the top of the head. This head is pro- bably a copy of the period of Hadrian. — A head of the Didymaean or Androgy- nous Apollo, with the hair gathered in a knot at the top of the head, and the countenance remarkably feminine. — A head of Apollo surrounded bj' a broad fillet, from under which the hair flows down in long feminine tresses. The expression of the countenance is calm and majestic. Np. 47, another head of Apollo, with the hair rising to a peak over the forehead, and a brow remarkably clear and beautiful. This head was originally in the (Jrimani palace, at Rome. No. 48, another head of Apollo, [nobably from a statue. The general character of the ideal rejircsentations ol T. 60. 190 TOWNELEY SCULPTURES. this Divinity may be gathered from a comparison of these heads. The countenance is long and oval, which the crobylos above the forehead tended to lengthen still more, serving as an apex to the entire form ; in the contour we see combined a soft fulness and a massive firmness. In every feature is manifested a lofty, proud, and clear intelligence, with a tendency in later times to assume the peculiar softness and roundness of the feminine Ibrm. Just as we may gather from a comparison of several heads of Apollo an idea of the general type of that Deity, so we may in like manner study the type of Heracles. In his form the Heroic Ideal is expressed with the greatest force. Strength, proved and steeled by great exertion, is the main feature which early Greek art sought to in- dicate. Thus, even in the youthful statues of this Hero, concentrated energy is shown in the enormous strength of the muscles of the neck, in the thickly-set short curls of his small head, the comparatively small eyes, and the great size and prominence of the lower part of the fore- head. Four distinct periods of life are represented on different heads : first, that of an infant; secondly, that of a beautiful youth; thirdly, that of a young man, with less beauty, but the characteristics of strength more evidently pourtrayed in the lineaments of his countenance ; and, lastly, that of an old man, bearded, and with features compressed and earnest, in which the effect of long-continued exertion and fatigue has not been effaced by transient repose. Examples of the second, third, and fourth of these periods are exhibited in the following heads : No. 46 is a terminal head of the young Heracles, the counte- nance expressing such beauty as might lead any one at first sight to imagine that the effeminate Dionysus was the subject of the sculptor's art. The short upright hair, however, on the forehead is peculiar to Heracles, and the wreath round his head is of the leaves of the ])oplar, a tree which was sacred to him. This head was found at Gensano, in 1777. T. 77 is a head of Heracles in middle age, larger than life, displaying more conspicuously those peculiarities of treatment appropriate to Heracles which we have already pointed out. The hair is short and curly, and rises abruptly from the forehead. A narrow diadem nearly covered by the hair surrounds the head. This head is probably of the Macedonian period. It was formerly in the Barberini Palace. Some small portions have been restored. T. 75 is a colossal head of Heracles, representing the hero in advanced age, and exhibiting a remarkable hardness of character, and formality in the arrangement of the hair and beard, which is formed of short, stiff", and uniform curls. The moustachio is more flowing. The cars are swollen and lacerated, which was characteristic of the TOWNELEY SCULFl'URES. 191 T. 77. T. 75. ancient boxer. This head has been copied from a work in bronze. The same character of wori> >-• O a >■ TOWNELEY SCULPTURES. 215 Satyr. sidered to be a figurative record of the triumphs which generally attended the Roman ai-nis. This group has been frequently repeated in ancient art. Botli these marbles were found in 1773 by Mr. Gavin Hamilton, in that part of the Villa of Antoninus Pius, near Lanuvium, which is now called Monte Cagnuolo. There are many other statues of great interest belonging to this period, which would be well worthy of a separate and fuller descri])- tion than it is possible to offer within the limits of these pages. We have, however, selected the preceding as those perhaps on the \\lioie the most important ; we will now succinctly enumerate the remaining ones, so that those who are desirous of pursuing the method of arrange- ment we have ventured to propose may do so the more readily. They are as follows : — A statue of the youthful Dionysus standing, clad in the skin of a panther, found with the statue of Victory slaying the I5ull, in the Villa of Antoninus Pius, near Lanuvium. — A statue of a Satyr, which has been restored with doubtful propriety, as that of a person intoxicated ; round his head are still remaining the holes whereby a metallic wreath of ivy or vine leaves has formerly been attached. — A terminal statue of a Satyr.— A statue of Pan standing (T. 25), and 216 TOWNELEY SCULPTURES. T. 25.— Pan. T. 42. — Hermaphrodite. TOWNELEY SCULPTURES. 217 T. 14. — Artemis, 218 TOWNELEY SCUI-PTURES. 3 a S o in holding a pedum in his left hand ; his right hand, which has been restored, expresses a mocking gesture common to this day among the lower orders in Italy, but has more probably in ancient times held a syrinx. This statue was purchased by Lord Camden, and pre- sented by him to Mr. Towneley. — A recumbent statue of Pan, wear- ing the nebris, or goat-skin, and holding the pedum in his left hand. — A terminal statue of an Hermaphrodite (T. 42), holding in one hand a bird, and in the other a bunch of grapes, which it is pecking. This statue was found in 1774 in the Lake of Nemi.— A small statue of Artemis (T. 14), in the character of the three-fold Hecate, stand- TOWNELEY SCULPTURES. 219 ing and holding in her hands a key, a snake, a sword, and other emblems. This statue was dedicated by iEliiis Barbarus, an inii)erial t'reedman, and originally belonged to the Giustiniani Palace at Home. — A statue of Artemis, standing ; the arms and head of the goddess, as well as the head of a dog at her side, are wanting. This statue was found at Pozzuoli, and was presented to the Museum by W. R. Hamilton, Esq.— No. 51. A statue of a youth in a Phrygian attire, wearing a cidaris, or conical capon his head, and a tunic, ana.xyrides, 220 TOWNELEY SCULPTURES. Hymen. chlamys, and shoes ; it has been restored as Paris holding the apple and shepherd's crook, but is most likely Atys, one of the attendants on the god Mithra. This statue was found in 1785 on the banks of the Tiber, at a distance of about five miles from the Porta Portese, and was probably in ancient times the ornament of a villa. — A statue of Cupid, or Somnus sleeping in the lion's skin of Hercules, with the TOWNELEY SCULPTURES. 221 club by his side ; a lizard is visible crawling towards bim. — T. 23, a statue of a sleeping youth, who wears the petasus and chlaniys, ami has endromides on his feet. It has been conjectured that it repre- sents Hermes, but is more probably Endymion. — A statue of Hymen, the legs being wanting below the knees. — T. 33, a Muso wearing the sphendone, and holding a lyre in her hand. — T. 283, another figure of a Muse in terra cotta. — Two female draped figures, the head of one (T. 282) of which has been restored, and in the other is altogether deficient, and some fragments, consisting of part of a draped female, who is seated in a chair, and was formerly in the collection of the Earl of Bclmore. — Another nmtilated draped figure of a female. — Another, mutilated and draped, and that of a youth, and two torsos, one apparently that of a naked Apollo, with the arm above the head, and the other a torso, probably of Hermes. V. — Statues of the late Roman Period. Of this class the Museum possesses several of considerable interest, deserving separate description. Of these, the first (T. 37) we shall notice is a small statue of a Muse seated upon a rock, and playing on the lyre ; she is clothed in a talaric tunic, with sleeves reaching almost to her elbows : over it she wears the peplus, one end of which hangs across her shoulder, and, passing over her back, is brought round in front, and covers the lower part of her person. The Muses were frequently represented in ancient art seated upon rocks. Thus the Clio, Euterpe, Thalia, and Terpsichore, in the French collection, are so represented. The head, parts of the arms, and the lyre are restorations. On the plinth is inscribed the word ETMOTSIA (p^umusia, musical elegance and grace). The next (T. 39) we shall mention is a small statue of Heracles, seated, like the figure last described, upon a rock, which, in this case, is partly covered by a lion's skin. He is represented as of advanced age. The arms are modern ; the left rests upon the club ; but the right is incorrectly restored ; as, agreeably with the uni- versal practice of the representations of this hero, this hand ought cither to have rested on the rock, as on the coins of Antiochus II., or should have held a patera, as in the case of the type of Heracles on the coins of Amastris in Paphlagonia. The next (T. Q) is a small statue of Jupiter, with the attributes of Pluto, seated upon a throne, which is furnished with arms and a high back ; he is clothed in a tunic, with short sleeves, scarcely reaching to the elbow, over which is an ample peplus, with one end placed upon his left shoulder; his head is diademate, and his feet rest 222 TOWNELEY SCULPTURES. T. 37. — Eumusia. on a footstool ; the Cerberus placed on the right of his chair, and the eagle standing on the other side, show that this is a Pantheistic com- bination of two Deities in one. In the Roman period these blended types were very common. Both the arms of this figure are modern ; the left has been properly restored as in the act of holding a spear, a small portion of which is still remaining. The right arm probably TOWNELEY SCULPTURES. 223 T. 39.— Heracles. did not originally hold a thunderbolt, but was directed downMards, as was usual in the figures of Jupiter Serapis. The next (T. 45) is a Comic Actor, or scenic figure. It is a figure seated on a square plinth, with the face covered by a comic mask, having the features of a Satyr, except the mouth, which is widely open, as though to admit a freer passage of the voice. The right hand rests on the 224 TOWNELEY SCULPTURES. T. G. — Egyptian Tumbler. edge of the plinth, in order to support the body, and the feet are crossed one over the other. There can be little doubt that this and similar figures represent Davus, or some other popular character on the Roman stage. The legs of this statue from the knees to the ankles, and the fore part of the right arm to the wrist, have been restored. It was found in 1773 in the Villa Fonsega on the Coelian Hill. The next statue (T. 6) to which we shall call attention is a very TOWNELEY SCULPTURES. 225 quaint representation of an Egyptian or Nubian tumbler practising his art on the back of a tame crocodile. Such exhibitions were not uncommon in the public games at Rome under the Emperors. The type of the countoiiaiice is that of one of the African races. The nose is compressed, the ii{)s large and projecting, and the hair in rows full of curl. Herodotus speaks of tame crocodiles, which would come at the call of the priests and permit themselves to be handled. .'Elian notices them among the animals which are capable of gratitude to man ; and Pliny and Strabo make especial mention of the skill of the people of Tentyra in subduing these reptiles. In this group, the head and tail of the crocodile, the right leg, left knee, and left elbow of the tumbler are modern restorations. We take next two statues representing Fishermen. The First (T. 46) wears a conical caj), such as is usually placed upon the head of Ulysses and other sea-faring men. A square-shaped mantle of leather is fastened upon his left shoulder in a knot ; a dolphin forming the support of the figure. He is stepping forward, and appears to be bargaining with some customer for the contents of his wallet. The action is spirited, and the general composition as graceful as is consistent with the character and occupation of the person. The arms from below the elbow have undergone restora- tion, as is also the case with the heel of the right foot and the fore-part of the left. The Second (T. 47) is standing near the stump of a tree, on which is j)laco(I his wicker basket, containing apparently an eel, two oysters, and some small fish. Ilis only clothing is a short rough tunic, jH'obably composed of the skin of a sheep, with the wool left in short shaggy tufts. The hair of this figure is short, rugged, and crisp; the beard is expressed by thick detached tufts ; and the muscular development is remarkably hard, rough, and exaggerated, and well illustrates the description of Pliny, who speaks of the horny flesh of fishermen. The arms, and the legs from the knees downwards, have been restored. The next (T. 42) is a terminal bust of a youth apparently about nine years of age, in the character of Hermes. It is of peculiar shajie, having shoulders which are partially covered by a chlamys. On the terminus below the bust are various attributes of Hermes. The head has been broken off and rejoined. This monument was found at Frascati, in 1772. The quadrangular pillar of wood or stone was the usual method of representing Hermes. Such figures were placed, at Athens, before the doors of temples and private houses, at the corners of streets, on the high road, and as landmarks in the country. From the last use they derive their name of termini. Q. 226 TOWNELEY SCULPTURES. T. 46. — Fisherman. TOWNELEY SCULPTURES, 227 T. 4-7. — Fishrnnan. Q 2 228 TOWNELEY SCULPTURES. Mithras. There are two groups remaining, which seem worthy of particular note as examples of the manner in which the Romans adopted Deities from the Oriental systems of Mythology. They are called Mithras, deriving their name from the Persian word for the Sun. The First represents a young man, who has seized a bull and forced him to the ground. On his head is a Persian cap and tiara, and tunic : above which a cloak, fastened at the shoulder, floats in the air. He presses the bull to the ground with his left knee, and strikes a dagger into his shoulder with his right hand. A dog and serpent raise themselves to lick the blood which trickles from the wound, while a scorpion fastens on the bull beneath. Behind the bull are two small figures, probably priests of Mithras ; one holding an inverted torch in his right hand, which the other also has pro- bably carried in an upright position. This sculpture is in very coarse marble, and the workmanship is poor. On the plinth is a dedication to the Solar God Mithras, by Alcimus, a farm-servant of Tiberius Claudius Livianus. The subject of the Second group is similar, and most of the details are the same as in the last ; but the workmanship and the marble out of which it is cut are much supe- rior. The figure, too, of the youth who is slaying the bull is TOWN^ELEY SCULPTURES. 229 turned full to the spectator ; and there are no attendant priests, or inscription on the plinth. This niarljle was brought from Rome by- Charles Standish, Esq., in 1815, and purchased for the Museum in 1826. VI. — Busts of Roman Emperors, including one Portrait Statue. The Museum has a fair collection of this class, which has con- siderable historical interest as offering j)ortraits of men eminent in their day. In Rome itself the likenesses of the Kings and the men of the early Republic may have been originally taken from the wax- figures in the Atrium; which themselves, again, were sometimes purely ideal creations, as in the representations of the early Kings : while some were, probably, derived from the family features of descendants. The earliest authentic busts we know, which present real portraits, seem to be those of Scipio Africanus the Elder. The iconography of the Emperors is very complete, while the busts of the poets and men of learning are preserved in smaller number than among the Greeks. The Ilerculanean discoveries show us what a host of honorary statues, and in many cases what excellent ones, were erected by the Roman municipia. In Roman art we find two classes of Imperial portraits, in which the character of the individual and the details of real life are given with the utmost fidelity, as for example, when the Emperor appears with his head veiled as Augur, or wearing the accoutrements of war as Imperator. And, secondly, those which may be called the Ideal Portraits, representing the individual either as a hero or a god. The fieure of Hadrian in the attitude of addressing his army (usually called the Allocutio type) is a good example of the former class. The Emperor is represented wearing the usual military dress, with his right hand raised and his left resting on the Perizonium, or short sword. Ilis cuirass is richly ornamented, and in excellent pre- servation. On the upper part, near the neck, is the Gorgon's head. His boots are adorned by heads of lions. This statue was purchased from Mr. Millingen in 1821, but it is not known whence he pro- cured it. In attitude and general composition it resembles that of M. Aurelius in the ' Mus. Capitol.,' Tome III. tab. Iviii. The following arc the Imperial busts in the collection, arranged in chronological order: A bust of Julius Caesar, which boars a striking resemblance to the coins which we possess of that illustrious man. A bust of Augustus, formerly in the possession of Mr. Burke. A bust of 230 TOWNELEY SCULPTURES. Hadrian. TOWNELEY SCULPTURES. 231 Tiberius, also from Mr. Burke's collection. A bust of Nero, brought from Athens by Dr. Askew in 1740, remarkable for the grandeur of the treatment, and probably an example of the contemporary Athenian school of art. A bust of Vitellius. A bust of an Empress, formerly called, according to Mr. Towneley's own arrangement, Messalina ; but since, with more probabilit}^, assigned to Domitia. A head of Julia, the wife of Titus. A bust of Trajan, with the shoulders and breast uncovered. A bust of Hadrian, clothed in armour, with the paludamentum fastened upon the right shoulder by a round fibula, which is, however, modern ; found in the ruins of Hadrian's villa, near Tivoli ; and another bust of the same emi)eror, with the shoulders and breast naked, and larger than life, which was formerly in the collection of Pope Sixtus V., in the Villa Montalto. It may be remarked that both these busts exhibit beard and moustachios. It is said that Ilailrian, who first of the Roman emperors adopted the custom of wearing the beard, was induced to do so to hide some natural defects of his countenance. A bust of Sabina, the wife of Hadrian — remarkable for the elaborate manner in which the hair of the head is plaited. The head-dresses and portraits of Plotina, Marciana, Matidia, and Sabina have a great general resem- blance ; but, on the whole, it is probable that this bust is correctly appropriated to Sabina. A bust of iElius Caesar, whom Hadrian in the latter part of his life had in- tended for his successor, if he had not died about a year before that emperor. Another bust of iElius, bequeathed by Mr. Payne Knight. A small bust of An- toninus Pius, formerly in the Bar- berini Palace at Rome, and a good specimen of the minute finish on the busts of the Antonine period. A bust larger than life of white marble, much discoloured, per- haps by fire, and probably that of Faustina the Younger, the wife of Marcus Aurelius. T. 100, a colossal bust of Marcus Aurelius (formerly in the Mattel collec- tion), in his official dress as one of the Fratres Arvales, veiled with the prajtexta, or sacerdotal T. loO.— Mnnus \incliiis. 232 TOWNELEY SCULPTUEES. robe, and crowned with a wreath of corn, and with the sacred infulae or fillets which were the appropriate marks of distinction worn by that order of priests. A head of Annia Faustina, the wife of Aure- lius, commonly called Faustina the Younger ; procured by Mr. Towneley, in 1777, " from a private house at Poi;zuolo." A colossal bust of Lucius Verus, formerly in the Mattei collection, clothed in the paludamentum, and exhibiting a magnificent head of hair, of which he is said to have been very vain. A bust of L. Sejjtimius Severus, clothed in the paludamentum, which is fastened upon the right shoulder by a circular fibula. This bust was discovered in 1776 on the Palatine Uill, in the part of the Palace of the Ctesars now occupied by the Villa Magnani. Severus died at York a.d. 211, but was buried at Rome in the Mausoleum of Hadrian, now the Castle of S. Angelo. A bust of Caracalla, draped in the paluda- mentum, and expressing strongly in the features of his face the savage cruelty of his character : it was found in 1776 in the gardens of the nuns at the Quattro Fontane on the Esquiline Hill. Another and smaller bust of the same emperor. A bust of Gordianus Afri- canus, commonly called Gordian the Elder, clad in the tunic, toga, and laena, and exhibiting an arrangement of the drapery not uncommon in busts of a late time. A bust, attributed by Mr. Towneley and Mr. Combe to Plautilla, the wife of Caracalla, but we think with better evidence to Otacilia Severa, the wife of Philip the Elder. The cor- rectness of the determination depends on the portraits and style of head-dress preserved u])on the coins of these Empresses. In the case of Plautilla, the head-dress and the features difier considerably from those of this bust ; while, on the other hand, the head-dress on the bust appears in this exact form on the coins of Sabinia Tranquillina, Otacilia Severa, Herennia Etruscilla, Cornelia Salonina, and Cornelia Supera, This bust is well executed, and in good preservation. With these busts of known personages may be arranged some other busts, certainly of the Roman Imperial times, which it is not now possible to identify with any known persons. These are, — T. 106, a large head, covered with a mass of hair, and wearing a thick moustachio, which is generally supposed to be that of some barbarian chief. It was found in the Forum Trajanum, and has probably formed one of the ornaments of a triumphal arch. It has been con- jectured to be Decebalus, the leader of Dacians, Arminius (Her- mann), the German chieftain, or his son Thymelicus. This bust is a fine example of the grand monumental style of sculpture of Trajan's time. A bust, with the chlamys fastened by a round fibula over the left shoulder, and bearing an inscription purfxirt- TOWNELEY SCULPTURES. 233 T, 106.— Decebalus ing that it was dedicated by L. JEmilius Fortunatus to his best friend. It may represent either the person by whom it was given or some member of the Imperial family. It has considerable resemblance in features to ^lius Verus, and may therefore be intended for him. It was found in 1 776 near Gcnzano. A bust of a young man, erected in his honour by the Decemviri litibus judicandis, or Commissioners for judging certain civil actions, as an inscription round the plinth de- clares, and sometimes attributed to Marcellus, the son of Octavia, Au- gustus's sister. The character of the workmanship, however, would point to the period of the Anto- nines for the time of its execution. A draped bust of a female, wearing a rich head-dress, and whose name, as appears from an inscription on the plinth, was Olympias. This bust formerly belonged to Mr. Burke. A bust of a female, with her head elegantly bound round by broad fillets, which con- ceal the greater part of the hair, and bearing some resemblance in treatment to Hygieia, Psyche, and the Muses. This bust was discovered near Genzano in 1784. The heads of two children,— one a female, with the hair curiously arranged in a series of plaits, which converge from all sides towards the back of the head, where they are twisted in a knot. This head was probably executed about the time of Caracalla. It is evidently a portrait, though the name of its prototype cannot now be ascertained. It was brought from Rome in 1785. The other the head of a boy, with two singular locks of hair represented curling over the right ear. VII. — Sepulchral Monuments, The Sepulchral Monuments in the Towneley collection form a large and interesting series of subjects ; for convenience of reference and classification they may be divided into several difiercnt heads, as the following : 1. Greek Monuments, mostly inscribed. 2. Bas-reliefs, chiefly from Sarcophafji. 3. Sarcophagi, Etruscan and Roman. 234 TOWNELEY SCULPTURES. 1. Greek Monitments, mostly inscribed. We may presume that these monuments, for the most part, if not all, executed during the Roman period, have been used in com- memoration of Greek personages, the inscriptions on them being in that language. The first we shall notice is a Greek sepulchral or votive bas-relief, surrounded by a deep moulding, the sides being supported by pilasters, representing a father and his two sons, all three dressed in the Roman military dresses, consulting the oracle of TOWNELEY SCULPTURES. 235 Apollo. Their right hands are placed upon their breasts to indicate the Religious awe with which they are impressed. To the right, Apollo appears seated on the cortina or tripod cover, in the act of" delivering his response ; between him and the Romans stand his mother and sister, Leto and Artemis, the fornior holding in her left hand the offering which has been made, and wliich Mr. Combe conjectures to have been frankincense. Beneath these figures is a Greek inscription, containing the vestiges of two verses written in a columnar form, mentioning the name of Apollo, and probably, when perfect, that of the chief figure who makes the offering. The next is also a Greek Sepulchral Monument, representing a Trophy, on one side of which a warrior is standing, and on the other 236 TOWNELEY SCULPTURES. side a female figure is feeding a serpent, which is entwined round the tree to which the trophy is attached. Behind the warrior is his horse and an attendant, whose head only is visible. Above and below the monument is a Greek inscription, recording the names of several persons who probably had fallen in some battle, with the names of the cities to which they respectively belonged. This piece of sculp- ture was brought to England by Mr. Topham in 1725, and was pre- sented to the Museum in 1780 by Sir Joseph Batiks and Mr. Frazer. The next is a bas-relief to Exacestes and his wife, representing the former as a young man, seated on a chair without a back, clothed in a tunic and peplus, and his feet on a footstool. His right hand is joined in that of his wife, who is standing in front of him. A little boy leans against the seat of Exacestes, and a little girl holding a box stands near his wife. In the back-ground is a column, on which is a double cornucopise, and near it another circular column. Over the bas-relief are two crowns of laurel and a circular plate, re- cording that the Demus has erected this monument in honour of Exacestes, the son of Androbulus, and his wife. This monument originally belonged to Dr. Mead. The next is a sepulchral monument of a person named Xanthippus, who is represented as an elderly man, bearded, and seated to the left in a chair. In his right hand he holds a human foot. By his side and in front of him stand two females, the first a child. On the lower cornice of a pediment which is sculptured above the figures, is inscribed, in old Greek characters, the name Xanthippus. As the eyes of the female figures are directed towards the foot, it is likely that the monument is a votive one, for the cure of some wound or injury done to that member. We have no means of determining to whom the monument refers. This monument was formerly in the possession of Dr. Askew. The next is a sepulchral monument inscribed to Isias, the daughter of Metrodorus, a native of Laodicaea, erected, as it would seem, by the Demus of that town in her honour. It represents a female standing by the side of a tree, and holding a sistrum and situlus, draped to the feet, and wearing over the back of her head what seems to be a veil. Over the bas-relief is the inscription and the word Demus in a laurel wreath. The marble has a triangular termi- nation, common in sepulchral monuments. It came from Smyrna, and was purchased at an auction in London, in 1772, by Mr. Duane and Mr. Tyrwhitt, and presented by them to the Museum. The next, which also came from Smyrna, and was presented by the same two gentlemen, is in like manner a Greek sepulchral monument. TOWNELEY SCULPTURES. 237 The bas-relief in front represents two figures ; the one to the right seated Deinocles, the son of Aniphilochus, his right hand joined in that of Democles, the son of Democles. Two smaller figures, ap- parently sons, stand one behind each of the larger figures. Over cacli of the heads of the latter figures is a crown of laurel, inscribed with the word Demus. Beneath is an epitaph in eight elegiac verses. Montfauc^on supposed that this monument was one erected at the public expense to two persons of equal desert ; Mr. Tyrwhitt, on the other hand, attributes it to one person, Democles, the son of Demo- cles, and grandson of Amj)hilochus. by the son of the deceased, together with the wife of either himself or the deceased. The next is also a Greek sepulchral monument from Smyrna, and presented, likewise, by the same two gentlemen. Itissacred to the memory of Alexander, the son of Alexander, a native of Nicomedia in Bithynia. In front, within a portico, is a bas-relief, representing a funereal least, with figures, apparently, of Alexander himself, his mother, Philipia, the daughter of Pontianus, and two children. Beneath is an epitaph, declaring that the tomb has been made for the above-mentioned persons, and ordering a fine of 2500 drachmie to the exchequer, and as many to the state, for whoever deposits any other body in the same tomb. The next is a marble slab to the memory of Abeita, who is repre- sented sitting, and in front of her a column, on which is a tablet with rolls of paper, and behind her a dog in a fawning attitude. At the bottom is her name in a short inscription. The next is a fragment of a sepulchral monument to Eperia. It represents a female figure seated, her right hand joined in that of a male figure who is standing beibre her. Below is an inscription with her name, Eperia, the wife of Demetrius, an Antiochian. The monument appears to have been formerly arched at the top. The next is a small sepulchral bas-relief, consideraijly mutilated, and representing a youth nearly naked, with drapery round his waist, seated on a bank or a rock fishing with an angle ; a basket or pannier rests on his left knee. An inscription on it states that it was erected to Asilchus, in remembrance by his comrade Agathe- motaros. This marble was purchased at the sale of Lord Bes- borouffh's marbles in 1801. The next is a sepulchral monument bearing a bas-relief, and re- presenting a female seated beneath a circular arcli, and inscribed to Musis, the daughter of Argajus, a native of Miletus. The monu- ment has the usual triangulated top. It came from .Athens, and was l)rcsentcd to the Museum by the Society of Dik-ttunti, in 1785. 238 TOWNELEY SCULPTURES. The next is a sepulchral monument to a man who is represented standing draped in the Pallium, with his hand applied to his cheek : above is the name Sotnikus. The next is a bas-relief, terminating in a pediment, of a man reclining on a couch and crowning himself, below which, within a laurel wreath, is the word Demus and the words Lena^us, the son of Artemodorus ; below is an inscription in one hexameter and one pentameter verse, recording that he has for- merly commanded a fort in which he is now buried. The next is a sepulchral monument bearing the name of Hermodorus, the son of Aristomenes. Below, within a sunken area, stands a male figure, draped, with the exception of the right arm and breast. The height of the figure is two feet three inches. The next is a sepulchral tablet with a skeleton ; below is an in- scription in Greek to the following effect — " O ! traveller, who shall be able to say on sight of this skeleton whether the ashes it contains were those of Hylas or Thersites ?" (i. e., of a handsome or of a deformed person). This monument, which is of a very late period, probably of the third or fourth century, was purchased from the Burioni Villa, near the Salarian Gate, at Rome. A sepulchral monument representing the Dioscuri standing with an altar between them, within a distyle temple ; each holds a spear in his hand. A mutilated bas-relief, supposed to be sepulchral. It represents a male figure clothed in long drapery holding a bunch of grapes, with a cock at his feet. It was presented to the Museum, in 183-3, by Dr. Jarvis. A sepulchral monument of a person, the son of Diodorus, who is represented standing with his cloak round his arm, and a slave looking up at him, and holding his cloak and strigil. This monument was in the collection of the Earl of Bel more. A sepulchral tablet, on which are three members of a family, and the tree of the Hesperides ; below is an inscription with a valedictory address, in Greek, for a person named Serapion. A sepulchral tablet of Heraclides, the son of Nicostratus, who takes leave of a female member of his family, another standing by. This monument was in the collection of the Earl of Belmore. A sepul- chral tablet of Callityche, the daughter of Briculus, on which she is represented spinning, attended by a child. This monument was dis- covered in Crete, and belonged to Mr. Inwood. A sepulchral tab- let, on which is a person of the name of Alexander, with two small figures at his side, standing upon a wreath, in which is an inscription recording that the people and town council had voted him a crown for good conduct. This monument was also found in Crete, and belonged to Mr. Inwood. No. 31, the front of a tomb, on which is TOWNELEY SCULPTURES. 239 a youth named Tryphon, son of Eutychus, standing and holding a cloak and strigil in his right hand and the string of a lecythus in his left. This monument was found at Athens. A sepulchral bas-relief, on which the deceased appears reclining at a banquet; his wife is seated on a chair at the foot of the couch, and two boys or children are at the side of it. A Greek sepulchral tablet, representing a youth holding a lance and attended by his slave, from the Earl of Belmore. A sepulchral tablet, on which is a female seated and draped ; and below, the word M02, probably the remains of the word Demus. A sepulchral tablet of Parmo, the daughter of Onasis, and wife of Copias. She is represented standing in a small door or temple, hav- ing at her side a child, a calathus, or basket for wool, and a spindle. This monument came originally from Crete, and was part of Mr. Inwood's collection. There are several more sepulchral bas-reliefs, but as no number is attached to them whereby they may be quoted, it is impossible to give a list of them here. There are also a few monuments, probably sepulchral, which are for that reason arranged here : these are, a small circular altar, decorated with bulls' heads and fillets, and inscribed with the names of Sosicles of Cos, and his mother Agathemeris. This monument was formerly in the possession of Colonel Rooke, and was presented by A. E. Impey, Esq., in 1825. The next is a pedestal of calcareous stone on which has apparently been placed a statue of Apollonius, the son of Ilermogenes, and father of Peraia, the mother of Socrates. This monument was erected to Apollonius by the same Socrates. There is also a sepul- chral urn in shajjC like the lecythus ; on it is Pythoratos and Hero- phylos, from the collection of Sir Hans Sloane. The second, in a similar shape, and representing a person named Alcidamos taking leave of a person named Hedyle. There is, also, a monument pre- sented by W. R. Hamilton, Esq., consisting of two aged figures on a couch, a boy bringing wine, and a man with a horse, which was procured from Tarentum. 2. Bas-reliefs, chiefly from Sarcophagi. The Sarcophagi which occur so frequently in all collections con- taining Roman antiquities, and which are generally of a late period, form a distinct and very interesting class of monuments, if we regard the reliefs which are I'ound upon them, and the subjects to which they refer. The bas-reliefs with which they were generally deco- rated rejjrescnt for the most part well-known Greek Myths, such as the story of Niobo ; and it is not a little curious to trace out how, in the treatment of these subjects, the great juineiplcs of Greek art arc 240 TOWNELEY SCULPTURES. gradually modified, then laid aside, and then forgotten. In these com- positions the beautiful types of the early Greek sculpture once more re-appear, hut so strained and distorted that we can hardly recog- nise their original character, and the Heroic Myths are treated with a frigid pathos which has its parallel in Roman literature in the tra- gedies of Seneca. On the other hand these reliefs, though possessing but little attraction from the beauty of their art, are yet well worthy of attention as examples of Mythography, and atford in many cases our only authority for many compositions of which we have elsewhere only single figures and fragments. Again, in these scenes from the Divine or Heroic World, as in the representations of Mythic events in ancient Art generally, we are enabled to trace out many curious details of real life, because the Faith of Antiquity always, as tar as possible, invested the Gods with the character, motives of action, and external circumstances of Humanity. The Museum possesses a considerable collection of bas-reliefs from sarcophagi, some of the more remarkable of which we shall now proceed to describe. The first we shall notice is a rude but very curious representation of Priam supplicating Achilles to deliver to him the body of his son Hector. Three figures form the group : Achilles in a warrior's dress is seated to the left ; by his side is a youth bearing a spear and shield ; and in front of him is Priam in a loose dress and Phrygian cap in the attitude of a suppliant. This bas-relief probably formed part of a continuous frieze representing the siege of Troy, like that in the Museum of the Capitol at Rome (Millin, ii. PI. 150, No. 558). The next is a very remarkable rojjrcscntation of Dionysus received as a guest by Icarus. The principal figure in the relief is Dionysus TOWNKLEY SCULFTURES. 241 3 O a clad in flowing robes, with a long beard, and a wreath of flowers round his temples. He leans on a naked Satyr, while another Satyr is occupied in removing his sandals. Icarus is seated near Dionysus on a couch, which is covered by a lion's skin; and near the couch is a tripod, on which is a drinking cup with fruit and cakes ; at the foot of the table are two tragic and two comic masks lyinn^ on a kind of stool. A group of the attendants of Dionysus form the background. Behind the couch is the palace of Icarus, which a 242 TOWNELEY SCULPTURES, o M fcJD a 'a u « Satyr is decorating with festoons of flowers. This bas-relief is very interesting from the architectural representation it gives us. The subject on it was a favourite one, and has often been represented by the ancients. The next is a bas-relief divided into three compartments, containing three distinct subjects. In the upper one the infant Dionysus appears riding on a goat, followed by Silenus, a nymph, and a satyr, and TOWNELEY SCULPTURES. 243 preceded by a dancing satyr. In the middle division Venus is sit- ting on a rock jutting out of the sea, waiting with open arms to re- ceive Cupid, who is descending from above with a torch ; near these figures arc two Tritons, one seizing a marine bull by the horns, the other lying in the water. In the lower division is a company of hunters returning from the boar hunt, and carrying the boar suspended from a ])ole which is supported by their shoulders. This piece of sculpture belonged to Pope Sixtus the Fifth, and was formerly in the Villa Montalto. As it has been much mutilated, it is not certain to what it formerly belonged ; but as we think the work- manship is late, we have classed it with the bas-rclipfs from sarcophagi. The next, a portion of the front of a sarcophagus, is a very curious representation of the discovery of Achilles when concealed among the daughters of Lycomedes, king of Scyros. Achilles and the daughters of Lycomedes are here represented attired in the same manner, in a long tunic and loose peplus, varied in form by the different actions of the wearers. The hero himself, in his haste to seize the shield, has displaced the peplus from his shoulders, and part of it is seen falling from his left arm. The most marked difference between Achilles and the females is seen in the representation of his hair, which hangs down and falls upon his shoulders, while theirs is gracefully bound about their heads. The female who raises her right hand, and who is looking at Achilles, has been supposed to represent Deidameia. The next represents the punishment of Pan, probably for some offence against the Dionysiac orgies. An aged satyr has raised the offender on his back, and is holding him fast in this position by his two hands, while the younger satyr has seized him by his tail, and is inflicting a severe flagellation with a stout whip. Behind the Divinity is an oak tree, and before him a small altar. This marble, which is very spirited and expressive, has been cut from the end of a sarcophagus, the opposite end and front of which we shall pro- ceed to describe. The opj)Osite end of this sarcophagus contains a representation of Pan in a state of intoxication, or perhaps disabled by the severe flagellation he has just received, borne along on the shoulders of two infant figures, and partially supported by a young satyr. This scene is taking place under the shade of an aged vine, and is one which would necessarily occur at almost every celebration of Bacchanalian orgies. On the cover of another sarcophagus a drunken Pan a|>pL'ars carried oft' by two Baccliantes, and in front of the same monument is a Pan with his hands bound behind him, led R 2 244 TOWNELEY SCULPTURES. o y >-. C3 a o a c3 o TOWNELEY SCULPTURES. 245 away by two infant figures, who are, as in this monument, one with, and the other without wings. The front of the sarcophagus of which we have just described the ends, represents a grand Bacchanalian procession, possibly in honour of the marriage of Dionysus and of Ariadne, who appears reclining in a low four-wheeled car drawn by two Centaurs, in company with Dionysus. The Centaurs have a Satyr-like appearance, with long pointed ears ; one is playing the lyre, and the other is blowing the double flute. A small Cupid is dancing on their backs. Beyond the Centaur is a female bearing a basket of fruit, and before the equipage is a grotesque representation of Pan holding the syrinx. In front of him are groups, in different attitudes — a Satyr with a wine skin, a Bacchante holding a bunch of grapes, and another pair in the vehement gesture of the Mainades; then a group consisting of Silenus on his ass, and two Satyrs ; and, before the ass, a naked Bac- chante, and above an aged, bearded, and naked Satyr who is dancing to her music. Behind him is a group, who, from their quiet de- meanour, have been supposed to represent spectators of the Baccha- nalian revel. Near the end of the scene to the right is an elephant, but this animal has been incorrectly restored, the feet and hind quarters being those of a panther. The bas-relief from the lid of the magnificent sarcophagus we have just described is also pre- served in the Museum. It represents a pastoral scene, not apparently allusive to any particular ])erson or circumstance. At one end is seated a young Satyr, before him are flocks of goats, and at the other end is also seated an aged bearded cowherd, probably a Satyr, with a dog seated at his feet ; three of his herd are represented in front of him, one grazing, and the other two lying under the shade of some trees. The next is a very interesting front of a sarcophagus, representing the nine Muses, with their respective attributes, standing under an arcade consisting of five arches, the soflSts and spandrels of which are richly ornamented with foliage. The arcade is supported by four spiral fluted columns, and at the extremities by two pilasters. The centre arch is smaller than the others, and has only one Muse in it — all the others arc occupied by two. The order in which the Muses stand is probably as follows ; but there is considerable ditfi- culty in determining with precision each figure. In ihe first arch to the left, are Calliope and Clio; in the second, Erato and Mel- pomene; in the centre, Euter[)e ; in the next, Thalia and Terpsi- chore ; and in the last, to the right, Urania and Polymnia. This piece of sculpture is in good preservation, but is the production of a 246 TOWNELEY SCULPTUKES. The Nine Muses. TOWNELEY SCULPTURES. 247 period when art was rapidly declining, probably towards the latter end of the third century. It was originally preserved in the Villa Montalto, at Rome. The next is the front of a sarcophagus representing a group of Amazons seated on the ground, each resting upon one hand, which holds the bipennis. In the centre of the composition is a shield, with a bow and quiver, apparently suspended from the wall. On either side are two Amazons, having between them a sort of trophy consisting of helmets and two peltEE, upon which each rests a hand. Each Amazon has her hair plaited along the top uf her head, and collected in a knot behind. They are clothed in tunics of scanty dimensions, and wear boots of soft leather, turned back at the top and twisted round the calves like those worn by the riders in the frieze from the Parthenon. This relief was obtained at Camaldoli, near Frascati. The next is a portion of a sarcophagus, and represents Cupids displaying a portrait. In the centre is a shield or medallion of an elderly man clothed in the toga, supported by two flying Cupids. Towards the extremities of its front are two other winged boys, each of whom is holding a diadem, apparently composed of two strong bands twisted together in the middle, and passed through two beads at the end. Underneath the medallion and its supporters are various Bacchic emblems. In the centre are three masks — of a goat, of Dionysus, and of Silenus — and on one side of these is a lighted torch and recumbent goat, and on the other the sacred cista, partially open, out of which a snake is just emerging and playing with a panther. The bust is probably the portrait of the person who was once interred in the sarcophagus. Each end of the sarcophagus is ornamented with a gryphon seated. This monument was formerly in the Buccini Villa, near the Salarian Gate, at Rome. The next is a bas-relief from a sarcophagus representing a Marriage. The bride and bridegroom are in the act of joining their hands, and the latter holds in his left hand a scroll, which is probably the marriage contract. Behind and between them appears Juno, in her character of Juno Pronuba, extending her arms over their heads as though in the act of bestowing her benediction. Be- hind the bridegroom stands a young man as Pronubus, or grooms- man, and behind the bride has stood a female figure, the Pronuba, or bridesmaid. Other figures have existed on this slab, but have been effaced and lost. In the Museum at Mantua is a similar repre- sentation of the marriage of Lucius Verus with Lucilla, the daughter of Marcus Aurelius. The style and character of the workmanship belong to the times of the Antonines. 248 TOWNELEY SCULPTURES. A Marriage. The next is a fragment of a sarcophagus representing Dionysus with a thyrsus in his hand, supported by a satyr, round whose necic he has thrown his right arm. Dionysus appears in a state of inebriation. Both tlie figures are standing underneath an arch, which is supported on either side by the terminus of a satyr, and the whole is placed wit'nm a portico supported by two fluted pilasters of the Ionic order. The next is a fragment of a sarcophagus found at Rome near the Mausoleum of Augustus, and supposed to represent a Poet and a Muse. It represents two figures, under an arcade supported by ob- liquely-fluted columns ; one of them is the figure of an elderly man seated, holding a scroll in his left hand, the other is a standing female figure supporting a mask in her right hand. TOWNELEY SCULPTURES. 249 A Poet and a JIuse. The next is one of the four sides of a sarcophagus executed in alto-relievo, brought from Athens, and representing five of the la- bours of Heracles. In four of them — the capture of the Maenalian stag, the death of Diomcdes, the conquest of the Amazon, and the combat with Geryon may he made out. In the fifth, the figure of Heracles himself is all that remains. This marble formerly be- longed to Owen Salusbury Brcrcton, Esq. We have now mentioned all those sarcophagi which seem to de- serve separate notice: besides these, there are a considerable number of bas-reliefs and fragments, all of them, probably, originally por- tions of sarcophagi. We will briefly enumerate here those which ajjpear to be of most interest. They are, a bas-relief representing an old satyr attempting to strip a nym|)h of her garments. A small circular bas-relief cut out of a sarcophagus, representing the satyr Comus or Marsyas playing on the double flute. The front of a sar- cophagus rejH-esenting a series of Cupids in the character of Dionysus and his cortege. A bas-relief representing a male and female divinity holding each a cornucopia, and probably Pluto and Eireno — this monument was presented by Sir Joseph Banks, Bart. Mar- 250 TOWNELEY SCULPTUEES. syas tied up to a tree ready to be flayed. A bas-relief from a sar- cophagus, on which is a race of four quadrigBB and horses in the Circus, represented as run by Cupids. A bas-relief representing two men filling a wine-vessel, and two others attending a caldron on a fire. A bas-relief of the two Dioscuri standing within a distyle temple ; between them is a lighted altar. A bas-relief representing Asclepius (or j5]sculapius) reclining on a lectisternium, and holding a patera ; the left hand of Hygieia or Salus, who was seated at the left of the couch, still remains ; and a serpent rising and eating at the table. 3. Etruscan and Roman Sepulchral Remains. The Museum is not rich in sepulchral remains from the ancient cities of Etruria. There are, however, a few monuments, to which we shall briefly call attention. The Etruscan remains consist of sar- cophagi and urns. Of the first, Wo. 45 is a curious one in terra- cotta, discovered in a tomb in Tuscania, the front of which is deco- rated by two dolphins ; on the cover is the recumbent figure of a young woman, with one leg bent under the other; her head, which is decorated with a wreath of roses, rests upon her right arm. There are also four other sarcophagi, discovered in a tomb near the road leading from Tuscania to Tarquinii : their fronts are decorated with sculpture and inscriptions, and on the cover of each is a recumbent statue of the person whose remains were deposited within. One of these, in terracotta, has a recumbent female figure similar to the one described under No. 45. The front is marked with two branches of palm. There are also two other sarcophagi ; one found at Tarquinia, decorated with sculptures, representing on three sides the sacrifice of human victims, and on one end a gladiatorial exhibition. Within this sarcophagus were found the bones of the deceased, with his shield and other armour. The other, found at Polemarzo : its cover is in the form of a roof, terminating at the cornice with tiles and masks. Upon the ridge of the roof are, at each end, a sphinx, and in the middle two serpents. All the sides are decorated with sculp- ture, among which, on the front, are two genii, and on the back a genius and an armed warrior. Of the second class, or urns, Wo. 25 is one in baked clay, with a representation of the story of the Hero Echetlus on the front, which is well told in Pausanias, Attic, c. xxxii; It is said that when the Greeks were contending with the Persians at Marathon, a man in dress and appearance like a rustic suddenly appeared in the battle, who, after he had slain TOWNELEY SCULPTURES. 251 many of the barbarians with a ploughshare, suddenly vanished from the scene; and that when the Athenians inquired of the oracle who this unknown friend was, they were simply bid to worship Echctlus as a Hero. On the cover is a recumbent female fijrure represented asleep, with her head resting on a pillow. Upon the border of the urn, over the bas-relief, is a short inscription in Etruscan characters, slightly cut into the clay. No. 24 is a similar urn, with the same story told in the same man- ner as on the last. The figures on the bas-relief in front retain a considerable portion of their original colour, and the inscription has been more strongly marked with red paint. No. 34 is a cinerary urn in baked clay, like the two preceding. The bas-relief in front represents the single combat between the two brothers Eteocles and Polynices. The two female figures, who are standing near the com- batants, are Furies. An Etruscan inscription is painted in red letters on the upper part of this urn ; on the cover is a recumbent female figure. Both the last described urns were originally in the collection of Sir William Hamilton. The most interesting account of the ancient sepulchres of Etruriu is that of Mrs. Hamilton Gray, who made a tour through this part of Italy in 1839, and has published an account of her visit to Veii, Tarquinia, Vulci. Tuscania, and Cajre, or Agylla. (See Mrs. Ha- milton Gray's 'Tour to the Sepulchres of Etruria,' Lond. 1841.) There is a large collection of Roman sepulchral antiquities, con- sisting of urns, ollae, sarcophagi, and monumental inscriptions, for the exhibition of which a room is now under the process of con- struction. VIII. — Roman Altars. Among the altars of Roman workmanship we shall notice first a very curious one, ornamented with figures imitative of Egyptian subjects, and having some reference to the worship of Isis. In front is a figure kneeling on both knees, having the daft upon the head and the shenti round the loins, a collar round her neck, and a bracelet on the upper part of the right arm. With both hands is held a small rectangular naos, or sacred cista, in which arc two birds. On either side of the kneeling figure is an Ibis. On the left side of the altar is the bull Apis, walking ; on the right two men, probably of the sacerdotal order, one reading from a roll of papyrus, and the other bearing a torch. On the back of the altar is a representation of Spring under the form of a youth, crowning himself with a wreath of roses, of which flowers a basket stands by 252 TOWNELEY SCULPTUEES. his side. This work is probably as late as the times of the Anto- nines, and was formerly in the Odeschalchi Museum. The next is an altar of Roman work, also representing Egyptian figures, and resembling the one first described in its general cha- racter. In front is a similar kneeling figure, and on one side of him a candelabrum in form resembling a plant ; over which is a human figure issuing from a ram's horn or shell. On the other side of the kneeling figure is a tripod table, on which is a vase containing a plant, over which is the Egyptian symbol of the globe and serpent. On the left side of the altar is the bull Apis walking, and on the right side Harpocrates with a cornucopise in his hand, standing in a car drawn by two hippopotami. On the back of the altar is a repre- sentation of Autumn, under the form of a youth holding some ears of corn in his right hand and a sickle in his left. A basket or tub stands at his right side, holding ears of corn. A similar altar was in the Odeschalchi Museum, and has been engraven by Bartoli. The next is a votive altar from C. Tullius Ilesper and Tullia Restituta, who was probably his wife, to Bona Dea Anneanensis. On the left side of the altar is a praefericulum, or ewer, containing the wine for a libation ; and on the right a patera, or bowl, into which the wine was poured before it was thrown on the altar. This altar was found on the banks of the river Anio, The inscription has been published by Orelli. The guardian Goddess whom the Romans designated as Bona Dea is described as the sister, wife, or daughter of Faunus. She was worshipped at Rome from the earliest times as a chaste and prophetic Divinity ; and her worship was so exclusively confined to women, that men were not allowed even to know her name. The next is a votive altar to Silvanus by Callistus, the farm servant of Caius Caelius Heliodorus. The figure of Sylvanus appears on the bas-relief nearly naked : in his right hand is a sickle, and in his left, in the fold of his mantle, a collection of fruits. A vessel for libations, with a lamb beneath, ornaments one of the sides of the altar ; and on the other are a patera and hog. It was customary, as we know from Juvenal, to sacrifice hogs to this rustic Deity. A votive altar to the same Divinity was found in 1750, near Stanhope, in the county of Durham. It was dedicated by C. Tetius Victorius Micianus, in gratitude for the capture by him of a boar which had been sought in vain by other hunters. The next is a small rectangular altar, dedicated by Aurclius Thimoteus to Diana. The front bears the dedication ; the three other sides are decorated with mystical sculptures. TO-W-XELEY SCULPTURES. 253 The next is the front of a votive altar, with an inscription for the safe return of Septimus Severus and his family from some expe- dition. The portions of the inscription which bore the name of Geta have been erased, agreeably to the order of his brother Cara- calia. Besides these are some altars which bear no inscription i'rom which we can determine to whom they are certainly to be referred. The first is an altar which has probably, from the symbols on it, been dedicated to Apollo. In front is a festoon or wreath of laurel leaves and berries, suspended from the corners of the cornice. Upon it stands a raven with a berry in its mouth, and on each side of the altar is a laurel tree. The next is an altar, in front of which are two birds, probably doves, drinking ; above them a thick festoon or garland of laurel-leaves, suspended by long and broad fillets from two skulls of bulls, between which is a large floral ornament. The next is a votive altar to Dionysus ; on the front of which is Silenus riding on a panther. In his left hand he grasps a thyrsus, and with his right he supports him, being in a state of intoxication, by holding the tail of a panther. Above him are a pair of cymbals. On one side of the altar is a praefericulum, and on the other a patera. This monument formerly belonged to Piranesi, from whom it was purchased in 1771. The next is an altar of a square form, ornamented with sphinxes at the upper and lower corners, and with bas-reliefs representing Apollo holding a lyre at a table, on which are a raven, tripod, and three rolls of manuscripts. On the other side is a sacrifice of a ram, and a female holding a torch and feeding a deer. This monument was presented by Sir William Hamilton in 1779. — A square altar or cippus decorated with festoons ; an ibis destroying a serpent ; jug and patera, and heads of Jupiter Ammon. This monument was formerly in the Villa Buccino, at Rome. — The bas-relief portion of a small cippus or altar, representing Dionysus leaning on Ariadne's shoulders while she plays the lyre. — A small cippus or altar, deco- rated with rams' heads, festoons, birds, insects, and human heads. — And a few more objects of a similar nature, which we do not think require particularizing. IX. — Miscellaneous BAs-KELtEFS, &c., Akchitectubal and Decorative. Besides the objects above classed and enumerated, there are a large collection which do not readily fall under the heads we have already mentioned, and which, perhaps, it may be most simple to group under the one heading of Miscellaneous. Many of them are 254 TOWNELEY SCULPTURES, No. 7. TOWNELEY SCULPTURES. 255 subjects from domestic life, and some may probably be nothing more than portions of architectural decorations. Of these, we will notice first, — No. 7, a vase of an extremely elegant oval form, with two upright handles, ornamented all round with Bacchanalian figures, which arc executed in a style of great excellence. The subject seems to be the celebration of the Dionysiac orgies by a number of persons who imitate the dresses and characters of Satyrs and male and female Bacchantes. One figure, which may be intended for Dionysus himself, carries a thyrsus in his right hand, and wears the skin of a panther. A Satyr carries an amphora of wine, and the female Bacchantes are dressed in thin transparent drapery, which floats in the air, — one of them with her hair dishevelled, holding a knife, and another the hind limbs of a kid. The male Bacchantes are repre- sented of different ages. This vase was found at Monte Cagnuolo, near the ancient Lanuvium, on the site of the villa of Antoninus Pius. No. 9 is another vase, the subject of which is Bacchanalian. It is of an oval form, has two upright double handles, which spring from the necks of swans, and four figures in relief on its body, all of whom are joining the wild and irregular dance of Dionysus. The first is a female Bacchante, holding a thyrsus in her right hand ; the second, a young Satyr playing on the cymbals ; the third, an aged Satyr bearing a vase upon his head ; and the fourth is another young Satyr, playing upon the tibia or double pipe. A considerable portion of this vase has been restored. The next is a figure of the Sphinx, the head being that of a female with a mild and pleasing expression of countenance, the hair parted in front and arranged at the side in wavy masses, and collected in a knot behind. The form of the body bears some resemblance to a greyhoimd, but the claws are longer and sharper, and the tail that of a lion. Large expanded wings issue from the fore part of the shoulder-blade, and the breast, w hich is animal and not human, is furnished with feathers. There cannot be much doubt that it must once have formed the base of a magnifi- cent candelabrum, to which it was attached by the strong square projection from the back, concealed within the wings. This sphinx is in exactly the same attitude as on some of the gold coins of Augustus. It was found by Mr. (iavin Hamilton in the ruins of the villa of Antoninus Pius, near the ancient Lanuvium. No. 5 is a very beautiful candelabrum, which has, however, been considerably restored. The upper part was found in the ruins of the villa of Antoninus Pius. The three figures on the pedestal have be- longed to a candelabrum of a similar kind. One of these figures 256 TOWNELEY SCULPTURES. No. 9. TOWNELEY SCULPTURES, 257 o 5?; 258 TOWISTELEY SCULPTURES. appears to have been part of a group, which represented Victory pouring out a libation to Apollo Musagetes, a subject we have already noticed. Of the remaining figures, one represents an old Satyr carrying a goat's skin, filled with wine, on his shoulder, and making use of a pedum as a walking-stick ; the other represents a female Baechante, who is distinguished for the wildness of her ges- tures ; her head is thrown back, her hair dishevelled, and she holds a human head in one hand while she brandishes a sword in the other. She is probably meant for Agave, the priestess of Dionysus, with the head of her son Pentheus, the king of Thebes. Wo. 6 is the triangular base of another candelabrum, on the sides of which are three winged boys, each holding a part of the armour of Mars, namely, his sword, his helmet, and his shield. The upper angles terminate in the head of a ram, and the lower angles with the fore part of a sphinx ; underneath the winged boys is a broad border of arabesque ornaments. Three other pedestals, similar to the present one with the exception of a slight variation in the arabesque ornaments, are extant in different collections, one in the Gallery at Florence, another in the Picchini Palace at Rome, and the third in the Louvre at Paris, originally in the Library of St. Mark's at Venice. The workman- ship of this vase is good, and there has been but little restoration. Wo. 2 is a bas-relief of a candelabrum standing on a triangular base, supported by three feet resembling those of a lion ; the sides ornamented in the arabesque style with the branches of a plant, and the angles at the top formed of the heads of rams. The lighted lamp is placed upon the top of the stem, and the sacred ribands show the manner in which candelabra were used in the temples upon religious occasions. This bas-relief has probably been one of the ornaments of a temple. In the portico of the Pantheon at Rome there is a bas-relief, in which two candelabra, very similar to the one we are describing, are represented ; they each support lighted lamps of nearly the same form. There is also another monument, which is the base of a similar candelabrum, supported by three lions' claws ; at the sides of it are the gryphon, the crow and laurel, fillet and tripod, emblems of the Hyperborean Apollo. This monument was purchased in a palace in the Strada Condotto at Rome. Wo. 56 is a triangular base of a small candelabra, the sides richly ornamented. On each side is a festoon, or garland of fruit and flowers, suspended from two studs by broad long fillets. Underneath the festoon, on one side, is a stork between two olive branches, from which it is pecking the fruit ; on another side are some arabesque or- TOWXELEV SCULPTURES. 259 No. 5. No. 6. naments, composed of foliage and flowers ; and on the third side are also arabesque ornaments of a similar character, in the centre of which is a vase. No. 3 is one of the feet or supports of a tripod table. The upper part exhibits a lion's head rising outof foliajre ; the lower part, which has been restored, represents the leg of that animal. It was a common ancient practice to make the legs of tables in imitation of the legs of animals ; when this was done it was usual, to obviate the s 2 260 TOWNELEY SCULPTURES. ill effects arising from the close union of incongruous parts, to j)la('(» foliage between them. An analogous practice may be ob- served in the representations of Pan, where a thick bunch of hair is always placed at the junction of the human thighs to goat's legs. No. 49 is the leg of a similar table, in shape of the head of a panther rising out of foliage. No. 50 is the foro, or support of an ancient table, in shape of the head and foot of a lion or panther, in red j)orphyry. It was found, in 1772, at a depth of twenty-five feet in the Forum, under the Palatine Hill. Wo. 13 is a frag- ment of a support of a table or tripod, representing a lion with the horns of a goat. Underneath the head is a circle of leaves. The head, though it bears the cha- racter of a lion, is most probably that of a griffin, which fabulous animal was generally rejjresented under the combined forms of the lion and the eagle ; thus it had the body, legs, and tail of the lat- ter, with the head and wings of the former. This head, which is exe- cuted with considerable spirit, was found, in the year 1769, by Mr. Gavin Hamilton in the Pantanella, within the grounds of Hadrian's villa, near Tivoli. Wo. 15 is i)art of one of the supports of an ancient table. It consists of a double volute of very elegant form. The circumvolu- tions of the upper and lower parts turn in contrary directions. The lower volute serves as a basis or pedestal to a figure of Victory, which fills up the intervening space in a light and beautiful manner. TOWNELEY SCULFrURES. 261 It was discovered near Frascati : the head and left fore arm of the Victory are modern. No. 10 is a beautifully-carved, upright, cylindrical fountain, en- riched with different kinds of foliage. It is divided into three parts, each division emanatin": i'rom a number of broad leaves, which form a kind of calyx. The first or lower division contains branches of the olive-tree, the second branches of ivy, the third and upjwr the leaves and flowers of a plant which has not been identified. The water appears to have been conveyed through a perforation in the back part of the column, and to have issued from the mouth of a serpent, which is entwined round the middle division of the monu- ment, and into which a leaden pipe was introduced, a portion of which still remains. This curious monument was found by Nicolo la Picola in 1776, near the road between Tivoli and Prajneste. Nos. 38 and 40 are two small circular paterae, which have been supposed to be votive, engraven on both sides. On No. 38, on one side of it, and encircled by a wreath of ivy, is an eagle securing a hare with its talons, and on the other side Cupid s;icrificing to Priapus, the god of Lampsacus. Cupid bears in one hand a lighted torch, and in the other a ])atera filled with offerings; before him is a lighted altar. No. 40 has on each side a head of Pan, in one case seen in front, encircled by a wreath of oak-leaves and acorns, in the other case in profile, crowned with ivy and placed on a pile of stones in front of alighted altar: between the head and the altar is a branch of ivy. No. 10 is a bas relief representing a festoon of vine branches supported by skulls of bulls. In the centre, above the festoon, is a mask of a laughing Satyr crowned with ivy. The curved form of this beautiful piece of sculpture shows that it has been used as a decoration in the inside of a circular building, probably dedicated to Dionysus : the moulding which surrounds it is composed of ivy leaves. No. 14 is a bas relief representing an arabesque ornament, con sisting of two stems of a plant, growing from the same ruot, and curlino- in opposite directions. Underneath the plant, and on dif- ferent parts of the branches, are several nests of birds, one of which, perched on a flowering stem in the centre, is in the act of catching an insect ; the others appear to be pecking at the plant itself. In two corners of the marble are shells, from one of which a snail is issuing. Like the last described, the concave form of this marble renders it probable that it has been used as a decoration on the out side of a circular building. 262 TOWNELEY SCULPTURES. Besides these miscellaneous objects which have just been described somewhat more fully, arc several others which it is worth while to allude to. As, however, no running numbers have as yet been at- tached to them, we can only mention them as existing in the collec- tion. The principal of these are, a small fountain ornamented with bas reliefs of Satyrs and Pans. Two lions' heads, in very high and salient relief, probably part of an ancient sarcophagus. A magnifi- cent marble tazza of very large dimensions, its height being 4 feet 3J inches, and its diameter 3 feet 7 inches. It stands on a single stem, and has handles very curiously formed of swans' necks and heads gracefully intertwined : it was brought to England in 1825, and presented to the Museum by Lord Western in 1839. An ob- long basin of granite, similar to such as were used in the temples to contain the water necessary for the purification of those who sought admittance to the sacrifices. A cistern of green basalt originally used for a bath, beneath which are two rings, having in the centre an ivy leaf. A sun-dial constructed in the shape of a chair. A small tablet, on which is rudely blocked out a figure of the Syrian divinity Astarte, with two lines of Phoenician writing. A group of two dogs, found on the Monte Cagnuolo in 1774. A swan in red Egyptian marble, found in a vineyard adjoining the Villa Pinciana. An eagle found at Rome. Another small figure of an eagle, and the head of a goat. There are also two glazed cases containing a number of small fragments of statues and statuettes, some of them of beautiful workmanship and in excellent preservation. ( 263 ) ASSYRIAN ANTIQUITIES. NIMRUD SCULPTUPtES. Befohe we proceed to give an account of the Antiquities deposited in the Nimriid Room, we must state concisely what excavations have been made in ancient Assyria and Babylonia. The first great commencement in the investigations of those districts was made by Mr. Rich, who, during the time that he filled the office of Resident at Baghdad, undertook more than one journey to what were called the Ruins of Babylon, near the modern town of Ilillah, on the Eu- phrates, and made several excavations into the ancient mounds still existing on the Eastern bank of that river. The results of his inquiries did not, however, lead to many important results ; and beyond the examination of the Birs-i-Nimrud, which was then sup- posed to be the ruins of the Tower of Babel, little was effected towards arriving at any knowledge of the ancient state of the country. Mr. Rich, indeed, procured thence a black stone, now in the Museum, which was covered with Cuneiform characters, and surmounted by rude representations of astronomical symbols, but sadly imperfect, together with a considerable number of unbaked bricks. On the presumed site of ancient Nineveh, near Mosul, Mr. Rich also made some, though slight, excavations, and obtained a few inscribed stones, which have been lately published by the Museum, with other Cuneiform inscriptions. Till within the last four years, "a ca.sc scarcely three feet square enclosed," as Mr. Layard has justly re- marked, " all that remained, not only of the great city Nineveh, but of Babylon itself!" Nor were other European collections much more rich. Mr. Layard adds with truth, "Other museums in Euro])e contained a few cylinders and gems which came from Assyria and Babylonia, but they were not 264 ASSYRIAN ANTIQUITIES. classified, nor could it be determined to what epoch they belonged. Of Assyrian art nothing was known even by analogy." In 1843, however, a new Eera arose; M. Botta having, in the spring of that year, been appointed the French Consul at Mosul, and having set to work, almost immediately after his arrival there, to examine the antiquities in the neighbourhood. In his first attempts on the mound of Koyunjik, near Mosul, he was not, indeed, very successful ; but, shortly afterwards, he was induced to make further excavations in another mound called Khorsabad, about sixteen miles N.E. of Mosul, and the splendid collection of Assyrian Antiquities in the Louvre, at Paris, is the result of his two years' labour. In 1845, Mr. Layard commenced his works on the mounds of Nimrud, and was rewarded by the discovery of even finer remains than those which M. Botta had exhumed. The whole of Mr. Layard's discoveries are, or will be, preserved in the British Museum, and will form a national collection unsurpassed even by that of Paris. It is right to add, that the same liberal hand which has procured for the public the remains of the Mausoleum at Halicarnassus, and which has been always ready for the furtherance of every object by which the reputation of England could be advanced in the East, was the first to assist Mr. Layard in his discoveries at Niniriid. But for the personal liberality of Sir Stratford Canning, who advanced from his own purse the first funds in aid of Mr. Layard's excavations, and subsequently presented the sculptures so discovered to the British nation, it is almost certain that much less would have been done, and many interesting objects now the property of the nation would either not have been excavated, or would have passed into other hands. It is not easy to arrange the description of the Assyrian sculptures now in the Museum so that the spectator may view them in succession as they were originally placed in the Assyrian edifices, as several of the slabs which Mr. Layard has found are not yet in England, and no running number can yet be placed upon them. We propose, therefore, to describe very briefly the separate slabs, noting, espe- cially, a few of the more remarkable ; and grouping them, as far as possible, according to their presumed relative date, and according as Mr. Layard states that they were found in the N.W., S.W., or Centre edifices in the mound at Nimrud. At the same time it must be borne in mind, that it is not necessarily to be inferred that because a monument was found in either the Centre or the S.W. palace, there- fore it was not older than the construction of those edifices. Mr. Layard shows that many of the slabs which had adorned the N.W. and oldest palace had been removed by subsequent Kings to decorate NIMRUD N. W. PALACE. 265 later palaces. We intend simply to indicate in what |)art of the mound Mr. Layard himself says that he found the several pieces of sculpture we have to describe. It is as well, also, briefly to mention, before we proceed to the sculptures themselves, the form and fashion of Assyrian buildings, that our readers may have a clearer idea of the character of the struc- tures which these monuments once adorned. Mr. Layard has given a very clear account of the mode of building adopted by the ancient people, and of the course to be pursued in excavating their ruins. "The Assyrians," says he, " when about to build a palace or pub- lic edifice, appear to have first constructed a platform or solid mass of sun-dried bricks, about thirty or forty feet above the level of the plain. Upon it they raised the monument. When the building was destroyed, its ruins, already half-buried by the falling-in of the upper walls and roof, remained of course on the platform, and were, in process of time, completely covered up by the dust and sand carried about by the hot winds of summer. Consequently, in dig- ging for its remains, the first step is to reach the platform of sun- dried bricks. When this is discovered, the trenches must be opened to the level of it, and not deeper; they should be continued in oppo- site directions, care being taken to keep along the platform. By these means, if there be any ruins, they must necessarily be dis- covered, supposing the trenches to be long enough, for the cham- bers of the Assyrian edifices are generally narrow, and their walls or the slabs which cased them, if fallen, must sooner or later be reached." The Assyrian sculptures, in the Nimriid Room, may be divided into — I. — Those from the N.W. Palace. II. — Those from the Centre Palace. 111. — Those from the S.W. Palace. I. — Those from the N.W. Palace. They belong to two classes — alti and bassirilievL Of these, the Museum possesses but few of the class of alti-rilievi ; the only specimens which have yet come to England being the Bull and the Lion ; themselves, perhaps, the finest specimens of Assyrian workman.ship which have yet been discovered. They are both nearly of the same size, the bull being rather the largest, and about 266 ASSYRIAN ANTIQUITIES. NIMRtJD N. W. PALACE. 267 268 ASSYRIAN ANTIQUITIES. ten feet and a half square, and have considerable resemblance the one to the other in their general treatment. The lion is, we think, the most striking of the two, and in the finest style of Assyrian workmanship. The body and the limbs are well executed, and the muscles well developed, so as to produce the idea of great strength and activity. Large expanded wings rise from each chest, and are carried over the entire length of the figure, and a girdle singularly knotted, and ending in tassels, encircles the loins. The human head is bearded, and surmounted by a conical cap, which is perfectly smooth at the top, but has three horns on the outside on each side of it. The ear appears outside the cap, wearing an ear- ring, and the long hair falls down from under it upon the wings, and is plaited at the end. On the flat part of the slab, between the legs and under the belly, is a Cuneiform inscription. It will be observed that this curious sculpture is furnished with five legs, an arrangement which M. Botta found prevailing also at Khor- sabad. It is supposed to have been adopted in order that the spec- tators, whether approaching the room at the entrance of which they stood or coming out of it, might, in either case, have a complete view of the animals. If they were proceeding from the chamber, they would see the head and fore part in full ; if, on the other hand, they were passing alongside the lion and the bull, they would see that portion which was in relief. Hence the two fore legs were placed together for the front view, and the four legs in their natural order for the side. On comparing the bull with the lion, though there are great similarities, some differences may be remarked ; for instance, the ear is not human, and has no ear-ring, and there is no band round the loins ; the representation, too, of the hair on the back and under his belly is curious, fanciful, and conventional. These two great sculptures are among the latest arrivals in England, having been detained for a long time at Basrah, from a diflSculty in finding ships large enough to convey them. It is not yet possible, and we hardly think that for this purpose the interpretation of the inscriptions will be of much avail, to deter- mine what was the object of these two representations of animals. Mr. Layard has however conjectured, with some reason, that they are incarnations of the idea of the Supreme Power. " What more noble forms," says he, " could have ushered the people into the Temple of their Gods ? What more sublime images could have been borrowed from nature by men who sought, unaided by the light of revealed religion, to embody their conceptions of the wisdom, power, and ubiquity of a Supreme Being ? They could find no better type of NIMKDD N.W. PALACE. 269 intellect and knowledge than the head of the man ; of strength, than the bod}' of the lion ; of ubiquity, than the wings of a bird."* On the other hatiil, liowever, it is very doubtful whether there are any representations of the Deity except the Feroher, which wc shall notice hereafter. The bassi-rilievi may be divided into two classes — those which are small and do not exceed three feet six inches in height, and which were arranged originally in double rows along the walls of the build- ing with a line of inscriptions between them; and those which are above seven feet in height, and were arranged as single slabs: of these larger slabs, fifteen are now in the Museum. It seems hardly necessary to describe them individually at any length : we shall, however, indicate their several subjects, omitting the largest slab, which contains a group of four figures standing two and two on each side of what has been called the Sacred Tree, as this one will, from its subject, be more conveniently classed with the smaller slabs which contain similar subjects. The large slabs are as follows : — The Jirst, the King standing to left, with his right hand resting upon the upper part of his statf, and his left on his sword-hilt ; a beautiful and admirably- preserved specimen of the earliest Assyrian workmanship. The second, the King standing to left, and hold- ing a bowl on the tips of his right-hand fingers, with an attendant eunuch facing him, who holds a flyflapper and a bent bow. The bow and the sandals of the figures exhibit traces of red and black colours. The third, the King and an eunuch standing facing dif- ferent ways. The Jourtli, the King and a winged figure standing to right on the slab, in marvellous preservation, the finest lines traced upon the drapery being apparent on looking closely into it. The JiJ'th, the sixth, and sfventh, which were three consecutive slabs in the building itself, with one subject of the King seated to left attended by an eunuch who stands behind with a bent bow and fly- flapper, opi)osite to another eunuch holding the flyflapper and a bowl with a curious handle, and a winged figure with fir-cone and basket, and another eunuch with bow, and a winged figure on slab No. 7. The cii/hth, a very curious slab containing two figures with monkeys — probably, as the same subjects appear on the Obelisk from the Central Palace, the tribute of some nation : the dress of these figures differs considerably from that which appears to have been the usual Assyrian type. The ninth and tenth, two stand- ing figures, which it has been customary to call Nisroch, though Colonel Ilawlinson believes, and we think rightly, that they cannot be identified with that Scriptural deity. There is indeed little ground 270 ASSYRIAN ANTIQUITIES. Nisroch. for Mr. Layard's supposition that the word Nisroch means " eagle- headed :" the word is probably connected with and derived from the same root as Assarac, the name of the chief Assyrian Deity. The eleventh and twelfth, two winged figures, bearing in their arms, respectively, a fallow-deer and goat, and not improbably proceeding to a sacrifice of those animals. The thirteenth, a winged figure with fir-cone and basket, facing the left ; and the fmirteenth, a figure dif- ering from all the others in the collection, in that it has four wings, NIMRUD N. W. PALACE. 271 and has been supposed to represent, from certain peculiarities of dress and form, a female deity. The small bassi-rilievi, like the large ones we have just de- scribed, may be perhaps conveniently arranged under curtain heads, according to the subjects represented on them ; because, though eventually they will be placed according to the order in which they were found in the ruins, they do not at present admit of such an arrangement, while it is at the same time quite impossible to recon- struct the ancient palace from the materials as yet in England, so as to give any intelligible or satisfactory view of it. The heads of arrangement we propose are as follows : — 1 . Sacred Subjects. 2. Battle Scenes. 3. Scenes representing a Treaty or Submission. 4. Hunting Scenes. 5. Miscellaneous Slabs and Fragments. At the end of the description of the sculptures we shall briefly notice the inscriptions. 1 . Sacred Subjects. There are four slabs which have been generally supposed to refer to acts of Worship, in each of which a peculiar-shaped tree, which has been supposed to be a Honeysuckle, is represented. The most remarkable of these is the large slab which, as we stated above, we have omitted from our list of the large slabs. On this, which is the most extensive slab in the collection, two Kings appear, attended each by a winged figure, and standing opposite to each other with this honey- suckle plant between them, over which is the object commonly called a Feroher, or attend- ant spirit, which fre- quently is found on these marbles over or near the King, as in the later works at Perse- polis. The Kings each carry in their hands a club with a tassel at one end and a knob at the other. The three other Sacred slabs contain, respectively, the first, two standing and the second two kneeling A Feroher. 272 ASSYRIAN ANTIQUITIES. winged figures, in each case facing each other, with the Sacred tree, as on the large slab, between them : the third slab has a representa- tion of two of the so-called Nisrochs standing in the same ])Osition with regard to the Sacred tree. Mr. Layard considers that the only object of adoration in the earliest Scul[)tures is this Winged Figure in the Circle, which is invariably found over or near the Royal person. He observes that this symbol is placed over him when in battle and on his triumphal return, and that it is never seen above any person of inferior rank to the King, but appears to watch espe- cially over the Monarch. When over the King in battle, it shoots against the enemies of the Assyrians an arrow which has a head in the shape of a tri- dent ; when presiding over a triumph, its action resembles that of the King, the right hand being elevated and the left holding the unbent bow ; when over a Religious cere- mony, it carries a ring, or raises the extended right hand. The emblem did not always pre- serve the form of the winged figure in a circle, but sometimes assumed that of a winged globe, wheel, or dish, either plain or ornamented A Feroher. A Feroher. with leaves like a flower. In this shape it bears a great resemblance to the winged globe on the Egyptian monuments. The meaning of the winsred figures so common on the Assyrian bas-reliefs cannot, as yet, be satisfactorily determined. Thev may, as Mr. Layard has sug- gested, be representations of presiding Deities or Genii ; or they may indicate Priests, who, during the celebration of Sacred ceremonies, assumed that which was believed to be the outward form of the Divinity. The resemblance they bear to the description of the figures NIMRUD N. W. PALACE. 273 beheld by the Prophet Ezekiel in his Vision is certainly very striking. We cannot help thinking that he must have seen the objects, pro- bably these very sculptures, which he describes so vividly in his seventeenth Chapter. 2. Battle-Scenes. These form the most numerous class on the smaller slabs ; we shall succinctly enumerate them. The first consists of two slabs with a continuous subject. The King is in his chariot at full gallop, to the right, with the Fcroher above and attendant on him ; before him arc four warriors discharging their arrows backwards, and two chariots, each containing two figures, with standards attached to them ; in one case, a mythical object representing a warrior standing on a lion, in the other, the Ferohcr. Before the chariots are three warriors in similar attitudes. The second represents an unbearded hero whom Mr. Layard has called the Eunuch War- rior, and several independent combats in the plain before and behind him. This slab is one of the most striking in the collec- tion, and as such has been engraven in Mr. Layard's ' jS'incveh and its Remains.' The sixth and seventh represent respectively a charge of cavalry and a pursuit of a flying enemy. The latter is remarkable as showing the Parthian mode of discharging arrows backwards when on horseback. The pursuit appears *to have taken place by the side of a lake or river, in which a fish is represented : but as the slab has been much injured, it is impossible to determine who the pursuers are. The eighth, ninth, tenth, eleventh, and tinlftli are all representations of sieges or attacks on fortified buildings. Of these, the eighth is a continuous subject, extending over two slabs, and representing the attack by five war-chariots and foot-soldiers upon a castle seated in a marsh or by the side of a river. In the foremost chariot stands the King, with the Fcroher over his head ; on the plain are various single combats, and on the walls of the building three warriors discharging arrows at the approaching enemy ; 1 be- hind the chariots are the tops of trees, probably suggesting that the advance has been made through a woody country ; at the base of the slab, near the building, are wavy lines indicating water, and water-plants growing out of it. The ninth and tenth are also attacks on buildings. On the former the scene is admirably told. A castel- lated building is represented with warriors on the walls without ; and a moveable battering-engine, in the shape of a castle upon wheels, the ram of which has already forced several bricks from the walls. Behind the ram are three bearded warriors and an eunuch advancing 274 ASSYRIAN ANTIQUITIES. Batterinsr-ram. to the attack. On the latter, two warriors are kneeling and dis- charging their arrows upwards, apparently at some building which was probably on the next slab ; behind them is a chariot and two warriors on foot, and an eagle or vulture devouring a dead body on the distant plain. The tenth is a very curious representation of another siege, the most complete in point of details of the whole collection. A castle or town appears in the centre of the bas relief; it has three towers, and, apparently, several walls one within the other, all surmounted by angular battlements ; the besiegers have brought a battering-ram (attached to a moveable tower, probably constructed of wicker-work) up to the outer wall, on the right of the slab, and many stones have been dislodged from it and are falling. One of the besieged has succeeded in catching the ram by a chain, and is attempting to divert its thrust ; on the other hand, two warriors of the assailing army are holding it down by hooks, to which they are NIMRtJD N. W. PALACE. 275 hanging. Another is throwing fire from above upon tlie wooden tower of the battering-engine, while the besiegers are endeavouring to quench the flume by pouring water upon it from two spouts in the top of its tower. Traces of the fire, painted red, are still visible on the sculpture. In front of the building, two figures in full armour are undermining the walls with instruments like blunt spears, while two others appear to have discovered a secret entrance into the castle, or have themselves made a mine. Three of the besieged are falling from the walls, and upon one of the towers are two women tearing their hair, and extending their hands in the act of asking mercy. To the left of the building the besieging army are seen mounting to the assault, scaling ladders having been placed against the walls. The King, discharging an arrow, and protected by a shield held by a warrior in complete armour, stands behind the scaling-ladders : he is attended by two eunuchs, one holding his umbrella, the other his quiver and lance. Behind this group, in the extreme left of the scene, is a warrior leading away three women and a child, and driving off" three bullocks as part of the spoil : the women are tear- ing their hair. The eleventh Sind last of the battle-scenes represents a castle stand- ing in the water, on the towers of which are three figures, the fore- most of whom holds two arrows in his hand, in token of peace. Three men are swimming towards the castle, two on inflated skins and one without. On the banks, beside three strange-looking trees, one of them, however, the date-palm, kneel two warriors, who are dis- charging arrows at the swimmers, and have succeeded in hitting the second in two places. 3. Treaty of Peace or Submission. There are five slabs which we have ventured to call, for want of a better title, a Treaty of Peace or Submission, because, on the whole, this seems to be the most probable interpretation of their meaning. On the frst and second, which form one conti:uious subject, the King is on foot, holding up two arrows in his right hand, in token of peace, and receiving a procession headed by five figures, the first of whom is apparently addressing the King, while the re- maining four stand in the attitude of attention : boliind them, to the right, is an eunuch introducing four ca[)tives, who are urged on by two warriors, one of whom appears to be striking the captives with a sword or stick, while the other is seizing one of them by the hair. On the third slab the King is standing in the same attitude, and a warrior stands before, as it would seem, addressing him. Above the T 2 276 ASSYRIAN ANTIQUITIES. King is the Feroher, and behind him an attendant eunuch. The Roj'al chariot follows in the rear, with a warrior leading horses. Be- hind the chariot, on the fourth slab, is a town with battleuiented walls, from the tops of which several women are visible, looking down upon a procession of chariots which are passing under them in the direction of the King : a warrior leads the horses of the fore- most chariot on this slab. The JifUi contains a similar subject, represented in nearly the same manner. The King is in his chariot with two ari-ows in his hand, attended by a warrior, who holds an umbrella over his head : above the horses is the Feroher. Before the King is a warrior and a man leading his chariot horses ; behind him is a man riding and leading a horse, and, in the distance, two warriors on foot. This may perhaps represent a triumphal pro- cession, 4. Hunting Scenes. The first and second of these slabs represent respectively the King going to and returning from the Lion hunt. On the First the King is in his chariot, which is urged forward at full speed. He is turning round and discharging an arrow at a lion, which appears to be attacking the chariot. Behind the lion follow two high-capped warriors with swords or long knives in their hands, and under the horses is another lion lying dead. It is worth while to notice one peculiarity which is very visible on this and other representations of lions on the smaller slabs, that these animals are all represented with an additional claw in their tails, a characteristic feature, we sup- pose, of the Assyrian lions, and not unknown at the present day. On the Second slab the King is represented returning from the Lion hunt; five figures stand before the King, who faces them to the right. The first, an eunuch, holds the fly-flapper in his hand ; behind him are two attendants with their hands crossed and two musicians. Behind the King are four warriors standing, two and two, and a dead lion. There is another slab, which probably refers to the same subject, in which a warrior is represented in a chariot which is going at full speed, and a dead lion lies on the plain before it. The fourth anA fifth slabs in like manner refer to the chase of the wild Bull. On the First the King, in his chariot, is re- presented plunging a knife or dagger into the soft part of the head of a bull between the horns, while a dead bull lies under or before his chariot. Behind, is a horseman following at full gallop, carrying in his right hand a spear with an ornament attached to the end of it, not unlike that of our Lancers. The Second represents the return of NIMRUD N. W. PALACE. 277 the King in triumph from a successful hunting. As on the former slab, so on this, lour figures are before the King, an eunuch with the fly-flapper, and a warrior and two musicians, while behind him is anotlier eunuch and the umbrella, and three soldiers of the Royal guard. At the feet of the King lies a dead bull. 5. Miscellaneous Subjects and Fragments. Among these, arc three which have a continuous subject, and re- present the Crossing of a River, probably one of the numerous expe- ditions in which the King of Assyria went out from Nineveh and crossed the Euphrates, and which are mentioned repeatedly upon the Obelisk Inscription. On the first we see the commencement of an embarkation. An eunuch is standing, on the left hand of the ])icture, between two warriors, with a short whip in his hand ; in front of him are two other soldiers, one inflating a skin, and the other standing on the bank of a river and fastening the end of a similar inflated skin, so as to prevent the escape of the air. Close to the shore a boat is moored, in which one chariot has been placed, and into which another is being lifted. In the stream are seen two warriors swimming, one on an inflated skin, the other without this assistance. The second slab is a continuation of the first, and con- tains a representation of two small boats or coracles, in the first oi which there is an ill-defined object which Mr. Layard has supposed to be the Royal couch, and a large earthen vessel, and in the second an empty chariot ; the vessels are urged through the water by two rowers, who are seated face to face. By their side and be- hind the boats arc five men swiumiing and suj)ported by skins, two of whom are leading horses by their halters, and two fish. The third and most complete slab represents the arrival of the vessels at the opj)osite bank of the river. The King stands in his chariot with a bow in one hand and two arrows in the other. An eunuch in front appears to be talking with him, and to be pointing to some distant object with his right hand : behind the chariot is another eunuch with bow and mace. Two naked men are represented in front of the boat, and are either towing it along the bank or dragging it to the shore. Three sailors in the boat are seated at their oars, and a fourth is steering with another long, flat-ended oar. In the river, behind the boat, are four horses and a man swimming. Mr. Layard has remarked, in relation to these slabs, the fact, that the army of Xerxes is described in Herodotus to have been driven by wiii])s across the Hellespont, a story which corresponds with the action of the figure in the first slab, and also that the mode of steering here 278 ASSYRIAN ANTIQUITIES. depicted is precisely the same as that practised to this day by the inhabitants of Mosid. The fourth and fifth are two slabs repre- senting a Domestic Scene, apparently the interior of the castle and the pavilion of the conqueror. The ground plan of the former is indicated by a circle divided into four equal compartments, and sur- rounded by towers and battlements. In each compartment there are figures evidently engaged in culinary occupations, and preparing a feast ; one is holding a sheep while the other is cutting it up ; another appears to be making bread or boiling a cauldron : various bowls and utensils stand upon tables and stools. The pavilion is supported by three posts or columns ; on the summit of one is the fir cone; on the others are figures of the ibex, or mountain goat. Beneath the canopy a groom is currycombing a horse, while other horses, picketed by their halters, are feeding at a trough : an eunuch stands at the entrance to receive four prisoners, who, with their hands tied behind them, are brought to him by a warrior with a pointed helmet. Above this group, but on the same slab, are two singular figures, which unite the human form with the head of a lion ; one holds a whip or thong in his right hand, and grasps his under jaw with his left : they are accompanied by a man clothed in a short over-dress, and raising a stick with both hands. On the adjoining slab, to the right, are two chariots containing each a warrior and standard ; above the horses is an eagle carrying the head of a man in his talons ; before the chariots are two groups of warriors with the heads of the slain in their hands, and three musi- cians. The sixth, seventh, eighth, ninth, and tenth are small slabs, each containing one standing figure, who holds in his hands the fir cone and basket : the figures face dift'erent ways. The fragments are, first, the head and portion of the shoulders of the King, and the head, right shoulder, and right hand of an eunuch holding the fly-flapper, on one slab ; the second, the head of a figure wearing a tiara of rosettes, and still retaining marks of the original paint; the third, the fragment of a bas relief representing the King, who holds in his hands a bowl, and an attendant eunuch. CENTRAL PALACE. The remains which Mr. Layard discovered on what he has called, for distinction sake, the Central Palace, consist of three classes : — 1. Tlie Obelisk; 2. Slabs referring to the taking of some town; and 3. Domestic scenes. The Obelisk we shall describe under the head of Inscriptions. NIMRUD CENTRAL PALACE. 279 The slabs relating to sieges of towns or battles are very curious, and present excellent specimens of the later period of Assyrian art. The first is a siege of a town or castle containing three tiers of embattled walls, from which warriors are seen discharging arrows at an enemy who are attacking them from without. Against the outer wall of the building to the right is an inclined plane, probably a sort of agger, or mound, on which stands a battering-ram, with a covering to protect the besieging force. Figures are represented falling from the walls, and two dead men lie below the outer wall. The second and third slabs rej)resent a city which has been taken, two battering-rams standing idle against its walls. Without the walls are two carts, each containing three female figures, and drawn by two bullocks, which arc apparently leaving the city. In the distance are eunuchs driving away the spoil ; another takes an in- ventory of the herds. The fourth and fifth are scenes from sieges, both considerably injured. On the first are two warriors standing and discharging arrows, with representations of a lake, three trees, and a portion of the upper bastion of some fortified building. On the second is a battering-ram on a wattled agger, the point of which has been forced into the wall ; three archers standing behind, and three impaled prisoners in the distance. Below the agger are two dead bodies. On the sixth slab is an eunuch bringing in four pri- soners, two and two, whose arms have been tied behind them. The seventh slab, which has been much mutilated, and on the left side is so much injured as to be almost unintelligible, represents two horsemen pursuing a third figure, who is on a camel, and is apparently asking mercy. On the plain are extended three dead men. On slabs eight and nine are respectively a man, driving before him flocks of sheep and goats, and a female ibllowed by five camels. The decorations of this building, like those of the S.W. Palace, are without doubt taken from some other building ; and the excel- lence of the workmanship of some of the slabs proves beyond a question that they originally belonged, if not to the N.W. Palace, at least to the period when that edifice was constructed. In almost all cases the inscriptions which once were under or over the slabs have been cut off", so as to render it impossible to determine with certainty whence they came. The slab containing the pursuit of the enemy on a camel appears to us to be of inferior and later workmanship ; but it is possible that the corroded state of the surface of this slab has led to its present a|)pcarance of inferiority. 280 ASSYRLA.N ANTIQUITIES, S.W. PALACE. The portions of Mr. Layard's discoveries in the S.W. palace are at present confined to two slabs, both much mutilated, and two fragments. Tliese two slabs have a considerable similarity, and appa- rently refer to the same event. On the first are two horsemen, in peaked helmets, charging a third, who is flying from them ; the first pursuer appears to have driven his spear through the enemy in front of him, who is falling from his horse. Behind the horseman is a vulture with the entrails of the slain in its beak. This slab has been nmch injured, and the edges have been cut ofl^ apparently to make it fit into another building, for which it was not originally adapted. The marks of the defacing chisel are very apparent on the left hand side of it. The second slab represents a similar scene of an enemy Enemy Pursued. NIMRUD S. W. PALACE. 281 on horseback pursued by two Assyrian horsemen. Like the preced- ing, a considerable portion of this slab lias been cut off. The helmets the pursued enemy wear are peculiar, and unlike those worn by the Assyrians ; they have considerable resemblance to the Greek crested helmet. The two fragments are, first, a bearded head wearing a singular shaped and horned cap ; and a bust of a figure wearing a close fitting woollen-cap, and holding up both hands with the fists doubled. The attitude of this figure is almost identical with that of the right hand man on the monkey-slab, and the head dress of the two figures is precisely the same. The material in which this frag- ment is wrought is quite peculiar, and unlike that of any other slab in the collection. As we have already stated, the S. W. Palace appears to have been made up from the ruins of previous buildings, and, though we cannot in all cases be sure to what edifice these slabs and fragments belong, we think that there can be no doubt of the correctness of Mr. Layard's theory of the origin of that building. Inscriptions. The inscriptions preserved in the Nimrud Rooms consist of two slabs of alabaster, engraven on both sides, and found under winged human-headed lions at one of the entrances to Ch. B. of the N. W. Palace ; a large slab which served as a pavement at the same entrance, and the Obelisk which was found in the Central mound. Mr. Layard gives an interesting account of the discovery of the Obelisk, which shows how fortuitous was much of the success which attended his exertions. He states, that, after excavating for some time, and finding nothing to reward him for his labours, he dug a trench fifty feet long into the heart of the centre of the mound, but with equally little profit: and that he was on the point of ordering the work to be stopped and the hands transferred to some other place, when the projecting corner of a piece of black marble was uncovered, lying on the very edge of the trench. This corner was part of an Obelisk about seven feet in height, and was lying on its side about ten feet below the surface. It was flat at the top and cut into three gradines. It was sculj)tured on the four sides, and there were in all twenty small bas-reliefs, and above, below, and between them was carved an inscription 210 lines in length. The whole was in excellent preservation, very few cha- racters of the inscription being deficient ; and the figures were as sharp and well defined as if they had been carved but a few days before. The King is there represented, followed by his attendants ; 282 ASSYRIAN ANTIQUITIES. Obelisk. a prisoner is at his feet, and his vizir and eunuchs are introducing men leading various animals, and carrying vases and other objects of tribute on their shoulders, or in their hands. The animals are, the elephant, the rhinoceros, the Bactrian or two-humped camel, the wild bull, the lion, a stag, and various kinds of monkeys. Among the objects carried by the tribute-bearers may perhaps be distin- guished the tusks of the elephant, shawls, and bundles of precious wood. From the character of the bas-reliefs, it was natural to con- clude, when it was first discovered, that this monument referred to the conquest of India, or of some country far to the East of Assyria ; an expectation, however, which has not been confirmed by the in- terpretation of the inscriptions upon it. Mr. Layard almost imme- NIMRUD S. W. PALACE. 283 diately packed the Obelisk up and despatched it on a raft to Baghdad, whence, after it iiad been under the care of Colonel Rawlinson for some time, it has safely come to England. Within the last year Colonel Rawlinson has published a sketch of his interpretation of the Obelisk inscription in the Journal of the Royal Asiatic Society ; premising, however, that the reading so given is not to be considered in the light of a critical interpretation, but rather as giving a "•encral idea of the nature of Assyrian records. From this essay it appears, that the Inscription on the Obelisk is the personal annals of the reign of Temenbar II., the son of Sardanapalus, for a period of thirty-one years, commencing with an invocation to the Gods to protect the Assyrian Empire, and proceeding to narrate the events year by year whereby this king's reign was distinguished. The Central Palace, where it was discovered, was built by this monarch. A great many curious things are noticeable in this inscription, which we have not time and space to discuss here. Those who wish to follow out the subject more fully, will find all that is yet made out of this inscription in " A Commentary on the Cuneiform Inscriptions of Babylonia and Assyria, by Major H. C. Rawlinson, C.B., Lond., 8vo. 1850," the substance of two lectures delivered before the Asiatic Society in the spring of last year. Besides the larger inscriptions, there are five short Epigraphs attached to the five series of figures, containing a sort of register of the tribute sent in by five different nations to the Assyrian King: Colonel Rawlinson, however, adds that they do not, as might have been expected, follow the series of offerings as they are represented in the sculpture with any approach to exactitude. The first Epigraph records the receipt of tribute from Shehua, of Ladsdn, a country which joined Armenia, and is possibly connected with Lazistfin. The second line of offerings are said to have been sent by Yahua, son of Hubiri, a prince who is not mentioned in the annals, and of whose country we are ignorant. The third is the tri- bute of a country called Misr, and which there is every reason to suppose indicates Egypt. Colonel Rawlinson conjectures from them that since Misr is not mentioned in the Obelisk Annals, it was in subjection to Assyria, during the whole of the reign of Temenbar II. The fourth tril)ute is that of Sut-pal-adan, of the country of the Shekhi, probably a Babylonian or Elyniitan Prince, who is not other- wise mentioned. The fifth is that of Barberanda, the Shetina, a Syrian tribe, probably the same as the Sharutana of the Hieroglyphics. Colonel Rawlinson states that he cannot at present identify the various articles which arc named in the Epigra[)hs ; that the mention of gold and silver, pearls and gems, ebony and ivory, may be made 284 ASSYEIAN ANTIQUITIES. out with more or less certainty, but that the nature of many of the other offerings cannot even be conjectured. With regard to the animals, that horses and camels may be identi- fied, the latter being described as "beasts of the desert with the double back ;" but that the more remarkable ones, the elephant, wild bull, unicorn or rhinoceros, and the monkeys or baboons, are not specified unless they are included under the category of " rare animals from the river of Arki and the country beyond the sea." KIIORSABAD. KhorsabM was, as we have stated, the scene of the successful labours of M. Botta, whose splendid collection of Assyrian antiquities procured from that place, is among the most valuable of the collec- tions in the Louvre at Paris. The Museum possesses a considerable number of specimens from this ruin, some of which were the earliest results of Assyrian excavation which reached England. The finest slabs are, without doubt, those which were procured by Colonel Rawlinson, and which came to England towards the close of the last year, in the same ship which conveyed the lion and the bull. These two slabs were originally each carved on two separate blocks of stone, and afterwards united together. They represent a gigantic winged human figure, more than thirteen feet in height, clad in the customary Assyrian dress, and wearing a conical cap surmounted by two horns on each side of it. The right hand is raised and holds the fir-cone, the left carries a basket, symbolical emblems of common occurrence on the Assyrian sculptures, but of which no satisfactory explanation has, as we think, yet been offered. The great peculiarity of these slabs is the mode of representation which has been adopted by the artist. It will be observed that the figures are walking in the directions, respectively, of the right and left hand ; but that, at the same time, the heads and bodies down to the knees are drawn in full to the spectator, the eyes of the figures looking directly out of the picture. In the ancient building, where they were discovered, these figures stood each facing one of the gigantic human-headed bulls, to whom they were apparently offering the fir-cones they hold in their right hands. Besides these newly arrived specimens of the later Assyrian art of Khorsabad, the Museum possesses several slabs more or less in- jured, procured by Mr. Hector, a gentleman resident at Mosul, from the same place. These are, a large figure of the King standing to the right, and resting his right hand on a long staff', while his left reposes on his sword handle, the end of that weapon being richly ornamented by lions' heads placed back to back, and the original KHORSABAD. 285 ornament having probably been executed in silver or gold. He is bearded, and wears the usual Royal head dress, a square-topped cap with a long fillet which falls down his back, and bears traces of original red paint. The King wears a very rich robe, which extends to his feet, and sandals, still, like the fillet, retaining evident marks of paint. To the left and fronting the King stands a beautiful figure, raising his open right hand, as though addressing him; his left rests on the hilt of a plain and straight sword. His dress is less rich than that of the King, but he wears a fillet round his uncovered head. The next figure is that of an eunuch standing to the left, with his hands crossed in the Oriental attitude of attention ; his dress is plain, and he has no fillet, but a sword similar to that of the last figure. Besides these, the most important of the Khorsabdd collection, are some smaller pieces of sculpture ; one, an archer with a bent bow in his left and two arrows in his right hand ; a man carrying what is probablj' a wine-skin on his shoulders ; two figures facing different ways, and carrying in their right hands a flower resembling the poppy ; three fragments containing horses' heads, and eleven de- tached heads, five of them bearded, the rest those of eunuchs. All these were obtained for the Museum by Mr. Hector, and were the earliest Assyrian remains deposited in the National Collection. There is also a remarkable fragment procured by Mr. Layard, and originally one of the Khorsabad slabs. It is that of the head, Horseman from Khorsabad, 286 ASSYRIAN ANTIQUITIES. shoulders, and right arm of a Man leading Two Horses, the heads and necks of which alone have been preserved. The heads of the horses have a very rich ornament, not unlike that which we are in the habit of placing upon our funeral horses. This fragment, from the depth of its cuttings and the beauty of its execution, is one of the most effective of the Assyrian sculptures. KOYUNJIK. The Museum at present possesses onlj' three slabs from these ruins, but we may hope that many more relics of this once mag- nificent pile of buildings may be procured by Mr. Layard, ere he leaves the country. The first and second form one continuous sub- ject, which Mr. Layard has considered to represent the passage of troops through a mountain country ; we, however, are inclined to be- lieve that jungle, or copse, is intended by this singular represen- tation. It will be observed that a tree or plant with long flat leaves is pourtrayed on the upper portion of the slab ; this plant has a very great resemblance to the banana, which only grows in low and marshy districts. Four warriors are represented on the slabs, on foot and leading two horses. The inscription bears the name of Khorsabiid. The third slab is an attack upon some place by slingers. It is curious that another subject, apparently almost identical with that at present on this slab, has formerly been sculptured upon it, and that for some reason it has been erased, and the present substi- tuted. This slab has been once considerably larger, and has been shortened, to the injury of its sculptures, probably to fit some other building. KALAH SHERGHAT. Kalah Sherghat, in the Desert, is one of the most celebrated ruins in Assyria, and like Nimrud, Koyunjik, and other Assyrian sites, is a large square mound surmounted at one end by a cone or pyramid. Long lines of smaller mounds enclose a quadrangle, which may perhaps have been once occupied by houses, or unimportant buildings. At this place Mr. Layard has also opened trenches ; but with the excep- tion of the figure we are about to describe, he has found little there as yet to reward his labours. Subsequent excavations have not yielded anything of importance ; there were indeed many walls, but pro- bably recent ones, about the ruins ; and there were tombs and sarco- phagi above the walls, as at Nimrud. As the platform in which the building, whatever it was, must have stood, was not reached, Mr. Layard considered that the ruins had not been satisfactorily exposed. The Seated Figure in black basalt is much mutilated. The head and KALAH SHERGHAT. 287 hands have been destroyed, and the character therefore of the coun- tenance cannot now be determined. The square stool on which the figure sits is covered on three sides with Cuneiform character. Un- liice all the other sculptures as yet discovered in Assyria, this figure is full, and not in relief. Part of the beard is still preserved ; the hands appear to have rested on the knees, and a long robe, fringed with tassels, to have reached to the ankles. There is a great resem- blance between the character of this, the only Assyrian statue yet discovered, and the Egyptian style of workmanship. Seated Figure. ( 289 ) EGYPTIAN ANTIQUITIES. INTRODUCTION. Befoek we proceed to the separate description of the Monuments which have been procured from Egypt, and whicli now enrich the National Collection at the British Museum, we propose briefly to lay before our readers an outline of the nature of the celebrated country in which these, the earliest remains of ancient art, have been discovered, with some account of its most celebrated cities and buildings now wholly ruined. It seems, indeed, hardly possible thoroughly to appreciate the remains of ancient art without some knowledge of the peculiarities of the lands which they once adorned and illustrated. Thus a knowledge of the religious creed of a na- tion or a race, the language they spoke, the ordinary life they led, are almost essential requisites in tracing out the course of their artistic history. On sculptured monuments, alike in Egypt and in other lands, we observe the forms of animals and of plants which were subservient to their daily and domestic use, or honoured for some real or supposed virtues — while in the geological character of the natural productions of their country we discern and test the ability and the judgment with which they handled the materials they had at their command. From the earliest Antiquity Egypt has been called the gift of the Nile : to that noble river it owes at once the peculiar formation and growth of its territory, and the fertility of its soil. But for the Nile, Egypt would have shared the fate of the rest of Central Africa, and would have been a sandy waste or a stony desert. Scarcely any country exists of which the natural limits are so narrow, and which yet affords so much intcriinl variety, the riclioat fertility u 290 EGYPTIAN ANTIQUITIES. bordering on the sandiest deserts, and the luxuriant vegetation of the river-banks hemmed in by the most rugged and inhospitable mountains. Egypt is in fact but one long valley, divided into two nearly equal portions by its river, and valuable for the purposes of human life only so far as its annual inundation extends on either side from the main channel of the river. The Nile flows in an undivided stream nearly due N., with occa- sional bends to the N.W., till it reaches the city of Cercasorus, about sixty miles from the sea, where it divides into several small, and two principal anns, which enclose the Delta, the fniitful part of Lower Egypt. In ancient times it entered the Mediterranean by seven mouths, two of which Herodotus states to have been artificial : and it is worthy of remark that these, the Rosetta and Damietta branches, are now alone navigable. From the point of division in Lat. 30° 15' to Lat. 24° 8', near Assouan (the ancient Syene, about 500 English miles) are the districts generally comprehended under the titles of Middle and V^pper Egypt (the Thebais of the Greeks). The basin of the Nile is formed by hills, seldom of great height, extending more or less from Jebel Silsileh, near Assouan, to Cairo, and with defiles on its eastern side in the direction of the Red Sea, which have in all ages served as lines of communication between the river and the trading towns on its coast. From these hills, which are of various geological frmoation, have been obtained the materials for all the monuments either still existing in Egypt, or preserved in the museums of Europe. To the peculiar charac- teristic of the Nile, its annual inundation, may doubtless be traced many of the peculiarities of ancient Egyptian life. Thus their mode of interment, and the constant practice of embalming not only the bodies of their own people, but also those of the animals sacred t« their Deities — the cat, the bull, the crocodile, and the ibis — are pro- bably due to this cause. The Egyptians would not place the bodies of their friends in the alluvial soil of the valley, which was liable to annual disturbance or obliteration by the action of the flood ; still less would they consign them to the river, w^hich was too sacred to have been thus polluted. The dryness of the climate and vicinity of the rocky mountain caverns provided them a place wherein to deposit the remains of those who were dear to them, and the use of spices, &c. enabled them by embalment to preserve them still longer. On the West side of the Nile, as we ascend from the Delta, the mountain range is for the most part composed of shelly limestone, of INTRODUCTION. 291 which the Great Pyramid at Gizeh has been built. Near Esneh, in Lat. 25° 20', and Edfou, we find sandstone alternating with limestone, of which (with the exception of the ruins in the Delta) the majority of the temples have been constructed, and of which the colossal ram's head in the British Museum' is an example. In the neigh- bourhood of Assouan we meet with that combination of granite and hornblende which has been called in consequence Syenite, the mate- rial of a large majority of the colossal statues and obelisks. A half- formed obelisk between seventy and eighty feet long, with unfinished columns, sarcophagi, and immense hewn blocks, still mark the site of the ancient quarries of Silsilis. On the East side of the river the same geological features prevail with some slight differences, the limestone formation being more interrupted, and the serpentine and granite commencing earlier. The mountainous region between the Nile and the Red Sea con- tains abundant mineral deposits. Iron, of which Agatharcides denied the existence, has been discovered by Mr. James Burton at Hammami : and copper mines have been met with in the same range, and in Arabia Petraea. Agatharcides, D'Anville, and Makrizi have demonstrated the existence of gold mines, and tradition attributes the working of them to the Ptolemies and early Pharaohs. It is worth while to state concisely what are the remains still ex- isting in the Delta, Lower and Upper Egypt, and Nubia, as we shall have constant necessity to refer to them when we come to the de- scription of the sculptures preserved in the Museum. With regard to the Delta, our information is more limited than iu the case of the other districts : owing to the climate and the difBculty of travelling in it, it has not been so thoroughly explored as other parts of Egypt, while from its vicinity to the sea it has suffered much more extensively from the depredations of other nations. The remains it at present contains are few in number, and, with two or three exceptions, offer fewer subjects of interest than are found elsewhere. The most important ruins are — 1. Those of Sh, on the site of the ancient Sais, and to the N. of the village of Sa-al-Hajar. Sais was celebrated for its temple of Athene, and for the tombs of the Saite dynasty, who ruled Egypt for 150 years, till the time of the invasion by Cambyses. Cecrops is ' F'KJ'ptian Saloon. No. 7. 292 EGYPTIAN ANTIQUITIES. said to have led thence the colony who founded Athens in b. c. 1556, and to have visited Greece in a papyrus boat. Herodotus describes as a great curiosity a monolith temple, which had been brought from Elephantina and erected at Sais.' 2. The ruins of Semennut (the ancient Sebennytus), built of granite blocks brought from Assouan, and described by Mr, Hamilton as one of the most magnificent remains of Egyptian art, though now shattered and piled in heaps as though by an earthquake. 3. Those of San (the Tanis of ancient history and Zoan of Scripture), among which Mr. Hamilton excavated an andro-sphinx of colossal size. 4. The mounds of Tel Atrib, in circuit about five miles, of Tel Basta (Pi-Beseth), and Matarieh near Cairo, where still stands a solitary obelisk on the site of the celebrated Heliopolis or On, the Ain-Shems of the Arab writers. Abd-al-latif, the Arabian historian, states that he saw two obelisks, one standing and the other fallen ; and Zoijga conjectures that the one in the Campus Martins at Eome came originally from this place. The evidence of many travellers demonstrates the rapid decay of the monuments in the Delta. The description of Abd-al-latif shows that in his time the ruins of Heliopolis were still considerable ; and P. Lucas, who was in Egypt in a.d. 1716, states that the people of the country were in the habit of cutting grinding-stones out of the capitals and pillars of the temple at Bebek-al-Hajar. Cairo (Al Kaliirah) itself contains few relics of the early period of Egyptian art ; but in its neighbourhood is the village of Metrahenny, which marks the site of the once celebrated Memphis, the capital of Lower Egypt, and the rival in splendour of the even more celebrated Thebes. Owing to its position, it has served as a quarry for the successive rulers of the country, and fragments of columns, statues, and obelisks are all that now remains to indicate the position of the great temple of Phtha (Hephaestus), Such are the principal ruins now existing in the Delta and its im- mediate neighbourhood. On ascending the Nile, and entering the second main division of the country, Middle or Lower Egypt, the traveller enters the dis- trict of Al Fyiim, containing the once well-known lake Moeris (now Birket-al-Kerun), and passes the ruins of Madinat-al-Fyiim, the » Her. ii. 175. INTRODUCTION. 293 Arsinoe of the Ptolemaic age, and the Crocodilopolis of earlier history. Large mounds and fragments of granite columns lie scattered in all directions. In its immediate neighbourhood is the pyramid of Howaree, which indicates the site of the Labyrinth ; it is, however, so entirely ruined that neither its extent nor its plan can be satisfactorily made out, though much has been done for its investigation by Dr. Lepsius and the Prussian ex]>edition in 1842. Beyond Al-Fyiim are the ruins of Ashmouneia (Ilennopolis Magna), and Ensene (Antinoc), on the East side of the river, and in its neighbourhood the grottos of Beni-Hassan" (Speos Artemidos), the painted walls of which afford excellent representations of the arts and domestic life of the ancient inhabitants. A little south of Siout is the commencement of the Third di- vision, or Upper Egypt ; and near that town are some magnificent tombs. Gau-al-Kabir (Antaiopolis), a town on the East bank, till lately preserved a very perfect ancient temple, but a high flood in 1819 destroyed nearly the whole place. At Ekhmim (Panopolis, or Chemmis) and Arabat (Abydus), a few miles further on, are ex- tensive remains, and at Dendera (Tentyra) still stands a very perfect temple. The remains of Dendera cover a great extent of ground, and are enclosed, with the exception of one building, by a square wall, one side of which is a thousand feet in length. About twenty miles south of Dendera, the traveller arrives at the plain of Thebes (Hecatompylos), which contains the most wonderful assemblage of ruins on the face of the earth. The Ancient city of Thebes occupied both sides of the river, and is now represented by four villages, each preserving its separate collection of Antiquities. The villages are named, Luxor and Kamak on the Eastern side, Goumeh and Madinat-Haboo on the Western. Luxor is chiefly remarkable for its temple, which is covered with sculptures representing the triumph of Rameses II. over an Asiatic enemy, a subject repeated on other monuments at Thebes, and on the great Nubian temples at Ipsambul. Kamak, a mile and a quarter lower down the river, presents an irregiilar avenue of Sphinxes considerably more than a mile in length ; and contains the ruins of the Temple of Ammon, described by Diodonis, some portion of which has been constructed out of the materials of still earlier buildings, blocks of stone being occasionally found with the Hieroglyphics inverted. GouiTich, on the West bank, has a small Temple and Palace dedicated to Amen, the Thcban Zeus, by 294 EGYPTIAN ANTIQUITIES. Sethos I., the father of Rameses II. (the Greek Sesostris),' with many sculptures of great interest ; and, at a short distance from this Temple, the ruined Palace of Rameses IL, commonly, though erroneously, called the Memnonium, within the area of which are the fragments of a statue of that King, the largest probably ever executed. Some idea may be formed of its stupendous size when we state, that its feet are eleven feet long and nearly five in breadth. The sculptures in the so-called Memnonium afford va- luable illustrations of the wars of the ancient Egyptians. Beyond the Memnonium are two colossal statues, the easternmost of which is the celebrated Vocal Memnon. Madinat Haboo probably occupies the site of the fourth of the temples mentioned by Diodonis. Its still remaining ruins are of various ages, some works of the later Egyptian and Roman period being intermixed with the early sculp- tures of Thothmes II. and III., and of Rameses III. (the Rhamp- sinitus of Herodotus). The most important ruin is that of the Palace or Temple of Rameses III., which is covered with valuable historical sculptures. Behind Madinat Haboo is a valley, in which are excavations called the Tombs of the Queens, which have, however, suffered so much from the action of fire, that but little can be traced of their sculptures. Still further on, behind a low range of rocks, are the Biban al Muluk (the Gates of the Kings), the still more celebrated Royal sepulchres, one of which (that of Sethos I.) Belzoni opened, and has minutely described. The names of the Monarchs recorded, though not necessarily buried, in these Tombs, are those of Ra- meses I., Sethos II., Rameses II., Ill,, IV., V., VIII., and X., while many of them contain memorials in Greek of persons who visited them in ancient times. One other smaller sepulchre is mentioned by Sir Gardner Wilkinson, and bears the name of Amenoph III. Such are some of the wonders of that extraordinary group of ruins, known generally, by the name of Thebes. Between Thebes and the cataracts of Assouan (Syene) are several remarkable ruins, the principal of which are those of Erraents (Hermonthis), Esneh (Latopolis), the grottoes of Al-Kab (Eilei- thuias), the painted chambers of which afford admirable representa- » Wilk , vol. i. p. 138. INTRODUCTION. 295 tions of the domestic life aud rural economy of the Egyptians, and near which is the last pyramid within the limits of Egypt South- wards : the Temple of Edfou (Apollinopolis Magna), aud the re- mains of Ombi, with a Temple still nearly perfect. Lastly, in the extreme limits of Egypt adjoining Nubia, are the ruins of Ele- phantina and the island of Phil«, containing a wonderful collection of monuments, grouped together within a very limited space. Passing Phil*, the traveller enters the province of Nubia, divided into Upper and Lower Nubia, and hardly less distinguished than Egypt itself for the magnificence and grandeur of its ruiued temples. It has, indeed, beeif suspected that Egyptian arts and civilization descended the Nile from Nubia, and there are not wanting indica- tions confirmatory of this supposition in the peculiar character of the Nubian monuments, many of which are gigantic carvings upon the face of the rock itself, pointing to a very remote antiquity for their execution. The principal ruins in Lower Nubia are those of Wady Sivah (the Oasis of Ammon), the rock-cut temples of Ipsambul, Derri, and Girscheh, and the singularly perfect and uninjured temple of Dandour. Of these the colossal works at Ipsambul may be considered to vie in magnificence with tlie gi'andest works at Karnak and Luxor. Upper Nubia commences at the Second cataract of the Nile, in Lat. 21° 50', at a place called Wady Haifa, and contains many remains of the highest interest. Of these the principal are those at Semneh, Amara, Soleb, Seschc, or Sasef, on the island of Tumbus, and at Mount Barkal. Mount Barkal is perhaps the most remarkable, from its peculiar isolated character and the number of monuments grouped upon it. It was in its immediate neighbourhood that Lord Prudhoe (now the Duke of Northumberland) procured the colossal granite lions in the Museum,' which belong to a very early period of Egyptian art. Beyond Mount Barkal are several small jiyramids, and at a place called Nourri there is a considerable group of them ; and in the Desert, about six leagues East of the Nile, are the niins of Naga, containing some curious sculptured remains. Lastly, and also in the Desert, nine leagues South of Shendy, is Al-Me^aourah, with its vast collection of ruins, consisting of eight small Temples ' I^pyptiaii Saloon, Nos. 1 Hiid ot. 296 EGYPTIAN ANTIQUITIES. connected by galleries and terraces with a great number of chambers, probably the site of the ancient Ammonium, the original seat of the oracle of Jupiter Ammon, from which the Religious colonies, which carried civilization, arts, and religion from ^thio])ia to the Delta, are believed to have issued. Al-Mefaourah itself probably represents the position of Meroe, the ancient capital of Ethiopia. ( 297 ) EGYPTIAN SALOON. With this brief introduction, we proceed to the Egyptian Sahion, as containing the most important records of ancient Egyptian Art. For convenience of reference and description \vc group tiie various objects in this room under the following heads : — 1. Statues and Fhagmknts of Kings. 2. Statues and Fragments of Deities. 3. Representations of Animals. 4. Sarcophagi. 5. Obelisks. 6. Inscribed Slabs. 7. Sepulchral Tablets. 1. Statues and Fragments of Kings. On entering the Egyptian Saloon, the spectator will observe a row of colossal subjects on each side of the central passage, of which the first which claims esj)ecial attention is — No. 19, commonly called the Head of Memnon, the most cele- brated monument of Egyptian art in any European collection, whether we consider its history, its colossal proportions, or the style of its sculpture. It is carved in a piece of fine granite, the lower por- tion of a dark, the upper of a salmon colour, and when complete represented the monarch seated on a throne, with his hand upon his knees. He wears on his head a modius, decorated with a disk and uraei, and has a collar round his neck. His right arm has a hole drilled in it, apparently for blasting, and his left appears to have been blown ofi" by the same process, probably to render it lighter for transportation. On his back are perpendicular lines of Hieroglyphics, the upper portions of which are tolerably well preserved, and record the gifts of ))ower and dominion, length ot years, &c. by the God Amen-Ra, to the King Ramcses II. It appears, on close examination, that this colossal fragment has been coloured, |)robal)ly in early times, traces of red paint existing on the face and modius, and of other colours upon the rUiff. 298 EGYPTIAN ANTIQUITIES. No. 19. — Front View. EGYPTIAN SALOON. 299 No. 19.— Side View. 300 EGYPTIAN ANTIQUITIES. The reign of Rameses II. is one of the most memorable in the Egyptian series ; the extant monuments of his greatness far surpass in number those of any other monarch. He has been considered to be the Sesostris of the Greeks ; and the paintings recording his victories over European tribes, some of which we shall have to describe here- after, confirm this identification. At the same time, however, it must be remembered, that the Sesostris of Manethon belongs to the Twelfth, but Rameses II. to the Eighteenth or Nineteenth Dynasty, and that it is probable that the Greeks, under the one name of Sesostris, combined the ex})loits of the whole Eighteenth Dynasty, attributing to the most memorable Monarch of that series, deeds in which many others had a share. The conquests of Rameses II. are recorded on the temples at Siboua, I brim, Girscheh Hassan, and Derri, which were erected by his orders— on the small temple at Ipsambul, which was built by his Queen — at Silsilis on two Stelse — at Luxor, and on the Rameseion (the Memnonium and tomb of Osymandyas of the Greeks). At Ipsam- bul, the conquered people of the Northern nations (Khita) resemble Tatars, with single locks of hair, clear complexions, and coloured garments ; while there are also representations of the people of the South, Kush or .Ethiopia, the Shohe and the Barbar races. Two wives of this monarch are mentioned on the monuments, with twenty- three sons and seven daughters. His reign is said to have lasted sixty- six years — from b.c. 1565 to b.c. 1499. The Museum head was removed in 1815 by Belzoni at the sug- gestion of Mr. Burckhardt and Mr. Salt, then British Consul in Egypt, from the temple, commonly called the Memnonium, at Thebes. It had been repeatedly observed and described by former travellers, and several attempts had been previously made to remove it to Europe. Belzoni found it lying on the ground, broken, and with its face upwards. — (If Norden is to be trusted, when he saw it in 1737, it was reposing with its face downwards.) After diffi- culties which remind us of Mr. Layard's account of the removal of the Great Bull from the Mounds of Nimrud, Belzoni succeeded in moving the statue to the river side, and in conveying it in safety to Alexandria. This statue deserves to take the first rank among the works of Egyptian art. The actual height of the fragment is nearly nine feet, and that of the whole figure when entire was ])robably not less than twenty-three feet. The countenance has an expression o' great beauty, and the whole colossal form is pervaded by that calm majesty so characteristic of Egyptian sculpture. It represents a EGYPTIAN SALOON. 301 No. 15. 302 EGYPTIAN ANTIQUITIES. young man, with a broad and well-defined chest, and a beard which, united in one mass, adheres to the chin ; a singular form observable in many of the monuments of Egypt, which has led Belzoni to sup- pose that the ancient people wore their beards in cases. On either side the head descends an appendage resembling the full flowina: wig of the English judges ; while on the head itself is what has been usually called a Modius, or corn-measure, the not uncommon head- dress of the Egyptian and Syrian rulers. On the head-dress at the back are other sculptures, the hawk's feather, and various plants, all of them probably conveying to the initiated symbolical memo- rials of the rank and dignity of the personage who bore them. This fragment has been called the Head of Memnon, because it was found within the precincts of the building which it was formerly the fashion, though wronglv, to call the Memnonium. Sir G. Wil- kinson has carefully examined on the spot what is known about this building, and is of opinion that besides other smaller and less im- portant ruins, there are two jmncipal groups remaining, to which the name of Memnonium has been applied. The first is a vast pile, with two gigantic propylsea, and a series of inner courts varying in size, the larger being the first as you enter. Within this, still exist the fragments of what Diodorus has no doubt rightly called the largest statue in Egypt. Of the portion which remains, the breadth across the shoulders is 20 feet 4 inches, and the height from the neck to the elbow is 14 feet 4 inches. Sir Gardner Wilkinson has calculated that the whole mass when entire must have weighed about 887 tons, three times that of the largest obelisk at Karnak. This building is probably that which is called by Diodorus the Tomb of Osymandyas. The statue we have described above, was brought from this edifice.' The word Memnon is perhaps a corruption of Miammen, and this building is almost certainly that called by Strabo the Memnonium. The second building is an inferior mass of ruins, possibly the site of another temple, in front of which are still seated the two great colossi, which are the wonder of modern, as they have been of an- cient travellers. The Easternmost of the two is shown by Sir G. Wilkinson to have been the Vocal Memnon of Strabo, which was said every morning to emit a sound like the snapping of a harp- string when the first rays of the sun fell upon it. These colossi are about 60 feet above the plain, including 10 feet, the height of their pedestals. * It has also been conjectured that tlie Memnon of the Greeks is the Egyptian monarch Amenophis ITT., who reigned about b.c. 14^0. EGYPTIAN SALOON. 303 No. 15. 304 EGYPTIAN ANTIQUITIES. No. 15 is the colossal Head of a King wearing the pschent, carved in red Syenitic granite, and in its features resembling the portrait of Thothmes III. The workmanship is peculiarly good, and the whole has been well preserved, only one ear and a small portion of the chin having been knocked off. It was discovered by Belzoni at Karnak ;' and though he does not specify the exact place, it would seem to have been found near the doors of the Granite Sanctuary. It was purchased in 1821 from Mr. Salt's collection. The head is of somewhat larger proportions than that of the Mem- non, being 10 feet from the neck to the top of the mitre, and the figure when complete was probably part of a standing colossus attached to a Caryatid pilaster. The cap has been ornamented in front by the Royal Snake, which is now partially mutilated. This statue was probably originally about 26 feet high. Behind it is a Colossal Arm, No. 55, which belonged to the head just de- scribed : its size (about 10 feet long), compared with the head, enables us to estimate that of the whole statue when entire. The form of the arm, and its straightness, prove that it has belonged to a standing figure, and the under part of the arm shows by its fracture that it has been attached to the side of the figure, and once held in its hands a cylindrical staff, the remains of which are visible. A mutilated colossus still stands at Karnak, showing the manner in which such statues were usually attached to the Caryatid pilaster. The arm retains its original polish, and is one of the finest pieces of granite in the Museum. No. 21 is a colossal statue of peculiar interest,^ as it appears to be a ' Belzoni, p. 184. ^ No. 21. The account which Belzoni has given of his discovery of this colossus is very interesting (Researches, p. 292). He had observed, he states, that, behind the Vocal Memnon and its companion, the ground was covered with fragments of colossal statues, and he knew that M. Drovetti and Mr. Salt, the French and English consuls, had made excavations there, the latter having thereby discovered the site of an extensive temple. There were also about thirty pedestals of columns of very large diameter. Belzoni further noticed that the part where the sekos and cella must have been (if the ruins were those of a temple) had not been touched by previous excavators, and here, accordingly, he set to work. On the second day he came upon this statue of Amenoph III., and on subsequent days he met with several other lion-headed statues (Pasht). Belzoni enters into some speculations about this edifice having been the real Memnonium, which would have been probable enough had we not the additional historical evidence in favour of the building at Gourneh, which seems conclusive. It is, however, instructive that Heeren has adopted Belzoni's conjecture. The EGYPTIAN SALOON. 305 No. 21. 306 EGYPTIAN ANTIQUITIES. miniature representation of the great Memnon, and such as it must have appeared when entire. It is a representation of Amenophis- Memnon, or Amenoph III. Its material is black granite, changing in one place to red syenite, with large white crystals of feldspar diffused through it. The execution is good, the granite highly polished, and but slightly injured ; and the subject is the Monarch seated on his throne, having on his head a head-dress ornamented in front with the Urceiis. On the sides of the throne, and at the back, are lines of Hieroglyphics expressing the various titles of the King. The entire height of the figure is about 9 feet 6 inches, inclusive of the base, and of the statue itself about 8 feet 6 inches. The dress of the body in front is the shenti, or linen tunic, and is formed of a number of small flutings resembling those of a Greek column, partially overlapping the thighs, and extending in front between them as far as the knees. The hands are the only parts of the figure which are poorly executed; they are flat and stiff; and, but for their polish, would lead the spectator to imagine that they have been left unfinished. The bust marked No. 30, which is probably a representation of the same monarch, Amenoph III., was discovered in the Gourneh quarter of Thebes. It will be observed that such of the details as are preserved in this bust, correspond almost entirely with the more perfect figure we have just described ; the form of the snake and same head-dress exist in both ; but as the rest of the statue below the waist is lost, we have no means of ascertaining whether the general position of the two figures was the same. The name and prenomen of Amenoph III. are found on the Throne of the Vocal Memnon, and the united testimony of the Greek writers shows that he is the Amenophis of the Eighteenth Dynasty, and his reign between b.c. 1692-1661. His image appears among the ancestors of Rameses II. at the Rameseion, and among those of Ra- meses III. or IV. (Miammun) at Madinat Haboo. He was the founder of the Palace Temple at Luxor, and erected the pile of edifices from north to south, together with the Caryatides of Pasht, the sphinxes, and the colossal statues of the Vocal Memnon and its companion. His triumphs are recorded on the temple of Soleb in Upper Nubia, The head-dress of the Museum Memnon agrees with Mr. Burton's draw- ing of the back of the great Theban Memnon, and from the head Pococke (Egypt, pi. 1743) has attempted, though not very successfully, to restore the front face of the great Memnon. Pococke has supposed the head-dress to be an imitation of the leaf of the doum, or Theban palm. EGYPTIAN SALOON. 30? on the left bank of the Nile at Sokhot and Al-Mahas, at Phiiae, and at Beghe or Snem. There exist two monolith temples of him at Silsilis, and he erected a temple at Elephantina to one of the local deities. Under his reign we become first acquainted with the princes of Kush or Ethiopia, one of whom is represented at Beghe. The great historical events of his reign are depicted on the remains of one of the columns of the Amenopheion at Luxor, which has seven- teen prisoners engraven on it, on the statue at Paris, which records twenty-three, on that at Soleb, which exhibits forty-thrco, and on that at Elephantina, which mentions twelve. Whenever accurate lists of the names of these prisoners shall be published in the order in which they occur on the monuments, and with indications of their colour, we may perhaps be able to assign the races, Asiatic or jEthiopian, to which they respectively belong. No. 30. x 'i 308 EGYPTIAN ANTIQUITIES. Two other colossal heads exist also in the Museum, Nos. 4 and 6, which, as belonging probably to nearly the same period as those last described, will be best noticed in this place. They were both procured by Mr. Salt from an excavation, to which we have already alluded, which he made behind the Vocal Memnon. There is therefore strong probability that they are intended for heads of Amenoph III., whose features they much resemble. Many such statues, we know, stood facing the great Colossi in the intervals of the front columns of the Propylon. The material of both heads is a brownish breccia highly crystallized, which has on Wo. 6 peeled off from the right side of the face, so as to reveal the component parts of the stone. The portions which are uninjured still retain a high polish. The beard, unconfined by any case, is indicated by trans- verse incisions on the stone. On the forehead of these colossal heads may be seen the traces of the usual serpent, represented in the same manner as on the other statues, the tail being higher than the head, and extending up the surface of the stone to which it is attached. The expression on the countenances of these two statues is pecu- liar, and unlike that of any other figures in the Museum. The angles of the mouth, though elevated in most Colossi, so as to give the effect of a smile, are raised much more so in these than in any other specimens we have met with. The distance, too, between the nostrils and the upper lip of No. 6 is only 1 J inches, which is very small when compared with the proportions of the rest of the face. An examination of the remains of the cap and bandages will show that these breccia heads must have had the same high cap which we noticed in our description of No. 15. No. 67 is half of a very beautifully executed statue of Rameses II. (Sesostris), in fine red granite, presented to the Museum in 1840, by W. R. Hamilton, Esq. The dress is particularly rich and elegant, and the cap bears great resemblance to that of the red granite head of Amenoph III. already described. Decorations in this style are unusual at so early a period. The head-dress is sur- mounted by the pschcnt, the emblem of dominion over the upper and lower world, and ornamented with a collar and bracelets; the arms are crossed upon the breast, and hold respectively the flail and whip, the emblems of Osiris ; on the right and left shoulders are two car- touches with hieroglyphics, the left bearing the name, " Rameses beloved of Amen." On the plinth, behind, are two perpendicular lines of inscription, alluding to the local Divinities under whose pro- tection the Monarch is placed. This fragment was found at Ele- EGYPTIAN SALOON. 309 phantina, and is 4 feet 8 inches in height : it is probable that it was originally in a seated position, and not attached, like many other statues, to a Caryatid pilaster. If so, the Hieroglyphics must have been cut on the back of the throne or chair. Wo. 61 is a remarkable statue, finely executed in red granite, of a Monarch, whose name cannot with certainty be determined. He wears on his head the absh or white crown, the snake being visible in front over the forehead. On the shoulders are the name and prenomen of Rameses II., and on the chest those of Meneph- thah : the name on the belt has been erased. There seems some ground for believing that the statue itself is older than either of these Monarchs, and that they each in their turn appropriated it to them- selves. The apron which hangs down in front is well represented, but the right arm and the two hands, which are in excellent pre- servation, have a rude and unfinished appearance. This statue has generally been attributed to Menephthah, who was the successor of Rameses II., and his thirteenth son. There are few historical records of his reign : adorations arc indeed found in his honour at Silsilis, and in the quarries we find him represented adoring Amen, together with his wife Esi-nofre. At Thebes he has carved his legends on the Smaller Obelisk, and also in the palace at Gourneh : but the chief monument of his reign is his Tomb at the Bibin-al- Muluk (the Tombs of the Kings), from which Mr. Hay has suc- ceeded in obtaining an excellent plaster cast. The reign of Meneph- thah is variously given by different interpreters, at from three to forty years. He probably ascended the throne about u.c. 1499. No. 26 is a finely executed statue of the monarch Seti-Meneph- thah II. (called by Rosellini Menephthah III.), carved in a light brown or whitish sandstone, and well preserved. His name and prenomen are cut upon his shoulders, tlie usual place in these statues, and he holds before him, by both hands, a small naos or altar, on which is the head of a ram, the living emblem of the god Noum, one of the types of Amen-ra. Round the base of tiie throne runs an inscription, and there are two cartouches under his feot. One of tlio cartouches bears the name, " Sethci beloved of Phthah," or "Menephthah." The name of the God Set or Typhon has been erased, but the ele- ments of its form are still distinct. From tills statue we may form a good estimate of the amount of anatomical knowledge possessed by the ancient Egyptians. The bony structure of the legs and the ankle joints are very strongly and distinctly marked ; but the forms are treated with that formal 310 EGYPTIAN ANTIQUITIES, No. 26. EGYPTIAN SALOON. 311 straightness which is the characteristic of Egyptian sculpture in all perfect statues. In seated figures the feet are generally placed nearly parallel to each other, while in those which are standing they are generally in the same right line, one perhaps being rather more advanced than the other. The Seti-Mcnephthah here described is believed to be the Sethos of the Nineteenth Dynasty, who succeeded in expelling the second invasion of the Shepherds of Phoenicia or Palestine. His conquests are found recorded on some papyri which apparently recount the exploits of himself and his grandfather. Sir Gardner Wilkinson agrees in this attribution, but shows that this monarch is omitted in the procession at Madinat Haboo, from which circumstance it may be conjectured that either his ascendancy was unconstitutional, or his memory uncongenial to his descendants. No. 12 is the last of the statues of Kings which we shall select as particularly worthy of note and description. It is of red granite, and has been called, not very properly, an altar. It consists of an upright shaft, broader at the base than at the top, with its four sides decorated with sculptures in alto-rilievo. On the broad side are two figures, and one on each narrow side. Their subject is the re- ception of the Monarch Thothmes III. under the protection of the Deities Month-ra (Mars) and Athor (Venus), each of whom holds him by the hand. The King himself appears in higher relief than the other figures, and, before the block was injured, wore a casque or helmet ; round his waist is the gheiiti, and on his belt his prenomen, which is repeated with the titles of the Gods, on the vertical line at the side above him. The hawk-headed God at his side is Month-ra, and the female Divinity with the disk and horns is Athor. The feet of all the figures are wanting, and the upper part of the block has been broken off, on the sides over the head of Month-ra and the King. The figures of the Gods appear anciently to have been changed. This sculpture was found among the ruins of Karnak, probably not far from the Granite Sanctuary of Thothmes III., close to the wall containing the Statistical Tablet of Karnak. The French when in Egypt wished, but were unable, to remove it; subsequently it was procured by Mr. Salt, from whom it came to the Museum. The figures, which are twice repeated, are well executed and beautifully polished. Its present height is about 5 feet 6 inches. Thothmes III., who is commemorated on this monument, has been justly deemed one of the most eminent of the Egyptian Monarchs, and to deserve the title of Great as compared with other Kings of the same name. The whole of Egypt, and even Nubia, bears testimony 312 EGYPTIAN ANTIQUITIES. No, 12. EGYPTLVN SALOON. 313 to the vast public works completed or commenced by him. In Nubia he erected the Temple of Semne, and two rock-excavated chapels at Ibrim, near Ipsambul ; and some of the earlier portions of the Palace at Karnak, composing more than one-third of that building-, together with the Granite Sanctuary, before which stand the two great obelisks of his sister and father, are likewise due to him. The Church of S. Giovanni del Laterano at Rome, the Atmcidan or Hippodrome at Constantinople, and the city of Alexandria, have also obelisks which belong to his reign. The Obelisk of the Atmei- dan records that he encircled with his ships the great waters of the Naharaina or Mesopotamia; and the Statistical Tablet of Karnak (in- terpreted by Mr. Birch in the ' Transactions of the Royal Society of Literature') enters into still fuller details of his conquests, and of the nations from whom he procured tribute. In one of the Tombs at Thebes are records of the tribute brought to him by many difi'erent races, together with animals indicative of a people belonging to Syria and Bactria. Thothmes is represented receiving the tribute, which is duly registered. There is another monument of this King in the Museum, which is rather curious, as it is the drawing of an Egyptian artist, upon a board prepared with linen and stucco, and subsequently squared. He is seated, with his hair encircled by a fillet, elegantly tied in a bow resembling flowers, and with pendent ribands. Before him are two cartouches, with his prenonien. A plaster cast from the Fallen Obelisk in front of the great granite obelisk at Karnak also represents this King standing and offering a vase of oil to Amen. With this brief notice of the more remarkable among the statues of Royal personages which may be found in the Egyptian Saloon, we shall take next — 2. Statues and Fragments of Deities : premising, however, that it is difficult to distinguish the representa- tion of the God from that of the King; the Kings being not unfre- quently sculptured under the likeness of Deities. The statues of Pasht are the most remarkable of this class. The Museum possesses a considerable number of representations of this Deity, who occurs very frequently on ancient Egyptian works, such as the Nos. 37, 41, 45, 49, 57, 60, 62, 63, 65, 68-9, 71-2, 76-7, 79, 80, 84, 87-9, 95. There is generally a great re- semblance between them, and it is probable that many of the colossal forms of Pasht served for the purpose of Caryatides before the Temple of the Goddess Maut, at Karnak. 314 EGYPTIAN ANTIQUITIES. t.,:,Tj4 L^' A i No. 76. EGYPTIAN SALOON. 315 No. 63. 316 EGYPTIAN ANTIQUITIES. One of the best preserved of seven similar ones is No. 76. It is carved in dark granite, and represents the Goddess standing, holding in her loft hand the lotus sceptre, and in her right the sacred Tau, or Syndjol of Life. The worknuuiship is of the age of Amenoph III. (b. c. 1692-61), and of a grand, pure style. The cheeks and limbs are full and well proi)ortioned, and the general effect is good. The relation of this Goddess with the Sun is indicated by the ornaments with which she is often adorned. Thus, in another colossal statue of her, which we shall now describe, she wears the disk of the Sun on her head, entwined with the Urseus. No. 63 is a beautifully-polished specimen of black granite. The head is surmounted by a disk ; the figure itself seated, the hands resting on the lap, and the left one holding the crux ansata. Below the breast, an ornamental band or border encircles the body, and is met by a broader ornamental bandage which, as a continuation of the head-dress, passes over the breasts to join the border below them : the feet are bare. This statue, which was excavated by Belzoni at Thebes, bears on it a Ilieroglyphical inscription with the name and titles of Sheshonk I., the Sesonchis or Shishak, who, in b.c. 972, invaded Palestine and pillaged Jerusalem. In style it differs con- siderably from the one last described ; the cheeks are more hollow, the polish and detail more elaborate, the structure of the limbs more free and less strongly developed : the whole character of the art is less grand and pure than that of the Eighteenth Dynasty. The slab itself is nearly perfect ; but the right arm has been cracked across, and the disk on the head is in a separate piece mortised into the upper part of the figure, and not carved out of the solid block. Another statue of considerable interest (No. 8) is one commonly called Hapimoou or Hapi, the Nile, found at Karnak. It is about the size of life : in front of it appears an altar, on which are circular and oval cakes of bread and gourds, with the head, haunch, and ribs of a calf. It appears that the ancient name of the Nile was Hapi-moou, signifying " secret waters." The Nile is generally re- presented as Androgynous, and his form is distinguishable by being embonpoint, with the full breasts of a female, denoting that the river was the nurse and support of Egypt. As Egypt was divided into the Upper and Lower districts, so also in Egyptian mythography there were two Niles, the one wearing the lotus, the other the papyrus, the representatives of the Upper and Lower country, and the types respectively of the flood and low state of the river. So, too, the flesh of the two Niles is distinguished by the one being EGYPTIAN SALOON. 317 painted red and the other blue. The offices performed by the Nile, in the Egyptian Pantheon, were of a subordinate nature : thus in the chamber at Philae, where the Creator Noum is fabricating the limbs of Osiris of f)otters' clay, the Nile ministers to him the neces- sary water for moulding the clay. lie seldom or never appears as one of the ])rincipal Deities; but it is stated on the Hieroglyphics that he vhijies all lands Inj his offerings. In one instance he is re- presented seated in a rocky cave, holding in each hand a water-vase; on the top of the rock arc a hawk and a vulture, the emblems of the male and female principles of nature. The region where his worship principally prevailed was at Snem or Beghe, of which he was the Lord. The object of the inscriptions on this statue, both of that on the border of the altar in front and on the side, is to com- memorate the gift of this statue by Sheshonk to his Lord, the God Amen, with a prayer for health, prosperity, power, and victory over all lands and countries. The slab has been broken in several pieces and rejoined. It is not certain which monarch of the name of Shishak was its donor. We shall defer a fuller account of Egyptian mythography till we come to the Egyjdian Room (upstairs), as almost all the re- presentations of deities are small, and in wood, clay, bronze, or porcelain. 3. Representations of Animals. Of these there are none in the British Museum more deserving of notice than Wos. 1 and 34 — two Colossal Lions in red granite, which were brought to England by Lord Prudhoc (now Duke of North- umberland) in 1832, They were found near Mount Barkal, a very singular isolated rock in Upper Nubia, amidst the ruins of what seems to have been a palace of burnt bricks. The building itself is now entirely destroyed, the chief walls only rising about two feet above the heaps of earth. Riippell, the celebrated traveller, had previously noticed these Lions in the course of his travels, and had described one of them ; the other, he states, was broken into several pieces. They are remarkably good specimens of the early Egyptian art, as applied to the delineation of animal forms. They are repre- sented reclining in an easy, natural manner, the hind quarters loose and relaxed, and the leg, which is visible, stretched out nearly parallel to the body, but at some distance from it. The chest, the full deep shoulder, the expression of the ribs and the outline of the back, are all strongly marked and full of energy. The animals are 318 EGYPTIAJSr ANTIQUITIES, fleshy and muscular, and express admirably the idea of strength in a state of repose, which was probably the motive of the original design. The lion reclining on his right side is better preserved about the haunches than the other, and the stone is more highly polished ; yet there seems no reason to doubt that the two were intended to form a pair. The material is a coarse-grained granite, with large pieces of feldspar, with black mica and quartz. The mane in front is inscribed with the prenomen and name of Amen-Asro, who is sup- posed to have been an Ethiopian monarch, and the base with a dedication to a King called Ra-neb-ma from his grandson Amenoph III. (Memnon), in whose reign it must have been sculptured. The lion which is lying on his right side has the hieroglyphics only on the vertical front face of the plinth ; and several of the car- touches have been purposely damaged, which does not appear to be the case with the other, so far as we can judge from the parts which are not broken off. It is probable that they were both excavated from the quarries at Tumbus. 4. Sarcophagi. The British Museum contains several remarkable specimens of these funereal monuments, which, when carved out of stone, were generally used as the last and outer coverings of the body ; though seldom, owing to its costliness, except by Kings or very wealthy persons. Such sarcophagi generally consist of two parts ; the case containing the body, formed of one piece of stone and open at the top ; and the lid which covered the opening. In some of the speci- mens in the Museum Collection the cover is wanting, but others are complete. The sarcophagus was generally a plain massive chest; but occasionally it was carved somewhat in the shape of the mummy to be deposited within it, with the human face, &c., sculptured on the outside. These last were not, impossibly, actual substitutes for the cheaper and more common cases of wood, while the more massive ones, on the other hand, were adapted to contain the cases. The first sarcophagus we shall describe is No. 10, and is called " The chest of the Sarcophagus of the Monarch Her-necht- hebi, (supposed to be either Amyrtseus or Nectabes,) of the Twenty-eighth Dynasty." It was found, according to the French, who first discovered it, in the court-yard of the Mosque of S. Atha- nasius, at Alexandria, where it was looked on by the Turks with considerable veneration. Its material is a breccia from a quarry near Thebes, and resembles that called in Italy breccia verde. It is a composite stone, in many cases admitting a high degree ot EGYPTIAN SALOON. 319 polish, and very difficult to work : hence its rarity among Egyptian remains. This is a very remarkable specimen ; and the carving on it is so minute that, in more than one instance, as many as twelve hieroglyphics may be found within the space of" one square inch : the whole surface, which is more than 100 feet square, is said to contain in all 21,700 characters. It is about ten feet three inches long, and varies from nine to ten inches in thickness, and is sculptured within and without with figures of men and animals ; the Hiero- glyphics, however, on the inside are not so numerous as on the out- side. The celebrated traveller, Dr. Clarke, fancied that this was the identical sarcophagus which once contained the body of Alexander the Great ; but we do not think he has made out his case in the paper which he wrote on the subject, while there is no doubt that the stone case itself was not mado^br Alexander, but for another person who lived at least a century before his time. There are, however, some curious coincidences in the story of Alexander's funeral, taken in connection with the subsequent traditions, and it is just possible that the secondary use of this sarcophagus may have been that which Dr. Clarke has imagined. We know that Alexander died at Babylon, and that his body was embalmed after his death ; that, after two years which were spent in preparing a suitable vehicle for it, it was conveyed to Egypt, and eventually taken by Ptolemaeus, the Son of Lagos, to Alexandria, instead of to the Temple of Jupiter Animon ; and that a temenos was constructed for the body of the Macedonian King, who became the Hero of the city he had founded, and was honoured in after times with periodical sacrifices and festivals. It appears, too, that the body was still in Alexandria when Strabo visited Egypt, though no longer in its original case, which had been stolen by one of the later Ptole- mies ; that Augustus ordered the corpse to be brought from the Tomb, and that he placed a golden crown and flowers upon it, paying adoration to the great Founder of the city. The tradition that the remains of Alexander were still within the walls of Alexandria lasted to the time of the French occupation of Egypt, at the close of the last Century. On the other hand, we know that the bodies of the Ptolemaic Princes were embalmed and buried within the same building, and it is just as likely that the sarcophagus was used for one of them as for the remains of Alexander the Great ; while the Hieroglyphic name, which has been read upon the monument, is that of Amyrtfeus, one of the Saite Dynasty, who reigned from b.c. 414 to b.c. 408. The Muhammedan tradition that the body of Alexander was still in 320 EGYPTIAN ANTIQUITIES. Alexandria prevailed as late as the time of Leo Africanus, in the Six- teenth Century of our sera; but this alone would not prove anything at all in favour of Dr. Clarke's theory.^ Another monument of considerable interest, from the excellency of the workmanship on it, is No. 23, called the " chest of the Sarcophagus of Ilapimen, a Roj'al Scribe." It is carved in black granite, and was discovered at Cairo, where it had been used by the Turks for a cistern. It occupied a niche under the steps of a mosque in one of the small squares of that city, and served as the basin of a fountain popularly called the " Lover's Fountain," it being believed that its waters had the power of curing love. No. 32 is a remarkably perfect specimen of the large chest-formed sarcophagi, carved in black basalt. On its cover is a bas-relief of the goddess Athor, and in the interior the Sun, and the Heaven represented as a Female : at the bottom is another representation of the goddess Athor. It does not appear to have been satisfactorily determined for whom this sarcophagus was made. The inscriptions on it are for the most part addresses to different Deities : but among them the Queen of Amasis, of the Twenty-sixth Dynasty, is men- tioned, who is called the daughter of King Psammetichus and his wife Nitocris. This sarcophagus was discovered in an excavation 130 feet deep, behind the Palace of Rameses II., at Thebes. 5. The Obelisks. The Obelisks are among the most characteristic specimens of Egyptian art, and directly connected with the system of archi- tecture which prevailed in Egypt. The Obelisk is, properly, a single shaft of stone cut into a quadrilateral form, the horizontal width of which diminishes by a gentle gradation from the base to the summit, where the four sides make a sudden angle, converging to one apex, so as to form a small pyramid, or pyramidion. Originally, and when of a large size, they were generally placed in pairs oppo- site the entrances to the temples. In this position their peculiar form produced an imposing effect. Rising from their base in one unbroken line, they enable the eye to take in their whole height without check or interruption, while the absence of small lines of division allows the mind to be fully impressed with the colossal unity ' The hieroglyphical subjects on the so-called tomh of Alexander of the passage of the sun in his boat through the liquid ether at the twelve hours of the day and night — with explanatory legends— subjects constantly found on the tombs at Thebes. EGYPTIAN SALOON, 321 of the mass. The tapering form gives lightness, and the pyramidal termination has in itself an agreeable effect. Let any one but com- pare the relative effiects produced on him by pyramidal shapes of the obelisk and that of the single column (such as that called Cleopatra's Needle with the Monument in London), and the far greater beauty of the former will be at once perceived. It has been well remarked that for a single object of large dimensions, a pillar with its extended base and heavy capital is one of the worst forms, and that some of the high chimneys attached to our manufactories produce a more- pleasing and striking effect than the Monument of London could produce in any position. Obelisks vary very much in their size, from that of the gigantic one at Luxor to that of the two small ones in the Museum ; but the principle on which they have been constructed appears to be the same in all of them. The two broken obelisks in the British Museum were brought by the French from Cairo. They must have been, originally, of small dimensions, the side of the base of each, as they now stand, being only 17 inches. Their material is a fine black basalt, admitting a high polish, and the figures which are cut upon them show that the artist has been well aware of the excellence of the material on which he was exercising his skill. 6. Inscribed Slabs. The Inscribed Slab commonly called the Rosetta Stone, No. 24, is, beyond all tjuestion, the most valuable relic of Egyptian history which has survived the ravages of time, and the key to our present knowledge of the interpretation of the Hieroglyphical legends. This stone was found in 1799 by M. Bouchard, a French officer of engineers, in digging the foundation of a house near Fort S. Ju- lien, not far from the Rosetta mouth of the Nile, among the remains of an ancient temple dedicated by Pharaoh Nccho to the god Necho : it came into the hands of the English by the sixteenth article of the capitulation of Alexandria, which required that all objects of art collected by the French Institute in Egypt should be delivered u[) to the English. The Rosetta Stone was among the objects so claimed, and was therefore conveyed from the house of the French com- mander. General Menou, whose private property it had become, by General Sir Hilgrove Turner, at the command of Lord Hutchinson. It was placed on board the frigate Egyptienne, which had been taken in the harbour of Alexandria, and confided to the care of Ge- y 322 EGYPTIAN ANTIQUITIES. neral Turner, who came home in her in the beginning of 1802. Before he left Egypt, General Turner had been informed that a similar stone existed at Menouf, but that the inscription was nearly obliterated by the earthen jugs which had been placed on it, as it stood near the water, and also that there was a fragment of another built into the walls of the French fortification of Alexandria. The stone itself is a piece of black basalt, in its present state much mutilated, chiefly at the top and on its right side. Its greatest length is about 3 feet, and its greatest breadth is about 2 feet 5 inches. The under part of the stone, which is not inscribed, is left rough : in thickness it varies from 10 to 12 inches. On its arrival in England it immediately attracted attention ; a copy of it was published by the Society of Antiquaries. The Greek and Demotic inscriptions were examined by Porson, De Sacy, Aker- blad, and Dr. Young, whose sagacity in decyphering the name of Ptolemy in the Hieroglyphical portion afforded the key to the sub- sequently more extended and fruitful labours of Champollion the Younger. Its peculiar value philologically consists almost wholly in this fact, that the inscriptions on it are a triple copy (bilingual, but tri-literal) of the same document ; the languages being Egyptian and Greek, and the characters with which it is inscribed being the Hieroglyphic, Demotic, and Greek, arranged in this order — the Hieroglyphic at the top, the Demotic in the middle, and the Greek at the bottom. The larger portion of the Hieroglyphic legend is broken off"; about fifteen lines of the Demotic are also wanting, and the end of the Greek inscription is mutilated. It is obvious, therefore, that the labour of interpretation is greatly increased, and that there are diffi- culties in limine which no amount of critical acumen on the part of those who might attempt to decipher it could overcome. The RosETTA Stone is a Record and Decree set up in the reign of Ptolemaeus V. Epiphanes, probably about the year b.c. 196, in the twelfth year of his life, and the ninth of his reign ; and the principal historical facts mentioned on it are the birth of the King on the 8th of October b.c. 209 ; the troubles in Egypt, and the decease of his father Philopator ; the attack of Antiochus by sea and land ; the siege of Ly- copolis ; the inundation of the Nile, August 12, b.c. 198 ; the chastise- ment of the revolters ; the coronation of the King at Memphis, March 26, B.C. 196; and the issue of the Decree itself the following day. On the monument, the acts done by the Prince during his minority are attributed to him ; he is commended for his piety, his liberality to the temples, his remission of arrears of taxes, and diminution of the EGYPTIAN SALOON. 323 imposts ; his victories over the rebels, and his protection of the lands from the inundation of the Nile by dams. The inscription is a proof of the gratitude of the priests, who flatter the young King for his ex- ploits, and, to commemorate them duly, enjoin that a portrait (eiKwv^ shall be set up to him in the sanctuary (adytum) of all the temples : and that " this decree shall be engraved on a tablet of hard stone in Hieroglyphic, Demotic, and Greek characters, and set up in each of the first, second, and third-rate temples at the statue of the ever- living King." It has been conjectured that the Greek part of the inscription is the original document, the Hieroglyphic and Demotic versions translations of it, a supposition which the extracts made by Champollion in his ' Grammaire Egyptienne,' together with those cited from his MSS. by Letronne, seem to confirm. Since it is to the Rosetta Stonk that we owe our first real know- ledge of the system pursued by the ancient Egyptians in their monu- mental writing, this seems an appropriate place for stating succinctly what have been the means adopted by European scholars in the de- cypherment of Hieroglyphic inscriptions, and some of the results which have attended their labours. Dr. Young w as certainly the first person who attempted a scientific analysis of the legends on the Rosetta Stone, and the method which he adopted in determining the value of these texts has been justly deemed a " master-piece of ingenious contrivance," his really great discovery being, that he was the first to demonstrate that, in both Hieroglyphic and Demotic writings, " certain characters in the proper names, whatever may have been their original import, were employed to represent sounds." Dr. Young began by observing that the Demotic legend on the Rosetta Stone, though imperfect near the beginning, was still sufficiently legible to admit a comparison of the different parts with each other, and with the Greek inscription below it. That on making such inspection in the two passages in the Greek in which the words Alexander and Alexandria occur, we are able to recognise in the Demotic two well formed groups of characters resembling each other, and which, as Do Sacy had already noticed, may therefore be pre- sumed to represent those two names. That on further examination a small group of characters may be observed occurring in almost every line, and which must therefore represent either a termination or some common particle. (This particle was at length proved to represent ^^ and") Dr. Young further notices, that there are two collections of groups recurring respectively in the Demotic and the Greek, the one repeated twenty-nine or thirty times in the Demotic, and thirty-seven times in the Greek ; the other fourteen times in the Demotic, and T 2 324 EGYPTIAN ANTIQUITIES. eleven times in the Greek ; the first he concludes must represent the word King, the second the name Ptolemy. In the same way he at- tempted to determine the equivalents in the two inscriptions for the local name Egypt, though it would seem that the precise title occurs more frequently in the Demotic than in the Greek, the latter omitting it occasionally, or substituting for it countnj. It is indeed true that, so far, the solution of Dr. Young's problem does not require any knowledge of the sounds of the Demotic characters, and that any one with sufficient patience might determine generally what groups of Demotic characters correspond to certain Greek words. Yet still the commencement was a sound step in advance, supposing that the Greek original was faithfully represented in the Demotic text. The next step was to make a careful examination of the upper or Hieroglyphic legend. On doing this, Dr. Young discovered the representation of the name of Ptolemy, enclosed within a ring or cartouche, and demonstrated the truth of a conjecture first made by Zoega in his work on Obelisks, printed at Rome in 1797, that proper names were always surrounded by an oval line or ring. He, at the same time, succeeded in showing the phonetic (or alpliahetical) powers of the characters of which this name was composed in a manner which it is not necessary to repeat here, and not long after was nearly as successful in ascertaining the Phonetic value of the pictorial symbols which represent the name of Ptolemy's Queen Berenice. Dr. Young considered that in this name two different systems, the one syllabic, and the other alphabetic, were combined together,— the whole of the first syllable Bir being rejiresented by one symbol (a basket, which in Coptic is Bir), while some subsequent letters, as E and N, were denoted by individual symbols, as an eye and a wavy line. Such was the first rough attemf)t to interpret the Hieroglyphics ; and so much Dr. Young has, in our opinion, a perfect right to claim as his own original and independent discovery. The Essay in which this discovery was announced was published in the ' Supplement to the Encyclopaedia Britannica ' in December 1819, and thus gives him the claim of priority of publication and originality of discovery ; while, on the other hand, it appears that two years later, in 1821, M. Champollion published at Grenoble a volume, entitled ' De I'Ecriture Hieratique des Anciens Egyptiens,' in which he adheres to his earlier and opposite opinion, and states his present conviction that hieroglyphics are not phonetic, " que les signes hieroglyphiques sont les signes des choses, et non les signes des sons." EGYPTIAN SALOON. 325 To M. Champollion, however, is justly due the honour of having corrected some mistakes into which Dr. Young had fallen, and the elaboration of the system, which, so far as it is at present either valu- able as a means of future discovery or satisfactory in its results, is mainly due to his untiring patience and unwearied assiduity. For this task he was indeed better fitted than any other scholar of his day, having been from his youth earnestly devoted to the pursuit of Egyptian studies, and having given much time to the acquisition of the Coptic language. Almost the first question he had to deal witli in following out Dr. Young's discovery was this ; are these ])honetic pictures chosen arbitrarily, or are they subject to some general law ? If only the former, it would seem hopeless to expect more success than the interpretation of proper names : if the latter, we should at once have a basis from which research might be continued and extended. On further examination Champollion was enabled to establish this general law, tlicd signs, used as letters, representing certain sounds, are abrays the picture of some object, the name of which, in the old Egyptian language, begins with the letter which it represents. Thus, supposing we wished in our own language to introduce writing of this kind, a hand might represent the sound h, a dog the sound d, a staff that of s, and so on. Allowing the general truth of such a law, we should, in all cases which admit of its application, at once obtain a key to Hieroglyphic interpretation: moreover, if the sym- bols used in any given inscription were always strictly phonetic, that is the equivalents of alphabetic letters, we should be able to transcribe such an inscription into such letters. It appeared, however, on a more extensive investigation, that though the sign of the sound was indeed taken from the image of some word in the common language of the people, yet that the Egyptians did not confine themselves to one sign for each sound, but made use of many ; the only necessary condition was this, that the sign should be the pictorial repre- sentation of some object whose name in the spoken language began with the sound to be expressed : thus the sound of b might be denoted by a bird, a book, a bat, a bull, &c. ; hence the number of phonetic hieroglyphics became very considerable. Still later new intricacies were detected by the discovery that, besides the ])icture signs, or representations of natural objects, the Esryptians made use also of symbolical, typical, or enigmatical signs, representing ideas by physical objects bearing more or less analogy to the idea rejjresented ; together with certain other coinbiiiatioiis foniicd of figures of physi- cal beings, representations of monsters, grouped and connected, in 326 EGYPTIAN ANTIQUITIES. ancient times called Anaglyphs. It is probable that these Anaglyphs are pages of that secret writing which the Greek and Roman writers declare was known only to the Priests and the initiated ; for the strictly Hieroglyphic writing, on the other hand, does not appear ever to have been a secret character, but to have been known to, or at least capable of interpretation by, all educated persons in ancient Egypt. It is worthy of remark that S. Clement of Alexandria (to whom alone of the ancients mc owe any satisfactory account of the Egyp- tian system of writing), after noticing the two other forms, viz. the Epistolographic (or Demotic), and the Hieratic (that used by the sacred scribes), divides the third or Hieroglyphic into two kinds, one of which he calls Kyriologic (Sja tuv -jepdnwu aroix^luv, by the first elements), the other Tropical. It is clear that by the first he means the system of Phonetic Symbols (that is, the use of the initial letters of common words as explained above), and by the second, that of Typical representation of Ideas, which has been called the Idea- graphical. If this interpretation of S. Clement's meaning be just, it follows that the system proposed by Dr. Young and adopted by Champollion has the confirmation of the only writer who himself, by his residence in Egypt, well acquainted with the system adopted there, has spoken accurately and truly of what he understood. Add to this, that Plutarch in his Symposion makes Hermias say, that " Hermes is said in Egypt to have first invented letters : the Egyptians, therefore, represent the first letter of the alphabet by a picture of the Ibis {tS>v ypafifMarwu Alyinmoi irpuiTov ""ifiiv ypdcpovcriv') as belonging to Hermes." The context shows that alphabetic symbols are here spoken of, as it speaks expressly of the arrange- ment and order of letters in the alphabet. Champollion had inde- pendently, by his own method, arrived at the same result, for he says, " L'epervier, I'ibis, et trois autres especes d'oiseau s'emploient constamment pour A."' The existence of one Phonetic Hiero- glyphic may therefore be proved by the testimony of Plutarch. The next and most important matter to ascertain is what has been really done in the way of decypherment, and whether what has been done agrees with history ? Now it is quite possible that when the signs representing sounds have been once made out, a writing may be read by the rules of artificial decyphering without even a know- ledge of the language; but it could not be understood, if the ma- Champ., Lettre a M. Dacier, p. 38, pi. iv. EGYPTIAN SALOON, 327 jority of symbols so determined, after all merely represent letters of an alphabet. It is therefore necessary to determine the language in which the inscriptions were written ; and this, in the case of the Hieroglyphics, it is generally agreed, must have been the Coptic. Now, the Coptic itself has ceased to be a living tongue, and exists only in writings (the present Copts for the most part speaking Arabic). We know of three principal dialects of it — the Saidic or Thebaic, which prevailed in Upper Egypt ; the Bahiric or Mem- phitic, in Middle Egypt ; and the Bashmuric, in Lower Egypt, in the Oases, or in both. Its whole literature is Theological; and the alphabet in which the language is at present written has been bor- rowed from the Greek, with the addition of eight signs to express sounds for which the Greek alphabet was not adec|uate. From the peculiar position of Egypt, and the long time that it was under the dominion of the Greeks and Romans, we should expect to find that a large number of foreign words had crept into the Coptic' Yet, after all, the proportion of Greek words appears to be very small, and of Latin hardly one has been recognised. The presumption is, that with all allowances for modifications and changes during the lapse of eighteen or twenty centuries, the Coptic is at least as near to the language of the Pharaohs, as modern Greek to the language of Demosthenes ; and no one will deny that we might c&sWy under- stand ancient Greek, even if we had no better clue than through the modern. What has been as yet decyphered, consists almost entirely of in- scriptions on public monuments, temples, palaces, obelisks, and mummies. Now since we know that the principal monuments were built by Kings, we should expect to find their names and usual titles. In a Theocracy such as the Egyptian government, the style of these would naturally have reference to the Divinities with whom these kings had associated themselves. There would also be a recital of names of ancestors and of similar titles borne by them. We find, accordingly, that we hence meet with such titles as " Well beloved of Amun," " The approved of Amun," " The Ammon loving," &c., which evidently refer to the worship of and relation with local deities. Again, the translation of the inscription on the obelisk of Herma- pion, preserved by Animianus Marcellinus (xvii. 4), is a direct proof that the true interpretation of the Hieroglyphics was known ' Coptic has been deemed by some a corruption of Egyplic ('AcywrTior). 328 EGYPTIAN ANTIQUITIES. as late as the Fourth Century ; for he gives the title of the King by whom it was erected, partly in the same words, and even where his rendering differs from the original, in a style manifestly Egyii- tian. Lastly, of the names of the Pharaohs, the majority of which have been preserved to us in the fragments of Manethon ; and what has been as yet decyphered agrees as well with these as can be expected, allowing for the omission of vowels in the Egyptian ortho- graphy, and for the alteration caused by the Hellenizingof the termi- nations of the Egyptian names. We have also, by the late discoveries of Colonel Rawlinson, the additional curious evidence afforded by the inscriptions on the Vase, preserved in the Treasury of S. Mark's at Venice, on which there are two legends, one in Hieroglyphics, and the other in the three forms of the Cuneiform writing. Some years ago Sir Gardner Wilkinson decyphered in the former the name Artasharssha (Artaxerxes), and we now know that this inter- pretation is correct by the discovery of the means of reading the Persian Cuneiform, in which the same name is expressed. On these grounds, in our opinion, we are fairly warranted in believing the method discovered by Young and adopted by Cham- pollion to be the right one, and that it does not rest, as some have supposed, on merely fanciful and arbitrary data. It must be remem- bered that we are still only on the threshold ; and that though many of the most powerful intellects in Europe have for many years been engaged upon the study of these recondite records, we are not yet in a position to determine how much may be done by the correct application of this method, as the Ancient Coptic continues to unfold its treasures, and as the Hieroglyphic texts themselves are more care- fully collected and more completely collated. Such may, perhaps, suffice for a notice of the Rosetta Stone. We proceed to describe the " Tablet of Abydos," a monument which is thought by Egyptian scholars scarcely less interesting than the Rosetta Stone. The name " Tablet of Abydos" has been applied to an inscrip- tion discovered by W. J. Bankes, Esq., in the year 1818, on the wall of a small building, partly executed in the rock, at some dis- tance from the principal pile of Abydos. It was observed on clearing away the sand which covers the ground-plan of those ex- tensive ruins. M. Caillaud subsequently examined it in 1822, and sent a drawing of it to M. Champollion, who published an engraving of it in his second ' Letter to the Due de Blacas relative to Egyptian History.' The tablet itself is incomplete, both in the upper part and in one of its extremities. It was eventually removed by EGYPTIAN SALOON, 329 M. J. F. Meinaut, the French Consul in E^ypt, and purchased for the Museum, at his sale in 1837, for 500/. It was first made known in Europe by Mr. Bankcs, who circukited privately lithographs taken from it; then by Caillaud, Champollion, Mr. Salt, Dr. Young, Mr. Burton, and Sir Gardner Wilkinson. Of these copies M. Caillaud's is the most complete, but Sir G. Wilkinson's the most correct as to its present state, the tablet having suflered considerable mutilation between the respective visits to it of M. Caillaud and Sir Gardner W^ilkinson. Its chief value consists in this, that it gives a chronological suc- cession of the Monarchy, the commencement of which is uncertain, but which terminates with Rameses the Great, who makes an offer- ing to his ancestors and predecessors on the throne. Each line reads in a direction perpendicular to that at the base of the Monu- ment, which gives the name of King Rameses under its different forms. Thus the Tablet, when entire, expressed " Libation made by the King Rameses to the Kings," &c., in a horizontal line which surmounted it; and then to each King in succession, their names following in order from 1 to 52. The succession is from right to left, similar to the Karnak 'Tablets. By no means the whole of what remains can be made out. but there seems satisfactory evi- dence for the names of the first five or six Kings of the Twelfth Dynasty, from b.c. 2082 — 1822, and for those of the first fourteen (omitting the tenth) of the Eighteenth Dynasty, from b.c. 1822 — 1499 ; but most of the readings of these names are confirmed by other monuments in different parts of Egypt. 7. Sepulchral Tablets. This large collection of sepulchral memorials records the names of persons from which these tablets have been procured. They are much alike, especially to the uninstructed eye ; and, though valuable to the Egyptian scholar, as supplying him with additional materials to aid in the interpretation of his difficult language, they possess comparatively little interest for the majority of visitors. From the 400 which are placed along the walls and in different parts of this room, a few may be here especially noticed. Some are of an extremely ancient date : thus. No. 212, a tablet to the memory of a minister of Nepcrcheres, ascends to the remote pcrioii of the Fifth Dynasty ; wliilo Nos. 143, 145, 233, 266, 257, 258, 557, 558, 559, 562, 572-6, 581, and 585 belong to that of the Twelfth Dynasty. Some of them are remark- able for the subjects which are traced upon them, illustrative of the 330 EGYPTIAN ANTIQUITIES. domestic manners and habits of the people at a very remote period. Thus, Wo. 256 declares that the person it commemorates was Prefect of the Palace of Amen-em-ha, one of thej Kings of the Twelfth Dynasty, and contains a sort of family register. Wo. 557 is a tablet of the same period, and represents a func- tionary seated on a chair before a table of viands, and having his four daughters before him ; and below him are his father, mother, and brother. On this tablet are traces of the ancient paint. Wo. 576, of the same period, is a dedication lor Senatef, a chief of the Palace of King Amen-em-ha ; his two brethren are repre- sented bringing him a haunch, a goose, and some bread, and five other members of his family are present. Wo. 579 is interesting, as showing that the tablet has, for some reason, never been finished, the squared net- work or canon for the guidance of the sculptor still being apparent on it, traced in red. Some of the tablets are believed to be older than the Twelfth Dynasty, though their precise date has not been determined : of these, Wos. 563, 577-8, and 584 are specimens. Some have an interest independent of their date or excellence of execution, from the names of the persons recorded on them. Thus, Wo. 193 contains a representation of the Celestial Sun, or Agathodaemon, with a Greek honorary inscription, erected by the local authorities and inhabitants of the village of Busiris to Tiberius Claudius Balbillus, Governor of Egypt under Nero. Wos. 153 and 277 contain respectively representations of the monarch Amenophis I., standing and sitting. In the first instance, he is making offerings to Amen-ra and other Deities ; in the second, he is seated beside his wife, holding in his hand the emblem of life. Wo. 303 is an excellent specimen of Egyptian colouring, and is curious for the way in which it is divided into three separate di- visions. The first division represents Kahu, the superintendent of the place where the offerings to Amen were deposited, clad in the skin of a panther and in the act of making various offerings to Isis, Osiris, and Anubis. The second denotes the same person, but wearing a different dress, seated by the side of his sister Nem, and receiving the offerings and adorations of his four sons. The third shows his daughters and younger children bringing various offerings of viands and green lotus flowers. Wo. 305 is divided like the last, but into two divisions. In the first, the members of the family are seen offering funeral honours EGYPTIAN SALOON. 331 and weeping over four mummies, which are placed upright ; and in the second, and lower one, the mummy of the deceased is laid out by Anubis. Nos. 332, 344, 359, and 372 are curious, as showing the pre- valence of an heretical worship of the sun's disk during the reign of Amenophis IV. No. 398 represents the Roman Emperor Tiberius kneeling and offering a mirror to the deities Mut and Chons. This tablet appears to have been erected on account of certain repairs made to the shrines of these gods. Besides what may be strictly called Sepulchral Tablets, answering nearly the same purpose as our modern grave-stones, there are se- veral miscellaneous objects in the Egyptian Saloon, some of them, like the tablets, memorials of deceased persons, and some fragments found in different parts of Egypt, and procured by the Museum at different times from various travellers and collections. Among these are such monuments as the following, which admit of sub-arrange- ment for the convenience of those who are desirous of pursuing the study of Egyptian antiquities fully. 1. Sepulchral tablets in the form of doorways, generally dedicated to some god or goddess. Such are Nos. 235-9, 308, 324, 335, 556, and 569. 2. Sepulchral tablets in the form of altars for libations, generally dedicated to some god or goddess, and bearing on them offer- ings of different kinds, such as cakes of bread, vases of wine, parts of animals, &r. Such are Nos. 413-424, 502, 509, 553-4, 590-2, and 596. 3. Christian tablrts, erected during the Roman period. Such as nSTos. 405-7, 408*, 409, 601, 607. One of which, No. 406, bears a Greek inscription, and appears to have been set up as late as the year a.d. 545-6. 4. Sepulchral Pyramidia, or small models of pyramids, on which are generally represented either the deceased personage, or the emblems of one of the gods. 5. Models of small Naoi, generally of a rectangular shape, and probably offerings in honour of some deceased person — by liis friends or relations. Such arc Nos. 412, 467, 476, and 597. 6. Jambs frorn the doors of tombs. Such as Nos. 160, 529-35, 550, 552. Of these, Nos. 530-5 arc probably the oldest 332 EGYPTIAN ANTIQUITIES. Egyptian monuments in the British Museum. They are all portions of a tomb, procured by Mr. Salt from the neighbour- hood of the Pyramids of Gizeh, and are believed to belong to the very remote aera of the Fourth Dynasty. 7. Fragments from tombs, some of very early date. Such are Wos. 167**, 430, 444-5, 447, 449-451, 457-7, 527-28, 537-46, 598. Of these, Nos. 527 and 528 are attributed to the Fourth Dynasty. 8. Fresco paintings from the walls of tombs, Wos. 169-181. Some of these are very curious ; for instance, No. 170' represents a scribe of the royal wardrobes and granaries standing in a boat, accompanied by his children, and a cat catching water-birds among the reeds of the Papyrus. No. 171 is the registration by an attendant scribe of the delivery of ducks, geese, and eggs; and No. 177"' is the representation of a square pond, in which fish and ducks are represented swimming, and surrounded by trees. The peculiar arrange- ment of the trees round the pond proves that the artist of this monument was unacquainted with the ordinary rules of per- spective. 9. Tablets with representations of animals, such as the Ibex, Wo. 356 ; the Steer, No. 298 ; Snakes, No. 434 ; Hawks, Nos. 437, 501; Lion -headed Hawk, No. 480 ; Lions, Nos. 439, 441, 453 ; Cow of Athor, No. 459 ; Crocodile, No. 484 ; and Sphinx, No. 444*. 10. Miscellaneous fragments, consisting of Small statues, Nos. 168, 470, 500, 503-4, 512-5. Heads, Nos. 486-7, 526. Busts, Nos. 489-492. Obelisks, Nos. 523-4. Models for Head-rests or Pillows, Nos. 426, 428. And Basins, Nos. 28, 108, 465, 495. Lastly. A large collection of Sepulchral vases, Nos. 608-732. Originally, when com|)lete, each in sets of four, with heads surmounting them of the four Genii of the Dead, called re- spectively, Amset (human-headed), Hapi (baboon-headed), Tuautmutf (jackal-headed), and Kebhsnuf (hawk-headed). ' Engr. Long., vol. ii. p. 59. * Ibid., p. 61. ^ ]bid., p. 72. EGYPTIAN SALOON. 333 The principle of" this quadruple arrangement was, that the ancient Egyptians were in the habit of dividing the viscera of the dead into lour parts, and embalming them separately under the protection of their appropriate Deity. Thus the first appears to have presided over the stomach and large intestines; the second, over the small intes- tines ; the third, over the lungs and heart; the fourth, over the liver and gall bladder. Each vase was inscribed with Hieroglyphics con- taining the formula appropriate to it. The Genii are addressed respectively by the four Deities, Isis, Nephthys, Neith, and Selk ; or in some cases, the Genius tells the dead that he has come to his side, bringing him wax clothes, incense, and water. The vases themselves are constructed of various materials, as Arrmjonite, Nos. 609-12, 614, 618, 621*-2, 628-635, 636-39 a complete set of four. Calcareous stone, 636-39, complete ; 640-43 ditto 659-705. Potter;/, Nos. 648-652. Wood, Nos. 653-4. The most beautiful specimens are in Arragonite. Some of them are solid and only partially hollowed — and must therefore be presumed to have served as models. They are often found enclosed in large wooden boxes, and have been more frequently discovered in the tombs of Memphis than in those of Thebes or Abydos. They appear to have been used from the earliest times ; thus Nos. 682-3 may pos- sibly date even from the Fourth Dynasty : towards the close, how- ever, of the Egyptian monarchy and under the Ptolemies, the entrails appear to have been embalmed in separate packets, which were wrapped up with the dead, and had each attached to them a small wax figure of its Genius. ( 334 ) TABLE OF EGYPTIAN CHRONOLOGY, &c. For the convenience of those who may be desirous of keeping before their minds the relative dates of different Egyptian Dynasties, or anxious to know what Egyptian monuments exist in the British Museum belonging to well ascertained periods, the following table has been drawn up from the works of Eosellini, Wilkinson, and Bunsen, and the several dates assigned by those authors have been arranged in a tabular form. As Champollion has not paid so much attention as other writers to the early chronology, it has not been thought necessary to make a sej^arate table for his dates ; wherever, however, he differs materially from the above-cited authors his opinion has been mentioned. E.S. refers to Egyptian Saloon. E.R. refers to Egyptian Room. TABLE OF EGYPTIAN CHRONOLOGY. 335 '7. 1 w 1 ^ , _^ -*j 1 • i« • •n rt 0- l> o o c a < ci 05 as o . o CI CT> CO o § o :5g fcJ3 " CO »— 1 CO • W aT r- , ; '^ CO „• in W f i^ V3 "1 2 '3 CO 3 t> CO CS a > t„ o ° to j^ kO o O •^ 'h s CO .P ^ W a , O E «: 1 -^ 1 o J 3 .fcfl '3 1 « 3 Is o t. C 2 o * 1— t ?i IS ^ CO C3 tJ< -2 ^ CO > «o a ^^ C3 o C3 H O) flH o ^ H U5 c S M .S CO _0J • • • • 13 •1 d Ui E. 2S »^ bo Q> 'J^ • • S P^ G. a> > o to o O ?5 -o 8 S- o 1 • • • !-1 CO !^ t2 B c 5 T3 a> c 0^ c3 ^ be a !2 ." S -*J > BJ '3 ""* CS '3 ^^ ^-^ &< Ph m M w <:; CO* "^ CO • in CO • • • -* t- S', , o -4^ o ^' o (» d o • • CO • • , rH /^ 00 • CO H H -^ J3 H o 3 CO C! C & H Oi H CO a H H 2 Bh a V3 a x: a. ■ o a > IB 336 TABLE OF EGYPTIAN CHRONOLOGY. •E « . — 3 =1 a o O 01 a '-0 ^^. 'W o 00 o c 'S 00 .^ 5E ^ o £3 tn CO t^ 1^ 00 in o> ..CO -f . CO o Mm .g "P. I- ?5« o a bo CO '^ t> to o . fl -U ^ -*J -^-•^ .^co in CO O CO ■" is ^ s .j= en i ss C3 o a> c3 M W a d d c2 d es CO 2 W 03 ^^ OK .^5 a ^ to to « s I .Irr' o cih I' ;:3 - — - 42 , o M to O cr'85 'S .2 -g to _- S ?; ft. Oh ^ to c ^ +3 -+J 2 ^ § >• § H .2 d W o ^ s: ^ .n CO d d d 3 o ft) c3 P5 o 00 -♦J d o o tn a (J CO CO O CO 00 CO CO w tn O CO H OS Q a Oh o o w ij o d p— 1 I — I 1-J M . ►-: o S a a d d tu ^ TABLE OF EGYPTIAN CHRONOLOGY. 337 •+ ~ 1 •*, !>• 1 00 lO VI d w T-f en o ■« , .r. .*J 1 Assumed into the goveniment b Amenemha III. in his 31st yeai Tablet at Tourah, dated in hi 43rd year ; bmlds the Laby rinth ; excavates Lake JMceris. Not registered on Tablet of Aby dos, although at Karnak, Invasion of the Hykshos, or Shep herds. 13 O to .2 CJ No extant monuments of Shepherd but a series of Ethiopian Kings Campaigns in his 6th year agains the Shepherds in the N. and th Negroes in the S. ; ojiens quarrie of 5laasara in 22nd year. Expels the Shepherds ; war i ^Ethiopia and the north ; make d B s E o o 3 a O o en en i^ Cj B B B B O Supposed to have been under th tutelage of Amense. B. ; adde o :S K B B s rt O s o 1 B -3 Champ. Under the Regent Amencm-t-Aasn war in .Ethiopia ; buildings a Jladinatlluboo, Samneh, Contra J4 B '2 B a 35 I a a ■Jri ■ • ■ • • CO CO to CO CO • • • • »— ' rH f-t • . • • O CO o o 00 f:; ■ ^ r: a UJ .^ (U < S »— I < ^ a a u a H • Q s: w ►,* ^ ri 7% Zl ^ -4 W S ft. S ft. u CO 1-. a .H a o s a S o H 338 TABLE OF EGYPTIAN CHRONOLOGY. ,s s ■g i i o Cj :/: -3 '■^ C3 ./ S£ -« -a w '^ ^ "^ r- , OJ CD -M a ^ o a •< 00 o . ^ CO . »— t CO O C3 CD t> I " to C3 03 C/2 ,TJ< ci 00 o • cc ft; M CA • o c^ <; K 2 ^ W o c:2 ~ o • « CO S Oi "S a; ID 1 C c*. r- -^- . _ n^ CO o C/J CO o 1^ OS w h I I O) o • — 3 -O o t* CO « 4) M.C3 a> Ji^ ^ C4_ to O) c < -5 to ' O S p b c°; -^ d CO to I rt o a< ■ t> 3 r; rJ2 CO ■p; H ^ sjj c i3 .S ^ T3 a; ph o c cs <; M - b bo pai « u '•^-' -S ^ OJ to S o Q £§.J <^ Co cs cs g.£ O CJ =^ a O b to o o C O o I. a tK H A J3 t> t*H VI o .a _g &, to CJ rt -^-i -n s>^ C3 r^ a 1—5 CO <; S i. s -s :§ -g § ■g-'-^J ^--5 8 6 ^ - ^ ^ 2 o CD CU ffn • , &c c P g . S .5 g^ « -a ^ .5 g ^^ ^ S o^ ^ S CO .^5 "-^^1 .2 .S IT ■" c a, *^ *C3 '^ "^ '~' O O C c C3 "^ 13 S > G- „- iii a; - ^ c .X'^ . CO O tf ^ in ^ o CO CO l> t> 1-1 ^ a si 00 CO CO CD g< T-l S O ■s . , , • o • , ^^ >— « > I-H H 23 CO 3 CO o S o r-a a tS 1=1 o S o a r H -^ H <; > t^ TABLE OF EGYPTIAN CHROXOLOGY. 339 ^ o o I r,-,- a ^^ 3 •- V. sq ^ '•« I, S . .C -^ -' ^ . ~ 3 J3 O •- O ^ rt . ^ -s :^ .V ~ -y~ ^ g o 72 .t; o) M t- r. H -m = -^,,•.'0 1. ? /?; M T3 * ?= ■'i ii t; - "-"i O -^ ,„-,.-. ,SP "5 f <35 -r 35 !« S • C '^ . S S 2,'^ '~ M^ o S I «^ = Si ^ .2 u- '•" ~ • rt f^ c^ ■ _ .= J2 ^^ O-i, .= ^ S ^ '" I.- o -♦• tJ; ^' = a :; • i: « /• ": OT S o r^^ r" ^- - ,- c-i :s 7i .^ 05 „ Zt ^ ^ - ._ - '^ r.; '•I -* 'O _ "^ Oi '^ <" ^ "^ ' S: O^ 1; O O ♦J •Sjsapcs ^cm^-sOT3 ST" &<■= Mo Cj^g^woo — ^g -g ^ " s-^ ■" s .^^ H := ^"1 ^:^ .^^ § g -§ ^ ^ -^ I s 1 11 . -s ^ I = 55-- S =-2 -5.'^ S ^ o 2 p c _ &, - fcp I CO CC rt O -w a. l^-l H rt o g 8 p^ c^ c l_ i o M F-- on 1^ O ^ C^ bo O O 3 es w 2 w bj) c ^ ■4 >-. n t^ - vi 'Aj -z: v rs • \'^< bB ti 1) •if U Q c -s &5 QJ us? f Be t of o i« 3 o :3 w ^ . n B "S s > V) « rr d r-* "^ a ^ W o C/2 g « « « .£; :g O -5 c3 O cJ ° B'^ o ^ w j3 .-^ ^ rs o o > « > " P M .5 >^H^ J4 • «^ U C3 t-.'T-l ^ j-j •'^ CS -a c; i« c .2 •SO (— I „ o ■ -B l> t/2 « ^ 5 -I'^S '^ -w H^ CS ?- o C <1> • - -5 -B S c rt 2 T3 cj a o a o S T5 . O „ S C3 l-I O .,_) .-H ,*j a> o §,«^ ■-■^'^ ° -a cs a =«-. bn o a cj S « '" S ^ Si =3 «» o S,OhJ i^i CO pa o 12S l-I in 00 CO 10 CO 1-^ w to o (33 T-H CO d CO rr, a i-H -a CO lO •-I a m I I a ^, lA a> Ci^ O 'A s' a I— I ^ g c I— I a m5 1 I TABLE OF EGYPTIAN CHRONOLOGY. 341 j3 rt o c |T1 ■*- -rt o ^ V c-J ^ £ p "= '^ ,1, 3 ^ t-i I ^ ^'■■ ■Js -2 C5 o -;:;■.- -e o c == a) s So O U o ■^ o a ^ rt t„ c '/J " (A en c^ -«.^ m .. I .. , ' — f &i C ct c = I* a. ■4J ^^ ^^^ <~H ^ := o o •> c _o o c c; *-; «=:; g a'^ "5 S O 'CJ o 5 2 M « J3 cj ^ ~ 'S ^ ^ tf3 M qj . o -M C c* O '^ o *3 ffi pH 3 CS S ^ g 2 S 3 * 13 5 C5 C "^ o o CO 00 OS O s 2 5 1- S tc XI x' X s K E 342 TABLE OF EGYPTIAN CHRONOLOGY. m . c s — 3 C 3 3 C o *J o ° I fc- CO o S bo o M W 3 2 I 3 iC 0,00 o s IS c o -t-3 W W '=^ S • ^ c g o IS « 2 c H.2 5 « fa o o o o a 01 .*^ ^ c o e w ^S O) cS ■ 2 3 W o ,2 •B o >-— d O c . o ^ +- o G ■fa 3 O -go 3 -T3 "" 05 S +3 « "2 — C3 E = ft» bO " o > M a o 3 .2 -a rl^ .2 a, O) o ■ to S « OX) to 3 w rt p CO Cij p^ ■< TABLE OF EGYPTIAN CHRONOLOGY. 34.1 CO CO cc a> :S O 3 ■s CO C 00 o . -S s -2 ^ - . . 3 •/! O J C3 ^^ .s -i rt § ° CS 2 ti c .2 ^ 2 ^4-1 •- o V o a « •" X. 52 3 := cS 3 P3 O o o •Ou S o 5 »> . ""is *J C3 Q •« -T3 ^ S £ S j£ IT •-■ OJ 2 o> — -" iJ 3 . « % f ■i I "£ 1 1 3 bn *a3 -3 "-S a o "2>2 --^ c ■" S S 2 -i: *" 3 -3 •- M « j3 -:f-3wfes .^^__;^ "3 <" M 3 ^ £ * M -= -- (Ucn^3-^CM-^Oh, *i O ^ o ■— • 3 cc = 5! --C -^ -^ j2 i- 3 • - r3 3 1^ £ s i = -3 cS M rt 3 -^ :£ ^ -§ I § ~ ^ ^ ;— 3 >• *j o 3 13 ^ (M CO CO 00 Oi >o 00 o >o -* ,-^ CT: CI 05 03 00 05 CM (M O t^ CO CO C3 CO CO • H • • l-H H CO • -d , " n .iii , "^ j^ to s c 3 PQ ec JA U9 k4 a — — ^_ " o CJ c ■^H X^^^ X « X X 344 TABLE OF EGYPTIAN CHEONOLOGY. d cs )2 o* 1—4 CO . CO -: l« •- s OS « ^M -2 i W " S3 c g^ o 8^ 2 o -a o o a, o g - s « .a g C S3 •1) ^ go ,u .^ eft rt O cs £•5-^ C en ? C I* o ? '■ "73 ^ n o to -r s S^ll^l S|.g ml g 5 § si ci o , -2 '2 SfcjiS'S^^ g'^^^.ro' 2 _w CJ ^ a S 0) 2i _t; O -rt -r; &. C3 w ° ;s o ts 0) ■*^ -T3 C sis o g .5 >■ S 2 =« « 5^ S r-*^ t^ S cc "^ ^ i«3 o K -< • s w « s >i K d t^ > • • '> • • c/; CO :z; , l> D n • • • "• • • fq t'' o c» d 00 00 ■* ■*■ • ^ 1^ 1^ CJ T-H CD o ty , t> t:~ tr- CD CD 2 n • • ^ . s M (J K m d 05 l> io in 00 ■* CO o Oi r^ o O o , t- t^ CO CO CO are denoted chiefly by differences of colour and dress, by varieties in rtie ornaments of the head, and by the adjuncts of animal forms and wings ; and though the characteristics of the sexes are usually well defined, the peculiarities of the individual seldom appear. There can be little doubt that there were two things which operated to a considerable extent in determining the subsequent style or character of Egyptian Art, namely, the remarkable forma- tion of their native land, which, with its narrow and sharply-defined boundaries, and the annual inundation of its great river, must have early impressed upon the people a character singularly settled and uniform ; and, secondly, their Religious system, which was a Worship of the Powers of Nature, cultivated and unfolded by the science of the Priest-class into a tedious ceremonial, the tendency of both ope- rating to make their life formal and, as it were, benumbed. An established system of proportion appears to have been in use during different ages, whereby statues have been arranged by Egyptian scholars under three principal heads, according as they are executed agreeably to — I. The Canon of the time of the Pyramids, EGYPTIAN ANTIQUITIES. 401 in which the height was reckoned at six feet from the sole of the foot to the crown of the head; and subdivisions obtain by one halt or one third of a foot. — II. The Canon tchich j/revailed between the Twe/fth and the Twent y -second Di/ nasties, wiiicli is an extension of the first. In this the whole figure was contained in a number of squares of half a foot, and the whole height divided into eighteen parts. In these two canons the height above six feet is not reckoned. Tablet No. 579 has a scale of some human figures under the Twelfth Dynasty ; and a board, probably the working drawing of some scul|)tor or painter, may be seen in Case 38, and repre- senting a figure of Thothmes 111. — III. The Canon of the Af/e of the Psammetici, which is mentioned by Diodorus, and which reckons the entire height at twenty-one feet and one quarter from the sole of the foot to the crown of the head, taken to the upper part. The proportions are diffei-ent, but there does not appear to have been any connexion with the Greek Canon. The Canon and the leading lines were originally traced in red, subsequently corrected by the principal artist in black, and the design was then executed (see Tablet No. 579, Egyptian Saloon). All objects were ])ainted, both of architecture and sculpture, and gilding was occasionally employed. In their paintings only the simplest colours, such as white, black, an ochreous red, blue and yellow, were used ; green and purple being the introduction of a later age. The entire figure was surrounded by a black outline. In connexion with the history of the nation, three great periods of Art may be distinctly traced in Egypt. I. The Archaic Style, reaching from the date of the earliest known monuments of the country to the close of the Twelfth Dynasty. In this the hair is in rude vertical curls and heavy masses, the face broad and coarse, the nose long, and the forehead receding ; the hands and feet large and disproportionate ; the execu- tion rude, even when details are introduced, and the bas-reliefs depressed. This style continued improving till the Twelfth Dynasty, at which period many of the ornaments have the fineness and minuteness of the execution of cameos. (See the False Doors from the Tomb of Fcta, Nos. 157, 157* — the small statue from the Pyramids, No. 70 — and ilie Tablets No. 197 and the following.) II. TIte Art front the Restoration of the Elyliteenth Dijnasty till the Twentieth Dynasty. — In this the hair is disposed in more elegant and vertical curls ; a greater harmony is observal)le in the propor- tion of the limbs ; the details are finished with greater breadth and care ; bas-relief becomes more rare, and finally disappears under 2 D 402 BRONZE ROOM. Rameses II. Under the Nineteenth Dynasty the arts appear to have rapidly declined. (See Colossal Head of Thothmes III,, Wo. 15, Egyptian Saloon ; the statues of Amcnophis lII.,H"os. 14, 17 : the statues and busts of Ilorus, No. 6 : Rameses II., Nos. 14, 86 : Sete-Menephthah II., No. 26 : and the casts in the Vestibule, See also in the Egyptian Room, the alabaster sepulchral figures.) III. The E]]och of the Revival of Art, commencing with the Twen- tieth Dynasty, and distinguished chiefly by its imitation of the Archaic Style. In this the portraiture is more distinct, and the limbs freer and more rounded. (See statues, Nos. 83, 134, under Apries; Sarcophagus, No. 86 : and figure. No. 34, of a person who lived during the time of Amasis.) In these the muscles are more deve- loped, and the details are executed with great care and accuracy. (See obelisk of Amyrtaeus, Nos, 523-4: his sarcophagus. No, 10: and the inter-columnar slabs of Psammetichus II. and Nectanebo, Nos. 20, 22, in which the effect is dependent rather on the minute finish than on the general scope and breadth of the design.) Under the Ptolemies and the Romans, a feeble attempt was made to engraft Greek art upon Egyptian. (See tablets. No. 147 — sides of temples, Cases 1 — 11.) But a rapid decay took place both in the knowledge, finish, and details. (See tablets, Nos. 189, 398, 399, 400, 401, 402, of Tiberius ; and the coffins of Soter and his family under Hadrian, Egyptian Room, Nos, 6706 — 6714.) Cases 24, 25 contain a number of objects chiefly in terracotta, discovered by Mr. Layard in various excavations which he made in Assyria. They consist of vases, fragments of vessels, and a very curious hexagonal cylinder, which Mr. Layard received from a Turkoman family, who lived in the village on the top of the Mound of the Nebbi Yunus, near the tomb of the Prophet Jonas, and whose family had for a long time made use of it as a candlestick. It con- tains on each side a great many lines in the Cuneiform character, so minute, that without the aid of a magnifying glass it is not easy to recognise the forms of the letters. A portion of a similar cylinder exists in the same case, which was procured by Mr. Rich when at Mosul. Besides these objects, there are several copper bronze lions, also discovered by Mr. Layard. They form a complete series, from tiie size of about 13 inches long to I inch. To their backs is affixed a ring, giving them the appearance of having been used as weights. In the same case are also a great many fragments and ornaments in copper ; among the latter are the head of a ram and bull, several hands, the fingers closed and slightly bent, and a few flowers. The hands have probably served as a casing to similar GREEK AND ROMAN ANTIQUITIES. 403 objects in baked clay, frequently found among the ruins, and having an inscription, containing the names, titles, and genealogy of the King, engraven on the fingers. There are also some curious remains of the bronze portions of a scat, or tiirone, fragments of glass vessels, and of armour, including a sword and a helmet. We now proceed with our account of the Greek and Roman antiquities : — Cases 29, 30 contain a large collection of early Greek vases, which have been discovered for the most part in different places in Greece proper. Among these are — ancient vases from Corcyra (Corfu), con- sisting of three amphorEe and five cenochoae, or jugs, found in an exca- vation at Castrades, near to certain ancient sepulchres, known by the names of Menecrates and Tlasias, in the Island of Corfu. They probably date as far back as the 6th century B.C., and have been conjectured to have been some of the celebrated amphorae in which wines were exported from Corcyra. The plastic art (Kepa/xevTiK-fi) was, we know, cultivated at a very remote period, and the trade in pottery flourished at Athens, ^Egina, Samos, and Corinth, in the earliest ages of Greek history. In ancient, as in modern times, particular districts were famous for producing superior kinds of potters' clay. These vases were presented to the Museum by the Ionian University in 1846. — Vases of the most ancient style from Athens ; they are of various shapes, and ornamented with birds, animals, maeanders, and geometrical and architectural pattern:-, containing indications of triglyphs and metopes. Among them is a curious stand for a vase, consisting of the body of a chariot, No. 2583. Cases 31, 32 contain a continuation of the ancient Athenian vases. Tiiey are decorated with mieander, and other ornaments in brown upon a fawn-coloured ground ; on some is an imitation of basket-work, birds, stags, &c. ; and one very remarkable vase, having on its covor two horses. Cases 33, 44 contain a large collection of vases from Athens and the Archipelago, chiefly collected by Thomas Burgon, Esq., in dif- ferent styles, and of different ages. Some have red figures on a black ground, and others have black figures on a red ground. Among them are several of the form called Lecythus. It is much to be wished that these and all other vases of Greek origin were incor- porated in the large collection in the next room, so that the student might be able to take a comprehensive view of all that the Museum possesses of (Jreek fictile workmanship. The most remarkable vases in this case are No. 2923, a small pyxis, decorated with Cupids and •2 D 2 404 BRONZE ROOM, other figures in white and blue. No. 2933, a small cenodwe, on which in white is represented a boy crawling on the ground towards a low stool, on which is an apple ; and No. 2935, a globular vase, con- taining human bones, which was found in a sepulchre at the Piraseus. A vase of the same shape is seen close to the Triclinium. All these vases are remarkable for their beautiful finish, and for the ease and elegance of the figures which are upon them. Cases 35, 36 contain Lecythi of the finest age of Athenian art, som^ probably contemporaneous with the age of Pericles, b.c. 430 ; the figures on them being traced in brown, red, and black outline, on a white background. One of the finest of these, No. 2847, represents Electra and her hand-maidens before the Tomb of Agamemnon. The colours used in the decorations of this vase are blue, crimson, purple, and green. The subjects of most of the others are taken from the Oresteia of the Athenian Tragic writers, and, like the last, represent Electra at the Tomb of Agamemnon. Besides these vases, there are some very curious and beautiful terracottas in bas-relief from Meios, representing respectively a Bacchante playing on the crotala ; the son of Creon devoured by the Sphinx ; Belierophon, mounted on horseback, destroying the Chimaera ; Perseus on horseback, slaying the Gorgon Medusa ; and the interview between Alcseus and Sappho. On Shelf 3, is a very remarkable vase, No. 2911, with a painted cover, coloured white, with the fore parts of three gilded gryphons projecting from the sides. This vase has originally contained bones ; and a silver Athenian obolus, which still adheres to the jaw, and which was originally in the mouth of the deceased to pay his fare across the Styx, is placed near it. There are also on the same shelf pyxides or unguent boxes for the toilet, composed of arragonite, and found at Syra ; a patera in arragonite ; and a small naked female figure, attributed to the earliest period of Greek art, found also at Syra. Case 37 contains terracotta Aryballoi, on which, in bas-relief, are Scylla and a scalloped pattern. — Different small figures in terra- cotta, the greater part of them from Athens. Among these the most remarkable are, a Comic Actor in the character of Heracles ; Silenus and Dionysus ; Hydriophorae, probably Athenian damsels bearing water upon their heads ; Demeter, or Ceres, seated ; a group, with two females, one dancing, the other playing on a tambourine, and the Muse Polymnia ; and on Shelves 3, 4, various animals, &c. in terracotta ; a rhyton in the shape of a ram's head, and Muses and dancers in terracotta. Cases 38, 39 contain a very curious collection of 333 handles of GREEK AND ROMAN ANTIQUITIES, 405 ancient terracotta amphorae, inscribed with the names of many magistrates of Rhodus, Cnidus, and other cities ; the large majority found at Alexandria, by J. L. Stoddart, Esq., to whom the National Collection is indebted for them. The interest of these curious monuments induces us to pause for a few minutes, and to give some particulars of the history of their dis- covery. These Greek manubria were not entirely unknown previous to Mr. Stoddart's discovery ; a few specimens having been published two centuries ago, and, about fifty, a few years since, by Castello, Prince of Torremuzza, in Sicily; and a few more by the Baron Judica and the President Avolio, respectively. It is curious, however, that hitherto they have been limited to Sicily, and it was not suspected that the custom of marking the tops of the wine-vessels with names and dates was one of general Greek usage. Mr. Stoddart states, that the site of ancient Alexandria is covered to a great depth by an accumulation of broken pottery of every age since the foundation of the city ; but that though it was natural to expect numerous frag- ments of inscriptions, he met with none for the first eighteen months of liis residence there; at length, the chance discovery of a broken handle, with a name on it, in the winter of 1842, led him to make careful investigations, the result of which has been, that in the course of two years he procured no less than 470 manubria with legible inscriptions, of which 370 were dissimilar. The whole were distinguishable into two principal groups, which the texture and colour of the earthenware, and the form of the epigraphs, showed to be different ; of these, Alexandria alone furnished 406, with 285 differences. These had all belonged to the pointed diotae, with long lateral handles, which are depicted on the coins of Athens and Chios. One entire vase of this shape, but without any stamp, was found, and stood about three feet four inches high. The seal was placed upon the upper shoulder of the vase, and is generally in the form of an oblong cartouche, H inch or IJ inch long, by ^ of an inch high. A radiated head of Apollo, or a peculiar flower, occupies the centre, the legend surrounding the exergue. The inscriptions on them contain the name of the magistrate, and often that of the month in which the amphora was made and legalized by the puljlic seal— occasionally the magistrate is distinguished by his official title IEPET2 (priest). On further examination, it was found that these manubria corresponded exactly with those discovered in Sicily. Of those published by Castello, 35 names were found out of 46 ; of those by Judica, 13 out of 14 ; and of those by Avolio, 22 out of 26. 406 BEONZE EOOM. On more complete investigation, the following results were esta- blished to Mr. Stoddart's satisfaction : — 1. Evidence that the manubria were of common origin ; neither Sicilian nor Alexandrian, but Rhodian. 2. Evidence that the magistrates named were Eponymi ; and that the Eponymiis of the Rhodians was a sacerdotal dignitary, bearing the title IEPET2. 3. The acquisition of 169 names of these hierarchical and, probably, annual magistrates. 4. The discovery of a complete list of Doric months, used at Rhodes, and probably in its colonies ; twelve months and a deuteral intercalary month. The circular seals disclosed the Rhodian origin of the whole class of manubria to which they belong. As long as only five of these stamps were known, the occurrence of the Rose, and the Radiated head of Apollo, the characteristic symbols of that island, were not especially noticed ; when, however, no less than 54 were met with, the origin of the vases which bore them was at once rendered cer- tain. In addition to this, many names were recognised of personages who figure in the history or on the inscriptions and coins of Rhodes. The same evidence showed that the names were those of magis- trates, while the new fact learned from them was, that the title of some of the Rhodian magistrates was IEPET2 ; a designation which was manifestly appropriate, when taken in connexion with the fact, that Rhodes was called " The Holy City of the Sun" and with the radiated head of Apollo in reference to that Deity. The Eponynms was the Pontiff of the National worship ; the minister of the tutelary God, the author of the Rhodian race, Apollo Helius. The Diotal manubria have made known 114 names, which are certainly Rhodian Eponymi ; and there is good ground to believe that there are 55 names besides, which are also of Rhodian origin, though the evidence in their favour is not so perfectly conclusive. Of the whole number, 36 names are altogether new. Not the least interesting result from this discovery is the determination of the Dorian Calendar, of which little was previously known, and that little with doubtful certainty. The inscriptions on the Diotae set this question at rest, as the names of the months occur very generally, repeated in three cases, as often as 36, 28, and 26 times respectively. It is not possible to determine definitely the dates of these manubria ; but there is fair reason to suppose that they belong to a period extending over 400 years, from the Foundation of Alexandria, B.C. 332, to the extinction of the separate existence of Rhodes in the reign of Vespasian. GREEK AND ROMAN ANTIQUITIES. 407 Besides the manubria the origin of which is Rhodian, there are several from Cnidus, of which 48 bear the names of magistrates. There can be no doubt that Cnidus had extensive commercial rela- tions with Egypt ; the olive oil of Caiia was famous, and the whole coast was celebrated for its excellent wines. Besides Rhodes and Cnidus, which suppl}' the greatest part of the manubria, specimens of them have also been met with from Ilierapy tna,Polyrhenium,Cydonia, and Gortyna, in Crete ; from Salamis in Crete ? Chios ; Apameia in Bithynia, Lysimachia in the Propontis, and Parium in Mysia. In conclusion, Mr. Stoddart remarks, that the Diotal manubria show that while the Ptolemies continued to rule, Rhodes possessed the same commercial preference in Egypt which the Phoenicians had in that country before the time of Alexander ; and that no epi- graph has been found which can be assigned to any other city during the Ptolemaic period. No sooner, however, was that Dynasty ex- tinct than the pottery of Corinth made its appearance, and then that of Cnidus and of the other cities. The Rhodian intercourse itself presents throughout the most interesting analogies with that which, from the Thirteenth to the beginning of the Sixteenth Century, was maintained by the Venetian Republic with Egypt and Syria under their independent Sultans.' Cases 40, 41, on Shelves 1, 2, contain a number of objects in terra cotta, and some curious vessels of the shape called Lecythus, with female forms of the Egyptian type, and some objects in the shape of the eggs of ostriches, painted with figures and miscellaneous subjects. They were found at Polledrara. In approaching the next great collection of objects which are deposited in this room — those in Bronze or other metals, we must state that it is simply impossible to do more than to select from the differ- ent Cases some of the more remarkable specimens. Among them will be found bronze objects of almost every kind and description, — some from Greece Proper, many from Rome and of the Roman period, but perhaps the largest portion the products of the extensive exca- vations which have been made during the last hundred years among the Sepulchres of Ancient Etruria, and at Pompeii and Hercu- laneum. These objects are not at present arranged scientifically, but are only placed temporarily where they are now. Among them ' See a very interesting Paper " On the Inscribed Pottery of Rhodes:, Cnidus, and other Greek Citieg." By J. L. Stoddart, Esq. Trans. Roj'. Soc. of Literut., vol. iii. pp. 1 125. Second Scries. 1850. 408 BRONZE ROOM. will be found fragments of statues ; weapons, such as spear-heads, daggers, helmets, Roman eagles ; steel-yards, amphoraj, and tripods ; candelabra, vases, votive figures, and statuettes; a considerable number of mirrors and their cases ; a large number, some exquisitely beauti- ful, of bronze statues collected by the late Mr. Payne Knight, and bequeathed by him to the National Collection ; and the celebrated Bronzes of Siris, procured by Mr. Millingen in the South of Italy. Before we proceed to mention the contents of the Cases in the order in which they are at present arranged, it may be worth while to state concisely what is known of the metal works of antiquity. The earliest workmanship in metal must have been by softening and hammering the metal into thin plates, and then afterwards work- ing it up by means of sharp instruments, and attaching it to the objects it was intended to adorn by nails or studs. In this manner the shield of Achilles, described by Homer, must have been fashioned. All the earliest known works of art, in metal, are beaten by the hammer, and the junction of the several pieces afterwards effected by mechanical means.' The next great step was made by the discovery of the two pro- cesses of casting metals in moulds, and soldering them, the first of which was attributed to a Samian artist, and the second to a workman of Chios. It is also stated that, even in remote times, the art of softening and hardening iron had been discovered. A little later casting in brass was employed by numerous artists in the statues of Heroes and Gods, especially at .^gina, an island which stood in close connexion with Samos, and also at Argos. Of the artists themselves, Callon of ^Egina seems to have been the most celebrated in antiquity. In the ancient mode of casting metal there were two things especially observed : the first, the mixing of the metals ; the second, the actual process of the casting in the moulds. Both were brought to the utmost perfection by the ancients and in the second process, at least for large statues, they seem to have far exceeded any of the artists of modern days. The bronze itself was of various shades, and the celebrated Corinthian materials appear to have been sometimes bright and whitish, and sometimes of a dark brown hue. It appears also that the ancient workmen had I The most malleable bronze is said to be that which contains from 80 to 90 per cent, of copper, the remaining ingredient being tin. In the cases of the precious metals, gold and silver, the use of the hammer prevailed to a late period. Large statues, however, in the costlier metals, were more in conformity with the Asiatic than with the Greek taste. GREEK AND ROMAN ANTIQUITIES. 409 the art of giving different shades of colour to different parts of their statues. In order to promote the fusion at casting, and to increase the subsequent hardness of the metal, tin was most frequently em- ployed ; but zinc and lead were also occasionally made use of. In the process of casting the same method was used as in modern times; the statue was covered with wax on a fireproof kernel, above which was laid on a model in clay, in which were placo/?o/a containing, for subjects, the Death of Priam at the altar of Zeus Herkeios, and the contest between Theseus and the Minotaur. In the Former the aged Monarch is represented lying prostrate on the altar on his back, his beard and hair quite white, and his hand raised to deprecate the wrath of Neoptolcmos, who stands over him about to hurl to the ground the young Astyanax, whom he grasps by the leg with his right haiid. Near him stand Andromache, Hecuba, and Antenor. In tlie Latter the Hero has seized the Minotaur by the throat, and is piercing him with his sword. No. 608 ha.s representations of Achilles and Ajax playing at dice, and of the contest of Heracles with the Nemean lion. No. 621 has the Return of Persephone to heaven. The (Joddess is standing in a quadriga, holding the reins ; 2 G 2 4o2 VASE EOOM. at the side of the liorses are Dcmcter and Apollo Citharoedus, and at the horses' heads Hera seated. No. 624* is the contest of Heracles and Hippolyte for the girdle. No. 6-26 is a representation of OEdipus consulting the Sphinx , who is sitting upon an altar or column ; behind the S[Anux stands a figure, perhaps Teiresias or Kreon, hold- ing a wand in his left Imnd. No. 641 * is an Oinochoe, in clay, pale, with black varnish, and design black, white, and crimson, with incised lines, containing a representation, in the finest Archaic stylo, of Per- seus killing the Gorgon Medusa; the hero is in the act of plunging the harpe into her neck. Medusa has four wings at her back. Be- hind Perseus is an inscription, stating that " Amasis made me." No. 652 has a representation of two warriors, perhaps Ulysses and Diomedes, lying in ambush behind some shrubs. No. 668 is an Oinochoe with a very interesting and curious subject, the forge of Hephaestos at Lemnos. In the centre of the scene is the furnace, rising like a tall chimney, and surmounted by a cauldron, which ter- minates in pyramidal steps ; at the bottom, within an arched door, is seen a blazing fire into which a Cyclops is introducing a mass of iron with the tongs ; the figure is naked, and seated upon a four- legged stool. On the other side of the furnace, is a more youthful Cyclops, holding in his right hand an axe. On the body of the vessel, are several letters inscribed. No. 680 is a shallow two- handed cup, with Greek words inscribed upon it, meaning "Hail and drink." VII. Vases in the finest Greek Style. After this, the more Archaic period of pottery, succeed the vases of the best period of Greek art, from the epoch of Pheidias and Polygnotus, to the Archonship of Eucleides, b.c. 404. The vases belonging to this date have red figures on a black ground ; the material being, like that of the earlier vases, of a fine red clay. The artist having traced out the design, then filled up the whole of the background with the black pigment, following the contours of the group. The inner markings of the figures, which in the former style were incised with the graving tool, were sketched with a brush dipped in the black pigment which formed the ground. This change in the technical process gave scope to the freer and more refined treatment to which the art of the period had attained. The subjects of these vases are apparently suggested by the works of the great painters of the day ; they chiefly represent Myths : historical sub- jects are more rare. Representations of Croesus on the funeral pile, of Musaeus, Ana- VASES IN THE FINEST GREEK STYLE. 453 creon, and the Athenian Codrus, have been found. In the inscrip- tions on these vases, the use of the E and O instead of the H and il, affords a strong presumption that their date is earlier than the Arehonship of Eucleides, u.c. 404, the recorded epoch of the intro- duction of the double letters into the Greek alphabet.' The finest specimens of this class are from Cam|)ania, Vulci, and Canino. Between the epochs b.c. 404 and b.c. 333 the drawing on vases is characterized by greater freedom and technical skill, and more com- plexity ot grouping; and the lines of the composition are more glowing and luxuriant. No. 717 is a Hi/dn'a, with a design red on a black ground ; the outlines drawn in black, the inner markings fainfly^raced in red, with accessories in white and crimson. The subject represented is the Youth of Jason renewed by Medea. In the centre of the scene is a cauldron, under which is a fire. The head and forelegs of a young ram appear above the cauldron, as if he were about to spring out ; he is turned towards Medea, who stands in front of the tripod. Before the face of Medea is inscribed her name. On the opposite side of the tripod stands Jason, extending his right hand towards the ram, and holding in his left a staff". In front of his head is his name, " Jason." Ifo. 718 has a subject which we have already mentioned, Achilles and Ajax [)laying at dice at the base of the statue of Pallas Athene. The heroes are sitting o])posite to each other on cubes ; the dice are jjlaced between them on a stone. There is a second subject on the vase, of a youthful charioteer stepping into a quadriga. No. 719 represents the meeting of Menelaos and Helen on the night of the taking of Troy ; and has also a second subject, representing a sym- posion and three figures reclining. The vase is inscribed. No. ' Of the Athenian school of pottery contemporary with those vases, we have examples in the leajtlii buried with tlic deaJ, and the alahustra or ungiieiit-vessels, so called from the material of which they were originally made. They are of fine red clay covered with a white pigment, on which designs were traced in black, sienna, brown, or scarlet. The subjects of the krijthi are principally the meeting of Electra and Orestes at the tomb of Agamemnon (see Bronze Room, Cases S'l, No. 2847), and other scenes from the Oresteid of the three tragedians. On the ulabaxtra are repre- sented the meetings of the Athenian ladies and their lovers. Besides these kinds of potter}-, the vases with red figures on hlack grounds are also found ut .Vtliens, l)ut are not so peculiarly the product of the Attic school. 454 VASE EOOM. 724 is an Amphora, with a design red on a blacii ground ; its subject, the birth of Dionysos from the thigh of Zeus, who is seated on an altar holding the new-born infant in his arms. The left thigh of the God from which Dionysos has first issued, is bound with a bandage; before him stands Poseidon. The corners of the altar terminate in two Ionic volutes. The second subject represents Seilenos standing before a nymph. Wo. 727 is a Crater, with a design red on a black ground, and containing for one of its subjects that of Heracles Musagetes. The Hero is standing with his left foot on the lower step of a base playing the heptachord lyre with the plectrum ; before him is Iris winged, Poseidon seated in a chair, Pallas Athene holding in her right hand a long sceptre, and a winged Victory floating in the air. On the reverse is a female figure standing between two youthful male figures. Wo. 741* is an Amphora with a design red, on a black ground. The subject is the birth of Athene from the brain of Zeus, who is seated on a throne in the centre of the scene ; his left hand resting on a sceptre, and his right is extended towards Poseidon. Athene has fully issued forth, and stands on his head on her left leg, as though she had just alighted. Above her is her name. To the left of Zeus are Hephaestus, Poseidon, a winged Victory, Artemis, Apollo(?), Dionysos, and some other figures. This vase is remarkable for the beauty of the drawing ; the types of the different divinities are finely discriminated in the expression of the features. The eyelashes of all the figures on the obverse, except Artemis, are carefully given, the upper ones being drawn in profile, and the lower indicated by separate strokes. Wo. 755 is an inte- resting Amphora ; its First subject a preparation for a sacrifice ; two female figures are engaged in decorating the head of a bull with the sacrificial stemma or fillet, composed of flocks of purple wool attached to a riband. Each of the bulls stands beside a tripod placed on a base, and their lower eyelashes are indicated by single strokes. Upon the vase is inscribed the words, " Polygnotus drew me." The Second subject represents Zeus. Wo. 794 is an amphora with twisted handles ; its main subject is Anacreon singing and playing on the heptachord cheli/s with the plectrum. The Poet wears a myrtle wreath, and leans backward, throwing his head up as he sings, and with his left foot advanced ; beliind him follows a little spaniel, with a sharp nose and curly tail. The Second subject is a youthful male figure, probably Bathyllos, carrying on his left shoulder an Amphora. Wo. 797 is a similar Amphora, containing for its main subject a flute-player standing on a plinth, and playing VASES IN THE FINEST GREEK STYLE. 455 the double flutes. The mouthpiece is fastened over the crown and back of his head by two straps. On the reverse, on another plinth, is the judge in the musical contest, to which the preceding figure on the obverse relates ; before him, as though issuing from his mouth, are the words, " Let him play the flute " — the order for the flute-player on the reverse to begin. No. 798 is an Amphora, with a representation of Demeter sending forth Triptolernos to sow corn. No. 801 is a remarkable Hi/dria, with design red upon a black ground. The subject is the Arrival of Perseus at the Court of Kepheus. Perseus is equipped with the winged helmet of Hades, and Kepheus is resting both his hands upon a staff. Before him are three .Ethiopian slaves, two of whom are engaged in making a hole in the ground before him; the third is directing the two former. On the left of this scene stands a tall figure in Oriental costume, who is supported by two .Ethiopian slaves ; and to the left are three other slaves carrying an a])paratus for bathing; these slaves have all short curly hair bound round with diadems. No. 804 is an Amphora : the main subject an Argonautic sacri- fice. On the left side of a blazing altar stands Heracles pouring a libation on the flames from a cup ; above is a Victory hovering in the air; opposite stands a youthful male figure, probably Jason, holding in the flames a piece of meat on two spits. Above Heracles is the word, " Archenautcs," Naval Commander, an epithet referring to the Argonautic expedition, of which, according to one set of tra- ditions, he was the chief. A flute-player is present, playing on the double flute, the mouth-piece being attached to his mouth by two straps. 'J'he name of the player is Sisiphos. On the reverse are three youths standing side by side. No. 807 represents the recon- ciliation of Menelaos and Helen, after the taking of Troy ; she turns suddenly round upon him as he pursues her ; at the sight of her face the sword drops from his hand. No. 808 is a Panutficnaic Amphora, with pointed base and stand, and a design painted in a very grand style. The First subject on it is Dionysos receiving in his kantharos a libation from Ariadne, here called Nymphaia. Dionysos is ivy- wreathed, and Ariadne has her hair falling in curls over her cheek. The Second subject consists of two female figures standing, and facing each other ; one holding a tendril with a leaf, and the other a flower. The vase bears the names of Dionysos and Nymphaia, and has some other letters upon it. No. 84* is a shallow two-handled cap, with design red on a black 456 VASE ROOM ground. The First subject is the Banquet of the Gods, perhaps on the occasion of the marriage of Thetis, whose palace is probably in- dicated by a Doric colamn, on one side of which is Zeus reclining on a couch, near which Amphitrite is seated. Upon the vase occur the following personages, with their names inscribed over, or near them :— Zeus, Ganymedes, Hera, Poseidon, Amphitrite, Dionysos, Ariadne, Komos, Aphrodite, Plouton, and Persephone. It is one of the most interesting vases in the collection, from the number of figures depicted on it, and the excellence of the drawing of the details. No. 822 contains a representation of Heracles bringing the Erymanthian boar to Kurystheus, and of a quadriga drawn by a youthful figure. An inscription on it states that it was made by Euphronios. No. 824, a shallow two handled cup, contains representations of five of the exploits of Theseus, arranged in scenes from right to left. The First is the contest with the robber Sinis Pityokamptes ; the Second, that of Theseus killing the son of Krommyon; the Third, the contest with the robber Kerkyon ; the Fourth, that with the robber Skiron ; the Fifth, that with the Minotaur. Doris is mentioned on the vase as the artist who painted it. No. 824,* a shallow two-handled cup, has representations of nearly the same contests as the last, only somewhat more fully told than on the preceding one. On the outside and inside of the cup are friezes decorated with these exploits of Theseus, in the following order : — 1. That with Sinis ; 2. That with the son of Krommyon ; 3. That with Kirkyon ; 4. That with Polypermon or Daniastes, sur- named Procrustes. Theseus has thrown the robber down on his own bed, and is about to kill him with the double-edged axe ; Pro- crustes is naked and unarmed ; the bed is represented by a slight horizontal bar resting upon two legs, and having its whole length divided into small equal parts like a measuring rod ; 5. The contest with Skiron ; 6. The capture of the bull of Marathon. The same scenes are repeated on the inside of the cup with slight variations, and in reversed order, being arranged from left to right. In the centre of the inside is the contest with the Minotaur. Theseus appears to be drawing him forth from the palace of the Labyrinth, the building being represented by a Doric column with its enta- blature and triglyphs. No. 830, a shallow Iwo-handled cup, represents two interesting subjects. The First, the surprise of Polyxena and Troilos by Achilles at the fountain, outside the walls of Troy ; the Second, the quarrel between Achilles and Agamemnon. No. 831 has a reprc- VASES IN THE FINEST GREEK STYLE. 457 I sentation of Bnseis being led away from Achilles. The Hero ap- pears on the riirht of the scene seated in his tent in a dejected attitude. On the reverse is the entrance of Briseis into the palace of Aframemnon, that place being indicated by two Doric columns. No. 834 has a representation of two wind-gods, probably Boreas and Zephyros, bearing off the dead body of Meinnon ; they are represented with wings, and armed as youthful warriors ; Memnon appears naked, with a long pointed beard and a diadem. No. 851, a shallow two-handled cup, has a curious picture of a si/mposion or drinking scene, w hich is interesting, owing to the great number of different drinking vessels which are represented upon it. No. 884 has a picture of Heracles pursuing the robber Cacus. No. 864 has a representation of Heracles supporting the heavens on his back. The Hero is bearded, and wears the lion's skin. The heavens are indicated by a hemisphere, on which are a crescent and two stars. On the reverse is Atlas approaching the tree in the gardens of Hcsperides, round which is coiled the two-headed serpent Ladon ; on the tree are three goldc^n ajjples. No. 880 has ibr its chief subjects Anacreon playing on the double flutes, and accompanied by his dog. He is represented laureled and bearded. On the reverse is Bythallos standing and looking back at Anacreon. No. 891, an Amphora, with design red on a black ground, with accessories in crimson, has a representation of a boy bending forward to throw a quoit, which he holds in his right hand ; he wears a diadem, which rises up in a point over the fore- head. No. 904 has a scene of two young athletes, one about to hurl the diskus or quoit, and the other seated on the ground before him. The discobolos is stepping with his right leg foremost, advancing iiis right arm with the diskos previously to drawing it back, and stretching forward his left arm at the same time. No. 920* repre- sents Heracles receiving the poisoned chiton sent to him by Deianira. The Hero is bcai-dud, and naked, and holds in both hands the lion's skin, which he has just taken off; before him stands a figure, perhaps lole, holding in her right hand the chiton. On the reverse is another female, probably Deianira, who appears to be connected with the group on the other side. No. 926 represents Penelope standing, holding in her left hand the distaff, and in her right a flower; before her stand a water- fowl and a young female, holding in her right hand a py.\is, and in lier left a sasli ; on ihe reverse, is anolhcr female figure, with a distafi' and a l)all of wool. No. 929 represents a youthful warrior, prolial)ly Achilles, 458 VASE ROOM. bending forward to receive his armour from a female figure, probably his mother Thetis, who stands before him, holding his spear and Argolic buckler; he has already received from her his helmet, which he holds in his left hand by one of the check pieces, while, with his right, he appears to be attaching a diadem to it. Wo. 934 has the design red on a black ground, and the accessories gilt and raised in relief. The subject is the Hyperborean Apollo riding on a gryphon, and holding in his left hand a branch of laurel, perhaps on his return from the Hyperboreans. Artemis is advancing to meet him ; and behind Apollo is his mother Leto (Latona). No. 968, a shallow two-handled cup, with design red on a bkck ground, and the style very coarse. The chief subject is a naked youth about to run the lampadephoria, or torch-race, who is extend- ing both hands to receive a torch from the Paidotribes. On the reverse is another youth with a quoit in his right hand, and inside the cup is a beardless figure standing with a thyrsus in his hand. No. 971, a shallow two-handled cup, has representations of different parts of the Pentathla. On the obverse, a» wrestling match, in which a bearded figure is contending with a beardless youth ; on the reverse, an armed foot-race, in which two figures, partially armed, are run- ning, the one a little in advance of the other. Nos. 971* and 971** have also subjects relating to the Pen- tathla. Wo. 979 is a shallow two-handled cup. Inside the cup is a representation of Orestes killing Clytemneestra, who is seated on an altar, and stretches out her hands imploringly to avert the threatened blow. Wo. 990 is chiefly remarkable for its shape, which is that of a lion's head. The lion's head, in which the cup terminates, is painted red, the features and hair picked out with black, white, and crimson. The subject represented is three youths beardless, and wearing wreaths and mantles. Wo. 994 is an Amphora, design red on a black ground, repre- senting Achilles playing on the clielys, in the presence of two Myrmidons. Wo. 996 has on its obverse two Seileni playing at see-saw on a board balanced on a peg ; they hold each other by the arms. On the reverse is a youthful male figure advancing his right arm as though pointing to the scene on the obverse. Wo. 998 is a curious fragment of a vase, with a representation of a portion of the figure of Pallas Athene, perhaps a copy of the celebrated Chrys-Elephantine statue of Pheidias. The helmet of the goddess has a nasal, cheek- pieces, and back-piece ; it is surmounted by u sphynx, out of which BASIUCATA AND VASES OF A LATE TIME. 459 the crest rises ; over the forehead is a gryphon's head ; in the centre of the segis is a gorgon's head. Nos. 999, 1000, 1001, and 1004 are curious for their shape. The first is in that of a female bust ; the second in that of a gorgon's head ; the third in that of a helraeted head , the fourth is that of a left leg and thigh. 'e* VIII. Basilicata and Vases of a late Time. In the Southern part of Italy, now called the Basilicata, a coarser style arose subsequent to the time of Alexander the Great, the extant specimens of which enable us to trace with considerable accuracy the progressive decline of art. In the style, which then began to prevail, we find clumsy, full forms, resembling those of the Flemish School of Painting, substituted for the graceful forms and proportions of the earlier Grecian style. The shapes of the vases themselves become less elegant ; the figures lose distinctness of outline, and arc crowded with details often carelessly designed, and an attempt is shown to give landscai)e distance and perspective, whereas, during the finest period, the figures are always in one plane as on the frieze of the Parthenon. T\\c design of these later vases is drawn in red on a black ground, the inner markings of the figure are gradually less carefully indicated, and white and red colours are introduced in patches on the accessories, destroying the earlier monochrome simplicity of the painting. On the representations of Heroa we find examples of the Sepulchral Monuments of the period, arched tombs a])parently situated on the slopes of mountains, and bearing much resemblance to tliose in Lycia ; and within the tomb itself a statue of the Hero, or j)erson commemorated. The Temples and the figures within them are painted white to represent marble ; and the figures outside generally appear to be seated one above the othei' on the sides of hills. The decay of art during the later period is shown by the gradually prevailing ))ractice of reproducing upon the vases subjects which could not be adequately represented upon them. Just as the artists of the Fifteenth Century, losing sight of the true limits of their several provinces, tried to introduce on glass, in the illuminations of MSS., and on the so-called Ratlaelle-ware, those refinements of chiaroscuro and colour which do not admit of being transferred without detriment to a new material, so did the^T Greek vase ])ainters attempt to ada|)t the elaborate compositions of great Masters like Ajiollodorus to tlie confined space and imperfect technical means at their command. The later vases found at Ruvo, 460 VASE KOOM. some of wliioh we shall describe presently, show that tlic simple monograph, which was best adapted to the decoration of such objects, was abandoned, and that the painter was compelled to call in to his aid Plastic Art, thus distorting and disfiguring, by the introduction of terra cotta figures and bas-reliefs among the paintings, the true original principles of Greek Fictile Art. The Vases of Ruvo indicate a branch of Painting gradually becoming the mere accessory to Sculpture. The subjects on the Vases of the later time very generally repre- sent Dionysiac and Erotic scenes. There are a few with sepulchral sulijects. Inscriptions too become gradually more rare. We propose to describe first at some length a few of the finest specimens which belong to the earlier period, and then to notice cursorily and by their numbers some miscellaneous vases of interest either from their beauty or their shape. Of the earlier ones the finest perhaps is No. 1266, a hydria, with design red on a black ground, containing a great variety of figures and of exquisite workmanship. There are two principal scenes : 1. In the upper division, the rape of the daughters of Leucippus by Castor and Pollux. In the centre of the more distant part of the scene is an archaic statue of a Goddess holding in her right hand a pldale: on the right and left of this statue are the quadrigae of Castor and Pollux, and, in the chariot of the latter, Elera standing : the chariot of Castor is driven by his charioteer Chrysippus. Above this chariot is the name of the maker Meidias. The remaining figures in this composition form the foreground of the scene, and are therefore placed below the groups just described. In the centre of this lower series, below the Archaic figure, is Castor carrying off Eryphile, the sister of Elera ; before Eryphile, is one ot the Graces, Peitho, flying : these figures are moving on irregular ground, par- tially covered with herbage. Behind this group and in the centre of the whole scene, is Aphrodite, seated by the side of an Altar, and looking back at Castor and Eryphile : before her crouches Chryseis : and behind her Agave is flying with horror towards Zeus, who is seated on a rock on the extreme left of the composition. 2, In the lower division, two subjects : one on each side of the vase. On the obverse, Heracles with the Hesperides ; in the centre of the scene, is the tree with the golden apples, round which is twined the serpent Ladon. On the right of the tree, stands Lipara, one of the daughters of Atlas, looking round at Heracles, who is seated on a rock, over which a lion's skin is thrown : behind Heracles, stands lolaos : on the left of the tree, is another of the Atiantids, Chryso- BASILICATA AND VASES OF A LATE TIME. 461 tliomis, stretching out lier right hand to gather one of the a])|)les ; behind her, 's Asicherthre, another of the Atlantids : on the left of this group, Ilyirieia is seated on a rock ; in front of her, and closing the scene, is Klytios, who stands with his loft foot on a rock and turns towards Ilygieia ; two hunting spears rest against his left thigh. 3. On the reverse, a scene from the Argonautica. In the centre of the composition, Aietcs, seated on a rock ; in front of him, Philoc- tetcs, and behind him a group of three female figures, Elera, Medea, and Niobe. On the right of Aietes is a group of three youthful male figures, Hippomedon, Antiochos, and Klymonos: on the 1 ight of this group is another, composed of Oineus and Denio- phon, and one female figure, Chrysis, who is seated on a rock and bounds the scene on the extreme right. All the male figures in the two groups last described are beardless, and, with the exception of Antiochos, hold hunting spears in their left hands. Their names are inscribed over all the figures in all the compositions. No. 1265 is a very beautiful Aryballos^ with design red on a black ground, containing a group of Eudaimonia, Pandaisia, Ilygieia, Eros, and two other figures. Eudaimonia is seated in the centre, on a rock ; a winged Eros is flying towards the back of her head : in front of her, stand Pandaisia and Hygieia; on the other side of Eudaimonia, a youthful male figure, holding in his right hand two spears with thongs attached. Between this figure and Eudaimonia, is a laurel-tree, and, behind him, a female figure, over whose head is the word "kale," "she is beautiful." The armlets, necklaces, laurel-berries, and grapes in this scene are raised in relief, and have all been gilt, except the grapes. No. 1267 is a very fine Apulian Amphora, with design red on a black ground, and accessories in white and brown. On the 1. obv. in the upi)er division, are Pelojjs and Oinoniaos, taking an oath before the altar of Zeus, previously to the chariot race, in the presence of Hippodameia and Aphrodite : Pelops stands on the loft of the Altar, wearing a Phrygian cap, and his loft hand resting on two spears; Oinomaos stands near him, wearing a chiton, embroidered with a row of white swans. Behind the Altar is a stele, inscribed "Dies," " [the altar] "of Zeus:" above which is a youthful beard- less head of one of the slain suitors inscribed " Poriphas." Behind Oinomaos, stands Myrtilos, and behind Myrtilos, is Eros flying in the air, and Aphrodite seated on a rock : Eros is represented with female head -attire. Behind Pelops is the nurse of Hippodameia, loading her forward by the hand; the nurse has wiiito hair. Almve this group, is a youthful beardless head of another suitor, inscribed 462 VASE ROOM. with the name "Pelar:" the ground on which the figures in this scene stand is represented by a double irregular line of dots. 2. reverse. Scene of youths and courtezans : in the centre, a youth seated on a rock, before him a female figure holding out a wreath towards him ; a bird is flying towards her, with a diadem in its claws: behind this female figure is another youth, holding a mirror in his right hand ; behind him, another female holding in her ria^ht hand an alabastrnn. On the left of the figure seated in the centre, is a group of female figures, conversing with a youthful male figure whose left foot is placed on a rock, the ground on which these figures stand being indicated as before by irregular dotted lines studded with flowers : the field of the scene above the figures is seme with flowers. 3. Lower division round the base — a scene probably representing offerings at Tomb of a hero. The Altar is composed of the capital of an Ionic column placed on a square base and surmounted by a hydria: on the right, a female figure advances to place a diadem on it; behind her, a youthful male figure is seated on the ground, holding a wand in his left hand ; in front of him, is another similar figure, holding in his right hand a phiale containing fruits ; behind him follows a female figure with a diadem in her right hand and a calathus full of fruit in her left. To the right of this figure, and with her face to the front, is a seated female, holding in her right hand a fan and a pyxis half open, and behind her Eros, advancing with a diadem in his hand, and looking back at the same time at another female who is following him at a rapid pace. Behind her, are a male and female figure and another female moving in the opposite direction and approaching the Altar from the left ; before and behind her, are a standing and a seated female figure respectively, the last holding an object, formed like a ladder of two parallel sticks iniited by several transverse bars or rino-s, perhaps a tambour frame ; all the female figures in this scene wear sandals, and the ground on which they are seated slopes down from the Altar on each side, and is indicated by irregular dotted lines and occasional flowers. 4. On the neck of the Vase, obv. a female head bound with a radiated diadem and full face, issuing from the calyx of a flower with luxuriant leaves and tendrils. 5. rev. a female head in profile issuing from another flower, and similarly diademate. No. 1268 is a very interesting Apulian Amphora, with design red and white on a black ground, containing a subject similar to the last. 1. obv. Offerings at the tomb of a Hero. In the centre is the Tomb, in the form of a small distyle temple of the Ionic order, between the columns of which is the seated statue of the Hero, turned towards BASILICATA AND VASES OF A LATE TIME. 463 a youthful male figure who approaches it on the right. On the left of the Tomb, is a female figure, with her left foot on a rock, offering a wreath to the figure of the Hero. The tomb, the figure of the Hero, and the rock are painted white, doubtless to represent marble ; in the centre of the pediment, is a shield, on the apex and angles, volutes and pomegranate ornaments. 2. rev. Two naked male figures making an offering at an altar : thej' stand on the steps, one on each side, each holding in his right hand an ivy-branch. A white and a black scarf encircle the upper part of the Altar. 3. On the neck, is a female head in profile, from the base of which flowers and tendrils diverge on either side. No. 1565 is an Amphora with medallion handles, and design red, white, yellow, and crimson on a black ground, containing for sub- jects ; 1. obv. In a distyle Ionic Temple a youthful Hero, seated and holding his cuirass on his knees with his right hand, and two spears in his left, the ground being indicated by a horizontal row of dots ; on the right, is a youth leaning against a square stele or cippus ■ and on the oi)posite side of the Temple, is a female figure ; both these figures are turned towards the one in the centre. The colouring of the accessories on this vase is very remarkable. In this scene the columns, pediment, and basement of the Temple are painted white, the capitals of the columns and the mouldings being picked out in yellow, and the walls behind left red : the flesh of the hero is painted white, his hair and features being picked out with yellow ; his cuirass and shield is of a yellowish white, as if to represent gilding, and has a purple lining : his pilos is white encircled by a yellow ring near the base — his two spears and the two figures on either side of the Temple are of the natural red colour of the clay ; the sash behind him is white: the wreath, strigil, and lekythos of the male figure and the stele on which he leans are white, so are the ornaments of the female figure, the bunch of grapes, the flower she holds, and the sash in front of her. 2. rev. Two female figures standing, one on each side of an Altar, on the top of which are objects probably meant for fruit ; each figure holds in her rigiit hand a mirror. The mirrors are orna- mented with three projections round the edge, and are painted white, as are most of the accessories. 3. On the neck of the obverse, is an Eros seated on the calyx of a flower : in front of his head, is a square wicker-basket surmounted by a row of balls; on either side, a plant with prickly leaves and tendrils. The flesh of this figure and the pinion-feathers of his wings are white, the remainder red. The handles of this vase terminate at their upj)cr attachments in double Gorgoneia or masks of the face of Medusa ; on one side 464 VASE ROOM. the faces of these masks are painted white, and the hair yellow ; on the other side the faces are red and the hair blaok. At their lower attachment each handle curls over in two loops which terminate in swans' heads. No. 1565*, a very fine Hi/dn'a, with designs red and white, on a black ground ; the subject, the Toilet of Aphrodite. The Goddess is seated within a Naos, which is placed on the side of a hill, and holds in her right hand a mirror ; before her, stands a female figure, pro- bably Peitho. On- the right of the Naos, are three, and, on the left, two female figures. Of the figures on the right, two stand on ground nearly level with the base of the Naos, one is approaching it ; behind the latter is a figure who rests her right elbow on a pillar, and looks into a mirror which she holds in her right hand. Above this figure, is a seated one, holding out in her right hand a fruit or flower. On the left of the Naos, is a female figure holding out offerings to Aphrodite ; on the ground before her, a flower, and, below, nearly on a level with the base of the Naos, a square basket on which are four oval white objects, perhaps fruits. On the rocky ground above, is seated a female figure, who holds in her left hand a large fan, perhaps made of feathers ; before her, a flower, a large calathus, and an alabastron ; behind her, a ball. The figures outside the Naos are painted red, those within white ; the first to indicate living beings, the second, statues. On the other side of this group, is a white pilaster or column, and, behind the column, is ihe side wall of the Naos painted red, with a line of helix in white. The ceiling of the Naos is formed of parallel rafters, resting on an architrave, drawn with a rude attempt at perspective, the ends of the rafters over the entrance of the Naos being drawn above the architrave on which they rest, the other and more distant ends being drawn below it ; each rafter is separated from the next by an interval equal to its own breadth ; the ends over the architrave alternate with equal metope spaces ; above this row of rafters, is another beam parallel with the architrave : the beams and the ends of the rafters are ])ainted white The whole building is suimounted by a pair of volutes diverging from one centre, and out of them spring three honeysuckle ornaments. The base of the Naos is shaped like an anvil, and above the base is a thick slab of white marble forming its floor : the ground outside the Naos is indicated by iiregular dotted lines : here and there are clusters of small, shapeless lumps, ])robably rocks. No. 1567 is an Amphora with medallion handles, and design red, white, and crimson on a black ground. 1. obv. Visit of Orestes to BASIL ICATA AND VASES OF A LATE TIME. 465 the Tomb of Agamemnon. la the centre is a distyle Ionic Heroon, within which is a statue of Agamemnon, standing beside his horse; on each side of tlio Tomb, a male and femah^ figure, bringing sepulchral offerings (ktcrismata). On the right, and on a level with the base- line of the Heroon, a female figure stands looking up at the statue ; on the rising ground above her, is seated a youthful male figure, pro- bably Pylades : on the left side of the Heroon and with one foot on a level with its base, stands a female figure opposite the one on the other side : these two figures probably represent Electra and Chry- sothemis: on the higher ground above, is seated Orestes turning round towards the Heroon, and resting his elbow on his Argolic buckler, which is placed edgeways on the ground, and is painted white. 2. rev. A Sepulchral stele, round which are intertwined two sashes, one black, the other white ; on the base line on each side, a female figure, bringing offerings to the stde; the one on the right, holds in her right hand a large flat basket, and in her left an ivy leaf; the one on the left holds in her right hand a bunch of grapes, and in her left a tympanum. On a higher level on each side, a youthful male figure is seated ; the one on the right holding in his right hand a basket, in his left a pyxis ; the one on the left holding in his right hand a wreath, in his left a pyxis. No. 1567* is an Amphora with medallion handles, and design red and white on a black ground. 1. obv. A distyle Ionic Heroon, within which is a statue painted white of a naked youth leaning over a loutron, into which he dips his left hand. On either side of the edifice, are figures bringing sepulchral off'orings ; on the left, a female taking out an offering from a large Calathus. Above her, and in the more distant part of ihe scene, is a youthful figure seated, turned towards the Ilerflon. On the left of the Heroon is a youthful male figure standing opposite the female figure on the opposite side, and ottering a wreath which he holds in his right hand ; above him, and in a more distant part of the scene, is a group of a youthfid male figure and a female seated side by side ; both are turned away from the IlerOon. The Heroon is faced with white marble, and sur- mounted, on the apex and acroteria, with an antefixal ornament ; the rafters of the ceiling and the side walls are left red ; the base is white, inlaid with two red mouldings, between which is a band of triglyphs, white on black squares. These squares alternate with white metope spaces : above the pediment, are two phialse. 2. rev. The visit of Orestes to the Tomb of Agamemnon. In the centre is a stele on three stops, and on either side are a male and female figure bringing sepulchral offerings. On the right, is seated Orestes 2 H 466 VASE ROOM. turning away from the stele; before him, on rather higher ground, stands Electra, holding in her right hand a large fan. On the oppo- site side of the stde^ is a female figure, probably Chrysothemis, standing on a level with its base line; she stretches out her left hand to offer a wreath. Above her, and in a more distant part of the scene, is seated Pylades. The stele is a Doric column; and the irregular ground of the scene is marked with dotted lines ; below the seated male figure, on the right, are round stones. 3. On the neck, obv. Two lions confronted, one raising his right, and the other his left paw. On the obverse of this vase, the handles, over their upper attachments, are decorated with a grou]) of a Satyr and a Maenad in coloured bas-relief; the Satyr, j)robably Komos, dances, playing on the double flute ; the Masnad, probably Oreithyia, is also dancing : at their lower attachments, these handles branch out into swans' necks, which curl round so as to form loops ; and the tops of each liandle are pierced by two holes at right angles one to the other. No. 1646 is a Kratei- with design red, and accessories in white on a black ground. 1. obv. A symposion or banquet, in which four figures are reclining on two couches ; on the first couch to the right, a youthful figure leans against a cushion which is doubled under him, and plays on a double flute. Over his head, is his name, Kleon ; next to him, is a middle-aged bearded figure drinking from a two-handled cup, his face turned to the front, and his left elbow reclining on a cushion ; over his head, is his name, " Euainos." In front of these figures, is a table on which are a wreath, a two-handled cup, and a fruit. At the foot of the couch a naked youth holding in his right hand an oinochoe, and in his left a strainer, advances towards Euainos. On the second couch, are two figures ; the one to the right beardless, and holding in his left a two-handled cup ; over his head is his name, " Alkimachos," On the left, is a bearded middle-aged figure, leaning on his left elbow and twirling a drinking cup round the forefinger of his right hand. Over his head is the same name, "Alkimachos." 2. rev. A female figure approaching from the right two youthful male figures, holding in her right hand a pJiiale. The male figure nearest her stands to the front, and the other appears to be addressing her. No. 1644 is a Krater, with design red on a black ground. 1. obv. Thetis bringing his armour to Achilles. Achilles is seated in the centre of the scene upon a chair turned to the front, holding a wand in his right hand. Thetis stands on his right, and holds out to him a Corinthian crested helmet : her left hand is placed on an Argolic buckler, which rests edgeways on the ground, and bears the device of a snake. On the left of Achilles, is a female figure, pro- bably Briseis, who stands with an oinochoe in her right, and a phiale BASILICATA AND VASES OF A LATE TIME. 467 in her loft hand. 2. rev. A male figure conversing with two females. On the rijrht, a male figure leans on his start', and appears i<> l)c speakin*]^; in the centre, is a female turned towards him. On the left, is another female figure who seems to be speaking. Besides the above, which we have thought worthy of a more full description, there arc a considerable number of other vases, interest- ing either from their subject or style, which we will mention here by their numbers. Such are No. 1267*, Lycurgus destroying his family. No. 1534, Ajax Oileus tearing Cassandra from a statue of Athene, to which she clings for aid. Cassandra is kneeling with one knee on the steps which support the statue ; an owl bearing a chaplet appears in the air to the left of Pallas. No. 1552, an Amazon contending with a gryphon, the wings of which are marked with white, its is the shaft of the spear which the Amazon is aiming at the gry|)hon. No. 1553, Selene, or the Moon in a chariot. No. 1568, Leda caressing the Swan. Leda is seated naked within a distyle Ionic temple, with her right arm round the swan. Leda, the colunuis of tlic temple, and the base of the pediment, are jointed white. Nos. 1606 — 1611, Satyrs and Bacchantes in various atti- tudes. No. 1258, Lapiths and Centaurs. Two centaurs are re- presented crushing Caeneus with a rock, nearly in the same manner as in the similar scene on the I'higaleian marbles. No. 1627, a representation of gymnastic exercises. Nos. 1557 and 1558 eon- tain excellent rejjresentations of the umbrella. No. 1254 is slightly grotesque in treatment, indicative of a late period, and attbrding some notion of the ancient idea ot caricature. Besides these vases, which contain subjects taken from the Heroic Myths of a graver character, there arc several belonging to this period, which are taken from the daily life of the people, and lepresent comic and ludicrous scenes. Of these the following arc good examples : — No. 1638, a Krater with design red, and accesso- ries in white and red on a black ground, oHcring a very curious repre- sentation of a Scene from an Ancient Comedy ; perhaps, a parody on the Myth of Atlas. 1. obv. On the right, stands an old bearded Sile- nos, j)oised on his left leg, and supporting on his head a large vase or basket, in the form of an Atlantcan hemisi)here ; before him, stands a youthful male figure, holding up the forefinger of his right hand, as if directing the movements of the Silenos, and holding in his left hand two apples ; he wears endromidcs studded with white buttons. 'J'he SiU'iios has white hair and a long white beard; his liody is coloured crimson. 2. rev. A youthful nude fi;:ure standing con- 2 II 2 468 VASE KOOM. versing with a female figure ; both wear wreatlis, mantles, and endro- mides, and the female has a veil drawn over the back of her head. No. 1638*, a Krata; design red, with accessories in white on a black ground. 1, obv. A Scene from an Ancient Comedy, |)erhaps a parody of the Myth of the blind Chiron cured by Apollo. On the left, is a rude kind of stage, with a ladder leading up to it ; on the upper part of the ladder, stands Apollo, placing his right hand on the head of the aged Chiron, who ascends the steps with difficulty, leaning on his staff, and pushed up from below by another aged figure, pro- bably an attendant. On the right, on the upper corner of the picture, are two Nymphs seated side by side, conversing. On the ground below, stands a youthful male figure, apparently a spectator of the scene. All these figures, except the last, wear grotesque masks. Apollo is represented with the head of Silenos ; over his head is " Pythias." Chiron and his companion have white hair and beards. The Nymphs have masks with thick protruding lips, and their name, " Nymphai," is inscribed above them. A plank, supported by an upright joist, represents the floor of the stage ; and an architrave, ornamented by a scroll and egg moulding, forms the roof. 2. rev. Three Athletes standing, conversing. The one in the centre is naked, and seated on a rock ; on his left, stands a figure with his hands en- veloped in a bordered mantle ; and, behind him, on the right, is a third figure, holding a stick in his right hand. No. 1639 is a Krater, design red on a black ground. 1. obv. A Comic Actor moving rapidly to the left, looks back, extending both hands in an attitude of amazement. He wears a mask with a very pro- jecting mouth, and his hair is brushed up to a point over his fore- head. Behind him is a stele, above which hangs a phialc. 2. rev. A female seated on a rock, half turned to the left, and looking back ; she is naked, has a circlet on her left thigh, and boots reaching nearly to the ankle. No. 1587 is a Krater, with design red on a black ground, acces- sories in white, and the inscriptions incised. 1. obv. A Scene from an Ancient Comedy — a contest of Ares and Hephagstos in the presence of Hera, who is chained to a golden throne in the centre of the scene. The two combatants stand one on either side of her in the foreground ; each is armed with an Argolic buckler, and is aiming his spear at his antagonist. On the right is Ares, over his head " Enyalius ;" round the butt end of his spear, is the thong for hurling it, represented by a spiral line ; the antagonist of Ares has a Satyric mask with protruding lips, covered with shaggy hair ; on his head is a conical cap, covered with a lozenge pattern, and surmounted by a sprig. Hephsestos is hurl- BASILICATA AND VASES OF A LATE TIME. 469 ing his spear by the thong ; over his head is the name " Daedalos." Hera sits half turned to the left, and looks round towards Ares ; her feet are placed on a footstool. Over her head is her name and a mirror. The stage on which this scene takes place, is represented by a long plank, sujjportcd by three uprights ; in the centre, a flight of five steps leads to the stage. Most of the ornaments were ori- ginally white, but have been retouched with green. The inscrip- tions appear to have been incised subsequently to the baking of the vase. 2. rev. Two female figures bringing sepulchral offerings to a stele. To the right, is a female figure standing on a small emi- nence ; another female stands opposite to her. On the stele is an offering in the form of a radiated ball, probably meant for a circular flower. The stele stands on lower ground than the two figures, and seems to rest upon two courses of masonry. 'I'lie ground of the scene is marked by an irregular line of dots. No. 1640 is also probably a Scene from some Ancient Comedy. There are also several vases, remarkable for the playful character of the design. Of these, No. 1531, a Hydria, with design red and white on a black ground, is an excellent example. A female figure is represented weighing two Erotes in a pair of scales, one of which far outweighs the other ; opposite to her, stands a youthful male figure leaning on his staff" and looking on. Under the scales, is a scat, on which is a ball. Under each handle, is a female head, full- laced. Other vases of the same kind arc No. 1538, a Satyr carry- ing a wine-jar. No. 1530, a Tumbler. No. 1503, a Siren, curi- ously represented as a female down to the waist, with the tail, claws, and expanded wings of a bird. In concluding these notices of the Pictures on Vases we may remark that, at each successive period, the subjects rc|)resentcd appear to have been supplied from the Myths commemorated in the popular poetry of the day, and that the same epoch which witnessed the extinction of the Art of Vase Painting, is distinguished in the History of the Greek mind by the extinction of Poetic invention, the corruption of taste, and the decay of ancient faith and regard for national tradition. It would seem that the Fictile Art obeyed the general law of national decadences, and that when the subjects of the Vase Painter ceased to be of popular interest, his Art was no longer needed. After this account of the Vases most remarkable for the Palntinfjs with which thoy were decorated, it remains for us to notice a few Forms of Vases which must be regarded rather as specimens of Plastic than of Graphic Art. 470 VASE ROOM. In cases 31—35 are a considerable number of vases of the sha[)c called Rhytoiis, drinkintr cups. They occur under Nos. 1572—1581, 1363, 1366, 1369, 1370-1372, and terminate in heads of rams, deer, bulls, pigs, &c., modelled with extraordinary freedom of hand. There is also a curious vase in the shape of a Silenos holding his wine skin, remarkable tor comic grotcsqueness of expression. Cases 50—55 contain chiefly vases in black ware of a late time, including a considerable number of lamps of various shapes, as No. 2006 in that of a sandaled foot ; No. 2002, with a lion's head for its spout. A great many have single heads, or one or more figures embossed upon them ; thus No. 1983 has two horses' heads in relief; No. 1963, Dionysus and i)anthers in relief; Nos. 1991, 1981, 1986, female figures seated, walking, and running respectively. No. 1964, a quadriga with a Victory and another figure in it. Case 53 contains a curious vase in the form of an Elephant. On the body, is a ridge like the mane of the hog, suggesting the proba- bility that the artist had never himself seen the real animal. The large ears, however, which characterize the elephant are given, though they are placed incorrectly on the head, and the proboscis is justly drawn. This vase is doubtless of late work ; the elephant not having been known in Italy till b.c. 280, when Pyrrhus had twenty of those animals at the battle of Heraclea. Near this vase, is one in the shape of a dolphin. Nos. 1754 — 6 are vessels used in the sacrifices for holding different kinds of fluids. Nos. 1690—2, 1697, 1962, 2015, and the next to it, and per- haps No. 1148, in Case 36, are almost certainly vases made in imita- tion of similar metallic ones. These and the Vases into which bas- reliefs have been inserted belong to the luxurious age of the Ptole- mies, and are very interesting, as they show us what were the forms preferred for metallic vessels at that day. Some of these, especially No. 2015, and its neighbour, are exceedingly beautiful, and would serve admirably at the present day for models of silver vessels. The forms to which we have called attention, as examples of the later Plastic Art, should be compared with the rude Archaic speci- mens of brown and black Etruscan ware, in Cases 1 — 5, and with many shapes among the early Painted Vases in Cases 6, 7. Such a comparison discloses to us certain ])henomena which may be said to characterize, not only the Fictile Art of the Greeks, but the Arts generally, regarded as part of the History of Human Civi- lization. In tracing out the History oi' the Art of any jtarticular nation, we may assume that much is due to the influence of deep- BASILICATA AND VASES OF A LATE TIME. 47 1 rooted associations. Wlien the eyes of a Race have become f lioroughly familiarized with certain forms, when these forms have been handed down J'roni generation to generation, and domesticated in the mind of the i)eople by being applied to implements of Religious or house- hold use, it hap[)ens that, from the mere power of habit, a design strictly appropriate in one material is transferred with less propriety to another, though frequently with a good general oft'ect. Thus, as we have already shown, the ornaments of the oldest Fictile Vases are apparently imitations of basket-work, and of the metallic, or the wooden vessels of earlier periods, just as the glass necklace of the Celts was the proto-type of the subsequent metallic torques. The tendency of mere habit, then, is to pcrjietuate Forms once adopted. But this great influence of the Traditional, this tendency to a per- fect monotony of type is again controlled and modified by another power ever at work in the mind of man, the power of invention, stimulated by the desire of novelty. As the princii)ies of Design become more clearly understood, the love of imitation common to man leads to the introduction of forms of nature in oniamcntal design. This is, indeed, not the mere reproduction in a new material of animal or vegetable types, but the Artistic representa- tion and ada|)tation of animal and vegetable life. The process is ])robably as follows : in the fashioning of any object intended for use, the dictates of common necessity give birth to nearly the same type in the productions of races widely separated in date and situation. Thus the simplest vessel of the inhabitants ot ancient Italy and of Mexico bears a natural, and, we may add, a necessary resemblance to each other. Rut, alter the fulfilment of the primary want, there arises the desire to adapt, in the structure of the object, analogous forms from vegetable and animal life, and to incorjiorate the works of nature and of man in one design. The Greek Race appears to have possessed an extraordinary natural capacity for the carrying out of this love of imitation. An intuitive tact led them to discern in Nature, and to borrow in Art, the forms best suited for the required design. A never-failing sense of beauty shaped these selections into harmonious composition, and their prac- tical genius kej)t always in view the prescribed material and the pre- scribed form, conditions subject to which the design was to be exe- cuted. The principles ot artistic imitation having been acquired by the artisan in the school of some great sculptor or painter, his gene- ral principles of composition would be further regulated by the same masters; that is to say, if the compositions of the great artist of a particular race and period were contained within a certain range of 472 VASE ROOM. lines, with more or less flow, intricacy, or simplicity, the same cha- racteristics may be distinctly recognised in the ornaments produced by the artisan of the same race and period. Lastly, we must remember, that certain forms originally symbolical, were adopted in the fashioning of articles of household and daily life, and retained long after the meaning of the symbol had been forgotten. It is the business of the Archaeologist to ascertain, when such symbols were first used as ornaments, and when they became purely conventional. Cases 56 — 60 contain a large number of Greek and Roman Terra- cotta figures and busts, &c., not yet numbered. The busts on the upper shelves are probably intended for portraits ; those on the next below them appear, from holes which remain at the back of many of them, to have been hung up as the decorations of temples, or of rooms in private houses. Along the walls of this Room are various Paintings which illus- trate the Art of the Etruscan Times. Over Cases 36 — 55 are fac-similes, painted by S. Campanari, of the walls of an Etruscan tomb at Tarquinii, in two divisions ; — in the lower, are represented dances and entertainments, and, in the upper, athletic games, as leaping, running, the chariot-race, hurling the discus, boxing, &c. Above, is a large vase and two persons at an entertainment. The entrance to the Tomb, decorated with two panthers, is above the Cases 18 — 29, 32, 33. Above Cases 6 — 26 is a fac-simile of another Tomb at Tarquinii, representing an Entertainment, In the centre, one of the pacjes holds in his hand a percolated vase or wine-strainer. At the sides are male and female dancers surrounded by trees and animals ; above is a chequered ceiling of the same tomb. Above the Cases 1—4, 57—59, are paintings from a Tomb at Corneto ; that above 1 — 4 represents a female paying the last offices to an old man who is stretched out on a bier ; that above 57 60, two men drinking and dancing. Close to these are the ends of the same tomb, with men drinking and playing on the double flute. THE END. LONDON : PRINTED BY W. CLOWES AND SONS, STAMFORD STREET. 50, Albeharle Street, Lovdos. Jpril, 1852. MR MUEPtAY'S GENERAL LIST OF WORKS. ABBOTT'S (Rev. J.) Philip Musgrave; or Memoirs of a Church of England Missionary in the Mortli American Colonies. Post Svo. 2s. 6rf. 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